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“Dasarūpaka-Vicāra"
1695 S.D. VI. 119 reads as -
sampādayetām sandhyangam nāyaka-pratināyakau, tad abhāve patākā”dyās
tad abhāve tathétarat. In the absence of patākā-nāyaka, any other character can present any anga in a play.
(Vrtti, VI. 119) - Viśvanātha observes : “prāyeņa pradhāna-puruṣa-prayojyāni sandhyangāni bhavanti. kintu, praksepā"di trayam (i.e. praksepa, parikara and parinyāsa), bījasya alpamātra-samuddistatvād a-pradhāna-purusa-prayojitam eva sādhu.” - Normally, the limbs of a juncture are to be presented by the hero only. But as bīja is manifested in very little proportion, the three angas such as praksepa, parikara and parinyāsa, are to be presented by subsidiary characters i.e. those of lesser importance. Following Ananda-vardhana's observation viz. (Dhv. III. 12)
sandhi-sandhyanga-ghatanam rasā'bhivyakty apeksayā na tu kevalayā śāstra
sthiti-sampādanecchayā.” - that sandhi-s and sandhyanga-s are to be depicted only with a purpose to manifest rasa, and not just to carry out the rule of the text-book or authority i.e. śāstra. Viśvanātha also observes - (S.D. VI. 120)
“rasa-vyaktim apeksyaiņām angānām sanniveśanam, na tu kevalayā śāstra
sthiti-sampādanecchayā.” The same illustration as cited in the Dhvanyāloka is quoted here also by V. in the vștti - “tathā ca yad venyām duryodhanasya bhānumatyā saha vipralambho darsitaḥ, tat tādņśe avasare atyantam anucitam."
V. also follows Anandavardhana and observes that (S.D. VI. 121) whatever matter from historical source which may not be contrary to the source, but if found
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