RAGHAVAN - SAHRDAYANANDA Vyanjana is represented as Parakiya, as she transcends the restrictions pertaining to Abhidha and sets the latter aside and has a peculiar over-riding fascination for the Alanikarika. Consequent on this, Abhidha the Pativrata is in separation and suffering. Nirudha-lakṣaṇa says: 18 Bho bho, Vyanjanaparukiyasakta-alankärikaḥ, kim kriyate. Vişamah khalu kamah. Tad etena carmadandena parama- pativratāyāḥ. ..abhidhayāḥ virahasantapam apahartum.......... Nirudha-lakṣana, the variety of Lakşana in which a word although based on transfer becomes, by usage, restricted in a fixed sense, is introduced aptly as a Ceți or Dasi, hand-maid, of Abhidha, and the aptness may be appreciated when one recalls the nature of the Nirudha-laksana which is tantamount to Abhidha: Nirudhäh lakṣaṇaḥ kaścit samarthyad abhidhanavat. The play itself' refers to the dictum of Rudhi, long fixed usage, taking away the Yoga or the specific basis of the application. From the point of view of the farce, we may note that Nirudha-laksana comes along with the Viduşaka, talks with him althrough in Prakrt and carries with her strap or stick of leather. This last is a thing which is carried by one of the characters in the vernacular folk-plays and with which he or she strikes the other actor off and on. This 'slap-stick' is part of the features of the farce. As the two are making some observations against the Alankarika and are also afraid that the latter might overhear their talk, the latter makes his appearance, exclaiming that Sahitya is the essence of learning and Vyanjana is the essence of Sahitya and the source of joy. The Ceti, Nirudha-laksana, observes that the Alankärika has gone after the Parakiya lady called Vyanjana and his own Pativrata, the chaste wedded wife viz. Abhidha, is undergoing the pangs of separation. V. RAGHAVAN - SAHRDAYANANDA The Alańkärika now addresses his beloved Vyanjana, recites a verse suggestive of the season of rains and Vyanjana purposefully points to Abhidha. The Alankārika makes here references to Rūdhi supplanting Yoga and to Tatparyartha, Samanya-lakṣaṇā, Phala and Vyanjanā. 19 For the first time now, Abhidha, addresses her Dasi (or Ceți) viz. Nirūḍha-lakṣana and says that she is afraid that her lord Alańkärika is going after the courtezan (Vara-vadhu) Lakṣaṇā. There is then a round of dispute among Abidha and Nirudha-lakṣaṇā on one hand and the Alankarika and Vyanjanä on the other. The Vidūşaka and the Dasi Nirudha-lakṣand exchange some horse-play and there is a reference to Srigaraasa becoming degraded (abhasa) to Bibhatsa. There is also a reference to the crooked walking stick of the Viduşaka (kutilaka-danda) which Abhidhã compares to the poetic prose (dandaka) with inapt alliteration (vilakṣaṇānuprāsa). Now a general tumult is heard from the streets and it is reported that a procession is coming of two asses each carrying a pair of men with shaven heads and a pair of women being stoned by street urchins. All of them propose to have a look at the asses. But Abhidha alone does not want to stir and Vyanjana remarks that such an exemplary Pativrată like Abhidhä is rare to find and she does not want to look at anybody else, para-puruşa. Here ends Act I. Act II opens with a washerwoman with a rope, weeping and striking her breasts. Horse-play or, to be more precise ass-play, now starts. The washerwoman addresses her beloved, the washerman. They have lost their ass. A brahmacarin named Diksādanda arrives on the ass; the washerwoman asks him how he got the ass. The brahmacarin hits her down and asks her to wash his dhoti immediately and is about to undress. The washerman rushes with his
