Part 3-6 - Prahasana rules

Rules of the Nāṭyaśāstra:

In the Nāṭyaśāstra (XX. 8-9, 99-104, XXI.44), Bharata defines that

1) Prahasana is of two varieties, i.e. pure (śuddha) and mixed (saṃkīrṇa).

2) The pure type should have the characters like Mendicants, Sages, Brahmins and others. Their conversation should be humorous, which is usually used by low and mean persons.

3) The mocking words can be used in abundance, but there should be proper language and behavior. It should have planned and purposeful plot full of humour and emotion.

4) The mixed type should have the characters like courtesans, paramour, eunuch, lecher, rogueand harlots. They should be recognized from their flashy and colourful costume. There activities are also bizarre and courageous.

5) One could use the things related to the worldly behavior and connection with fraud in the Prahasana, where the rogue and parasite engage in quarrel.

6) In Prahasana, a poet can use ancillaries of the vīthī as per requirement.

7) The Prahasana should be composed without using gay style (kaiśikīvṛtti).

8) The Prahasana should have two junctures, i.e. Opening (mukha) and Conclusion (nirvahaṇa)and also verbal style (bhāratīvṛtti).

Rules of the Daśarūpaka:

In Daśarūpaka (III.54-56), Dhanañjaya states that

1) Farce (prahasana) is similar with Bhāṇa (tadvat) in plot, juncture, gentle dance, act and style should contain is of three types, i.e. regular (śuddha), modified (vikṛta) and mixed (saṃkirṇa).

2) The regular one contains heretics (pāṣaṇḍī), Brahmins (vipra), servants (cēta), serving maid (ceṭī) and parasites (viṭa).

3) It should be full of humour and with appropriate costume and language.

4) The modified type of Prahasana contains eunuchs, chamberlains and ascetics.

5) It should have the language and dress like those of desired persons.

6) The mixed Prahasana follows some characteristics of the vīthīand is having the characters like rogues etc.

7) The Prahasana should include the six fold of comic sentiment.

Difference between the rules of the Nāṭyaśāstra and those of the Daśarūpaka:

1) Bharata states Prahasana to be only of two types (śuddha and saṃkīrṇa) but Dhanañjaya states it to be of three types adding modified (vikṛta) with pure (śuddha) and mixed (saṃkīrṇa).

2) Bharata includes Viṭa and servant like characters in the mixed type of Prahasana, whereas Dhanañjaya includes them in pure type of Prahasana. Therefore, Dhanañjaya states that the mixed should have the ancillaries of Vīthī and filled with rouges. Bharata states that Bhāratīvṛtti should be implemented in the Prahasana; however, Dhanañjaya completes this saying “tadvat”, means Prahasana should follow Bhāṇa in plot, juncture, act, style and gentle dance, but Bharata did not mention about the act and gentle dance.

3) Bharata has not mentioned the six type of comic sentiments, stated by Dhanañjaya, which are to be implemented in the Prahasana.

4) Dhanañjaya states that vīthyaṅgas should be implemented in the mixed type of Prahasana, but Bharata states that they should be implemented only in the suitable cases.

Rules followed by the Mattavilāsa Prahasana:

1) The Mattavilāsa Prahasana of Mahendravarman is a pure (śuddha) type of Prahasana.

2) Bharata accepts that the pure (śuddha) type of Prahasana should have the characters like Brahmin, sages and mendicants. However, Dhanañjaya states that ascetics, eunuchs and chamberlains should be in the modified (vikṛta) type of Prahasana. The Mattavilāsa Prahasana contains the characters like mendicants (Kāpālika), Buddhist monk (Nāgasena) and mad man (Unmattaka), therefore, according to Bharata, the Mattavilāsa is a pure type of Prahahasana and according to Dhanañjaya, it is a modified type of Prahasana.

3) In the pure (śuddha) type of Prahasana, the language and behavior should not be vulgar and should be full of humour. The Mattavilāsa Prahasana is a descent type of Prahasana by Mahendraverman. It is the story of Kāñchi Street. The story involves both Buddhist and Śaivite characters. There is no vulgarity in its language and behavior. It is a simple comedy.

4) The plot of the Mattavilāsa Prahasana describes deceits and arrogant deeds such as the involvement of a mad man and the interference of another man.

5) The plot draws from the worldly affairs such as quarrel for a bowl by two mendicants. Both Bharata and Dhanañjaya accept the use of vīthyaṅgas in Prahasana. However, their opinions are different. Dhanañjaya states that the vithyaṅgas should be used for mixed (saṃkīrṇa) type of Prahasana; but Bharata states that it can be used in any type of Prahasana as per necessity.

The vīthyaṅgas are thirteen in number, i.e.,

1. Speech with a hidden meaning (udghātyaka),
2. Unexpected turn (avalagitam),
3. Unworthy Praise (prapañca),
4. Triple explanation (trigatam),
5. Deception (chalam),
6. Witty retort (vākkelī),
7. Out–vying (adhibalam),
8. Abrupt remark (gaṇḍam),
9. Re-interpretation (avasyandita),
10. Riddle (nālikā),
11. Incoherent talk (asatpralāpa),
12. Humourous speech (vyāhāra),
13. Euphemism (mṛdavam).

The Mattavilāsa Prahasana has used five types of vithyaṅgas like:

1. prapañca,
2. asatpralāpa,
3. mṛdava,
4. avalagita and
5. vākkelī.

Unworthy praise (prapañca) –

It has applied unworthy praise, as Kāpālika, Satyasoma, gives compliment to his companion Devasomā that she has gained a rare elegance because of her austerities.

“priye devasome! satyametat, tapasā kāmarūpatā………rūpātiśayaḥ kṣaṇāt pratipannaḥ”
  –Mattavilāsa, Unni, p.38.

Incoherent talk (asatpralāpa) –

It has applied incoherent talk, in the form of madman speaking that the ocean sitting on the back of a domestic pig, reached up to the sky, crushed Rāvaṇa and seized the sea monster

“grāmasūkaramāruhya gaganamutpatitena………ghaṭotkaca iva”
  –Mattavilāsa, Unni, pp.55-6

Euphemism (mṛdava) –

It has applied euphemism, as Kāpālika criticizes about the practice of the Buddhist monk and says to Devasomā that these wrong doers are tormenting and forcing junior fellows to practice celibacy, even as they are putting restrictions on their general behavior.

“nakhalu te pāpā ………prāṇinaḥ parikleśayanti”
  –Mattavilāsa, Unni, p.40).

Coincidence (avalagitam) –

It has applied coincident as Kāpālika knows that their begging bowl is lost and was in deep thought that it may have been taken by the street dog or by any Buddhist monk. At the same time, a Buddhist monk enters hiding something under the upper cloth, which creates suspicion in the mind of Kāpālika and Devasomā.

“priye! tarkayāmi śūlyamāṃsagarbhatvācchunā vā śākyabhikṣuṇā veti”
  –Mattavilāsa, Unni, p.43.

Humorous conversation (vākkelī) –

It applies humorous conversation, as the conversation between Kāpālika and Śākyabhikṣu creates a good humour, vākkelī (Mattavilāsa, Unni, pp.45-54).

In addition to these vīhyaṅgas, the Mattavilāsa betrays the Prahasana elements; i.e. upapatti and vyāhāra. The best example is the claim of Kapālika that Buddhists have compiled their scriptures stealing from the Vedanta and the Mahābhārata and the humourous conversation between Kapālika, Śākyabhikṣu and Devasomā. Dhanañjaya advocates to use gentle dance in Prahasana as in Bhāṇa, whereas Bharata is silent, but in Mattavilāsa Prahasana it is just reflected.