Part 3.2 - Introduction to the Dhūrtaviṭasaṃvāda

Title of the Dhūrtaviṭasaṃvāda:

The Dhūrtaviṭasaṃvāda is a bhāṇa kind of rūpaka. This bhāṇa is named as -dhūrtaviṭayoḥ saṃvādaḥ yatra varṇito asau dhūrtaviṭasaṃvādaḥ / The discussion between Dhūrta i.e., Viśvalaka and Viṭa i.e., Devilaka on the problems of erotics constitutes the main theme of this bhaṇa. Therefore, the title of the bhāṇa is Dhūrtaviṭasaṃvāda i.e., dialogue between a rogue and rake; appropriately describes its content.

Date of the Dhūrtaviṭasaṃvāda:

In the Dhūrtaviṭasaṃvāda, the poet presents a detailed discussion on the Kāmaśāstra and the Dattakaūtra that place the Dhūrtaviṭasaṃvāda either as a contemporary or succeeding work to Vātsyāyana’s Kāmasūtra composed in between first to sixth century A.D. Besides, the citation of the Dhūrtaviṭasaṃvāda in the Śṛṅgāraprakāśa and Kāvyānuśāsana, suggests the composition of the work as before 10th century A.D.

Adherence of the Dhūrtaviṭasaṃvāda to the Norms of Bhāṇa: 

The Dhūrtaviṭasaṃvāda fulfils the characteristics to be a bhāṇa as prescribed in the Sanskrit dramaturgy. The Dhūrtaviṭasaṃvāda has the description of the characters like Dhūrta, Viṭa, courtesans etc. The main theme of this bhāṇa centres round the conversation between the Dhūrta named Viśvalaka and Viṭa named Devilaka. The bhāṇa has only one act where different circumstances of the veśa have been portrayed. For an instance, the crowd of artists walk around the veśa, the conversations between courtesans like Bandhumatikā and Caturikā etc., are depicted in the bhāṇa. In the play, Viṭa uses the special dramatic technique of a bhāṇa i.e., ākāśabhāṣita. To communicate with someone in imagination, Viṭa uses ākāśabhāṣita^[1]. Viṭa starts his conversation with the imaginary persons by stating ‘kiṃ bravīṣi’ i.e., do you say so? In the Dhūrtaviṭasaṃvāda, the author applies śṛṅgāra rasa^[2] predominantly along with hāsya rasa^[3] as subordinate. 

Following the rules of the bhāṇa, the plot of the Dhūrtaviṭasaṃvāda is completely based on the poet’s imagination. As there is the predominance of verbal command in the play, the poet uses bhāratī vṛtti. The poet at the outset of the bhāṇa applies mukhasandhi. The author applies the mukhasandhi to exhibit the necessity of a knowledge of love that can reunite the lovers, especially in the rainy season. Again, nirvahaṇasandhi^[4] is applied to describe the attainment of the purpose of the play that is Viṭa’s opinion on the problems relating to the art of love. Viṭa’s knowledge on kāmatantra impresses Viśvalaka and Sunandā. Therefore, they honour him in their house. Poet uses the ten lāsyāṅgas in the play for the successful holding of the play.

Footnotes and references:

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[1]:

kiṃ bravīṣi–‘evaṃ nāsti doṣaḥ’iti / Dhūrtaviṭasaṃvāda, p.89

[2]:

Ibid.,12, 17,21

[3]:

kiṃ bravīṣi–“tātaḥ kila māṃ dārakarmaṇi niyuṅkte” iti …………kulavadhūmārgena yāsyatīti/ Ibid., pp. 73-74

[4]:

kathaṃ pādayorlagnā saha viśvalakena / Ibid., p.120