Dasarupaka (critical study)
by Anuru Ranjan Mishra | 2015 | 106,293 words
This page relates 鈥業ntroduction to the Ihamriga type of Drama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)
Introduction to the 莫丑腻尘峁沢补 type of Drama
莫丑腻尘峁沢补 is a drama peculiar to Indian tradition. Western tradition does not record any drama comparable to 莫丑腻尘峁沢补. Even the western rhetoricians and dramatists are not able to conceive a drama of 莫丑腻尘峁沢补 type with number of characters.
H. H. Wilson (1898, Dramas, p.24) states that:
鈥渢his entertainment must have been popular, as it was addressed more to the eye than to the ear, because this type of drama needs encounter, battle, abusive language. The colourful dresses, precious jewelery and other things make them different from the real world.鈥�
In Indian classical drama, 莫丑腻尘峁沢补 is one of the ten divisions of drama, which is a bold (uddhata or 腻惫颈诲诲丑腻) and energetic type of drama like 厂补尘补惫补办腻谤补 and 岣宨尘补. It has many characters like 厂补尘补惫补办腻谤补 and the plot extends over many days.
Abhinavagupta states that:
鈥淚t is called 莫丑腻尘峁沢补, because it shows the desire (墨丑腻) and action (肠别峁ａ弓腻) for a woman who is like a dear (尘峁沢补), which is not easy to get鈥濃��(础产丑颈苍补惫补产丑腻谤补迟墨.XVIII.83).
It has a limited theme. The characters are divine beings and their conversations are intelligent and clever. The main theme of 莫丑腻尘峁沢补 is fight for a woman.
G. K. Bhat (1985, Sanskrit Drama, P.340) states that:
鈥淚n the 莫丑腻尘峁沢补, the obstacles are set aside with fight. However, women are capable of enduring hardships and therefore, the story need not involve any 补惫补蝉迟丑腻蝉 of hope and despair alternating frequently. The dramatic action, with appropriate remedies used, can lead towards achievement of goal.鈥�