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"Daśarūpaka-Vicāra"
1733 (13) Kāvya-samhāra is 'obtaining a boon' (by the hero etc.). When some very important character in a play says to the hero etc., "what further can I do for you?" We have this sub-division. This anga invariably precedes 'prasasti'. With this 'anga', as the objects of one's desire are attained in this sub-division, the play proper comes to its end.
(14) 'Praśasti' is a prayer for peace to the king and the country and other good things. Veni. VI. 46 illustrates it : "May people live the full span of man's life free from misery and illness... May single-minded devotion to you prevail in the world, O Purusottama; may the king be loving towards the world.”
With reference to the sub-divisions of the Nirvahana, the ND. observes that all of them are very important as no specific rule is laid down regarding their comparative importance. But it says, further on, in the course of treatmen these angas that (1) Sandhi, (2) paribhāṣā, (3) Bhāṣaṇa (4) Kavya-samhāra and (5) Prasasti may be employed in the concluding part of the play. It adds that excepting sandhi, nirodha, grathana, pūrvabhāva, kāvyasamhāra and prasasti, the rest of the sub-divisions may be used, if need be, in other parts of the drama.
Usually, nirvahaņa covers a little portion only of the last act in a drama. The "Kārya' is embodied in the closing portion and this final sandhi corresponds to 'phalā"gama' stage of the action. The BP. (p. 205) observes :
"sādhanatvād hi bījasya pratamam tad upaksipet, sādhyatvād eva kāryasya sarvā’nte tat prayojayet. a-vicchedāya raced bindum
madhye tayor api.” The portion in the Venī. beginning with the Chamberlain's identifying of Bhīma, (p. 192) to the end of Act VI, constitutes nirvahaņa. The Kārya in the present case is the slaying of Duryodhana. This Kārya is embodied in Act. VI. 37, where Bhīma informs us that he has fulfilled his terrible vow (of slaying Duryodhana that very day). Veņi. VI. 42 comprises phalā”gama as the braiding of Draupadi's hair, is shown here to be accomplished.
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