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"The term Dhiroddhata denotes states or stages characterised by qualities mentioned with them and are like the stages of a cow : a calf, a bull, and a great bull; they are not fixed generically; If that were the case, the various opposing stages being depicted in great works of master poets would be incongruent. For Jāti is fixed. Take for example the work of Bhavabhūti, viz, the play Mahāviracarita. Herein the selfsame Paraśurāma is depicted as Dhiroddhata, Dhirodatta and also as Dhiraśānta. And still no one can find fault with this variegated depiction of the different stages or states of Parašurāma. For, in the case of a person (a minor character) who is not a hero of the poem or drama, his qualities etc. are not rigidly fixed. (In other words his type of character can be changed). On the other hand, in the case of Rama and others, who happen to be the Hero in a poem or drama, there can be no change throughout the play or poem. Thus, when Rāma, who is by definition the Dhirodātta Hero, kills Valin by trick, he is suddenly changed to a Dhiroddhat type of a hero. This is not desirable and should be avoided.
However, in the case of the four types of the Hero as a lover, viz. Daksina, Dhrsta, Anukula and Satha, the types may change - whether main or minor."199
This is an important issue which Dhanika has settled once and for all. Hemachandra has quoted it almost verbatim in his commentary in the same context. The Hero as a Lover
Hemachandra has already introduced the second classification of the Hero as a lover in his gloss on VII.11. He takes up the four aspects of the Hero's role in the erotic sentiment. Dhanajñaya (D.R.11.6) states : "When the Hero has been captivated by another woman, he may be gallant or clever (Dakşiņa), deceitful (satha ) or shameless (Dhrsta ) towards his previous love." But if the hero has only one lady-love he is faithful or Anukūla. These four types Hemachandra defines and illustrates on the same lines as found in the Dasarūpaka.
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