Jivanandana of Anandaraya Makhin (Study)
by G. D. Jayalakshmi | 2019 | 58,344 words
This page relates 鈥楢nalysis of Arthopakshepakas鈥� of the study on the Jivanandana (in English) which is a dramatic play written by Anadaraya Makhin in the 18th century. The Jivanandana praises the excellence of Advaita Vedanta, Ayurveda (medical science) and Dramatic literature as the triple agency for obtaining everlasting bliss.
Go directly to: Footnotes.
Analysis of 础谤迟丑辞辫补办峁辫补办补蝉
There are five 础谤迟丑辞辫补办峁辫补办补蝉[1] that have been designed to be used by dramatists to narrate such incidents as war and death, which should not be shown on stage and incidents that connect the story but need not be acted on stage.
(i) 笔谤补惫别艣补办补:
When menial characters 苍墨肠腻辫腻迟谤补蝉 are employed to narrate the story related to past or future in an abridged form, it is called 笔谤补惫别艣补办补.[2] Here, as the second Act opens, the conversation between 碍腻蝉补 and Chardi, the servants of 驰补办峁腻, narrating the various activities already taken place on their side in lieu of the activities on the hero鈥檚 side, forms the 笔谤补惫别艣补办补.
(ii) 痴颈峁补尘产丑补办补:
When a scene is acted by persons of intermediary class, madhyama-辫腻迟谤补蝉 bringing out the story of the past and link it with the future happenings, it is called as 痴颈峁补尘产丑补办补[3].
The initial scene at the beginning of Act III where the city policeman, his assistant and Gada, the spy of the enemy camp, and also the intial scene in the sixth Act where Matsara, Ku峁ａ弓ra and her servant converse in Sanskrit, regarding the activities on both sides that had taken place as well as the activities that are to take place, forms the 艢耻诲诲丑补 惫颈峁补尘产丑补办补.
(iii) 颁奴濒颈办腻:
When an actor indicates something from behind the screen it is called 颁奴濒颈办腻[4]. This feature is found in this 狈腻峁璦办补, when 碍腻濒补 from behind the screens announces the complete eradication of the enemy side, as soon as 闯墨惫补 had been transferred with all Yogic powers by lord 艢颈惫补.
(iv) 础峁卥腻蝉测补:
In the present play, at the end of the sixth Act, minister 痴颈箩帽腻苍补 艢补谤尘腻 leaves the stage with a plan to prepare for the remaining fight. This dramatic device of keeping the readers/viewers eagerly await for the next Act, is called 础峁卥腻蝉测补[5].
The commentator makes note of this in the commentary (p.418):
膩tra cottar膩峁卥膩rambhe kath膩sa峁僩ha岣峚n膩rtham 膩峁卥膩sya峁� n膩m膩rthopak峁paka峁� prastutam膩s墨t 鈥榯atpratividh膩n膩ya vy膩priyam膩峁嚹佱弗鈥� ityadibhi岣� | uttar膩峁卥e ca mantrik峁泃odyamabalenaiva ra峁嚹乵budhirutt墨r峁嘺 iti p奴rv膩峁卥膩ntas奴cito'rtha峁� eva vivriyate | 鈥溎佱箙k膩ntap膩traira峁卥膩syamuttar膩峁卥膩rtha蝉奴肠补苍腻鈥� iti tallak峁峁嘺m |
(v) 础峁卥腻惫补迟补谤补峁嘺:
This is found at the opening of the seventh Act when king 闯墨惫补 and minister 痴颈箩帽腻苍补, in continuation of the happenings of the sixth Act, open their conversation with regard to the victory of the war.
Since this information is a continuous description of the happenings in the sixth Act, the structural device here is termed 础峁卥腻惫补迟补谤补峁嘺[6] (com. p.420):
etacca p奴rv膩峁卥膩ntoktasya vi峁yasy膩nugatatv膩t 膩峁卥膩vatara峁嘺峁� 苍腻尘补 n膩峁璦k膩峁単am |
Footnotes and references:
[1]:
D.R. I.59:
膩rthopak峁pakai岣� s奴cya峁� pa峁abhi岣� pratip膩dayet |
vi峁ambhac奴lik膩峁卥膩sy膩峁卥膩vat膩raprave艣akai岣� ||
[2]:
D.R. I.60cd-61ab:
tadvadev膩nud膩ttokty膩 n墨cap膩traprayojita岣� ||
prave艣o'峁卥advayasy膩nta岣� 艣e峁Ｄ乺thasyopas奴caka岣� |
[3]:
D.R. I.58:
v峁泃tavarti峁am膩峁嚹乶膩峁� kath膩峁兣浤乶膩峁� 苍颈诲补谤艣补办补岣� |
sa峁僰峁p膩rthastu vi峁ambho madhyap膩traprayojita岣� ||
[5]:
D.R. I. 62ab:膩峁卥膩ntap膩traira峁卥膩sya峁� chinn膩峁卥asy膩rtha蝉奴肠补苍腻t |
[6]:
D.R. I. 62 cd: 膩峁卥膩vat膩rastva峁卥膩nte p膩to'sy膩vibh膩gata岣� ||