Dasarupaka (critical study)
by Anuru Ranjan Mishra | 2015 | 106,293 words
This page relates ‘Style (Vritti) of the Prahasana’ of the English study of the Dasarupaka of Dhananjaya: an important work on Hindu dramaturgy (Natya-shastra) from the tenth century dealing with the ten divisions of Sanskrit drama (nata), describing their technical aspects and essential dramaturgical principals. These ten types of drama are categorised based on the plot (vastu), hero (neta) and sentiment (rasa)
Part 8 - Style (Vṛtti) of the Prahasana
According to Bharata and Dhanañjaya, verbal style (bhāratīvṛtti) should be applied to a Prahasana.
The verbal style is divided into four kinds; i.e.
Though Bharata states that verbal style is based on humour, which comes through the language and costume, it has also two parts based on comic, i.e. Prahasana and ancillaries of vīthī. These ancillaries of vīthī are used in the comic plots like Prahasana, Bhāṇa.
In general, the verbal style should be used in the prologue of every drama; and hence prologue should include at least one of the five divisions of the element called:
- āmukha, i.e. abrupt dialogue (udghātyaka),
- story caught up (kathodghāta),
- excess of representation (prayogātiśaya),
- entrance (pravṛttaka) and
- continuance (avalagita).
In the Mattavilāsa, excess of representation (prayogātiśaya) is applied, because, in excess of representation, the character enters through the observation of the stage-manager. Here Kāpālika enters through the observation of the stage-manager with his female friend Devasomā.