Note 63 — III DRAMATIC THEORY XIII THE THEORY OF THE DRAMATIC ART

There is also an elaborate etiquette63 as to the mode of addressing the diverse personages. A king is styled thus by ascetics, but Deva or Svāmin by his courtiers; his charioteer and Brahmins generally hail him as Āyuṣmant, ‘long-lived’, while inferiors style him Bhaṭṭa, ‘master’. The crown prince is styled Svāmin, like his father; the other princes of the blood (bhartṛdāraka), but also common people, Bhadramukha or Saumya, preceded by he in the latter case, terms designed to conciliate by attributing to those addressed the qualities they are desired to show.64 The style Bhagavant, ‘blessed’, is appropriate to the gods, to great sages and saints; Ārya, ‘noble’, is appropriate to Brahmins, ministers, and elder brothers, while a wife should address her husband as Āryaputra. Sages address an ascetic as Sādhu; ministers are styled Amātya or Saciva; the king calls his Vidūṣaka, and is called by him, Vayasya, ‘friend’. Sugṛhītābhidha, ‘well named one’, is the address65 of a pupil to his master, a son to a father, or a younger to an elder brother, while the latter in return uses Tāta or Vatsa, both affectionate and condescending terms, suitable also for use to a son, or any person who owes one respect. Heretics should be given the styles they affect, thus a Buddhist should be hailed as Bhadanta; Çakas should be styled by such terms as Bhadradatta. The interjection Haṅho may be used between men of middle rank, Haṇḍe between common people. The Vidūṣaka addresses the queen and her ladies as Bhavatī; otherwise the queen is styled Bhaṭṭinī or Svāminī, a wife as Āryā, a princess Bhartṛdārikā, a hetaera Ajjukā, a go-between or aged dame Ambā; Halā is used between friends of equal rank, Hañjā is addressed to a servant.