The Sanskrit term Vimarśasandhi can be transliterated into English as Vimarsasandhi or Vimarshasandhi, using the IAST transliteration scheme (?).

In Hinduism

Natyashastra (theatrics and dramaturgy)

Source: Wisdom Library: Nāṭya-śāstra

Vimarśasandhi (विमर्शसन्धि) refers to the “segments (sandhi) of the pause part (vimarśa)”, according to the Nāṭyaśāstra chapter 21. It can also be spelled as Vimarśasaṃdhi and is also known by the name Vimarśāṅga. These elements are essential for a successful dramatic play (nāṭya). The pause part represents one of the five segments (sandhi) of the plot (itivṛtta or vastu) of a dramatic composition (nāṭaka).

There are thirteen elements of the pause segment (vimarśasandhi) defined:

1. apavāda (censure),
2. saṃpheṭa (angry words),
3. abhidrava (insolence),
4. śakti (placation),
5. vyavasāya (assertion),
6. prasaṅga (mention),
7. druti (injury),
8. kheda (lassitude),
9. niṣedhana (opposition),
10. virodhana (altercation),
11. ādāna (sumning up),
12. sādana (humillation),
13. prarocanā (foresight),

context information

Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (shastra) of performing arts, (natya—theatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing Dramatic plays (nataka), construction and performance of Theater, and Poetic works (kavya).

In Buddhism

Buddhist philosophy

Source: Google Books: The Treasury of Knowledge: Book six, parts one and two (philosophy)

Vimarśasandhi (विमर्शसन्धि).—The “dramatic juncture of the plot crisis or peripeteia” in wich words that seek to expose the wrongdoings of another backfire, exposing the speaker’s own wrong-doings, which cannot be tolerated, engendering suffering due to attachment and an unbearable crisis.

The plot crisis comprises the following thirteen aspects:

1. apavāda (‘censure’ of another’s misdeeds),
2. saṃpheṭa (‘altercation’),
3. adhidrava (‘tumultuous consternation’; showing disrespect or insolence),
4. śakti (‘powerful placation’ of one who is angry),
5. vyavasāya (‘resolute pledge’ or assertion with regard to the original objective of the plot),
6. prasaṅga (‘incidental comments’ concerning one’s superioirs),
7. dyuti (‘disdainful words’),
8. kheda (‘lassitude’ or depression arising from over-exertion),
9. niṣedha (‘prohibition’ or opposition blocking the desired objective of the plot),
10. virodhana (‘quarrelsome altercation’),
11. ādāna (‘capture’ of the germ of the plot within the actions of the plot),
12. chādana (‘words of humiliation’),
13. prarocanā (‘words presaging’ the denouement).

context information

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See also (Relevant definitions)

Partial matches: Vimarsha, Sandhi.

Full-text: Abhidrava, Apavada, Prasanga, Druti, Virodhana, Sadana, Kheda, Vyavasaya, Shakti, Adana, Nirvimarsha, Sampheta, Prarocana, Sandhyanga, Nishedha, Nisedhana, Vimarshanga.

Relevant text

Search found 3 books and stories containing Vimarshasandhi, Vimarśasandhi, Vimarsha-sandhi, Vimarśa-sandhi, Vimarsa-sandhi, Vimarsasandhi; (plurals include: Vimarshasandhis, Vimarśasandhis, sandhis, Vimarsasandhis). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:

Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)

Sandhis and Sandhyaṅgas < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]

Analysis of Nirvahaṇa Sandhi < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]

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Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)

Description of Samavakāra < [Chapter 2 - Nature and Classification of Sanskrit Drama]

Sandhi (the combination of different phases) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]

Chapter 5 - Major findings and Concluding observations

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Dasarupaka (critical study) (by Anuru Ranjan Mishra)

Part 10 - Application of the Junctures (sandhi) in a Prakaraṇa < [Chapter 10 - Prakaraṇa (critical study)]

Part 3-6 - Samavakāra rules < [Chapter 6 - Samavakāra (critical study)]

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