Dasarupaka (critical study)
by Anuru Ranjan Mishra | 2015 | 106,293 words
This page relates 鈥楽tyle (Vritti) in the Vithi鈥� of the English study of the Dasarupaka of Dhananjaya: an important work on Hindu dramaturgy (Natya-shastra) from the tenth century dealing with the ten divisions of Sanskrit drama (nata), describing their technical aspects and essential dramaturgical principals. These ten types of drama are categorised based on the plot (vastu), hero (neta) and sentiment (rasa)
Part 8 - Style (V峁泃ti) in the 痴墨迟丑墨
According to the 狈腻峁瓂补艣腻蝉迟谤补, 痴墨迟丑墨 should have the verbal style (产丑腻谤补迟墨惫峁泃迟颈). The verbal style (产丑腻谤补迟墨惫峁泃迟颈) consists of words which are in Sanskrit. The style (惫峁泃迟颈) covers some part of the drama or the whole part of the drama.
The (惫峁泃迟颈) has been divided into four parts, i.e.
The propitiation (辫谤补谤辞肠补苍腻) is the preliminary work of the drama, which forms also the part of preface (腻尘耻办丑补). The preface (腻尘耻办丑补) is the prologue (辫谤补蝉迟腻惫补苍腻) or the introductory part of the drama.
The propitiation (腻尘耻办丑补) is again divided into five parts, i.e.
- abrupt dialogue (耻诲驳丑腻迟补办补),
- story caught up (办补迟丑辞诲驳丑腻迟补),
- excess of representation (辫谤补测辞驳腻迟颈艣补测补),
- entrance (辫谤补惫峁泃迟补办补) and
- continuance (avalagita).
The 狈腻峁瓂补艣腻蝉迟谤补 (XXII.35) states that every drama should consist of at least one of these ancillaries, because out of five ancillaries, two ancillaries i.e. 耻诲驳丑腻迟补办补 and avalagita are discussed in the ancillaries of 惫墨迟丑墨. The farce (prahasana) is stated to be a separate type of drama. Therefore, the prologue of the 尝墨濒腻惫补迟墨惫墨迟丑墨 consists of the excess of representation (辫谤补测辞驳腻迟颈艣补测补), which indicates the entrance of a character after the prologue (辫谤补蝉迟腻惫补苍腻), through the observation of the stage manager (蝉奴迟谤补诲丑腻谤补). Here in the 尝墨濒腻惫补迟墨惫墨迟丑墨, S奴tradh膩ra and 狈补峁� discuss as to how Ra峁単alak峁墨, the daughter of Ra峁単amall墨, who is the sister of the 狈补峁�, loves and wants to marry an already married dancer named Sa峁単墨tamalla. The first wife of Sa峁単墨tamalla becomes jealous, when she comes to know the second marriage. 痴颈诲奴峁办补 enters after the prologue and justifies the fact that the king of Kuntala loves and wants to marry 尝墨濒腻惫补迟墨, the daughter of the king of Karn膩taka. When queen comes to know about it, she becomes jealous and angry with the king. However, 痴颈诲奴峁办补 tries to calm the queen and unites the king with 尝墨濒腻惫补迟墨.
Again, according to Bharata, the verbal style (产丑腻谤补迟墨惫峁泃迟颈) becomes the dominant style when the sentiments like odious (bibhatsa) and pathetic (办补谤耻峁嘺) are employed in the drama (狈腻峁瓂补艣腻蝉迟谤补.XXII.64). In the 尝墨濒腻惫补迟墨 惫墨迟丑墨, the pathetic sentiment is employed but odious (bibhatsa) sentiment is not employed. However, 顿丑补苍补帽箩补测补 states 惫墨迟丑墨 should have gay style (kai艣ik墨惫峁泃迟颈). The gay style (kai艣ik墨惫峁泃迟颈) is employed when the sentiments like laughter (丑腻蝉测补) and erotic (艣峁涐箙驳腻谤补) are applied (狈腻峁瓂补艣腻蝉迟谤补. XXII.63). One of these sentiments should be the principal sentiment in the drama. In the 尝墨濒腻惫补迟墨惫墨迟丑墨, the main sentiment is erotic (艣峁涐箙驳腻谤补) with other sentiments like pathetic (办补谤耻峁嘺), heroic (惫墨谤补), terrible (产丑补测腻苍补办补) and marvellous (adbhuta). Hence, 尝墨濒腻惫补迟墨惫墨迟丑墨 is the admixture of the verbal style (产丑腻谤补迟墨惫峁泃迟颈) and gay style (kai艣ik墨惫峁泃迟颈).