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Sanskrit Sahityasastra
(3) Parinyasa is describing very clearly and beyond any shadow of doubt the blja of the play that was indicated and enlarged before.45 Bhima asserts that he would surely break the thighs of Duryodhana and braid Draupadi's hair (Veni I. 21). Here Bhima unmistakably declares the ends aimed at by him.
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(4) Vilobhana is the mentioning of good qualities (possessed by the hero or the heroine). Draupadi tells Bhima that nothing is impossible for him to accomplish when he is enraged and thus pays a handsome tribute to his heroic strength, and expresses confidence that in his war against the Kauravas he would certainly gain victory.
(5) Yukti is establishing the propriety of a particular course adopted to achieve the ends aimed at."Yaugandharāyaṇa has introduced Sagarika to the queen, merely to put her in the way of the King, that he may see and love her. The course of the drama is founded on the result which follows as anticipated by Yaugandharāyaṇa.
(6) Prapti (or prapaņa) is the attaining of happiness (either by the hero or heroine at a particular occurrence). Bhima is thus happy at Krapa's failure to settle the feud peacefully. Again, Draupadi is overjoyed to hear from Bhima that he is capable of fulfilling the vows of destroying the Kauravas etc. and that he would never be a party to any peace which Yudhisthira might effect (Veni Act I. 15).
(7) Samadhāna (samähiti-ND.) is the complete unfolding of the bija which earlier. was only hinted at. Veņi I. 24 unmistakably points out how the anger of Yudhisthira," the source of the destruction of the Kurus suppressed so long, is now violently stirred. and is working in all its fury against the Kurus.
(8) Vidhana is what causes both joy and sorrow. Bhima informs Draupadi of his intention to set out to slaughter the Kurus. She is naturally glad to hear this as Bhima would get an opportunity to avenge the insults heaped on her. At the same time. she is overcome with fear and nervousness as after all he was to participate in war and therefore, very naturally she bids him and Sahadeva, too, take care of their lives against the enemy.
45 These three sub-divisions should occur in the order of their enumeration. In the Veņi they do. It is, however, to be noted that prapti and yukti intervene parikara and parinyasa.
46 "Resolve (yukti) is the determination upon purposes."-Haas. Settling the issues is called Decision (Yukti)-Ghosh. 'It (yukti) means the connexion of purpose and result.'-Wilson.
47 The NL. defines prapti as a gunni en for: | p. 26. Ghosh favours this Jefinition when he translates the definition in the NS. as 'Summing up the purpose of the Opening (Mukha). Excepting the NL. all authorities read 'sukhārtha.' The illustration given by the NL. is the same as cited by the Avaloka and the SD.
48 The Abh. (III. pp. 30-40), the ND. (p. 62) and the SD. (p. 326) point out that the bija which was indicated before is here developed by relating it to the hero.
49 Yudhisthira is traditionally regarded as the hero of the Veni.
It may be noted here that the Avaloka cites this passage to illustrate Udbheda. It quotes Veni I. 21 to illustrate samadhana which is, however, cited by the Abh. and the SD. to illustrate parinyasa.
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