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1734
SAHRDAYĀLOKA Observations on the Number. Names and Definitions of the Sandhyangas : (p. 104. Dr. Kulkarni)
Dr. Kulkarni has done a marvellous job in putting this section in his article. He observes :
It is easy to dismiss these subdivisions of the sandhi-s on the ground that to follow their description "would be to exhaust any patience except Hindu", or that, “The definitions and the classifications are without substantial interest or value." The study of these sub-divisions however, reveals the theorist's distinct power of subtle analysis of the variety of dramatic incidents (interpreted broadly enough to cover mental processes as well as external events) which the sanskrit drama presents. The dramatic incidents enumerated as sixty-four, really speaking, 'have no limits except those of imagination and dramatic effect.' This is the remark which the ND. makes : (p. 101) - "sarvasandhisv api matántarāni, vrddhóktarvad, bhanitibhedād, vaicitryasya rañjakatvāc ca, pramāṇāny eva. ata eva sarvasandhişv api anga-sankhyākaranam udāharana-param drastavyam iti.”
All the authorities agree that the number of the sub-divisions of the mukha, pratimukha, the avamarśa and the nirvahana is 12, 13, 13 and 14 respectively. The NS., as interpreted by Abhinava, The NLRK., the ND., and the SD. give 13 subdivisions of the garbha, whereas the DR, the BP., the PR. and The RS. give 12. The total number of the sub-divisions according to the DR. and its followers is 64, which agrees with their total number given by the NS. The total number of the subdivisions as enumerated by Abhinava and his followers, comes to 65. The DR. and its followers make the total 64 by omitting one sub-division of the Garbha called "prārthanā". Abhinava and his followers arrive at the total 64 by excluding 'praśasti'. (The last sub-division of the nirvahana) which is of the nature of benediction, and like nandi cannot be regarded as a part of dramatic story. This point of view stands to reason as with the 13th sub-division of the nirvahana named kāvya-samhāra', the play proper comes to its end.
The names, definitions and interpretations of the anga-s, barring some exceptions are essentially the same. The two angas, karana and bheda of the Mukha are variously interpreted. Vidhūta, tāpana, (sama is recognised instead of it by the DR.), narmadyuti, upanyasa, and varna-samhāra, - these sub-divisions of the pratimukha are differently interpreted and illustrated by various theorists. The
-division "pragayana" of the sandhi is called 'pragamana' in the DR. The nature of the two is essentially the same. Rūpa, Krama, āksipti (utkşipta, āksepa) and abhibala - the sub-divisions of the garbha are variously interpreted. Vidrava of the
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