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Prahasanas in Sanskrit Literature
tadvat prahasanam tredhā śuddha-vaikȚta-sankaraiḥ pakhandivipraprabhyticețacețivițākulam cestitam veşabhāşabhiḥ śuddham hasyavaconvitam . kämukādivacoveşaiḥ sandakañcukitāpasaiḥ vikstam sankarädvithyä sankirņam dhürtasankulam.15
Another reference to Prahasana is found in the second chapter of the Dasarūpaka (Śi, 23-Parab eda.,) where the author defines the courtezen heroine.
‘raktaiva tvaprahasane naişā divyanrpāśraye' A gaạikā-heroine should be presented as in love with the hero except in a Prahasana, which means that---
Prahasane tvarakrāpi häsyahetutvāt (Dhanika's commentary).
i.e., a ganika 'need not be in love with the hero in a Prahasana since häsya is the predominent sentiment in it. Anyhow it is evident that a ganika can be a leading character in a Prahasana,
Sāhitya Darpaņa specifically states that a Prahasana should not have Arabhati vịtti, It should not have the Praveśaka also.
atra närabhați näpi vișkambha-praveśakau angi häsyarasastatra vithyangānām sthitir na va.16
According to Viśvanātha suddha type is one where the plot revolves around one rogue (dhrsta). He quoted Kandarpakeli as an inst nce of this type.
eko yatra bhavet dhrsto hāsyam tat śuddhamucyate.
asritya kañcana jana:n sankiraamiti tad viduḥ.16 A sankirņa type has many rogues. Dhūrtacaritam belongs to this type. A samkirņa type of Prahasana may have one or two acts.
tat punarbhavati dvyankamathvaikānkanirmitam.16 Latakamelaka is quoted as an illustration of the sankirņa type.
Visvanātha justifies the inclusion of the vikrta type into the sankirna type itself by Bharata.
vikrtantu viduryatra şandakañcukitāpasāḥ bhujangacāraṇabhataprabhrterveşavāgyutaḥ idam tu sankirņenaiva gatārthamiti muninā prthak noktam.16
Śinghabhūpāla prescribes ten new elements, which are different from the vithyangas, for a Prahasana, and illustrates them from Anandakoşa
15 D.R, Nirnayasagar edn.. Ch., III - 54-56 16 S.D.-NS Press edn 1910; PP. 344-345; S'e 264–268.
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