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The unification of the theme and action of the plot of the drama is called Sandhi. That is, the five 础惫补蝉迟丑腻蝉 and the five 础谤迟丑补辫谤补办峁泃颈蝉 that develop the theme and action are combined, to produce the Sandhis.

There are thus five Sandhis^[1] 鈥�

(i) Mukha Sandhi (opening)鈥揟he arising of the source of the drama is called Mukha Sandhi and the same is the source of subordinate stories, objects and sentiments.

(ii) Pratimukha Sandhi (progress)鈥揟he development of the plot, in accordance with its quality of being perceptible.

(iii) Garbha Sandhi (development)鈥揟he sprouting of the seed, whether it leads to fruition or not, is Garbha Sandhi. There may be or may not be 笔补迟腻办腻 in the Garbha for it does not play any important role in it. But the possibility of success in the 叠墨箩补 is essential in the Garbha Sandhi.

(iv) Vimar艣a Sandhi (pause)鈥揑n this Sandhi the certainty of success is assured and it connects the Garbha Sandhi to the end and manifests the object of the 产墨箩补.

(v) 狈颈谤惫补丑补峁嘺 Sandhi (conclusion)鈥揟he part of the story in which all the four stages of the drama (Mukha, Pratimukha, Garbha and 础惫补尘补谤艣补), are unified in one and lead to the final result is called the 狈颈谤惫补丑补峁嘺.

Also there are sixty four 蝉补苍诲丑测补峁単补蝉; and the necessity for these is six-fold as given below^[2] :

1. Expressing the desired object,
2. Non-omission of any essential item in the Plot,
3. Attaing the quality of pleasing in production,
4. Concealment of the objects to be concealed,
5. Telling tales of surprise,
6. Disclosing things to be disclosed

Footnotes and references:

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[1]:

狈.艢. XIX. 37:
尘耻办丑补峁� prati尘耻办丑补峁� caiva garbho 惫颈尘补谤艣补 eva ca |
迟补迟丑腻 苍颈谤惫补丑补峁嘺峁� ceti n膩峁璦ke pa峁�ca 蝉补苍诲丑补测补岣� ||

[2]:

狈.艢. XIX.51-2:
颈峁ａ弓补蝉测腻谤迟丑补蝉测补 谤补肠补苍腻 v峁泃t膩ntasy膩nupak峁�aya岣� |
r膩gapr膩pti岣� prayogasya guhy膩n膩峁� caiva g奴hanam ||
膩艣caryavadabhikhy膩na峁� prak膩艣y膩n膩峁� prak膩艣anam |
腻峁単腻苍腻峁� 峁�a岣峣啷�惫补诲丑补峁� hyetad 诲峁涐梗峁璦峁� 艣膩stre prayojanam ||