The Sanskrit Drama in its Origin, Development, Theory & Practice c13.s5.3

c13.s5.3

His use of metrical forms, on the other hand, marks the tendency to reject the simplicity of the earlier dramatists, and to insist on the use of the more elaborate metres, which in themselves are wholly undramatic, but give a much wider range of opportunity for the exhibition of merits of description. Harṣa’s favourite is the Çārdūlavikrīḍita, which occurs 23 times in the *Ratnāvalī*, 20 times in the *Priyadarçikā*, and 30 times in the *Nāgānanda*; the Sragdharā takes second place with 11, 8, and 17 occurrences. The Çloka occurs in the *Ratnāvalī* (9), and the *Nāgānanda* (24), the frequency in the latter being due to the more epic character of the piece; its absence from the *Priyadarçikā* is marked. The Āryā occurs 9 times each in the Nāṭikās, and 16 times in the *Nāgānanda*. The *Priyadarçikā* suggests by its content immaturity, and its poverty in metres supports this view; it has but seven in all, including Indravajrā, Vasantatilaka (6), Mālinī, and Çikhariṇī. The *Nāgānanda* has also Çālini and Hariṇī, in common with the *Ratnāvalī*, and Drutavilambita, while the *Ratnāvalī* adds Puṣpitāgrā, Pṛthvī, and Praharṣiṇī. That play has 5 Prākṛit Āryās and 1 Gīti, the other two 3 Āryās apiece, while the *Ratnāvalī* contains a pretty pair of rhymed verses, each with Pādas of 12 morae.