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1650
SAHRDAYĀLOKA
himself of." 'Adhikarin' is one who is, being a master empowered to have right, or claim over something. The theme - iti vrtta - which is led to its final denoucement or final stage i.e. achievement of goal by the adhikarin, and hence his role is 'adhikārika' i.e. major or principal, and thus the theme connected with the hero's activity is 'principal.
'Prasangika' or minor or incidental theme is one played by some other character who works either solely in the interest of the other - parā'rtha - i.e. for the hero, or perhaps in this some self-interest on his part is also involved : Thus minor theme is that which is connected with other characters who are either totally self-less or partly acting also in self - interest, but both acting in the interest of the hero, no doubt. This incidental theme either stretches for a lo part in a play and is termed 'pataka', or is of a short and temporary duration and is termed 'prakarī.' 'Patākā is a metaphorical expression meaning a flag and as the patākā-nāyaka carries on his work longer, it helps to a greater extent the cause of the hero. It is like carrying a flag in an army. DR. I. 13 and 'avaloka' of Dhanika, read as (pp. 12, ibid) :
"prāsangikam parárthasya svārtho yasya prasangataḥ, patākā-prakari-bhedād dvi vidhatvam prapadyate. sā’nubandham patākā”khyam
prakari ca pradeśa-bhāk.” 'Avaloka' reads : "yasya iti-vșttasya para-prayojanasya satas tat-prasangāt svaprayojana-siddhiḥ, tat prāsangikam iti-vșttam. prasanga-nirvșteh prāsangikam.
prāsangikam api patākā-prakarī-bhedad dvividham.
dūram yad anuvartate prāsangikam sā patākā, sugrīvā"di-vșttantavat. patākāiva-a-sādhārana-nāyaka-cihna-vat tad upakāritvāt. yad alpam = dūram na anuvartate să prakarī, śrāvanā"di-vrttānta-vat."
When 'patākā' is discussed, on account of similarity in naming and pronouncing. "patākästhānaka" is also explained. These are devices that help the cause of the enhancement of the theme.
Dhananjaya then observes that the adhikārika and two-fold prāsangika make 'three' in all. These three are again either 'prakhyāta' i.e. welknown, i.e. historical
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