Part 11 - Technical Aspects of a Samavakāra

In the Samudramanthana, Vatsarāja has used the technical things like:

1. Benediction (nāndī),
2. Prologue (prastāvanā),
3. Intimation scene (nepathya or cūlikā),
4. Aloud (prakāśa),
5. Aside (svagata),
6. Confidence (apavārita),
7. Episode indication (patākāsthānāṅka) and
8. Epilogue (bharatavākya).

The following is a brief discussion of Benediction and other technical aspects.

Benediction (Nāndī) –

Benediction is one of the nineteen preliminary shows of the drama. According to Bharata, Sūtradhāra recites benediction, invoking grace of a deity, a Brāhmaṇa or a king for the welfare of the audience and the actors. The word nāndī is derived from the root “nand” meaning “to rejoice”.

In the Samudramanthana, Vatsarāja has composed two benedictions saluting lord Śiva and Viṣṇu:

(gaṅgādhara rucira………varddhayatu śriyam vaḥ and tāḥ pāntu vaḥ………madhuripoḥ parirambhamāpa).

Prologue (Prastāvanā) –

Prologue occurs just after the benediction verse and is indicated by the sentence,

“nāndyante tataḥ praviśati sūtradhāraḥ”.

In the prologue, stage-manager (sūtradhāra) introduces the occasion of the enactment of the drama, its title and the author and the subject matter of the drama. The co-actor of Sūtradhāra is generally a female actor (naṭī) or his wife, or Jester (vidūṣaka) or Establisher (sthāpaka). In the Samudramanthana, Vatsarāja has utilized Sūtradhāra and Sthāpaka as the introducer of the drama. Sūtradhāra speaks cleverly, that his eleven brothers want to be prosperous all at once. Then Sthāpaka suggests that king Paramardideva’s help might be sought to solve the problem, as he is like an ocean or Samudra. From the word Samudra, Sūtradhāra suggests the fact that the drama of Samudramanthana, written by the poet Vatsarāja is going to be performed by the order of the king Paramardideva. When they leave, the drama gets started.

Intimation scene (Cūlikā) –

Intimation scene is one of the five Intermediate scenes (arthopakṣepaka), which is also used as nepathya, wherein the speech comes from behind the curtain. It explains some of the important matters behind the curtain through the characters. Generally, this Intimation scene is used frequently in all types of drama. When the poet does not want to introduce a character, he uses this intimation scene. In the Samudramanthana, Vatsarāja used this (nepathya) frequently in every act.

Aloud (Prakāśa) and Aside (Svagata) –

When the dialogue is uttered by the actor for both the audience and the co-actors, it is called Aloud (prakāśa), but when the dialogue is not to be heard by all is called Aside (svagata). These two are also used frequently in all types of drama. Vatsarāja has also used them in the Samudramanthana as well.

Confidence (Apavārita) –

Confidence is a secret told to another by going near him. It is understood to be heard only by the person addressed. It is not used frequently in any type of drama. In the Samudramanthana, Vatsarāja has used this device twice, in second and third acts. In the second act, when Bali saw the beautiful Mohanikā, he was excited and Vainateya said silently to Vaikuṇṭha, that he showed only artificial love. Then in the third act, when Lakṣmī cried by seeing her father after a long time, Samudra consoled her saying that everything would be all correct, all because of Rudra only. Here Śiva says with sadly and silently to Kṛṣṇa, that in this situation, he cannot see her face. These are called apavārita.

Episode-indication (Patākāsthānaka) –

Episode indication is an indication, by the mention of something irrelevant word of the future matter. Then it helps to get the main cause in the dramatic action. It is an ornament of the dramatic plot and it should be used in the drama, at least once.

This episode-indication (patākāsthānaka) is applied in the Samudramanthana, when Sūtradhāra says,

“naḥ paramarddideva eva pūritāśeṣamanorathaḥ samudro bhaviṣyati”

from nepathya someone says,

“evam nvidam, samudrādeva sarve manorathāḥ nirvahanti”
  –(Samudramanthana, C. Dalal, p.150).

This is the main cause of the plot. The gods fulfilled all their wants from the ocean, by churning.

Then again it is applied at the beginning of the first act, when Padmaka says,

“ahamapi nijaviśrāmasukhalālaso niṣṭhura iva nindit eva saṃvṛttaḥ”
  –(Samudramanthana, C. Dalal, p.151).

Then from behind the curtain someone says,

“āḥ, ka eṣa murkho vyāharati niṣṭhura iva nindita eveti”
  –(Samudramanthana, C. Dalal, p.151).

Here the word niṣṭhura creates episode-indication (patākāsthānaka).

Epilogue (Bharatavākya) –

Epilogue is the last benediction or praise (praśasti). One or more actors in chorus sing this at the end of the dramatic enactment. In the Samudramanthana, the Epilogue (bharatavākya) is the prayer for the rain for the people, the king and poet.