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1712
SAHRDAYĀLOKA doubt about the fructification of the seed is examined. Vimarśa or avamaría also means 'an obstacle': fresh obstacles to the final attainment of fruit on account of anger, temptation, calamity or curse introduced at this stage and the way to overcome them deliberated. See Abhinava, op. (cit, pp. 26-28)]
Dr. Unni takes note of A.bh.'s observation that vimarśa and Avamarśa are synonymous. “kecid vimarśa iti pathanti, anye avamarśa iti. tatra sandehā”tmako vimarśaḥ, anye tv avamaráo vighna iti vadanti."
Dr. Kulkarni observes that Abhinava quotes different views as to the nature of Avamarśa. He himself holds that 'vimarśa' is 'sandehā”tmaka'. He argues that even after sambhāvanā (or, possibility of attainment) samsaya is possible when some unforeseen obstacle appears in the way of the achievement of desired object. The hero reflects over the new situation and realizes that he can attain the end if he surmounts a specific difficulty. He takes courage in both the hands and does his best to surmount the obstacle. This obstacle may be caused by a curse, or anger, or selfishness or temptation. - The KS. (= Kā. Šā.) literally borrows one of the passages quoted by the A.bh. to explain Bharata's definition of Vimarśa : That part of a play where the bīja about to fructify loses its progress and seems to return to its original state on account of interruption caused by the wrath of the opponent, or selfishness of the rival, or some calamity like a curse etc. - is called vimarśa. (pp. 454 - Kā. Sā.) The Viveka reads as : "bīja-śabdena bija-phalam. artha śabdena nivșttir ucyate. tena garbhan nirbhinnam, pradarśitamukham, bahirnissarañónmukham yad-bīja-phalam tasya yórthah nivrttih punas tatraiva ca praveśa iva yatra, sa vimarśa-śandhih."
The word vimarśa is here taken to mean 'vighna', the 'bija' as 'bījaphala' and ‘artha' as 'nivrtti'. The definition given by SD. is however, quite unambiguous : "That part of a play where the bīja (= lit. the principal means to the end) has developed further than in the garbha and faces some obstacle due to curse and such other reasons is called Vimarsa. (we have cited the definition earlier). The concluding part of a play where the incidents and events which occurred in the first four sandhis and which contained the bija and were distributed in due order are brought together to one end is called "nirvahana”.
In connection with the five sandhis, - Dr. Kulkarni observes further, - Jagirdar remarks that Bharata has done nothing great except coining some technical words. The five stages of development mentioned above (i.e. the five sandhis) are just the five members of a syllogism in Indian logic. (Drama in Sanskrit Literature, pp. 119) He tries to establish parallelism between them which is faulty and unconvincing, observes Dr. Kulkarni.
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