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"Dasarūpaka-Vicāra"
1691 The S.D. talks of sandhi-s at VI. 74 :
"yathā-samkyam avasthābhir ābhir yogāt tu pañcabhiḥ, pañca-dhaiv etivíttasya
bhāgāḥ syuh, pañca-sandhayah." The S.D. following the clear observation of the N.D., though not mentioned by name, observes that the sandhi-s follow the avasthā-s in sequence. The S.D. does not follow the observation of the DR. that a sandhi is a sum total of artha-praktis and avasthās in sequence respectively. The sandhi-s following the avasthā-s in their order, are only five and are the portions of the dramatic theme. The definition of a sandhi is stated by Visvanātha (= V.) in these words -
tal lakṣaṇam āha - antaraikártha-sambandhaḥ
sandhir ekánvaye sati (VI. 75a). i.e. Sandhi is mutual relation of themes having a single goal -
"ekena prayojanena anvitānām kathāmśānām (= parts of the theme; themes) avāntaraika - prayojana-sambandhaḥ sandhiḥ - The types of sandhis are (S.D. VI. 75b)
mukham pratimukham garbho vimarśa upa-samhṛtiḥ iti pañca'sya bhedāḥ syuḥ,
kramāl laksanam ucyate (76 a) The definitions of these follow in due order. Mukha-sandhi (SD. VI 766, 77a) is -
"yatra bīja-samutpattir nānā’rtha-rasa-sambhavā, prārambhena samāyuktā
tanmukham parikirtitam." Where bīja or seed, the cause of many matters, rasa-s and bhāva-s, is placed along with the stage of beginning or arambha that portion of the theme is called mukha-sandhi.
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