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1652
SAHRDAYĀLOKA DR. I. 18 (p. 16) reads :
"bija-bindu-parākā”khyaprakarī-kārya-laksaņāḥ, artha-prakstayaḥ pañca
ta etāḥ parikīrtitāḥ.” After this the DR. picks up the topic of five ‘avasthā's or 'stages of the theme.
Before we discuss this topic, we will see how the NS. of Bharata treats of the five artha-prakrtis, viz. bīja, bindu, etc.
It may be noted that in Ch. XIX (G.O.S. Edn.) of the NS., Bharata treats these topics in the following order; (i) itivṛtta, i.e. dramatic plot, vs. 1-16; (ii) pañcaavāşthas and sandhayah-junctures as found in a plot vs. 7-19; (iii) pañca arthapraksti-s, i.e. components of plot, vs. 20-30; and (iv) patākāsthānaka; plot indications or suggestive happenings; vs. 30-36; (v) sandhi-pañcakam; vs. 37-49; (vi) sandhyanga-kalpa; i.e. significance and purpose of sandhi-angas; 50-55 vs.; (vii) arthópaksepa-pañcakam; i.e. Introductory or presentation devices vs. 110-116; - and then this is followed by "daśa-rūpa-samāsah" - i.e. ten types of drama, vs. 139153; while in Ch. XVIII types of dramas are discussed.
We will follow the line of DR. and pick up from Bharata in sequence. This is for convenience in treatment and the DR. is, in our opinion, gifted with a better and more sound methodology.
So, after discussing the artha-prakrti-s in the DR. we turn to the NS. We will treat all the topics at a time in individual works on dramaturgy in sequence in a chronological order.
Itiyrtta - The NS. (XIX. i) observes that the dramatic plot has been called the 'body of the drama. Its division is imagined by means of five junctures - sandhis.
“itivșttam tu nāțyasya śarīram parikirtitam, pañcabhiḥ sandhibhis
tasya vibhāgaḥ samprakalpitaḥ.” It may be noted that 'iti-vrtta' means the same as “vastu” i.e. theme. A.bh. observes : "iti-vȚtta-śabda-vācyam tad vastu śarīram, rasāḥ punar ātmā, śarira"virbhāvakāh.” Normally five junctures are enumerated but their use - i.e. of all or less - is left to the dramatist.
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