Dramaturgy in the Venisamhara

by Debi Prasad Namasudra | 2016 | 70,412 words

This page relates ‘Description of Dima’ of the study dealing with the Venisamhara of Bhatta Narayana and its practical application of Sanskrit Dramaturgy. The Veni-Samhara is an extraordinary drama in Sanskrit literature which revolves around the great war of Mahabharata within six Acts. This study deals with the author, background and the technical aspects, reflecting the ancient Indian tradition of dramaturgy (Natya-Shastra).

Ḍima follows the pattern of a Nāṭaka with following points.

“It has only four acts and four junctures omitting the Pause (garbhasandhi). Invariably it contains the furious (Raudra) sentiment, and does not admit the comic nor the erotic sentiment. It has sixteen principal characters, one more vehement than the other. They are mostly Gods, Yakṣas, Rākṣasas, Piśācas, and other infernal beings (Pretas). Occasionally even the Mahārājas[1] are also included. The mode of the behaviour of the characters is either heroic (Śāttvatī) or horrific (Ārabhatī) which remains conspicuous by deeds of magic, sorcery, duels and exciting feats. It also depicts the solar and the lunar eclipses and the fall of Stars and meteors in course of its action. There are no introcudtory scenes like the Viṣkambhaka or the Praveśaka, and the duration of action extends to a period of four days spread over the four acts of the play[2].” The plot of a Ḍima should indeed be well-known (Khyāta).

Footnotes and references:

[1]:

Daśarūpaka II–84.

[2]:

Nāṭyaśāstra XX-41; Sāhityadarpaṇa VI-130; Rasārṇava-sudhākara I-265.

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