Dramaturgy in the Venisamhara
by Debi Prasad Namasudra | 2016 | 70,412 words
This page relates ‘Kaishiki-vritti (delightful vivacity and charming expression)’ 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).
Kaiśikī-vṛtti (delightful vivacity and charming expression)
That mode of conduct is Gay (=Kaiśikī) which is associated with delightful vivacity and full of charming expression of love by means of songs, dance and conquetry. The characters are bedecked in gale dresses, and the mirth and joys of love are embossed on their movements[1]. This Vṛtti not only displays the temper of a character but also covers within its scope of atmosphere of the situation, which is largely responsible for that particular conduct of grace and delicateness. According to Abhinava Guptapada it is the most charming Vṛtti, and does not limit itself to the particular actions of body, mind and spirit but encompasses within it the general movement of all limbs. The Kaiśikī mode of conduct is appreciated in the nature of pleasantry which becomes vivid by itself, and has four subdivisions:—
(i) Pleasantry (Narma) is that mode of behaviours which is free from jealousy and anger, and does not admit a forced or a taunting remark. Dhanañjaya and Viśvanātha define it as a witty jest tending to conciliate or attract the beloved one According to them, it consists in jokes which are tinged with pure humour, or erotic mirth or that levity of mood which results from a respectful fear32. But Bharata, while including the witty remarks in Narma, believes it to be erotic and pure inasmuch as it is unassociated with Vīra-rasa. He does not include any type of humour which bears a tings of fear (bhaya) in it.
ii) Bloom of Pleasantry (Narma-sphūrja): It is found in that mode of behaviour which is full of love and coaxing speech, as it generally used in the initial stages of conduct with the beloved. The use of befitting dresses and charming decorations is the one feature of this aspect of Narma. It is generally characterised as pleasantry starting with happiness and ending in awe33. iii) Overture of Pleasantry (Narma-phota): It consists in gradual manifestation of sentiment by means of different feelings expressed moderately in a tasteful manner.34
iv) Covert pleasantry (Narma-garbha): For fear of personal detection or out of emergency or self-respect, when the hero approaches the object of his love in a hidden manner or makes advances with a reserve, his conduct is said to present the features of Narma-garbha.35
Footnotes and references:
[1]:
N. XX, 47; Sāhityadarpaṇa VI-124.