Dasarupaka (critical study)
by Anuru Ranjan Mishra | 2015 | 106,293 words
This page relates ‘Styles (vritti) of the Vyayoga’ 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 - Styles (vṛtti) of the Vyāyoga
According to Bharata, the Vyāyoga should not contain graceful style (kaiśikīvṛtti), but Dhanañjaya is silent. It means that the Vyāyoga should be devoid of the sentiments like laughter (hāsya) and erotic (śṛṅgāra). Further, both Bharata and Dhanañjaya state that Vyāyoga should consist of excited sentiments (dīptarasa). That is to say, that it should be full of heroic (vīra), furious (raudra) and marvellous (adbhuta) sentiments. In the Dūtavākya of Bhāsa, there is abundance of heroic, furious and marvellous sentiments. Therefore, it deserves to have the grand style (sāttvatīvṛtti). It has used less violent style (ārabhaṭīvṛtti) through the altercations; fight between Duryodhan and Kṛṣṇa.
It should be noted that all dramas consist of the ancillaries of verbal style (bhāratīvṛtti) in their prologue.
Verbal style is divided into four types, i.e.
Propitiation (prarocanā):
The propitiation (prarocanā) is the part of preface (āmukha) or prologue (prastāvanā). The Vīthī and the Prahasana are two separate types of drama. Therefore, verbal style (bhāratīvṛtti) is commonly observed in the prologue (prastāvanā) of every drama. The preface (āmukha) conveys the attainment of the objective, prosperity, auspiciousness and victory.
Preface (āmukha):
The preface (āmukha) is again divided into five types, i.e.
- abrupt dialogue (udghātyaka),
- story caught up (kathodghāta),
- excess of representation (prayogātiśaya),
- entrance (pravṛttaka) and
- continuance (avalagita).
In the Dūtavākya, an excess of representation (prayogātiśaya) is found applied, because after the prologue (prastāvanā), the character has entered through the observation of the Sūtradhāra who describes that Duryodhana orders the servants to arrange the assembly hall for the general meeting with the kings and councilors because the tension had arisen between the Kauravas and the Pāṇḍavas. Taking into consideration this, Kāñcukīya enters and searches the doorkeepers.