Rāgas not associated with any specific varṇa are grouped under the category of rāga-gīti
"associated with any specific varṇa are grouped under rāga-gīti. The history
of this name is obscure."
VIMARŚA
<sup>309</sup>
85. The gandhara and that too antara becomes the dhaivata of
madhyamagrāma. Perhaps this phenomenon is being indicated here.
86,87. Adbhuta and hasya on the one hand and karuna on the other
are incompatible.
88. The freedom of the performer is being indicated here.
89,90,91. The situations mentioned under viniyoga and the rasa vīra
are perfectly compatible.
92. Yuddhavīra is one of the four varieties of vīra rasa. See note 53.
93. The indication of murchana finds place in the description of jatis
for the first time. No rule is prescribed for assigning a particular mūrchanā to
a given jāti. Here it is said that the mūrchanā of jāti is known from the
'statements of authorities', which implies that there is no prescribed rule.
94. The import seems to be that the amsa that is predominant among
amsas (in the case of jātis with more than one amsa) determines the mūrchanā
of a jāti.
95. The four components of gita have been enumerated as svara, pada,
tāla and mārga (vide citation in the name of Kasyapa in Kalā on SR II.30-32).
96. Dhruvāis a metrical text that is performed in pūrvaranga, where the
compositions in Sanskrit or in prescribed non-lexical syllables are used. The
dhruvā performed within the drama is invariably in Prākṛta and provides a
figurative and poetic commentary on the happenings in the drama. NS
XXXII gives numerous illustrations of dhruvā texts.
97. The ten forms of rūpaka are described in NS XVIII; they are - nāṭaka,
prakaraṇa, aṅka, vyāyoga, bhāṇa, samavakāra, vīthī, prahasana, ḍima and īhāmṛga.
98. Prastāvanā(lit.introduction) is twofold, one occurring in the end
of the Pūrvaranga and the other in the beginning of the play immediately after
nāndī i.e. one is composed by the sūtradhāra known as director and the other
by the poet called playwright to-day.
99. Mukha and pratimukha are the first two among the five sandhis or
junctures of drama.
100,101. Garbha is the third sandhi and avamarsa (another name for
vimarsa) is the fourth one.
Chapter IV
(The description of bhāṣās)
[ A. Bhāṣās according to Yāṣṭika ]
1. This whole portion on bhāṣās according to Yāṣṭika seems to form
part of an independent text. We have retained it in our reconstructed text
as it embodies very valuable material, but we have numbered its verses
