The Sanskrit Drama in its Origin, Development, Theory & Practice c22.s2.15

c22.s2.15

The importance of such accessories to the representation as garlands, ornaments, and appropriate garments, is emphasized by Māṭrgupta, who admits a specific form of sentiment styled Nepathyarasa, a fact which illustrates the effect produced in the mind of the spectator by the details of the *mise-en-scène*. The same impression may be derived from the elaboration of the stage directions in the dramas, comparable only to such as are given, for instance, in Mr. Bernard Shaw’s productions. It is clear that they were intended not only for the direction of the actors in actually performing one of the pieces, but as instruments to aid the reader of the drama in realizing mentally the form of the representation and in appreciating, therefore, the dramatic quality of what he studied. Moreover, we have independent evidence which aids us in seeing how complete these directions are. A fortunate chance has preserved in Dāmodaragupta’s *Kuṭṭanīmata*,¹ written in the reign of Jayāpīḍa of Kashmir in the eighth century A.D., an account of the performance of the *Ratnāvalī* of Harṣa. The description is incomplete, but it is perfectly clear that it was played exactly in accordance with the stage directions which have come down to us, embedded in the text of the drama as we have it.