________________
1730
SAHRDAYĀLOKA
The Vimarsa or avamaría extends over Venī. V and a considerable portion of act VI (upto stanzā no. 37). Act V informs us of Karna's death and that Asvatthaman, who seeks reconciliation is received coldly by Duryodhana. Act VI. informs us of Bhīma's rash vow that he would kill Duryodhana that very day or himself commit suicide, and of the disappearance of Duryodhana. This imperils the lives of the Pandavas at a moment when victory was within reach. Thus Bhīma's rash declaration and Duryodhana's disappearance form a serious obstacle in the way of the attainment of the ends aimed at. It, however, later informs us that Duryodhana is found and that Krsna sends message to Yudhisthira to commence festivities in expectation of Bhīma's victory over Duryodhana. This represents "certainty of success", which corresponds to the vimarśa sandhi. Cārvāka, a Rākşasa, deliberately gives Yudhisthira and Draupadī the false news of the death of Bhīma. Out of grief they both resolve on death. For a moment all hope seems to have been lost but Bhima, with his body all covered with blood, appears on the scene and certainty of success is guaranteed.
'Prakarī in true sense, is not found in these two acts, which constitute vimarsa. It has been already pointed out that prakari is not an essential element of Vimarsa. The Abh. illustrates it by the doings of Kulapati in Krtyā-rāvana and of Lord Vasudeva in the Venī. But Krsna's doings are not confined to this part only.
The Cārvāka episode, strictly speaking, cannot be called a prakarī. For, Cārvāka appears on the scene with the express intention of duping the Pandavas. The playwright introduces the character of Cārvāka towards the end of the play, most probably with a view to creating the marvellous sentiment in accordance with the dictum - "nirvahane kartavyo nityam hi raso'dbhutas tajñaih." N.S. XVIII. 94b. The incident of the cārvāka may however, be regarded as a prakarī, in a very loose sense in as much as it serves to bring out the deep affection and love of Yudhisthira and Draupadi for Bhīma.
The Nirvahana (or Upa-samhāra or Samhāra) has 13 (or. 14) sub-divisions :
(1) 'Sandhi' - is coming up again of the bija that was indicated in the mukha sandhi. The NLRK. has artha' in place of sandhi and artha is defined as - "pradhānā’rtho'pakṣepah arthah."
The illustration of Sandhi is given from the Ratnāvali. Vasubhūti and Bābhravya seeing Sāgarikā who has been rescued from fire, strongly believe that she must be the princess Ratnāvalī. Thus what was stated in the Mukha sandhi about the bīja is here repeated. Or, in the Veni. (Act. VI) Bhīma, with his hand smeared with
Jain Education International
For Personal & Private Use Only
www.jainelibrary.org
