Dasarupaka (critical study)

by Anuru Ranjan Mishra | 2015 | 106,293 words

This page relates ‘Application of the Junctures (sandhi) in a 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 10 - Application of the Junctures (sandhi) in a Vyāyoga

There are five types of Junctures, i.e.

  1. opening (mukha),
  2. progression (pratimukha),
  3. development (garbha),
  4. pause (avamarśa) and
  5. conclusion (nirvahaṇa).

Again, these Junctures are incomplete without the elements (arthaprakṛti), i.e.

  1. seed (bīja),
  2. drop (bindu),
  3. episode (patākā),
  4. episodical incident (prakarī) and
  5. denouement (kārya);

As well as the stages (avasthā), i.e.

  1. beginning (ārambha),
  2. effort (prayatna),
  3. prospect of success (prāptyāśā),
  4. certainty of success (niyatāpti) and
  5. attainment of the result (phalāgama).

Since the Dūtavākya is a vyāyoga, the Nāṭyaśāstra states that it should have three junctures (sandhis), i.e.

  1. opening (mukha),
  2. progression (pratimukha) and
  3. conclusion (nirvahaṇa).

Opening Juncture (Mukhasandhi):

The opening Juncture is completed by the help of the beginning (ārambha) and the seed (bīja). Here in the Dūtavākya, the avoidance of the calamitous war and the obtainment of the share from Duryodhana, form the seed. Further, coming of Kṛṣṇa as an ambassador to Duryodhana according to the plan and reaching up to the aim forms the beginning.

Therefore, the opening juncture continues up to Kṛṣṇa expressing his aim of coming that:

“We should get our rightful share in the inheritance”

asmākamapi dharmyam yad dāyādyam tad vibhajyatām
  –(verse.20).

Progression juncture (Pratimukhasandhi):

It should be noted that the help of the effort (prayatna) and the drop (bindu) produce the progression juncture. In the Dūtavākya, convincing Duryodhana to return the share of the Pāṇḍavas by Kṛṣṇa, forms the effort. Moreover, the drop is the focal point in the dramaand the same arises when Duryodhana refuses to give the inheritance share to the Pāṇḍavas, even a blade of grass from the kingdom without war.

Therefore, the progression juncture in the Dūtavākya continues up to the refutation to give the share of Pāṇḍavas and Kṛṣṇa’s desire to go back to deliver the message of Duryodhana to Yudhiṣṭira:

bho bho rājānaḥ, gacchāmastāvat
  –Dūtavākya, T. Gaṇapati Śāstrī, p.41.

Conclusion juncture (Nirvahaṇa sandhi):

The attainment of the result (phalāgama) and the denouement (kārya) create the conclusion juncture. When Duryodhana refuses to give the inheritance share, the denouement resulted through the different junctures and stages. The war is the final resultand Kṛṣṇa knew that the ambassadorship is just a formality. The conclusion juncture in the Dūtavākya is interesting. The anger of Duryodhana, the use of magical power by Kṛṣṇa, the anger of Kṛṣṇa and entering of Sudarśana are amazing scenes. The conclusion juncture ends with the apology of Dhṛtarāṣṭra to Kṛṣṇa for the fault of his son and his request to excuse his son.

According to the Nāṭyaśāstra, the conclusion juncture should contain the marvellous (adbhuta) sentiment (XX.45). Here in the Dūtavākya, the entering of Sudarśana and other armors like Śārṅga, Kaumodakī, Pāñcajanya, Nandaka, Garuḍa as well as coming of Dhṛtarāṣṭra, arouses excitement. It is marvellous sentiment.

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