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–1. 85]

BOOK ONE

25

82 (P. 44, 45 a; H. 40).

tatrāpavādasampheṭau vidravadravaśaktayaḥ dyutiḥ prasaṅgaś chalanaṃ vyavasāyo virodhanam prarocanā vicalanam ādānaṃ ca trayodaśa.

‘The thirteen [subdivisions] of it [i. e., of the Pause] are: Censure (apavāda), Altercation (sampheṭa), Tumult (vidrava), Contempt (drava), Placation (śakti), Rebuke (dyuti), Reverence (prasaṅga), Humiliation (chalana), Assertion (vyavasāya), Opposition (virodhana), Foresight (prarocanā), Boastfulness (vicalana), and Summary (ādāna).’

Notes. ‖ Bh. 19. 64. 65, 66 a; SD. 378 a, b, c; Pratāpar. 3. 15.

83 (P. 45 b¹; H. 41 a¹).

doṣaprakhyā ’pavādaḥ syāt.

‘Censure (apavāda) is the proclaiming of a fault [of another].’

Com. Ex.: Ratn. 4, pp. 82–83, 87; Veṇī. 6, pp. 160–161.

Notes. ‖ Bh. 19. 89 a; SD. 378 d; Pratāpar. 3. 15. Cf. Lévi, p. 48.

84 (P. 45 b²; H. 41 a²).

doṣaprakhyā ’pavādaḥ syāt. sampheṭo roṣabhāṣaṇam.

‘Altercation (sampheṭa) is speaking in anger.’

Com. Ex.: Veni. 6, pp. 168–169.

Notes. ‖ Bh. 19. 89 b; SD. 379; Pratāpar. 3. 15. Cf. Lévi, p. 49.

85 (P. 45 c¹; H. 41 b¹).

vidravo vadhabandhādir.

‘Tumult (vidrava) is slaying, taking prisoner, and the like.’

Com. Ex.: yenāvṛtya mukh°, stanza from the Chalitarāma [an unpublished drama]; Ratn. 4. 14, p. 99; Ratn. 4, p. 99 [with many variations].

Notes. In Bh. and SD. vidrava is used as the equivalent of the term sambhrama defined at DR. 1. 79. In place of vidrava as a subdivision of