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Studies in
A scrutiny of the definitions of certain sub-divisions, e g., sangraha and bhāšana shows that they overlap.80 The same examples are cited by different authorities to illustrate different angas. This phenomenon can easily be explained if we remember that their definitions of those angas differ. The names and definitions of some angas which differ from the NS. are satisfactorily explained by the fact that various authorities had different versions of the NS. before them when they wrote. 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 former. This is clear from the names and definitions of the sub-divisions in the pratimukha such as vilāsa, vidhūta, sama (or tāpana), narma and narmadyuti. It is, therefore, a case of misdirected ingenuity to say that all sub-divisions of the sandhis are present in the Mudrārāksasa which is wholly a play of political intrigue and in which the element of Srūgāra is totally absent.81
The use of the Sandhyangas
The NS. lays down that the angas should be so used as to be subservient to the rasa which the play seeks to develop.82 Angas are used with a view to maintaining the continuity of the plot which is essential to the development of rasa. They are of the nature of the dominant emotion etc. Some theorists assert that the angas should only be used in the sandhi to which they are assigned 83 but other authorities refuse to admit this view on the ground of the usage of the dramatists and the text
80 यद्यपि तदर्थेऽपि संग्रहाख्यमिदमङ्गमुक्त' तथाप्यत्र स्थानेऽवश्यं प्रयोक्तव्यतां ख्यापयितु पुनरुपादान शब्दाFator | Abh. III. p. 59.
Sampheta' and 'virodhana' as defined and illustrated by the DR. (and Avaloka) can hardly be distinguished.
81 Abhinava clearly adds that in a play based on the 'vira' sentiment 'vilāsa,' by 'upalaksana' stands for "utsäha. Narma' and 'narmadyuti' subdivisions are to be employed in plays with love as the principal sentiment as is rightly observed by the ND. (p. 76). So these angas as understood by the NS can not occur in plays like the Mudräraksasa.
82 XIX. 105-106. The author of the Dhvanyāloka must have had this text in mind when he sets forth his famous dictum :
सन्धिसन्ध्यङ्गघटनं रसाभिव्यक्त्यपेक्षया ।।
774 gaffefaamd:3|| ||III. p. 329. He points out in his Vrtti that it is a fault in the Veņi that the dramatist Jrags in the love-scene with Bhānumati in Act II. The 'rasa' which is suggested in the Mukha should be developed by its dominant emotion etc., in the Pratimukha. In a drama with love as the dominant sentiment, it is to be developed by the angas like vilāsa. But in a play with the heroic sentiment as the governing one, the 'vilāsa anga' stands for the ‘utsāha' by 'upalaksaņa' (see ND. p. 70).
83 Read : ... da 3722islai PER T AZAAIEETTFTMATEST | Abh. III. p. 36. and 777 ESZT: (? Jah :) A ga gga TEATEEL SD. p. 352.
