5. Deliberation of the Pañcasandhi in Mudrārākṣasa

antaraikārthasambandhaḥ sandhīrekānvaye sati/^[1]

Viśvanātha defines sandhi as that which stands for the connection and coordinates the incidental purposes with different parts or stages of a nāṭaka.

The subject matter or the plot of a nāṭaka undergoes five types of sandis through the respective combination of the five kāryāvasthās which we have already discussed.^[2]

The five sandhis are—

1. Mukha-sandhi,
2. Pratimukha-sandhi,
3. Garbha-sandhi,
4. Vimarṣa-sandhi and
5. Nirvahana-sandhi.

According to Dhanañjaya, the sandhis take place as a result of the combination of five arthaprakṛtis and five kāryāvasthās.^[3] Thus it may be mentioned that the combination of one kāryāvasthā with one arthaprakṛti gives rise to one sandhi. We may add here that Ārambha-kāryāvasthā and Bīja -arthaprakṛti together give rise to the Mukhasandhi; Prayatna and Bindu constitute Pratimukha-sandhi; Garbha-sandhi takes place through the combination of Prāptyāśā and Patākā; the Vimarṣa -sandhi is the combination of Niyatāpti and Prakarī; and, the Nirvahana-sandhi is formed with the combination of Phalāgama and Kārya.

1. Mukha-sandhi

Thus in accordance with the kāryāvasthās and arthaprakṛtis making a combination with the main theme and the relevant issues our dramatist has made room for pañcasandhis very nicely. In Mudrārākṣasa from the starting point till the getting of the ring of Rākṣasa comes under Mukhasandhi.

2. Pratimukha-sandhi

In the Pratimukha-sandhi the direct and indirect means towards the goal is to be described. Therefore, from the first act starting with the fake letter being written by Cāṇakya through Śakaṭadāsa, Śakaṭadāsa sending Siddhārthaka with this letter for the accomplishment of the plan till the arresting of Candanadāsa come under Pratimukha-sandhi.

3. Garbha-sandhi

The third act of Mudrārākṣasa can cite as the example of Garbha-sandhi.

Here the instability of the Bīja can be felt through the intrigues of Rākṣasa but as Virādhagupta let us know about the unsuccessful conditions of all the conspiracies made by Rākṣasa, the hope for the final triumph of the nāyaka occurs in the mind.

4. Vimarṣa-sandhi

With the combination of Prakarī and Niyatāpti the Vimarṣa-sandhi occurred in the third and the fourth act of Mudrārākṣasa. The obstacles coming into the path of pursuing the goal are to be described under this sandhi. In the part of Cāṇakya, the sham quarrel between Cāṇakya and Candragupta and on the other hand budding of the suspicion of Malayaketu towards Rākṣasa are the example of this type.

5. Nirvahana-sandhi

The last three acts, i. e. the fifth, sixth and seventh acts of Mudrārākṣasa contains the Nirvahana sandhi combined with the Kārya and Phalāgama. Under this sandhi the subject matter turns its way towards the aspiration and Cāṇakya gets the final triumph in the last act when Rākṣasa surrenders himself on the feet of Cāṇakya to take the charge of Candragupta.

Thus it can be said that Viśākhadatta followed the norms of dramaturgy while composing the drama Mudrārākṣasa with the smooth consideration of pañcasandhi.

Footnotes and references:

[1]:

VI.75

[2]:

yathāsaṃkhyamavasthābhirābhiryogāttu pañcabhiḥ| pañcadhaivetivṛttasya bhāgāḥ syuḥ pañca sandhayaḥ|| Sāhityadarpaṇa, VI.74

[3]:

Daśarūpaka, I. 22