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“Daśarūpaka-Vicāra”
1725 to talk to the king and regale his ears with the sweet cadence of her words as his ears are grated by the harsh words of the ever-irate queen. The instance given by the Avaloka is "a scene from the Ratnāvali where Vāsavadattā having clearly perceived the king's attachment to sāgarikā orders her maid-servant to bind Vidūsaka and Sagarikā in fetters and take them away."
(11) Adhibala - (or, atibala, RS.) is a deception on others (with a view to accomplishing the object in hand). Thus in the Ratnāvalī Vāsavadattā outwits the king by disguising herself as Sāgarikā.
According to some theorists, adhibala is the opposite of totaka, but this view does not seem to be correct for then there would hardly be any distinction between it and 'paryupāsana'.
(12) Udvega - is fear arising from the king, an enemy or a robber.
When the queen outwits the king and the Vidūsaka, the latter expresses fear caused by the queen's fury. Or, when Sāgarikā is taken prisoner, she is terribly afraid of the queen as is seen in her remark that she is not allowed even to die an honorable death (Ratnāvalī, III). These are instances of Udvega.
(13) Vidrava - (sambhrama) is apprehension caused by something dreadful or frightening. The A.bh. illustrates it by the king's apprehension that Vāsavadattā would put an end to her life because of his deep love for Sāgarikā (Ratnāvalī, III. 15). Others like Sankuka define vidrava as apprehension, fear and fright. Sankuka illustrates it by a passage from Krtyārāvana (Act. VI): From behind the curtain Mandodarī cries, 'help, help !' The Pratihārī reports to Rāvana that there is uproar in the harem. Rāvana apprehends some trouble and asks the Pratihārī to find out what it is about. Here we notice 'apprehension' of Rāvana, fear and fright of the Pratihārī. The ND. too, quotes this example to illustrate vidrava.
The DR. defines sambhrama (= Vidrava) as 'fear and trembling. The ND. comments on it - The most important sub-divisions of garbha are 1-abhūtāharana, 2mārga, 3-totaka, 4-adhibala and 5-āksepa. The rest are to be employed when possible.
The Garbha-sandhi extends over the Veņi. Acts III & IV. Bhīma's speech from behind the curtain wherein he declares his intention of slaughtering Duḥśāsana who has fallen into his clutches and the speeches of Aśvatthāman that refer to
nking of Duhśāsana's blood, and certain stanzas of act IV that foreshadow the slaying of Duryodhana represent the 'prāptyāśā' (prospect of success) which corresponds to the Garbha sandhi. The quarrel between Asvatthaman and Karna helps the Pandava-s in their victory over the Gurus. From that point of view this episode may be regarded as patākā.
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