4. Kāryāvasthās found in Mudrārākṣasa

Kāryāvasthā is the stages of development of dramatic action.

While dealing with the varieties of kāryāvasthā, Viśvanātha states that a person desiring the fruit of the action started by him must come across the kāryāvasthā which is five in number—

1. Ārambha (commencement),
2. Yatna (endeavor),
3. Prāptyāśā (prospect of success),
4. Niyatāpti (certainty of success) and
5. Phalāgama (attainment of result).

Cf.—

avasthā pañca kāryasya prārabdhasya phalārthibhiḥ//
ārambhayatnaprāptyāśāniyatāptiphalāgamāḥ/^[1]

1. Ārambha

Ārambha is that curiosity or eagerness on the part of a character that leads to the attainment of the principal object of a play. As eagerness proceeds from all actions, it is the expression of eagerness and an effective eagerness that pervades the first course of the dramatic action.

Cf.—

bhavedārambha autsukyaṃ yanmukhyaphalasiddhaye/^[2]

The definition of Ārambha given by Dhanañjaya states that Ārambha is the curiosity only for the achievement of the ultimate result.^[3]. In Mudrārākṣasa, Cāṇakya is seen very much curious about capturing Rākṣasa for the future security of Candragupta.

Therefore, while entering the stage he chants these words—

kathaya ka eṣa mayi sthite candraguptamabhibhavitumicchati.^[4]

(Who is that while I live, wishes to overpower Candra?).

Therefore, this curiosity of Cāṇakya is the starting commencement of Bīja.

2. Yatna

Yatna or Prayatna is the second variety of kāryāvasthā which is the function that takes place quickly for the attainment of the principal object of a play.

Cf.—

prayatnastu phalāvāptau vyāpārā'titvarānvita/^[5]

Any way Prayatna is the expression of the anxiety which is a mental phenomenon and propels the nāyaka to try all sorts of measures for the attainment of ultimate result.

In the first act of Mudrārākṣasa, Cāṇakya tries to write a fake letter and anxiously utters—

kimatra likhāmi? anena khalu lekhena rākṣasa jetavyaḥ

(what shall I write on it? Rākṣasa is indeed to be conquered by this writing.)^[6]

Ultimately this measure taken by Cāṇakya becomes helpful in attainment of the ultimate result. Therefore, this is the Prayatna of the drama.

3. Prāptyāśā

Again, Prāptyāśā is the possibility of attainment of the ultimate result or hope of success being favoured with means confronted with difficulties also.

Cf.—

upāyāpāyaśaṃkābhyāṃ prāptyāśā prātisambhavaḥ/^[7]

In the second act of Mudrārākṣasa the efforts of Rākṣasa make the audience feel for a moment that Cāṇakya’s intrigues will be going in vain. But at the next moment after so many difficulties the hope of success rises like a morning sun. The speech of Āhituṇḍika can be cited as the example of Prāptyāśā.

Cf.—

cāṇakyamatiparigṛhītaṃ candraguptamavalokya viphalamiva rākṣasaprayatnamavagacchāmi/
rākṣasamitiparigṛhītañca malayaketumavalokya calitamivādhīrājyāccandraguptamavagacchāmi/^[8]

4. Niyatāpti

Viśvanātha defines Niyatāpti as the sure and certain achievement of the ultimate result that arises when all the obstacles that stand on the way of getting the goal are removed.

Cf.—

apāyābhāvataḥ prāptirniyatāptistu niścitā/^[9]

In the third and the fourth act the presence of Niyatāpti can be found. Here in the third act with the help of a small incident (Prakarī) i.e. the negation of the kaumudīmahotsava and the fake quarrel between Cāṇakya and Candragupta mislead Rākṣasa. This misleading makes Rākṣasa relaxed and this leads to the achievement of the goal for Cāṇakya.

We can find it in the speech of Candragupta thus—

“My mind has as if it were to enter the very cavity of the earth though I over-stopped the bounds of respectfulness at the command of Noble Sir himself. How that shame is does not rend the heart of those who really insult their preceptors.”^[10]

Again in the fourth act the efforts done by Bhāgurāyaṇa and Kṣapaṇaka exhibit Niyatāpti.

5. Phalāgama

The Phalāgama or Phalayoga is that particular stage of action wherein the entire result takes place. Cf.—

sā'vasthā phalayogaḥ syādyaḥ samagraphalodaya/^[11]

In the seventh act of the drama Cāṇakya becomes victorious in his intrigues and got Rākṣasa surrendered for Candragupta.

Therefore, this portion can be said as the Phalāgama which can be exhibited by the speech of Rākṣasa—

“(To himself) the virtues of Nanda’s kindness touch my heart and I am going to be the servant of his enemies. Those trees which being watered by me had attained growth are cut off. The weapon has to be wielded by me for the sake of the person of my friend. The courses of events ordained by fate do not come within the range of the vision of even the creator himself… (aloud) Viṣṇugupa, I bow to the love of friend, the cause of undertaking all work. What course in there I am willing.”^[12]

Footnotes and references:

[1]:

Sāhityadarpaṇa, VI.70-71

[2]:

Ibid., VI.71

[3]:

autsukyamātramārambhaḥ phalalābhāya bhūyase/Daśarūpaka, I.20

[4]:

p.22

[5]:

VI.72

[6]:

Mudrārākṣasa, p.60

[7]:

Sāhityadarpaṇa, VI.72

[8]:

p.104

[9]:

VI.73

[10]:

Mudrārākṣasa, III.33

[11]:

Sāhityadarpaṇa, VI.73

[12]:

VII.16