Dasarupaka (critical study)
by Anuru Ranjan Mishra | 2015 | 106,293 words
This page relates 鈥楢pplication of the Junctures (sandhi) in a Utsrishtikanka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 10 - Application of the Junctures (sandhi) in a Uts峁涐梗峁璱k膩峁卥a
The 弄rubha峁単a is a one-act play called 础峁卥补, has only two junctures, i.e.
Opening Juncture (Mukhasandhi) 鈥�
The opening juncture is produced from the seed (产墨箩补) having various purposes and sentiments. The juncture is created by the combination of the beginning (腻谤补尘产丑补), which is eagerness to get the result and the seed (产墨箩补) which continues up to result.
In the 弄rubha峁単a, though the stage-manager declares that the fight between Duryodhana and 叠丑墨尘补 is going to happen, still the real information or the seed comes from the three warriors, at the end of the opening juncture:
鈥�draupad墨ke艣adhar峁峁嚹乿amar峁tasya鈥︹�︹�rav峁泃tam gad膩yuddham鈥�
鈥�(弄rubha峁単a, T. Ganapati Shastri, p.92).
Therefore, the first juncture covers up to the conversation after the fifteenth verse.
Concluding Juncture (Nirvaha峁嘺sandhi) 鈥�
The concluding juncture brings out the result, inherent seed. The juncture is produced from the combination of denouement (办腻谤测补) and attainment of the result (辫丑补濒腻驳补尘补).
In the 弄rubha峁単a, the concluding juncture is manifest when 碍峁涐梗峁嘺 indicates to 叠丑墨尘补, through a secret sign striking on his own thigh and 叠丑墨尘补 hurls the mace on Duryodhana鈥檚 thigh and Duryodhana falls down:
鈥�rudhirapatanadyotit膩峁単am nipatantam kurur膩jam鈥�
鈥�(弄rubha峁単a, T. Ganapati Shastri, p.95).
The juncture continues up to the end of the play, where Duryodhana dies after a long battle.