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Studies in
The incident of Cārvāka may however, be regarded as a prakari in a very loose sense in as much as it serves to bring out the deep affection and love of Yudhisthira and Dravpadi for Bhima.
The nirvahaņa (or upasamhāra or samhāra) has thirteen (or fourteen) sub-divisions :
(1) Sandhz77 is the coming up again of the bija that was indicated in the mukha sandhi. Vasubhūti and Bābhravya seeing Sāgarikā who has been rescued from fire strongly believe that she must be the princess Ratnāvali. Thus what was stated in the Mukha sandhi about the bija is here repeated. Or, in the Veņi (Act VI) Bhima, with his hand smeared with Duryodhana's blood, and about to bind up Draupadi's locks asks her whether she remembers the vow he had taken that he would braid her hair only when the insult to her was avenged. Thus the braiding of Draupadi's hair, the bija of the play is again alluded to here.
(2) Nirodha (or vibodha) is seeking for the end aimed at. Thus Bhima in the Veni (Act VI) who has been embraced affectionately by Yudhisthira after the annihilation of the Kurus asks Yudhisthira to release him for a moment as he has yet to braid Draupadi's hair. Yudhisthira permits him to go so that poor Draupadi can bind up at last her locks. This sub-division is designated by the NL, as anuyoga.
(3) Grathana is referring to a purpose held in view throughout'. Thus Bhima reminds Draupadi that she had been forbidden by him to tie up her dishevelled hair, as he had vowed that he would himself do it for her, when he had slain those who had subjected her to the indignity of untying her braid of hair.
(4) Nirnaya is a narration of one's experience (with reference to the end or purpose). The speech of Bhima (Veņi Act VI. 39) which is addressed to doubting Yudhisthira illustrates this sub-division for Bhima here describes his triumphant success in slaying Duryodhana and annihilating the Kurus and the acquisition of sovereignty over the world.
(5) Paribhāşaņa is a speech censuring oneself by admitting one's fault. The speeches of Ratnāvali and Väsavadattā at the close of the play where they censure themselves for their own improper behaviour illustrates this sub-division.
The DR. and its followers define it as 'talking (of persons) with one another', Their illustrations are, however, of the same kind given above. It is, therefore, clear that ordinary conversation is not meant by these theorists.
(6) Dyuti is pacifying of anger, jealousy etc. The speech of Yaugandharāyana at the close of the Ratnāvali where he discloses his whole plot and pacifies Vāsavadattā's anger and jealousy towards Sagarikā and secures Sāgarikā for the king illustrates this sub-division.
The DR. and its followers substitute Křti in place of Dyuti and interpret it as (i) substantiation or confirmation of the result attained, or (ii) conciliation of each other (by the hero and the elder queen, who was earlier opposed to his acquisition 77. In place of Sandhi the NL, substitutes artha and defines it as garagena: 37ů: 1 p. 36.
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