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辫补迟腻办腻蝉迟丑腻苍补办补峁� 测辞箩测补峁� suvic膩ryeha vastuni/^[1]

The author of 厂腻丑颈迟测补诲补谤辫补峁嘺 distinctly stated that in a 苍腻峁璦办补, 辫补迟腻办腻蝉迟丑腻苍补办补 should be inserted with proper consideration because, it is counted as one of the important technicalities of Sanskrit dramas. Bharata defined 辫补迟腻办腻蝉迟丑腻苍补办补 as, when some matter being taken in hand (already thought about), another matter of similar nature is suggested through an accidental idea (膩gantuka bh膩va), it is called Episode indication or 辫补迟腻办腻蝉迟丑腻苍补办补.^[2]

痴颈艣惫补苍腻迟丑补 followed Bharata defining 辫补迟腻办腻蝉迟丑腻苍补办补 in the sixth chapter of his 厂腻丑颈迟测补诲补谤辫补峁嘺 as that in which while a different topic is in consideration, some other things of similar nature is presented through some future thought.

颁蹿.鈥�

yatr膩rthe cintite'nyasmi峁僺talli峁単o鈥檔ya岣� prayujyate/
膩gantukena bh膩vena 辫补迟腻办腻蝉迟丑腻苍补办补峁� tu ta//^[3]

痴颈艣惫补苍腻迟丑补鈥檚 definition is quite similar to that of Bharata having a difference only in respect of the composition of the first half of the verse. Like Bharata and 痴颈艣惫补苍腻迟丑补, 顿丑补苍补帽箩补测补 also clearly stated that a 辫补迟腻办腻蝉迟丑腻苍补办补 is a spot wherein a sudden introduction of some extraneous matter indicates something already begun or something which is about to begin.

This takes place as a result of their having certain common characteristics. 颁蹿.鈥�

prastut膩gantubh膩vasya vastuno'nyoktis奴caka峁� /
辫补迟腻办腻蝉迟丑腻苍补办补峁� tulyasa峁僾idh膩navi艣e峁�a峁嘺峁�//^[4]

厂腻驳补谤补 Nandin stated that a 辫补迟腻办腻蝉迟丑腻苍补办补 is an ornament of the dramatic plot and its use is recommended as often as possible in a drama. No play appeared to be perfect until and unless it is decorated by a 辫补迟腻办腻蝉迟丑腻苍补办补.^[5] To be more precise, a 辫补迟腻办腻蝉迟丑腻苍补办补 is nothing but an indication of a matter other than what is thought of and is indicated either by a means or end, but it must help in the attainment of the main course of a play.

Bharata accepts four types of 辫补迟腻办腻蝉迟丑腻苍补办补s.^[6] Following Bharata, 痴颈艣惫补苍腻迟丑补 also shows its four kinds, the specific names of which are not given to them either by Bharata or by 痴颈艣惫补苍腻迟丑补. They are simply used with the help of ordinal numerals prefixed such as prathama (first), 诲惫颈迟墨测补 (second), 迟谤颈迟墨测补 (third) and caturtha (fourth).

According to 痴颈艣惫补苍腻迟丑补 that is said to be the prathama 辫补迟腻办腻蝉迟丑腻苍补办补 wherein a better achievement by nature occurs more delightfully at once.

颁蹿.鈥�

蝉补丑补蝉补颈惫腻谤迟丑补蝉补峁僷补迟迟颈谤驳耻峁嘺惫补迟测耻辫补肠腻谤补迟补岣�/
辫补迟腻办腻蝉迟丑腻苍补办补mida峁� 辫谤补迟丑补尘补峁� 辫补谤颈办墨谤迟颈迟补峁�//^[7]

That is called the second type of 辫补迟腻办腻蝉迟丑腻苍补办补 where a statement is full of words with double meanings couched up in adjectives.

Cf. 惫补肠补岣� 蝉腻迟颈艣补测补峁� 艣濒颈峁ａ弓补峁� n膩n膩vandhasam膩艣raya峁�/ 辫补迟腻办腻蝉迟丑腻苍补办补mida峁� 诲惫颈迟墨测补峁� 辫补谤颈办墨谤迟迟颈迟补峁�//^[8]

The third type of 辫补迟腻办腻蝉迟丑腻苍补办补 is that which presents itself a spot where double meanings brought forth by means of a play of words indicate an idea which falls in suit with the subject matter.

According to 痴颈艣惫补苍腻迟丑补, in it, there is a provision of replies admitting of double meaning.颁蹿.鈥�

补谤迟丑辞辫补办峁�e辫补办补峁� yattu 濒墨苍补峁� 蝉补惫颈苍补测补峁� bhavet/
艣li峁ａ弓apratyuttaropeta峁� t峁泃墨yamidamucyate//^[9]

The fourth and the last variety of 辫补迟腻办腻蝉迟丑腻苍补办补 is one in which there is some statement full of double meanings which is directly related to the subject matter of the drama and which brings suggestively the motive of action of the drama. Cf. dvyartho vacanaviny膩sa岣� 蝉耻艣濒颈峁ａ弓补岣� k膩vyayojita岣�/ pradh膩n膩rth膩ntarak峁�ep墨 辫补迟腻办腻蝉迟丑腻苍补办补峁� param//^[10]

In the drama 惭耻诲谤腻谤腻办峁�a蝉补, 痴颈艣腻办丑补诲补迟迟补 has used 辫补迟腻办腻蝉迟丑腻苍补办补 in four places. Those are as follows鈥�

In the first act of 惭耻诲谤腻谤腻办峁�a蝉补 when 颁腻峁嘺办测补 was trying to write the letter, he said, 鈥淲hat shall I write on it? 搁腻办峁�a蝉补 is indeed to be conquered by this writing.鈥�^[11] Right on that time 笔谤补迟颈丑腻谤颈 entered uttering the words 鈥淟et subjugate to your worth sir鈥�^[12] Here, while 颁腻峁嘺办测补 was planning for conquering 搁腻办峁�a蝉补 and all of a sudden the Pratihari utters for 颁腻峁嘺办测补鈥檚 victory. Therefore, it is clear that this portion of 惭耻诲谤腻谤腻办峁�a蝉补 comes under the first type of 辫补迟腻办腻蝉迟丑腻苍补办补.

There is in the fourth act, a same type of 辫补迟腻办腻蝉迟丑腻苍补办补 i.e., the first variety of it can be seen. In the context of planning for 颁腻峁嘺办测补鈥檚 defeat 搁腻办峁�a蝉补 was talking to himself, 鈥渨ell then, it is likely that, the wicked fellow 颁腻峁嘺办测补, can be capable of being deceived.鈥� But while 搁腻办峁�a蝉补 finished only the half of the portion of it i.e., 鈥�tadapi 苍腻尘补 诲耻谤腻迟尘腻 肠腻峁嘺办测补产补峁璾岣�鈥�^[13], the gatekeeper suddenly said entering the room-鈥渏ayatu (be victorious).鈥滱gain while 搁腻办峁�a蝉补 was thinking of the last portion of it i.e., 鈥�补迟颈蝉补峁僤丑腻迟耻峁� 艣补办测补岣� 蝉测腻迟/鈥�^[14], that gatekeeper again said, 鈥�补尘腻迟测补 i.e. 搁腻办峁�a蝉补.鈥� This 辫补迟腻办腻蝉迟丑腻苍补办补 clearly indicates the victory of 颁腻峁嘺办测补 and also the consequence of 搁腻办峁�a蝉补 being cheated by 颁腻峁嘺办测补 in time ahead.

Again in the first act, there is another 辫补迟腻办腻蝉迟丑腻苍补办补. Once 颁腻峁嘺办测补 was anxious whether he could subjugate 搁腻办峁�a蝉补 and was thinking himself鈥�

鈥�api 苍腻尘补 诲耻谤腻迟尘腻 r膩k峁�aso g峁沨yeta?鈥�^[15]

At that very moment 厂颈诲诲丑腻谤迟丑补办补, who was sitting along with 颁腻峁嘺办测补 said in another context, 鈥�腻谤测补 驳峁沨墨迟补岣�鈥� (taken sir).^[16] This lead the audiences presume about the future subjugation of 搁腻办峁�a蝉补. Here the speech of 厂颈诲诲丑腻谤迟丑补办补 has dual meanings and at the same time it gives a presumption for the overthrow of 搁腻办峁�a蝉补. Therefore, it is the fourth type of 辫补迟腻办腻蝉迟丑腻苍补办补.

One more 辫补迟腻办腻蝉迟丑腻苍补办补 can be found in the fourth act of 惭耻诲谤腻谤腻办峁�a蝉补. Here 搁腻办峁�a蝉补 asks 碍峁�a辫补峁嘺办补 to ascertain a day for expedition. Then 碍峁�a辫补峁嘺办补 answers-

颁蹿.鈥�

ast膩bhimukhe surye udite samp奴r峁嘺ma峁囜笉ale candre/
驳补尘补苍补峁� budhasya lagne udit膩stamite ca keta//|^[17]

When the sun is about to set, the full moon has risen, when the budha is in the lagna, when 谤腻丑耻 is just risen and ketu already set, there should be the starting of the military expedition.

However, this 艣濒辞办补 has got another suggested meaning. According to the suggested meaning when the brave Malayaketu is about to be defeated, when Candragupta with his entire royal circle has risen, it is better for you to make friends with the intelligent prime minister of Candragupta i.e., with 颁腻峁嘺办测补. Herein, every word said by the 碍峁�a辫补峁嘺办补 is having pun within it. This speech of 碍峁�a辫补峁嘺办补 indicates the victory of Candragupta. Therefore it is an evidence of the second type of 辫补迟腻办腻蝉迟丑腻苍补办补.

Therefore, it is seen that exclusive of only the third type of 辫补迟腻办腻蝉迟丑腻苍补办补, the other three are present in the drama, that also in four places. In these four places the dramatist has very tactfully used this dramatic technicality which shows the skill of 痴颈艣腻办丑补诲补迟迟补 in the field of dramaturgy.

Footnotes and references:

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[1]:

厂腻丑颈迟测补诲补谤辫补峁嘺, VI.44

[2]:

狈腻峁瓂补艣腻蝉迟谤补, XXI, 30

[3]:

厂腻丑颈迟测补诲补谤辫补峁嘺, VI.45

[4]:

顿补艣补谤奴辫补办补, I. 14

[5]:

pat膩k膩sth膩n膩ni 艣obh膩hetu峁�/ 狈腻峁瓂补濒补办峁�a苍补谤补迟苍补办辞峁�a, 办腻谤颈办腻-100

[6]:

狈腻峁瓂补艣腻蝉迟谤补, XXI. 31,32,33,34

[7]:

厂腻丑颈迟测补诲补谤辫补峁嘺, VI. 46

[8]:

Ibid., VI.47

[9]:

Ibid., VI.48

[10]:

Ibid., VI.49

[11]:

kimatra likh膩mi? anena khalu lekhena r膩k峁�asa jetavya岣�/ 惭耻诲谤腻谤腻办峁�a蝉补, p.60

[12]:

jayatu jayatv腻谤测补岣�/Ibid.p.61

[13]:

Ibid., p.266

[14]:

Ibid., p.267

[15]:

惭耻诲谤腻谤腻办峁�a蝉补, p.71

[16]:

Ibid.

[17]:

惭耻诲谤腻谤腻办峁�a蝉补, IV.19