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"Dasarūpaka-Vicāra"
1665 angānām sadvidham hy etad
drstam śāstre prayojanam.” - 52 Dr. Bhat translates (pp. 177, ibid)
(51-52). "The purpose of the angas as seen in the śāstra-s is six-fold : constructive arrangement of the desired matter; non-loss or non-dwindling [i.e. presence and continuity] of the essential) happenings in the plot; securing attraction or pleasure for the dramatic performance; concealment of things which deserve to be concealed; narrative representation of things full of surprise and wonder; open presentation of things that deserve to be discosed."
We have observed earlier that this discussion could have inspired Anandavardhana to lay down favourable conditions that make for the suggestivity of the whole composition (= prabandha vyañjakatā)
Bharata further observes that like a person lacking in limbs getting unable of starting useful activity, so a poetic composition deficient in limbs will not be good enough for stage-production - "na prayoga-kşamam bhavet.” (VS-53)
Any composition, however lofty it may be, if lacking in limbs will fail to entertain the mind of the experts due to defective representation (hīnatvād hi prayogasya) - (VS. 54).
But a poetic composition though poor in meaning and content, i.e. though not lofty in this respect, if properly rich in limbs (samyag angaih samanvitam), on account of dazzling performance (dīptarvāt tu prayogasya) attains to great charm.
Such productions become a box-office hits. (VS. 55). The DR. I. 54 observes, after discussing the sixty-four sandhyangas :
"uktā’ngānām catuḥ-șasthiḥ,
saddhä сaisām prayojanam.” Six-fold is the purpose behind discussing the sixty four limbs of junctures. DR. I. 55 - observes (pp. 63, ibid) -
"isţárthasya racanā gopya-guptiḥ, prakāśanam, rāgaḥ prayogasya, āścaryam
vȚttāntasyā’nupakşayah.” i.e. creation of required matter, concealment of that which should be concealed, presentation of that which deserves presentation), attraction for the represented
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