The Sanskrit Drama in its Origin, Development, Theory & Practice c20.s8.13

c20.s8.13

or the like, and is accompanied by a benediction, consisting of twelve inflected words (with nominal or verbal endings) or eight lines (quarter-verses); this would exclude the beginning of the *Vikramorvaçī*, but Abhinavagupta permits of a greater variety of forms. In Viçvanātha's view the Nāndī is part of the preliminaries, which must be preserved, however much these are shortened. It is clear, therefore, that gradually the benediction, like the Prarocanā with its appeal to the benevolence of the audience,¹ came to be worked into the play by the author himself, though the period when the custom became normal cannot be stated with any precision, and in the south of India, at any rate, the older practice of leaving the benediction to the Sūtradhāra seems to have been sometimes followed. There can, indeed, be little doubt that the extent to which the preliminaries were retained differed from time to time; Viçvanātha evidently contemplates their almost total disappearance, but the *Amṛtodaya* of Gokulanātha in the sixteenth century assumes their presence; the authority of the *Nāṭyaçāstra* told heavily in their favour, and the stock phrase, 'Enough of this ceremony,' which occurs frequently at the opening of the plays, doubtless refers to the dance, song, and music with which the drama was prefaced.²