19

CHAPTER - II

GENERAL CHARACTERISTICS AND

TECHNICALITIES OF SANSKRIT DRAMA

Sanskrit Dramaturgy deals with various characteristics and

technicalities of Sanskrit drama. The Nāṭyaśāstra of Bharata, Daśarūpaka

of Dhanañjaya, Abhinavabhāratī of Abhinavagupta, Nāṭyadarpaṇa of

Rāmachandra and Guṇachandra, Nāṭyamimāṃsā of Ruyyaka and

Sāhityadarpaṇa of Viśwanātha are the various works on Dramaturgy. In

this respect, Nāṭyaśāstra is the chief authority. This Nāṭyaśāstra and other

works on Dramaturgy, mentioned earlier had guided the later dramatists in

the composition of their drama. A discussion is made in this chapter on

classification of drama and some technicalities such as Purvaraṅga, Nāndī,

Vṛtti, Prasthāvanā and its five types, Patākāsthānaka, Arthopakṣepaka, the

plot of the drama, five stages of action, five types of Arthaprakṛties and

five Sandhis along with their varieties because these are the essential parts

of a drama and hence a clear discussion is necessary, to justify the status of

a drama.

Sanskrit Drama is termed as Dṛśyakāvya. It is also called Rūpaka as

the rūpa of a character is imitated by an actor or actress1

on the stage.

Bharata in his famous work Nāṭyaśāstra has introduced ten Rūpakas. His

classification of dramas has been adopted by almost all the later theorists.

Bharata has discussed all the ten Rūpakas in his work. After Bharata,

20

Dhanaňjaya and Viśwanātha have put their opinions regarding these ten

Rūpakas. Though they have not attempted to modify any thing of the ten

Rūpakas, discussed by their authority, they further added some sub-

divisions of Uparūpakas. Bharata has not discussed anything about

Uparūpakas but while discussing the Rūpakas he mentioned a variety

called Nāṭikā. According to Viśwanātha, Dṛśyakāvya is of two types-

Rūpaka and Uparūpaka or minor Rūpaka, where Rūpaka is divided into ten

and Uparūpaka is divided into eighteen varieties. The ten Rūpakas are –

Nāṭaka, Prakaraṇa, Bhāna, Vyāyoga, Samavakāra, Dima, Ihāmṛga, Aṅka,

Vīthī and Prahasana. Every Rūpaka differs from each other for their

characteristics such as the nature of the plot, the hero and the heroine, the

sentiment and the length of the play or the numbers of the act. Among the

ten Rūpakas, Nāṭaka and Prakaraṇa are considered as the more developed

forms consisting of not less than five acts to represent the five stages of

development of the plot.

Nāṭaka

The characteristics of Nāṭaka, provided by Sanskrit Dramaturgy are

to some extent rigid. The Vastu or the plot of Nāṭaka should be derived

from the traditional or popular Legend i.e. it must be well known. This plot

is an aggregate of all incidents and episodes. The plot of a drama is of three

types- Prakhyāta, Utpādya and Mixed. Prakhyāta is that where the plot is

borrowed from any traditional stories i.e. well known Legend. The story

21

which is not borrowed from any mythological or historical source and is

the creation of the poet’s own fancy is Utpādya. Again the plot which is

partially traditional and partially original and at the same time is created by

poet’s own fancy is called Miśra or Mixed.

The plot of Nāṭaka should be Prakhyāta or Khyāta or popular2. The

number of acts of Nāṭaka would be five to ten. The Nāṭyaśāstra gives a

brief outline regarding the characteristics of Nāṭaka. Nāṭaka is the most

developed form of drama which narrates some events of the life of a

distinguished Prince or Saintly character3. The plot of a Nāṭaka would be

Prakhyāta or well known suggests that it should only deal with the past

event and should not deal with the present or future, as the present event

will stand against the path of the poet’s freedom of imagination and the

future event is unknown to all.

According to Bharata, the hero of Nāṭaka would be Udātta or

Gallant4. He should be brave, hand-some, courtly, noble in temperament

and of high birth. There should be a balance in every respect in the

character of a hero. Bharata has classified the hero of a drama into four

varieties-Dhīrodātta, Dhīroddhata, Dhīralalita and Dhīrapraśānta.5 Dhīra,

the common attribute in all the four types of hero and from this point of

view it can be said that the hero of Nāṭaka should be Dhīrodātta where

Bharata mentions the term Udātta. But the main problem which arises here

is that while describing the characteristics of four variety of hero, Bharata

22

explains that Dhīroddhata hero should represent a God, a Dhīralalita is a

king, Dhīrodātta is a minister or Commander of forces and Dhīrapraśānta

is either a Brāhmana or Vaiśya.

Viśwanātha clearly mentions that the hero of Nāṭaka should be

Dhīrodātta6 and he should be either Divya (god) or Divyādivya

7. He should

be a mortal being. For example of Divya-nāyaka he mentions the name of

Lord Śrīkṛṣṇa and divyādivya like Rāma.

The principal character or the hero enjoys the benefit of entire

dramatic action. He becomes the substratum of all actions and is the basic

factor of the principal sentiment. Rasa or Sentiment is the most important

constituent of Nāṭaka. Not only in case of Nāṭaka, it pays great attention in

any kind of Dṛśya or Śravya kavya, as it gives delight in the mind of the

spectator or reader. Bharata has mentioned that Nāṭaka would be full of

Rasas but he never speaks of the principal Sentiment of Nāṭaka, rather, he

only mentions that in Nirvahanasandhi of Nāṭaka, there should be Adbhuta

Rasa. But Viśwanātha commands that in Nāṭaka, the principal Sentiment

should be either Erotic (Śṛṅgāra) or Heroic9 (Vīra) where other Rasas

would be sub-ordinate to the principal Rasa. Like Bharata, Viśwanātha also

admits Adbhuta Rasa in Nirvahanasandhi.The most important feature of

Nāṭaka is that it should be completed in five Sandhis10

in connection with

the five Arthaprakṛtis and five Kāryāvasthās or stages of action.

23

Prakaraṇa

Prakaraṇa is a type of Rūpaka which is distinguished from the

Nāṭaka or other Rūpakas for its plot and characterization. The plot of a

Prakaraṇa should be created by the poet’s own capacity or imagination11

.

The Prakaraṇa, like the Nāṭaka, consists of five Sandhis and the number of

acts also is similar to that of Nāṭaka. Other technicalities i.e. the five

Arthaprakṛties, five stages of action, the different modes of behaviour etc.

follow the pattern of Nāṭaka. Yet it has some peculiarities.

The Prakaraṇa deals with narration of the characters of a Brāhmana,

a Businessman, a Minister, a Purahita or a Sārthavāha12

. The hero of a

Prakaraṇa would be a Dhīrodātta or Dhīrapraśānta character13

. Hence the

hero would be depicted as an ordinary human being and should not be

divine or semi-divine being. Even a divine character would not be

introduced for a remote assistant, rather low character like Vīṭa, Slave,

Dancing-girl and Gambler could be used in the interest of the poet. The

heroine of a Prakaraṇa may be a married lady or a courtesan14

.

Viśwanātha has accepted three types of heroine for a Prakaraṇa-

married lady, courtesan and both the married lady and the courtesan15

.

Regarding the hero also he has restricted the area while he admits only the

Dhīrapraśānta character that would be the hero of a Prakaraṇa16

. The

24

predominant Sentiment, according to him, would be Erotic17

(Śṛṅgāra)

where Bharata is silent regarding this matter.

Samavakāra

Samavakāra is distinct from other Rūpakas for its peculiarities. It

deals with the different objects of deities and demons18

. The deities include

the semi-divine beings or the super human beings of various classes like

the Yakṣas, Kinnaras, Gandharvas and Vidyādharas. The principal

character or the hero of Samavakāra would be divine and this hero would

also be well known and gallant (Udātta) type. The number of the heroes is

twelve.

Samavakāra consists of three acts, three horror, three types of

passion or Śṛṅgāra and three types of dejection19

(sadness). The three types

of passion or Śṛṅgāra are Dharmaśṛṅgāra, Kamaśṛṅgāra and

Arthaśṛṅgāra20

.

Another peculiarity of Samavakāra is the absence of Vindu or Drop

and Introductory scene. It contains four Sandhis; Vimarṣa-sandhi is absent

here. It also has another exception in the use of different varieties of Vīthī

and Prahasana. All the Sentiments would be accepted in this type but

Viśwanātha is of opinion that the principal Sentiment would be Heroic or

Vīra21

.

25

Ihāmṛga

Ihāmṛga is another variety of Rūpaka the plot of which deals with

Divine and Human being22

. It is of a mixed type which is partly legendary

and partly invented by the poet’s own fancy. The subject matter follows the

acquisition of a divine woman or a celestial damsel who is captivated by

the opponent but is difficult to obtain and the hero is found to be met with

tragic end, yet the actual death of the hero is technically avoided on the

stage. The hero of this type of drama is Uddhata and he may be either a

divine or human character. Ihāmṛga contains three types of Sandhis,

Garbha and Vimarṣa are absent here.

Dima

Dima is a four-act drama having four junctures23

. Garbhasandhi is

absent in this type of drama. The plot of Dima is well-known as in case of

Nāṭaka. It has sixteen principal characters possessing Uddhata nature.

Most of them are Gods, Rākṣasas, Yakṣas, Piśācas and other witches.

Heroic (Sāttvatī) or Horrific (Ᾱrabhaṭī) are the Vṛttis which belong to the

mode of the behaviour of the characters24

.

Dima contains only six sentiments and does not admit Erotic and

Comic sentiments25

. Magic, Sorcery etc. are the important deeds found in

the actions of the characters. In this type of drama Viṣkambhaka and

Praveśaka do not get any place though it is important in case of Nāṭaka.

26

Utsṛṣṭikāṅka

Utsṛṣṭikāṅka is a Rūpaka mainly in pathetic sentiment which depicts

a well-known story of mortal character26

. Bharata has strictly prohibited the

divine character here and adds the women characters who are found to

lament in sorrowful speech. It contains only one mode of behaviour i.e.

Bhāratī Vṛtti while Sāttvatī, Ᾱrabhaṭī and Kaiśikī are omitted here27

.

Viśwanātha has named it Aṅka.

Prahasana

The term Prahasana itself depicts the sense of comedy. It is full of

comic characters and is presented in the costumes, suitable for comic

scene. The ruling sentiment is Hāsya as it arouses laughter in the audience.

It is of two types- Śuddha and Saṃkīrṇa28

. The characters of Prahasana are

Monks, Brāhmanas, Servants, Slaves, Villains, Courtisans etc29

.

Prahasana contains all the ten sub-divisions of Vīthī30

. It follows the

pattern of Bhāna in case of behaviour, junctures etc.

Bhāṇa

Bhāṇa is a monologue or one-act play, the plot of which is purely

created by the poets own imagination. In this type of Rūpaka the hero

speaks for himself and also for other characters. In Bhāṇa, at the time of

presentation of the play on the stage, only one actor appears on the stage as

it is a monologue and addresses to a feigned listener and also himself acts

27

as the treatment of the addressee. There would be two Sandhis-

Mukhasandhi or opening juncture and Nirvahaṇa or concluding juncture.

Vyāyoga

Vyāyoga is a Rūpaka of one-act31

. It deals with a popular topic as its

characters are also popular or well- known, though it has a little women

character. The hero of this type of drama, according to Bharata, should not

be a divine figure, or a king with saintly character32

. It contains only three

junctures namely the opening, the progression and the conclusion33

.

Vīthī

Vīthī is also a one-act play34

. All the sentiments are introduced in

this type of drama but the principal sentiment should dominate here. It

contains Udghātyaka and Avalagita variety of Induction35

. Three types i.e.

upper, lower and middle characters are introduced in Vīthī category of

Rūpaka. Vīthī has its own thirteen sub-divisions which are also sub-

divisions of Bhāratī Vṛtti, known as Vīthyāṅgas. It contains only two

junctures- opening and conclusion.

Nāṭikā

Nāṭikā is a four - act drama36

which contains a large number of

female characters. Viśwanātha has defined Nāṭikā in a very clear way.

According to him the plot of the Nāṭikā is created by the poet by his own

28

imagination37

. The hero is invariably a king possessing Dhīralalita

character and the heroine would be a young princess, well acquainted with

dance and music38

.

The hero of Nāṭikā is found to be afraid of the queen who is also

born of a royal family and the union of the hero and the heroine depends on

her consent39

. One of the principal characteristics of Nāṭikā is that it

displays Śṛṅgāra as the principal sentiment, as the Vṛtti contains in it is

Kauśikī and like Nāṭaka, Adbhuta Rasa is found in its end.

As regards Sandhi, Bharata does not put any comment which

implies that Nāṭikā also contains five Sandhis like Nāṭaka. Viśwanātha

accepts five Sandhis in Nāṭikā but he is of opinion that Vimarṣasandhi

would be used in a very short extent. Nāṭikā is distinct from Nāṭaka

mainly for the plot and the numbers of act, otherwise it fulfills almost all

the characteristics of a Nāṭaka. The plot of the Nāṭikā is original, while the

Nāṭaka is based on popular or well known stories which must occur in

either Purāṇa, or Itihāsa or other distinguished works. The plot of Nāṭaka is

arranged in such a way for which the story becomes long and there comes

the necessity of Patākā or Prakarī but Nāṭikā has only a single plot for

which it is ended in four acts.

Except the Nāṭikā Viśwanātha has explained seventeen variety of

Uparūpakas or minor Rūpakas which are -Troṭaka, Goṣṭhi, Saṭṭaka,

29

Nāṭyarāsaka, Prasthānaka, Ullāpya, Kāvya, Preṅkhana, Rāsaka, Saṃlāpa,

Śrīgadita, Śilpaka, Vilāsikā, Durmallikā, Prakaraṇikā, Hallīśa and

Bhānikā.

Troṭaka

The play which is composed of seven, eight, five or nine acts is

termed as Troṭaka40

. It deals with the narration of the story of a divine

character and mortal characters. The clown or Vidūṣaka plays an important

part in this type of drama. He is found to be present in all the acts

especially in the first act, his presence is necessary. As the clown is found

present in all the acts the principal sentiment here is Erotic or Śṛṅgāra41

.

The clown is a conventional character who helps the hero in his love affair.

Goṣṭhī

Goṣṭhī is a play consists of one act. This type of drama presents nine

or ten general heroes and five or six female characters42

. The main

language used here is Prākṛt. Sanskrit language does not get any scope

here. The principal sentiment of this type is kāma -Śṛṅgāra and the Vṛtti is

Kauśikī. Garbha and Vimarṣa Sandhis are absent here.

Saṭṭaka

Saṭṭaka43

is an Uparūpaka consists in the pattern of Nāṭikā but the

entire conversation in it is conveyed either in Sanskrit or in any other

30

Prākṛt dialect. There would be no any space for Viṣkambhaka or

Praveśaka. The act of this type of play is termed as Yavanikā.The principal

sentiment is marvelous in this play. Regarding the language of Saṭṭaka

Viśwanātha differs from other dramaturgists and accepts only the Prākṛt

language and denies the use of Sanskrit.

Nāṭyarāsaka

It consists of one act and enriched in Tāla and Laya44

. The hero of

this type is gallant where a character called Pīṭhamarda is presented as

Upanāyaka. Pīṭhamarda is generally a helping character of the hero45

.The

sentiment of Nāṭyarāsaka is Hāsya or laughter. It contains two Sandhis i.e.

Mukhasandhi and Nirvahanasandhi and it also includes ten Lāsyāṅgas.

Regarding the number of Sandhis there is a dispute among the theorists as

some admit that, this type of Uparūpaka contains four Sandhis, only

Nirvahana is omitted here.

Prasthānaka

In Prasthānaka, the hero would be a slave and the semi hero would

be more inferior to him46

. The heroine in this type of play is a maid

servant47

. Kauśikī or Kaiśikī and Bhāratī would be the two Vṛttis in it. The

proposed subject would be ended, following the matter of drinking of wine.

This play consists of two acts and there will be splendor of melody of

songs48

.

31

Ullāpya

Ullāpya deals with a divine story where the hero bears the character

of a Dhīrodātta type49

. It consists of one act and is connected with the parts

of Śilpaka. Hāsya (laughter), Śṛṅgāra (Erotic) and karuṇa (Pathetic) are

the three sentiments in Ullāpya. It displays the narration of many wars. A

very important characteristic of an Ullāpya is that it presents a charming

music named Asragīta or Tripadī song. The number of Nāyikā in it is four.

According to some Scholars there will be three acts in this play50

.

Kāvya

Kāvya consists of one act with the presentation, full of comedy51

. It

is endowed with khaṇḍamātrā, Dvipadikā and Bhagnatāla.The

conversation made in it, gives rise to the Erotic sentiment. Both the hero

and the heroine of this play are of Dhīrodātta type. The Sandhis, included

here are Mukha, Pratimukha and Nirvahana. Except the Ᾱrabhaṭī, all the

Vṛttis are found to be present in this type.

Preṅkhaṇa

The Uparūpaka in which Garbha and Avamarṣa Sandhis are

absent52

and the hero, is from an inferior class, falls under the category of

Preṅkhaṇa. It consists of one act. Sūtradhāra or the stage manager has no

any role in this type of drama as the Nāndī and Prarocanā are sung from

behind the screne. It contains all the four Vṛttis.

32

Rāsaka

Rāsaka is a play in which there are only five characters. Among the

Sandhis, Mukha and Nirvahana are only accepted by the dramaturgist

Viśwanātha. So far as language is concerned, Sanskrit and Prākṛt are used

much in this type of play. Like the Preṅkhaṇa, there is no Sūtradhāra and

among the Vṛttis, Bhāratī and Kauśikī are the two Vṛttis, found in this type.

It consists of one act and includes the part of Vīthī and sixty four types of

Kalā (Art). The Nāndī verse of Rāsaka gives double meaning. Viśwanātha

commands that the heroine of this type would be well known where the

hero would be an illiterate person53

. Its plot would be woven in such a way

where the chivalrous character of the hero is shown to increase, step by

step. In defining Rāsaka, Viśwanātha differs from the other canonists. He

admits only two junctures i.e. Mukha and Nirvahana, while others opine

that there should be Pratimukha54

also.

Saṃlāpaka

Saṃlāpaka55

type of Uparūpaka consists of either three or four acts.

The character of the hero should be rough and rude. Except the Erotic and

Pathetic, other sentiments get their position. Attacking the cities, cheating

and escaping due to fear (Vidrava) get their respective position in this type

of Uparūpaka 56

. Bhāratī and Kauśikī are absent here.

Śrīgadita

The characteristics of Śrīgadita follow thus: the plot of this

Uparūpaka would be drawn from either history or Purāṇa, the hero would

33

be Dhīrodātta as well as popular and the heroine would also be well

known. The plot would be woven into three junctures where the Garbha

and Vimarṣa would not be present. The only Vṛtti of this type of play

would be Bhāratī and the term ‘Śrī’ would be used in a great extent. As the

term ‘Śrī’ is used again and again, the scholars termed it Śrīgadita.57

Some scholars thought that, in this type of play, the Naṭī or actress

plays the role of ‘Śrī’ or ‘Lakṣmī’ and acts to sing or recite anything , in a

sitting posture. It consists of one act and the prominent Vṛtti here is

Bhāratī.58

Śilpaka

Śilpaka consists of four acts and it includes all the four Vṛttis. It also

includes almost all the sentiments. Only the Śānta and Hāsya would not be

employed here. The Nāyaka of this type is Brāhmana and there will be

Upanāyaka from the lower class. It contains the description of Śmaśāna.

Twenty seven divisions of Śilpaka are found in the Sāhityadarpaṇa which

are – Ᾱśaṃśā, Tarka, Sandeha, Tāpodvega, Prasakti, Prayatna, Grathana,

Utkaṇṭhā, Avahitthā, Pratipatti, Vilāsa, Ᾱlasya, Vāṣpa, Praharṣa, Śvāsa,

Mudhatā, Sādhana, Anugama, Ucchvāsa, Vismaya, Prāpti, Lābha, Vismṛti,

Sampheṭa, Vaiśyāradya, Pravodhana and Camatkṛti.

Vilāsikā

It is a class of play where the Erotic Sentiment is found in great

extent i.e. the Sentiment Erotic spreads over the whole play. It consists of

one act, and the ten Lasyāṅgas are adopted in this type.59

It presents the

34

characters Vidūṣaka and Vīṭa, where the hero is from a inferior class.

Garbha and Vimarṣa are absent here. It is a play which presents limited

incidents. This Vilāsikā is also called Vināyikā by some scholars. Some

opine that it is included in the Durmallikā type of Uparūpaka.

Durmallikā

Durmallikā60

consists of four acts and it includes two Vṛttis i.e.

Bhāratī and Kauśikī. The embryo or Garbhasandhi is absent in this type

and the characters presented in it possess great skill in every aspect.The

hero of Durmallikā would be such a character who does not belong to a

lower category. Here the first act ends in three Nālis, with the many -fold

sporting activity of the Vīṭa. The second act, concluding in five Nālis,

contains the description of Vilāsa of Vidūṣaka, the third act concludes in

six Nālis with the description of Vilāsa of Pīṭhamarda and the fourth act,

which ends in ten Nālis present the narration of the sporting of the hero.61

Prakaraṇikā

It is an Uparūpaka where the hero is a merchant and the heroine is

also from the same class of the hero.62

The remaining features are like those

of the Nāṭikā.

Hallīśa

Hallīśa63

is an Uparūpaka consists of one act. In this type, there will

be seven, eight or ten numbers of female characters where one male

character would be present, who would enjoy Sanskrit language. It is

endowed with Kauśikī Vṛtti. Like other Uparūpakas, it also does not

35

possess all the Sandhis. Mukha and Nirvahana are found absent here. It

depicts Tāla and Laya spontaneously.

Bhāṇikā

Bhāṇikā is that minor Rūpaka which is enriched with the use of

charming dresses. It consists of one act64

and has only two Junctures-

Mukha and Vimarṣa. It contains mostly two Vṛttis i.e. Bhāratī or Vernal

and Kauśikī or gay bearing. The heroine of Bhāṇikā is a noble woman. On

the contrary the hero is an inferior one. This Uparūpaka has its seven

divisions- Upanyāsa, Vinyāsa, Vivodha, Sādhvasa, Samarpaṇa, Nivṛtti and

Saṃhāra65

.

(i) Upanyāsa is the description of the dramatic motif in relation to a

context66

.

(ii) Vinyāsa is the use of some statement of despair.

(iii) Clearification of mis-understanding is Vivodha.

(iv) Sādhvasa is the narration of the false statement.

(v) A speech delivered in great anger of pain is Samarpaṇa.

(vi) Nivṛtti is the citation of examples of illustrations and

(vii) Saṃhāra is the end of the main Motif.

The Dṛśyakāvya is Rūpaka as it is presented on the stage. Before the

beginning of the main show, a Purvaraṅga is required, which, according to

Bharata, consists of nineteen items, among which Nāndī is a part. Nāndī is

recommended by Bharata to recite by the Sūtradhāra in front of the

audience for the smooth -going of the drama and to destroy the obstruction

36

which may come in the path of the success of the performance. This Nāndī

is a benedictory verse, where the gods, Brāhmanas and the kings are

eulogized for the welfare of the actors and the spectators. It is of two types-

Śuddha and Patrāvalī. It is seen in case of all the dramas that the authors

maintain the convention of introducing a Nāndī verse at the very beginning

of the plays.

Viśwanātha, however, opines that Nāndī is most auspicious and

essential part of a drama which should be recited on the stage and after

Nāndī the Sūtradhāra appears on the stage and starts his dialogue. On the

other hand Bharata in his Nāṭyaśāstra has given instruction that after the

recitation of Nāndī, Sūtradhāra is supposed to leave the stage and another

actor called Sthāpaka has to come on the stage for the introduction of the

drama, its Seed, Title and the author. That person will use Sanskrit

language and he must be a male actor not a female actor. At the time of

introduction the Sthāpaka has to use Bhāratī Vṛtti67

. In this regard

Viśwanātha is of opinion that in almost all the dramas Sūtradhāra is found

to play the role of a Sthāpaka.

Bhāratī Vṛtti has four varieties – Prarocanā, Vīthī, Prahasana and

Ᾱmukha68

. Prarocanā is introduced to attract the audience towards the

performance of the drama with the appreciation of the poet, the drama and

also the audience69

. Among these four varieties the Prasthāvanā or

Ᾱmukha is very much essential. In Prasthāvana, the Sūtradhāra or the

37

stage manager engages himself in conversation with the actress or his

associate or the jester to inform the audience about the author, the title of

the play, the occasion of the enactment and the season in which the action

of the play has taken place70

. Prasthāvanā makes a situation for the

entrance of an actor or an actress on the stage. Bharata accepts five types of

Prasthāvanā- Udghātyaka, Kathotghāta, Prayogātiśaya, Pravṛttaka and

Avalagita71

, though Udghātyaka and Avalagita are discussed by him in the

characteristics and varieties of Vīthī. Viśwanātha accepts these five types of

Prasthāvanā72

while Dhanaňjaya accepts only three.

Udghātyaka

Bharata has defined Udghātyaka as one of the thirteen varieties of

Vīthī, though it is also mentioned by him as one of the elements of

Prasthāvanā. When the actor accepts a set of words of uncertain or

inexplicit meaning and connect these to another words for their own

meaning then it is called Udghātyaka73

. In this case the Sūtradhāra utters a

sentence but the actor takes it with his own meaning and gets entry on the

stage to make a situation in favour of his performance.

Kathodghāta

In Kathodghāta the character enters the stage directly repeating the

words of the Sūtradhāra or reproducing the substance of the words of the

Sūtradhāra just after the utterance of his words74

.

38

Prayogātiśaya

When the entrance of a character is directly commenced by the

Sūtradhāra, is called the Prayogātiśaya variety of Induction. “This is a

form of Induction wherein the Sūtradhāra introduces a character (patra) in

so many words, as, ‘here enters so and so’. This reference could be put in

the mouth of the one, acting as the Establisher (Sthapaka) even for the

purpose of the establishing some point of similarity in respect of the taste,

quality or action between himself and the one of the dramatic personae

who is presently to appear on the stage.”75

Pravṛttaka or Pravartaka

Pravṛttaka or Entrance of Character is a type of Prasthāvanā or

Induction where the Sūtradhāra gives the description of a certain season

and in reference to that description the character is introduced on the

stage76

.

Avalagita

Avalagita77

is that type where a different purpose is shown to be

served in case of another action which has no any relation with that

purpose.

In a drama Patākāsthānaka also plays a very important role but in

the application of this element the author should be very much careful.

39

Next, arises, the necessity of Arthopakṣepaka. The Dramaturgy kept

some restrictions in the construction of any drama. As the Sanskrit drama

is one- act-one- scene, so, to connect different episodes of a drama, the

technicalities like Intermediary scenes or Arthopakṣepakas are inserted in it

by the dramatist to analyse those incidents which are not possible to

dramatise in the acts but which are needed for connecting different

episodes of the play. Sometimes mentioning of lengthy incidents also gets

necessity in connection with the main plot. In such cases the introduction

of Intermediary Scene or Arthopakṣepaka is necessary. It is of five

varieties - Viṣkambha or Viṣkambhaka, Praveśaka, Culikā, Aṅkāvatāra and

Aṅkamukha78

.

Viṣkambhaka presents those portions of a story which occurred in

the past and the incident that will occur in future. Viṣkambhaka is occurred

in the opening of any act. According to Bharata the characters in

Viṣkambhaka should be Purahita, minister and Kañcukin79

. This

Viṣkambhaka is of two types- Śuddha and Saṃkīrṇa. When an

Intermediary Scene is presented by one or two middle characters, it is

Śuddha80

or Pure and when it is presented by middle character and lower

one, is Saṃkīrṇa81

. Praveśaka is also applied in the same purpose. Its

functions are also almost same as that of Viṣkambhaka. In Praveśaka the

characters use Prākṛt language82

as the persons acting in this part come

40

from lower section. The purpose of Praveśaka is to explain the events

which are generally omitted between two acts of a drama.

Culikā83

is the third mode of Indication where the background

events are presented through characters that narrate the events from the

back of curtain. Culikā can be inserted in the middle of an act unlike

Praveśaka and Viṣkambhaka.

The fourth mode of Indication is Aṅkāvatāra. Here the actors give

an intimation of the theme and the argument of the ensuing acts.

Aṅkāravatāra is thus known as that device in which without any

intervention by any Intermediary scene another act is introduced. Thus this

concluding portion of the previous act is termed as Aṅkāvatāra84

.

Aṅkamukha85

is the fifth mode of Indication in which the subjects of

all acts are indicated in brief.

Besides these five popular modes of Introductions there is another

method where one act is inserted within an act which is known as

Garbhāṅka. It is inserted in the midst of an act of the major part of the play

which works as a camouflage.

The plot of a drama plays a very significant role in determining its

identity. Bharata mentions in his Nāṭyaśāstra that the plot is the body of

the drama86

. It is of two types – Ᾱdhikārika and Prāsaṅgika. Ᾱdhikārika

plot87

is that which consists of the incidents that are connected with the

41

principal character, which has the Adhikāra of enjoying the desired result.

He is the Adhikārin, whose attainment of a particular object is the main

purpose of a plot and other episodes are directly connected with that

principal part of that plot. The subsidiary plot or Prāsaṅgika Vṛtta dealt

with other incidents, which are connected with the characters known as

Subsidiary character but not the Adhikārin. The Subsidiary plot is

introduced to make the main plot attractive and interesting. The main

theme of the drama covers the entire stretch of action of the principal

character. The main action therefore necessarily requires a beginning and

an end. Therefore the entire dramatic plot is devided into five stages of

actions viz. Prārambha (Ᾱrambha), Yatna (Prayatna), Prāptisambhava or

Prāptyāśā, Phalaprāpti (Niyatāpti) and Phalayoga (Phalāgama)88

.

Prārambha or Beginning

A sanskrit drama is very often found to start in two situations-either

i) the means through which the goal is to be achieved has already been

acquired by the favour of the fate or personal effort or, ii) the means to

achieve the goal is yet to be acquired. Beginning89

is that stage of action

where the eagerness is seen for the achievement of the desired object of the

hero or the principal character. It is not necessary that the beginning should

be done by the hero. It may be made by the heroine or any other characters

too. If the hero entrusts his affairs to the case of his ministers then it can

also be bagun by his minister.

42

Prayatna or Effort

The Prārambha of the drama may be made by any character such

as, the hero, the heroine, minister or even by divine being but the Prayatna

or Effort has to be made by the central figure of the drama. It is the second

stage of action where the hero or the heroine suffers from anxiety to find

all sorts of means to the end. Generally, effort means an action performed

by any individual to fulfill his desire. In Sanskrit dramaturgy it is that stage

of action that depicts the proactiveness of the central character of the

drama. Thus it is a speedy endaevour on the part of the hero or heroine to

find all sorts of means to the end.

Prāptyāśā

Prāptyāśā or Prāptisambhava is the third stage of action, the

definition90

of which suggests its purpose. In this stage there are two

opposite parties (a) One which helps the central figure in the attainment of

the desired object, (b) the other which stands as an obstacle in the

attainment of the object. In Prāptyāśā the cause of central figure is

sometime seen to advance and also gets reverse. Again it advances and gets

back due to the presence of the opposite party. Sometimes there is a hope

of success in the mind of the central figure and sometimes he becomes

hopeless for the activities of the opponent party. Thus in this stage of

action the possibility of becoming successful is contained despite the

obstacles faced by the central figure.

43

Phalaprāpti

Phalaprāpti is the fourth stage of action. In the third stage of action

the central figure meets with various obstacles and hence in the fourth

stage of action he searches for the possible means to attain the objective by

removing various obstacles. Sanskrit drama generally does not entertain

any tragic end for which the hero of the drama is presented in such a way

that he is always able to overcome the difficulties that arise in the path of

the attainment of his goal. The obstacle that comes on the way of

attainment of goal is removed in two ways-either by complete destruction

of the obstacle or by making reconciliation of the leader of the opposition

party. Niyatāpti or Phalaprāpti is explained by Bharata as that stage of

action where the success91

is certained and which does not have any risk92

.

Phalayoga or Phalāgama

Phalāgama is the last stage of action where all efforts attain

success93

. Thus it is the attainment of the desired object where the dramatic

action reaches its goal or fulfillment. When all the obstacles have been

removed, the fruition of action does not take time rather meets with

success.

The dramaturgy has explained five types of Arthaprakṛtis in

connection with the main plot of a drama, like the five stages of actions.

Drama has an aim to a certain purpose and the Arthaprakṛti is the means to

44

the attainment of that purpose94

. The five Arthaprakṛtis are- Vīja, Vindu,

Patākā, Prakarī and kārya95

.

Vīja

The means which is manifested at the out- set in a very small form

but expands later in many fold ways is known as Vīja or Seed96

. Vīja is the

first element to the attainment of the purpose which corresponds to the first

stage of action. It is a compulsory element of a drama. The main purpose of

Vīja is to determine the attitude of the audience. It must be remembered

that the spectator or audience is simply a passive recipient of whatever is

presented. In such situations the faculty of audience or spectator to make

any independent judgement is inactive and thus dependent on whatever is

presented. Vīja helps the spectator to suspend his personal volitional power

to identify his subjective realism of the basic mental state with the focus of

the situation. Besides determining the attitude of the audience Vīja has

other functions also. Another important function of Vīja is to inform the

spectator about the circumstances from which the action is originated.

Vindu

Vindu or Drop is that means which supplies the summery of the

main purpose of the play when it breaks the continuity97

. A Sanskrit drama

is oriented to achieve the goal by the central figure. This achievement of

goal is not possible unless the conditions favourable to achieve the goal are

met. These conditions for achieving the goal are presented in different

45

events. What happens is that these conditions are not achieved very

smoothly rather the main motive gets interrupted again and again. Thus it

is very much necessary to hold the main motive of action when different

events are presented. Vindu is the recollection of that motive force of action

when the situation is interrupted in changed circumstances. In drama this

motive force is resumed so that the principal objective of the central figure

is achieved finally.

Patākā

Patākā is that means which is introduced in a play for the benefit of

the principal character when he is unable to achieve his end98

. In different

Sanskrit dramas it is found that there are some characters of some plots

who, help the central figure in the achievement of his goal, is known as

Patākā or Sub-plot. The Patākā character has no any personal objectives99

and they are independent. Bharata has opinion that Patākā looses its

necessity in the Garbhasandhi or Vimarṣasandhi100

.

Prakarī

The fourth element of a plot is Prakarī or Minor plot. The Miror

plot, which is also a part of the drama, helps the central figure to achieve

his end, and has also no any personal objective, like Patākā.

The difference between the Sub- plot and Minor plot is that the Sub-

plot receives more attention of the dramatist and is treated as the main plot,

46

which possesses Sandhis but the minor plot receives very scanty attention

and has no Sandhi.

Kārya

Kārya is the fifth element of the plot which is very essential for the

attainment of the end. In the Sanskrit dramatic world there is no any drama

where there is absence of this element i.e. Kārya. It depicts the cause of the

drama. The object of every drama is to present a certain portion of hero’s

life where he desires to attain something and in this connection some

means are essential to achieve his goal, which is called kārya101

.

In a drama the five means to the end are though necessary but not

strictly essential, for instance when the hero is intended to be presented to

achieve his objectives independently in such cases the Sub- plot and the

Minor-plot do not get any necessity but the rest three elements are very

essential in every drama.

After a discussion on five stages of action, a discussion on Sandhi

and its importance in drama is very much imperative. Sandhi is found to be

the most essential technique enunciated in various works on Dramaturgy.

Sandhi or juncture means combination. Regarding this combination again

there are divergent views found to prevail in dramaturgical canons, but all

the theorists unanimously accepted that the Sandhi or Juncture is five in

47

number-Mukhasandhi, Pratimukhasandhi, Garbhasandhi, Vimarṣasandhi

and Upasaṃhṛti. Following is a brief discussion on these five aspects.

Mukhasandhi

Mukhasandhi is that juncture where the seed is originated102

i.e. it is

the first phase of the dramatic germ which introduces a variety of events

and Rasa or Sentiment. Viśwanātha has drawn some modifications in the

definition and adds some new words “prārambhenasamājuktā” in place of

“kāvyaśarīrānugatā” which indicates that the Mukhasandhi involves the

beginning of the action with the Seed or the Germ.

As Bharata has put his argument that without the sub-division of

Sandhi, a drama cannot be able to give pleasure in the mind of the reader or

the spectator103

, hence the sub-division of Sandhi are also necessary to

determine the status of a drama. The sub-division of the Mukhasandhi are

twelve in number104

- Upakṣepa, Parikara, Parinyāsa, Vilobhana, Yukti,

Prāpti, Samādhānam, Vidhānam, Paribhāvana, Udbheda, Karaṇa and

Bheda.

Pratimukhasandhi

It consists in the development of the Seed which is originated in the

Mukhasandhi, is partly seen and partly unseen in this Sandhi. It has its

varieties- Vilāsa, Parisarpa, Vidhṛta Tāpanam, Narma, Narmadyūti,

48

Prāgamanam, Nirodha, Paryupāsanam, Puṣpam, Vajram, Upanyāsa and

Varṇasamhāra105

.

Garbhasandhi

The Garbhasandhi is that where the Seed develops a further stage

than it was in Pratimukhasandhi. Garbhasandhi represents the embryonic

fruition. In this Sandhi the Seed is attended by frequent hindrance and is

anxiously nursed by search and other attempt to juvenate it106

. Here the

central figure is presented to achieve the wished for and also looses it again

and again. Every time the wished for is lost and there is a new search for it.

Garbhasandhi has thirteen sub-divisions107

– Abhūtāharaṇa, Mārga, Rūpa,

Udāharaṇa, Krama, Saṃgraha, Anumāna, Prārthnā, Kṣipta, Toṭaka,

Adhivala, Udvega and Vidrava. Viśwanātha has accepted these thirteen

varities but two names are found with little difference. He uses the terms

Kṣipti and Troṭaka in place of Kṣipta and Toṭaka.

Vimarṣa or Avamarṣa Sandhi

The germ which was developed in the past i.e. in earlier junctures,

gets open more clearly in Avamarṣasandhi, but is interrupted by some

calamity like the one of curse or of seduction108

. The Avamarṣa essentially

involves doubt for the interruption which is caused by curse and the hope

of the achievement of the wished-for becomes doubtful. In the beginning of

the Avamarṣa the hero meets with some obstacles which are only put on

49

his way to bring out his best qualities and the Sandhyāṅgas play a great

role in this connection like other Sandhis. It has also its own divisions-

Apavāda, Sampheṭa, Vyavasāya, Drava, Dyūti, Śakti, Prasaṅga, Kheda,

Pratiṣedha, Virodha, Prarocanā, Ᾱdana and Chādana.

Nirvahaṇa or Upasaṃhṛti

In Nirvahaṇa the Seed becomes fully developed and ripens to a

stage of fruition. In this Juncture all other Sandhis also contribute to the

production of one result i.e. the attainment of the desired object by the

hero. Like other Sandhis, Nirvahaṇa has its sub- divisions- Sandhi,

Virodha, Grathana, Nirṇaya, Paribhāṣana, Kṛti, Prāsāda, Ᾱnanda,

Samaya, Upagūhana, Bhāṣaṇa, Pūrvavākya, Kāvyasaṃhāra and

Praśasti109

.

Sandhi has a systematic relation with the seed hence to summerise

the five Sandhis it can be said that (i) Mukhasandhi is the commencement

of the seed (ii) in Pratimukha the development of the seed is sometimes

seen and sometimes unseen, (iii) in Garbha the seed springs up and faces

obstacles again and again (iv) in Vimarṣa the developed seed becomes

clumsy due to some doubts and lastly (v) in Nirvahaṇa the seed fully

develops and ripens to the stage of fruition.

Regarding the constitution of Sandhi there are two schools who

have given their views in different ways. According to one school, Sandhi

50

is the combination of five stages of action with the respective sources of

the plot and other school is of opinion that Sandhi is the different phases of

the dramatic germ or Seed from its initial appearance to its fruition at the

end. According to the first group Sandhi is of five varieties as there are five

stages of action and five elements of plot. According to one school the

Sandhi or combination manifests in the following way-

Vīja +Ᾱrambha= Mukhasandhi

Vindu+ Yatna= Pratimukhasandhi

Patākā + Prāptyāśā = Garbhasandhi

Prakarī+ Niyatāpti = Vimarṣa or Avamarṣasandhi

Kārya+ phalāgama = Nirvahanasandhi or Upasaṃhṛti.

This theory is adopted by Dhanañjaya but it has already been stated

that Patākā and Prakarī are not necessary in every drama and they are also

not found in all the dramas, so this theory has much scope for criticism.

Another point is that all the Sandhis are also not found in all types of

dramas as in case of Dima and Samavakāra only four Sandhis are

present110

. This theory can only be applicable in a perfect drama i.e. in

Nāṭaka and Prakaraṇa as these two types of dramas adopt five variety of

Sandhi111

. In Dima and Samavakāra, there is absence of Avamarṣasandhi.

In Vyāyoga and Ihāmṛga only three Sandhis are employed112

while in

Prahasana, Vīthī, Aṅka and Bhāṇa, only two types of Sandhis are found113

.

51

Hence, it is noticed that regarding the Sandhis, all types of dramas follow

certain rigid instructions.

Before making an attempt to determine the position of Harṣa in the

realm of Sanskrit literature as a play-wright, a conceptual clearity on

certain components of sanskrit drama is very much necessary which can

guide a researcher in the right way. Hence, in this chapter, a discussion on

those components has been carried out so that it can help in critical

analysis of Harṣa’s drama in more systematic way.

52

Notes & references:

1. “Dṛśyaṃ tatrābhineyam.” SD. Ch. VI. v.1

2. ‘Nāṭakaṃ khyātavṛttam syāt……’ SD. Ch.VI. v. 7.

3. NS. Ch. XVIII.v.10

4. Ibid.Ch. XVIII. v.10

5. Ibid. Ch. XXIV.v 17

6. Prakhyātavaṃśorājarṣīrdhīrodāttaḥ pratāpavān. SD. Ch.VI.v.9.

7. Divyo’thadivyādivyo vā guṇavānnāyako mataḥ. Ibid. Ch. VI. v. 9.

8. NS. Ch. XVIII.v.43.

9. Eko eva bhavedaṅgī śṛṅgāro vīra eva vā. SD. Ch.VI.v.10

10. Mukhaṃ pratimukhaňcaiva garbho vimarṣa eva ca. Tathā

nirvahaṇam ceti nāṭake paňcasandhayaḥ. NS.Ch.XIX. v. 39; SD. Ch.

VI. v. 7.

11. Yatrakavirātmaśaktyā vastuśarīraṃ ca nāyakaṃ caiva. Outpattikaṃ

prakurute prakaraṇamiti vudhairjňeyam. NS. Ch. XVIII. v. 45.

12. Ibid. Ch. XVIII. v. 48.

13. Ibid. Ch.XXIV. v. 19.

14. Ibid. Ch. XVIII. v. 50.

15. Nāyikā kulajā kvāpi veśyā kvāpi dvayaṃ kvacit. SD.Ch. VI. v. 226.

16. Ibid. Ch. VI. v. 224.

17. Ibid. Ch. VI. v. 225

18. Devāsuravījakṛtaprakhyātodātta nāyakaścaiva. NS. Ch. XVIII. v. 63

19. Tryaṅkastathā trikapaṭa trividravaḥ syāt triśṛṅgāraḥ. Ibid. Ch. XVIII.

v. 63.

53

20. Ibid. Ch. XVIII. v. 72.

21. ……..vīramukhyo’khilo rasaḥ. SD. Ch. VI. v. 236.

22. NS. Ch. XVIII. v. 38; SD. Ch.VI.v 246

23. Ibid. Ch. XIX. v. 45.

24. Ibid Ch. XVIII. v. 88.

25. Ibid. Ch. XVIII. Vv. 84, 85.

26. Ibid. Ch. XVIII. v. 94.

27. Ibid. Ch. XVIII.v. 96.

28. Ibid. Ch. XVIII. v. 101.

29. Ibid. Ch. XVIII. Vv. 103-105.

30. Ibid. Ch. XVIII. v. 107.

31. Kāryastekāṅkam evāyam …..Ibid. Ch. XVIII. v. 91.

32. Ibid Ch. XVIII. Vv. 91,92.

33. Ibid. Ch. XIX. v. 46.

34. Ibid. Ch. XVIII. v. 112.

35. Ibid. Ch. XVIII. v. 113

36. Ibid. Ch. XVIII.v. 59.

37. SD. Ch. VI. v. 269.

38. Ibid. Ch. VI. Vv. 269,270

39. Ibid. Ch. VI. v. 272.67.

40. Saptāṣṭanavapaňcākaṃ divyamānuṣasaṃśrayam.Troṭakaṃ nāma tat

prāhuḥ pratyaṅkaṃ saVidūṣakam. Ibid. Ch. VI. v.273.

41. PratyaṅkasaVidūṣakatvādatra śṛṅgāro’ṅgī. Ibid. Ch. VI. P. 339.

42. Prākṛtairnavabhiḥ purṇabhirdaśabhirvāpyalaṃkṛtā. Nodāttavacana

goṣṭhī kau(kai)śikīvṛttiśālinī. Ibid, Ch VI. v.274.

54

Hīnagarbhavimarṣābhyāmpaňcaṣaḏyoṣitānvitā.

Kāmaśṛṅgārasaṃjuktā syādekaṅ-kavinirmitā. Ibid. Ch. VI. Vv. 274,

275.

43. Saṭṭakaṃ prākṛtāśeṣapaṭhyaṃ syād praveśakam. Na ca viṣkambhako’

pyatrapracuraścādbhuto rasaḥ. Aṅkajavanikākhyāḥ syuḥ

syādanyaNāṭikā samam. Ibid. Ch. VI.v. 276.

44. Ibid. Ch. VI. v. 277.

45. Dūrānuvartinī syāt tasya prāsaṅgiketivṛtte tu. kiňcittadguṇahīnaḥ

sahāyaḥ evāsya pīṭthamardākhyāḥ. Ibid. Ch. III. v. 48.

46. Prasthāne nāyako dāso hīnaḥ syādupanāyakaḥ. Ibid. Ch. VI. v. 280.

47. ‘Dāsī ca nāyikā………’ Ibid. Ch. VI. v. 280.

48. Aṅkau dvau layatālādirvilāso vahulastathā. Ibid. Ch.VI. v.281.

49. Udāttanāyakaṃ divyavṛttamekāṅkabhuṣitam. Ibid. Ch. VI. v. 282.

50. Trayo’ṅka iti kecan. Ibid. Ch. VI. v. 283

51. Kāvyamārabhaṭīhīnamekāṅkaṃ hāsyasaṃkulam. Ibid. Ch. VI. v. 284.

52. Garbhāvamarṣarahitaṃ preṅkhanaṃ hīnanāyakam.

ASūtradhāramekaṅkama-viṣkambhapraveśakam. Ibid. Ch. VI. v. 286.

53. Śliṣṭanāndīyūtaṃ khyātanāyikāṃ mūrkhanāyakam. Ibid. Ch. VI. v.

289.

54. Ihapratimukhaṃ sandhimapi kecit pracakṣate. Ibid. Ch. VI. v. 290.

55. Saṃlāpake’ṅkaścatvārastrayo vā nāyakaḥ punaḥ. Pāṣaṇḍaḥ

syādrasastatra śṛṅgārakaruṇetaraḥ. Ibid. Ch. VI. v. 291.

56. Bhaveyuḥ pūrasaṃrodhaśchalasaṃgrāmavidravaḥ. Na tatra

vṛttirbhavati bhāratī na kau(kai)śikī. Ibid. Ch. VI. v. 292.

57. Bhāratīvṛttibahulaṃ śrītiśabdena saṅkulam mataṃ śrīgaditaṃ nāma

vidvadbhiruparūpakam. Ibid. Ch. VI. v. 294.

58. Śrīrāsinā śrīgadite gāyet kiňcit paṭhedapi. Ekāṅko bhāratī prāya iti

kecit pracakṣate. Ibid. Ch. VI. v. 295.

59. Śṛṅgāravahulaikāṅka daśalāsyāṅgasaṃyūta. Ibid. Ch. VI. v. 301.

55

60. Durmalli caturaṅka syāt kau(kai)śikī bhāratī yūta. Agarbhā

nāgaranarānyu- nanāyakabhuṣitā. Ibid. Ch. VI. v. 303

61. Ibid. Ch. VI. Vv. 304, 305.

62. Nāṭikaiva prakaraṇī sārthavāhādināyakaḥ. Samānavaśajā

neturbhavedatra ca nāyikā. Ibid. Ch. VI. v. 306.

63. Halliśa eva ekāṅka saptāṣṭau daśa vā striyaḥ. Ibid. Ch. VI. v. 307.

64. Ibid. Ch. VI. v. 308.

65. Ibid. Ch. VI. Vv. 309, 310.

66. Prasaṅgena bhavet kāryasya kīrtanam. Ibid. Ch. VI. v. 310.

67. Ya vākpradhānā puruṣaprayujyā strīvarjitā saṃskṛtapāṭhyayuktā.

Svanāmadheyairbharataiḥ prayuktā sā bhāratī nāma bhavettu vṛttiḥ.

NS. Ch. XX. V. 26.

68. Ibid. Ch. XX. V. 27.

69. Ibid. Ch. XX. Vv.28, 29; SD. Ch. VI. v. 30.

70. Naṭī viduṣako vāpi pāripārśika eva vā.Sūtradhāreṇa sahitāḥ

saṃlāpaṃ yatra kurvate. Citrairvākyaiḥ svakāryotthair-

vīthyaṅgairaṇyathāpi vā. Ᾱmukhaṃ tattu vijňeyaṃ vudhaiḥ

prasthāvanāpi vā. NS. Ch. XX.Vv.30, 31.

71. Ibid. Ch. XX. v. 33.

72. SD. Ch. VI. v. 3

73. Padāni tadgatārthāni tadarthagataye narāḥ. Yojayanti padairanyaiḥ

sa udghātyaka ucyate. SD. Ch. VI. v. 34; NS. Ch.XVIII.Vv.115-116

74. Sūtradhārasya vākyaṃ vā samādāyārthamasya vā. Bhavet

pātrapraveśaścet kathodghtāḥ sa ucyate. SD. Ch. VI.v.35; NS. Ch.

XX.v.35

75. Quoted from ‘Laws and Practice of Sanskrit Drama’ P. 58.

56

76. kālaṃ pravṛtyamāśritya sūtradhṛg yatra varṇayet. Tadāśrayaśca

pātrasya praveśastat pravartakam. SD. Ch. VI. v. 37; NS. Ch. XX. v.

37.

77. Yatraikaśca samāveśāt kāryamanyat prasādhyate. Prayoge khalu

tajjňeyaṃ nāmnāvalagitaṃ vudhaiḥ. SD. Ch. VI. v. 38; NS. Ch.

XVIII. Vv. 116-117.

78. Viṣkambhaśculikā caiva tathā caiva praveśakaḥ.

Aňkāvatāro’ṅkamukhamarthopakṣepapaňcakam. NS.Ch.XIX.v.110;

SD.Ch. VI. v. 54.

79. Viṣkambhakastu kāryaḥ purohitamātyakaňcukibhiḥ. NS. Ch.

XIX.v.111.

80. Madhyamapātraiḥ śuddhaḥ…. Ibid. Ch.XIX. v. 112.

81. Saṃkīrṇo nīcamadhyakṛtaḥ………. Ibid Ch. XIX. v. 112.

82. Prākṛtabhāṣacāraḥ prayogamāśritya kartavyaḥ. Ibid. Ch. XVIII.v.

34.

83. Antaryavanikāsaṃsthaiḥ sūtādibhiranekadhā. Arthopakṣepaṇaṃ yattu

kriyate sā hi cūlikā. Ibid. Ch. XIX. v.113.

84. Ibid. Ch.XIX. v.114.

85. Ibid. Ch.XIX. v.115.

86. Itivṛttaṃ tu Nāṭyasya śarīraṃ parikīrtitam. Ibid. Ch. XIX. v. 1.

87. Ibid. Ch. XIX. Vv. 3-5.

88. Prārambhaśca prayatnaśca tathā prāpteśca saṃbhavaḥ. Niyatā ca

phalaprāptiḥ phalayogaśca paňcamaḥ. Ibid Ch. XIX. v. 8.

89. Autsukyamātravandhastu yadvījasya nivadhyate. Mahataḥ

phalayogasya sa phalārambha iṣyate. Ibid. Ch. XIX.v. 9.

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90. Iṣatprāptiryadā kācitphalasya parikalpyate. Bhāvamātreṇa taṃ

prāhurvidhijňāḥ prāptisambhavam. Ibid.Ch. XIX. V. 11.

91. Niyatāṃ tu phalaprāpti yadā bhāvena paśyati. Niyatāṃ tāṃ

phalaprāpti saguṇāṃ paricakṣyate. Ibid. Ch. XIX. v. 12.

92. Apāyābhāvataḥ prāptirniyatāptistu niścitā. SD.Ch. VI. P. 264.

93. Abhipretaṃ samagraṃ ca pratirupaṃ kriyāphalam. Itivṛtte

bhavedyasmin phalayogaḥ prakīrtitaḥ. NS. Ch.XIX. v. 13.

94. Arthaprakṛtayaḥ prayojanasiddhihetavaḥ. SD. Ch. VI. P. 261.

95. Vījaṃ vinduḥ patākā ca prakarī kāryameva ca. Arthaprakṛtayaḥ

paňca jňātvā yojyā yathāvidhi. NS. Ch. XIX. v. 21.

96. Svalpamātraṃ samutsṛṣṭaṃ vahudhā yadvisarpati. Phalāvasānaṃ

yaccaiva vījaṃ tatparikīrtitam. Ibid. Ch. XIX. v. 22; SD. Ch. VI. v.

65.

97. Prayojanānāṃ vicchede yadvicchedakāraṇam.

Yāvatsamāptirvandhasya sa vinduḥ parikīrtitaḥ. NS. Ch. XIX. v. 23.

98. Yadvṛttaṃ tu parārthaṃ syāt pradhānasyopakārakam.

Pradhānavacca kalpet sā patāketi kīrtitā. Ibid. Ch. XIX. v. 24.

99. Patākānāyakasya syānna svakīyaṃ phalāntaram. SD. Ch. VI. v. 67.

100. Garbhe sandhau vimarṣe vā nirvāhastasya jāyate. Ibid. Ch.VI. v. 67.

101. Yadādhikārikaṃ vastu samyak prājňaiḥ prayujyate. Tadartho yaḥ

samārambhastatkāryaṃ parikīrtitam. NS. Ch. XIX. v. 26.

102. Yatravījasamutpattirnānārtharasasambhavā.Kāvye śarīrānugatā

tanmukhaṃ parikīrtitam. Ibid. Ch. XIX.v. 39; SD. Ch.VI. v. 76.

103. NS. Ch. XIX. Vv.50-55.

104. Ibid. Ch. XIX. Vv. 57, 58.

105. Ibid. Ch. XIX. Vv.59, 60.

58

106. Ibid. Ch. XIX. v. 41.

107. Ibid. Ch. XIX.Vv.61, 62.

108. Ibid. Ch. XIX. v. 42; SD. Ch. VI. v. 79.

109. SD.Ch.VI. Vv. 108, 109

110. NS. Ch. XIX. v. 45.

111. Ibid. Ch. XIX. v. 44.

112. Ibid. Ch. XIX. v. 46.

113. Ibid. Ch. XIX. v. 47.