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Concerning the Dasarupa of Dhananjaya – Part Eight

Continued from Part Seven

Dasarupa of Dhananjaya

Book Four

Rasa and Bhava

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Introduction

The Book Four of the Dasarupa is devoted to the discussion on Rasa. Here, Dhananjaya broadly follows the concepts and definitions as provided in the Natyashastra, except in minor details such as where he creates additional divisions in the Srngara, Adbhuta and Bhibhatsa Rasas.

The Fourth Book on Rasa (Rasadhyaya), in its 87 verses, describes, in fair detail, the eight types of Rasas; the Bhavas along with their causes (Vibhāva), manifestations (Anubhāva), their transitory states (Vyabhicāri-bhāva) and the involuntary reactions (Sāttvika-bhāva),  all combining effectively to picturesquely  portray  and give expression to the intended dominant Bhava (Sthāyi-bhāva).  Dhananjaya accepts the eight Sthāyi-bhāvas and the eight Rasas described by Bharata; though he does not catalogue the Rasas.  Of the eight Rasas enumerated by Bharata, Dhananjaya discusses the Srngara Rasa and its subdivisions in much detail. The Hasya Rasa is described in two passages; while the rest are covered in one verse each.

Dhananjaya also discusses the definitions, the details, the divisions and sub-divisions of the various elements of each of the Bhavas that harmoniously unite in order to give expression to the principal emotion (Sthayin) that the performer is attempting to project. And, the resultant (Rasavant) delectable joy (Rasa) is experienced with relish by the cultured aesthete (Rasika).

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Dhananjaya commences his exposition by stating that Rasa, a pleasurable sensation, is produced by the combination of the various the elements of the Bhavas, when it’s dominant mood or sentiment (Sthayin) harmonizes within itself its cause (Vibhava), its consequents (Anubhava), the associated transitory states (Vyabhicharin) stirring up varied sorts of involuntary bodily reactions (Sattavika).

Vibhavair anubhavais ca sattvikair vyabhicaribhih aniyamanah svadyatvam sthayi bhavo rasah smrtah//

Then, Dhananjaya straightaway proceeds to define and explain various technical terms involved in the process of bringing about (Bhavitam) the Bhavas in order to convey (abhi-vyākhyātā) it’s Rasa.  It is said; these sections were meant to serve as a prelude or an introduction to the ensuing discussions elucidating the principles and practices that are related to the subject of Rasa. After this section, Dhananjaya moves on to the descriptions of Rasas and their subdivisions.

But, in this post let’s commence with Rasa and Bhava; and, then take a look at the subdivisions of each of the elements, as enumerated by Dhananjaya; and, at the end let’s come back to Rasa.

Let’s briefly go over the concepts related to Bhavas and Rasa, as described in the Natyashastra and as presented in the Dasarupa.

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Rasa

In the Sixth Chapter of Natyashastra , Bharata, introduces the subject of Rasa after discussing the five kinds of the Dhruva songs that are sung during the course of a play  i.e.,  while entering (praveśa), casual (ākepa), going out (niskrama), pleasing (prāsādika) and intermediate (āntara).

He then remarks, “No sense proceeds without Rasa – Na hi rasadrte kascid-arthah pravartate.” He was implying that the entire object of a well rendered Dramatic performances, poetry, music or art is to provide delight, which is enjoyed by the spectator (Rasika). And, without providing that experience of beauty, anything said or done is a futile exercise.  And, that gratification of pleasure or delight is called Rasa. Such a wonder (Camatkara) and rare delight (lokottara-ananda), which we love to enjoy, is indeed the essence and also the purpose of any work of art.

Bharata had introduced the concept of Rasa in the context of Drama. He meant Rasa as an aesthetic appreciation or joy that the spectator experiences.  As Bharata says, Rasa should be relished as an emotional or intellectual experience: na rasanāvyāpāra āsvādanam, api tu mānasa eva (NS.6.31) .The yashāstra states that the goal of any art form is to invoke such Rasa.

Bharata does not, however, put forward any theories about the Rasa concept. He does not also give a direct definition of Rasa or its essence. But, he straight away delves into explanations of how a well structured combination of certain objective factors produce subjective reactions in the spectators.

He comes up with the statement that Rasa is produced (rasa nispattih) by the combination (samyogād) of the VibhāvaAnubhāva and Sanchari (Vyabhicāri) Bhāvas. : Vibhāva anubhāva vyabbhicāri samyogāt rasa nispattih. This statement later, gained fame as the Rasa Sutra, the formula to invoke Rasa.

Here, briefly, the term Vibhāva represents the causes, while Anubhāva is the manifestation or the performance of its effect as communicated through the abhinaya, and the vyabbhicāri Bhava, the transitory states.

Then, while explaining the concept of Rasa, Bharata attempts to illustrate it through an analogy.  Bharata poses the question: What is an example, one may ask? In reply, he describes Rasa in terms of taste, with the analogy of cooking a tasty meal. He states, just as the taste emerges from the mixing of various seasonings, herbs and other components, so also does the Rasa emerges from a combination of the various Bhāvas. As the six tastes (shad-rasa) are produced by ingredients such as, raw sugar or spices or vegetables, so also the Sthāyibhāva, the dominant mood, combining in itself the other Bhavas, puts forth its characteristic Rasa. Bharata, eventually, says that which can be relished – like the taste of food – is Rasa –Rasyate anena iti rasaha (asvadayatva).  Thus, Rasa is an experience which is relished.

The Natyashastra does not directly equate Rasa to taste. It merely, employs the taste as analogy or a parallel to explain the process involved in the generation of Rasa, since it had no precise definitions for the essence of Rasa.That might be because, Rasa is a subjective experience; and , it can only be enjoyed experientially. It can , at best, only be obliquely suggested through explanations.

Tatra vibhāvā-anubhāva-vyabhicāri-sayogād-rasa-nipatti ko dṛṣṭānta atrāha – yathā hi, nānā-vyañjana-uadhi-dravya-sayogād-rasanipatti tathā, nānā-bhāvo-pagamād-rasa-nipatti yathā hi -guādi-bhirdravyair-vyañjanair-auadhibhiśca āavādayo rasā, nirvartyante, tathā nānā-bhāvopagatā api sthāyino bhāvā rasatvamā-apnuvantīti atrāha – rasa iti ka padārtha ucyate – āsvādyatvāt

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The next question that arises is, how is Rasa relished? The reply is — just as well-disposed persons, while eating food cooked with many kinds of spices , relish (āsvādayanti)  its tastes and derive pleasure, similarly the cultured spectators with refined outlook relish and derive pleasure from the Sthāyibhāva  expressed through various Bhavas aided by words, gestures and other pleasant feelings (Sattva) .

How is rasa produced?

The terms Samyoga and Nispatti, which occur in the Rasa Sutra, are at the centre of all discussions concerning Rasa. Bharata used the term Samyoga in his Rasa sutra (tatra vibhāvā-anubhāva vyabhicāri sayogād rasa nipatti), to point out the need to combine these Bhavas properly. It is explained; what is meant here is not the combination of the Bhavas among themselves; but, it is their alignment with the Sthayibhava, the dominant emotion at that juncture. It is only when the Vibhava (cause or Hetu), Anubhava (manifestation or expressionand Sancharibhava (transitory moods) as also the Sattvas (reflexes)   meaningfully unite with the Sthayibhava, that the right, pleasurable, Rasa is projected (Rasapurna). 

[Bharata omitted to mention Sthayin, the dominant Bhava, in his Rasa-sutra. But, he asserted that only the Sthayins attain the state of Rasa. He made a distinction between Rasa and Sthayin. And in the discussion on the Sthayins, Bharata elaborated how these durable mental states attain Rasatva. He discussed eight Rasas and eight Sthayins separately in his text.]

The Sthayi bhava and Sanchari bhava cannot be realized without a credible cause i.e., Vibhava, and its due representations i.e., Anubhava. The Vibhavas and Anubhavas as also the Sattva, on their own, have no relevance unless they are properly combined with the dominant Sthayibhava and the transient Sanchari bhava. The analogy that is given in this context is that spices, sugar etc., are not related to each other. But, when they are properly mixed and cooked with the main dish, they combine well and give forth a delicious flavour.

That is to say; undoubtedly the partaking or savouring of Rasa gives pleasure; but, such pleasure is not derived directly. It is only when the Sthayi bhava combines all the other related Bhavas  (Vibhavair anubhavais ca sattvikair vyabhicaribhih) and transforms them through natural Abhinaya that the Rasa is eventually produced, gladdening the hearts of the spectators.   Bharata uses the term Nispatthi (rendering) for realization of the Rasa in the heart and mind (manas) of the Sahardya.

Vibhavair anubhavais ca sattvikair vyabhicaribhih aniyamanah svadyatvam sthayi bhavo rasah smrtah//

Dhananjaya also defines Rasa in exactly the same words as Bharata did. And, in addition, he explains Rasa as the pleasure (svada) given forth (prakhyatam)  by the Sthayi Bhava, which is produced from a poem having elements (padartha) in the form of (svarupa) moonlight (indu) , disinterest (nirveda) , excitement (romacha) etc., which serve as  Vibhava (cause), Sanchari (transitory mood) and  Anubhava (consequent expression).

Padarthair indu-nirveda-romancadi-svarupakaih kavyad vibhava-sarmcary anubhava prakhyatam gataih bhavitah svadate sthayi rasah sa parikirtitah

Bharata envisages absolute continuity of the artistic process, beginning with the creative experience of the artist through his performance or his poetry, to the aesthetic experience of the spectator or the reader.Along with that, he also explains the relationship between Rasa and Bhava.

He illustrates this process with the seed-tree-flower-fruit analogy (Bija-shakthi). Just as a tree grows from a seed and flowers and fruits, so also the emotional experiences (Rasa) are the source (root) of all the modes of expressions (bhava). The Bhavas, in turn, are transformed to Rasa.”(Natya-Shastra: 6-38)

yathā bījādbhavedvko vkātpupa phala yathā tathā mūla rasā sarve tebhyo bhāvā vyavasthitā 38

lotus-flower-and-bud

Bhava-s

As regards the Bhavas, Bharata explains they are called  Bhavas , because they effectively bring out the dominant sentiment of the play – that is the Sthāyibhāvā – with the aid of various supporting expressions , such as words (Vachika),  gestures (Angika), costumes (Aharya) and bodily reflexes (Sattva) – for the enjoyment of the good-hearted spectator (sumanasa prekakā) . Then it is called the Rasa of the scene (tasmān nāya rasā ity abhivyākhyātā).

It is also explained; they are called Bhavas because they happen (Bhavanti), they cause or bring about (Bhavitam); and, are felt (bhava-vanti). Bhava is the cause, the hetu; this and the other terms such as bhavitam, vasitam, krtam are synonyms. The term suggests the meaning of ‘to cause or to pervade’. The Bhavas help to bring about (Bhavayanti) the Rasas to the state of enjoyment. That is to say : the Bhavas manifest  or give expression  to the states of emotions – such as pain or pleasure- being experienced by the character – Sukha duhkha dikair bhavalr bhavas tad bhava bhavanam //4.5//

Thus, Bhava could be understood as a process through which the import or the inner idea of a dramatic situation is expressed and transformed, with the aid of four-fold Abhinaya,  into Natya-rasa for the delight of the discerning spectators.

Nānā bhāvā abhinaya vyañjitān vāg aga sattopetān / Sthāyibhāvān āsvādayanti sumanasa prekakā / harādīś cā adhigacchanti  tasmān nāya rasā ity abhivyākhyātā //6.31//

Thus, the eight Sthāyi-bhavās, thirty-three Vyabhicāri-bhāvās together with eight Sātvika-bhāvas, amount to forty-nine psychological states, excluding Vibhava   and Anubhava.

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In the context of the Drama and Poetry, the terms Vibhava, Anubhava, Sanchari, Sattvika and Sthayi are explained thus:

Vibhava

Vibhava, Vibhavah, Nimittam, and Hetu all are synonyms; they provide a cause to manifest the intent (vibhava-yante); and, the term Vibhavitam also stands for Vijnatam – to know vividly. The Vibhavas are said to be of two kinds: Alambana, the primary cause (kaarana) or the stimulant for the dominant emotion; and, Uddipana that which inflames and enhances the emotion caused by that stimulant.

jnayamanataya tatra vibhavo bhavaposakrt alambana-uddipanatva prabhedena sa ca dvidha.

Anubhava

Anu’ is that which follows; and, Anubhava is the representation, manifestation or the effect giving expression (bhava-sam-suchanatmakah) to the internal state (vikara) caused by the Vibhava. It is Anubhava because it makes the spectators feel (anubhavyate) or experience the effect of the acting (Abhinaya) brought forth by means of words, gestures, representations and the Sattva. Thus, the psychological states (Bhavas) combined with Vibhavas (cause) and  Anubhavas  (portrayal or manifestations) have been stated – Anubhavo vikaras tu bhava sam-sucanat-makah

Dhanika, the commentator, explains these Anubhavas as follows-:

These Bhavas are expressed by the performer with the help of speech (Vachika); gestures and actions (Angika), and costumes etc., (Aharya). The Āngika-abhinaya (facial expressions, gestures/movement of the limbs) is of great importance, particularly in the dance. There are two types of basic Abhinayas:  Padārtha-abhinaya (when the artist delineates each word of the lyrics with gestures and expressions); and, the Vākyārtha-abhinaya (where the dancer acts out an entire stanza or sentence). In either case, though the hands (hastha) play an important part, the Āngika-abhinaya involves other body-parts, as well, to express meaning of the lyrics, in full.

Here, the body is divided into three major parts – the Anga, Pratyanga and Upānga

The six Angās -: Siras (head); Hasta (hand); Vakshas (chest); Pārshva (sides); Kati-tata (hips); and, Pāda (foot). Some consider Grivā (neck) to be the seventh

2) The six Pratyangās -: Skandha (shoulders);  Bāhu (arms);  Prusta  (back); Udara (stomach); Uru (thighs); Janghā (shanks).Some consider Manibandha   (wrist);  Kurpara (elbows) ; and, Jānu (knees) also as  Pratyanga

3) The twelve Upāngās or minor parts of the head or face which are important for facial expression.-: Druṣṭi (eyes) ; Bhrū (eye-brows);  Puta (pupil); Kapota (cheek); Nāsikā (nose); Adhara (lower-lip); Ostya (upper lip); Danta (teeth); Jihva (tongue) etc.

bhava

Source : Laws practice Sanskrit drama by Prof. S N Shastri

 

Vybhichari bhava 

Vybhichari-bhava or Sanchari-Bhavas are the complimentary or transitory psychological states. Bharata mentions as many as thirty-three transitory psychological states that accompany the Sthayi Bhava, the dominant Bhava, which causes Rasa.

Dhananjaya explains that the transitory states (vyabhicharin) are those that especially accompany the Permanent State (Sthayin) emerging from it and again receding back into it, like the waves in the ocean.

visesad abhimukhyena caranto vyabhicarinah sthayiny unmagna-nirmagnah kallola iva varidhau

The Sanchari-bhavas or Vybhichari-bhavas are enumerated as thirty in numbers; but, there is scope a few more. They are Nirveda (indifference); Glani (weakness or confusion); Shanka (apprehension or doubt) ; Asuya (envy or jealousy);  Mada  (haughtiness, pride); Shrama  (fatigue); Alasya (tiredness or indolence),  Dainya  (meek, submissive); Chinta (worry, anxiety); Moha (excessive attachment, delusion); Smriti (awareness, recollection); Dhrti (steadfast); Vrida (shame); Chapalata (Greed , inconsistency); Harsha (joy); Avega (thoughtless response, flurry); Garva (arrogance, haughtiness); Jadata (stupor, inaction); Vishada (sorrow, despair);  Autsuka   (longing); Nidra (sleepiness); Apsamra (Epilepsy); Supta (dreaming); Vibodh (awakening); Amasara (indignation); Avahitta(dissimulation);  Ugrata (ferocity); Mati (resolve); Vyadhi (sickness); Unmada (insanity); Marana (death); Trasa (terror); and, Vitarka (trepidation)

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Thus, Vibhāva indicates the cause, while Anubhāva is the performance of the bhāva as communicated through the Abhinaya. The more important Vibhāva and Anubhāva are those that invoke the Sthāyi bhāva, or the principle emotion at the moment. Thus, the Rasa-sutra states that the Vibhāva, Anubhāva, and Vyabhicāri bhāva together produce Rasa.

A complete understanding of the Vibhava (Hetu, cause) and Anubhava (karya, effect) can be had only experience of dealing (vyavahara-atah) with them – Hetu-karyat-manoh siddhis tayoh sam-vyavahara-atah

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Sattvika Bhavas 

The Sattvika Bhavas are reflex actions or involuntary bodily reactions to strong feelings or agitations that take place in one’s mind. Sattvas are of eight kinds.

The Eight Sattivika-bhavas are; Stambhana (stunned into inaction);  Sveda (sweating);  Romancha (hair-standing on end in excitement); Svara-bheda (change of the voice or breaking of the voice); Vepathu (trembling); Vairarnya (change of colour, pallor); Ashru (shedding tears); and, Pralaya  (fainting) . These do help to enhance the effect of the intended expression or state of mind (Bhava). 

stambha svedo’tha romāñca svarabhedo’tha vepathu vaivaryam-aśru pralaya ityaṣṭau sātvikā sm 6.22

Dhananjaya explains the Sattvika Bhavas, the involuntary states (bhava sattvika = sattva- bhava) though they also are the effects, they are altogether separate from the other Bhavas, because they arise by themselves as the reflex actions or reactions to the emotional state of the person.

prthag bhava bhavanty anye anubhavatve api sattvikah sattvad eva samutpattes tac ca tadbhavabhavanam

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Sthayi Bhavas

The Sthayi Bhavas, the dominant Bhavas, which are most commonly found in all humans, are said to be eight. Bharata lists these eight  Sthayibhavas  as:  Rati (love); Hasaa (mirth); Shoka (grief);  Krodha  (anger); Utsaha (enthusiasm or exuberance); Bhaya  (fear);  Jigupsa  (disgust)   ; and Vismaya (astonishment ).

rati-hāsaśca śokaśca krodho-utsāhau bhaya tathā jugupsā vismayaśceti sthāyibhāvā prakīrtitā  6. 17

Dhananjaya deviates from Bharata in defining Sthayibhava. In his view Sthayin (a permanent state), the source of delight, is one which is not interfered with by other psychological states whether consistent with it or inconsistent, but which brings the others into harmony with itself.

viruddhair aviruddhair va bhavair vicchidyate na yah atmabhavam nayaty anyan sa sthayi lavanakarah

Dhananjaya also lists Rati (Love); Uthsasa (exuberance); Jigupsa (disgust) ;Krodha (anger); Haasa (mirth); Vismaya (astonishment) ; Bhaya (fear) ; and, Shoka (sorrow) as the eight permanent states (Sthayi Bhavas)-Rati-utsaha-jugupsah-krodho-hasah-smayo-bhayam-sokah

And then he adds a line saying that some authorities include in this list Sama or Shanata (tranquillity); but, it cannot be developed in the Drama- Samam api ke cit prahuh pustir natyesu naitasya

Explaining the importance of Sthayi Bhava, Dhananjaya states that just as a  verb (Kriya)  when combined with a noun (Karaka)  is an essential part of a sentence, so also Sthayi Bhava, combined with other Bhavas, is indeed the essence of the play.

Vacya prakaranadibhyo buddhistha va yatha kriya vakyarthah karakair yukta sthSyi bhavas tathetaraih

The same idea is vividly expressed in the Natyashastra (7.8). Just as the king is superior to other mortals; and just as the Guru is superior to the students, so also the Sthayi, which is the shelter of others,  is superior to all other Bhavas in this world.

yatha naranatn nrpatih, sisyanam ca yaths guruh, evam hi sarvabhuvanam bhavah sthiyi mahan iha

Dhananjaya further explains: this very Sthayin becomes Rasa as the spectator (Rasika) views and absorbs it – rasah sa eva svadyatvad rasikasyaiva vartanat.

And, each of these Sthayibhavas gives rise to a RasaRati  to Srngara Rasa; Haasa – Hasya; ShokhaKaruna; KrodhaRaudra ; Utsaha – Vira; Bhaya– Bhayanaka; Jigupsa  – Bhibhatsa; and, Vismaya Adbhuta. Thus, the eight Sthāyi-bhāvas closely correspond to the eight Rasas.

śṛṅgāra-hāsya-karuṇā-raudra-vīra-bhayānakāḥ।bībhatsā-adbhuta saṃjñau cetyaṣṭau nāṭye rasāḥ smṛtāḥ ॥ 6.15

Dhananjaya remarks that responsive spectators, fired by enthusiasm and imagination, contribute to the success of the play in the manner of ‘children playing with clay elephants ‘. ” When children play with clay-elephants, etc., the source of their joy is their own utsaha (enthusiasm). The same is true of spectators watching and almost sharing the heroic deeds of characters, say like, Arjuna and other heroes on the stage.”

Kridatam mrnrnayair yadvad balanam dviradadibhih / svotsahah svadate tadvac chrotrnam Arjunadibhih.

The Sthayins are transformed into Rasa. And, it is called Rasa when their Vibhava, Anubhava and Vyabhicarins combine harmoniously with the Sthayin.  And, the Rasa is enjoyed by the spectators, who are cultured and aesthete. Such Rasa is not manufactured from concrete objects. But, it is the bliss of one’s own consciousness. In the enjoyment of the Rasa, both the subject (the spectator) and the object (Vibhava, Anubhava etc.,) are generalized (sadharanikarana). Our aesthetic identification (tanmayībhavana) with the character is a generalized experience (sadharanikarana), freed from the individual’s own identifications. And, in their universalised form, the Rasas evoked, are beyond the limitations of time and place disappear.

That is to say; while enjoying the aesthetic experience, the mind of the spectator is liberated from the obstacles caused by the ego and other disturbances. Thus transported from the limited to the realm of the general and universal, the spectators are capable of experiencing Nirvada, or blissfulness. In such aesthetic process, they are transported to a trans-personal level. This is a process of de-individual or universalization – the Sadharanikarana.

lotus-flower-and-bud

In regard to the Rasas, Bharata, initially, names four Rasas (Srngara, Raudra, Vira and Bhibhatsa) as primary; and, the other four as being dependent upon them. That is to say ; the primary Rasas, which represent the dominant mental states of humans, are the cause or the source for the production of the other four Rasas.

Bharata had explained that Hasya (mirth) arises from Srngara (delightful); Karuna (pathos) from Raudra (furious); Adbhuta (wonder or marvel) from the Vira (heroic); and, Bhayanaka (fearsome or terrible) from Bhibhatsa (odious).

śṛṅgārādhi bhaved hāsyo raudrā cca karuo rasa vīrā ccaivā adbhuto utpattir bībhatsā cca bhayānaka  6.39

Bharata , however, does not offer  theoretical explanations to say why he chose to highlight this particular set of eight Rasas. It likely that he was following a tradition that he inherited from his predecessors. Some scholars have , however, tried to explain Bhara’s scheme as representations of the basic instincts, tendencies  or genetic memories (Vasana) inherent in all human beings, as Sthayi-bhavas or Chitta vrttis

The other explanation is that Bharata’s scheme reflects the basic instinct in all living beings, which  is to seek pleasure and to move away from pain. The instincts of pleasure , in short, could be identified as the need for Love, laughter, enthusiasm, vigour  and amazement . And, one is , ordinarily, repelled by rather painful and tense emotions , such as anger, disgust, sorrow and fear.  These instincts and their related responses seem to be embedded in the consciousness of all beings.

And, when this reality of the inner working of the human experiences is organized systematically following a  design or a scheme of the Bhava -Rasas,  and presented through the medium of the technically perfect  Abhinaya of the stimuli (cause), responses ( effects) and the complimentary transitory states , the performance comes alive reaching forth to the minds and hearts of the spectators.

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Dhananjaya, in his Dasarupa, followed the concepts and definitions provided by Bharata in the Natyashastra, with regard to the Bhavas, such as: the cause (Vibhava); consequents (Anubhava); and the transitory states (Vyabhicharibhava). He also agrees that the Rasa is produced through the integration of these Bhavas into the Sthayibhava.

Further, Dhananjaya accepts the four primary Rasas that Bharata identified i.e. śṛṅgāra (erotic); raudra (furious); vīra (heroic); and bibhatsa (odious). He also accepts the four other Rasas as being dependent on them. That is to say; the primary Rasas, which represent the dominant mental states of humans, are the cause or the source for the production of the other four Rasas.

According to Dhananjaya, as the Sthayin and other Bhavas pervade the mind of the spectator, the innate joy in him (atmananda) manifests as the Svada or the aesthetic enjoyment. And again, Dhananjaya says, the same kinds of charm (Svada) are also related to Hasya, Adbhuta, Bhayanaka and Karuna Rasas.

And therefore, Dhananjaya concludes that it could be said the four (Hasya, Adbhuta, Bhayanaka and Karuna) arise from the other four (Srngara, Vira, Bhibhatsa and Raudra) Rasas, respectively

Thus, Dhananjaya recognizes the eight forms of Rasas that Bharata had mentioned; but, he does not enumerate them again.  He merely sums up saying that the charm (Svada) in a poetic composition (Kavya), which one enjoys greatly (atmananda) is of four kinds (caturvidhah).  These give rise in the mind of the reader: Vikasa (cheerfulness); Vistara (exaltation); Kshoba (agitation); and, Vikshepa (perturbation). These four, in turn, are related to Srngara, Vira, Bhibhatsa and Raudra Rasas, respectively (kramat).

svadah kavyartha-sambhedad atmananda-samudbhavah vikasa-vistara-ksobha-viksepaih sa caturvidhah srhgara-vira-bibhatsa-raudresu manasah kramat – hasya-adbhuta-bhaya-utkarsa – karunanam ta eva hi atas tajjanyata tesam ata eva va adharanam.

krishnaradha-3

The Eight Rasas

As mentioned earlier, Dhananjaya discusses the Srngara rasa in fair detail;  and the rest in a comparatively brief manner.

Srngara rasa

Love (Rati) is essentially the delight marked by desire for lovely places, arts, occasions, garments, pleasures, and the like. That feeling on the part of two young persons, smitten with love, immersed in its sheer joy, when it is   manifested by tender gestures, constitutes the Srngara.

Ramya-desa-kala-kalavesa-bhogadi-sevanaih pramodatma ratih saiva yunor anyonya-raktayoh prahrsyamana srngaro madhura-anga-vicestitaih

However, the natures and functions of the Srngara Rasa are explained differently, by Bharata and Dhanañjaya. For instance; Bharata had said that the states like indolence (ālasya), cruelty (craurya) and disgust (jigupsā) are not applicable (bhāvaistu varjitā) to the erotic (śṛṅgāra) Rasa (NŚ.7.109).  But, Dhanañjaya mentions that though the states like indolence (ālasya), cruelty (ugrata), death (maraa) and disgust (jigupsā) are not independently applicable to the śṛṅgāra; yet, they are related to it indirectly, in one way or the other.

Referring to these tendencies of Alasya etc., Dhananjaya says that with skilful management of the eight Sattivika-bhavas, eight Sthayins and thirty-three Sancharins (a total of forty-nine states), these can be brought out in the Srangara rasa also.

Ye sattvajah sthayina eva castau triansat trayo ye vyabhicarinas ca, ekonapanc?§ad ami hi bhava yuktya nibaddhah pariposayanti alasyam augryam maranam jugupsa tasyasrayadvaitaviruddham istam.

Bharata had divided the Sṛṅgāra-rasa into two categories, i.e. Sambhoga (union) and vipralambha (separation). But, Dhanañjaya classifies the Srngara-rasa under three types, i.e. pain of separation before the union(Ayoga), separation after the union (Viprayoga) and union (Sambhoga)- Ayogo viprayogas ca sambhogas ceti sa tridha.

Of these three, Dhananjaya explains the Ayoga as the pain or the suffering that the lovers have to endure when they realize that there is hardly any prospect of being united, because of the intervention of others or by fate. 

tatrayogo ‘nurage ‘pi navayor ekacittayoh paratantryena daivad va viprakarsad asarrigamah

Viprayoga, is the forcible separation or asunder of the lovers, between whom a close intimacy has developed – Viprayogas tu visleso rudha-visram-ubhayor.

And, Sambhoga, the union, is that blissful state when the two playful lovers, in complete agreement come together, enjoy seeing each other, touching each other, and the like

anukulau nisevete yatranyonyam vilasinau darsanasparsanadini sa sambhogo mudanvitah

Under this section, Dhananjaya lists the subdivisions of the Ayoga, Viprayoga and Sambhoga.

: – The Ayoga, the separation, has ten stages. At first, there occurs in it longing (abhilasa); then anxiety (cintana); recollection (smrti); enumeration of the loved one’s merits (gunakatha); distress (udvega); raving (pralapa); insanity (unmada); fever (samjvara); stupor (jadata); and death (marana) .  These are its unfortunate stages, in due order. Then Dhananjaya gives the explanations for each of these ten stages of Ayoga.

: – The Viprayoga, the other kind of separation, is of two varieties: one brought about by resentment; and, the other by absence of the Lover.

The resentment between the two can take place because of fondness, when the lovers determine to be angry with each other. And, resentment can also take place because of jealousy, when the Lady Love is angry as she finds out that her lover is involved with another woman. Dhananjaya lists three possibilities for arousal of jealousy.

As regards the separation caused by the absence of the Lover, it could be because he is travelling (pravasa) on business; or because of misunderstanding or a curse. In such a case there is weeping, sighing, emaciation, letting the hair hang down, and the like.

: – The Sambhoga is the most delightful union of the lovers.It is said; although the two can create countless ways of enjoyment , those modes can be classified according to their degree. For instance ; (1) Sankshipta or brief: when the lovers meet at the end of purva-raga the mode of enjoyment is brief and tinged with initial reserve; (2) Sankirna or mixed: when they meet to reconcile their differences , it is an amalgam of sorrow, regret , great oy and immense  relief; (3) Sampurna or rich or full: when the lovers come together after being seperated for some time or being apart in distant places; and (4) Samruddha or exuberant : it is the joy when the come together after going through harrowing experiences or when when the lover returns safe and sound from a hard fought battle. All such pleasures are real (murta) as compared to the ones in dreams or in imagination (gauna-somboga).

Dhananjaya describes ten playful (Lila) and other actions of the Lady Love, according to her kindness, gentleness, and devotion to her lover.

**

Vira Rasa

The Vira Rasa is induced by  power (pratapa), good conduct (vinaya), determination (dhyavasaya), courage, (sattva) infatuation (moha), cheerfulness (avisada), polity (naya), astonishment (vismaya), might (vikrama), and the like (as Vibhava, the cause), and is based on the Sthayi Bhava of  enthusiasm (Uthsaha).

Vira, the heroic Rasa is of three kinds, having benevolence, fighting, or liberality – Daya-ranad-anayogat tredha kilatra (as Anubhava). In it, there occur assurance, arrogance, contentment, and Joy (as Sanchari Bhava) – mati garva-dhrti-praharsah.

Virah pratapa-vinaya-dhyavasaya – sattva –moha-avisada-naya-vismaya-vikrama-dyaih  utsaha – bhuh sa ca daya –rana-danayogat tredha kilatra mati garva-dhrti-praharsah.

The Vira is broadly classified into four types : (1) Dana-vira ( generosity in giving away or bequeathing   gifts) ; (2) Daya -vira ( having boundless compassion to other beings); (3) Yuddha – vira (heroism or valour in the battle) ; and, (4) Dharma -vira (righteousness  and adherence to Dharma  and truthfulness (Satya)  , or  fulfilling ones word or promise , even while under great stress ).

But, this fourfold classification is considered rather arbitrary ; and, it can be extended to any number, to include Kshama ( forgiveness) , Prema (love ), Dhrti   ( courage) , Mati (reasoning ) and such other virtues.

**

Bibhatsa

The Bibhatsa Rasa, the odious, has the Sthayi Bhava of disgust (jugupsa) as its sole basis; it causes distress (udvega) chiefly by means of worms, stinking matter, and nausea. it causes horror by means of blood, entrails, bones, marrow, flesh, and the like. And, it causes unmixed aversion in the case of the hips, breasts, and so forth of women. It is accompanied by contraction of the nose, mouth, and so on as Anubhava. In it there occur agitation, sickness, apprehension, and the like (as Sanchari Bhava).

bibhatsah krmi-putigandhi-vamath-uprayair jugupsaikabhur udvega rudhira-antraki-kasavasa –mamsa-dibhih ksobhanah vairagyaj jaghana-stana-disu ghrna-suddho anubhavair vrto nasavaktra-vikunanadibhir ihavega -rtisank-adayah

According to Dhananjaya , Bibhatsa could be of three kinds : Kshobana (related to blood, intestines,marrow and such other ghastly substances); Udvegi (related to loathsome , repulsive scenes, putrid sights) ; and, Ghrna-suddha  (disgust, revulsion caused by anything ugly and horrific).

**

Raudra

The Sthayi Bhava of Anger (krodha) is caused by feelings such as: indignation and aversion to an enemy (as Vibhava); its Alambana is is the unforgivable wrong or treachery ; its Uddipana is the arrogance of the wrong-doer .  And , the resulting development of it is the Furious Raudra Rasa, a state of agitation accompanied by biting one’s lip, trembling, frowning, sweating, redness of the face, and also by drawing of weapons, holding the shoulders boastfully, striking the earth, vowing, and imprisonment (as Anubhava). In it , there occur the Sanchari Bhavas , such as: indignation, intoxication, recollection, inconstancy, envy, cruelty, agitation, and the like.

krodho matsara-  vairi-vaikrta-mayaih poso asya raudro anujah ksobhah svadharadamsa-kampa-bhrukuti-sveda-syarlgair yutah sastrollasa-  vikatthanamsadharanlghatapratijnagrahair atrama-rsamadau smrtis capala-tasuyaugrya-vegadayah   

   **

Hasya rasa

Mirth (haasa) is caused by one’s own  or another’s  strange actions, words, or attire; the development of this is said to be the Hasya rasa, which is of threefold origin.

vikrtakrtivagvesair atmano ‘tha parasya va hasah syat pariposo ‘sya hasyas triprakrtih smrtah

Mirth is of two kinds, since it may be provoked by some characteristic of the person amused (atmasta) or of another person (paratha) ; in either case , the mirthful individual may be one of the higher, middling, or lower characters in the play (hence the ‘threefold origin’ mentioned in the text). There are consequently six possible varieties of the Hasya Rasa.

The Sanchari Bhavas related to Hasya rasa are sleeping, indolence, weariness, weakness, and stupor –nidra –alasya-sramaglani-murchas ca sahacarinah.

In this connection, different kinds of smiles and laughter are described.

A gentle smile (smita) is opening the eyes wide; a smile (hasita) is showing the teeth to some extent; laughing (vihasita) is making a soft sound; laughter (upahasita) is the same, accompanied by shaking of the head; uproarious laughter (apahasita) is laughter accompanied by tears; and convulsive laughter (atlhasita—atihasita) is laughter with shaking of the body. Two of these varieties of laughter are characteristic of the higher; two of the middling; and, two of the lower characters, in the order named.

smitam iha vikasi-nayanam kirn cil laksya-dvijam tu hasitam syat madhura-svaram vihasitam sasirah-kampam idam upahasitam

apahasitarn sasraksarn vikasiptangam bhavaty atihasitam dve dve hasite caisam jyesthe madhye ‘dhame kraraasah.

**

Adbhuta

The Adbhuta rasa whose essence is the Sthayi Bhava of Vismaya (astonishment) is  the marvel , wonder and joy caused by supernatural things (as Vibhavas) ; it has as its result (karma) [i. e. As Anubhava] exclamations of surprise, weeping, trembling, sweating, and stammering; the Sanchari Bhavas , occurring in connection with it,  are generally joy, agitation, and contentment.

Atilokaih padarthaih syad vismayatma raso adbhutah karmasya sadhu-vad asru-vepathusveda-gadgadah harsa-avega-dhrtipraya bhavanti vyabhicarinah

**

Bhayanaka

The Bhayanaka, with fear, (bhaya) as its [Sthayi Bhava results  from change of voice, loss of courage, and the like (as Vibhava) ; it is characterized by trembling of all the limbs, sweating, being parched, and fainting [as Anubhava] ; its associated transitory states, the Sanchari Bhavas are:  depression, agitation, distraction, fright, and the like.

Vikrta-svara-sattvader bhaya-bhavo bhayanakah sarvanga-vepa-thus vedasosa-vaicittya-laksanah dainya –sambhrama-sammoha-trasadis tatsahodarah.

**

Karuna

The Karuna Rasa, the pathos, with the Sthayi Bhava of Sorrow (soka) as its essence, results from loss of something cherished ; or loss of a friend  or a dear one ; and when slapped with something undesired. In consequence of it there occur heaving of sighs, drawing of sighs, weeping, paralysis, lamentation, and the like (as Anubhava) ; the Sanchari Bhava , occurring in connection with it, are sleeping, epilepsy, depression, sickness, death, indolence, agitation, despair, stupor, insanity, anxiety, and so forth

istanliad anistapteh sokatma karuno anu tam nihsvas-ucchvasa-rudita- stambha     -pralapita-dayah sva-papa-smara-dainya-dhi-marana-alasya-sambhramah visada-jada-tonmada-cintadya -vyabhicarinah

Rasa according to Bharata

Shanta rasa

Bharata had not mentioned Shanta or Sama or Nirveda (tranquillity) as one among the eight Rasas. But, later, the commentators such as Abhinavagupta and Ānandavardhana have accepted the Shanta as a Rasa.

Dhananjaya also accepts the Sama as a Rasa (Sama-prakarsa, Shanta-rasa) , which arises from happiness and the like; and, it  is to be defined as a state having happiness (mudita) as its essential nature – samaprakarso nirvacyo muditades tadatmata. But, he does not discuss it in detail.

Dhanañjaya, however, remarks that though some have accepted the Sama (tranquillity) as an independent Rasa, it can be applied only in the poetry (Sravya kāvya); but, it cannot be developed in the drama (śamamapi kecitprāhu puṣṭir nāyeu na tasya –4.35).

In this respect, Dhananjaya differs from his predecessors like Ānandavardhana and Abhinavagupta. Jagannatha also believed that scenic art could inspire Shanta Rasa.

lotus-flower-and-bud

Conclusion

Dhananjaya concludes Book Four with a very well balanced comprehensive statement:

Whether one takes a subject that is delightful or disgusting; exalted or lowly; cruel or kindly; obscure  or adapted ; or whether one take a subject created by the imagination of a poet, there is no subject that cannot succeed in conveying the Rasa among mankind.

ramyam jugupsitam udaram athapi ntcam ugram prasadi gahanam vikrtam ca vastu yad va apya vastu kavi-bhavaka-bhavya-manam tan nasti yan na Rasabhavam upaiti loke

ashtalakshmi2 (1)

Sources and References

The Dasarupa a treatise on Hindu dramaturgy by George C. O. Haas, Columbia University press / 1912

 A Study of Abhinavabharati on Bharata’s Natyasastra and Avaloka on Dhananjaya’s Dasarupaka – by Manjul Gupta

Sahityadarpanah of Viswanathakavirajah

The Theory of the Samdhis and the Samdhyangas in Natya Shastra by T.G. Mainkar

Sanskrit Dramaturgy

http://shodhganga.inflibnet.ac.in/bitstream/10603/48454/21/21_chapter%2021.pdf

http://shodhganga.inflibnet.ac.in/handle/10603/106901

http://shodhganga.inflibnet.ac.in/bitstream/10603/122/18/09_chapter1.pdf

http://shodhganga.inflibnet.ac.in/bitstream/10603/22886/6/06_chapter%202.pdf

http://www.jstor.org/stable/25220898?seq=1#page_scan_tab_contents

http://shodhganga.inflibnet.ac.in/bitstream/10603/29228/11/11_chapter%202.pdf

All images are from Internet

 

                                                                                                                  

 

 
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Concerning the Dasarupa of Dhananjaya – Part Seven

Continued from Part Six

Dasarupa of Dhananjaya

BOOK THREE – continued

Dima, Vyayoga, Samavakara , Ihamrga and Utsrstikanka

Battle-of-Kurukshetra-Manuscript-Illustration

In the earlier parts we have discussed about the two major forms of Rupakas – Nataka and Prakarana – which assimilated into their own features many elements taken from the other forms; and, emerged as genre of authentic works of theatrical art.

Following that, we also talked about three other forms of Rupaka, which perhaps belonged to pre-classical times, viz., Bhana, Vithi and Prahasana, depicted in the eloquent Bharati Vritti and the pleasing Kaisiki Vrtti; and , having shades of Srngara , Hasya and Vira Rasas. These are, generally, characterized by their gentler (Sukumara) mode of presentation, which is closer to the popular theatre.

The remaining categories are shorter and more narrowly focused.  The Samavakara and Ihamrga, for instance, use fewer than five Acts; and, are exclusively about divine characters.  Furthermore, in the Ihamrga type of plays, the overwhelming concern and contest is for, somehow, winning a woman’s love.

The Vyayoga and Utsrstikanka are one-Act plays, depicting only the events that take place within the course of a single day.  The Anka or Utsrstikanka is soaked in tears, sorrow and lamentation of women over their men slain in the battle.

All these five types of plays also seem to be related to one other, in some ways. Abhinavagupta says that Vyayoga is a sort of an extension of the Dima, since both have certain similar features.  And, Ihamrga follows Samavakara, because like the latter, the characters in it are also divine beings. The Rupakas that follow Ihamrga, all have, in the main, male celestial characters.

The Samavakara, the Dima, the Ihamrga and the Vyayoga are very similar to each other. Bharata refers to the other two while describing each of this. Further, he treats the Ihamrga as similar to the Vyayoga; and, the Vyayoga as similar to Samavakara.

 Further, while all those types of Rupakas depict conflict, battle and violence, the Anka vividly demonstrates the dismay and the disastrous consequences that war and cruelty brings upon women in particular and the society , in general.

17_02_2018-17del112-c-2

In the present post, we shall, mainly, look at four kinds of plays – Dima, Vyayoga, Samavakara and Ihamrga – involving aggressive and violent actions; and, therefore classified as Aviddha (aggressive) types. And, in the end , we shall also touch upon the Anka.

According to Bharata: ‘the plays which require energetic, aggressive (Sattava-viddha) gestures (Angahara) and vigorous dance movements (Tandava), do involve such violent representations as: challenging, cutting, piercing, wounding and smashing etc. At times, the elements of magic, sorcery etc may also be introduced to heighten the effects of mystery, supernatural and revulsion. In order to provide a suitable setting for such dark actions, the props, the background (pusta), the costumes and make-up (Aharya) may also be devised and modified, as required.

The plays of the Aviddha type which are built around themes depicting duels, combats, fights etc., are, naturally, dominated by male characters that portray heroic gods or kings and their foes. Both the rivals need to be haughty and strong, as also be endowed with courage and vitality.  The heroes (Nayaka), usually, are the gods or noble humans; and, the anti-heroes (Prathi-nayaka) are the Asuras, Danavas and Rakshasas.   And, there are very few female characters in such action-oriented plays. Further, women do not get involved in the fights; although, the fight, in most cases, is about ’who gets her’.  But, in end, it is the women who have to bear and suffer the consequences of such hostility and violence.

The battles that were fought were usually  between gods and demons. And, the battle scenes occupied most of the Aviddha type of plays.

Another notable feature of the Aviddha type of plays is their style of presentation and dialogue-delivery (Vrtti), which, it could be said, is the blend of Sattavati and Arabhatti.

The Sattvati Vrtti is described as a rather flamboyant style of expressing ones agitated emotions with excessive body-movement; exuberant expressions of joy; and, underplaying mellow or sorrow moods.  It is associated with the ViraAdbhuta and Rauidra Rasas (vire sattvaty), where the contestants rise up to the conflict with excitement (Uttpatha) passionately hurling torrent of abuses and challenge at each other (Samlapaka) with contempt.

And, the battle proper was fought in the Arabhati-vrtti, which is described as a loud, rather noisy and energetic spectacular style. It is a powerful exhibition of one’s anger, valour, bordering on false-pride, by screaming, shouting, particularly, in tumultuous scenes with overwhelming tension, disturbance and violence. It is associated with Raudra (furious) and Bhibhatsa (odious) Rasas (arabhati punah rase raudre ca bibhatse). The Arabhati is also attended with feats of jugglery, conjunction and conflicting situations, where bodily actions are prominent.

  DFRMOHEPIYA1

***

Now, from the general characteristics of the Aviddha performances, let’s move on to their  particular varieties. And, let’s commence with the Dima.

6 The Dima

Dime vastu prasiddham syad vrttayah kaisikim vina / netaro deva gandharva yaksa rakso mahoragah / bhuta preta pisacadyah sodasa-tyantam uddhatah /  rasair ahasya-srngaraih sadbhir diptaih samanvitah / rnaye indrajala sarngrama krodho-dbhrantadi cestitaih / candra suryo-paragais ca nyayye raudra rase angini / caturahkas catuhsa rndhir  nirvimarso dimah smrtah

Tripurasura samharam

The Dima along with Samavakara, Ihamrga and Vyayoga belongs to the variety of the vigorous style of plays (action-oriented), which are connected with themes of battles. The Dima too involves causing injury (samghata). It is related to battles and violent actions , where the hero inflicts injury on his foes. Bharata refers to the episode of the  Burning of the Tripura (Tripura Dahana) – where Shiva as Tripurantaka burns down three cities – as being a suitable subject for a  Dima kind of play (idam Tripura ; tatas  Tripura) . The Dima, perhaps, belonged to an earlier stage in the development of the Sanskrit Drama.

The theme of the Dima is based (kāvyayoni) on any mythological event or a celebrated historical person. The hero is well-known; and, is noble. The story is complex. There are sixteen heroes and subsidiary heroes; and, they are shown at different stages of the play. The heroic Nayaka is the leading character in the play. But, such types as gods, serpent kings, angels, Yaksha etc., also figure in the play.

Dhananjaya says: ‘In the Dima, the subject must be well-known (vastu prasiddham); all the Vrttis (styles) may be employed in it; but, not the Kaisiki Vrtti (graceful).  Its exalted (Udatta) Heroes who fight for justice (Dharma), six-teen in number, should be gods, Gandharvas, Yaksas, Raksasas, Mahoragas, Bhutas, Pretas, Pisacas, and the like. All of such are of the violent type known as Raudra.

The Dima contains the six exciting Rasas (sentiments); but, not the Hasya (comic) and the Srngara (erotic). The principal exciting (dīpta) Rasa of the Dima is Raudra (the furious).

Abhinavagupta says that the Dima has all elements that are in the Nataka; the difference being that in the Dima, the Samdhis and Rasas are incomplete, having neither the introduction nor the pause. A Dima cannot have graceful and pleasing Rasas like Srngara and Hasya (though there might be a possibility of Shanta at the end) … (Some texts mention of the presence of Dipta-rasa a combination of love and humour, in the Dima plays,)

The theme of the Dima would be about dissention (bheda) among the contestants, battles, angry conflicts and furious personal combats. There is much shouting, screaming and hurling curses (Arabhati and Sattavati vrttis) in great pride and anger.

The Dima abounds in such the elements as magic, sorcery, deceit, jugglery, wrath, excitement and the like. There may also be occurrences of the earthquakes, eclipses of the sun and moon. The Dima is structured in four Acts and four Samdhis (junctures); and, there would be no introductory scene (Pravesika), and no pause (Amavarsa) between the junctures.

Abhinavagupta treats the terms Dima, Dimba and Vidrava (intense agitation) as synonyms; because they all are related to conflict, combat and violence. He observes that the Dima type of plays which provide , in plenty, the excitement of furious action; passionately screaming and shouting; and, strong determination to vanquish the foe , are truly fascinating in their own manner. Many, particularly the young, would love watching such powerful, spectacular scenes of furious energetic activity.  Further, the Dima kind of plays lends ample scope for display of wide range of psychological states (Bhavas).

And yet, the ima did not seem to have been a popular type of drama, in ancient times or in medieval period.

Tripura Dahana by Vatsaraja is cited as a good example of the Dima. Further, Kṛṣṇavijaya and Manmathon-mathanam by Veṅkaṭavarada and Rāma are also cited as examples of the Dima.

For more on Dima, please click here.

***

  1. The Vyayoga

Khyateti-vrtto vyayogah khyato-uddhata-narairayah / hino garbha-vimarsabhyarn diptah syur dirnavad rasah / astri-nimitta-samgramo jamadagnyajaye yatha / ekaha-caritaika-anko vyayogo bahubhir naraih //

Madhyama Vyayogam”

This kind of drama is called Vyāyoga because many men disagree with one another (Vyayujyante); and, fight among themselves. The battle, personal combat, duel, challenge and angry conflict etc., form the theme of a Vyayoga.  The Vyayoga is a martial spectacle in which the hero is a well-known sage-like king, Rajarsi (but not a god), or army chiefs or ministers. And, they are not Udattas (exalted); but, are proud and haughty (uddhata) men fighting, wrestling, quarrelling, pushing and pulling to defeat the foe. The main part of the plot must relate to a battle or a duel or a challenge thrown by a warrior to another, to prove his excellence. And, the entire action should have taken place within the course of a day.

As in the case of the Victory of Parasurama (Jamadagnya) – an example for this category – the battle that is fought is neither for a woman, nor was it caused by a woman (astri-nimitta-samgramo). The Vyayoga features many men (as many as twelve); but, has very few women characters. The intervention of women in the battle is also ruled out.

Dhananjaya mentions that a Vyayoga should have a well-known subject (Khyateti-vrtto); and, its principal characters, taken from the epics, should be heroic men, well-known and vehement (khyato-uddhata-narairayah). Dhananjaya deviates from Bharata in mentioning its characters to be vehement.

A Vyayoga should be composed with a plot having exciting events exuding the combination (diptarasas) of the exciting heroic (Vira) and the furious (Raudra) sentiments. There is no place here for the tender and mirthful Rasas like Srngara and Hasya. And, in a similar manner, there is no scope here for the graceful Kaisiki Vrtti. The two Vrttis employed in the Vyayoga are the Sattvati Vrtti (flamboyant style) and the Arabhati-vrtti (loud, rather noisy and energetic style).

As regards the structure of a Vyayoga, the single incident of strife and struggle depicted in it should take place within the duration of only one day. It is a one-Act play. A Vyayoga is constructed with three Samdhis (junctures): the first two (Mukha-the opening; and Pratimukha- the progression) and the last one (Upasamhrti-the conclusion). It does not have the other two Samdhis: the Garbha (Development) and Avamarsa (pause).

The Madhyama-vyayoga by Bhasa is cited as the best example of a Vyayoga, along with Duta Ghatotkacha and Duta Vakyam.

 [For more on Vyayoga, please click here.]

***

  1. The Samavakara

karyam samavakare api amukham natakadivat / khyatam devasuram vastu nirvimarsas tu samdhayah / vrttayo mandakaisikyo netaro devadanavah / dvadasodattavikhyatah phalam tesam prthak prthak / bahuvirarasah sarve yadvad ambhodhimanthane/ankais tribhis trikapatas trisrngaras trividravah/dvisamdhif arikah prathamah karyo dvadasanalikah / caturdvinalikav antyau nalika ghatikadvayam / vastusvabhavadaivarikrtah syuh kapatas trayah / nagaroparodhayuddhe vatagnyadikavidravah / dharmarthakamaih srngaro natra bindupravesakau / vlthyangani yathalabham kuryat prahasane yatha //

deva asura

This kind of drama is called Samavakara because , various themes are scattered about (samavakiryante) in it. Abhinavagupta explains Samavakara (sam-ava-kra) as a play where the various themes are scattered and loosely connected (samavakīryante’-asminnarthā iti samavakāra). But, its Acts are not well interrelated to each other. It is a unique type of drama.

The theme of the Samavakara is concerned with the means of obtaining the desired objective, worthy of gods and Asuras. It portrays one famous (Prakhyata) and noble (Udatta) hero of the exalted (dhīrodātta) type amongst the twelve subsidiary heroes (Pathaka Nayaka), including gods, demons, and the like. The ends attained by these are separate and quite distinct; as, for example, in the episode of Churning of the Ocean (Samudra- manthana), Vishnu gets Lakshmi, while other gods get different things; and, the Asuras get, virtually, nothing. Bharata mentions Amrta-manthana, as an example of Samavakara.

The subject of Samavakara is partly derived from mythical lore, and partly created by the poet’s imagination (kalpita-vastu). The events that caused (Bija) discord and brewed distress between the clans of the Devas and Asuras, leading to their strives, quarrel and battles, form the part of the story. The Samavakara falls under the category of vigorous action-oriented plays (Aviddha prayoga), because it is a variety of supernatural Drama abounding in fights, combats , disturbances  and excitement etc., along with depiction of floods, storm, fire or siege of a city.

It is believed that the well-known tales narrating the battles among gods, demons and humans that might have taken place in the bygone Vedic era served as inspiration for Samavakara type of Dramas. The first Drama staged by Bharata and his sons depicting the battles between Devas and the Asuras bears a striking resemblance to the Samavakara type of play (NS.1.59). The next play of Bharata titled as Samudra-manthana was, in fact, specifically cited as a Samavakara. And, Bharata mentions that he preformed that Drama in the interest of attaining Dharma, Kama and Artha (NS.4.3)., the three  primary pursuits of human life – Trivarga. That suggests, this genre was among the earliest forms of Drama.

yo’ya samavakārastu dharma-kāmā-artha-sādhaka mayā prāggrathito vidvansa prayoga prayujyatām 4.3

The characters in a Samavakara are highly charged and are of haughty temperament. The dominant Rasa is the combination (dipta) of Vira and Raudra; although, at times, the shades of Srngara Rasa may be touched upon, as, for instance, Srngara of Dharma, of Artha and of Kama. The contestants fight bitterly with valour and hostility. Tempests, combats, and the storming of towns, are also represented; and, all the pride and pomp of war, horses, elephants, and chariots also add to the spectacle of Samavakara

The Samavakara, featuring a well-known story shows (apart from the exploits of gods and Asuras) the means to attain the three goals of life, namely Dharma (merit), Artha (material prosperity) and Kama (pleasure)-(trivarga-updya- pradartanat). It is constructed in three Acts; with four Samdhis (junctures) – Mukha, Pratimukha, Garbha and Nirvahana; but, does not have the pause (Amavarsa). It employs all the Vrittis (styles), but with just a passing shade of the gentle Kaisiki Vritti, because there is no scope here for songs, dances etc. The Samavakara do not have either the introductory scene ((Bija) or its expansion (Bindu). Therefore, one may employ the subdivisions of the Vithi type (street-play) in it, according to one’s requirements. As regards its Rasa, the heroic (Vira) and the furious (Raudra) are the dominant Rasas, with just a suggestion of Srngara. It is said; in the Samavakāra, the playwright should make proper use of metres (Chhandas) other than Uṣṇik and Gāyatrī etc., which are complex.

A significant feature of the Samavakara type is that its plot in the three Acts need not be a connected whole.  All three acts have specific order; but, are not strictly related to each other. The different Acts have different topics. They are, practically, three isolated parts of a whole. Each Act has its own theme; and, each could be an independent Drama. The Samavakara, in each of its three Acts, works at three different levels.

The Samavakara could also be viewed as a trilogy of one-Act plays united by being enacted one after another. But, the uniqueness of this multi-act Drama is that though its plot is divided into three distinct parts, as it evolves, it manages to retain unity of action throughout the play. Samavakara, is therefore, is explained as such a kind of a play where many scattered themes, finally, connects to each other (sagatair avakīraiśca arthai kriyate iti samavakāra). That appears to be the reason why the Samavakara is considered as a three-Act play.

The whole of Samavakara is structured in triads. It has three Acts. In its three Acts, it presents three kinds of deception, three kinds of love, and three kinds of excitement. Each of those three elements, in turn, gives rise to three sets of events, causes, and effects. The Samavakara also speaks of Trivarga, the three major concerns of human existence (Dharma, Artha and Kama). Perhaps, such triple composition of the Samavakara had some symbolism built into it. I am not sure.

Another interesting feature of the Samavakara is that the total duration of the play and each of its Acts is specified in Natyashastra. It is said; the three Acts of a Samavakara, played in succession, should take about 18 units of Nadikas. And, a Nadika is half of a Mahurta; and a Mahurta equates to a 48-minute-period. Thus, a Nadika would be 24 minutes long. And, the total duration of a Samavakara play would be 432 minutes or 7 hours and 20 minutes.

The Act One, which is the longest, with twelve Nadikas, takes about five hours. The Act two, with four, Nadikas, takes slightly over an hour and a half. And, that leaves less than an hour to the Act Three which has two Nadikas, to conclude the play. The Samavakara is, thus, structured to resemble a cow’s tail (Gau-puccha) growing narrower and pointed towards the end.

**

According to Natyashastra, the Samavakara shall be composed of the events which served as the seed (bija) of discontent between Devas and Asuras. It shall be glorious , sublime and devoid of sadness (prakhyatodattanka); and, shall comprise three parts for presenting three kinds of deception (Kapata), three kinds of agitation or excitements (Vidrava) and three kinds of Love (Srngara) .

Devā-asura-bījakta prakhyātodāttanāyaka-ścaiva tryakas-tathā tri-kapaas-trividrava syāt-tri-śṛṅgāra 18. 63

Further, the Natyashastra prescribes that the First Act of the Samavakāra shall contain three elements: Prahasana (laughter); Vidrava (excitement); and, Kapata (deception) or a Vīthi (the subdivisions of the Vithi type, according to one’s requirements, as in Prahasana).

Then follows the Second Act, containing the same elements as in the first; but, limited to four Nadikas.

And, the Third Act of two Nadikas, shall contain elements according to the requirements of the plot (Vastu)

It should be ensured that the topic of one Act shall differ from the topics of the other two Acts; but in some way be related (prati-sandhana) to the others.

ako’kastvanyārtha kartavya kāvyabandhamāsādya artha hi samavakāre hya pratisambandham-icchanti 18.69

Further, the Natyashastra says that the three elements-Kapata (deception); Vidrava (agitation or excitement); and Srngara (love) – shall each, in turn, consist three parts.

Thus, Vidrava, the disturbances, agitation or excitement may be caused by three types of circumstances due to : (1) battle and water (yuddha jala); (2) wind, fire and big elephant (vayavya-Agni-gajendra-sambhrama); or,(3) the siege of the city (nagaroparodha)  (NS. 18.70)

yuddhajalasambhavo vā vāyvagnigajendrasabhramakto vā nagaroparodhajo vā vijñeyo vidravastrividha 70

The Kapata (deceit) of three kinds may be due to:  (1) one’s own schemes or plans, bad-luck or accident; or (2) divine will (devavasa) ; or (3) stratagem of the enemy causing happiness or misery (NS.20,71)

Vastugata-krama-vihito devavaśādvā paraprayukto vā sukha-dukho utpatti-ktas-trividha kapao ‘tra vijñeya 71

As regards the third, the Srngara, the Love, it could also be of three kinds ,  as prescribed by the sages in three ways , shall have three kinds –  (1) that which is born by virtue , adhering to one’s duty,  desiring for  well-being of all  is  Dharma- Dharma samgraha; (2) indulging in various activities merely for love of  money or acquiring  objects is   ArthaArtha samgraha ; and,  (2) a loveless seduction of a maiden , having an affair with another woman  for mere satisfaction of passion or physical urge  is  KamaKama samgraha (NS.18.72)

trividhaścātra vidhijñai pthakpthakkāryavihitārtha śṛṅgāra kartavyo dharme cārthe ca kāme ca 72

To sum up:  The three kinds of deception could be those caused by (i) the nature of the subject; (ii) supernatural action; and by (iii) enemies;  the three kinds of excitement could be those resulting from  (i) the besieging of a city; (ii) a battle; and (iii) violent winds, fires, and the like ; and,   the three kinds of love could be triggered or motivated by (i) virtue or merit; (ii) greed or the love to gain money and objects; and  (iii)  unrestrained passion.

[Abhinavagupta adds one more dimension to the issue.  While interpreting the three kinds of Vidrava, he says, it could also be taken as tumult caused by the animate (humans, elephants etc); inanimate (wind, fire , water etc); and by both (siege of the city by elephants , chariots and humans) agencies.  He extends similar interpretations to the other two elements: Kapata and Srngara.]

It is explained; performing ones duty with diligence, observing vows and practicing austerities for the purpose of attaining the desired state of well-being is to be known as love in performing ones duty (Dharma-śṛṅgāra).

When one acts with a desire to secure financial benefit , or to gain some material gain or is simulated by  passion for merely seeking pleasure with a woman, it is to be known as ones  love for  possessing or acquiring  (Artha- Srngara).

And, when one seduces a woman or takes advantage of her or enjoys a woman stealthily with unbridled passion, without love or concern for her, it is to be known the desire to quench ones passionate impulses (Kama-Srngara).

**

The Samavakara appears to be an earlier form of Drama. But, over a period it lost its appeal; and, it no longer was popular. After the ancient Amrta-manthana, the play of Vatsarāja (Samudra-manthana) is the most well known Samavakara class of play. No other plays of such class seemed to have been composed in the later times.

Abhinavagupta does not seem to think very highly of the Samavakara. Before concluding his commentary on Samavakara, he says: persons of devout nature; and the devotees of gods get delight out of this type of production; while,   women, children and the ignorant get enraptured by the  exciting  spectacle of deception , tumult, fighting  etc.

Though the Samavakara is not rated as high as the Nataka and the Prakarana, it is still important, not only because it represents a significant phase in the history of the development of Sanskrit Drama ; but also, because of the technique that is involved in its construction.

{For more on Samavakara , please click here.]

***

  1. The Ihāmrga

Misram Ihamrge vrttam caturahkam trisamdhimat / Nara-divyav aniyaman nayaka-pratinayakau/ khyatau dhiroddhatav antyo viparyasad ayukta-krt / divya-striyam anicchantim apaharadin-ecchatah/ srngarabhasam apy asya kimcit pradarsayet samrambham param aniya yuddham vyajan nivarayet vadhapraptasya kurvita vadham naiva mahatmanah //

rukminiharanam

It is said; this kind of a play is called Ihamrga, because in it, the hero relentlessly pursues (Ihate) a woman who is as elusive as a swiftly flying gazelle (mrga); and, it is very difficult to get her.

The Ihāmrga is a play of intrigue in four Acts (caturahkam), having three junctures (trisamdhimat). Its story might partly be based on a well-known episode in mythology; and, partly be made up or created by the playwright (Itivrttam). Its hero (Nayaka) and subsidiary-hero (Prati-nayaka) could either be human (Nara) or Divine (Nara-divyav aniyaman nayaka-pratinayakau). Both should be of the outstanding, prominent (khyatau) vehement (uddhata) persons of the Dhiroddhata type. The adversary is as capable as the hero; but, commits improper acts by mistake or foolishness (viparyasad ayukta-krt).

The heroine is a celestial beauty (divya-stri). The principal male characters in the play fight bitterly over the woman. Either or both the rivals might attempt to secure her, against her will (anicchantim apaharadin-ecchatah), by abducting her or by some such means. Such hostile acts make the heroine get very angry. The verses in the play depict the anger (avega) of women.  The struggles (saphea) that ensues between the rivals gives rise to much confusion, commotion (sakobha) excitement (vidrava) and furious battle.

Though hostile wrath is provoked and there is intense hostility, which reaches up to the point of killing, the playwright should ensure that it does not lead to death of either of the great opponents. Even in case someone dies in the original story, based on which the plot of the play was created, the playwright should avoid showing incidence of  the impending battle and death in the play, on one pretext or the other- yuddham vyajan nivarayet vadhapraptasya kurvita vadham naiva mahatmanah.

Bharata instructs that the play should be constructed with a well-arranged and a convincing plot (Vipratyayakarahah).

Dhananjaya says: “All that are to be made available in the Vyāyoga—its male characters, styles and sentiments—should be brought in the Īhāmga also, except that the latter is to include only the divine female characters”.

The Ihamrga is to be structured in four Acts, with three junctures (Samdhi)- Mukha ( opening), Prathi-mukha ( expansion) and Nirvahana ( conclusion).

Its styles of presentation are the Sattavati and Arabhatti Vrttis, which are the characteristics of the aggressive Aviddha type of plays. The gentle Kaisiki Vrtti should strictly be avoided.

So far as its actions are concerned, the Vira, Raudra and Bhayanaka are prominent Rasas, though there are three other Rasas. And, in Dhananjaya’ s view , only a slight semblance of love  (Srngara) should be shown on the part of one who tries to obtain a woman against her will by carrying her off or some such means.

The Rukmini-haranam by Vatsyaraja is said to be a good example of the Ihamrga type of Rupaka.

 [For a detailed discussion on Ihamrga, please click here.]

***

  1. Utsrstikanka

utsrstikanke prakhyatam vrttam buddhya prapancayet rasas tu karunah sthayi netarah prakrta narah bhanavat samdhivrttyahgair yuktah striparidevitaih vaca yuddham vidhatavyam tatha jayaparajayau.

horrors-of-war

It is said; this type of Rupaka is called Utsrstikanka merely for the purpose of clearly distinguishing it from Anka (or an Act), which term denotes a division in a play.

The Utsrstikanka is a sort of an epilogue which follows the end of a battle. It is a pathetic depiction of the wailing widows and other women weeping over their husbands, lovers and sons who were slain in the battle. Its main theme is lamentation and despondent cries, shrieks and utterances (nirveditabhāṣitaḥ); and, the bewildered movements of the mourners, in shock and grief,   in the aftermath of a violent battle that just ended.

Abhinavagupta says the Utsrstikanka does, in fact, strongly brings home the disastrous consequences of violence and war. And, in that, it should serve as an object lesson for all those who believe that war alone is the means to resolve all disputes.

Abhinavagupta, therefore, says that the Utsṛṣṭikāka should follow, as a sequel to Samavakāra, Ihāmga, ima and Vyāyoga, which depict the horror and violence of battle scenes – (utkramaīyā sṛṣṭirjīvitam prāā yāsām tā utsṛṣṭikā śocantya striyast aābhir-akita iti tathoktā )

A well known (prakhyāta) episode from a mythological source or , as suggested by Dhananjaya, a story-line created (utpādya) by the playwright could be the plot of an Utsṛṣṭikāka type of play. Its principal character should be a male, human or someone other than a divine being (divya), because the Utsṛṣṭikāka it is full of pathos, the Karuna Rasa (karua-rasa-bāhulyā). Therefore, Karuna is the principal Rasa of the Utsṛṣṭikāka. And, according to Abhinavagupta, only in case it has elements of Raudra (furious), Bhibhatsa (odious) or Bhayanaka (fearsome) Rasas, it can have divine characters in the leading roles – (iha ca karua-rasa-bāhulyā-deva devair-viyoga raudra-bībhatsa-bhayānaka sabandho- divyayoge -na bhavatyapi tu karuay-oga ).

Dhananjaya, however, suggests that in the Utsṛṣṭikāka, could even the ordinary men could be the heroes.

The Utsṛṣṭikāka, which is constructed as a one-Act play (ekanka) with two junctures (Samdhi) – the opening (Mukha) and the conclusion (nirvahaa) – , does not depict actions such as battles etc. Its mode of narration is based almost entirely in speech; and, it follows the verbal style (Bhāratī-vtti). Dhanañjaya states that the events like fights, battles or victory or defeat etc., should merely be suggested by means of descriptive speeches.

The treatment of the subject in Utsṛṣṭikāka in natural and realistic (Loka-dharmī), just in the way the common people behave, ordinarily,   in their lives. The speech in the scenes depicting the anxiety, despair, stupor and lamentation of the sobbing women should convey the sense of deep sorrow, disgust and despair.  There is no place in the Utsṛṣṭikāka for the kind of speech such as the aggressive Arabhaī-vtti, the grand Sāttvatī-vtti or for the pleasing Kaiśikī-vtti.

The dominant Bhavas in the Utsṛṣṭikāka are said to be Shoka (sorrow) and Jigupsa (disgust), which, in turn, give rise to Rasas such as the Karuna (pathos) and Bhibhatsa (odium) .

It is explained; the death of valiant men is the main cause of action (Alambana Vibhava); the mourners falling on the ground, weeping, howling  and heaving is the manifestation of that sorrow and despair (Anubhava); the denunciation of fate, cursing the enemy, recalling with fondness the dead heroes etc., are the transitory expressions of their grief (Sanchari Bhava); and , falling sick , shedding tears, swooning, trembling,  going pale  etc., are the involuntary reactions to the misery, anguish and grief they are suffering (Sattvika Bhava).

The Bhibhatsa Rasa of horror or loathing is manifested in disgust; and, its associated states of agitation, sickness, apprehension, and the like.

The Ūrubhaga by Bhāsa, which followed almost all the rules of theyaśāstra, is said to be the best example of the Utsṛṣṭikāka type of Rupaka.

For a detailed study of Utsṛṣṭikāka, please click here

p1140060

Dhananjaya concludes the Third Book with the statement :  if a playwright, having gained the proper understanding or the essence of Natyashastra,  diligently applies to his work the series of definitions of the ten forms of drama (Dasarupa) as prescribed in the Natyashastra; and, if he also studies the works of great poets, he would undoubtedly be able to produce, without effort, a literary work of great merit that is adorned with rhetorical embellishments (Alamkara), sweetness (Madhurya), clarity (Prasada), loveliness (Lavanya) and eloquence (Abhijata) , composed in leisurely paced (Manda-kranta) metres.

Ittham vicintya dasarupaka-laksma-margam / alokya vastu paribhavya kavi-prabandhan / kuryad ayatnavad alamkrtibhih prabandham / vakyair udara madhuraih sphuta manda vrttaih //

***

In the next Part, we shall, at last, move on to the Fourth and the Final Book of the Dasarupa.

Cover_of_a_Shakta_Manuscript_with_Uma-Maheshvara_

Continued

In

The Next Part

Sources and References

The Dasarupa a treatise on Hindu dramaturgy by George C. O. Haas, Columbia University press / 1912

 A Study of Abhinavabharati on Bharata’s Natyasastra and Avaloka on Dhananjaya’s Dasarupaka – by Manjul Gupta

Sahityadarpanah of Viswanathakavirajah

The Theory of the Samdhis and the Samdhyangas in Natya Shastra by T.G. Mainkar

Sanskrit Dramaturgy

http://shodhganga.inflibnet.ac.in/bitstream/10603/48454/21/21_chapter%2021.pdf

http://shodhganga.inflibnet.ac.in/handle/10603/106901

http://shodhganga.inflibnet.ac.in/bitstream/10603/122/18/09_chapter1.pdf

http://shodhganga.inflibnet.ac.in/bitstream/10603/22886/6/06_chapter%202.pdf

http://www.jstor.org/stable/25220898?seq=1#page_scan_tab_contents

http://shodhganga.inflibnet.ac.in/bitstream/10603/127505/9/chapter%208.pdf

All images are from Internet

 
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Concerning the Dasarupa of Dhananjaya – Part Six

Continued from Part Five

Dasarupaka of Dhananjaya

BOOK THREE – continued

 Bhana, Vithi and Prahasana

NKN-09

Of the ten forms of Sanskrit Drama (Rupakas), we have in the last two Parts, discussed about Nataka and Prakarana, the two major forms in the group of Dasarupa.

In this Part, let’s briefly talk about – Bhana, Vithi and Prahasana.

***

  1. The Bhana

Bhānavastu dhurta-Càritam sua-anubhutam parena vä/ yathâ-pa Varnayedeko nipunah pandito vitah//

Sambodhana-ukti-prayikti kuryat-ākaša-bhāSitäih/ Sucayet-vira-sringārau saurya-Saubhagya-samstävaih//

Bhuyasa bharati vrttir ekankam vastu kalpitam/ mukha-nirvahane sange lasyangani dasapi ca //

It is said; the term Bhana is derived from the root ‘Bhan‘, which means ‘to speak’. Abhinavagupta explains Bhana as:’Eka mukhenaiva bhahtante ukthi-manthah kriyante apravista api patriyavinesa yatra iti Banah ‘– It is Bhana (lit. speaking) because the characters that do not enter the stage are heard indirectly through the mouth of the actor who is out on the stage’.

ātmānubhūtaśasī parasaśrayavaranāviśeastu vividhāśrayo hi bhāo vijñeyastvekahāryaśca 108

paravacanamātmasastha prativacanairuttamottamagrathitai ākāśapuruakathitairagavikārairabhinayaiścaiva 109

 dhūrtaviasamprayojyo nānāvasthāntarātmakaścaiva ekāko bahuceṣṭa satata kāryo budhairbhāa 110

Bhana, for all purposes, is a single Act presentation (ekankam); though, technically, it has two junctures – the opening (Mukha) and the conclusion (Nirvaha), each preceded by songs of gentle graceful style (Lasya). And during the course of the Bhana, musical effects are provided from the background to enliven the show.

Bharata explains Bhana as a monologue narrated by a single actor; and, yet its theme is full of various characters and situations – vividhā-aśrayo hi bhāo vijñeya stva ekaharya-sca NS.18.108

Abhinavagupta also explained Bhana as a satirical performance put on by a single actor, talking to himself, making conversation with the imaginary persons, imitating the other characters and chastening the high-class by lampooning their licentious ways. He considers that Bhana has affinity (samana-yoga-kshema) with Prahasana

The Bhana type of Rupaka (bhanyate iti bhanah) is described as a monologue enacted by a single actor who plays the role of experienced, clever rouge (dhurta) or a sharp-witted amiable (dakshina) parasite , skilled  in amorous ways (nipunah pandito vitah) who goes on an errand to please a courtesan or the lady-love of his noble friend. He narrates, dramatically, his own roguish exploits or describes that of someone else (ātmā-anubhūtaśasī parasaśraya-varanā-viśeastu). He carries on conversation (Sambodhana-ukti-prayikti kuryat) with imaginary persons (akasha-bhasita), asking questions and replying them himself. He imitates other characters, their voice and their expressions. He acts and narrates employing ingenious techniques of Ekaharya abhinaya (abhinaya, without the aropana of the aharya, i.e., adopting or assuming the roles of various characters, without changing either the costume or the make-up).

Bharata says that the Vita, in a Bhana, need not be a ‘Hero’, as in the other types of Dramas, but as the only character that fills the stage. He says the Bhana, after all, is for the Vita; it is a Dhurta- vita –samprayojya. The Vita as a character is generally neglected in Sanskrit Drama. But, he makes his appearance in Mrcchakatika.

*

The Bhana is altogether different from the elegant Sanskrit court-plays.  It deals with the common place and the trivial. It ridicules and exposes the seamy side of urban life and of the court officials, in particular; and, debunks the hypocrites moving under the guise of the virtuous. The subjects such as love, betrayal, rivalry or battles, mischief, fraud, intrigue and nuisance form the meat of its theme.

In short, Bhana is akin to one-man-stand-up comedy shows, which have become a regular feature on most of the TV channels. In a way of speaking, Bhana which had almost faded away in the middle era, enjoyed a sort of resurrection in the twentieth century.  About Bhana, Sylvain Levi, in his The Theatre of India, writes: the monologue, the Bhana, is most remote from the Drama proper.  It is most popular today as it was in the past. Actors and writers love it. It abounds in descriptions and gives ample scope to poetical ingenuity, while its imaginary dialogues offer to the actor the opportunity to display his virtuosity.

 **

The theme in a Bhana is improvised (vastu kalpitam); and, is rendered in  Bharati Vrtti, the  eloquent style (bharati-vrtti Pradhana tvad bhanah).  

It is said; the Srngara and Vira are to be its dominant Rasas, depicted by fortune-in love (Saubhagya) and heroism.

[It is rather surprising that Hasya was not considered by the ancients as one among the appropriate Rasas for the Bhana, particularly since it is allied to Prahasana, a farce.  Abhinavagupta also speaks of its character, the Vita as – hasyochita.

Similarly, Bharata had specified the Bharati Vrtti as the suitable Vrtti for the Bhana ( Bhuyasa bharati vrttir ). And at the same time , he had ruled out  Kaisiki Vritti for Bhana.

But later, Visvanatha modified the ancient stipulations set by Bharata; and, said that Srngara and Hasya Rasas as also  the Kaisiki Vrtti could also be treated as suitable for Bhana. He argued that such modification is justified, since there is scope in the Bhana for display of ‘love, gallantry, coquetry, pleasantry (narman) and jesting, along with comic in speech, dress and movement’.

Thereafter, in the later periods, the Srngara-rasa (aesthetic pleasure of the erotic variety), Hasya rasa (of  humour)  and Kaisiki-vrtti (graceful style) which  characterized  the Lasyangas  became the standard parts of the Bhana. ]

**

Not many of the ancient Bhana scripts have survived. It is said that in the early years of the 20th century, the scholars Sri M Ramakrishna Kavi and Sri S K Ramanatha Shastri discovered the MSS, edited and published four Bhana plays: Ubhaya-abhisarika of Vararuchi; Padma-prabhrthaka of Sudraka; Dhurta-Vita-samvada of Isvaradatta; and Pada-taditaka of Syamalika. These were published together under the title Caturbhani, during 1922.

The Dhurta- vita-samvada presents an interesting picture of a seemingly clever, experienced, but worn-out Vita, who finding the rainy season too depressing, comes out seeking some amusement. He has no money either for a game of dice or for a drink – even his clothing is reduced to one garment.  He, then, winds his way towards the street where courtesans live, transacting with their clients of various kinds. He, sadly, cannot afford a courtesan, either.  At the end, dragging his feet, he reaches the house of the roguish couple Visvalaka and Sunanda, who were then busily engaged in a discussion on certain awkward problems of sex-act. The Vita gleefully joins the discussion.

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 Prof. S. K. De in his article A Note on the Sanskrit Monologue-Play (Bhana), with Special Reference to the Caturbhani , pulished in The Journal of the Royal Asiatic Society of Great Britain and Ireland ; No. 1 (Jan., 1926), pp. 63-90 , gives a detailed review of these four ancient works and  of a few other.

Prof.SK De in his review observes:

Indeed, one of the outstanding features of all the Bhanas is their want of variety; and, the monotonous on the erotic sentiment tends to become cloying. This, combined with their hopeless but vigorous vulgarity, must have been responsible, to some extent, for the comparative oblivion to which they have been confined.

There is no doubt that in the later times they became mere literary exercises and subsided into a conventional and life-less form of art.

There is a monotonous sameness of style and treatment, inevitably suggesting a sense of artificiality. We meet over and over again the same  theme, the same types of characters ,the same elaborate descriptions , the same tricks of expression , the same strings of nouns and adjectives, the same set of situations, the same group of conceits, and the same system of morals or want of morals.

The depressing atmosphere of ‘low’ characters, none of whom rise above the middle-class, is bound to be dull, unless diversified by comic effects or individual traits or variety of incidents and situations.

 It is not, therefore, surprising that the Bhana as literature, though always popular, never made a permanent appeal and was forgotten in the later times.

**

However, on the same subject of Chaturbhani, FW Thomson took a totally different view; and wrote:

It will , I think, it will be admitted that the Bhana compositions , in spite of the unedifying character of their general subject and even in spite of the occasional vulgarities, have real literary quality . They display a natural humour and polite, intensely Indian, irony with need not fear comparison with that of Ben Jonson or a Moliere. The language is veritable ambrosia of Sanskrit speech. – [Centenary Supplement of the Journal of the Royal Asiatic Society, October 1924]

Comedy Choodamani

4.Vithi

vithi tu kaisikivrttau samdhyangankais tu bhanavat / rasah sucyas tu srngarah sprsed api rasantaram / yukta prastavanakhyatair ahgair udghatyakadibhih / evam vithi vidhatavya dvyekapatraprayojita  //

The Vīthi is reckoned among the earliest forms of Sanskrit Drama. The episodes culled out of mythologies and popular tales were narrated by use of clever and inventive witty dialogues. It is also said that Vithi which is chiefly of  conversational  style might have originated from the ancient Samvada Suktas of the Rig-veda. 

The term ‘Vithi’ generally stands for ‘marga’- path.  As its name suggests, it is likely that the Vithis were, initially, played at the street-corners. And, in the later times they came to be presented on the stage. The term Vithi is also interpreted as denoting a series,  string of sequences, Maala ( garland). 

It is said; Vithi had two varieties; the earlier one of which was closely related to Bhana where a single actor delivered a monologue. And, in the other, which came later, two actors engaged in varieties of dialogues, impersonating several characters – vīthī syādekākā tathai-ekahāryā dvihāryā vā . The heroine in a Vithi can be a chaste woman (kulapālikā) , a common woman (sāmānyā) or of the other type (parakīyā).

Rasair-bhavaisca sakalaih yukta Vithi prarikrita Ekaharya Dviharya va kartavya kavibhis sada //20.135//

According to Bharata, the Vithi is a single-Act play, to be enacted by one or two persons. It includes characters of the superior (Uttama), middling (Madhyamā) or inferior (Adhama) class. The Vithi is rich in all the Rasas; and consists of thirteen sub-divisions (angas) – Sarva-rasa-lakaā-ahyā yuktā hy agais trayodaśabhi.

Dhananjaya describes Vithi as a one-Act play, which resembles the Bhana, in that it includes frequent speeches in the air; and, has only two junctures (Samdhi) – the beginning (Mukha) and the conclusion (Nirvaha). It may have one or two actors. It has thirteen sub-divisions.

As regards its Vritti, the style of presentation, Bharata had earlier treated it as a class of play, which is akin to Bhana and Prahasana; and, which does not have the graceful Kaisiki Vrtti (kaiśikī-vtti-hīnāni). And, he had, earlier, indicated the Vithi as being related to the eloquent Bharati Vrtti. Abhinavagupta followed Bharata.

Vīthī caiva hi bhāaśca tathā prahasana puna kaiśikī-vtti-hīnāni kāryāi kavibhi sadā 19.48

That might be because the eloquent speech delivery is the major strength of the Vithi. The techniques of ingenious employment of different manners of dialogue delivery and styles of conversations are the characteristic features of the Vithi. Eventually, even after the Vithi type of Rupaka faded away, its style of witty exchange of dialogues walked into the prologue (Prasthavana) of the more evolved varieties of the Rupakas. 

Dhananjaya had initially accepted the Vithi as a part (anga) of the Bharathi Vrtti. But later, he classified it under Kaisiki Vrtti (Vithi tu kaisikivrttau). That was perhaps because; the Vithi, endowed with all the Rasas (Sarva-rasa-lakaāahyā yuktā), with its thirteen subdivisions (agais trayodaśabhi) has the beauty of the monologue (Ekaharya akasha-bhasita, speech in the void) as also the beauty of a amusing conversation (Dviharya).

Sarva-rasa-lakaā-ahyā yuktā hy agais trayodaśabhi Vīthī syādekākā tathai-ekahāryā dvihāryā vā   NS.18. 112

Apart from that, Dhananjaya followed Bharata in regard to other aspects of the Vithi.

As regards the Rasa (sentiment)the Nāṭyaśāstra states that Vīthī can use all the Rasas; and one may just touch the Srngara RasaHowever, the Daśarūpaka states that Vīthī should have erotic (Sṛṅgāra) Rasa  as the main; and,  the others as subordinates.

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Vithyanga

It is said; the term Vithi also stands for ‘pankthi of angas’, series of  elements or the sub-divisions. The enumeration of the thirteen subdivisions of the Vithi, with their elements (Vithyanga), is one of the important features of the Vithi Rupaka. In that context, Dhananjaya had treated the Vithyangas as a division of the Bharathi Vrtti, while he was discussing the Amukha, prologue or introduction to the play.

[The Bharati-vrtti is mainly related to scenes where the speech or dialogue delivery is its prominent feature.  But, even otherwise, the Bharati vrtti, related to eloquence, is of much importance in all the situations (vrttih sarvatra bharati).  It is devoid of Srngara, Karuna and Nirveda   (dispassion).  

The Bharati-Vrtti has four varieties: Parochana (introducing the play and playwright to the spectators); Amukha or Prastavana (where the Sutradhara strikes a conversation with the Nati or Vidushaka, as a prologue to the play); Vithi (sort of monologue the Sutradhara carries on before the play proper); and, Prahasana (hilarious conversations between minor actors). All these take place, mostly, in the Purvanga, the preliminary to the play proper.]

Bharata enumerates the thirteen subdivisions of the Vithi (Vithyanga)  (Natyashastra -Chapter 18.113-114). According to Bharata, the Vithi should include characters of the superior, the middling or the inferior type (Adhamo-uttama-madhyābhir-yuktā); and, it may contain any of the thirteen types of speech.

The thirteen subdivisions of the Vithi are:

Abrupt Interpretation (udghātyaka); Transference (avalagita); Ominous Significance (avaspandita); Incoherent Chatter (asat-pralāpa); Compliment (prapañca); Enigma (nāli or nālikā); Repartee (vākkeli); Outvying (adhivala); Deception (chala); Declaration (vyāhāra); Crushing (mdava); Three Men’s Talk (trigata); and Undue Combination of Words (gaṇḍa).

Adhamo-uttama-madhyābhir-yuktā syātpraktibhistisbhi uddhātyakā avalagitā-avaspanditanālyasatpralāpāśca 113

 vākkelyatha prapañco mdavādhibale chala trigatam । vyāhāro -gaṇḍaśca trayodaśā-agānyudāhtā-nyasyā 114

Thereafter, Bharata says ‘Any of these thirteen types is always to be attached to the Vīthi. I shall now speak of their characteristics in due order’

Udghatyaka: – it is when a person uses obscure terms to explain a given word; and, that leads to a meaning that was not quite intended by the speaker.

Avalagita: – It is when a different purpose is achieved (inadvertently) along with the intended one.

Avaspandita: – It is when a misinterpretation of a word, which might either be auspicious or inauspicious (Subha-asubha), leads to the exactly opposite of the true meaning of the word.

Asat-Pralapa: – It is when a learned person advises a fool, asking him to do the right thing; but, the latter (the fool) chooses to ignore the good advise.

Asat-Pralapa also happens when an irrelevant question is followed by an equally irrelevant answer.

Prapañca: – it is a way of mocking, when two persons praise and complement each other by using false but funny sounding words

Nalika: – It is an enigmatical remark that gives rise to laughter.

Vākkeli: – It is a repartee or a counter speech. It is a series of questions followed by witty replies producing comic effect,.

Adhivala: – It is when, during the course of an argument, both the parties are forced to modify or revise their statements. Thus, each tries to outdo the other.

Chala: – It is a type of deceit, when, during the course of an argument, one party tries to mislead the opponent by  making worthless and nonsensical statements, in order to frustrate, ridicule and mock at him.

Vyāhāra: – it is a fearless declaration made in presence of the hero ; and , it is made to happen.

Mdava: – It is when one ridicules, dements and crushes the opponent by mocking at the opponent’s merits and make it look worthless and a blemish too.

Trigata: – It is a dignified discussion, with humour (Hasya) carried on by three characters. According to Dhanajaya, it is a discussion among three actors, as in the Purva-ranga (preliminary scene)

Ganda: – It is when in the heat of the situation; and due to excitement, confusion and agitation   , one bursts out with disjointed statements, wrong words and hurling abuses at the opponent.

Bharata remarks, if any or most of these thirteen divisions of Vithi, are employed, in a series, it would then result in a Vithi type of Rupaka.

Abhinavagupta explains that these thirteen Angas of the Vithi are quite different from the Lakshanas and Alamkaras (embellishments, figures of speech). The Vithi, according to him, is a series of eloquent and clever statements and counter statements (Vākkeli) made with wit and alacrity. The scope of Vithi is, thus, not limited to a single utterance or to an expression of beauty. It gives rise to series of diverse varieties of skilful, imaginative, innovative statements (ukti-vaichitrya) – (Vithiyantu bahuvidha vakrokthi visesa utpadayante).

Dhananjaya observes that if a playwright, having gained the proper understanding or the essence of Natyashastra,  diligently applies to his work the series of definitions of the ten forms of drama (Dasarupa) as prescribed in the Natyashastra; and, if he also studies the works of great poets, he would undoubtedly be able to produce, without effort, a literary work of great merit that is adorned with rhetorical embellishments (Alamkara), sweetness (Madhurya), clarity (Prasada), loveliness (Lavanya) and eloquence (Abhijata) , composed in leisurely paced (Manda-kranta) metres.

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Lasyanga

The description of the thirteen varieties of Vithyanga is followed by the descriptions of the ten Varieties of Lasyanga.

Bharata says, there is a form of entertainment called Lasya, which is closer to Bhana and Vithi. And, like in Bhana, it is done by one actor (Bhana iva eka-prayoga ni / Bhana-kritiva-Laasyam), displaying various aesthetic expressions (vividha-bhāvam) .

bhāṇā-kṛtiva-llāsyaṃ vijñeyaṃ tva-eka-pātra-hāryaṃ prakaraṇa-vadūhya kāryā-saṃsta-vayuktaṃ vividha-bhāvam ॥ 19.118॥

Bharata again says, the Lasya is related to Srngara rasa, portraying love and other softer, graceful aspects. And, Lasya is present in Vithi, which enters into Prahasana. And, Vithi and Prahasana also enter the first of the three parts of the Samavakara. Further, all of these together with Lasya and its Angas enter into Nataka (Anyāni ca Lasya vividha-angani tu Natake prayuktani).

The emotional theme in the Lasya is a product (utpadya-vastu) of the poet’s imagination, Uhya. In that respect, it is similar to the Prakarana, a play with a created story, uhya-karya (or kavya) – Utpadya-vastu Prakarana vad uhya-karyam.

The Natyashastra does not clearly define Lasya; but, it gives a list of ten Lasyangas, the subdivisions of Lasya (as below), soon after concluding the discussing on Bhana. It also says that the Lasyangas are to be presented by a single character as in the case of a Bhana; and, not by a group of characters.

Geya-pada: – It is a joyful song sung by the heroine, for the pleasure of the hero, while she is seated. She is surrounded with stringed instruments and drums; and, yet, she prefers to sing without accompaniment of any of these. It is a simple rendering of a song, based in melody.

Sthita-pathya: – it is a sad song in Prakrit (regional language) sung by the love-stricken heroine pining for her lover, while resting (sthitha) in her seat.

Asina-pathya: – The lonely, forlorn heroine who is separated from her lover sits (Asina) alone – depressed and pondering over her situation, throwing oblique glances. And, she is not even listening to any sort of music.

Pushp-agandika: – it is a song and dance, with music, performed by a woman who is in the guise of a man, for the pleasure of her female friends

Pracchedaka: – It is dance performed by a separated woman afflicted by moonlight and overcome with passion, clinging to her lover, even though he had been unfaithful to her.

Trimudhaka: – It is when the heroine dances, naturally, to a song composed with soft and sweet sounding words, set in easy, even metre.

Saindhavaka: – As the heroine anxiously awaits her for lover , who has failed to keep his tryst, she sings ,with grief, a song in Prakrit, and dances displaying various Karanas, to the music on Veena and other instruments.

Dvimudhaka:– In it a song of the Caturasra type (chaturasra-pada) set in four kaalas (rhythm, tempo); with a proper beginning (Mukha) and elaboration (Prathi-mukha); and full of emotive feelings and expressions of love , that is sung by the heroine. She dances gracefully, in circular movements, accompanied by melodious vocal and instrumental music.

Uttamottamaka: – It is a dance full of playful and joyous movements, accompanied by exciting songs (adorned with various kinds of Ślokas) and instrumental music .

Ukta-pratyukta: It is a dance performed, as a duet, to a lyric which is composed by weaving into it interesting speeches and counter-speeches (repartee) full of flirtation, dalliance and sarcasm. The song set to playful music, sometimes, contains words of censure and mock-anger.

**

[Bharata had specifically mentioned ten kinds (Dasa-vidha) of Lasyanga. For that reason, Abhinavagupta recognizes only the above ten forms of Lasyanga.  He did not accept the two other forms – Chitrapada and Bhavita – for, he thought that they might have been inserted into the text at a later time.

Citra-pada: It is a dance performed by lovelorn person who amuses herself / himself by looking at the portrait of her/his beloved.

Bhavika: It is a dance in which the heroine dreams about her lover and expresses diverse feelings in a rather pensive mood.]

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  1. The Prahasana

Pakhandi–vipra-prabhrti-cetaceti-vita-kulam cestitam vesa-bhasa-bhih suddham hasya vaco-nvitarn

Kamukadi vaco vesaih sandha kancuki tapasaih vikrtam, samkiram vithya samkirnam dhurta- samkulam

It is called Prahasana, because it generates lots of laughter (Hasa). Bharata considers that humour (Hāsya) is related to erotic (Sṛṅgāra) – (Sṛṅgārāddhi bhavedd-Hāsya).  He said amusement or humour (hāsya) as a Rasa is born out of the dominant mood (Sthayi-bhava) called mirth (hāsa) – (hāsyo nāma hāsa-sthāyi-bhāvātmaka). However, Abhinavagupta states that shades of humour can be brought in and experienced in any Rasa (etena sarve rasā hāsye antarhitā iti darśitam).

Prahasana is a farcical or comic satire, created (utpadya) by a playwright, with a view to provoke laughter. It is a burlesque, one or two-Act-skit, littered with caustic humour, flippantly deriding the so-called respectful figures in the society (who, in fact, are worthless people – Kapurusha); and, their corrupt practices.  The rumours that are in circulation among the common people (Loko-pacara-yakta-varta), about the deceitful contrivances of the roguish rich and influential are brought out on the stage, without hatred or rancour. Hasya, humour or laughter is its main Rasa.

Bharata had earlier divided the Prahasana it into two types: pure (Shuddha) and mixed (Samkirna). Dhananjaya made that into three subdivisions.

Dhananjaya mentions that Prahasana which is similar to Bhāa (tadvat) in plot (Vastu) , juncture (Samdhi), gentle dance (Lasya), and style (Vrtti) has three types: Shuddha (pure); Vikrta (modified); and, Samkirna (mixed) – tadvat prahasanam tredha; shuddha, vaikrta, samkaraih.

The Shuddha (the pure) Prahasana is that in which the leading characters are heretics, hypocrites (Pakhandi), Brahmins (Vipra), ascetics, (tapasaih) men (Dasa) and maid-servants (kancuki). It contains conversation of ascetics and gods provoking humour; but, it is devoid of obscenity and falsehood.  Its language and conduct are studied and learned (Adighata). The Shuddha Prahasana is performed with appropriate costumes and language; and, is full of (anvita) comic speeches (hasya vaco-nvitarn). It is also said; when the plot focuses on the personality of only one person, whose conduct is improper, only then he should be laughed at.

‘The second is the modified Prahasana (vikrta) where the characters are of vulgar type, such as:  eunuchs, prostitutes, rouges (Dhurta) and parasites (Vita). It deals essentially with the, hypocrisy, tricks, squabbling, and mean streak of every kind. The characters, their appearance and flashy costume, are uncouth, garish and loud.

The third, the mixed Prahasana (Samkirna) is similar to the Vikrta type; but, in addition, it is an admixture of elements taken from the street-play or the Vithi type of Rupaka; and, it is filled with rouges (Dhurta).

Apart from providing amusement, the hilarious Prahasana is useful, in the sense that it cautions the good folks to be on guard against the possible exploitation by the unscrupulous elements in the society.

Bharata said that Prahasana was the most popular form of Drama: sarva-loka-prahasanair abādhante hāsya-saśrayai NS.36.8). It is not surprising that Prahasana, which had its origin in the pains, disgust and laughter of the common people, was a much sought-after popular form of comic relief, in an otherwise dreary existence.

Dhananjaya names six types of laughter: smile (smita), smile (hasita), gentle laughter (vihasita), laughter of ridicule (upahasita), vulgar laughter (apahasita) and excessive laughter (atihasita).

Clever, slick, and captivating eloquence (Bharati-vritti) is the very lifeblood of Prahasana; and, it is essential that the actor ensures that there is never a dull movement in his presentation. He should start off briskly; and, ingeniously employ with alacrity every element of Amukha, the opening section: catch the attention of the audience (udghātyaka), introduce the theme quickly (kathodghāta), and develop it with imagination (avalagita), if need be, by resorting to exaggeration (prayogātiśaya) and other smart and entertaining means.

In its structure, the Prahasana has two Samdhis (junctures): Mukha, the opening; and, Nirvaha, the conclusion.  Its style is eloquent (Bharati Vritti); and, its predominant Rasa is Hasya (Mirth). Prahasana lends abundant scope for use of song and dance.

Sylvain Levi in the first volume of his work The Theatre of India writes: “The farce or the Prahasana, among all dramatic types, comes nearest to the popular theatre or, rather, to popular taste. In contrast to the Nataka and the Natika with their conventional setting, the Prahasana moves more freely in a natural atmosphere of joy and human imperfection.”

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Bhagavadajjukam of Bodhayana (6th -7th century AD) is one of the earliest Prahasanas; and, it is often clubbed with the Mattavilasa-prahasana of the Pallava King Mahendravarman (7th century). And, both these works are mentioned in the Mamandur inscription of the Pallava ruler.

The satirical comedy Bhagavadajjukam (The saint-courtesan) hilariously pictures the confusions and absurd situations that follow when the souls of a hermit and a courtesan get interchanged. The monk and his transformation as a courtesan by the exchange of souls give enough scope for amusement as also to ridicule the hypocrisy  and to  puncture the vanity that shrouds the ‘high society’. The work also exposes the practices of sham mendicants and lampoons the degeneration of the contemporary society.

Mattavilāsa-prahasana, a parody in one Act, is built around the confusion when the drunken antics of a Kapalika,  and the lives of his fiancée and  of  Buddhist monk get entangled in mess over a begging-bowl that went missing, of all the places, at the local liquor shop. Please click here for a detailed study of Mattavilāsa-prahasana.

In the Next Part , let us talk about the Dima, Vyayoga and Samavakara forms of the Rupakas.

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Continued

in

The Next Part

Sources and References

The Dasarupa a treatise on Hindu dramaturgy by George C. O. Haas, Columbia University press / 1912

 A Study of Abhinavabharati on Bharata’s Natyasastra and Avaloka on Dhananjaya’s Dasarupaka – by Manjul Gupta

Sahityadarpanah of Viswanathakavirajah

The Theory of the Samdhis and the Samdhyangas in Natya Shastra by T.G. Mainkar

Sanskrit Dramaturgy

http://shodhganga.inflibnet.ac.in/bitstream/10603/48454/21/21_chapter%2021.pdf

http://shodhganga.inflibnet.ac.in/handle/10603/106901

http://shodhganga.inflibnet.ac.in/bitstream/10603/122/18/09_chapter1.pdf

http://shodhganga.inflibnet.ac.in/bitstream/10603/22886/6/06_chapter%202.pdf

http://www.jstor.org/stable/25220898?seq=1#page_scan_tab_contents

All images are from Internet

 
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Concerning the Dasarupa of Dhananjaya – Part Five

Continued from Part Four

Dasarupaka of Dhananjaya

BOOK THREE – continued

 Nataka and Prakarana

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As mentioned earlier, Bharata in his Natyashastra enumerates, and discusses ten forms of plays or Natya or Rupakas:  aka, Prakarana, Anka (Utsṛṣṭikāka), Vyāyoga, BhāaSamavakāraVīthiPrahasanaima, and Īhāmga.

aka sa Prakaraam Ako Vyāyoga eva ca  Bhāa Samavakāraś ca Vīthī Prahasanaṃ Dima  20.2

Ihāmgaś ca vijñeyā daśeme nāya lakaeteā lakaamaha vyākhyāsyāmya anupūrvaśa  20.3

Dhananjaya lists the same set of plays as 

nāṭakaṃ sa prakaraṇaṃ bhāṇaḥ prahasanaṃ ḍimaḥ / vyāyoga samavakārau vīthyaṅkehā mṛgā iti // DhDaś_1.8 //

Bharata divided the ten types of plays into two broad categories. One; the class of plays like Nataka and Prakarana: having a range of characters; portraying all the four Vrittis (styles of presentation) – Purna-vrtti-rupakas – in five or more Acts; displaying their psychological states; and, exuding the Srngara and Vira Rasas.  And, the other eight which fall under the class which has less than five Acts; and, where all the Vrttis etc., are not present. Therefore, of the ten forms of Rupakas, the Nataka and the Prakarana are considered more complete.

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The Nataka

The Nataka is constructed as per the classic format, in accordance with all the rules prescribed and established by the tradition. The hero and the heroine are highly idealized, almost celestial, descending from a distinguished Royal lineage. Its story-line would usually be about a noble hero who resolutely overcomes many challenging obstacles; and, finally succeeds in achieving his desired objective. The message of a Nataka is that the good and the virtuous should never be defeated; and, eventually the love, truth and justice (Dharma) must triumph over untruth. And, harmony and peace should prevail over chaos and disturbance.

The Nataka is a powerful means for the moral upliftment of the society, holding out hope and faith in the goodness of life, with  illustrations of how the virtuous men and women of the past dealt with the sorrows, disappointments, trials and tribulations in their life ; how they  fought against the   confronting miseries that mounted upon them , with bravery and honesty ; and, how they eventually emerged out of the difficult situations with success , glory and dignity.

The other types of plays

The other types of plays, in contrast, tried to represent life in its varied colours, nearer to the real-life, portraying characters from lower order of the society. These types of plays depicted the good as also the not-so-good aspects of life, built around characters of varied nature: the virtuous, vagrant, weak, comic and so on. This was particularly true in the case of Dramatic forms such as Bhana, Vithi and Prahasana. The object of these other nine types was, mainly, to provide entertainment.  

Nataka – Prakarana

In short: The Nataka celebrates the accomplishments of the kings; and, how they find their fulfilment in establishing the Dharma (nāṭakān nāyako nṛpaḥ / prakhyāto dhīralalitaḥ śṛṅgāro’ṅgī salakṣaṇaḥ) . The Prakarana, as compared to Nataka, deals with the affairs of the social classes coming from a mixed milieu, such as a Brahmin, a minister, a soldier, a merchant or even a social parasite (Vita)- prakaraṇaṃ tredhā saṅkīrṇaṃ dhūrtasaṅkulam. A courtesan could also be the heroine of a Prakarana. Its story must be a fictitious one , invented by the poet. Prakarana tends to be realistic in its approach.  It attempts to depict the conditions in the society, as they are .

The Srngara, the love, and its victory, in true fashion, are the main sentiment in Prakarana. And Prakarana has in it, some elements from Bhana, Vithi and Prahasana.

While the idealism of the Ramayana and the Mahabharata are the resort of the Nataka, the social life depicted in the Brhatkatha is, generally, the source of the Prakarana.

Dr.Raghavan explains : The ideals that lie at the base of these two types, the Nataka and the Prakarana, are different; the two are distinct in a substantial manner; the aim of the poet in the Nataka is to present what has been conceived as the highest type of human personality, the sublime type, called the Dhirodatta; this is a heroic ideal. On the other hand, in the Prakarana, the poet is out to hold up the mirror to the world, to depict society as it is in its rank and file

Another important difference between Nataka and Prakarana is in regard to the extent of the Kaisiki-vrtti. In the Nataka, the Kaisiki-vrtti enjoys full scope, while in the Prakarana its scope is rather restricted.   The explanation provided for this is : too much display of Kaisiki would be out of place in the Prakarana, which is a realistic social play.

Other types

The Bhana which is a one-act monologue presented by a stand-up comedian, the  Vita , a depraved parasite,  ridiculing the so-called respectable figures in the society, and the Prahasana, the satirical comic skit, have affinity with Vithi . The Vithi is a one-act street-play, having a series of witty exchanges presented by one or two characters of mixed type. It has scope for all the Rasas; but, its distinguishing feature seems to be its resourcefulness and rich varieties of clever repartees. In fact , whenever clever repartees are found in other Rupakas, they are supposed to have been adopted from one or other of the thirteen Vithyangas, the diverse constituents of the Vithi.

The Vyayoga, Samavakara and Dima have their characters from varied class of gods, demi-gods, demons etc.; with some heroic characters taken from Mahabharata and other Puranas. The Utsṛṣṭikāka (Anka) is something like an epilogue to the heroic types of plays. It starts near about the end of action in a major play (say, depicting the consequences of a battle that just ended). The Ihamrga is all about the enticing and captivating a lovely damsel. At the end, the hero wins the lady-love; the villain loses out; but, no one dies.

These Rupakas differ from one another (rupaka bheda) according to the nature of the hero and other characters (Neta), the plot (Vastu) in both of its aspects: main (Mukhya) and subsidiary (Prasangika).There also differences in the number of Acts (Anka or Samdhi); and, in regard to sentiments (Rasa) that are displayed.

Though the lesser types of Rupakas were composed principally for providing pleasure, many of them do instruct and impart the norms of good conduct. They also reflect the contemporary social life, its pleasures and pains.  These different types of dramas provide an opportunity for the dramatists to choose their characters from among a wide range of men and women in the society.

[ We shall talk about these types of plays, in fair detail,  in the next part]

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Nataka and its evolution

In the previous Part we discussed about the Nataka. In the present post let’s talk about Prakarana type of plays.

Before we go into the specifics of each of the nine forms plays (other than Nataka), let’s take a general view , just to see if there is a rationale in identifying these ten as the major types of Drama (Rupaka) ; and, whether they are related to each other , one way or the other.

When we compare the constituents of the ten types of Rupaka, a question arises, naturally, whether these are interrelated. Whether the minor varieties were evolved or derived from the two major types; or, whether the major types were created by combining elements taken from the minor ones. Some scholars, notably Dr. Raghavan and Prof. D.R. Mankad, did attempt to address these questions.

It is said; when Bharata in his Natyashastra codified the Dramatic compositions of his time, the ten kinds of dramatic performances were already in existence. However, not all of them were or could be considered as fully mature. According to Bharata, the only two drama-types, out of the ten, included in the scheme of Dasarupaka, that could be considered as well-structured and complete were: Nataka and Prakarana.

As regards the question how a more complete form like Nataka was arrived at; and what was its relation with the nine other types, the common view taken in that regard , appears to be that the Nataka  is the culmination or the final result of the  process of  growth  and development  of various  Dramatic forms.

Prof. Mankad in his ’Types of Sanskrit Drama’ while tracing the evolution of the Rupakas and the Uparupakas said that these grew from their simple to complex forms by resorting to measures, such as: additions, replication, joining various threads etc. The simple one-Act plays, in stages, over a period, developed into plays with multiple Acts. Following such growth pattern, Bhana and Vtthi would be the earliest types. Then Prahasana would come, in two Acts. Then we might have Vyayoga in three Acts.  Further, the Ihamrga and Dima reached four Acts. Thereafter, came Nataka and Prakarana with more elaborate settings, requiring more number of Acts, reaching up to five or ten. Accordingly, Nataka combined in itself and sublimated the elements seen in Vyayoga, Anka, Dima, Ihamrga and Samavakara; and, in addition, it added on its own distinctiveness, with, Srngara or Vira as a predominant Rasa.  Thus, a common thread runs through all these types.  The Nataka and Prakarana have blossomed out from the earlier types.

[The hitch in this argument appears to be the position of the Samavakara, which, considered by some as the earliest form of Drama, is constructed in three Acts, with number of special features.]

**

Dr. V Raghavan in his article ‘A note on the name Dasarupa’ (Journal of Oriental Research, Vol. VII, part III, July-Sept.1933) expressed similar views. To summarize his position:

The tendency to depict men of society, their habits and absurdities, tendencies etc., began with small if imperfect types like Bhana and Vithi; it grew into Prahasana; and, later achieved perfection as Prakarana, a social Drama.

The Bhana is a type of Rupaka in which only one character appears and carries on an imaginary dialogue through Akahabhasita. It is a monologue, narrated by one actor, though its narration refers to various characters – vividhāśrayo hi bhāo vijñeyast vekahārya śca (NS.18.108). The monologue Bhana had erotic and comic elements, lampooning the so-called respectable persons in the King’s court and in the society. The Vithi – a street play, with a sprinkling of all the sentiments , reaching the masses directly – in its initial form, was done by one actor; and, then, it adopted a display by two actors — vīthī syādekākā tathaikahāryā dvihāryā vā  (NS.18.112) . The Bhana and Vithi were related in their styles of presentation and their subject-matter.  From the Vithi rose the Prahasana, a parody in one or two Acts, with many players, ridiculing the corrupt practices of the high-and-mighty in the society.

Though the main feature of Bhana also merged into the build of the Nataka and the Prakarana, it could live separately, just like the Prahasana. The Misra or the mixed variety of the Prahasana contained, in addition, the Vithi (NS. 20.111). And the Vithi and the Prahasana were made part of the first of the three acts of the Samavakara, with various themes scattered about (samavaklryante) in it; and, having as many as twelve actors of the middling class (NS.20. 70). The remaining type in the Dasarupaka is the Utsraritikanka or simply Anka, a sort of epilogue. And, Prakarana and Nataka, in the process of gaining their full stature, assimilated various features taken from the lesser forms.  The Prakarana was not much different from Nataka, except that its hero was not a king of puranic glory, Prakhyata. And, the Nataka, in turn, got such features as the Vidusaka, for comic relief.

It could, perhaps, be said that Bhana was the earliest form to evolve amongst the Rupakas; and, it seems to fit in well with the whole scheme.

Having said this, let me add, these issues are debatable.

**

Dr. Raghavan illustrates his opinions through examples:

 “The Vithi and the Anka certainly do not represent major varieties. The Vithi is the predecessor of the Prahasana. And, the Prahasana is an independent form of drama, even though its characters and features appear, to an extent, in the Nataka; and, amply in the Prakarana. The Vithi, of course, died early; and, none of the old specimens of the Vithi has survived. Bharata’s Natyashastra actually gives, at many places, the evidences for the disappearance of the Vithi into the body of the Prahasana, the Prakarana and the Nataka, both as part of the Prastavana and of the Drama, in general.

The Anka is, so to say, an epilogue or a sequel to a Samavakara, Ihamrga, Dima or Vyayoga. These four  types of plays depict fights among gods and other Prakhyata heroes; while the Anka depicts the result of those fights, i.e., opens with the close of the fights and the wailings of the wife or wives , and of the relatives of those killed in the battle. Thus, this one-act Karuna piece called Anka also goes with the heroic class or represents the heroic dramatic thread woven into the body of Dasarupaka.

 [But, during Bharata’s time, Anka was drifting away from its theme of the after-effects of war; and, was moving towards the more popular themes.]

The Samavakara, the Ihamrga, the Dima and the Vyayoga represent the Uddhata or Aviddha types of drama, which have heroic elements in their theme. They are the early specimens of dramatic performances depicting fights amongst Devas and Asuras. The Asura Vijaya (NS.3.1.59) and the Amrta-Manthana (NS.4.2.4), described as a Samavakara, were the first dramatic performances, when Brahma took Bharata’s troupe to Shiva’s abode; and, where the theme of Tripura-dahana described as a Dima was enacted (N.S.4.10). The Samavakara, the Dima, the Ihamrga and the Vyayoga are very similar to each other. Bharata refers to the other two while describing each of this. Further, he treats the Ihamrga as similar to the Vyayoga; and, the Vyayoga as similar to Samavakara.

Dr. Raghavan further says, “The Vyayoga is also described as a one-Act Samavakara, with its hero as an epic king and not as a God (NS.20.95-96). These, by the influence of the Mahakavyas and the growing mythological legends, gradually perfected themselves into the heroic type Nataka.

**

The importance of the Vrttis

Dr. Raghavan also brings in the role and relevance of Vrttis (styles of presentation) in the process of the growth and development of Dramatic forms. In that context, he says: “Just as the dance forms, on the basis of Lalitya and Auddhatya, are differentiated into Lasya and Tandava; similarly, the Rupakas numbering ten, get divided into Lalita (delicate, refined) and Uddhata (loud, vigorous) classes.

He explains; the Arabhati-vrtti, a loud, rather noisy and energetic style, fit for exhibition of one’s anger, valour, bordering on false-pride, by screaming, shouting etc., portrays the haughty Uddhata or the vigorous Tandava aspect. Such forceful (Uddhata or Aviddha) types are more dominant in the types of Rupakas, such as Ihamrga, Dima, Vyayoga and Samavakara, depicting fights amongst Devas and Asuras

And, the Kaisiki-vrtti (graceful-style) – characterizing the tender expressions of love with graceful dances, melodious songs as also charming costumes and delicate actions  – which  is most suited to Srngara-rasa , is a representation of the Lasya aspect. Such Lasyanga is a distinguishing attribute of the advanced types of plays such as: Nataka and Prakarana.

According to Dr. Raghavan, Bharata divides the Dasarupa, the ten forms of Dramas, into two broad groups, classified on the basis of the nature of the Vrittis they portray:  either Kaisiki or Arabhati. Such two types of dramas are also called Sukumara (subtle, gentle) and Uddhata or Aviddha (haughty, loud).

In short, Dr.Raghavan seems to opine: the logical, well structured and sophisticated forms of Drama (Nataka and Prakarana) were evolved through a process of refining or eliminating the rough and uncouth elements found in the other forms of Dramas. Thus, Nataka is the hallmark of the Sukumara class; while the rest is of the Aviddha type.

**

 In any case, the ten forms of Rupakas do pre-suppose the existence of simpler types of presentations (gramya dharma), such as mimicry and mirth during local festivals or amidst friends gathered, at night, around a campfire on a river-bank. Over a long period of time, such simpler plays by their assimilations and refinements might have evolved into Rupakas, as we know them. It is, perhaps, because of this reason that we find in the Natyashastra numerous overlapping in the case of certain types of Dramas.

[There is also a view which suggests that Rupakas might have evolved out of the dance forms, the Natya, when the playwrights transplanted their themes and modes of presentations into Dramatic forms.]

It is not clear on what basis or rationale these ten forms of Drama came to be grouped together under one common head, the Dasarupa. Even this process of weeding out other forms of Drama and arriving at a set of ten varied forms, each with its own well defined and recognizable features, might have been spread over a considerably long time. It is, perhaps, because of such reasons that some earlier dramaturgical traditions refer to more than ten types of Dramas. For instance; the Natyadarpana mentions twelve forms; the Bhavaprakasa  of Saradatanaya (a work on Rasa and dramaturgy) lists as many as thirty; and, the earlier versions of Natyashastra describe eleven forms of dramas (including Natika).

It is reasonable to assume that the genre of plays included under the Dasarupa, with their individual dominant styles, had evolved from out of the varied cultural and social environments; and, were nurtured by patrons according to their tastes and inclinations. Naturally, the choice and the mode of presentation of the three cardinal factors – Vastu, Neta and Rasa – differed from one type of play to another.

*

There is also another way of looking at the issue.

At different stages, a particular variety  of drama had come into being , developed and got absorbed into a more popular or a more mature form ; or , it disappeared altogether, because , by then, it had lost its appeal and/or the other varieties of plays had taken over. There was thus much overlapping, with the different varieties running into each other. In the process, the more mature forms like Nataka and Prakarana absorbed the interesting features of the other varieties of plays. For instance; the Nataka and Prakarana adopted the one-man-show (ekaharya abhinaya) and soliloquies (Akasha-bhasha) from Bhana; the witty dialogues and quick repartee from Vithi; illogical and ludicrous comic scenes from Prahasana; vigorous action, fighting etc., from Dima, Vyayoga and Samavakara; and, similarly, they acquired patterns and techniques of conversation (Vithyanga)  like abrupt speech (udghatya), enigma (nalika), three-way discussion (trigata) and eloquent repartee (vakakeli) etc., from others. Similarly, ten or twelve varieties of Lasyanga  related to Srngara rasa, portraying love and other softer, graceful aspects, as in Vithi and Prahasana , all walked into Nataka,  Thus, over a period, all such attractive techniques and embellishments were grafted and integrated into Nataka and Prakarana.These forms grew more stylised and systematic. 

The Nataka, in turn, though it retained the traditional framework of Vastu, Neta and Rasa, its modes and styles of presentation of either the delicate (Lasya) or the vigorous (Tandava) elements of the play were influenced  not only by the features it had borrowed from other sources, but also by the changing trends and tastes. Eventually, while the Nataka got richer, more inventive, and diverse; the lesser forms of drama gradually faded out. And, that led to production of more complex varieties of Natakas.

Thus the processes of evolution and absorption were both instrumental in the growth and development of the Nataka.

**

And at the end, it  can also be said that such theories tracing the growth and development  of drama and dramatic performances are no doubt fascinating; but, there is not much  historical evidence to support these hypotheses, bordering on speculation.

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Now, after having taken a broad look at the growth and the structure of the Dasarupas; lets us briefly talk about Prakarana and eight other forms of Drama.

We may start with Prakarana.

David Cooper Photography 2008

2.The Prakaraa

Atha prakarane vrttam utpadyam lokasamsrayam /amatya-vipra-vanijam ekarn kuryac ca nayakam /dhiraprasantam sapayam dharma-kama-artha tatparam/ sesam natakavat samdhi-pravesaka-rasadikam

The Prakarana is a play of the principal category, in five to ten Acts. It is similar to Nataka, in regard to the numbers of Acts and the Samdhis.  The Prakarana consists of five Sandhis: Mukha, Pratinukha, Garba, Vimarsa and Samhriti. Its principal sentiment is Srngara.  

But, it differs from Nataka in a couple of  other aspects, apart from those  mentioned earlier.  The main points of departure are with regard to the story-line (which is created); the hero (not a god or a king. but a person outside the royal palace environment); and, its objective, which is to provide enjoyment to the common people. In addition, Abhinavagupta listing out the differences between Nataka and Prakarana mentions: ‘there is a slave in lieu of Kancuki (chamber maid); Vita (rouge) in place of Vidusaka (jester); and, Sresthi (merchant) instead of Amatya (minister)’.  The rest of its features are as in NatakaSesam natakavat.

Prakarana is mainly based on the story created or concocted by the playwright (Prakurute). It can also be drawn from sources like Brhatkatha and similar works of earlier poets; but, not from the Puranas. Its theme concerns the middle-class characters. And, therefore, offers a larger variety of characters to choose from. The Hero (Nayaka) or the leading character may be a Brahmin, a minister, an officer of the court, leader of a caravan or a merchant. And, sometimes, a Vita is also added to this list of heroes. Generally, the hero would be a self-controlled, calm, Dhira-prashantha type, following dharma-kama-artha. The heroine (Nayika) may be a house wife (kulastri) or could even be a courtesan (ganika).

The Prakarana is classified in three ways (prakaranam tredha) depending upon the type of heroine: ShuddhaPrakarana (where the heroine is from a noble family); Misra or Vikrta Prakarana (where a courtesan is the heroine); and Sammishra Prakarana (where both the types of heroines are figured).

Nayika tu dvidha netuh kulastri ganika tatha / kva cid ekaiva kulaja vesya kvapi dvayarn kva cit / kulaja ‘bhyantara bahya vesya natikramo ‘nayoh/ abhih prakaranam tredha samkirnam dhurtasamkulam //

The stories take place outside of the palaces and the royal circles, in the lanes and houses of the town; and, are concerned with common interests such as acquisition of money, love, legal justice, and bourgeois honour and so on.  At the same time, purity of character and chastity are respected; and, held up as noble virtues. The Prakaranas affirm the identities of the middle-class heroes, and, pay due recognition to their position in sustaining a healthy social order. 

The narration, in a Prakarana, is rendered more interesting by introducing complications of mistaken identities, petty revenge, theft, and political intrigue etc. The Prakarana plays end on a happy note, with the victory of true Love. Srngara is the predominant Rasa.

The earliest extant specimen of Prakarana is Asvaghosa’s Sariputra Prakarana.  And, Shudraka’s Mrcchakatika (Little Clay Cart) and Malatimadhava by Bhavabhuti are the well-known examples of the Prakarana class.

We shall continue in the next Part ; and, talk about the Bhana, Vithi and the Prahasana varieties of the Drama.

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Continued 

In 

The Next Part

Sources and References

The Dasarupa a treatise on Hindu dramaturgy by George C. O. Haas, Columbia University press / 1912

 A Study of Abhinavabharati on Bharata’s Natyasastra and Avaloka on Dhananjaya’s Dasarupaka – by Manjul Gupta

Sahityadarpanah of Viswanathakavirajah

The Theory of the Samdhis and the Samdhyangas in Natya Shastra by T.G. Mainkar

Sanskrit Dramaturgy

http://shodhganga.inflibnet.ac.in/bitstream/10603/48454/21/21_chapter%2021.pdf

http://shodhganga.inflibnet.ac.in/handle/10603/106901

All images are from Internet

 
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Concerning the Dasarupa of Dhananjaya – Part Four

Continued from Part Three

Dasarupaka of Dhananjaya

BOOK THREE

Shakuntala_201211_17 (1)

The Third Book or the Third Chapter of the Dasarupa, in its 72 verses, deals, mainly, with the ten (Dasa) varieties of Rupakas or plays. Dhananjaya’s work derives its title from the subject-matter of this Book. Obviously, Dhananjaya considered the discussion on the ten varieties of Dramas as the cream or the ultimate purpose of his work.  Of the 65 Sections in Book Three, as many as 43 Sections are devoted to Nataka, regarded as the best and the most complete form of Drama, exemplifying the rules prescribed for such class of dramatic compositions. The other nine varieties of Drama are briefly defined (in sections 44-64), mainly, by listing the points of their divergence from the Nataka. And, their other common features are simply clubbed under a single phrase – ‘the rest, as in the case of the Nataka’ (sesham natakavat).

When one looks at the structure of the text from this angle, one will appreciate that Book Three is the main purpose of the text (Dasarupa); and, within the Book Three, the Nataka, around which the entire body of discussions revolve, is the central or the pivotal point. The concepts, the definitions and the explanations of the technical terms that occupied Book One (68verses) and Book Two (72 verses) , or discussions concerning the Avastha, Samdhi, Arthaprakrti Vrttis, Vastu and Neta etc., all seem to serve as  the background material or  the preparatory work needed to arrive at the very heart or the soul of the text , the Nataka . Thus, one could say, the Nataka is the summum bonum, in which all the values of a Dramatic composition are included or from which they are derived.

*

The impetus for the Dasarupa comes mainly  from  : Chapter 20 (Dasarupa – the enumeration and descriptions of the ten kinds of play); Chapter  21 (Sandhi or segments of the plot- itivtta);  and, Chapter  22 (Vrtti or styles of presentation) of the Natyashastra .

The Chapter Twenty of Natyashastra commences with the passage:

I shall now describe the division of plays into ten classes with their names, functions and modes of production.

These ten forms of plays are known as aka, Prakaraa, Aka (Utsṛṣṭikāka), Vyāyoga, Bhāa, Samavakāra, Vīthi, Prahasana, ima, and Īhāmga. I shall describe their characteristics in detail.

aka sa prakaraam ako vyāyoga eva ca bhāa samavakāraś ca vīthī prahasana ima 2

Ihāmgaś ca vijñeyā daśeme nāya lakae eteā lakaamaha vyākhyāsyāmya anupūrvaśa 3

 I shall describe hereafter the different methods of constructing plays.

*

The Natyashastra identifies ten major types of plays: aka, Prakaraa, Aka (Utsṛṣṭikāka), Vyāyoga, Bhāa, Samavakāra, Vīthi, Prahasana, ima, and Īhāmga.

All these ten forms of Drama (Dasadhaiva) are traditionally associated with certain modes or styles (Vrtti) of representations, which are the constituent elements of all dramatic works.  Such Vrttis are said to be of four kinds (vrttis caturdha) : Kaisiki; Sattvati; Arabhati; and, Bharati.  The Vrttis are the ways of rendering a scene; or, the acting styles and the use of language, diction that different characters adopt in a play, depending upon the nature or the Bhava that relates to the character.[ For more on Vrttis please Part Three in the series]

According to Bharata, the ten forms of Drama are classified based on the number and the types of Vrttis that are involved with it. Of the ten mentioned by him , only the two major forms – the aka and the Prakaraa – present all the variety of styles (Vrttis), for depicting different types of diverse situations. However, the other eight forms of Drama – the Bhāa, the Samavakāra, the Vīthi, the Īhāmga, the Utsṛṣṭikāka (Aka), the Vyāyoga, the ima, and the Prahasana – would not include kaiśikī-vttihī , the graceful Style.

Vīthī samavakāraśca tathehāmga eva ca utsṛṣṭikāko vyāyogo bhāa prahasana ima 8

Kaiśikīvttihīnāni rūpāyetāni kārayet ata ūrdhva pravakyāmi kāvyabandhavikalpanam 9

Bharata regards the Vrttis as the mother of all poetic works (kāvyānā mātkā vttaya), from which the ten kinds of compositions are evolved. He explains; just as the musical notes (Svara) constitute scales (Gramas) because of the Srutis coming together with their Jatis, so the varieties of plays come into existence due to combination of varied of styles (Vrttis). It is the number of Vrttis present in a play that assigns it a distinct class.

Sarveāmeva kāvyānā mātkā vttaya sm ābhyo vinista hyetaddaśarūpa prayogata

[Abhinavagupta took a dissenting view on this issue. He pointed out that though the Gramas (collection of Jaatis or melodic types), in music, might have common Svaras; yet, they differ from each other because of their internal order of arrangement (Aroha-Avaroha); the combination; and, the mutual relations of the Svaras. And, in a Jaati, within a Grama, a certain Svara might be prominent (amsa), or initial (graha) or final (nyasa), depending upon the type of the Jaati. It is because of such variations that each melodic-type gains its distinguishing character and flavour. Therefore, in all those cases, it is not the mere number of Svaras that truly matters.

In a similar manner, in a play, it is not the number of Vrttis, alone, that is significant. In certain types of plays one form of Vritti might be prominent or otherwise. The combination, the treatment and the variations of the Vrittis differs from one type of play to the other. Thus, the classification of the Rupakas is based on the treatment of the Vrttis, which might either be complete with all its angas (elements) or be lacking in some of them.]

While Bharata and Abhinavagupta laid stress on Vrtti, which, in their view, is the factor that defines the unique character of a Drama; Dhananjaya and Dhanika held Vastu (subject-matter), Neta (Hero) and Rasa (sentiment) as the elements which distinguish one form of drama from its other forms.

*

Though Bharata lists ten types of Dramas (Rupakas), which, apparently, is not exhaustive.  The other ancient writers talk about, in addition, certain minor types of dramatic works (Upa-rupaka). Perhaps, the earliest reference to Uparupaka occurs in the Kama-sutras of Vatsyayana who mentions plays Hallisaka, latyarasaka and Preksanaka of the Uparupaka type, watched by men and women of taste. Ahhinavagupta’s commentary on the Natyashastra occasionally mentions Upa-rupakas; but, without defining the class. Rajashekara calls his Prakrit play Sattaka as not being a Nataka, but resembling a Natika, excepting that pravesakas (preliminary scenes), viskambhakas (intermediary or connecting scenes) and ankas (Acts) do not occur.

[Though Natyashastra enumerates, and discusses Rupakas it does not mention minor forms like Uparupakas. Yet, it is the Uparupaka class based in music and dance movements  that is considered as the source of the living traditions such as Kuchipudi , Bhagavata Mela Natakas and Kuravanji dance-dramas. Such forms of Uparupakas are very attractive formats, with the elements  of the music and dance  being predominant. And, most of them are based in dances accompanied by soulful songs, interpreting  the emotional contents of the song through Abhinaya or gestures.

Natyashastra does not mention all the different types of dramas. Kohala, another ancient writer, whose material is said to have got mixed up with the present version of the Natyashastra, mentions a number of minor  varieties of dramas that are lyrical in their character; and,  in which music and dance predominate. Abhinavagupta names some drama-types under these varieties as: Dombika, Bhana, Prasthana, Sidgaka, Bhinika, Ramakrida, Hallisaka and Rasaka. But, nothing much is known about these musical varieties. ]

While Rupaka seemed to be the general term used for Sanskrit Dramas, the nomenclature Upa-rupaka indicated a minor type of dramatic composition (within the general class); technically, not satisfying all the classic, dramatic requirements, even when a full theme was handled. Vishvanatha in his Sahityadarpana lists as many as eighteen minor types (Upa-Rupaka), with examples. Among these, he regards the Natika (e.g., Sri Harsha’s Ratnavali, Priyadarsika) and Trotaka (e.g., Kalidasa’s Vikramorvasiya) as more important.

[In case, Natika is counted along with the other forms of Drama, then it would amount to eleven varieties. Bharata, however, explains that Natika is not an independent form; but, is a fusion, combining in itself (antarbhāvagatā) certain features of the Nataka and the Prakarana. And, therefore, the Rupas are only ten (ata eva daśaitāni rūpāī).

Antarbhāvagatā hyeā bhāvayorubhayoryata ata eva daśaitāni rūpāī tyuditāni vai ॥18. 61

Dhananjaya, following Bharata, also says that the pure forms of Rupas are indeed only ten (Dasadhaiva); as Natika is but a blend of two forms. Here, in Natika, the subject (vastu) is taken from the Prakarana type.  The types of principle characters are as in the Nataka (Natahavat). The hero (Nayaka), a prince, of the illustrious Dhiralalitah class, is taken from a well-known source or is newly created; and, the innocent, beautiful and exceedingly charming (mugdha divya ca ati – manohara) heroine (Nayika) is either a princess or a celestial nymph. And, the Rasa (mostly the Srngara-rasa) is also as that in the Nataka. The Natika containing an abundance of female characters is depicted in the graceful style, Kaisiki-vrtti; and, has four Acts (less than that in Nataka or Prakarana). Most of the action takes place within the Queen’s court or in the adjoining gardens – (DR.3. 46-52).

Tatra vastu prakaranan, natakan nayako nipah prakhyato dhiralalitah srngaro angi salaksanah– DR.3.47. ]

**

[According to the renowned scholar Dr. V Raghavan, the mere number of Rupaka – either ten or eleven – is not of much significance. In his view, the number ten is symbolic; indicating ten tendencies. He points out that all the ten varieties from Nataka to Ihamrga embody these ten tendencies in various degrees.]

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Of the ten, the Nataka is regarded as the best, most important and complete form of Rupa. Dhananjaya regards Nataka as the root (Prakrti) of other dramatic forms. Bharata, in his Natyashastra paid greater attention to Nataka and to Prakarana, than to the rest eight forms ; because, these two forms, according to him, lend abundant scope for presenting  all the four varieties of styles (Vrttis); in alluring Rasas; and, for  portraying  range of characters in diverse  types of situations.

Because of these reasons, the Nataka is spoken of  or discussed first (purvam natakam ucyate).

Prakrtitvad athanyesam bhuyo rasaparigrahat sampurna-laksanat vac ca purvam natakam ucyate   DR.3. 1

 Let’s, therefore, begin with Nataka.

texasshakuntala

  1. Nataka

[ Dr. Schroder, a German scholar, opines that Natya, also known as Rupaka is of ten types; of which, the Nataka is most important. He says: In Sanskrit literature Nataka is very ancient. Even in Vedic literature we can find descriptions about Nataka. There are also references in Ramayana and Mahabharata of actors, dancers, singers and anchors. And, therefore, many theories have been put up by the scholars while discussing the origin of drama.

Dr. Schroder thinks that Samvada-suktas that occur in the Rg-Veda are the origin of the Drama. He says that these Samvada-suktas used to be sung by a group of Udgatrus, in the Sama ; and,  enacted during specific Yajnas, to the accompaniment of  music.

Some German scholars like Oldenburg, Windish, and Pishel think that initially these Samvada-suktas were the mixture of poetry and prose.  Poetry remained because it was interesting and melodious; while the prose part slowly vanished because it was descriptive.

Drama exactly follows this form of ancient Samvada-suktas, as they are also a mixture of prose and poetry.

Bharata in the first chapter of the Natyashastra mentions that in order to alleviate the sorrow of common people, Brahma created a Veda for Dramatics  (Natya-Veda) by taking prose from  Rig-Veda; music from Samaveda; acting from Yajurveda; and , emotions from Atharvaveda.]

**

Bharata, in a passage of six verses (from 19.144 to149) virtually offers his definition of Nataka. He explains that in a Drama (ya), the wide-ranging shades of human nature (lokasya nānā-avasthā-antarātmaka) with its joys and sorrows (lokasya sukha-dukha-samudbhavā) are demonstrated through a variety of representations and actions (nānā-purua-sacārā).

Those who take part in the Drama try to present the past exploits of the gods, sages and human beings (devatānām –ṛṣīnā ca rājñāṃ), by assuming their roles. The actors enact (abhinayate) or interpret, the roles assigned to them through speech, expressions, actions, gestures and other representations. While so acting on the stage, the actors try to give up or suppress their own individual identities and nature (yasmāt-svabhāva saṃ-tyajya);and, systematically, diligently assume the nature, behaviour, gestures and the emotions of the character that they are portraying (gopāga-gati-kramaiḥ). Bharata then remarks, the art of emulating the psychological, mental and physical state of a character calls for an exceptional and a truly dedicated effort. One should realize this truth; and, strive to achieve near-perfection.

The varieties of dramatic actions; the ways to bringing to life the essence of a character; and, the modes of presentation of actions on the stage, in an attractive manner (rūpāi kartavyāni prayoktbhiḥ), are all indeed countless (aneka-śilpa-jātāni naika-karma-kriayāi ca).

It  is essential that all those involved either in writing, producing or presenting a Drama should observe and study the ways of the common people of the world (Lokasvabhāva saprekya narāāṃ ) – their nature, their modes of behaviour (kāryaṃ) , speech patterns and modes of dress ; their strengths and weaknesses (balābalam); and, their ways of enjoyment and reasoning (sabhoga caiva yuktiṃ).

Yo’ya svabhāvo lokasya nānā-avasthāntarātmaka so’gādy abhinayairyukto nāya mity-abhidhīyate 19.144

Yasmāt-svabhāva satyajya sāgopāga-gati-kramai prayujyate jñāyate ca tasmādvai nāaka smtam 19.146

Sarvabhāvai sarvarasai sarva-karma-pravttibhinānā-avasthā antaropetaaka savidhīyate 19.147

Anekaśilpajātāni naikakarmakriayāi ca tānyaśeāi rūpāi kartavyāni prayoktbhi ॥ 19.148

Lokasvabhāva saprekya narāā ca balābalam sabhoga caiva yukti ca tata kārya tu nāakam 19.149

*

At another place, Bharata, in a way, sums up the virtues and merits of Nataka , as a dramatic work, that captivates the hearts of the spectators and brings glory to its playwright , producer and the actors .

The work of art that satisfies all classes of spectators ; and is a happy and enjoyable composition, which is graceful on account of being  adorned with sweet and elegant words; free from obsolete and obscure meaningless verbose ; easily grasped and understood by the common people ; skilfully arranged ; interspersed with delightful songs and dances; and,  systematically  displaying varied types of sentiments  in its plot devised into Acts, scenes, junctures etc.

mdu-lalita-padārtha gūha-śabdārtha-hīna ;   budha jana sukha bhogya,  yuktiman – ntta-yogyam  bahu rasa kta mārga , sandhi-sandhāna-yukta  bhavati  jagati  yogya  nāaka  prekakāām  16.130

**

Bharata, after describing Lasyangas, the graceful, fluid and charming movements; lists the four characteristics of an ideal Nataka.

He says, the playwright (kavi kuryāttu) while attempting a well constructed (suprayoga) Nataka with aptly chosen happy sounding words  (sukhāśrayam mdu-śabdā ) should ensure that it is composed of five Samdhis (pañcasandhi); four Vrttis (caturvtti); sixty-four Angas, elements  (catuḥṣaṣṭya-agasayutam); and, thirty-six Lakshanas , characteristics  (atriṃ-śallakaopetaṃ)adorned with Gunas, Alamkaras (guā-alakāra-abhūitam), many Rasas (mahārasaṃ); as also with topics concerning noble persons of sublime virtues (mahāpurua-sacāraṃ), exalted speeches (udātta-vacanā-nvitam) providing inspiration and great enjoyment (mahābhogam). Apart from that, the Drama should also portray the lives of common people, their happiness and miseries (sukha-dukha-samudbhavā) arising out of their interactions with their fellow-beings and their multifarious deeds in the world (avasthā yā tu lokasya, nānā-purua-sacārā.) Please also see.

Pañcasandhi caturvtti catuḥṣaṣṭyagasayutam atriśallakaopeta guālakārabhūitam 139

Mahārasa mahābhogam-udāttavacanānvitam mahāpuruasacāra sādhvācārajanapriyam 140

Suśliṣṭa-sandhi-sayoga suprayoga sukhāśrayammduśabdābhidhāna ca kavi kuryāttu nāakam 141

Avasthā yā tu lokasya sukha-dukha-samudbhavā nānā-purua-sacārā nāake’sau vidhīyate 142

Viswanatha in his Sâhitya-Darpana also described Rupaka (Nataka) as the most logical and perfect theatrical composition. He says that it progresses in a systematic manner and concludes successfully, bringing joy to all.  He mentions that according to the Dasarupa, the structure of the Rupaka consists: five elements of the plot (Arthaprakrti), matching with the five stages of the action (KaryaAvastha), from which arise five structural divisions or sequence of events (Samdhi) of the drama, twenty-one subdivisions (Samdhyantara), having sixty-four Samdhyanga , adorned with thirty-six Abhushanas , ninety numbers of music, and four kinds of Vrttis – all of  which corresponding with the elements of the plot and the actions associated with the stages in the hero’s attempts to successfully realize his purpose or objects – Yattu pancachatuh–sastiscatuh–pancaikavisatih / sattrinsatravtisca tat-Natakam.

[To put it simply, In Sanskrit, Nataka is the most complete form of Drama. Its structure is logical. And, its construction is also quite detailed, being composed of five or more Acts, each of which comprising number of episodes depicting various scenes of action. It also employs intermediary scenes that connect its subdivisions. The Dramatic contents of a play find their expressions, through speech, gesture, songs, dance and other representations, in highly refined and attractive forms. In its modes of depictions, the Nataka employs varied types of embellishments, sentiments, psychological states and actions. And, in case there are such matters, as are not presentable on the stage, they are suggested, indirectly, through explanatory devices.

The heroes in Nataka are generally exalted, descending from noble lineage, known far and wide, for their bravery, generosity and other good qualities. But there may also be other kinds of heroes. The heroines are beautiful; loving; pure in heart; sweet and cheerful; cultured; and, gifted with aesthetic sensibilities. The action in the play ends on an auspicious note, with the good overcoming  the evil ; and , celebrating the victory of the virtuous.  The major aim of Sanskrit Drama is to provide an unsullied and wholesome enjoyment to the spectators. And, at the same time, it is conducive to Dharma. ]

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The three broad heads under which Dhanajaya discusses the subject of Drama are: Vastu (theme), Neta (the leading characters) and Rasa (the aesthetic sentiment it portrays).  Let’s briefly take a look at each form of Drama, with particular reference to these three criteria.

Vastu

As regards the story of a play, it could either be adopted (itivrttam) from the incidents that occur in the well-known (Prakhyatha) legends of the past; or, could be a story invented (Uthpadya) by the poet; or else, it could be a mixture (Misra) of the two.  The story could also be about gods (Divya), humans (Marthya) and the like (Divyadivya).

prakhyatam itihasader utpadyam ; kavi-kalpitam;  misram ca samkarat tabhyam divya-martyadi-bhedatah.

Whatever might be the original story, if it is not suitable for the hero or is inconsistent with the sentiment (Rasa) he represents, then the story can be modified or re-arranged in some other way. After determining the beginning and end of the play in this manner; and, after dividing it into five parts, the author should then break it up into small interrelated divisions (Samdhi).

Yat tatra-anucitam Kim cin nayakasya rasasya va viruddham tat parityajyam anyatha va prakalpayet.

The purpose of such reshaping of the story and characters by the playwright is to achieve a harmony between the theme and its main character, in order to serve the ultimate purpose of the drama , which is to provide a delightful theatrical experience (within the framework of the Dharma) for  the  enjoyment  to the cultured spectators –  the   Rasa .

There should be a sense of balance in the treatment of the subject.  Neither the subject-matter should be isolated by its excessive coverage; nor, should it be cluttered or swamped with unrelated matters and needless elaborations.  

The plot should be simple, the incidents should be  consistent; and, the progression of the events should spring directly  from the story.

*

The technical divisions of a drama and the development of the plot follow a set of carefully elaborated rules.

The Natyashastra mentions that there could be between five to ten Acts (Anka) in a Nataka. A regular Nataka will have five Acts. And, a Nataka with ten Acts is called Maha-nataka – (pancankam etad avaram dasankam natakam param). An interlude (Pravesaka) must always be made been the Acts.

[ Later, there were , however, some Natakas with more than five Acts , such as : Bhaṭṭa Nārāyaṇa’s Venisamhara and Bhasa’s Avimaraka with six Acts; Rajasekhara’s Bala Ramayana and Mahadeva’s Adbhuta Darpana with ten Acts; and, Hanumant’s Maha-Nataka with fourteen Acts.]

An Act (Anka) is generally understood as a cohesive dramatization of events that occur within the course of a day.  However, the Natyashastra does not demand that these events run contiguously.  Normally, the action in a play depicts the events that occurred during the course of that day (or night). But, there are some noted exceptions where the events in the first the Act and the second Act are separated by long years. In such cases, an intermediate scene (Vishkambha) is introduced as a link and also to explain/narrate the occurrences that took place subsequent to the previous Act. (E.g. Uttararamacharita, Shakuntalam et al)

Further, there might be certain types of actions or objects that should not or cannot be presented on the stage. As per the conventions followed in the Sanskrit Drama, one should avoid showing such events as: long travel; murder; war; loss of kingdom; siege of a city; violent over throw; bloodshed; eating; taking bath; un-dressing; sex act etc.

Further, it is said; a chariot, an elephant or a horse should not be brought on the stage. Similar is the case with palaces, hills or lakes. Such animals and geographical features might be suggested or indicated through models made of cheap materials. And, in case an army has to be introduced on the stage, that should be symbolically represented by the movement (gati-vīcāra) of four to six persons dressed as soldiers.

*

In a Nataka, the number of characters that really matter to the main story should not be too many. Similarly, the supplementary or the supporting characters, such as the attainders   etc., should at most be four or five.

As the play gathers momentum, in stages, its focus of attention should, progressively, be confined to characters and actions that are directly related to the main purpose of the story.  The play is structured in such a manner that it steadily moves from the general or the diffused towards the purposeful and pointed.  Its initial Acts might, comparatively, be lengthy; but, as the action moves towards the finale the Acts should get brief and pithy. As Dhanajaya says, the Nataka, in its structure, should resemble the tip of a cow’s tail (gopuccha). All the exalted situations should be placed in the concluding segment (Nirvahana), awe-inspiring (Adbhuta), and radiating joy in celebration of Dharma – the victory of the Love over loveless; the triumph of  the good over the evil.

*

The concepts of tragic catharsis or tragedy are not present in the Sanskrit Drama. The Nataka, generally, starts on a happy note (Adi-mangala); and through the trials and tribulations of the hero, a happy incident occurs in the middle (Madhya-mangala); and, the play concludes on an auspicious note (Antya-mangala). And, the whole proceeding comes to an end with the Bharatavakya , praying for the welfare and happiness of the King (Raja), his subjects (Praja) and the State (Rajya) ; and , for the peace and prosperity  (Shanthi , Samruddhi) of all the beings in the  three worlds (Trilokye) . 

nirvahana

Neta

Rama

The hero (Nayaka) the leading character of the Nātaka should be an ideal person, a worthy and exalted (Udatta) icon of virtue; descending from the noble lineage of royal seers (rājarsih) . He should be  : resolute, young, endowed with intelligence, energy, memory, and wisdom; brave, firm, graceful, charming, sweet-tempered, soft-spoken, liberal, clever, affable, popular, upright, and eloquent.

Prakhyāta-vamso rājarsih-divyo-vā yatra näyakah/ tat prakhyātam vidhātavyam vrttam-atra-adhikārikam//

The Hero should be  one endowed with noble qualities of the type known as self-controlled, and exalted (Dhirodatta) , glorious , eager for fame, of great energy , a preserver of three Vedas (Trayi) , a ruler of the world , of renowned linage , a royal seer or a god . It is, basically, his story that forms the the principal subject (Adhikarana) of the Nataka.

mahasattvo ‘tigambhirah ksamavan avikatthanah sthiro nigudhahamkaro dhirodatto drdhavratah

The noble hero  has control over his senses; does not let emotions override his actions; maintains his composure even under dire circumstances; shelters the weak and those under threat ; always wishes and strives to do good for/to others; is also wise, well versed in Shastras and is skilled in arts.

The eight virtuous qualities of an ideal hero are: nobility of character (sobha), liveliness (vilasa), sweet-temper (madhurya), poise (gambhirya), firmness (sthairya), sense of honour or brightness (tejas), grace (lalita), and magnanimity (audarya).

 Sobha vilaso madhuryam gambhiryam sthairya tejasi lalita udaryam ity astau sattvajah paurusa gunah

sri Sita Ram

 

Nayika

sita

Dhananjaya initially mentions and describes three kinds of Heroines (Nayika tridha) : the hero’s own (Sva) wife; another person’s (Anya) wife; and, the common-woman (Sadharana-stri) – sva anya sadharanastri ‘ti tadguna nayika tridha.

However, Bharata had presented a different classification:  divya (celestial); nrpapatni (queen); kulastri (modest house-wife); and ganika (courtesan).

The Nayika of a Nataka is usually of the first type. She would the Hero’s wife (svaya) . And, she would be either be a princess of renowned royal-heritage or a celestial beauty – virtuous (mugdha), dignified (gambhira, manini), charming (manohara) of loving-nature and devoted to her husband. (Nayika tadrsi mugdha divya catimanohara)

devi tatra bhavej jyestha pragalbha nrpavamsaja/ gambhlra maninl krcchrat tadvasan netrsamgamah

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Rasa

As regards its style of narration and depiction, Nātaka should adopt either the graceful Kaušiki Vrtti associated with the Srngara Rasa (suited for display of expressions of love, dance, song as also charming costumes and delicate actions ) ; or, the  exuberant Sattvati Vrtti  associated with  heroic Vira Rasa .

Dhananjaya, in his Dasarupaka said : a Nataka should principally portray one Rasa – either the Srngara or the  Vira; and,  in the concluding part  the Adbhuta Rasa becomes prominent

Eko rasa – angi -kartavyo virah srngara eva va / angamanye rasah sarve kuryan nivahane –adbhutam

 [But, Abhinavagupta, preferred not to lay any such restrictions. Instead, he argued that a play could be a judicious mix of several Rasas, with a major Rasa that defining the tone and texture of the play. He cited Nagananda of Sri Harsha, which in its initial stages display Srngara; but , towards the end,  it is the Shantha Rasa that pervades atmosphere of  the play.  And, he explained though the play had to deal with the horrific killing of the hapless Nagas, it underplays scenes of violence; and, exemplifies the virtues of peaceful coexistence and compassion towards all beings. It is that aesthetic experience of Shanta – peace and compassion towards the fellow beings – which the spectator carries home]

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In the next part let’s talk about Prakarana and eight other forms of the Rupaka.

nayana6

Continued

In

Part Five

Sources and References

The Dasarupa a treatise on Hindu dramaturgy by George C. O. Haas, Columbia University press / 1912

 A Study of Abhinavabharati on Bharata’s Natyasastra and Avaloka on Dhananjaya’s Dasarupaka – by Manjul Gupta

Sahityadarpanah of Viswanathakavirajah

The Theory of the Samdhis and the Samdhyangas in Natya Shastra by T.G. Mainkar

Sanskrit Dramaturgy

All images are from Internet

 
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Posted by on December 9, 2017 in Dasarupa, Natya

 

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Concerning the Dasarupa of Dhananjaya – Part Three

Continued from Part Two

Dasarupaka of Dhananjaya

BOOK TWO

David Cooper Photography 2008

The Second Chapter of the Dasarupa , in its 72 verses, classifies, sub-classifies and describes, in great detail, the types of characters in a play, especially the four types of Heroes (bhedais caturdha); three Kinds of Heroines (tadguna nayika tridha) with their twenty variations (strinam alamkaras tu virnsatih) according to their relations with the Hero; the opponent of the hero (Pratinayaka); the companions and those devoted to the hero; messengers of the Heroine and so on.

Hero

The term Nayaka (Hero) is derived from the root Ni, meaning to carry. The concept of Nayaka or Neta comprised not merely the hero but several other characters as well that appear in the play. Unlike Dhananjaya, Bharata did not regard Nayaka as the distinguishing element on the basis of which the ten forms of the Rupaka are classified. Bharata’s approach was broader as it covered a wide range of character-types of all classes.

Sri Rama

As per the  concept presented by Dhananjaya, the hero (Neta) the leading character of the Nātaka should be an ideal person, a worthy and exalted person of virtue; of noble lineage; resolute, young, endowed with intelligence, energy, memory, and wisdom; brave, firm, graceful, charming, sweet-tempered, soft-spoken, liberal, clever, affable, popular, upright, and eloquent. It is , basically, his story that forms the main theme of the Drama.

Prakhyāta-vamso rājarsih-divyo-vā yatra näyakah/ tat prakhyātam vidhātavyam vrttam-atra-adhikārikam//

The noble hero  has control over his senses; does not let emotions override his actions; maintains his composure even under dire circumstances; shelters the weak and threatened; always wishes and strives to do good to others; is also wise, well versed in Shastras and is skilled in arts;

netā vinīto madhuras tyāgī dakṣaḥ priyagvadaḥ / raktalokaḥ śucir vāṅmī rūḍha vaṃśaḥ sthiro yuvā // DhDaś_2.1 //

The eight qualities of an ideal hero are: nobility of character (sobha), liveliness (vilasa), sweet-temper (madhurya), poise (gambhirya), firmness (sthairya), sense of honour or brightness (tejas), grace (lalita), and magnanimity (audarya).

 Sobha vilaso madhuryam gambhiryam sthairya tejasi lalita udaryam ity astau sattvajah paurusa gunah// DhDaś_2.9 /

Dhananjaya mentions four kinds of heroes- bhedais caturdha lalita santo udatto -ddhatair ayam. :

(1) Dhira-lalita, the light-hearted hero, fond of arts, happy, gentle, free from stress – niscinto dhiralalitah kalasaktah sukhi mrduh;

(2) Dhira-shantha, the self-controlled and calm hero , possessed of generic merits of a hero – samanya-guna-yuktas tu dhirasanto dvijadikah;

(3) Dhirodatta, the self-controlled and exalted hero of great excellence , exceedingly earnest, forbearing, not boastful, resolute with self-assertion  suppressed, and firm of purpose-mahasattvo ‘tigambhirah ksamavan avikatthanah sthiro nigudhahamkaro dhirodatto drdhavratah; and,

(4) Dhiroddhata, the vehement hero, altogether dominated by pride and jealousy, wholly devoted to magic practices, and deceitful, self-assertive, fickle, irascible and boastful – darpa-matsarya-bhuyistho maya-chadma-parayanah dhiroddhatas tv ahamkarl calas cando vikatthanah..

In a play in which a Hero is endowed with noble qualities of the type known as self-control, and exalted (Dhirodatta) , glorious , eager for fame, of great energy , a preserver of three Vedas (Trayi) , a ruler of the world , of renowned linage , a royal seer or a god – in that , his characterization is to be made the principal subject (Adhikarana).

Sita Ram

 Heroine

Dhananjaya initially mentions and describes three kinds of Heroines (Nayika tridha) : the hero’s own (Sva) wife; another person’s (Anya) wife; and, the common-woman (Sadharana-stri). These , again , are classified as Mugdha ( modest , shy and inexperienced) ;Madhya (between adolescence and full womanhood, enthusiastic and enterprising); and, Pragalbha (mature and well conversant with the art)

svā anyā sādhāraṇastrīti  tadguṇā nāyikā tridhā / mugdhā madhyā pragalbh eti svīyā śīlārjavādiyuk // DhDaś_2.14 //

Bharata had presented a different classification: divya (celestial); nrpa patni (queen); kulastri (modest house-wife); and ganika (courtesan). And, each one of these four types is associated with a trait : Dhira (patient); Lalitha(delicate); Udatta (gallant) and Nibhrta ( fearless).

Khandita_NayikaAbhisarika-nayikaProshita-patika_Nayika

There is also an eight-fold classification of the Heroines (Ashta Nayika), depending upon their relations with the Hero:

One who loves to dominate her husband (svadhina- bhartrka or svadhina-patika);

One who loves to dress well and to adorn herself, as she joyfully waits for her lover (vasaka-sajja);

One who cannot tolerate her lover being away from her (viraha-utkanthita) and is disturbed (unmanas) when he delays meeting her;

One who gets furious (khandita) when she discovers that her lover is having an affair with another woman;

One who after a quarrel with her lover moves out (kalaha-antarita), and later upset with herself in righteous anger and remorse ;

One who feels deceived and is deeply hurt (vipralabdha) when her lover fails to show up on-time at the rendezvous agreed upon;

One who is lonely (prosita-priya) when her lover is in a distant land because of war or business;  

 And, one who, deeply in love, sets out in great hurry and anxiety to meet her lover  (abhi-sarika).

praṇayā yogayorutkā pravāse proṣitapriyā / kalahānta riterṣyāyāṃ vipralavdhā ca khaṇḍitā // DhDaś_4.62 //

[Dhanika, further divides the eight into two classes; and, by permutation comes up with 128 varieties of heroines.]

Dhananjaya lists as many as twenty natural graces of women in the prime of youth. These are again made into three groups.

The first three are related to expressions or manifestation of love: emotions or feeling (bhava); bodily gestures (hava); and passion (hela).

 yauvane sattvajāḥ strīṇāmalaṅkārāstu viṃśatiḥ / bhāvo hāvaśca helā ca trayastatra śarīrajāḥ // DhDaś_2.28 //

The second group of seven components are related to the inherent characteristics of the heroine: graceful beauty (sobha); lustrous loveliness (kanthi); endearing sweetness (madhurya); poise and courage (pragalbhata); generosity (audarya); and steadfastness (dhairya).

śobhā kāntiśca dīptiśca mādhuryaṃ ca pragalbhatā / audāryaṃ dhairyamityete sapta bhāvā ayatnajāḥ // DhDaś_2.29 /

The third group of ten virtues relate to her attitude and dispositions: sportive attitude (Lila); charmingly delightful (vilasa); good-taste (vicchitti); a bit of confusion (vibhrama), easily excitable (kila-kinchita); very affectionate (mottayita); pretending to be angry , in jest (kuttamita); mock-indifference (bibboka); a bit laid-back or relaxed (lalita); and, bashful (vihrta).

līlā vilāso vicchittir vibhramaḥ kilakiñcitam / moṭṭāyitaṃ kuṭṭamitaṃ bibboko lalitaṃ tathā / vihṛtaṃ ceti vijñeyā daśa bhāvāḥ svabhāvajāḥ // DhDaś_2.30 //

 [These twenty qualities are again discussed, in detail, later in the text.)

Kalamkari

The Sanskrit Drama carefully classifies and sub-classifies the Heroine into as many as sixteen types.

 heroine b-w

***

Such fondness for minute sub-division of almost every element of the Drama into as many theoretically possible numbers of types as possible   is a defect in the Sanskrit dramaturgy. Such stereotyped threadbare manipulation of characters, actions, styles is rather futile.  Apart from being of no practical use, they rob the playwright of his initiative and enterprise. Every aspect of Drama is typecast and pigeonholed. It is not therefore surprising that over a period, the Sanskrit Drama lost freshness ,  became too conventional and eventually losing their appeal.

*

[ Before proceeding further with the treatise of Dhananjaya , it would be worth reproducing ( in a summarized form) the views of Abhinavagupta  on the participation  played by the Hero , heroine and the spectators , as well.

According to Abhinavagupta, a true connoisseur of arts has to learn to detach the work of art from its surroundings and happenings; and view it independently.

He asserts, the “willful suspension of disbelief” is a pre-requisite for enjoying any art expression. The moment one starts questioning it or doubting it and looking at it objectively; the experience loses its aesthetic charm; and, it becomes same as a mundane object.

One enjoys a play only when one can identify the character as character from the drama and not as ones friend or associate. The spectator should also learn to disassociate the actor from the character he portrays.

The Hero and Heroine  in a play are just portraying the roles assigned  to them, as best as they can. In other words; they are trying to convey certain states of emotions and the sate of being of the character-roles they are playing . They are like a pot (patra) or receptacle, which carries the emotional state of primary (real) role to the spectator. The actor merely  serves as a vessel or  a receptacle or a means of serving relish (Asvadana) ; and, that is the reason, a role is called a Patra. The characters on the stage represent the real role ; but , are not the real ones; and, they do not completely identify themselves with the original. Hence, the Vibhava is like a cause; but, not an exact cause. The performance, the acting by the hero, heroine and other characters in a play is Anubhava, one of the several ways of bringing out the emotional states of the characters they are playing out on the stageSuch Anubhava could be called as ensuing responses.

The hero or heroines in a play don’t become the lover and beloved in real life. They understand and accept here  , what their their roles are; and, try to show what might be the emotional experiences of the character , and its reactions to the given situation  . The actors  try to  resemble the character , for few hours of the play ; and, act on the stage accordingly, through which the spectators understand , grasp and enjoy  the emotional states in the play.

Abhinava makes a distinction between the world of drama  (Nātyadharmī) and the real but ordinary life (Lokadharmī). In the artistic process, where presentations are  made with the aid of various kinds of dramatic features such as Abhinayas and  synthetic creations  ,  we are moving from the gross  and un-stylized movements of  daily life to more subtle forms of expressions and experiences; we move from individualized experiences to general representations; and from multiplicity to unity.

He says that the feeling that might cause pain in real life is capable of providing pleasure in an art form. He explains, while viewing a performance on stage one might appreciate and enjoy the display of sorrow, separation, cruelty, violence and even the grotesque; and one may even relish it as aesthetic experience. But, in real life no one would  ever like to be associated with such experiences.

Abhinavagupta , therefore,  observes that the theatrical experience is quite unlike the experience in the mundane and the real world; it is Alaukika – out of the world.

In summary; he draws a theory that the artistic creation is the expression of a feeling that is freed from localized distinctions; it is the generalization (sadharanikarana)  of a particular feeling. It comes into being through the creative genius (prathibha) of the artist. It finally bears fruit in the spectator who derives Ananda, the joy of aesthetic experience. That, he says, is Rasa – the ultimate emotional experience created in the heart of the Sahrudaya. 

Abhinavgupta talks about Sadharanikarana, the generalization. He points out that while enjoying the aesthetic experience, the mind of the spectator is liberated from the obstacles caused by the ego and other disturbances. Thus transported from the limited to the realm of the general and universal, we are capable of experiencing Nirvada, or blissfulness. In such aesthetic process, we are transported to a trans-personal level. This is a process of de-individual or universalization – the Sadharanikarana.\

According to Abhinavagupta a real work of art, in addition to possessing emotive charge carries a strong sense of suggestion and the potential to produce various meanings. It can communicate through suggestions and evoke layers of meanings and emotions.

He illustrates his position through the analogy of a tree and its fruit. Here, the play is the tree; performance is the flower; and spectator’s experience .

Rasa, the relish (Asvada) by the spectator, is the ultimate product (phala) of a dramatic performance, as that of a fruit borne by a tree :  “the play is born in the heart of the poet; it flowers as it were in the actor; and, it bears fruit in the delight (ananda) experienced by the spectator.” .. ”And, if the artist or poet has inner force of creative intuition (prathibha)…that should elevate the spectator to blissful state of pure joy Ananda.”

At another place, Abhinava declares, a true aesthetic object,  not merely stimulates the senses but also ignites the imagination of the viewer. With that, the spectator is transported to a world of his own creation. That experience sets the individual free from the confines of place, time and ego (self); and elevates him to the level of universal experience.  It is liberating experience. Thus art is not mundane; it is Alaukika in its nature

According to Abhinavagupta, the object of the entire exercise is to provide pure  aesthetic  joy to the spectator. Without his participation , all art expressions are pointless.

Thus, he brought the spectator from the edge of the stage into the very heart of the dramatic  performance and its experience. ]

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Supporting characters

The section on Neta, apart from the Hero and the Heroine, includes the supporting characters, such as the companions of the hero; the  maids and messengers in service of the heroine ; and , the opponents of the Hero as well. Just mention about these briefly:

The companions of the Hero, i.e., those assisting and attending (pithamarda) and devoted to him are, usually, possessed of qualities similar to that of the Hero, though in a lesser degree. In addition, there would a fun and food loving, good-natured, but a rather incompetent jester (Vidushaka); and another, a sort of parasite (Vita).

The Heroine, usually, has in her service a set of maidens, who attend on her as maid-servant (dasi), and also serve as messengers (dutyo).  The Heroine might use any of those women, as also a foster-sister (dhatreyi), a woman skilled in crafts (silpini), a neighbour (prativesika), and a female ascetic (lingini) to pass on private messages to her lover. Some of these are also her friends (sakhi), confidants and advisors – (dutyo dasi sakhi karur dhatreyi prativesika lingini silpini svam ca netr mitra gunanvitah.)

The opponent of the hero (prati-nayaka), falling under the fourth type of the Hero (Dhiroddhata) is often depicted as avariciousness, vehement, stubborn, criminal and vicious (lubdho dhiroddhatah stabdhah papakrd vyasani ripuh)

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Vrtti

Bharata had mentioned:  Vrttis or Styles are traditionally known as the constituent elements of all dramatic works (lit. poems).  It is said; the Vrttis have been so named because of the element or the action that is predominant in them.  the ten kinds of play are considered to have proceeded from these Vrittis.

sarveāmeva kāvyānā mātkā vttaya sm ābhyo vinista hyetad-daśarūpa prayogata 18.4

Another important element of the Drama that is discussed in Book  Two  of the Dasarupa is the concept of Vrtti  (which Bharata considered as the mother of all poetic works – kāvyānā mātkā vttaya sm), the ways of rendering a scene; or , the acting styles and the use of language , diction that different characters adopt in a play, depending upon the nature or the Bhava that relates to the character. Thus, the Vrttis get related to the four types of heroes and four kinds of representations. And, since Vrttis are also related with Rasas, they set the mood or ambiance on the stage by their distinct style of dramatic representation. In other words; the Vrttis call for the excellence of the mental, physical and vocal efforts of the actors portraying their characters.

Vrttis are said to be of four kinds (vrttis caturdha): Kaisiki; Sattvati; Arabhati; and, Bharati.

The Kaisiki-vrtti (graceful style) which characterizes the tender Lasyanga associated with expressions of love, dance, song as also charming costumes and delicate actions portrayed with care, mostly by women,   is most suited to Srngara-rasa (tatra kaisiki gita-nrtya-vilasadyair mrduh srngara-cestitaih). Kaisiki has four varieties (Bhedas): Narma (good-natured small-talk); Narmaspinja (pleasure blooms at the first meeting of lovers); Narmasphota (the lovers delighting in each other company); and, Narma-garbha (covert pleasure; incognito). The prefix Narma indicates cheer or laughter.  Kaisiki is the most charming and delightful combination of Srngara and Hasya, playful expression one’s affection or longing for union with the lover.

Sattvati Vrtti (flamboyant style) is a rather gaudy style of expressing ones emotions with excessive body-movement; exuberant expressions of joy; and, underplaying mellow or sorrow moods. It is a way of expressing ones emotions through words (mano-vyapara).  It is associated with the Vira , Adbhuta and Rauidra Rasas (vire sattvaty) – arabhati punah rase raudre ca bibhatse vrttih sarvatra bharati. The Sattvati Vritti has four varieties: Uttpatha (raising up to the conflict); Sallapaka or Samlapaka ( heroic and passionate words or challenge); Sanghatya (breach of alliance or that which breaches alliance; and, Parivartaka ( when a character abruptly changes a course of his actions).

Arabhati-vrtti is a loud, rather noisy and energetic style. It is a powerful exhibition of one’s anger, valour, bordering on false-pride, by screaming, shouting, particularly, in tumultuous scenes with overwhelming tension, disturbance and violence.  It involves furious physical movements (kaya-vyapara). It is associated with Raudra (furious) and Bhibhatsa (odious) Rasas (arabhati punah rase raudre ca bibhatse). The Arabhati has four varieties: : Sanskipta (brief, elaboration , condensed representation of the plot); Avapata ( commotion, fear, jubilation , panic, fall, puzzled behaviour, quick entrance and exit of characters); Vastu Uttahapanam (elevation of the plot, combination of all other Vrttis); and , Sampheta (conflict, fights, combats, betrayal, excitement). Arabhati is also attended with feats of jugglery, conjunction and conflicting situations, where bodily actions are prominent.

And, Bharati-vrtti is mainly related to a scene where the speech or dialogue delivery is its prominent featureBut, generally, the Bharati-vrtti, related to eloquence, is of importance in all the situations (vrttih sarvatra bharati). It is devoid of Srngara, Karuna and Nirveda (dispassion).  The Bharati-Vrtti has four varieties: Parochana (introducing the play and playwright to the spectators); Amukha or Prastavana (where the Sutradhara strikes a conversation with the Nati or Vidushaka, as a prologue to the play); Vithi (sort of monologue the Sutradhara carries on before the play proper); and, Prahasana (hilarious conversations between minor actors). Abhinavagupta suggested the terms: Kathodghata (which consists in some characters catching up with the words or intent of the Sutradhara); Pravartakam (introducing the subject), Prayogatishaya (where the director mentions the entry of a character of the drama), in place of Parochana, Amukha and Vithi. All these take place, mostly, in the Purvanga, the preliminary to the play proper.

[There is much confusion about the terms Vithi and Prahasana. They are used in different contexts carrying different meanings. The Vithi and Prahasana mentioned by Bharata as the Bhedas of Bharati Vrtti refer to the Angas of Vithi and also the two kinds of dramas. 

And, similarly , Vritti which denotes diction or style   is also used in three other senses: (1) verbal-force (Shabda-shakti), like Abhidha, Lakshana and others; (2) Alliteration, Anuprasa Alamkara; and, (3) grammatical formatives like Samasa and Taddhita  ]

vrtti

Source : Laws practice Sanskrit drama by Prof. S N Shastri

Before concluding on the Vrttis, Dhananjaya mentions : the actions that take place in a play should be an authentic portrayal of the language, the gestures, the costumes and the characteristics (Desa-bhasa-kriya-vesa-laksanah) of the people of the region, to which the plot of the play belongs. The playwright should promptly adopt such suitable details (yatha-ucityam prayojayet), as are in practice – Pravrtti (pravrttayah) among the common people (lokad) of that region. It is a way of depicting the details of a particular character (viseha- vesa-vinyasa-krama) ; to render it authentic.

 Desa-bhasa-kriya-vesa-laksanah syuh pravrttayah lokad ava-vagamyaita yatha-ucityam prayojayet.

Here, Dhananjaya introduces another division among these four Vrttis. He creates two other sub-classes: Artha-vrtti and Sabda-vritti. According to Dhananjaya, the first three (Kaisiki; Sattvati; Arabhati) which deal mainly with action fall under Artha-vrtti; while, Bharati, where language and the presentation of the speech is of importance, is brought under Sabda-vritti.

But, neither Bharata nor anyone else had made such a distinction.  Many scholars opine the sub-classification made by Dhananjaya was rather needless.

According to Bharata, of the ten forms of Drama, Nātakas and Prakaranās should contain all the four Vrttis; hence, they are called Pūrna-vrtti Rūpakas (NS.17.7). And, the other eight Rūpakas should be represented without giving prominence to Kaisiki-vrtti (NS.18.8-9).They may contain one of the other three Vrttis as the prominent one, and the three others to a lesser degree.

However, Abhinavagupta had pointed out:  it is not the number of Vrttis, alone, that is important. In certain types of plays one form of Vritti might be prominent or otherwise. The combination, the treatment and the variations of the Vrittis differs from one type of play to the other. Thus, the classification of the Rupakas is based on the treatment of the Vrttis, which might either be complete with all its Angas (elements) or be lacking in some of them. Thus, the mere number of Vrttis in a play, by itself, is not very significant.

[ The critics point out: though Bharata mentioned ten types of Drama, he discussed mainly about its two forms – Nataka and Prakarana, perhaps because these two alone fulfilled all those requirements that were necessary for Rupaka (Major type). Further, Bharata had also explained :  ‘as these two major forms alone depict varieties of situations , made up all the styles (Vrttis) and representations,  they lend  enough scope for display of Rasas (Rasapradhana or Rasabhinaya or vakya-artha-abhinaya); while the other eight forms are incomplete , as they are not presented in the graceful style, the kaisikivrtti’.

Thus, while Bharata and Abhinavagupta stressed Vrtti as the distinguishing character of a Drama; Dhananjaya and Dhanika held Vastu (subject-matter), Neta (Hero) and Rasa (sentiment) as the elements which distinguish one form of drama (Rupaka)  from its other forms  (vastu neta rasas tesam bhedako) .

For Dhananjaya, these three were pivotal points; and, he went about constructing his work, analyzing the whole of dramaturgy around these three parameters (pradhāna, netà and rasa). Therefore, while conducting a study of each class of the Drama, he does it with reference to : (1) their subject-matter or the plot (Vastu), the main theme (adhikarika), the episodes (angam) and the incidental events (prasangika);  (2) the types of characters they portray (Neta), such as the class of the hero, heroine and other supporting roles;  (3) the structural divisions of the play , the stages in their  corresponding with the elements of the plot (avastha), the actions essential for attaining the object of the play (Arthaprakrti) ,  the  sequence of  episodes (in the development of the play (Samdhi); and, (4) the Rasa , the  principal or the  dominant  sentiment of the play.]

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Dhananjaya concludes the Second Book of Dasarupa, which covered a number of essential ingredients of the Drama, with homage to Bharata and to Lord Shiva:

Who but Bharata or the crescent-crested god Shiva would have been able to enumerate , without omission, all the varieties of action (Vrttis) , the qualities (Guna) , the utterances (Vak) , and the involuntary States (sattvabhava) that are inseparable from (a-vibhinna) the ten (four types of heroes and six types of heroines) varieties of leading character (netara-dasa-vibhinnan) ?’

Cesta-guno-dahrti sattvabhavan / asesato netara-dasa-vibhinnan / ko vaktum Iso Bharato na yo va /  yo va na devah Sasi khandamaulih //

 ***

In the next Part, we shall talk about the ten forms of Drama which is the main theme of Dhananjaya’s work; and about Rasa as discussed in Book Three and Book Four of the Dasarupa.

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Continued

In

Part Four

Sources and References

The Dasarupa a treatise on Hindu dramaturgy by George C. O. Haas, Columbia University press / 1912

 A Study of Abhinavabharati on Bharata’s Natyasastra and Avaloka on Dhananjaya’s Dasarupaka – by Manjul Gupta

Sahityadarpanah of Viswanathakavirajah

The Theory of the Samdhis and the Samdhyangas in Natya Shastra by T.G. Mainkar

Sanskrit Dramaturgy

All images are from Internet

 
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Concerning the Dasarupa of Dhananjaya – Part Two

Continued from Part One

Dance-Drama

As mentioned earlier, the Dasarupa of Dhananjaya is a compilation of the extracts taken from the Natyashastra of Bharata.

Dhananjaya’s work is , essentially, a collection of the rules, the terminologies, their definitions and the elements pertaining to Drama, as extracted from the Natyashastra; and, arranged under certain broad heads. The Dasarupa is a compact work, intended to serve as a manual for the use of those interested in the subject of Drama.

As its name suggests, the text is focused on the ten types or classes of Drama that were mentioned in the Natyashastra; and, on the presentation and analysis of their technical features, plot constructions along with their distinguishing characteristics.

[Let me mention, at the outset, what I have posted below is but a brief summary of the few of the selected topics described in the Dasarupa. I have tried to avoid going into various sub-classifications and too many details enumerated in the text. For the complete text, with its translation in English, please click here.]

**

Before we discuss the main subjects covered by the Dasarupa, let’s briefly take a broad look at its structure and the arrangement of its theme and topics. .

The Dasarupa which commences with a prayer submitted to Lord Ganesha has four Prakashas or sections, containing, in all, about three hundred Karika (verses).

Namas tasmai Ganesaya yatkanthah puskarayate / madabhogaghanadhvano nilakanthasya tandave //

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BOOK ONE

The First Book or the First Chapter consists of 68 verses.  After paying homage to Lord Vishnu who displayed ten incarnations (Dasa-Avatara); and, to Bharata who enunciated the ten forms of Drama (Dasarupa), Dhananjaya seeks the blessings of Sarasvathi the Goddess of wisdom, arts and all learning.

He then states the objective of his work as to give concisely and directly the import of the rules pertaining to Drama, as set down in Natyashastra, in its own words (tasyarthas tatpadais tena samksipya kriyate anjasa)

Dhananjaya then goes on to list (pratipadam laksma) the definitions of some of the fundamental technical terms that appear in the Natyashastra – (pratipadam aparam laksma kah kartum iste)

He commences by stating that Drama is an imitation of situations in life (Avastha-anikrtir natyam); and, it is called a Rupa (form), because it is, basically, a visual presentation (rupam drsyatayocyate), made by actors who assume the forms of various characters that are assigned to them (rupakam tat samaropad), such as gods, kings, men or women of various sorts.  It is said; Rupa refers to delineation, giving a concrete form to an idea. Then, he just lists the names of the ten chief varieties of Drama that are based in different Rasas (dasadhaiva rasasrayam)

[The phrase Avastha-anikrtir natyam, as quoted by Dhananjaya might give an  impression as though the Drama is the art of reproduction by imitation (anukriti), But, Abhinavagupta had  earlier objected to such a banal view, saying that mere imitation of other’s movements would produce the ludicrous; and, the imitation of other’s feelings and emotions is impossible. He held the view that Drama is an artistic creation, where music, dance, acting as also the dress, colours, and the stage environment etc., all unite harmoniously in an effort to create a delightful dramatic performance. According to him, such a presentation becomes an art when its narration in the form of dialogues associated with suitable gestures, postures, movement, dance, dress and music etc., succeeds in giving expressions to sentiments and passions so as to rouse similar sentiments in the minds of the audience. Thus, Drama is an entirely a new art that aims to enliven the hearts and minds of the audience; generates in them an aesthetic joy; and, it is not an imitation in the ordinary sense of the term. ]

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 Marga- Desi

Dhananjaya mentions the broad categories of Dance-forms as: the Marga (the pure or pristine); and, the Desi (the regional or improvised) – adyam padartha-abhinayo Margo Desi tatha param. As regards the particular Dance forms, Dhananjaya says: the Nrtya, which, principally, is display of various emotional states (bhava-asrayam nrtyam), is a representation of the traditional Marga class. While, Nrtta, with emphasis on limb-movements, in tune with rhythm and timing (nrttam tala-laya-asrayam), belongs to the popular Desi style.

Under each of these (Nrtya and Nrtta) there is again a two-fold division: Lasya, the graceful, gentle and fluid pleasing dance; and, Tandava, the vigorous, energetic and brisk invigorating movements (lasya-tandava-rupena natakad-dyupakarakam.)

*

After offering short definitions of these terms, which  are auxiliaries to Nataka and to the other varieties of Drama,  Dhananjaya moves on to the definition of such terms as are directly connected with the major theme of his work –  the Drama (Rupa).

He broadly follows Bharata , who had said : A Nātaka is having five Arthaprakrti; five kâryāvasthās; five Samdhis; four Vrittis;   sixty-four Sandhyaga; twenty-one Sandhyantārā, thirty-six Abhusanas; and, ninety music.. Yattu pancachatuh –sastiscatuh –pancaikavisatih / sattrinsatravtisca tat-Natakam

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Vastu -Neta -Rasa

The rest of the First Chapter is devoted to the discussion of Vastu, the subject-matter, in detail, about its sub-divisions; and, also of the structural components or the elements of the plot.

He states that the three essential elements , on which the  Dramas are based and  classified,  are : the Vastu (subject-matter) ; the Neta (the leading character- the Hero) ; and , the Rasa (the sentiment it portrays ) . It is on the basis of these three criteria that Dramas are categorized into different types – Vastu Neta Rasas tesam bhedako.

The plot should be simple; the incidents should be consistent; and, the progression of the events should spring direct from the story. It should make an interesting presentation on the stage; and, should provide entertainment to varied class of spectator. That is the basic purpose of the Drama. The ability to please the spectators, to capture their imagination and to make them visit the theatre more often is a major indicator of the success of the play.

The Subject-matter (vastu) can be depicted in two ways (Vastu ca dvidha) – the main theme (adhikarika) along with the subordinate (angam) incidental events (prasangika) – Tatra adhikarikam mukhyam angam prasahgikam viduh.

The major theme (Vrttam) of a Drama would, usually, be about the intense desire or the objective (Adhikara) of the principal character of the play (i.e., the Hero, the Adhikarin); and, how he goes about to realize that goal. The sequence of incidents or actions that follow during the course of the Hero’s attempts, mainly, to achieve his objective or the desired result would be its principal subject (Adhikarika); and, the related minor ones would form the incidental the subject (prasangika).

[For instance; in Ramayana, the story of Rama and Sita is Adhikarika. The stories of Sugriva and Vibhishana are Prasangika, supplementary to the main story.]

vastu2

Source : Laws practice Sanskrit drama by Prof. S N Shastri

Arthaprakrti

The action of the play expands in manifold ways (vistary anekadha), just as a seed (Bija) very small at the beginning, grows, in stages, and expands into a tree.

The process of unfolding of the story could be marked by five stages or elements of action (Arthaprakrti or Karyalakshana): (1) the beginning (Bija) or the cause (hetu) giving rise to various types of actions; (2) the expansion (Bindu), which like the drop of oil in water, spreads and joins the broken ends, expands and maintains the continuity (accheda-karana), till the very end of the play, in all the Acts; (3) the episodes of  considerable length (Pathaka), which  carry forward  and support the main cause of the  action ; (4) the incidents within the episode (Prakari), of limited duration and of minor importance , yet, serving the principal plot; and, (5) finally the conclusion (Karya), which also sums up the whole action, starting  from the beginning  and leading up  to the ultimate gainful result  (Phala).

Bija-bidu-patakakhya prakari-karya-laksanah arthaprakrtayah panca ta etah parikirtitah.

Following the analogy of the seed and the tree, it is explained, in Arthaprakrti also, the Bija, the germinal-idea, just like a seed, is the origin. And, it goes through several stages namely: appearance (Utpatti); opening up (Udgnatana); going forth or sprouting (Udbheda); and, coming out distinctly (Nirbedha). And, just as the seed develops gradually into a tree and bears fruit, here too the Bija develops, in stages, and finally concludes in Karya. And, thus, it succeeds in bringing the whole series of actions in the play to  a happy (mangala) desired finale  (Phala) .

Bīja bindu patākā ca prakarī kāryameva ca arthapraktaya pañca jñātvā yojyā yathāvidhi NS.19.21

 [The charge levelled against Dhananjaya and Dhanika is that they just state the Arthaprakrti and fail to discuss its importance in the play or its relation with the Avastha, another format of plot-construction.]

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Avastha

The plot could also be structured in another manner so as to depict the successive, ordered (Yathasamkhya) stages of action (Avastha) in the Hero’s (Neta) attempts to accomplish his purpose. The actions involved in the hero’s way to success are structured into five distinct segments or stages : (1) beginning of the action (Arambha) with eagerness to attain the result; (2) the efforts made by the hero to move resolutely, with great haste, towards his objective, despite the odds and resistance he has to contend with (Yatna or Prayathna); (3) actions leading him nearer to the objective, with hope of success mixed with fear of failure (Prathi-sambhava); (4) actions or incidents that ensure certainty of realizing his goal,  as by then the dangers and risks  would have been bypassed or  eliminated (Niyatapti) ; and, (5) finally, the crowning glory, the complete and satisfactory achievement of his desired objective (Phala-agama or Phala-prapti or Phala-yoga)

Avasthah panca karyasya prarabdhasya phalarthibhih ararnbha-yatna-praptyasa-niyatapti-phalagamah.

The Avastha, with its five stages, is a comprehensive model which begins with eagerness and zeal; resolutely passes through strenuous efforts, overcoming several obstacles, mixed with anxiety, hope and fear; and, finally ends happily  in the total acquisition of the desired object.  Its elements, taken together, portray the physical, mental and psychological states of the hero (Neta) throughout the action of the play. 

These five stages, in their successive order (Yathasamkhya), form the essential, classic features of any type of human endeavour; not merely Drama.

The Brihadaranyaka Upanishad calls upon:

‘You are what your deep, driving desire is; as your desire is, so is your will (sa yathā-kāmo bhavati tat-kratur-bhavati); as your will is, so is your deed (yat-kratur-bhavati tat-karma kurute) ; as your deed is, so is your destiny (yat-karma kurute tad-abhi-sapadyate”- (Brhu. Up. 4.4.5).

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Samdhi

Another way of structuring the plot (the body, the Sarira of the play) is by creating links, for connecting one scene with the other. These are the Samdhis, the segments of the plot (Artnavayavah), joined mutually or with the limbs (angaih) of the otherantaraika-artha-sambandhah samdhir ekanvaye sati. These Samdhis (junctures) are meant to knit together the various structural divisions of the Drama, consistent with the elements of the plot, and with the stages in the Hero’s struggle on his way to achieving his purpose, right from the beginning up to the successful conclusion.

The five stages of  the developments or the progressions in the action of the play in that regard are :   (1) Mukha (lit. face) , the section where the action originates in a seed-form (Bija) giving rise to various purposes and sentiments (mukham bijasamutpattir nana-artha-rasa-sambhava ); (2) Prathimukha ,  the development of the seed – sometimes visible  and sometimes not ; but, there all the while and progressing (laksya-alaksya atayodbhedas tasya pratimukham bhavet); (3) Garbha, the section of the play where the seed springs up and strives to grow despite the difficulties and challenges it is confronted with (garbhas tu drstanastasya bijasya-anvesanam muhuh); (4) Vimarsa or Avamarsa, a crucial or rather testing time in the development of the seed which has now  grown into Garbha , facing troubles; and, when  one stops to reflect (avamrsed) because of getting embroiled in entanglements (aslesa), snared in temptations (vilobana), doubts, anger , or following a misleading clue, thus temporarily arresting its development (krodh en avamrsed yatra vyasanad va vilobhanat); and, (5)  finally, the Nirvahana  or the Upasamhrti, when the scattered threads are harmonized and knit together;  when all the main incidents of the play are  meaningfully interwoven ; and , the play is brought to a successful conclusion – (bijavanto mukhadyartha viprakirna yathayatham aikarthyam uparuyante yatra nirvahanam hi tat).

Mukha-pratimukhe garbhah sa vamarsa upasarnhrtih.

 [For an exhaustive study of the Samdhis, please click here.[

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These three – Arthaprakrti, Avastha and Samdhi – could be treated as parallel methods of structuring the divisions of the play.  It is also said; they are not mutually exclusive. The five elements, that mark the stages of action, in each of these, correspond with the five elements of the other two, in an ordered sequence – Krama (yathasamkhyena jayante).

Arthaprakrtayah panca panca-avastha-samanvitah yathasamkhyena jayante mukhadyah panca samdhayah.

The structural divisions or sequence of events of the drama – Avastha; Arthaprakrti; and, Samdhi – each in its own manner,   corresponds with the elements of the plot and the actions associated with the progressive stages in the hero’s attempts to successfully realize his purpose or object.

Avastha are the stages of action in the progression of the events in the play

Arthaprakrtis are in effect, the means for attaining the desired result or success (Phala). These, again, are said to be sequenced in five stages of action (Avastha)

The Samdhis are junctures or the sequence of events in the development of the play; and, associated with the actions or the stages in the hero’s realization of his purpose (Phala-siddhi).

[It seems that Bharata had suggested just two parallel methods or principles of classification for projecting the development of the plot – Avastha and Samdhi – each having five steps. The Samdhi was again divided into 64 sub-sections –Samdhyangas. And, Bharata had not discussed or even suggested inter-relation between these two models.

The schemes of the Avastha (stages) and the Samdhi (junctures), both having five phases, are related to the structure of the play, the dramatic incidents, the development of the theme, and the movement of the plot. While Avastha attempts to delineate or mark the successive stages in the action of the play through various sub-divisions; the Samdhi, following the analogy of the seed and its growth, tries to combine the various types of action into meaningful whole.

When taken together, you find that the Avastha and Samdhi are closely related, with each stage of the Avastha corresponding with each juncture of the Samdhi. Both mark the divisions in the development of the plot, in five stages. Bharata had said: the Samdhis depend on the Avasthas (Samdhyo hi Avastha paratantrah)

Dr. Manjul Gupta explains: Looking at the position, we may finally say that Samdhis are the important parts of a plot. A plot is divided into five parts marking different phases of the main aim. These five Samdhis are related to each other, ‘to their limbs’. .. and, somehow or other, with the five Avasthas of the action.

Thus, the Arambha of Avastha corresponds with Mukha of Samdhi; and similarly, the Prayathna with the Prathimukha; the Prathisambhava with the Garbha; the Niyatapi with the Vimarsa; and, the Phalayoga with the Nirvahana.

 *

Dhananjaya goes further and inserts Arthaprakrti, the constituent elements in a plot, mentioned by Bharata (NS.19.21) as the third format (besides Avastha and Samdhi) for outlining the structure of the plot. And, he had said, they are found in the Itivrtta, just as the five Avasthas do.

bījaṃ binduḥ patākā ca prakarī kāryameva ca / arthaprakṛtayaḥ pañca jñātvā yojyā yathāvidhi // BhN_19.21 //

Dhananjaya suggested that the five elements of the Arthaprakrti (viz., Bija; Bimdu; Pathaka; Prakari; and Karya), corresponded with the five stages  of action as described under Avastha ; and , from these arise five junctures , the Samdhi , beginning with Mukha , the opening.

arthaprakrtayah panca panca-avastha-samanvitah yathasamkhyena jayante mukhadyah panca samdhayah // DR.1.21//

The difference between Avastha and Arthaprakrti seems to be that while the former (Avastha) pertains to the principal plot; the latter (Arthaprakrti) covers the subsidiary plots also. And, while the action of every play consists of five Avasthas, but, in the case of five Arthaprakrtis, it is not necessary that all should be present. The other difference appears to be that in the Avastha, its stages follow an ordered sequence. But, Arthaprakrti is not bound by such regulations; the sequence and the prominence of its elements might be altered to suit the needs of the plot. 

However, Bharata had not said anything about the inter-relations that might exist among the three formats of the play, viz., the Avastha, the Samdhi and the Arthaprakrti.

But the later writers (e.g. Katayavema and Dhundiraja) accepted the suggestion made by Dhananjaya for treating Avastha, Samdhi and Arthaprakrti as parallel ways of dividing or demarcating the structure of the Drama into successive ordered segments ( yathasamkhyena jayante ).

It has been suggested that these three sets of five each, Pentad (panchayatam), could be taken as three ways of analysing the structure of the plot of a Sanskrit Drama (Rupaka) from three different angles.

Summing up, Viswanatha in his Sâhitya-Darpana described Rupaka (Nataka) as the most logical and perfect theatrical composition. It progresses in a systematic manner and concludes successfully, bringing joy to all.  He says, according to the Dasarupa, the structure of the Rupaka consists: five elements of the plot (Arthaprakrti), matching with the five stages (Avastha) of the action, from which arise five structural divisions or sequence of events (Samdhi) of the drama, which correspond with the elements of the plot and the actions associated with the stages in the hero’s attempts to successfully realize his purpose or objects. ]

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Itivrtta

As regards the story of a play, it could either be adopted (itivrttam) from the incidents that occur in the well-known (Prakhyatha) legends of the past; or, could be a story invented (Uthpadya) by the poet; or else, it could be a mixture (Misra) of the two.  The story could also be about gods (Divya), humans (Marthya) and the like (Divyadivya).

prakhyatam itihasader utpadyam ; kavi-kalpitam;  misram ca samkarat tabhyam divya-martyadi-bhedatah.

It is also said; whatever be the original story, if it is not suitable for the hero or is inconsistent with the sentiment (Rasa) he represents, then the story can be modified or re-arranged in some other way. After determining the beginning and end of the play in this manner; and, after dividing it into five parts, the author should then break it up into small sections; the divisions called junctures (Samdhi).

[Surprisingly, even in the case of historical narrations (akhyayika),  Anandavardhana (Ca. 850) counseled poets to alter any received historical account that conflicted with the emotional impact they sought to achieve. Thus, according to him, one can and should change fact to suit the dominant Rasa of the work.]

The purpose of such reshaping of the story and characters by the playwright is to achieve a harmony of theme and character in order to serve the ultimate purpose of the drama ,  the Rasa – the  enjoyment by the cultured spectators concept of

 Yat tatra-anucitam Kim cin nayakasya rasasya va viruddham tat parityajyam anyatha va prakalpayet.

[The best example of this is Kalidasa’s reworking of Abijnana-shakuntalam and Vikramorvasiya, the former from the Mahabharata and the latter from the Vedas, Epics, and Puranas.]

Dhanika the commentator mentions that the Vastu is initially classified as the principal (Adhikarana) and subsidiary (Prasangika); and, each of these two are again sub-divided in three ways (Prakhyatha, Uthpadya and Misra), keeping in view of the source of the story, the characters, the portrayal and the dramatic conventions.

[But, Bharata had divided the plot (Itivrtta) into only two classes – the principal and the subsidiary; and, had not attempted their further sub-divisions. 

tivṛttaṃ tu nāṭyasya śarīraṃ parikīrtitam / pañcabhiḥ sandhibhistasya vibhāgaḥ samprakalpitaḥ // BhN_19.1 /

itivtta dvidhā caiva budhastu parikalpayet ādhikarikameka syāt prāsagikam-athāparam 19. 2

The explanation provided is that Bharata did not attempt to divide the dramatic components into tight compartments, because:  he was more concerned with the successful production of a play.  He was focused on coming up with an interesting presentation that would provide wholesome entertainment to the spectators ; and , at the same time he had to pay attention to the  playwright , the actors and the very process of production.

But, the later commentators like Abhinavagupta and Dhananjaya were basically theoreticians who relished offering  scholarly interpretations of the vast variety of technical terms , principles and concepts etc., together with illustrations of their applications by citing passages from the  great plays that preceded their times (such as the plays of Bhasa, kalidasa, Bhavabuthi, Sriharsha and others). These scholars were, however, not much concerned with the nutty gritty or practical details of play-production or the structure and management of the playhouse.]

Dhananjaya says that the chosen subject could be arranged in six ways: showing what needs to be put forth; displaying emotion; the element of surprise; representations for sustaining interest in the story; and concealing what needs to be concealed,

The task of dramatization of the underlying story (Itivrtta) calls for selection, omission and meaningful arrangement of the incidents. Some types of actions should be presented on the stage; while certain other types that are unsuitable for display might either be indicated by words or not shown at all.

There might be incidents in the play which have happened either in the past or in the distant lands; and, there might also be certain types of actions which might neither be possible nor advisable to show on stage. All such matters have to be suggested or indicated by various other clever devices (Arthopaksepaka).

[Normally, the action in a play depicts the events that occurred during the course of that day (or night). But, there are some noted exceptions to such conventions. For instance: in the Uttara-rama-charita of Bhavabhuthi, the invents in the first  Act and the second Act are separated by as many as twelve years. Similarly, several years elapse between the last two Acts of the Abhijnana-shakuntalam . In such cases, an intermediate scene (Vishkambha) is introduced as a link and also to explain/narrate the occurrences that took place  subsequent to  the previous Act.

Further, it is said; a chariot, an elephant or a horse should not be brought on the stage. Similar is the case with palaces, hills or lakes. Such animals and geographical features might be suggested or indicated through models made of cheap materials. And, in case an army has to be introduced on the stage, that should be symbolically represented by the movement (gati-vīcāra) of four to six persons dressed as soldiers.

But, in many cases, the unity of place is not strictly observed; and, travels are undertaken, often, by aerial routes, riding the celestial rathas]

In regard to the continuity of action taking place after a lapse of time , that is achieved through  suggestions or indications   made in  one oe more of the five ways  : (1) Vishkambha, an interlude; (2) Pravesaka confined to lesser characters, which use Prakrit; (3) Culika, suggestions from behind the curtain; (4) Ankamukha, anticipatory scene, at the close of an Act a character alludes to the subject of the following Act; and, (5) Ankavatara , the seed of the subject-matter of an Act in the previous Act before it has drawn to its close, so that the following is a continuation of the one preceding it. 

arthopakṣepakaiḥ sūcyaṃ pañcabhiḥ  pratipādayet / viṣkambha cūlikā aṅgāsy āṅkāvatāra praveśakaiḥ // DhDaś_1.52 //

It is only that part of the action which is fit to be exhibited is divided into Acts and presented on the stage in an ingenious and a highly interesting manner.

[Natyashastra prescribes that in the presentation of the play , one should avoid showing such events as: long travel; murder; war; violent overthrow; bloodshed; eating; taking bath; undressing; sex act etc.

Dura-dhavanam; vadham; yuddham; rajya-dessadiviplavan/ samrodham; bhojanam; snanam ; suratam; ca-anulepanam/ amvara-grahanadini pratyakshani na nirdiset na-adhikaraivadham kvapi tyajyam – avasyakam na ca // ]

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Source : Laws practice Sanskrit drama by Prof. S N Shastri

[The classical Sanskrit Drama, in its presentation, followed a traditional format.

Plays were usually presented at the spring festival. The Srngara and Vira are the usual dominant Rasas of the play. The dialogues are interspersed with lyrical stanzas and songs; and, often with dance movements. Tragedy, in the Western sense of the term, was not there, for every drama must have a happy ending.

A drama always opened with Naandi, or benediction, submitted by the well accomplished Sutradhara, stage-manager or director, to Lord Shiva, praying for successful completion of the play , for the joy (nanda) and the prosperity of the audience. Right after the Naandi, the Sutradhara  , appears in a section , preliminary to the play, called  Prarochana ,  where he would praise the literary merit and scholarship of the playwright;   laud the high quality of his play that the audience is about to watch; and, compliment the audience for their wisdom in choosing to witness such an excellent play ( unmukhī karaṇaṃ tatra praśaṃsātaḥ prarocanā) . The Prarochana would be followed by Prastavana, the prelude to  the play-proper, where the Sutradhara would strike a light-hearted conversation with a Nati , Vidusaka or a minor character regarding the play that is just about to be presented. All these take place in the Purvanga, the preliminary , before the commencement of the play .

sūtradhāro naṭīṃ brūte mārṣaṃ vātha vidūṣakam / svakāryaṃ prastutākṣepi citroktyā yat tadāmukham // DhDaś_3.7 // prastāvanā vā tatra syuḥ kathādghātaḥ pravṛttakam / prayogā tiśayaścātha vīthyaṅgāni trayodaśa // DhDaś_3.8 //

The initial scenes are always auspicious, spreading a happy–feeling (adi-mangala); and, as the story unfolds, unbearable miseries are unjustly mounted  on the virtuous hero , by the crafty villain. In the midst of all the troubles that the hero is facing, near about the mid-point of the story, something good happens to the hero (madhya-mangala).  Somewhere in the second-half of the story, amidst the trials and tribulations of the lovers,  a sort of relief  arrives  through the  clumsy attempts of the usually inept, food and fun loving sidekick, the vidushaka .  And, after a hard fought and suspenseful struggle (in which the gentle heroine, for no fault of her, is somehow drawn in), the anti-hero falls; eventually the Good, the Love and the Dharma triumphs; and, all ends well (antya-mangala).

The play concludes with a Bharatavakya, praying for the welfare of the king with good governance, the happiness of his subjects ; and, the peace and  prosperity of all beings in all the three worlds.]

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Numerous subdivisions

The Dasarupa goes into lot of details, enumerating the subdivisions of the various elements of action (much of it not being quite significant). For instance:

  • 12 subdivisions of the opening scene (Mukha);
  • 13 subdivisions of the progression (Prathimukha);
  • 12 subdivisions of the development (Garbha); 
  • 13 subdivisions of the pause (avamarsa) ,
  • 5 kinds of intermediate scenes (arthopaksepaka) ;
  • 14 subdivisions of the conclusion ( Nirvahana )
  • 64 types of Samdhyangas (Divisions or Limbs of Samdhis)
  • 12 limbs of Garbha
  • 13 types of Avamarsa
  • 72 types of Sandnyantaras which act as inter-links
  • And so on

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The First Book of Dasarupa concludes with the advice:  after examining the entire body of divisions of the subject matter presented in these and the following sections, as well as in the works like the Ramayana and Brhatkatha, one should thereupon compose a story expanded with the appropriate selection of Hero (Neta) and sentiments (Rasa) , bound together with appropriate and pleasing words (ucita-caru-vacah).’

ityady asesam iha vastu-vibhedajatam / Ramayanadi ca vibhavya Brhatkatham ca / asutrayet tad anu netrra-sanugunyac / citram katham ucita-caru-vacah-prapancaih //DhDaś_1.61 //

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In the next part we shall talk about the types of Heroes , Heroines and the supporting charecters ; and, also about the Vrttis , which Bharata regarded as the mother of all poetic works.

 

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Continued

In

Part Three

Sources and References

The Dasarupa a treatise on Hindu dramaturgy by George C. O. Haas, Columbia University press / 1912

 A Study of Abhinavabharati on Bharata’s Natyasastra and Avaloka on Dhananjaya’s Dasarupaka – by Manjul Gupta

Sahityadarpanah of Viswanathakavirajah

The Theory of the Samdhis and the Samdhyangas in Natya Shastra by T.G. Mainkar

Sanskrit Dramaturgy

All images are from Internet

 
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Posted by on December 4, 2017 in Dasarupa, Natya

 

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