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1736
SAHRDAYĀLOKA (Even the presentation of these in the G.O.S. and one in Dr. Unni's edn. differ, as could be seen by our full references to these as given above.] Most of these variant readings are noted in the foot-notes to the NS. Lastly, these sub-divisions of the five sandhis appear to be derived by an analysis of plays with love or the heroic sentiment as the ruling motive, especially the former. This is clean from the names and definitions of sub-divisions in the pratimukha such as, vilāsa, vidhūta, sama (for tāpana), narma and narma-dyuti. It is, therefore, a case of misdirected ingenuity to say that all sub-divisions of the sandhi-s are present in the Mudrārākşasa which is wholly a play of political intrigue and in which the element of śộngāra is totally absent.
a clearly adds that in a play based on the Vira' sentiment 'vilāsa', by 'upalaksana' stands for 'utsāha'. 'Narma' and 'narma-dyuti' sub-divisions are to be employed in plays with love as principal sentiment as is rightly observed by the ND (p. 76). So these anga-s as understood by the NS. cannot occur in plays like the Mudrārāksasa.”
The observations made by Dr. Kulkarni are not only critical and analytical but also absolutely sound. With great respect for Dr. Raghavan, we will go to observe later that, he has also made useful suggestions while studying Bhoja's position which also we will look into later, but Dr. Raghavan's achievement in this direction is not of the same class or standard as that of our Guru Dr. V. M. Kulkarni, though of course, it is not mean by itself.
We will first present, - in view of our close first hand study of the topic as revealed by all the useful quotations from relevant texts as given by us earlier and also in view of what Dr. Kulkarni has observed - the following neat conclusions concerning the sandhvanga-s :
(1) The Sandhyanga-s, like the concepts of alamkāra-s, laksana-s and even guna-s to an extent, are only accidents' and not 'essentials' of both drama and also poetry (as will be observed by Bhoja.).
We have included guņa-s also in the list because even the guņa-s are not absolute ‘nitya' dharma-s as they are made out to be. Anandavardhana has observed that normally ‘ojo-guna' is associated with the vīra rasa. But in the verse viz. "yo yah śastram bibharti...” from the Veni., even in the absence of ojas, and simply by the presence of prasāda the suggestion of vīra-rasa is effected. So, the sandhyanga-s are more of accidents then of essentials with reference to both drama and poetry.
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