________________
Sanskrit Sahityaśāstra
115
The BP., it would appear, widens the scope of Patākāsthānaka when it includes in its definition the suggestion of past as well as future events.16 It is implicit that the past event which has not been represented on the stage is to be suggested. Thus the song of Hamsapadikā at the opening of the Vth Act (Sakuntala) suggests that Dusyanta has forgotten Sakuntalā.
Bharata lays down that the four Patākāsthānakas could be used to advantage in a play.17 The NL. speaks of them as 'Kāvyālankārahetu' and 'sobhā-hetu' and prescribes that they are to be used in the first four Sandhis only (excluding the fifth Nirvahana). The DR. simply says that a playwright ought to employ Patākāsthānakas in the Acts.18 The Abh. refers to and refutes the view that the four Patākāsthānakas are to be used in the first four Sandhis respectively. 19 The ND. calls it an 'alankaraņa' of Nātya and Kāvya and says no Rūpaka should be composed without them. The SD. prescribes that the Patākāsthānaka should be used judiciously. It says that sometimes they are propitious and sometimes ominous. They may occur in any Sandhi. He refers to the view that they occur in the four Sandhis beginning with Mukha respectively and adds how others do not accept it on the ground that they being highly useful may be used in any part of the play.
The Abh. rightly says that there is no logic behind the argument that the four Patākāsthānakas should be used in the first four Sandhis. Theoretically there is nothing against using Patākāsthānaka in the last Sandhi, yet out of practical consideration the NL. restricts their uses to the first four Sandhis for when the play is coming to its conclusion there is hardly any scope for Patākāsthānaka coming to allude to a future event.
This study of the Patākāsthānaka avers as follows: (i) it is a dramatic device employed to delight the gallery, (ii) generally speaking, it foreshadows some event whether near at hand or distant, (iii) it is, broadly speaking, distinguished into two species-one based on an equivocal situation and another on equivocal speech; in practice, however, the two are at times found in combination. (iv) The four Patā. kāsthānakas as defined by the NS. are to be distinguished thus : in the first Patākāsthānaka an ambiguous situation may result in bringing about the aim of the 16. Bidanima i pezia 79 TDI
, 377119921919 qatf159776 I aa 1-B.P p. 202. 17. aqtarT9K 722
NS. XIX. 36a. Here the word Patākā clearly stands for the Patākāsthānaka. A part of the name stands for the whole in accordance with the maxim 15 TEU 14AISEMITI
Patākāsthānaka is quite distinct from Patākā. Patākā corresponds to the sub-plot in English drama. Patakästhanaka is a particular point or situation in dramatic action which indicates the future event relating to the Prastuta.
18. 9a1219571925...... DR. Ill. 37.
19. The NS. III. p. 20 para 2 and p. 22 para 3. This probably is the author of Adibharata who has already been quoted above.
