Sahrdayaloka Part 03

SR No.: 006910
Original Sutra Author: N/A
Author: Tapasvi Nandi
Publisher: L D Indology Ahmedabad
Publication Year: 2005
Total Pages: 676
Language: English
Classification: Book_English
File Size: 15 MB

Page 469

1644
SAHRDAYALOKA
presentation being wider, such matter should be expressed by brief introductory scenes (praveśakaih sobhidhātavyah), i.e. through praveśaka-scenes the happenings are to be narrated briefly (XVIII. 37).
Dr. Bhat in a foot-note, pp. 125, explains that according to Abhinava(gupta), this rule means that of all things that could be covered in a day, only such as are beautiful for stage presentation and helpful to the purpose of the play are to be actually presented in an 'act' of a play; all other things should be relegated to more statements in the praveśakas. We may add that this shows how Bharata was keen on maintaining unity of purpose in a play. Again the 'prayoga-laksitā' of sanskrit play is noticed here.
Bharata (NS. XVIII. 38) further ordains that such scenes as are directly connected with war or battle or fight, dethronement or loss of kingdom (rajyabhramsa), death, seige of a city by an army (nagaróparodhanam) - are not to be portrayed actually in an act; i.e. they are not to be shown actually in reality (pratyaksāni tu na anke), but they are to be arranged (i.e. conveyed, samvidheyāni,) only indirectly, through praveśakas i.e. interludes.
Bharata further observes (NS. XVIII. 39) that in both 'prakarana' and 'nātaka' types of rūpakas, a hero, who is well-known, and who is prone to prosperity (abhyudayı), should not be shown as killed, i.e. his killing (vadha) is not to be enacted either in the act, i.e. directly on the stage, or even in an intertude (i.e. indirectly through information his killing is not to be accomplished).
It is further suggested (NS. XVIII. 40), that the hero's flight, i.e. running away or removal could be conveyed. Or, either his capture i.e. his being taken as a captive, or entering into a treaty (grahanam vā sandhih va) could be arranged by those who know the essence of dramatic art. All this could be in keeping with the main sentiment-yathā-rasam. This could be achieved by varied poetic constructions (kāvya-ślesair bahubhiḥ). Dr. Unni reads : "tais taih kārya-viśesaih” praveśakaih sūcayec caiva.” (pp. 580, ibid). This means the above-mentioned (i.e. apasarana, grahaņa, etc.) could be accomplished i.e. suggested by praveśakas which are rich in special devices. .
.41 suggests that for both nātaka and prakarana there should not be many characters, - na mahājana-parivāram kartavyam nāțakam prakaranam vā. This means that the hero should not be surrounded by a very big retinue. Actual number of persons playing useful role, should be just four or five, i.e. actual men of action - (kārya-purusāh) should be just four or five.
All this points to maintaing unity of purpose, or action. There should not be superfluous characters flooding the stage.