Dasarupaka (critical study)

by Anuru Ranjan Mishra | 2015 | 106,293 words

This page relates ‘Samavakara (critical study)’ 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)

Chapter 6 - Samavakāra (critical study)

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- Sub-Contents: (+ / -)

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

The present chapter on the Samudramanthana Samavakāra of Vatsarāja is an attempt to show how it follows rules of Bharata and Dhanañjaya. I shall try to explain how the Samudramanthana is a Samavakāra and justify its status.

Last Updated: 06 July, 2021