Dasarupaka (critical study)

by Anuru Ranjan Mishra | 2015 | 106,293 words

Hinduism Natyashastra

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Summary: An English study of the Dasarupaka of Dhananjaya, one of the most important works on Hindu dramaturgy from the tenth century, taking its basic information from the Natya-shastra. The Dasharupaka deals with the ten divisions of Sanskrit dramas and explains for each type their technical principals and essential dramaturgical aspects.

The ten types of Drama, based on the plot (vastu), hero (neta) and sentiment (rasa), are classified as follows: 1) Nataka, 2) Prakarana, 3) Bhana, 4) Vithi, 5) Dima, 6) Ihamriga, 7) Samavakara, 8) Vyayoga, 9) Anka and 10) Prahasana.

Other titles include: Dhanañjaya (दशरूपक), (धनञ्जय) Dhanaṃjaya (धनंजय), Dhanamjaya.

Source 1: exoticindiaart.com
Source 2: shodhganga.inflibnet.ac.in

Contents of this online book ( + / - )

The full text of the Dasarupaka (critical study) in English is available here and publically accesible (free to read online). Of course, I would always recommend buying the book so you get the latest edition. You can see all this book’s content by visiting the pages in the below index:

Acknowledgements

. Western classical dramatic tradition

. Summary of the Poetics by Aristotle

. Indian classical dramatic tradition

. Summary of the Nāṭyaśāstra

. Summary of the Daśarūpaka

. Summary Of The Daśarūpaka

. Similarity between the Daśarūpaka and the Nāṭyaśāstra

. Similarity Between The Daśarūpaka And The Nāṭyaśāstra

. Difference between the Daśarūpaka and the Nāṭyaśāstra

. The concise nature of the Daśarūpaka

. The description of rūpa, rūpaka, nāṭya, nṛtya and nṛtta

. Dhanañjaya’s division and application of the plot (vastu)

. Dhanañjaya’s methodology of discussion

. Dhanañjaya on the hero and other characters

. Dhanañjaya on the ten types of drama

. Purpose of the Thesis

+ Chapter 1 - Nāṭaka (critical study)

. Introduction to the Nāṭaka type of Drama

. Part 1 - Viśākhadatta—Author of the drama (Mudrārākṣasa)

. Part 2 - Summary of the drama (Mudrārākṣasa)

. Part 3-6 - Nāṭaka rules

. Part 7 - Characters in the Mudrārākṣasa

. Part 8 - Styles (vṛttis) of the Nāṭaka

. Part 9 - Sentiments (rasa) used in a Nāṭaka

. Part 10 - The Elements (arthaprakṛti)

. Part 11 - The five stages of action (avasthā)

. Part 12 - Employment of the Juncture (sandhi) in a Nāṭaka

. Part 13 - Technical Aspects of a Nāṭaka

. Part 14 - Society in the Mudrārākṣasa

. Part 15 - Status of Women in the Mudrārākṣasa

. Part 16 - Conclusion

+ Chapter 2 - Bhāṇa (critical study)

. Introduction to the Bhāṇa type of Drama

. Part 1 - Vararuci—The author and the date of the play (Ubhayābhisārikā)

. Part 2a - Summary of the Ubhayābhisārikā

. Part 2b - Justification of the title (Ubhayābhisārikā) [ubhaya-abhisārikā]

. Part 3-6 - Bhāṇa rules

. Part 7 - The characters of the Ubhayābhisārikā

. Part 8 - Styles (vṛtti) of the Bhāṇa

. Part 9 - Sentiments (rasa) used in a monologue (Bhāṇa)

. Part 10 - Application of the Junctures (sandhi) in a Bhāṇa

. Part 11 - The technical aspects of a Bhāṇa

. Part 12 - Society in the Ubhayābhisārikā

. Part 13 - Status of Women in the Ubhayābhisārikā

. Part 14 - Conclusion

+ Chapter 3 - Prahasana (critical study)

. Introduction to the Prahasana type of Drama

. Part 1 - Mahendravarman—Author of the drama (Mattavilāsa-Prahasana)

. Part 2 - Summary of the play (Mattavilāsa-prahasana)

. Part 3-6 - Prahasana rules

. Part 7 - Characters of the drama (Mattavilāsa Prahasana)

. Part 8 - Style (Vṛtti) of the Prahasana

. Part 9 - Sentiments (rasa) used in a Prahasana

. Part 10 - Application of the Junctures (sandhi) in a Prahasana

. Part 11 - The technical aspects of a Prahasana

. Part 12 - Society in the Mattavilāsa

. Part 13 - Status of Women in the Mattavilāsa

. Part 14 - Conclusion

+ Chapter 4 - Ḍima (critical study)

. Introduction to the Ḍima type of Drama

. Part 1 - Vatsarāja—Author of the drama (Tripuradāha)

. Part 2 - Summary of the drama (Tripuradāha)

. Part 3-6 - Ḍima rules

. Part 7 - Characters of the drama (Tripuradāha)

. Part 8 - Styles (vṛtti) of the Ḍima

. Part 9 - Sentiments (rasa) used in a Ḍima

. Part 10 - Application of the Junctures (sandhi) in a Ḍima

. Part 11 - Technical Aspects of a Ḍima

. Part 12 - Society in the Tripuradāha

. Part 13 - Status of Women in the Tripuradāha

. Part 14 - Conclusion

+ Chapter 5 - Vyāyoga (critical study)

. Introduction to the Vyāyoga type of Drama

. Part 1 - Bhāsa—Author of the drama (Dūtavākya)

. Part 2 - Summary of the drama (Dūtavākya)

. Part 3-6 - Vyāyoga rules

. Part 7 - Characters in the Dūtavākya

. Part 8 - Styles (vṛtti) of the Vyāyoga

. Part 9 - Sentiments (rasa) used in a Vyāyoga

. Part 10 - Application of the Junctures (sandhi) in a Vyāyoga

. Part 11 - Technical Aspects of a Vyāyoga

. Part 12 - Society in the Dūtavākya

. Part 13 - Status of Women in the Dūtavākya

. Part 14 - Other features of the Dūtavākya

. Part 15 - Conclusion

+ Chapter 6 - Samavakāra (critical study)

. Introduction to the Samavakāra type of Drama

. Part 1 - Vatsarāja—Author of the drama (Samudramanthana)

. Part 2 - Summary of the drama (Samudramanthana) [Samudra-Manthana]

. Part 3-6 - Samavakāra rules

. Part 7 - Application of the Junctures (sandhi) in a Samavakāra

. Part 8 - Styles (vṛtti) of the Samavakāra

. Part 9 - Sentiments (rasa) used in a Samavakāra

. Part 10 - Characters in the Samudramanthana

. Part 11 - Technical Aspects of a Samavakāra

. Part 12 - Society in the Samudramanthana

. Part 13 - Status of Women in the Samudramanthana

. Part 14 - Other features of the Samudramanthana

. Part 15 - Conclusion

+ Chapter 7 - Vīthī (critical study)

. Introduction to the Vīthī type of Drama

. Part 1 - Rāmapāṇivāda—The author and the date of the play (Līlāvatī-Vīthī)

. Part 2 - The Summary of the Līlāvatīvīthī

. Part 3-6 - Vīthī rules

. Part 7 - Characters in the Līlāvatī-Vīthī

. Part 8 - Style (Vṛtti) in the Vīthī

. Part 9 - Sentiments (rasa) used in a Vīthī

. Part 10 - Application of the Junctures (sandhi) in a Vīthī

. Part 11 - Technical Aspects of a Vīthī

. Part 12 - Society in the Līlāvatī-Vīthī

. Part 13 - Status of Women in the Līlāvatī-Vīthī

. Part 14 - Other features of the Līlāvatī-Vīthī

. Part 15 - Conclusion

+ Chapter 8 - Utsṛṣṭikāṅka (critical study)

. Introduction to the Utsṛṣṭikāṅka type of Drama

. Part 1 - Bhāsa—The author and the date of the play (Ūrubhaṅga)

. Part 2 - Summary of the Ūrubhaṅga

. Part 3-6 - Utsṛṣṭikāṅka rules

. Part 7 - Characters in the Ūrubhaṅga

. Part 8 - Styles (vṛtti) of the Utsṛṣṭikāṅka

. Part 9 - Sentiments (rasa) used in a Utsṛṣṭikāṅka

. Part 10 - Application of the Junctures (sandhi) in a Utsṛṣṭikāṅka

. Part 11 - Technical Aspects of a Utsṛṣṭikāṅka

. Part 12 - Society in the Ūrubhaṅga

. Part 13 - Status of Women in the Ūrubhaṅga

. Part 14 - Conclusion

+ Chapter 9 - Īhāmṛga (critical study)

. Introduction to the Īhāmṛga type of Drama

. Part 1 - Vatsarāja—Author of the drama (Rukmiṇīharaṇa)

. Part 2 - Summary of the drama (Rukmiṇīharaṇa)

. Part 3-6 - Īhāmṛga rules

. Part 7 - Characters in the Rukmiṇīharaṇa

. Part 8 - Style (Vṛtti) in the Īhāmṛga

. Part 9 - Sentiments (rasa) used in a Īhāmṛga

. Part 10 - Application of the Junctures (sandhi) in a Īhāmṛga

. Part 11 - Technical Aspects of a Īhāmṛga

. Part 12 - Society in the Rukmiṇīharaṇa

. Part 13 - Status of Women in the Rukmiṇīharaṇa

. Part 14 - Conclusion

+ Chapter 10 - Prakaraṇa (critical study)

. Introduction to the Prakaraṇa type of Drama

. Part 1 - Yaśaścandra—Author of the drama (Mudritakumudacandra)

. Part 2 - Summary of the drama (Mudritakumudacandra)

. Part 3-6 - Prakaraṇa rules

. Part 7 - Characters in the Mudritakumudacandra

. Part 8 - Styles (vṛtti) of the Prakaraṇa

. Part 9 - Sentiments (rasa) used in a Prakaraṇa

. Part 10 - Application of the Junctures (sandhi) in a Prakaraṇa

. Part 11 - Technical Aspects of a Prakaraṇa

. Part 12 - Society in the Mudritakumudacandra

. Part 13 - Status of Women in the Mudritakumudacandra

. Part 14 - Conclusion

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Last Updated: 05 July, 2021

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