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Studies in
action such as Arjuna's vow to slay Jayadratha etc., sets the principal action in motion again. This is the binduco (what maintains the continuity of the main action).
The garbha sandhi has thirteen (or twelve according to some authorities) subdivisions :
(1) Abhūtāharana is a speech based on deceit. The Abh. illustrates this by the speech of the Vidūşaka in the Ratnāvali (Act II) where he tells the queen that the king drew his own picture on the board to refute his assertion that a man hardly draw his own picture. The SD. quotes the passage from the Veņi (Act III. 11) as its illustration : truthful Yudhisthira proclaims that Aśvatthāman has been slain, Drona supposes that his son has fallen, but what really has happened is the deith of an elephant so named. The DR. cites the passage from the Ratnávali (Act III) where Kāñcanamālā refers to the Vidūşaka's secret plot according to which Sāgarikā, disguised as Vāsavadattā is to meet the king. The ND. refers to the clever ruse used by the Vidūşaka (in the Mālavikā-) in securing the signet-ring from the queen.
(2) Märgal is speaking out the exact truth-a pointing out of one's real purpose. Abhinava illustrates it by a passage in the Ratnāvali (Act II) where the queen refuses to believe with Kāñcanamālā that it may be by accident that the figure drawn by the king resembles Sāgarikā and says that Kāñcanamālā does not understand Vidūsaka's prevarications. The Avaloka illustrates it by a passage in the Ratnāvali (Act III), where the Vidūşaka tells the king of his secret plot of bringing about his union with Sāgarikā about whose success he was quite certain.
(3) Rūpa is a statement embodying doubts regarding the true nature of samething, e.g. in the Kytyārāvana Rāma not recognising Jaţāyus doubts whether it was the mountain with its wings chopped off by Indra or Garuda smashed down by the lord of Asuras or it was Jațăyus who was lying dead62.
The DR. defines it as a remark embodying some hypothesis (vitarka). The Avaloka illustrates it by a passage in the Ratnāvali (Act III. 9 etc.) where the king expresses his hope of being united to Sāgarikā, but finding that Vasantaka was tarrying doubts : "Can it be that the queen has come to know the whole plot ?"
60 This sandhi answers the description of the pratimukha as given by the DR. Here we have the combination of bindu and prayatna. 61 The ND. interprets it thus :
9A12E A 41 EZHA warga TT Araba arauf: 1......
and illustrates it by Mudrārākşasa III. 4-5. 62 This is how the ND. defines (and illustrates) rūpa following the NS. and the Abh. With this definition rūpa does not differ in any way from the Sasandeha alamkāra. The Abhi. illustrates it by a passage in the Ratnāvali (Act II. 20) which the Avaloka cites as an example of Paryupāsana.
