72 Chapter- IV - A. Sandhis: l'he division of the plot into Sandhis and Sandhyangas is the most ela- I borate system of analysis of the action of a drama. The NS. gives no general definition of the Sandhi: however, seems to have received special care in the hands of later authorities. Sgn. defines Sandhi as, the joining together 1 of different purposes of the same plot. The plot in its development serves di- fferent subsidiary purposes at different stages; Sandhis join them all and direct the \\hole towards the fina 1 end. 'l'o make his position more clear Sgn. refers to the vievy of an anonymous authority which says that these (divisions) are called 2 Sandhis as the purposes are joined together by them. Ag. seems to mean by Sandhi, the joining together of the different parts or phases (avayava) of the main purpose (artha) in its progress tov.ards being 3 finally served and as such, each part or phase is called a Sandhi. 'J.'he Nl. states this more directly as :- "Sandhayo mukhya-vrttam+slh". In their exposition of this definition the 4 t II • authors follow Ag. closely. The view that the Sandhi is the connection of parts of the plot of a drama, ------------------------------------------------------------------------------------ 1. NLRK. 11. 456-457. samdhi paras para'!! katharthanam 1 • - 2. NLRK. 11.457-458. Yathoktam arthah parasparam ebhir-iti . . samdhayah. . . 3. NS. GOS. Vol. III. p. 23. tenarthavayavah sandhlyamanah parasparam angaisca . . sandhaya i ti samakhya ni samanya - 1 4. Ml. I. 37. p. 48. mukhyasya svatantrasya maha-vakyarthasya amsi bnagah . . paraspararp sandhlyanta i ti
Transcript
72
Chapter- IV -A. Sandhis:
l'he division of the plot into Sandhis and Sandhyangas is the most ela-I
borate system of analysis of the action of a drama. The NS. gives no general
definition of the Sandhi: i<~:hich, however, seems to have received special care
in the hands of later authorities. Sgn. defines Sandhi as, the joining together 1
of different purposes of the same plot. The plot in its development serves di-
fferent subsidiary purposes at different stages; Sandhis join them all and direct
the \\hole towards the fina 1 end. 'l'o make his position more clear Sgn. refers to
the vievy of an anonymous authority which says that these (divisions) are called 2
Sandhis as the purposes are joined together by them.
Ag. seems to mean by Sandhi, the joining together of the different parts
or phases (avayava) of the main purpose (artha) in its progress tov.ards being 3
finally served and as such, each part or phase is called a Sandhi. 'J.'he Nl. states
this more directly as :-
"Sandhayo mukhya-vrttam+slh". In their exposition of this definition the 4 t II •
authors follow Ag. closely.
The view that the Sandhi is the connection of parts of the plot of a drama,
sastamsasca .. or "yagasca nispa1anab" Cf. IU.RK. Eng. Tra. p. 72) • ' • • • 4
•e bhaviteti gamana-betuciatan~ljam tatraiva I
Devirater etc. , a verse. Many of the 'daJ?~as• bave been removed .fr~ tbe above text according te Dr. Raghavan•s
suggestion. He, however, proposes to re1nove the 'c!a~~a• after •iram8ha' and to place
ene before it, but aothing is said regarding the uaderlining of the ~ord. CL NLRK.
Ent. Tra. Dr. Raghavan's corrections and emendations. p. 72. Cf. also Bhar. Ko.p.31' -
where Arambha has been· taken to be the name of the aspect.
7. Accorcling to Dr. Rag!Javan•s sUtggestion, -Eagerness (Prirtbana) i.e., tbe yearnhg for the object, the Arambha i.e., the reflection upon the aeans etc. Cf. NLBK. Eng. Tra. ll. 460..461.
82
to go to the penance grove i.n response to 'the entreaty of t.be sage GilaYI, wisbiat
the death of Tilaketu. Then a verse is qu11ted in which the sage says that they
tbe11selves are capable •f restraining the deaton, ·but this is the duty ef the ki•t•
so, the king should accompany hi•. Here, comments Sgn., due te the reference of
'rajadharma' the king reflects on the cause of his forest sojoura and thiaks that
one sixth of the merit of the sacrifice performed,will be accrued to bim, an4
~e -this is Betucintana. Then Sgn. quotes another verse h which,abductiea of Madalasa
has been referred to. ·According to Sgn. the recovery of Madilasi is t~e fruit, the
gem (Btja) of which is sown here by the reference of lladilasi's abduction lty 8
Tilaketu. Thus, according to Mg., eagerness for a move, reflection Ol'l the cause
of tbe move and an indication of the final end, are the three aspects of the llukha-
sandhi. Fr011 the illustrations, cited by Sgn. above, it appears that these three
phases .ay occur ia the order in which they are enumerated. It is iaterestint to
aote here that there is no reference to Rasa in Mg. • s description ef the Mukha
sandhi. The text, as we have it in the NLRK., is silent whether the geaesis of the
plot has got any connection with tru~ Rasa or its erigiaation • aaa develo,.ent.
-------------------------------------------------------------------------------------e. NLBK. 11.~72-489. The namt: of the Na~aka Miyimadi1asi, ltased on a Puranic
story is first heard of from the N'LRK. The drama has not been referred to in any of
the reputed works like Abhi. bha. ,, DR., N:>,, Bha. pra., SD. an4 RS. All tl!e illus
trations of Sandhis and their phases, as described by Mg •• have been illustrated by
Ssn. with citations from this drima. There are two more citatiens fro. the drama ia
the NUlK. (1. 276 and 1. 32~). Thf~ entire portion of "atra rijaebarmasya ••• ~havitett••
(quoted above) followed by 'iti', does not appear to be the speech of the king as
suggested by Dr. Raghavan (Cf. lUK. Eng. Tra. p. 72). The refereace to 'rajadbaraa•
in Galava' s speech is the cause of king' s thought aad not a part of the speech. It
appears that the thought of thE~ king has bee• referred to here \\.i thout gi viftg tbe
exact speech. At best the portion "yagasca ••• bhavita," uy H taken to be the
speech of the king.
83
Pratimukha-sandhi
The definition of the Pratimukha-sandhi has been given as :-
labha~ sadhana-Saf!tpatti~ prasara~ pras:rta kriya I 9
hindu~ sadhana-samtandha~ i ti pratimukhe trayam I I
In Sgn. • s gloss on this verse the underlined \\Ords are 'sadhana-sa1J1patti •,
'Prasara• and 'sadhana-sambandha, but 'labha', 'prasara• and 'bindu' appear as 10 •
technical terms here. Labha (gain) is. 'sadhana-sampatti' which according to
Sgn. consists in the acquisition of the desired object through means. This may be
called the initial success. In the seeond Act of the said drama, relates ~gn.,
the king kills Talaketu td th an arrow given by the sage, and marries Madalasa. 11
This is gain through means (' sadhana' here is the arro\v). Prasara consists in
the extension of the action (Prasrta ·kriya) which has been illustrated where '
Patalaketu, the brother of T~ilaketu, prevents Madalasa from going; the act of 12
hostility is thus further extended after the initial success. Bindu has been
9. NU1K. 11. 462-463. The printed text reads 'ci tta' in place of "bindur:
the Sari.da (P.97) however, reads 'bindu~'. In illustration (1.501) Sgn. also reads:
• hindu~·. Other variants in the San. da are • Prasrtikriya' in place of • Prasrta·
kriya', and 'rna tam' instead of • trayam'. -
10. NLRK. 11. 489-490. labho madala~as-tasya dvitlye anke yat pa~igraha~arp sa
eva sadhana-sawpattityll • .497-498. prasaraq kriyaya vaira-prabhavaya~ Prasaratl 11.
501-502. punarapi haral}asyodghato !Jindu~ I sa eva sadhana-sarpLandha~ I The text
'?teads 'hara~asyotkhyato', corrected by Dr. Raghavan (NLRK. Eng. l'ra. p. 62) as above.
11. NLRK. 11. 489-494.
12. NLRK. 11. 495-498.
84
described by Mg. as 'sadhanisa~bandha i.e., relation or association with
the means. Bindu, maintai~s Sgn., is illustrated in the same Act \\here Patalaketu
reneKs the act of hostility ty making a fresh atte:mpt in abducting Madalasa as
is expressed in the speech of Madalasa, - 'ajjautta paritayahi 1etc.: and this is
- _, 'sadl1ana-sapbandha' as Kuva layasva takes up bow and arrow immediately, as it is
13 expressed in his speech. Thus according to Sgn. the entire Act.II of the drama
Mayamadalasa is the second Sandhi Which consists of initial success, further exten-
sion of the action and a fresh employment of means. The aspects here explain a
gradual development of action. After the initial success of the heroJ the playwright
extends the action by introducing fresh obstacles and depicting the hero as cons-
cious about the employment of new means "hi(;h is Bindu. It may be pointed out here
that Ag. also interpretes Bindu as hero's knowledge of the connecting link consis-14
~ triyuto vimarsa~l Here also all the underlined words cannot be taken as tech-
nical terms. The entire Act IV of the drama comprises the fourth Sandhi. The first
aspect of this Sandhi si is Nasa whi,eh is a bereavement to the main cause of the ac
tion i.e •• hero. and is illustrated in the {temporary) loss of Madalasa. The second
aspect is a bit of good fortune for ·the hero though the obstacle continues. This is
illustrated in the statement of Brba,~asva reporting the fruit of bis fatber's penance •
-----------·-------~-------?--------··------------------------------~--------------------19. NIBK. tl. 466-467. Subbankara (Sari. da. ,:97) reads the verse as :.
Prarabdhasya ca nirvaho bhaven-nirvaha'!e trayam II
The three aspects of the last sandhi appear to be the accomplishment of the
desired object, success and the carrying out of the undertakings. The first aspect
is illustrated in the return of the victorious prince Subahu and revival of Madcilasa.
Siddhi is the attainment of the purpose. In the drama Mayamadalasa the destruction
of the demons, according to Sgn. is the main purpose (sadhya) and this has been
represented as served. The third aspect has not been illustrated particularly. Sgn. 22
says that the harmonious carrying out of all the undertakings has been shW\vn clearly.
Mg.'s method of analysis of the plot of a drama, as discussed above, is l{uite
novel. It avoids the Sandhyangas of Bharata and describes each Sandhi as consisting
of three aspects. The names of only three Arthaprakrtis, Bija, Bindu and Pataka
occur as characteristic marks of the first three sandhis respectively. But all these
21. I •
NLRK. 11.468-469. Subhankara gives almost a separate description of this Sandhi. San. da (p.97) reads , -
Punar-bfjasya sampattir-nanabhut.artha-sambhava 1 nirvahaf}a-sandhau kathita suribhir-bharatadibhif:l II
I
It is apparent that Subhankara collected this descrit>tion from a currupt
source. The first pada of this verse is the third pada of the verse describin{; Vimars'a-sandhi in the NLRK (1. 467). Mon~over Bharata nm~here describes the Nirvahapa sandhi in the manner stated in the above~ verse of san. da.
22. NLRK. 11. 523-529.
I
terms are not used here exactly in the same ~;ense as ia the tiS. Dr. RaghaYIIl main-
tains that in describing the Sandhis Mg. gi VI!S a crucial place to tbe Arthiprak~tis 23
and Avast lis. But it bas been shown that out of five, three Arthaprak~tis bave
been connected with three Sandhis respect! ve1ly. The names of the Avastbis or any
reference to them do not occur at all in Mg .• 's descriptio• of the San4bis.
I has also been shown that the Sai1-di. also contains Mg.'s descriptio•
"' of the Sandhis. Subhankara at the beginnin1g of his work refers to the sources fr 2 ..
which he has drawn his materials and here with others the name RatJJakosa occurs.
I ' This Ratnakos'a is undoubtedly the NLBK. from which Subhankara seems to have taken
directly in several occasions including the lines containing the theory of Mg. as 25
discussed above. The differences in readings may he attributed to the scribe's
fault. It is really surprising and signi:ficant also tbat the theory, on no less an
important topic than Sandhis and propounded by an authority like Mg. who has been
generally accepted as living in Kash~ir in the 7th century A.D.; was known to none
but a Bengali theorist of the 15th cent111ry and most pro~ably through the work of
Sgn.
~~ndix to chae. IV. B.
All tbe Sandhis and their aspects, as described by Mg., have been illus
trated by Sgn. with citations from thf1 lost drama Mayimadalasi. The NLRK. iDfoms
------·---------~--4·------------------·------------------··---------·-----------------23. NLRK. Eag. Tra. Introductio» .. p. 7 (quoted above); Dr. S.N.Sbastri
(LPSD. pp. 96-97) maintains that "Mg. follows the co-ambulation theory of juncture".
It is a wrong judgement, as is evident from the above.
2-t.
25.
.. ... • - - "' I
San. da. p. 1. sangi tacu~amaJlti-ratnakosa etc.
See supra, Introduction, a~Je of Sagaranandin.
89
us that it is a Nataka consisting of five Ankas and in each Arika tile hero is 26
present. From the citations in the NLRK. the plot of the Na~aka may be recons-
tructed for a clear understanding of ~::g.'s standpoint, as the folhw.ing :-
Act-I.
m • , A sage, na%ed Galava came to the king Kuvalayasva and informed him that the
demon king Talaketu, the son of an 'aE~ura's daughter and ruler of a region near
the eastern mountains, was creating hindrances to sacrifices and had abducted
Mada lasa, the daughter of Menaka and also referred to as, - "rna nasi ~ikhina~ 27
suta~' The sage expressed his desire that the king should accompany him in the
forest to punish the demon. Presumably the king went with the sage.
A c t - II.
The sage helped the king with a deadly arrow by which the king killed Talaketu
and married Madalasa. But Patalaketu, the brother of Talaketu, renewed the hos-
tility and made a fresh attempt to carry away Madalasa.
A c t - III. 28
I
This f\ct begins with a Pravesaka where: a couple of vultures describe the battle
in which the king came out victorious. Then follo\.s a scene of love making of the
hero and heroine. Then due to the blac:k magic of Kutilaka, an accomplice of Tala-• ketu, P.1ada lasa fe 11 in fire but ~,as not burnt.
Act - IV
Loss, i.e., death of Madalasa took place somewhere outside the palace. The king
I
was informed by Brhadasva of the fruit. of his father's penance (by ~hich, perhaps,
sidhakab sidbanam sadhyam siddhib SB!tbhoga eva ca I . .. . . i tyibfJh ke' pi natyaJnah san tab sadhyadi-pancak&r~ I 1 . . .
• 30. NLRK•ll. 530-533.
It is fr011 the NLRK. first that we ccne to klow the name of a dra.a B hi•avijaya of aa unknown author, like the Mayimadalasi, Bhiaa-vijaya, perhaps was written in a region~where Sgn. lived. Dr. Ragbava• maintains (NLRK. Eng. Tra. p. 70) that Bhimavijaya may refer ealy t·o a theme.
91
is interesting to note that Siddhi goes to a person other than the Sadhaka w~•
himself, bowever, gets Sambhoga.
Tbe theory, in fact, has got no connection with the San4his exceptiag t~at
in both cases tbe number is five. It does not aim at the analysis of the plot aad
seems to be a rudimentary method of pointing out ·the elements of a dramatic actioa
with • sambhoga' as the end. In no way, from the text as given in the Nl.BK. , a cea
clusion can be drawn that Mg. defines the Mukha-sandhi and others as dealing res-31
pecti ve ly with Sadhaka etc. , as has been done by Dr. s. N. Shastri.
Moreover, from the text of the NLBK. i't appears that the theory has not
been given much importance to even by Mg. himself, who simply states that sa.e ex
parts describe the pentad of Sadhya etc. So, tbe theory seems to be older t~a lg. 32
and cannot precisely be attributed to him.
After describing the theory of five Sandhis as propounded by Mg., Sgn. takes
up Bbarata' s method of analysis of a dramatic plot into Sandhis and Sudhyaaig~s 33
with the remark, - "samagra-laksanam natakam··uddidiksur-iciryab punar-iba". This . . . " . . --------------------------------------------··---------------------~-------------------
31. LPSD. p. 96.
32. Sgn. himself seems to have confused the issue., Be, in his gloss, first
explains the verses describing Sandhis according to Mg. and then illustrates the
pea tad of Sadhya etc. , and at last remarks fl - "idam mat~guptena samk~e pat" (NLRK.
1. 534) etc. It appears from this that Mg., according to Sgn. is the propounder of
the Sadhyadipancaka theory. But the verse quoted above, which enumerates the pea
tad, clearly shows that this is an older dew of some other theorists. Perhaps
Sgn. took the verse from the text of Mg. but overlooks the expression 'kecit' and
ascribes the view to Mg. The view has no1~ been mentioned an~here else.
33. NlBK. 1. 535.
92
statement shows that according to Sgn. Mg.'s simpler method of Sandhis falls short
in analysing the complex structure of the plot of a Na~aka, having all the ctmrac-
teristics; while Bharata' s elaborate theory is sui table for that purpose. Mg.'s
own opinion also seems to be the same \\hen he gives importance to the Sandhyangas 34
in describing the Na~aka, as quoted by RB. It is enjoined there that the Na~aka
should be endm'ied v,i th the Sandhyangas and these Sandhyangas in no way 'can be taken
to mean the three aspects of each Sandhi of Mg. Neither by Mg. nor IJy Sgn. they
are so termed. Evidently, by Sandhyangas in the a Love description of Na~aka, Mg.
refers to the Sandhi-Sandhyanga theory of the ~./.- So his shorter scheme of
Sandhis seems to be an alternative method and not a sutstitute to the elaborate one
o'f llharata which is accepted by Mg. himself.
Now a full-fledged drama (Samagr.a - lak~a~a - nataka' in the words of !:>gn.)
with all the Vrttis and Sandhis, admits o.f many details, varieties of incidents ~
and moods. Here Mg. seems to have recognised the importance of elaborate Sandhyanga-
theory. Most probably with shorter and simpler dramas in his mind Mg., who is 35
supposed to have written an independent treatise on dramaturgy, formulated his
simple scheme. We have seen that Mg.'s Sandhis have been illustrated \'Ji th reference
to the plot of the Na~aka Maya-mada Iasa by Sgn. The plot of this drama, as has been
shown, is neither very extensive nor comple~x. It thus appears, that Mg.'s theory of
of Sandhis was formulated, as an alternative one to thot of the NS~. for the ana-
lysis of the plots of simpler and shorter dramas or only to shov. broadly the general
course of dramatic action.
, C.Sandhis as described in the NLRK. mainly after the NS.
Mukha - ~<J:ndhi
Regarding the definitions of Sandhis Dr. T. c. Mainkar maintains, .. There is
-------------------------------------------------------------------------------------34. Abhi-saku. p. 9. The full description is quoted, Suprapp. ~)~'
35. P.V.Kane (ffiP) p.SS, Dr. S.K.De{ffiP) p.34, Dr. V.Raghavan (~LRK.Eng.1ra.)
p. 7.
93
very little difference of opinion among the text book ~ri ters and ilharata' s defi-1
ni ti ons have been verbally accepted by them" But in the follO\'Iing pages it \.\i 11 I
be shown that a number of views other than those of the N:>., regarding the cha-
racteristics of the Sandhis developed in. later ages and some of which have been
mentioned in the NLRK.
J Sgn. quotes the definition of the Mukha-sandhi from the N!:>. and takes
it to mean, as it appears from his gloss, that the Mukha-sandhi contains the ori-
-gination of the Bija which is the source of different •arthas•) remaining in 3
harmony in the plot. • Artha' here has been taken to mean different purposes
served at different stages. Thus according to Sgn. the inception of the Bija is
the cause of the diversification of the plot also, but all these diversities should
be in harmony with the main action.
Ag. seems to have given special stress on the point that the inception .
of the Bija is the source of different Rasas originating from diversified facts.
Be bases his arguments on a different reading of the verse describing Mukha-sandhi , 3a.
in the NS. , from that as found in the ~LRK. According to Ag. , the f,iukha-sandhi
comprises that section of the plot hhere the incidents, sui table for the beginning
1. The TSS. p. 6.
2. NLRK. 11. 536-537. yatra bfja-samutpat ti r-nana-bhutarthasarvbhava 1
kavya-sariranugata tanmukhaT Parikfrttitam II NS.GOS. xn. .. 39. Here the
first half of the verse is read as,- yatra blja samutpattir-nanartha
rasasambhava I The difference of readin~s in the underlined portions of
the two is significant.
3. NLRK. 11. 538-540. #
3A. Cf. supra f. n. 2. NS. GOS. Vol. III. p. 23. naniibhuto 'rthavasat prasangayato
rusa-sambhavo yah syat. Ag. takes 'nana' to mean "nanabhutah ... . .
4 give rise to various 'asvadas•. The ND. follows the Abhi. bha. verbatim. The !:>D.
I
gives the definition of the Mukhasandhi from the NS. but adds no gloss on it. The 5
Bha. pra. also follo~·s the line of Ag. Dhanika makes the point more clear. He main-
.. tains that Mukha-sandhi contains the origination of the Bija and is the source (hetu)
6 of different purposes and Rasas. This is also the view of the RS. So far as the
illustration of the Mukha-sandhi is concerned, Abhi. bha., 1\D., Bha. pra, and !:>D. 7
cite the Act I of the Ratnavalf.
From the above it is clear that excepting Sgn. all the renm~ned theorists
rightly accept the Mukha-sandhi as the source of different Rasas. It seems tha.t ~gn.
in this respect is influenced by Mg. who, as has already been shown, aintains a 8
silence regarding the origination of Rasa in the Mukha-sandhi.
From the Bha. pra. we come to know 1~hat there \\aS a school of thought which ...
maintained that tM origination of the Bija in the Mukha-sandhi could not be accepted
as the source of the Rasas because they a:re not generally connected with the Trivarga,
-----------------------------------------·----------------------------------------·---4. ND. p. 48.
I
5. SO, VI. 76-77. The reading here talli,es \.l,i th that of the NS. (GOS). 13ha. pra.
p. 207. 1. 18. p. 200. 1. 7.
6. DR. p. 7 (1.24) Dhananjaya simply takes up the first half of the verse describing #
Mukha-sandhi in the NS. as the definition of the same. 1'he NC. (p. 11) also does the
same. RS. III. 29-30. p. 215. Here Dhanika' s statement has simply been versified.
8. Cf. Supra. Last sentence of the 'Mukha-sandhi' according to Mg.
95
9 the main fruit (pradhanaphala) of the d;rama.
I
Saradatanaya estaL li shes here a
connection of the Tri varga \d th the Ras;as and concludes that the Muklla-sandhi 10
should be considered as the • hetu' of the Rasas. It is, ho~ever, difficult to
conclude that either Mg. or Sgn. belonffed to that school of thought hhich has been I
criticised by Sarad;hanaya, as above.
Sgn. refers to the view of some anonymous experts ~.ho maintain that the
Bindu can be placed together with the Blja in the Mukha-sandhi. a view which is 11
hitherto unknown. Evidently, this viet>V avoids the correlation between the Sandhis
and .the Arthaprakrtis. But the NLRK. says that this is 'Paksantara' and according " 12 •
to some they come consecutively. This second view is shared by all the theorists and
commentators. There are, however, different views regarding the Bindu. It has been
discussed in details that,as a connecting link Bindu may be of different forms. In
case where the main purpose or a sin,~le pivotal idea maintains the continuity xu
throughout the action, the Bindu paractically finds place in the Mukhasandhi. 1his
may be illustrated fro:n the V • .6am \·;!:.ere the Bindu is olaced in the Mukhasandhi and 13 .
and the matter has been fully discussed. Sgn. then quotes the view of an Acarya
9. Bhii. pra. p. 207. 11.20-21. bfjotpattirna hetuh syad rasanam mukha-sandhi-. . bhak I te~a'!' trivarga-saf!!-bandha~ prayo yasman na d!syate 1
10. B ha. pra. p. 207. 1. 21, p. 2oa. 11. l;-6.
11. NLRK. 11. 545-546. siihacaryeQa bfjasya mukha eva hi kecana I bindwn adau
prakurvanti na!akarthavido jana~ I I
12. NLRK. 11. 547-548.
13. Cf. supra • Bindu.
96
.. which states that r·.here the Bija :ls indicated through 'sle~a· or 'chaya• that ix
14 -is the Mukha-sandhi. By Acarya Sun. means to refer Bharata. !>o, Sgn. maintains
that according to Bharata the most important element of the Mukha-sandhi is the 15
inception of the Bija. Other implications of the view has been fully discus~ed.
Pratimukha -· sandhi
The NS. defines the Pra timukha-sandhi as :-
bfjasyodghatanal!l yatra d!~ ~a-nastami ya kvaci t I
mukhanyastasya sarvatra tadvai Pratimukha'!l smrtam I I
1 The NLRK. reads the third pada as, - "mukhahi tasya sarvatra". The vene simply
-means that ever)'\'<here in the Pratimulcha-sandhi of a drama, the Bija having its
inception in the Mukha-sandhi, goes on sproutin~ but in this development it is
sometimes lost sight of and sometimes is seen. Out this 'drsta-nasta' characte-• • • f t
-ristic of the Bija in the second Sandhi seems to have given rise to a storm of
controversies of opinions among the theorists. According to Sgn. the bija is seen
in the form of the cause and is lost from the view in the form of effect. As the
Bija is said to be sown in the Mukha-sandhi, there it is seen us the cause. l)ut
it becomes obscured. as it \':ere t by subsidiary issues \.hich are employed for pro-
per development of the main plot according to nasa. In the second Sundhi it should
14. NLRK. 11. 548-550.
15. Cf. supra f. !t6'.M •••••• -----o ,
1. NLRK. 11. 634-635. NS. GOS. XIX. 40.
97 2
be brought into the view again. Fr• Ute aiove it appears tllat Sgn. takes the
'drsta-nasta' feature of the Bija ia 1the sense that it is 'd!~~a' ia the llukha-. ' .. ~ ..
·sandhi but bec0111es 'na~~a•) and in the Pratiaukha-saadlli it bec..es agaia 'udgh&~ita' • ..
Sg1. illustrates this feature of the Bija fr011 the v. s811. He pohts tut that in
the Act I the Bija is seen h the speech of Bhima wbere he says "Shall I aot crush 3
the thighs of Sujodhana with my club'", and ia the Act II the same topic of breaki•t .. of the thighs is brought to the fore by Kan<'ukin in his evi l-011eaefi utterances.
- I ~ According to Sgn. the sowing the Bijll through Sle~a is done h a verse of the Su-
5 tradhara where the destruction of the Kauravas has been referred te. Sgn. seems
to mean that the Btja, sown (i.e., hinted at) in the verse of the Siitradhara, be-.....
comes known <dr~~a) in the above speech of Bbima through the hilt to the areakitg
of Duryodhaaa•s thigh which stands for the total annihilatiot of the Kauravas i.e.,
the final event ia the affair. Then for semetimes it remaias obscured (nasta) ay ... subsidiary issues like the love scene between Duryodhana and Bhaauaati and is agaia
made prominent through the utterances of the Kancukin.
---------------------------------------~---------------~------~-----------------------2. NLRK. 11. 636-,38. Tirinat.ha Tarkavieaspati, in his comentary oa the v. saa
quotes the following verse aad attriltutes it to lharata. (V.sam. Ed.Jivanatda.p.l9.)
- . - ·~ / anu~angika-karye~a kriyatt! yat prakasana11 I
nastasyeveba bijasya sand-ih pratimukha• 8havet // '. " l
The verse may be construed as, - .. ,anusangikakiryena nastasya iva bijasya iha prak&-s'a ' ~ .. \
-nam etc.~ and can be takea as supporting the view of Sgn. The source of the aaove
verse is unknown but it is evident. that the view held by Sgn. was ktowa i1 leagal
as that of Bharata through some lctst source in Bengal even mefore a cent•ry.
3. Cf. V. sam. Ed. Ji vananda .. Act I. p.l9.
4. NLRK. 11.639-642. Cf. V.sam. Ed. Jivananda. p.S •• Here in the NLRK. the
reading of the quotation from the v. sam. differs from that of the priated text
of the dra11a.
5. NLRK. 11. l.fS-147.
Ag. refers to six views includi.1g llis OWl regardi1g the ··~~~~-~~~~··
feature of the 8lja aad refutes five of them. T~ first three of tllese dews are:-
(i) Karyatayi d~~~al!' k3ra~ataya na~~a11 (seea as 11 effeot a1fl vetleci as
a cause) This view see11s to be siailar to tllat helcl ~y Stn. so far as
the approach is concerted ..
{ii) Upadeye d~~~am heye na~~a1s (seeB i1 the aceepUble aut ebs••re4 11
the uaacceptaale).
(iii) aayaka-vrtte drstam pratilayaketivrtte aastam (seel il tbe pltt I> ' ' ol • • '.
connected with tbe hero ~ut 1ot seen i1 that of his oppelent).
All these interpretations have been rejected by Ag. ·on tlae grou1cl that they overlook
' the unity of aetioa and fail to explaia •aa~~a·.
(i v) The fourth view noted by Ag. whicll seems to be the Siddbinta-pak~a •
-maintains that the unveiling of the Bija is a particular state contri~utiag to tbe
-final fruition, and even though the Bija is seea yet remains obscured due to tile
presence of opposing forces. The unveiling of the Bija is like the sprouti1g of t · . 7
I -seed covered by dust. As aa illustratiol Ag. quotes tbe verse "asastragrahanad etc." a
N
of the Kancukia from the second Act of the V. sam. At. htroduces a coulter argUIIelt
-----·-----r·--------------------------~------------------------------------------------'· R). GOS. Vol. III. p. 24. It may be pointed out here that the first view aaove
states exactly the opposite of wltat ha~• been said by Sgn. (NlBK 1. •36. clrstam ib: 4 '' •
kara~arupe~a bryarupe~a na~~am). But tile approach of the IJotb to tlte problea is
similar. The cri ticis111 of Ag •• however,. can be applied wi tb equal force agaiast the
above o~servatiol of Sgn. Ag. criticiSflS the above views as, - "na caitat sansanja-
8. Cf. v. sam. Ed. Jivananda. p.:S-4. Act II. v. no.2.
99
that according to some, here the rise of the Pi~~avas, indicated ia the Mukha-san4hi,
·,s perceptible (drsta) due to the death oj: Dhfsma and imperceptible (nasta) due te . . . . . .., .
the slaying of Abhimanyu, as both the incidents are mentioned in the verse cited
above for illustration. But in that case, ~ccording to Ag •• the significance of 9 •
'iva' in 'nastamiva' is overlooked. Ag. seems to maintah that in the above lllus-• . tration from the V.sam. the sprouting of tl~ Bfja (i.e. pa~davabbyudaya) is indica
ted by the reference to the death of Bhisma, while the reference to the killing of '
Abhimanyu screens it for the time being, i.e., it becomes 'nastamiva' and not ac-• '
tually 'nasta' as stated in the counter-arg·ument. ' '
(v) Some others maintain that 'dr:;tata' and 'nastata' are features use-• ... ful respectively in the Pratimukha and Avamarsa. So, 'drstanastatva• is a matter of
' I . f -degree; the Bija though 'drsta' in the first stage, appears to be 'nasta' when c~-•
1• 10 ' '
pared with the next stage, as it goes on developing. But Ag. remarks, "atrapivar-11
tho na samgacchata eva." •
' (vi) The vie\t of Sankuka and other~;, as represented in the Abhi. bha.,
seems to understand 'drstanastamiva' as sligblt visibility. But Ag. rightly remarks • ~' '12 .
I that this is, 'ekadesa-laksanam, evidently because the feature of 'nastatva• has
nam bhlsmavadbid drstam abhimanyuvadh8n-nastam atripiveditam iti kecit/tada cirtho " . . . . . . na samgamitah syat/The reading corrected by Prof. s. Bhattacharyya (JOI. Vol.V. . . No.3 P.321) has been accepted. The text puts a danda after 'nastam• and then reads
• atripi' etc. I
10. NS. GOS. Vol. III. p.24. I
11. NS. GOS. Vol. III. p.24. /
p. 25 udghati tatvad b.tjasya stokaniatram / • M
12. liS. GoS. Vol. III. tu sankukadibhi-•
rudahfta~ yat tad eka •••••••••• iti dra~~avyam/
100
._,
Ag. then clarifies his own standpoint. He seems to maintain that the Bija
is sown in the ~~ukha-sandhi as to be seen and veiled as it \~ere, by subsidiary
incidents tvhich, however, contributes to its· further development. lhe analogy is
derived from a seed, sown and covered by dust that contributes to its sprouting.
The Pratimukha-sandhi represents a steady manifestation of the Bija 1 like the
sprouting of the saffron seed. In the opinion of Ag., this can be derived from
the etymological explanation of the term Pratimukha as "pratirabhimukhyena yato'tra 13
vrttih;" Ue., where the progress (of the Ulja) is favourable. Ag. illustrates • ' 14 ..
this progress of the Bija from the ll'.y. The 1\D; follows this interpretation of
Ag. and states the same illustration more clearly. It says that in the Mukha-sandhi
of the H. v. the Bfja is sown in the Act I by the minister by stating "dvlpadanyas
madapi" etc. and then it is screened by spring festival etc. but in the Pratimukha-
-sandhi the sprouting of the Bija is shO\•n in the Act II. by the meeting of the hero 15
and heroine ~hrough the endeavour of Susangata. It appears that according to Ag • ...
'dH~ana~~atva' of the Bija is a regul ... r feature in the Mukha-sandhi and it is
-immaterial in the second Sandhi where the steady progress of the Bija is delineated.
This seems to be indicated by the word 'kvacit' in the definition of the Pratimukha-,
sandhi found in the NS. 1 as stated above.
The Dl. and the so. avoid the word 'drsta-nasta' and use 'laksyalaksya' . .. . . . . . '
instead, while the RS. and the NC. u~e 'drs'yadrsya', in their description of the . . -------------------------------------------------------------------------------------
, m 13. NS. GOS. Vol. III. pp24-25. d~~~a'!l naHamiva krtva tavan~ukhe nyasta'!l
tatulyam krtva nyastasya ata eva kunkuma-bfjasya yad udghatanam tat-kalpam yatrod-~ . . . . . -gha!anaip sarvatrai va kathabhagasamiihe tat pratimukham pratirabhi. •••••••• 1
I 14. NS. GOS. Vol. III. pp. 24-25.
1s. ND .r. 49.
101
state of the Bija in the Pratimukha-sandh:i, The Bha. pra., on the otherhand, uses 16
• I • I both 'laksyalaksya' and 'drsyadrsya'. . . ' . The Bha. pra. explains • drs'yatva' as 'Prayo-17 • ... - ,
jananam ni~patti • and 'adpyatva' as the hant of that. According to these \'works
the development of the Blja in the Pratimukha-sandhi is represented as perceptible
and imperceptible by turns and this is thEl characteristic of this ~andhi.
I
From the above discussion it becomes clear that the NS. in defining the
Pratimukha-sandhi presents a riddle, so to say, and all the later authorities
appear to have tried hard to solve it, eaeh in his own way and thus giving rise
to a host of views, discussed above. Sgn. himself neither follows any .of the above
views nor is followed by any.
I Mg., as discussed above, tactfully avoids the expression 'd~~~a-naHa;
but the aspects •{abba' (initial success) and 'Prasara• (further extension of the
action) in his description of the Pratimu~:ha-sandhi, may be accepted as a rea
sonable explanation of Bharata• s above rid.dle. The Blja in its progress may be
said as visible (drsta) when the hero attains some sort of success at t.OO initial ... stage of the play. But the drama cannot end there. The play\vright introduces fresb
hurdles on the way of the hero and the theme continues and thus the Ol.Jject of desire !
(Bija) is pushed back far beyond the reach (na~~a). Mg,J as it appears from the
above, in his attempt of explaining the Sandhis in his o\vn way, could not totally
avoid the tremendous influence of Bharata' s text.
Garbha-sandhi.
The Garbha-sandhi occupies the middle part of the play and the name 1
according to Sgn., owes its origin to this position by analogy of a human body.
' vesanam yatra sa garbha iti samsmrtah// NS. (GOS. XIX.-41) reads •va• instead of •ca• tp • • • • "
as the last word of the first half of the verse. I - I
liD. (Abhi-saku. p.ll5) attributes this definition to Adhi-bharata. S~. pra. .... - ....
(Vol.II. Chap. XII. p.«l5) reads •karyabijasya• instead of 'tasya bijasya' in the ....
first half and the second half as, - anvi~yate tu yastatra sa vai garbha itirita~.
3. NLRK. 1. 712. I
-4. NS. GOS. Vol.III. p.25; Nl. p • .(q.
s. so. VI. 78-79. p. 357. Ag. also refers to a view which seems to give this I
explanation. Cf. N3. GOS. Vol. III. p.25. phala1;ya garbhfbhavit/Cf. also Nl. p.49
phalaprapti-sambhavana-rupo garbha-sandhirucyate.
103
these two views • prapti' here is concerned t.o the 'nayaka' (the hero) a ad 'apripti'
is ia relatioa to tbe 'pratiaiyaka' (villai111, the chief oppoaent of tbe llero) while
' 'anvesana' is concerned to the bot II. The view seems to maintain that the thiri . . sandhi describes some sort of gain to the l~ro and loss to his main eae•y, both
striving to accomplish their own ends. But, remarks Ag., as this explanatioa suits
well in cases of Vtra and Raudra Rasas only, others maintain that the Garbha-sandJd
represents gain, loss and pursuit by turns and as it co-exists with the third Avas-7
thi it produces the embryo of the Phala, the final attainment. This Sa•dhi, aecor-
ding to this view, thus, brings out the prospect of final attainment of the hero.
So the loss, gain and pursuit are all related to the hero. The ND. si•ply repeats 8
what is stated in the Al!lhi. bhi. The point has been illustrated in the Abhi-bbi
from the second and a part of the· third Act5 of the Ratnavaii where the meeting anti 9
separation of the khg and Sigarik8 have been represented several ti•es. The DR.,
as interpreted by Dbanika, the Bha. pra., the sO., the RS and the NC. follow this
second view in different words. This is also the ophion of Bboja-deva regarding 10
the Garbha-sandhi.
Ag. further maintains that the third Avast hi i.e., the Pripti-sambhava re
presents only a possibility of gaia and not its surety and as the Garbha-sandhi co-
9. fiS.GOS. Vol.III. pp.25-2f•. The Avaloka and SD. also cite the same illustra-tion. Cf. D~. p.16,; SD. p. 357. _Thf~ SD. a laos.! quotes the Abhi. bhi and uses • udbheda' and 'brasa' instead of 'prapti' and •aprapti'.
rrelates to this Avastha, the presentation of the loss is essential here. In the
Avamarsa-sandhi, on the other hand, t~:te prominence is given to the gain over the 11
loss.
Regarding this problem of • prapti • and • aprapti • in the Garbha-sandhi.
Sgn. maintains a di(ferent view which has not even been referred to in any of the
above V\Otks. According to Sgn. dramatic plots either describe obligation or prohibi-
tion; the former takes the form of gain and the latter that of loss. As an illus-
tration of the first form Sgn. presents an 'anu~~up' verse containing both defini-12
tion and illustration. This verse itself yield no easy exposition. It seems to
mean. that the ifja, i.e., the destruction of the demons, which has already begun,
becomes obligatory to Rama due to abduction of sita by Rava~a. This is an instance
of 'Prapti (vidhi)- rupa-vastu'. This form appears also to be illustrated in the
1\LI.~K. by a quotation from the drama Janaki-raghava in •~'hich Sugrl va says that by 13
carrying away sha Hava~a has provoked Rama' s hatred for his own destruction. The
second form, i.e., the 'aprapti-rupa', has been illustrated by an analysis of the
plot of the drama Tapasavatsaraja. Here the separation of (loss, aprapti) Vasavadatta
from the king Udayana, deeply engrossed in her love, has been shown to be brought
--------------------------------------------------------.----------------------------11. I I ~ . • • - •
NS. GOS. Vol. III. p. 26. avamarse tvapraptereva fradhanata praptyamsasya ca '
nyunateti vise~a~. The text is undoubtedly currupt and has teen rightly a111ended by
• I ... I ... .. - I .. .,
the ed1 tor as, - ••avamarse tu pra;?tereva pradhanata apraptyaljlsasya ca nyunata''. The
ND. supports this reading. Cf. ND. p. 49.
12. NLRK. 11.716-719. na~akadau vastudvayar,n bhuvati/vidhirva ni~edho vajtatra praptiriipo vidhip/aprapti-rupo ni~edha~/Praptirupo yatha bfjam-araLdha'!l rak~as~i~ k~ayap/ni ta'}l si tapahare~a ramasyEtvasya-karyatami ti I I The ~ord 'ni tam' is to be
replaced by 'nitah'. The verse seems to be taken from some old source, probably from the text of Mg. For note on such verses, see infra, chapter V.A., f. n. 40,t.~.nd.er'l<o..,.~1111 ) p. 1'3'9·
13. NLRK. 11. 713-715.
105
about by the minister through tbe pretext of the burning of Livanaka when the . country was attacked by the enemy. The pursuit bas been shown in tbe practice of
14 penance by the king.
It is difficult to form any cle«:tr idea regarding Sgn. • s conception of
the Garbba-sandhi froos the above. He see11~s to mean tbat the characteristic • prapti •
of the Garbha-sandhi occurs in dramas wh«~re the deeds ef the hero are represented
as of obligatory nature, while •aprapti' consists in the separation of the hero
from his beloved. Thus the representatio:l1 of 'Prapti • or 'aprapti' in the Garbha
sandhi, depends upon the nature of the plot; so•e dramas show 'prapti' and some
'apripti'. This explanation is quite novel and is unknown to the theorists and
commentators.
From the standpoint of Mg. 'prapti' may be taken to mean 'pro$pect of
enjoyment• (sambhoga-yogyata) and 'apra(,ti' may be explained as • freah chance
of mishap' (udbheda). The counteraction of this fresh chance of mishap and
'makint of friends' (mitrasampat), as d«~scribed by Mg. may be said to be co-15
rresponding to •anvesana' (pursuit) in the definition of Garbha-sandhi of the NS~ . . ------------------------------------~--··---------------------------------------------
14. NLRK. 11. 72o-723. The drama Tapasa-vatsaraja of Anaiigahar~a Mitraraja, soa
of king Narendravardhana has been cited once more in the NI.BK. (1. 792) and that
also without mentioning the name of the drama or its author. Refereaces to aad
citations from this drama occur in the printed text of tbe Abhi. bba as good as
-in ten cases and in eight cases in the NO. Ananda-vardbana, Kuntaka, Hemacbandra,
Bhoja and Mammata also knew the drama. The drama, according to Dr. S.K.De., "be-'
longs to a period earlier than the middle of the 9th century". Being edited by His
Holiness Sri Yadugiri yatiraja Sampath Kumara and Ramanuja Muni fro. the Berlin
manuscript of the play, it was publish1~d in 1928 fr011 Bangalore.
15. Cf. supra Garbha-sandhi according to Mg.
106
• I _/ VImarsa or Avamarsa.
Bharata's definition of the Vimada- sand:ti, as quoted by !::>gn., is very 1
knotty and defies a satisfactory interpretation. Ag. himself, criticises as many
as five exposition and offers his own. But fro:n none of the~e the exact reading of
the verse can be determined. No explanation of the \.ords 'vi lobhanakrta• is found •
in any of the views referred to by Ag. Similar is the position of the NLRK. 1he
definition means that \~here the 'bljartha'. disclosed in the Garbha-sandhi, becomes
either 'vilobhanakrta' or connected with the 'aslesa• of thnt (tasya), is Vimarsa. • •
Sgn. himself says that Vimada is connected \'.i th the emnraae• (aslesana-samyukta) . . . of something creating confusion o:r perplexity to the 'bij<hthu', desclosed by the
1. NLRK. 11. 772-774. Yada ha bharata-muni 9/garbha-ni rbhinna-bfjartho vilo--' ¥ I I
bhana-krto • pi vaftasya vas le?a-sapyukta~ sa vimarsa~ i ti smrta9 I I The N5. (GQ5.
xn .. 42) reads '\athava' in the place! of 'apiva' at the end of the first half, and
• krodha-vyasanajo vapi' as the first part of the second half. A ms. however reads
• kincid-asle~a-saf!lyukta• and thus supports the reading of the ~K. mainly. Cf. I
NS.GOS. Vol.III p.26. ms. reading 4 (bha). But none of the expositions criticised
by Ag. and his own, mentions 'asle~a·. Ag. also seems to support the reading 'api , ...
'Vi' at the end of the first half of the verse. Cf. N5. GO!;). Vol. III. p. 27. api-sabdad
vighnanimi ttantaranam11etc. . I
The text (?) of Sarikuka. as presented in the Abhi-
bha. (Vol.III. p.28) seems to support the GO!:>. reading so far as the first part
' of the second half of the verse is concerned. Sr. pra. (Vol. II. chap. >.II. p. 485)
t
gives the definition as, •• garbha-nii·bhinna-bij<htha~ krodlwyasanajo 'pi val
vipralambhak~to vapi vimar~a iti sanjita\1 //A ms. of the~. (Pa) reads 'viprala
mbhakrto' pi va' in pluce of 'vilobhana etc. , ' of the Go..':>, version.
107
2 I
Garbha-sandhi. Ag. refers to a view 1·. hich takes Avamarsa in the sense of 'vighna',
obstacles. He further adds that according to this vie\V here bija in the Lharata' s
definition is to be taken to mean 'the fruit of the Bfja' and 'artha' to mean 3
'ni vrtti'. Thus, ·' bfjartha' means the fructificuti on of the I.Jfja, With the help . I
of this exposition Sgn. 's above statement may be taken to mean thut the Vimarsa-
sandhi presents the fructification of the germ as led astray. The full implication
I
of Bharata's definition of the Vimarsa-sandhi. as quoted in the NLRK, is nm·. clear.
The Garbha-sandhi describes further progress of the Bija than in tre Pratimukha-I
sandhi. towards the production of the fruit. In the Vimarsa-sandhi. according to
this view, this progress is representE~d by the dramatist as led astray or as
perplexed or beguiled fully (vi lobhanakrta) or partially (tasya vasle~a yukta).
I
It thus appears that, though not expl:lcitely stated, Vimarsa has Leen taken by
Sgn. here in the sense of 'vighna'. I:he cau:-es of 'vighna' have not been mentioned
in connection with this vie\1< in the NIJ{K. \~here two other vie\l.s on the Vimarsa
also occur. In simple words, this view maintains that the progress of the action
towards the final achievement is depicted in the Vimarsa-sandhi as totally or
partially arrested. Ag., however, clearly points out that the obstruction may be
created ~y such causes as anger, temptation (created by the opponent), misfortune, 4
curse etc. Visvanatha appears to be the most consistent author l•ho expresses very
clearly that the Bija (chief of the means) in the Vimarsa-sandhi manifests further
than in the Garbha-sandhi but fresh obstructions due to curse etc., are put before
-nnasya bijarthasya lobhakari~a as le~a~asa'!'yukto L- yoJ uhavati sa vimarsa~ 1 I
3. NS. GOS. Vol.III. p.27. anyE~ tvavamars'o vighna iti vidanti/ sa ca ('0
vyakhyane bfja-sabdena tad-blja-phalam arthaS'abdena ni v!ttirucyate/ .•••• niv!tti~ •.••
ni spratyuhaprana taya phalapras uti h/ . . . I
4. NS. GOS. Vol. III. p. 27.
108
5 its fructification. The illustration is also very clear. In the Abhi,saku, the
...... entire portion beginning from the fourth Act \':here Anasuya says, "piaf!!va4e ja-i-vi , gandhavvel'}a vivahe~a etc.", to the seventh Act upto the recognition of Sakuntala,
comprises the Vimarsa-sandhi as this portion is, .. sakuntala-vismara~a-riipa-vighnali-6
rigi tah." From printed text of the Abhi. blm. it appears that the view bas not been • 7
fully discarded by Ag.
Sgn. himself seems to have given little support to the view discussed above
as no illustration has been ci:ted. He presents another view, as said by others. 1his
view maintains that the Vimar£a-sandhi depicts a state of obscurity (sal}lvrti)~ so
far as the progress of the action towards the final achievement is concerned. This
obscurity arises out of heroe's deliberation over diversified purposes. 1he enemy 8
of the hero here, is made to suffer a heavy loss also. Due to the multiplication
-----------------------------------------·--------------------------------------------5. SD. VI. 79-80.
6. SD. p. 358. I
7. r-B. GOS. Vol. III. pp. 27-28.
8. NLRK. 11. 775-777. anyastvaha I
prakir~asyartha-jatasya vimarsacl yatra samvrtih 1 S'atrorapacayo bhuyan . . . :dmarsa sa ca kathyate I I Dr. Raghavan suggests "satror upacaya~" should be the
reading in pluce of "satrorapacayah" of the printed text. l'tLRK. Eng. 1ra. p. 72 • •
But it has been shown (Cf. supra P·l o4 .. ) that according. to Ag. the Vimarsa-sandhi
gives prominence to the gain. over the loss of the hero. How this principle can be
maintained if the increasing strength of the enemy (£atror upacaya~) is depicted in
this Sandhi, is not known. Moreover, a<:cording to r.lg. also, nourishment of the l:$ija
(bfjena sa~patti) is an aspect of this Sandhi. This has been illustrated by Sgn. in
the death of Patalaketu (Cf. supra. P. ~~ •..• ) which is undoubtedly a heavy loss to the
enemy of the hero. So loss of the enemy seems to be a characteristic of this ~andhi
and as suchr.the reading of the text se:ems to be preferable.
109
of subsidiary issues the central portion of the plot of a drama is elaborated to
its best and the main purpose may be represented as branching of towards many
directions. Gradually these subsidiary issues merge to the main plot and produce
a single result. This elaboration and ramification of the main purpose should Le
completed before the close of the Vimarsa-sandhi so th~t a clear and steady pro-
gress towards the final end may be depicted in the last Sandhi. Thus in the second
half of the third Sandhi and in the first half of the forth Sandhi the plot of a I
drama reaches to the highest degree of complexity. The r~. gives clear direction
to the dramatist that the achievement, if there be any. of the Pataka-nayaka 9
should be delineated before the close of the Vimarsa-sandhi. Due to this elabora-
tion and diversification the hero is generally depicted in the Vimarsa-sandhi
as brooding over the facts for finding out a right direction. Thus reflexion is
said to be the nature of the Vimarsa-sandhi by Sarikuka as stated in the Abhi-bha. I
Reflexion or deliberation, maintains Sankuka, may be due to various reasons as 10
temptation, anger, misfortune etc. Ag. however, refute this vie\'J on the ground
that deliberation is not limited to this Sandhi only and as such 1it cannot be 11
taken to be the characteristic of the Vimarsa-sandhi only. Udbha~a's view also,
a& represented by Ag. • seems to be similar to the above one, refuted by the latter.
According to Udbha}a• in the Vimarsa-sandhi, the hero being obstructed in the 12
course of his pursuit after the desired aim, broods over the situations.
The theory that deliberation constitutes the chief feature of the Vimarsa-----------------------------------------~--------------------------------------------9. Cf. supra. P. 6~ •••••
' 10. NS. GOS. Vol. III. p.28 ••••• phalavyapatti-vi~ayo ya~ kartur-vicara~ sa
krodha-vyasanaje vimarsa i tyevar:' vimars~~na-svabhava eva vimarsa~ I ..•...... iti
sri-sankuka~ I
11.
12.
"" ~. GOS. Vol. III. p. 28.
NS. GOS. Vol. III. p. 28.
110
~
sandhi has been supported not only by Pre-Ag. authorities like Sankuka and I I
Udbha~a but a I so by post-Ag. theorists like D hanika, B hoja, Sdt. , Siigabhupala
and Rupa-gosvamin. The DR. as interpreted by Dhanika maintains that deliberation 13
due to • krodha' or 'vilobhana' characterises the Vimarsa-sandhi. The bha. pra.
gives two definitions of the Vimarsa-sandhi; one of hhich is verbally quoted fr011 14
the DR. and the other states the same thing in different words. 'Ihe HS. followed 15
by the NC. maintains the same view.
The NLRK. contains another des,:;ri pti on of the Vimars'a-sandhi. According
to this description doubt (sandeba) appears to be the distinguishing feature of 16
the Vimarsa-sandhi. In this portion of the plot, maintains some, the final accom-
plishment though seems to be within the reach, is presented as doubtful due to some
turn of facts. The final fruition (phalagama) becomes doubtful after the Garbha
sandhi upto l~hich the progress is unhampered. Simply speakiny, the Vimars"a-sandhi ..
puts up the last hurdle on the way of the final fruition of the Bija and naturally
a doubt arises in the mind of the audience revardin~ the end of the drama. 1he hero
himself is depicted as doubtful regarding the accomplishment of his desire. 'Ihis
13. DR. I. 43. P. 21. Dhanika says, "avamarsanam avamarfa~ Parya locanamftacea
I krodhena va vyasanad va vilol::hanena vs: bhavi t<~vyam/ B hoja (S~ pra Vol. II. p. 485)
says, kriyapha lavaptaye vicaranir~ayo vimarsa~ I It, however. includes • vi prala-
mbha' as a cause of deliberation. £f. supra fn. 1. of this topic •
22. Cf. Abhi. bhii. NS'. GUS. Vol. III. p. 27 ••.••. phalatp yadii valavata pratyuhya1.e
te kara!lani ca valavanti bhavanti. •••• tada katham na sandeha~ . " 23. f\D. p. 50.
113
(
has been supported by the majority of theorists including Sarikuka, Udbhafa, I ,
Dhani ka, Saradatanaya, S:irlgabhupa la and Rupagosvamin. (
3. Doubt (sandeha) is the chief feature of the Vimarsa-sandhi. This view finds
strong support from Abhinavagupta and Ramacandra-Guryacandra. Sgn. i llus-I
trates Vimarsa according to this view.
. I -Now, it may be pointed out that 'sandeha' and 'Vimarsana(anvesana, parya-. . locana) differ very little in sense and both originate \\here there is a scope of
• vighna' so far as the plot-construction of a drama is concerned. 'Vighna' gives
rise to doubt in the mind which causes deliberation. From the standpoint of the
audience it may be said that the V:imarsa-sandhi presents obstacles to be overcome
on the way of the final (chievement, i.e., the fructification of the germ. Judged I
by the menta 1 state of the hero it may be said that in the Vimarsa-sandhi he is
depicted as perplexed due to the doubtful situation created by opposing forces and
as such)brooding over the situations to find out the way. From both objective and
subject standpoints it appears that Vighna forms the basis for the delineation of ~ ,
the Vimarsa-sandhi. Vighna creates a doubtful situation. Udbhata and ~ankuka, two •
almost contemporary authors, appear to have taken up the reaction of the mind of
the hero at this situation into consideration while describing deliberation as the
main characteristic of the Vimarsa-sandhi. Ag., taking the situation into considera
tion describe it as 'sandebatma'. Dhanika, Sdt. etc. 1 cling to the old view of Udbha~a / ..
and Sankuka. Visvanatha describes tbe Vimarsa-sandhi taking into consideration the
root cause of the 'sandeha' and 'paryalocana'. Sgn. most cleverly supports all the
views, as it appears from the text of the NLRK. In conclusion it may be pointed out
that Mg. also enumerates obstacle co.nnected \',i th a bit of success as one of the three 24
aspects of the Vimarsa-sandhi. It a1Jpears thus probable, that chronologically also
the views may be arranged in the samf~ way as has been done aLove.
8 -the final end. The Bha. pra. verbally gives this definition and the !:>D. reproduces
both the text and the commentary of Dhanika verbatim,and the RS. and NC. clo~ely 9
follow the DR.
From above discussion it appears that the chief mark of the Mrvaha~a-
sandhi is that herein the playwright depi<:ts the final achievement. 'lhe successful
carrying out of all unde~takings, the fulfilment of all purposes, the production
of the fruit, the success of the means, -all mean the samething, the achievement
of the desired object from the standpoint of both the playwright and the hero af
the play. Bhoja also means the same v,hen he says,---kriyaphalena samyag-yogo 10
nirvahal'}am. The last portion of the drama Ratnavall, beginning from the entrance
of the magician comprises the Nirvahana-sandhi • . The fllLRK. as in many other occasions, records two post-5haratan viev.s \'.hich
deserve special attention. Sgn. says thc.:t some favour a brief recapi tu1ation of the 11
course and conclusion of all the Sandhis in the last Sandhi.··· Ag. also reJers to 12
this view; as maintained by some. This view seems to be given importance to in the
l'ID. as the illustration has been cited from the Satya-hariscandra of Hamacandra
-------------------------------------------------------------------------------------8. DR. I. 48-49. bfjavanto mukhadyartha viprakfr~a yathayathaml aikartham-
... upaniyante yatra nirvahanam hi tat I I It is intt:resting to note thut Sarv~nanda
' '
in his Tfkasarvasva attributes this verse to Dattila. Cf. Narna-linganusasanam •
\~ith the com. of Sarvananda. Ed. T. Ganapati Sastri. Pt.I. p.l44.
9. Bha.pra. p.212. 11. 8-9; SD. VI. i<)-91, p.359j RS. p.233, III. 67;NC. p.29.
10. S!· pra. Vol. II. p. 485.
11. NLRK. 11. 920-922. I
12. NS. GOS. Vol. III. p.29.
117
13 himself. The another theory, recorded in the NLRK., advocates the introduction of
anotoor obstacle in the Nirvaha~a-sandhi, put on the i.vay of the final success of 14
the hero. The fire-ordeal of Slta has been cited as an example of this theory.
1his introduction of an eleventh hour tragic complication increases tension and 15
saves the play from a tame and conunonplace ending.
From Bharata's analysis it appea.rs thut in the Garbha-sandhi the plot
takes a definite shape and the audience c:an form an idea of what is to follow. lo
keep alive the interest of the spectators, unforeseen obstacles are put fon .. ard
in the Vimarsa-sandhi, ~.here the progress of the action tohards the desired end
is represented as checked. The curse of the sage Dux:vasas in the Abhi-saku. and
the capital punishment of Carudatta in the Mrcchakatikam may be taken to be good . . examples of this unforeseen obstacle. But v:hen this obstacle in the Vimar;a-sandhi
is surpassed, the course of the action ac4uires momentum and proceeds ~ithout in-
I
turruption ti 11 the conclusion is reached. Now, after the Vimarsa-sandhi l~hich is
full of actions due to the tussle betweE!n the opposite forces and the victory of
the one 1 favourable to the cause of the ~1ero over tre unfavourable ones; the Nirva-
ha~a-sandhi becomes tame. There remains nothing interesting, as the spectators can
fairly guess the conclusion. A short re-capitulation of the entire action, referred
to by Sgn. is of little help1
as it faih: to create any new interest. This device
may simply explain the entire course of the action l.Jy giving the synopsis of the
former events and connecting them with the concludon, and perhaps owes its origin
to the attempt of the dramatists in showing the inevitaLility of the c nclusion,
which is so important for the success of a drama. Dramas like the Mu-ra. of Visa-
khadatta, where the course of the action is too intricate to be folloved Ly the
--------~-----------------------------··----------------------------------------------13. r-ID. pp. 51-52.
14. M . ..RK. 11. 918-919. vipadantar.a-nirmanam kecidicchanti suraya~/junakya jvalana-jviila-pravesena vi pat punap 1/. . ·
15. Notes of Dr. Ragha van. NUtK • .Eng. Tra. p. 63.
118
audience, also require a brief recapitulation of the former incidents to shol.'l
their interrelation. ca~akya in the klu-rcl. discloses to Ii.ak,~Cisa his plans in
the Mrvaha~a-sandhi. Similarly, Marica in the Abhi-saku discloses to the hero
and heroine the cause of their separation. But in both the cases, particular
dramatic interests have also been served by this reference to past events. Rak~asa
should knm-: the circumstances leading to his defeat and should not think himself
polluted by the touch of Candalas before he could accept \·.i th a clear mind the .. post of Amatya under Candragupta. Similarly, a real union between Du~yanta and
, -Sakuntala is possible only \\hen the actual cause of their separation is kno\'m to
tot h. 16
Some dramatists, as it appears from the NLRK., took recourse to invent a
fresh but momentary complication at the .last st<-ge of the action to avoid a tame
denouement. The motif of this device is found in the fire-ordeal of !:>ita in the I
Ramayal)a. This portion of the Rama-story forms the t)?.eme of many Rama·plays. 5udraka,
in his Mrcchakatika, depicts Dhuta' s attempt to commit suicide Ly enteriny into . . fire when all are jubilant at the reunion of the hero and heroine. This device of
introducing an "eleventh hour tragic complication,. has undoubtedly higlttened the
tension of the last Sandhi in the Mrcchakatika. . . Sgn. records another view accordin~l to which, at the concludin~ portion of
17 the Na!al<:a a god should appear on the stage, evidently to make the finishing more
charming. The appearance of Vasudeva in the VenisaJ!lhfna and that of Gaud in the
Nasananda, have been cited as examples of t:lis device. ~gn. maintains t 1at the
appearance of a god at the last moment in a drama indicates the prosperity (abhyu-
daya) of the hero. The appearance of divine sages, equivalent to gods, also serve
16. NlRK. 11. 918-919.
17. NLRK. 1. 389. devata-darsananta!ll ca bhavati hi na~akaJ!' nama.
119
18 the same purpose. The entrance of th1~ divine sage ~arada, just to !ina lise a
happy conclusion i,n Kalidasa's Vikramorvasi. may be cited as an example. 1he 4
above theory seems to be based upon an observation of plots \·.here divinities or
divine-sages are presented on the st~oe at the concluding purt of the N~~aka
for some dramatic purpose and also to enhance the charms of the finishing. It
is interesting to note here that Rucipati in his commentary on the An. ia. 19
ascribes the view to Bharata and 4uotes a verse of the same import. This verse , 20
is also found in the Sari-da of Subhankara. Sgn. also, seems to quote the first 21
hemistich of the verse, but refers to no authority. These sorts of quotations in
the NLRK. which are not ascribed to any authority or introduced ti th any such
' expression as 'anyastvaha' etc., are mostly found to be taken from the ~. It
thus may be surmised that the above verse \~as current in the name of Bharata in the d~ys of Sgn.
I
The above view, however, follov.s from the dictum of the NS., quoted in
the NLRK, where it is said that in the denouement of all sorts of compositions 22
there should be the Rasa of ~\onder (adbhuta). The sentiment of v:onder may be aro-
used by depicting the occurence of unex~cted things like the appearance of divi-,
ni ties or divine sages on the stage. ThH re-union of Du~yanta and Sakuntala in
18. NUlK. 11. 390-392 ..•..... devar~ayo 'pi kvaci t I te' pi devatulya eva.
19. An. ra. P. 320. devata-darjsananta~ ca kartavya1p nafakalp budhai~/rajar~i
darsananta~ va te• pi devaih sama mata~// iti bharatanurodhad vasiHha-dar;ariantam
idam/
20.
21.
22.
sari. da. P. 81.
Cf. supra. f. n. 17. I
1\LRK. 11. 915-917. NS. GOS. XVIII. 43. Gf. 5f-pra. A.I. P. 46616 ha. pra.
P.236. l.4.J SD. VI. 10. P.321._;cf. also the sandhyanga Upaguha~a infra.
120
the hermitage of Marlca in the Abhi. ~aku. , and the entrance of real Si ta on the
st<..ge in the u.ca •• may be cited as apt examples of this theory.
The NS. with an eye on the possibility of a tame conclusion, further
enjoins, as 4uoted in the NLRK, that the composition should take the shape of the
end of a cow's tail and exalted ideas should be depicted in the last half of the 23
Na\aka. There has been a controversy :regarding tiE implication of the statement
that the composition should be like tht! end of .a cow's tail. Sgn. simply says ...
that the first half of the Na~aka should be elaborate (purvabhage vistara~iyam) ... 24
and the second half compact (pascardhe ca sarphara~iyam). It has been discussed
above that the Garbha-sandhi, occupies the middle portion of the plot and from
the Vimarsa-sandhi begins what is technically knoww in English the falling action
and before that is rising action according to the G. Freytag's pyramidal structure 25
of the plot of a play. The rising action is extended and the falling action is
shortened just to keep alive the interests of the spectators as they to some
extent can form an idea of what toi 11 follo\\ from the very teginniny of the falling
action. Ag. offers two explanations. According to some, the above statement of the I 26
.t\5. means that the 'arlgas', evidently the Acts, should te gradually shortened.
-----------------------------;r----------------------------------------------;------23. NLRK. 11. 913-914. NS. XVIII. 42. ef. SD. VI. 11. p. 322., ND. 1.17., s:. pra (XI. P. 466) reads, - kavyam gopucchagram kartavyam natikadisu prajnaih;
" ' t .. .. •
'natikadisu' here seems to be a wrong reading for 'natakadisu'. Accordinu to ... . . .
lexicons one meaning of the word 'gopuccha'' is a kind of necklace having forty or
thirtytwo strings. Cf. the com. of K~lrasv~imin on Amarakosai Ka~qa II. v. No.l06
(Poona Orienta 1 Series No. 43. P. 156). Abhidhana-cintamani. Kaf!~a III. V. No. 325.
24. NLRK. 11. 910-911.
25. Cf. l~.H.Hudson. An Introduction to the study of Literature, PP.200 ff. ,
26. ~.GOS. Vol. II. P.428. krama-suk~mangam iti kecit I The reading of the
SD. ( be lot~ VI. 11, P. 323) "kramet:~a.rikah. siiksmah kartavy~h iti kecit", is decidedly ~ .
more explicit.
121
This implies that the first Act of a dra~~ is the longest and tie last is shor-
test. But this carries little sense and is too mechanical and has been h&rdly
follmed by dramatists. According to others, informs Ag., as some of the hairs
at the end of a cow's tail are longer and some shorter, so also so11e 'karyas' in
a drama end in the h1ukha-sandhi, some in the Pratimukha, some others last upto . 27
the Avamarsa and the rest is completed in the NirvahaQa-sandhi. The complicated
plot of a Na~aka deals ~d th various incidents and treir purposes are represented
as served in successive stages v.hile the most important ones are retained upto
the conclusion. Thus, the second explanation of Ag. seems to be reasonal.de.
' From the above discus-sion, it oppears that the N!:i. in describing the ..
Sandhis takes into account mainly the gradual transformation of the l:iija from its
- . origination to fruition. The Bija oriHinates in the Mukha-sandhi (yatra bija-
samutpatti~) and goes on sprouting (bfjasyodgtta~anam yatra) thrcughout the Prati
mukha-sandhi but fully sprouts in the Garbha-sandhi (gorbha-nirbhinna). Its pro-
gress towards fruition is checked Ly unforeseen obstacles (vi lothanak:ta 1 krodha
vyasanaja) in the Vimarsa-sandhi and finally transforms itself into fruit in the
Ni rva hana-sandhi . .. D. Relation among the three Pentads;~~~ the
Avasthas I Sandhis and Arthaprakrtis. '
The analysis of a plot into Avasthas 1 Arthaprak:rtis and Sandhis has been
discussed in details along \ i. th the nature and characteristics of each memLer of ,
the above three pentads. Sgn. follm\s the NS. closely in maintaining a silence re-
gardintV the interrelation among the three pentads, but other theorists and commen-
tators have \\or ked out different theories., a perusal of t hich is essential for the
proper comprehension of the topics.
I 27. 1'45. GOS. Vol. II. PP. 428-29., cf .. ID. P. 30. 1 bD. P. 323.
122
Sgn., as has i.Jeen shm~n, takes the five Avdsthas iR the sense of five
successive stages in the de\·elopment of a plot. Regarding the prvblem ~hether
these five Avast has are all present or not in the plots of all types of plays, I
he states nothing explicitely. 1he NS. clearly states thut every action must 1
possess the five Avast has in the same order in which they have been enumerated.
But the implication of the expression 'every action' is doubtfull and it r.1ay be
taken to refer to the plots of full fledged dramas like Na~aka and Prakara~a,
having all the sandhis, or plots of all types of plays. Ag. seems to support
the first explanation and the point td 11 be discussed shortly. Dr. K. K.Datta 2
Sastri rightly points out that Bharata, t·.hile speaking of the divisions of plots
into Sandhis and Arthaprakrtis, gives no such special stress, as aLo\e, and
actually sanctions that there may Le plots without some of the Sandhis and Artha-
prakrtis. There is, hO\\ever, no such relaxation, sanctioned by the sage, in the ,
case of the Avasthas. The NS., thus seems to maintain that any plot of any type
of play must posses::; the five Avasthas. The silence of ~gn. in the matter, may
be taken to be his support to this view.
Sandhis, according to the l\LRK, as discussed above, are structural •
divisions of the' plot from the standpoint of different purposes served in the
progress of the action. All the authorities, beginning from Uha rata, maintain
that every type of play does not contain all the five Sandhis. Thus, from the
stand-point of the NLRK, it may .be said that the Sandhis may or may not corres
pond to the Avasthas. For %»R~kKI~x this reason, Sgn. seems to have neither
asserted nor denied any correlation existing betl'.een the !:>andhis and Avastnas.
Arthaprakrtis, according to Sgn. ,, are essential elements of the plot and <ire not
1. NS. GOS. XIX. 14. Sarvasyai va hi .karyasya prarabdhasya phalarthibhih 1 '
etastvanukramenai va pandhasttia bhavanti hi I I
2. Techniques of Sanskrit Drama, Chap. IV.
123
divisions. So, the question of any correlation of the Arthaprakrtis eith€~r with . )
the Sandhis or i'Ji th the Avast has cannot reasonably te comprehended from the view-
point, held by Sgn. It is, of course, <~ertain that the feature '~Jijotpatti'
(origin of the germ) occurs in the Mukha-sandhi, b\lt like Bindu (the sign of
continuation) the Bija also continues throughout the play. 1he Pataka and Prakari
are not restricted to any particular Sandhi in the NLRK. Thus, according to !:>gn.
there is no necessary correlation among the above t'hree groups of five.
Like the Avasthas, the Sandhis also occur in a drama in the same order
in which they have been enumerated. Ag. holds tmt each Sandhi rests on the 3 ...
corresponding Avastha. So, according to li.g., the types of plays, not haviny all
the Sandhis (hinasandhi), cannot have all the Avasthas also. The NO. closely
follows Abhi. bha. in this respect and clearly state's, -- sandhayo rnukhyavrttam~ah . . . 4
y - - - ~ pancavasthanuga~ krarnat. The ND. further maintains that all the five Avasthas
5 occur in the Nataka, Prakarana, l'latika ar:.d Prakarani and as such, all the five . . . '
Sandhis also J -
occur in these types of plays. Visvanatha also is a follower of
this view and explicitely states that in 1;onnection \'.ith the five Avasthas res- • 6
pectively, the five sections of the plot c:onstitute the five Sandhis. 1hus, it
is not the 1\D. that "tries to link the Sandhis and the Avasthas", as maintained 7
by Dr. Mainkar. Ramacandra and Gu~acandra simply foll<m the line of Ag. Ag., him-
self, however, is not the propounder of this school of thought. He may be said to
be the main advocate. 1he above view has been attributed to his preceptor in Abhi. 8
bli'. This school of thought thus maintains that, --
----------/-------------------------------··----------------------------------------3. ~. GOS. Vol. III. P.lO. avastha-pancakanuyayina sandhi-pancakenapi
bhavyam eva. Cf. also p.23., p.62. sandhayo hyavastha-paratantra~.
4. ND. I. 37. p. 48.
5. ND. p. 44.
6. SD. VI. 74. p. 355.
7. The TSS. p.l3. ,
8. 1\!).GOS. Vol. III. p.lO. Cf. supra p • .l,.Z ••• f.n. 20
124
-1. The Mukha-sandhi rests on Ararnhha,
2. The Pratimukha-sandhi rests on Yatna,
3. The Garbha-sandhi rests on Praptyasa.
4. The Vimarsa-sandhi rests on 1\iyatapti.
5. The Nirvaha\la-sandhi rests on Phalagama.
The essence of the above tlu~ory is th<Jt a ")lot of a full-fledged
drama (Piir~anga-rupaka) in its development passes broadly thr'Jugh five stages
(Avasttta) and each stage is' the unde1·-current determining its corresponding
Sandhi, a structural division of the plot. From this it, however, cannot be
supposed that "the docirine of stages is a later addition to Uharata," as bus 9
been done by Dr. Mainkar.
There is another school of thought that advocates almost a mechanical
theory of correlation existing among the members of the .1-\Vasthas, Arthaprakrtis
and the !":>andhis. The NS. says, - arthaprakrtayah panca » jnatva yojya yatha-. . 10
vidhi. The statement means that the Arthaprakrtis are to be used in a drama '
according to rules. But there is no such rule (vidhi) regarding their order of
I
use in a drama, prescribed in the ~- and the sage seems to have given the play-
wright a complete freedom. He may use them according to his discretion. Ag.,
t6ti11 as the printed t"ext of the Abhi. bha. stands, seems to ma1n,. that the five
Arthaprakrtis are to be used in a drama in the same order in which they are
9. The TSS. P.14. Here Dr. Mainl<itr further st&tes that the DR. is respon-
sible to correlate the Avasthas l'.ith the Sandhis. Dut, it has been sho\\n aLove
that the responsibility may be pushed back to at least the preceptar of Ag. I
10. NS. GOS. XIX. 21.
125
~1 enumerated in the NS. The ND. rightly opposes this view and enumerates the
I
Arthaprakrtis in an order different from th~t of the NS. It further de.elares
that their application in a drama may not folio\. the order of enumeration and 12
also all of them are not essential in every drama. but there are some theo-
rists \;ho maintain that like the Ava~tlla:; and Sandhis, the Arthaprak:rtis also
should occur in a drama in the same orde:r in v.hich they are enumerated, and
' regarding enumeration they follov. the t-S,, Naturally, the theory evolves that
each Sandhi rests on the corresponding Avast~ and Arthaprakrti. .
11. NS. GOS. Vol. III. p. 12. • •• jnatva yojya yatha-vidhi i ti tasam
audde~ikokti vad upanibandha-krama-niyama ityarthah I This is Ag. 's
' gloss on the NS. (XIX. 21) - art.haprak:~·tayah etc., as quoted above. I
This statement of the ~. seems to imply that the five Arthaprakrtis
are to be used in a proper manner. From this it is hard to deduce .
that they are· to be used in a narticula-r order. 1he Bija originates
in the Mukha-sandhi and the K<i-rya occurs in the last Sandhi, but no
restriction can reasonably be im~osed upon other three, as has been
made clear in our discussions on their nature above. Ag. further main-I
tains (I'{). GOS. Vol. III. p.l6) thCit all the Arthaprakrtis are not
essential everyv.:here. rloreover, the mechanical theory of correlation
among the Avasthas, Arthaprak~tis and the Sandhis, restin~ primarily
on the occurance of their members in the same order in \lihich they have
been enumerated in the NS., ha.s been bitt~rly criticised by Ag., as
~dll be shown. The ND. (P. 37) follO\dng closely the Abhi-tha. in other
relevant matters, opposes the view thut the Arthaprak!tis occur in a
drama in a particular order. Thus, the above reading of the Abhi. bha.
seems to be unjustified. Perhaps a 'na' has been dropped. All problems
become solved if the above text is amended as ,--kramaniyamo netyartha~.
ruci ti nai~am audde~iko nitandhakrama ~ s~rve~am ava~yambhavi tvam va.
126
The DR. is generally believed to be the Chief exponent of the i:ilJove 13
theory. Loth Dhnnaiijaya and Dhanika assert th ... t the five Arthaprakrtis,
combined respectively with the five Avasthas, give rise to tiE corresponding 14
Sandhis. Dhananjaya further maintains that the 'angas' of thi Mukha and
Pratimukha Sandhis are deter:71ined by the 'samanvaya' of tt:e Avasthus and 15 / ,
Arthaprakrtis concerned. Saradatanaya, Singabhu~~la and Rupa-yosvamin main-16
tain this view. Bhojadeva also seems to support t:Jis vim~. Col11'tlentators like
~ -Raghavabhatta, Katayavema and Dhundi are staunch follo\;ers of the above view. . . . .. Not·J, this theory of Coambulation may be stated clearly in the followiny form:-
... 1. Bija and Arambha co·~ine to fori1 the f.iJkha-sandhi.
2. Bindu and Prayatna combine to form the Pratimukha-sandhi.
3. Pataka and Praptyasa coml.Jine to form the Garbha-sandhi. . ,
4. Prakari and Niyatapti combine to form the Vimarsa-sandhi.
5. · Karya and Phalagama combine to forllJ the 1\irvaha~a-sandhi. --------------------------------·-----------·--------------------------------------13. Dr. t.1ai nkar. 1 he TSS. p. 13, Dr. Kulkarni. JOI. Vol. V. No.4. 1 he concep-
tion of Sandhis in Sanskrit ·urarna. p. 375.
14. DH. p. 6. I. 22-23. arthaprakFtaya~ pan'ca pancavastha-samanvi ta~/ I
yatha-samkhyenu jayante mukhady£.h pal:'ca san~hayah/Cf. also Avttloka on this verse. . . . 15. DR. 1.25. Regarding thE! angas of tne f.lul<ha-sandhi it is said,--angani
... ,; - .. dvadasai tasya bijarambha-samanvayat/, similarly ubout Prat imukha-sandhi is said
that the 'anoas' 'If other three ~andhis should Lc determined in the similar way. . .. 16. Bha. pra. p. 207. 11. 3-:lO, Regarding the 'an~as' of the :.~ukha and Pra-
' timukha, Saradatanaya quotes from the Dfi. Cf. bha. pra. p.2r.8. l. 7, - P.209. 1.6
and DR.(quoted in f.n. 15) R~. III. 22.26. PP.214-215, l'lC(P.ll,l5) follo~,s the
" ns. verbatim. Sr. pra. Vol. II. P. 484. te (SatJdhis) ca Lija-tJindvadinam artha-. prakrtinal}l sandhanat sandhaya (sandhaya ? ) uayante/ It h a nove 1 explanation
oi the \.ord Sandhi, though based on an unsound theory.
127
It h&s teen shm•:n at;ove that accordin~ to Ag. the five AVasthas and
their correspondinu ~andhis 5houl.d occur in a • ptm:an~u rupuka' unu thut all
the Arthaprakrtis are not essentiul everyvJhere like the Avasthas~ the Potaka • 17 ,
and Prakari may or may not occur in a drama. lhus, accoruiny toAg. the
allsence of the P<Jtaka and Prakari does not hamper a drama f!om Lring 'Pur~anga'
ha\iing all the Avasthas and their corresponding Sandhis. Ag. further rejects
in unequivocal terms the existence of 'yatha-samkhya niyama' amony the Avus-18 • 19
thas- Sandhis and Arthaprakrtis. 'lhis is alsd the view of the Nl. lhe entire
theory of correlation of the three pentads hus thus Leen exploded Ly Ag. but
... it is not mentioned in the Abhi. blm. that any theorist upholds the vie\-;. Hg.
might have fought back either a possible. theory or a really existing one. but
his method of argument in rooting out all the pre-conditions of the said theory
of coambulation among the me,1bers of the three pentads in a drama, seems to
pre-suppose the existence of such a theory at his time.
It is curious to note that Dhanaiijaya, the chief exponent of the aLove
theory of correlation admits that the Pataka may or may not occur in the bartha-20
sandhi .,. I
and keeps silent as to the position of the Prakari in a drama. Sdt.
maintains that in the Garbha-sandhi the Pataka does not occur in some dramas
like the ~lalavikagnimi tram and does occur in so~ dramas like f,iulat1madhavam and
as such, the occurance of the Pataka in the Garbha-sandhi is optional. 'lhis view
17.. Cf. Supra f.n. ll1 P.I~S"j p.ro.·f11·1S
, 18. 1'6. GOS. Vol. III. P.l6. Ag. follot~Jing his preceptor, accept a coamtula-
tion bett·:een the Avasthas and Sandhis1 as discussed aLove.
19~ ND. p. 37.
20. DR. I. 36 ..• padika syannava syat praptisambhavah, Cf. Dhanika (p.l6) . tatra cautsargikatvena praptaya~ patakilya aniyamam dar~ayati. ... 1
128
21 has been attributed in the Bha. pra. to Kohala. If Sdt. is toLe believed, then
Kohala may be said to have assigned the place of the Patakn, if it occurs at all,
in the Garbha-sandhi.
, .... - ... ...
Inconsistently enough, the Bha. ;:>ra. further !!l(lintains that the Praptyasa
should occur in the Garbha-sandhi and in the absence of Pataka, sometimes either 22 23
the Lija or Bindu s~ould be used there. The RS. also maint<lins the same view.
-The above theory of correlation car:not stand if ti1e bija or the bindu is allm·;ed
I
to occur in the Garbha-sandhi unless Sdt. admits that these t\•.o may occur more
than once in a drama idiich again goes against the main theds of CJrrelation.
-Like the DR. the Bha. pra also mai:ntains silence re~arding the position of the ...
Prakari in a drama. It thus appears th<..t the DR. and the Bha. pra., thou~h up-
hold the aLove theory of correlation, do not try to invc::.t it 1.ith a mechanical
perfection disregarding the characteristics of the subsidiary clements, the Pa
tak~ and Prakari. They are inconsistent so far as they maintain thu.t each !:landhi
is formed by a combination of the respecti\'e Avastha und Arthaprakfti and at the
samctime declare that the Pataka may or may not occur in the GarLha-sandhi and
observes silence regardin~ the place of the f~rakari, \vhich according to their
theory should occur in the Vimarsa-sandhi.
I
Singabhiipala seems to hc."e given the a;,ove theory a mechanical per-
fection. He repeats whc,t has been said LY the DH. regarding the determination of
--------------------------------·--------------------------------------------------21. Bha. pra. p. 210. ll.lC-1:2. abhavastu pc.takaya yatha nmlavikadi~ul I
RS. III. 27. p .. 215. Patakayastvavasthanal!l kvacidasti na va kvaci t/
NC. p. 29. atr·arigaka lpana karya-phalagama-sariagamat/
Cf. supra. Artha prak~ti. /
RB. Abhi,. saku. (Ed. Godbole) p. 115, p. 168.
~ . RB. Abhi-saku (Ed. Godbole) p. 168.
130
30 the Praptyasa and Bindu.
I
In connection of the Vimarsa-sandhi of the said drama,
. I •
he says th;.t here it is Vimarsa-sandhi, as the Bija, occuring in the due ;Jlace 31
of the Prakarf is connected 1 ith the Niyatapti. DhurJ«:fi in his commentary of the
Mu. ra. connects all the Arthaprakrtis 1ith the respective Avasthas aad ~andhis
and in this respect he follov:s the RS.
~
The NS. represents a tradition, developed through centuries. It does not
seer.t to betray any predilection towards the vie\liS tho.t connect the !,and his either
\vith the Avasthas or hith the Avasthas and Arthaprakrtis both. Practically spea-• ,
king, none of the above terms have been defined in the N!:>. Later authorities de-
fined them in their own v.ay and different views evolved1 as have already been dis
' cussed. From their treatment in the N!:J., it appears that the Avast has may corre&-
pond to the Sandhis, though no hard and fast rule can be formulated. 1he Artha-
prakrtis are quite different things and all of them cannot reasonably ~..e compre
hended to coexist with either the respe(~ti ve Avast has or !,andhis. 1 his seems to
be the most ancient view t\hich has been reproduced by Sgn.
As the number of members of these three groups is five, a tendency deve-
~
loped from an early age to estaLlish a mutual relation among them. Sdt., as has
been sho\~n. records the view of Kohala regarding the position of the Pataka in the
Garbha-sandhi. It has also teen shown that according to the preceptor of Ag. each
Sandhi rests on the corresponding Avastha. r.Jg., as discussed above, in his treat
ment of the first three Sandhis gives <:rucial position to the Bija, Lindu and
Pataka respectively~ These three Arthaprakrtis are not taken there exactly in the I
same sense in which they are u~ed in the NS., at least as interpreted Ly Ag., ~gn.
and others. Some other authority perhaps, drew inspiration from Kohala and Mg.
------------------------------------------------------------------------------------30. Ma. ag. p. 60. ·
31. Ma. ag. p. 98.
131
and also being tempted by the word 'yathavidhi • in • arthaprak~taya~ panca jnatvi
yojyi yathavidbi' of the NS. (GOS. XIX. 10), took the Artbap~kftis also te eccur I
in a drama in the very order in which they a:re found to be enumerated h tile 1'6.
A tendency naturally developed to correlate the members of these three groups of
five. The final result of this tendency is found in the doctrine that eaclt Sandhi
rests on the corresponding Avastha and Arthaprakrti. Dhananjaya, so far as the •
available texts are concerned, is the earlielst exponent of this theory. lut fr011
the criticism of Ag., as discussed above, it appears that the theory is 11ucll aore I .
older. Dbananjaya and Sdt., however, could :not give the theory of mechanical per-
' fection which work was completed by Singabhupila. Commentators mostly followed
this absurd mechanical theory of correlatio·n simply out of loyalty to the tbeo-
rists who preceeded them.
E. Anusandbi. -I
The NS. says that the Pataka (vyapi··prasangika-v~tta) may contais one or
more Sandhi or Sandhis, but as tbey are subservient to the interest of the maia, 1
they are called Anusandhis. Ag. informs us that Lollata and others favour an ana-. 2
lysis of tbe portions of the plot dealing with the Pataki-niyaka, into A1usandhis.
Ag. rejects the idea of taking tbe Anusandhis into account, because the Patika
itself serves the interests of the main hero. Moreover, if a Pataki is to •e fully
treated with, then it should be provided with another Pataka, thus giving rise to 3
the 'anavastha-dosa'. In principle, however, Ag. accepts that the Pataki-vrtta · . . may contain sandhi or sandhis, as any and every episode may contain five Avastbis
on which the Sandhis are based, but he finds no necessity of enumerating them as
" they are all for the main plot.
---------i------------------------------··--------------------------------------------1. NS. GOS. XIX. 28.
