1. Patākāsthānaka used in Mudrārākṣasa

patākāsthānakaṃ yojyaṃ suvicāryeha vastuni/^[1]

The author of Sāhityadarpaṇa distinctly stated that in a nāṭaka, patākāsthānaka should be inserted with proper consideration because, it is counted as one of the important technicalities of Sanskrit dramas. Bharata defined patākāsthānaka as, when some matter being taken in hand (already thought about), another matter of similar nature is suggested through an accidental idea (āgantuka bhāva), it is called Episode indication or patākāsthānaka.^[2]

Viśvanātha followed Bharata defining patākāsthānaka in the sixth chapter of his Sāhityadarpaṇa as that in which while a different topic is in consideration, some other things of similar nature is presented through some future thought.

Cf.—

yatrārthe cintite'nyasmiṃstalliṅgo’nyaḥ prayujyate/
āgantukena bhāvena patākāsthānakaṃ tu ta//^[3]

Viśvanātha’s definition is quite similar to that of Bharata having a difference only in respect of the composition of the first half of the verse. Like Bharata and Viśvanātha, Dhanañjaya also clearly stated that a patākāsthānaka is a spot wherein a sudden introduction of some extraneous matter indicates something already begun or something which is about to begin.

This takes place as a result of their having certain common characteristics. Cf.—

prastutāgantubhāvasya vastuno'nyoktisūcakaṃ /
patākāsthānakaṃ tulyasaṃvidhānaviśeṣaṇaṃ//^[4]

Sāgara Nandin stated that a patākāsthānaka is an ornament of the dramatic plot and its use is recommended as often as possible in a drama. No play appeared to be perfect until and unless it is decorated by a patākāsthānaka.^[5] To be more precise, a patākāsthānaka is nothing but an indication of a matter other than what is thought of and is indicated either by a means or end, but it must help in the attainment of the main course of a play.

Bharata accepts four types of patākāsthānakas.^[6] Following Bharata, Viśvanātha also shows its four kinds, the specific names of which are not given to them either by Bharata or by Viśvanātha. They are simply used with the help of ordinal numerals prefixed such as prathama (first), dvitīya (second), tritīya (third) and caturtha (fourth).

According to Viśvanātha that is said to be the prathama patākāsthānaka wherein a better achievement by nature occurs more delightfully at once.

Cf.—

sahasaivārthasaṃpattirguṇavatyupacārataḥ/
patākāsthānakamidaṃ prathamaṃ parikīrtitaṃ//^[7]

That is called the second type of patākāsthānaka where a statement is full of words with double meanings couched up in adjectives.

Cf. vacaḥ sātiśayaṃ śliṣṭaṃ nānāvandhasamāśrayaṃ/ patākāsthānakamidaṃ dvitīyaṃ parikīrttitaṃ//^[8]

The third type of patākāsthānaka is that which presents itself a spot where double meanings brought forth by means of a play of words indicate an idea which falls in suit with the subject matter.

According to Viśvanātha, in it, there is a provision of replies admitting of double meaning.Cf.—

arthopakṣepakaṃ yattu līnaṃ savinayaṃ bhavet/
śliṣṭapratyuttaropetaṃ tṛtīyamidamucyate//^[9]

The fourth and the last variety of patākāsthānaka is one in which there is some statement full of double meanings which is directly related to the subject matter of the drama and which brings suggestively the motive of action of the drama. Cf. dvyartho vacanavinyāsaḥ suśliṣṭaḥ kāvyayojitaḥ/ pradhānārthāntarakṣepī patākāsthānakaṃ param//^[10]

In the drama Mudrārākṣasa, Viśākhadatta has used patākāsthānaka in four places. Those are as follows—

In the first act of Mudrārākṣasa when Cāṇakya was trying to write the letter, he said, “What shall I write on it? Rākṣasa is indeed to be conquered by this writing.”^[11] Right on that time Pratihāri entered uttering the words “Let subjugate to your worth sir”^[12] Here, while Cāṇakya was planning for conquering Rākṣasa and all of a sudden the Pratihari utters for Cāṇakya’s victory. Therefore, it is clear that this portion of Mudrārākṣasa comes under the first type of patākāsthānaka.

There is in the fourth act, a same type of patākāsthānaka i.e., the first variety of it can be seen. In the context of planning for Cāṇakya’s defeat Rākṣasa was talking to himself, “well then, it is likely that, the wicked fellow Cāṇakya, can be capable of being deceived.” But while Rākṣasa finished only the half of the portion of it i.e., “tadapi nāma durātmā cāṇakyabaṭuḥ”^[13], the gatekeeper suddenly said entering the room-“jayatu (be victorious).”Again while Rākṣasa was thinking of the last portion of it i.e., “atisaṃdhātuṃ śakyaḥ syāt/”^[14], that gatekeeper again said, “amātya i.e. Rākṣasa.” This patākāsthānaka clearly indicates the victory of Cāṇakya and also the consequence of Rākṣasa being cheated by Cāṇakya in time ahead.

Again in the first act, there is another patākāsthānaka. Once Cāṇakya was anxious whether he could subjugate Rākṣasa and was thinking himself—

“api nāma durātmā rākṣaso gṛhyeta?”^[15]

At that very moment Siddhārthaka, who was sitting along with Cāṇakya said in another context, “ārya gṛhītaḥ” (taken sir).^[16] This lead the audiences presume about the future subjugation of Rākṣasa. Here the speech of Siddhārthaka has dual meanings and at the same time it gives a presumption for the overthrow of Rākṣasa. Therefore, it is the fourth type of patākāsthānaka.

One more patākāsthānaka can be found in the fourth act of Mudrārākṣasa. Here Rākṣasa asks Kṣapaṇaka to ascertain a day for expedition. Then Kṣapaṇaka answers-

Cf.—

astābhimukhe surye udite sampūrṇamaṇḍale candre/
gamanaṃ budhasya lagne uditāstamite ca keta//|^[17]

When the sun is about to set, the full moon has risen, when the budha is in the lagna, when rāhu is just risen and ketu already set, there should be the starting of the military expedition.

However, this śloka has got another suggested meaning. According to the suggested meaning when the brave Malayaketu is about to be defeated, when Candragupta with his entire royal circle has risen, it is better for you to make friends with the intelligent prime minister of Candragupta i.e., with Cāṇakya. Herein, every word said by the Kṣapaṇaka is having pun within it. This speech of Kṣapaṇaka indicates the victory of Candragupta. Therefore it is an evidence of the second type of patākāsthānaka.

Therefore, it is seen that exclusive of only the third type of patākāsthānaka, the other three are present in the drama, that also in four places. In these four places the dramatist has very tactfully used this dramatic technicality which shows the skill of Viśākhadatta in the field of dramaturgy.

Footnotes and references:

[1]:

Sāhityadarpaṇa, VI.44

[2]:

Nāṭyaśāstra, XXI, 30

[3]:

Sāhityadarpaṇa, VI.45

[4]:

Daśarūpaka, I. 14

[5]:

patākāsthānāni śobhāhetuṃ/ Nāṭyalakṣanaratnakoṣa, kārikā-100

[6]:

Nāṭyaśāstra, XXI. 31,32,33,34

[7]:

Sāhityadarpaṇa, VI. 46

[8]:

Ibid., VI.47

[9]:

Ibid., VI.48

[10]:

Ibid., VI.49

[11]:

kimatra likhāmi? anena khalu lekhena rākṣasa jetavyaḥ/ Mudrārākṣasa, p.60

[12]:

jayatu jayatvāryaḥ/Ibid.p.61

[13]:

Ibid., p.266

[14]:

Ibid., p.267

[15]:

Mudrārākṣasa, p.71

[16]:

Ibid.

[17]:

Mudrārākṣasa, IV.19