VSS papers 2021 The Art of writing Drama using ‘Mukha- Saṃdhi’ -*1

Scope for improving -- 1) This is an important subject to establish how hundreds of years back, the Indian scholars dwelved upon the शास्त्र (can be narrowly translated as science) of dramatics and suggested various parameters for Rasotpatti. 2) This article is more about describing and explaining the Saṃdhi, and Saṃdhyaṅgas than about using them for Rasotpatti in writing the dramas. Hence I think that the title could have been The science of writing Drama using ‘Mukha- Saṃdhi’ and Saṃdhyaṅgas. To describe the ART, we need many more examples. 3) Who first classified the Saṃdhis in 5 types or each of them into their subdivisions? That has to be first clarified. It is not as if Bharat contributed some parts while Dhanañjaya some other and finally someone collated all of them into a chart as appears in page 4 and 5. 4) Where Sanskrit text is quoted eg from Ratnawali or Shakuntalam or Madhav Malati – its translation be given so that reader can judge whether the effect of Saṃdhi is indeed created as is defined in that Saṃdhi. 5) In one example -- Sāgarikā’s statement, 'Oh! is this the king Udayana whom I was offered by my father!' in the Ratnāvalī72 – how does it become a samdhi that is, a turning point? Same question arises in many examples. 6) To a common reader, it is not clear why a paricular subdivision (is it called उपसंधि?) is kept under a particular samdhi and not another. For example द्युति appear under विमर्ष and नर्मद्युति under प्रतिमुखसंधि. 7) Another related question -- the subdivisions of Mukha Samdhi appear to be creating same effect as is intended in the middle or end of drama. For ex. Smadhan. This name suggests that we have reached the end of the drama, while actually, it is still part of the opening section. To answer question no 6 raised here, the scope of article has to be widened. So the author may skip it now but plan for a much bigger article later. If this kind of work is not done by others previously, then this is definitely a subject which deserves more attention. ............................................................................................................... ­The Art of writing Drama using ‘Mukha- Saṃdhi’ and its Sub-Divisions (Saṃdhyaṅga) of Dramatic Plot: A Study. Sandeep Dhikale Deccan College Post Graduate and Research Institute, Pune dsagar.sandeep@gmail.com Abstract: Saṃdhi is a Joint or Juncture in dramatic plot. Sanskrit dramaturgy says that Saṃdhi- Saṃdhyaṅga are necessary for the dramatic form and plot. Saṃdhis are five in number: मुख (Mukha), प्रतिमुख (Pratimukha), गर्भ (Garbha), विमर्श/अवमर्श (Vimarśa/Avamarśa) and निर्वहण (Nirvahaṇa Saṃdhi). ‘Mukha-Saṃdhi’ is the first Saṃdhi having 12 sub-divisions. It is pertinent to understand and take a closer look at the principles and methods which guide the storytelling methodology of India. The paper also is an attempt to look at the Saṃdhi-Saṃdhyaṅga theory on a micro level with the perspective of different dramatists and Aācārya of Sanskrit Dramaturgy. Keywords: Saṃdhi, Saṃdhi-Saṃdhyaṅgas, Dramatic plot, Sanskrit Dramaturgy, Dramatic Junctures. Introduction: Sanskrit dramaturgy has presented the scientific analysis of the plot of a drama. Plot is like a body of Drama, इतिवृत्तं तु काव्यस्य शरीरं परिकीर्तितम् ।1 It is also called as a ‘Kathāvastu’ (कथावस्तु) The plot (कथावस्तु) is of two kinds (a) ādhikārika आधिकारिक (principal plot) (b) prāsaṅgika प्रासङ्गिक (subsidiary plot).2 The action that is aimed for the fulfillment of the principal result (ie. The Hero’s object) is called as a ādhikārika kathāvastu आधिकारिक कथावस्तु (principal action), whereas the one other than this is called as a prāsaṅgika प्रासङ्गिक (subsidiary action).3 The principal plot revolves around the hero/protagonist and reveals his activities to attain desires. Subsidiary plot concerns some other characters but it ultimately helps in the fulfillment of the hero/protagonist’s desire. Sanskrit dramatists like Bharata, Dhanañjaya-Dhanika etc. have presented five means of attaining the goals of the plot, which are known as ‘पञ्च-अर्थप्रकृति’ (Pañca-Arthaprakṛti) those are – (a) Bīja (बीज) (the Seed/Germ), (b) Bindu (बिन्दु) (Vital Drop), (c) Patākā (पताका) (Episode), (d) Prakarī (प्रकरी) (Episodic Incident), (e) Kārya (कार्य) (Achievement of desired objective/Fruit).4 Sanskrit dramaturgy also provides the five stages of Action or Plot. They are – (a) Aārambha (आरम्भ) (Beginning), (b) Prayatna (प्रयत्न) (Efforts), (c) Prāptyāśā/Prāptisambhava (प्राप्त्याशा/प्राप्तिसम्भव) (Possibility of Attainment), (d) Niyatāpti/Niyataphalaprāpti (नियताप्ति/नियतफलप्राप्ति) (Certainty of Attainment), (e) Phalāgama/Phalayoga (फलागम/फल-योग) (Attainment of Object).5 These five stages are called as ‘Pañcaavasthā’ (पञ्च-अवस्था). Sanskrit dramaturgy, further says that there are five ‘Saṃdhi’ (संधि) (Joints/junctures), corresponding to the five stages enumerated above. Saṃdhi’s are the combination of different phases of main action with its subsidiaries. ācārya Dhanañjaya in his ‘daśarūpakam’ says - अन्तरैकार्थसंबन्धः संधिरेकान्वयेसति ।6 The unification of the state of the objects of the parts of the story is called – Saṃdhi (संधि). ācārya Dhanika also explains Saṃdhi as एकेन प्रयोजनेनान्वितानांकथांशानामवान्तरैकप्रयोजनसंबन्धः संधिः ।7 śiṅgabhūpāla, while explaining the Saṃdhi, says, - एकैकस्यास्त्ववस्थायाः प्रकृत्या चैकयैकया । योगः सन्धिरिति ज्ञेयो नाट्यविद्याविचक्षणैः ॥8 ‘Saṃdhi’s mark the different phases of the germ like the one of its appearance or disappearance, its partial bloom and decay, and also its fulfillment at length.’9 sāgaranandin in his ‘nāṭakalakṣaṇaratnakośa’ explains ‘Saṃdhi’ as ‘fitting the different parts of the dramatic story into a mutually harmonious Connection’.10 ‘Saṃdhis’ are so called because ‘with their help the different matters in a dramatic plot are mutually joined together’.11 ‘संधि’ Saṃdhi’s (junctures) are Fivefold. They are as follows12: (a) mukhasaṃdhi (मुखसंधि) (Opening); (b) pratimukhasaṃdhi (प्रतिमुखसंधि) (Progression); (c) garbhasaṃdhi (गर्भसंधि) (Development); (d) avamarśa (अवमर्श)13 (Pause); (e) nirvahaṇa (निर्वहण)14 (Conclusion). Sanskrit Dramaturgy conceives following purposes behind the use of Saṃdhi and Saṃdhyaṅga’s for a dramatic composition and its stage performance. By using Saṃdhi’s and its Sub-divisions in the plot construction, a dramatist is able.. To achieve a constructive, organized and harmonious positioning/arrangement which he intends to convey, To see that the essential things in the plot are present and continuity of happenings is maintained, To able to ensure things which are open, normal and pleasant are included and shown, To present such matters as are likely to evoke surprise, wonder visually, (even though they may have been maintained in words or remembered before, To secure attention, attraction and pleasure though the dramatic performance. Aācārya Dhanañjaya in his ‘daśarūpakam’ formulates the ‘yathāsaṃkhya’ theory of Saṃdhi’s.15 The first ‘arthaprakṛti’ (बीज (the Seed/Germ)) gets connected to the first ‘avasthā’ - ārambha (आरम्भ (Beginning)), and so on. Saṃdhi’s (Junctures) are a chain of five stages of action with corresponding five elements of plot. It can be distinctively called as ‘Co-ambulation Theory’ of Saṃdhi’s. Aācārya Dhanañjaya in his daśarūpakam’, explains the ‘yathāsaṃkhya’ theory of Saṃdhi with respective connection between ‘पञ्च-अर्थप्रकृति’ (five arthaprakṛti) and ‘पञ्च-अवस्था’ (five avasthā). The proper mutual connection (samanvaya) is called as a ‘Saṃdhi’. No. Connection and Combination of arthaprakṛti & avasthā (अर्थप्रकृति & अवस्था) संधि Saṃdhi (Juncture) 1. Bīja (बीज) (the Seed/Germ) + ārambha (आरम्भ) (Beginning) Mukhasaṃdhi (मुखसंधि) (Opening) 2. Bindu (बिन्दु) (Vital Drop) + prayatna (प्रयत्न) (Efforts) Pratimukhasaṃdhi (प्रतिमुखसंधि) (Progression) 3. Patākā (पताका) (Episode) + prāptyāśā (प्राप्त्याशा) (Possibility of Attainment) Garbhasaṃdhi (गर्भसंधि) (Development) 4. Prakarī (प्रकरी) (Episodic Incident) + niyatāpti (नियताप्ति) (Certainty of Attainment) Vimarśa (विमर्श) (Pause) 5. Kārya (कार्य) (Achievement) + phalāgama (फलागम) (Attainment of Object) Nirvahaṇa (निर्वहण) (Conclusion). Saṃdhi’s are known with following names (in English) as well. No. Saṃdhi (संधि) (Juncture) Other Names 1. Mukhasaṃdhi मुखसंधि Opening / Introduction / Protasis 2. Pratimukhasaṃdhi प्रतिमुखसंधि Progression / Epitasis 3. Garbhasaṃdhi गर्भसंधि Development / Catastasis 4. Vimarśa विमर्श Pause / Crisis / Peripeteia 5. Nirvahaṇa निर्वहण Conclusion / Catastrophe Sub-Divisions of Fivefold Saṃdhi’s संध्यङ्ग (Saṃdhyaṅga’s) No. संधि Saṃdhi (Juncture) संध्यङ्ग (Saṃdhyaṅga’s) Sub-Divisions Total 1. Mukhasaṃdhi (मुखसंधि) (Opening) upakṣepa, parikara, parinyāsa, vilobhana, yukti, prāpti, samādhāna, vidhāna, paribhāvanā, udbheda, karaṇa, bheda. (उपक्षेप, परिकर, परिन्यास, विलोभन, युक्ति, प्राप्ति, समाधान, विधान, परिभावना, उद्भेद, करण, भेद) 12 2. Pratimukhasaṃdhi (प्रतिमुखसंधि) (Progression) vilāsa, parisarpa, vidhuta, tāpana, narma, narmadyuti, pragayana (pragamana), nirodha, paryupāsana, puṣpa, vajra, upanyāsa, varṇasaṃhāra. (विलास, परिसर्प, विधुत, तापन, नर्म, नर्मद्युति, प्रगयन (प्रगमन), निरोध, पर्युपासन, पुष्प, वज्र, उपन्यास, वर्णसंहार) 13 3. Garbhasaṃdhi (गर्भसंधि) (Development) abhūtāharaṇa, mārga, rūpa, udāharaṇa, krama, saṃgraha, anumāna, prārthanā, ākṣipta, toṭaka, adhibala, udvega, vidrava. (अभूताहरण, मार्ग, रूप, उदाहरण, क्रम, संग्रह, अनुमान, प्रार्थना, आक्षिप्त, तोटक, अधिबल, उद्वेग, विद्रव) 13 4. Vimarśa (विमर्शसंधि) (Pause) apavāda, saṃpheṭa, vidrava (drava), yukti, dyuti, prasaṅga, vyavasāya, virodhana, prarocanā, vicalana, ādāna, cchedana (अपवाद, संफेट, विद्रव (द्रव), युक्ति, द्युति, प्रसङ्ग, व्यवसाय, विरोधन, प्ररोचना, विचलन, आदान, च्छेदन) 12 5. Nirvahaṇa (निर्वहणसंधि) (Conclusion). sandhi, nirodha, grathana, nirṇaya, paribhāṣaṇa, dyuti, prasāda, ānanda, samaya, upagūhana, bhāṣaṇa, pūrvavākya, kāvyasaṃhāra, praśasti. (सन्धि, निरोध, ग्रथन, निर्णय, परिभाषण, द्युति, प्रसाद, आनन्द, समय, उपगूहन, भाषण, पूर्ववाक्य, काव्यसंहार, प्रशस्ति) 14 Mukha-Saṃdhi मुखसंधि (Opening) Mukha-Saṃdhi मुखसंधि (Opening) is a part of drama, in which the creation of the bīja (बीज) (the Seed/Germ) as the source of many objects and sentiments takes place, is called in relation to its body, the Opening.16 ‘Mukha-Saṃdhi’ is a juncture which discloses the origination of the germ and introduces a verity of matters and of sentiments. It also puts the principal characters to some action in furtherance of the main motif of the play.17 To illustrate, the first act of the ‘Vikramorvaśīyam be referred to, as it contains the germ of love between purūravā and Urvaśī, displays divers events, manifests different feelings of terror and comic, and the sentiment of pūrvaraṅga, and also opens the stage of the commencement of action. Bharatamunī in his Nāṭyaśāstra while explaining ‘Mukha-Saṃdhi’ says – ‘यत्र बीजसमुत्पत्तिर्नानार्थरससम्भवा । काव्ये शरीरानुगता तन्मुखं परिकीर्तितम् ॥18 Dhanañjaya says – मुखं बीजसमुत्पत्तिर्नानार्थरससंश्रयाः । अङ्गानि द्वादशैतस्य बीजारम्भसमन्वयात् ॥19 ‘Mukha’ is the source of diverse rasas, stories and sentiments. There are twelve divisions of this मुखसंधी and they are used for the commencement of the ‘Bīja’. While explaining this verse from ‘Daśarūpaka’, the commentator (of Avalokaka) Dhanika elaborates as – बीजानामुत्पत्तिरनेकप्रकारप्रयोजनस्य रसस्य च हेतुर्मुखसंधिरिति व्याख्येयम् । तेनात्रिवर्गफले प्रहसनादौ रसोत्पत्तिहेतोरेव बिजत्वमिति । अस्य च बीजारम्भार्थयुक्तानि द्वादशाङ्गानि भवन्ति ॥20 ‘Sub-Divisions21 of ‘मुखसंधी’ Mukha-Saṃdhi’ संध्यङ्ग (Saṃdhyaṅga) संधि Saṃdhi (Juncture) संध्यङ्ग (Saṃdhyaṅga’s) Sub-Divisions Total मुखसंधि (Opening) upakṣepa, parikara, parinyāsa, vilobhana, yukti, prāpti, samādhāna, vidhāna, paribhāvanā, udbheda, karaṇa, bheda. (उपक्षेप, परिकर, परिन्यास, विलोभन, युक्ति, प्राप्ति, समाधान, विधान, परिभावना, उद्भेद, करण, भेद) 12 While describing ‘Saṃdhi’, Bharatamuni and other Sanskrit dramatists tell that each one of the ‘संधी’ has number of sub-divisions. ‘मुखसंधी’ of them is having twelve ‘संध्यङ्ग’ (Sub-Divisions) उपक्षेपः परिकरः परिन्यासो विलोभनम् ॥ युक्तिः प्राप्तिः समाधानं विधानं परिभावना । उद्भेदभेदकरणान्यन्वर्थान्यथ लक्षणम् ॥22,23 upakṣepa (उपक्षेप) (Suggestion), parikara (परिकर) (Enlargement), parinyāsa (परिन्यास) (Establishment), vilobhana (विलोभन) (Allurement), yukti (युक्ति) (Resolve), prāpti (प्राप्ति) (Attainment), samādhāna (समाधान) (Settling), vidhāna (विधान) (Conflict of feelings), paribhāvanā (परिभावना) (Surprise), udbheda (उद्भेद) (Disclosure), karaṇa (करण) (Division) and bheda (भेद) (Resumption) these twelve are the Sub-Divisions of ‘Mukha-Saṃdhi’. 1. उपक्षेप (Suggestion) Sowing of a seed or presentation of the germ is called ‘उपक्षेप’ (Suggestion). बीजन्यास उपक्षेपः ।24 It makes the first introduction of the hero’s desire, the central and most important part of the dramatic action. यथा रत्नावल्याम् (१/६) – (नेपथ्ये) द्विपादन्यस्मादपि मध्यादपि जलनिधेर्दिशोऽप्यन्तात् । आनीय झटिति घटयति विधिरभिमतमभिमुखीभूतः ॥ इत्यादिना यौगन्धरायणो वत्सराजस्य रत्नावलीप्राप्तिहेतुभूतमनुकूलदैवं स्वव्यापारं बीजत्वेनोपक्षिप्तवानित्युपक्षेपः ॥25 ‘उपक्षेप’ (Suggestion) feature is a part of introduction wherein the essence of the action gets introduced.26 Germ/seed can be brought in by anybody and anything. In Abhijñānaśākuntalam, hero Duṣyanta himself suggests the germ of action; in Mudrārākṣasam, cāṇakya and in Pratijñāyaugandharāyaṇa, the ratnāvalī suggests the germ/seed of action. काव्यार्थस्य समुत्पत्तिरुपक्षेप इति स्मृतः ।27 बीजन्यास उपक्षेपः ।28 बीजस्योप्तिरुपक्षेपः ।29 बीजन्यास उपक्षेपः ।30 बीजन्यास उपक्षेपः ।31 उपक्षेपस्तु बीजस्य सूचना कथ्यते बुधैः ।32 काव्यार्थस्य समुत्पत्तिरुपक्षेप इति स्मृतः ।33 काव्यार्थोत्पत्तिरुपक्षेपः ।34 2. परिकर (Enlargement) ‘परिकर’ also called as a ‘परिक्रिया.’ ‘परिकर’ is a statement which explains the situation with the amplification of the germ/seed is ‘परिकर’ (Enlargement).35 Aācārya Viśvanātha in his Sāhityadarpaṇa, defines it as a feature showing the expansion and the sprung up of the matter. In Abhijñānaśākuntalam, the expression of king Duṣyanta’s sympathy for śakuntalā presents the element of ‘परिकर’. समुत्पन्नार्थबाहुल्यं ज्ञेयः परिकरस्तु सः ।36 (बीजन्यास उपक्षेपः) तद्बाहुल्यं परिक्रिया ।37 स्वल्पव्यासः परिक्रिया ।38 (बीजन्यास उपक्षेपः) तद्बाहुल्यं परिक्रिया ।39 बीजस्य बहूपकरणं परिकरः ।40 परिक्रिया तु बहूलीकरणं मतम् ।41 समुत्पन्नार्थबाहुल्यं ज्ञेयः परिकरस्तु सः ।42 समुत्पन्ने अर्थे अर्थानां बाहुल्यं स परिकरः ।43 3. परिन्यास (Establishment) ‘परिन्यास’ (Establishment) is a feature, which displays the development of the ‘बीज’ where it takes a concrete and tangible shape.44 Aācārya Viśvanātha and some other Aācārya states that the settlement of the matter is so far sprung up in ‘परिकर’ (Enlargement) is the feature of परिन्यास (Establishment)45 In bālarāmāyaṇa, the entry of śunaḥśepa, which narrates the attempts of Lord Rāma to punish and torment the demons with the help and able guidance of Rishi Viśvāmitra establishes the motif of the play and gives a concrete and tangible shape.46 तन्निष्पत्या तु कथनं परिन्यासः प्रकीर्तितः ।47 (बीजन्यास उपक्षेपः तद्बाहुल्यं परिक्रिया) तन्निष्पत्तिः परिन्यासः ।48 विनिश्चयः परिन्यासः ।49 (बीजन्यास उपक्षेपः तद्बाहुल्यं परिक्रिया) तन्निष्पत्तिः परिन्यासः ।50 तस्य निष्पत्तिन्यासः परिन्यासः । संशुद्धार्थ बीजनिष्पत्तिः परिन्यासः ।51 बीजनिष्पत्तिकथनं परिन्यास इतीर्यते ।52 तन्निष्पत्तिः परिन्यासः ।53 भाषणं यत्परिन्यासः ।54 4. विलोभन (Allurement) The विलोभन means fascination. The attractive description of some merits of the main characters of the pay or a presentation of the good points belonging to the purpose in hand is called विलोभन. It is the exposition of the good points, naturally of the fruit. Here the particular attraction or fascination which the principal characters feel towards the फल would be seen and it is this allurement which actuates them. विलोभन might occur somewhere near (or after) the परिन्यास. The well-known description from Veṇisaṃhāram that Draupadī praising the resolve of bhīmasena is a point of विलोभन. गुणनिर्वर्णनं यत्तु विलोभनमिति स्मृतम् ।55 गुणाख्यानं विलोभनम् ।56 विलोभनं स्युतेर्गाथ्यम् ।57 गुणाख्यानं विलोभनम् ।58 बीजगुणवर्णनं विलोभनम् ।59 नायकादिगुणानां यद् वर्णनं तद् विलोभनम् ।60 गुणाख्यानं विलोभनम् ।61 अर्थस्य गुणनिर्वर्णनं विलोभनम् ।62 5. युक्ति (Resolve) युक्ति here means a minute survey or examination of the incidents or circumstances (संप्रधारणम्) The summary of actions are previously adopted or of those which are to be adopted in continuance of the dramatic idea is called Yukti, as is evident in the announcement ‘the fire of Yudhishthira's anger is all burning in the great woodland of the race of Kurus'. 63 Viśvanātha, Singabhūpāla, Vidyānātha and Srīkṛshna Kavi seem to believe that the determination of the purpose (or purposes) of action is the characteristic of this sub-division. संप्रधारणमर्थानां युक्तिरित्यभिधीयते ।64 संप्रधारणमर्थानां युक्तिः ।65 युक्तिः कृत्यविचारणा ।66 संप्रधारणमर्थानां युक्तिरित्यभिधीयते ।67 बीजानुकूलसंघट्टनप्रयोजनविचारो युक्तिः ।68 सम्यक् प्रयोजनानां हि निर्णयो युक्तिरिष्यते ।69 संप्रधारणमर्थानां युक्तिः ।70 अर्थानां संप्रधारणं सा युक्तिः ।71 6. प्राप्ति (Attainment) Getting pleasure is defined as Prāpti. Sāgarikā’s statement, 'Oh! is this the king Udayana whom I was offered by my father!' in the Ratnāvalī72; or the statement of Draupadī, experiencing joy when Bhīma announces that he would crush the era of the Kauravas in the battlefield and so on, presents an illustration.73 According to Sāgaranandin a mention of the central thought is Prāpti. His view is seemingly based on some variant reading of Bharata, and if it is accepted, the connotation of Prāpti would very much overlap in essence that of Samādhāna. सुखार्थस्योपगमनं प्राप्तिरित्यभिसंज्ञितम् ।74 प्राप्तिः सुखागमः ।75 प्रापणं सुखसंप्राप्तिः ।76 प्राप्तिः कोऽपि सुखागमः ।77 बीजसुखागमः प्राप्तिः ।78 प्राज्ञैः सुखस्य संप्राप्तिः प्राप्तिरित्यभिधीयते ।79 प्राप्तिः सुखागमः ।80 मुखार्थस्य यदुपगमनं सा प्राप्तिः ।81 7. समाधान (Settling) The re-appearance of the main point or the germ is another sub-division of Protasis. the feature of Samadhana is used to bring back the detracted visitors to the main subject. The hero's statement that he was carried away by the tune of the tabor in the Mālavikā is an illustration of this feature.82 बीजार्थस्योपगमनं समाधानमपीष्यते ।83 बीजागमः समाधानम् ।84 पुनर्न्यासः समाहितिः ।85 बीजागमः समाधानम् ।86 बीजसंनिधानं समाधानम् ।87 बीजस्य पुनराधानं समाधानमिहोच्यते ।88 बीजस्यागमनं यत्तु तत्समाधानमुच्यते ।89 बीजार्थस्योपगमनं यत्समाधानम् ।90 8. विधान (Conflict of feelings) The blending of pleasure and pain is called Vidhāna. This feature is meant to avoid an absolute enjoyment of pleasure and thus contribute reality to the dramatic action. It makes one realize that every phase of life has two sides the pleasant and the sad. The substratum of this conflict of feelings should always be the one and the same individual, e.g., the twofold feeling that Mādhava experiences after finding Mālatī in love with himself presents a pleasant conflict91. सुखदुःखकृतो योऽर्थस्तद्विधानमिहोच्यते ।92 विधानं सुखदुःखकृत् ।93 विधानं सुखदुःखाप्तिः ।94 विधानं सुखदुःखकृत् ।95 बीजसुखदुःखहेतुर्विधानम् ।96 सुखदुःखकरं यत्तु विधानं बुधा विदुः ।97 सुखदुःखकृतो योऽर्थस्तद्विधानमिति स्मृतम् ।98 सुखदुःखकृतो योऽर्थस्तद्विधानम् ।99 9. परिभावना (Surprise) Paribhāvanā is an element which limits the mind with a feeling of wonder in respect of the main object by reasons of some attractive description. Paribhāvanā is an expression which fills the mind with curiosity is enough to present this feature according to Bharata and Viśvanātha. Siṅgabhūpāla believes that the expression which appeals as striking on account of the presentation of certain praiseworthy qualities denotes the element of Paribhāvanā, an appreciative description of Sītā by Rāvaṇa in the Bālarāmāyaṇa100 or in the speech of the gambler, what, a wooden image!' in the second Act of the mṛcchakaṭika is an illustration of Paribhāvanā.101 कौतूहलोत्तरावेशो भवेत्तु परिभावना ।102 परिभावोऽद्भुतावेशः ।103 विस्मयः परिभावना ।104 परिभावोऽद्भुतावेशः ।105 बीजविषयाश्चार्यावेशः परिभावनम् ।106 श्लाघ्यैश्चित्तचमत्कारो गुणाद्यैः परिभावना ।107 कूतूहलोत्तरा वाचः प्रोक्ता तु परिभावना ।108 कूतूहलान्तरदायी स्यादर्थः परिभावना ।109 10. उद्भेद (Disclosure) An element, that discloses something which is (till then) unknown. It displays the sprouting up or a slight progress of the germ. Example: Bhīmasena promises the princess of the Pāñcāla that she would not see once again Vṛkodara without having exhausted the Kauravas.110 बीजार्थस्य प्ररोहो य उद्भेदः स तु कीर्तितः ।111 उद्भेदो गूढभेदनम् ।112 उद्भेदो गूढभेदनम् ।113 स्वल्पप्ररोह उद्भेदः ।114 गूढबीजप्रकाशनमुद्भेदः ।115 उद्घाटनं यद् बीजस्य स उद्भेदः प्रकीर्तितः ।116 बीजार्थस्य प्ररोहः स्यादुद्भेदः ।117 बीजार्थस्य प्ररोहो यः स उद्भेदः इति स्मृतः ।118 11. करण (Division) Bheda is an element which encourages some action tending to foster the main cause. प्रकृतार्थसमारम्भः करणं परिचक्षते ।119 करणं प्रकृतारम्भः ।120 करणं प्रस्तुताक्रिया ।121 करणं प्रकृतारम्भः ।122 बीजानुगुणप्रस्तुतकार्यारम्भः करणम् ।123 प्रस्तुतार्थसमारम्भः करणं परिचक्षते ।124 करणं पुनः प्रकृतार्थसमारम्भः ।125 प्रकृतार्थसमारम्भः करणम् ।126 12. भेद (Resumption) It is an element to demonstrate that the characters have begun engaging themselves in the execution of their undertaking. If some task originally started but intervened by some subsidiary or casual action is resumed, then it presents the feature of Bheda. संघातभेदनार्थो यः स भेद इति संज्ञितः ।127 भेदः प्रोत्साहना मताः ।128 भेदनं पात्रनिर्गमः ।129 भेदः प्रोत्साहना ।130 बीजानुगुणप्रोत्साहनं भेदः ।131 बीजस्योद्भेदनं भेदो यद्वा संघातभेदनम् ।132 भेदः संहतभेदनम् । केचित्तु भेदः प्रोत्साहनेति वदन्ति ।133 संघातेन मिलितस्य अर्थस्य भङ्गो भेदः ।134 The first ‘saṃdhi’ amongst five Joints or Juncture in dramatic plot according to Sanskrit dramaturgy is ‘Mukha-Saṃdhi’. ‘मुखसंधि’ is the first ‘संधि’ having 12 sub-divisions of it. This paper is an effort to understand it and I have pertinently taken a closer look at the principles and methods which guide the storytelling methodology of India. I also tried to look at the संधि-संध्यंग theory on a micro level with the perspective of different dramatists and Aācārya of Sanskrit Dramaturgy. Taking the ‘मुखसंधि’ into consideration at a glance, the Start, then the attendant circumstances and the completion of the Bīja (बीज), would come as the motive for the struggle for the attainment of the end. Manifestation of the bīja with greater intensity would clear all doubts about the bīja. Skillful survey of circumstances would precede the deliberate step and as a result, there would be the approach of a pleasurable circumstance. After that may begin the brooding consequent on the glamour of the unknown, and afterwards a situation might occur which would be the sprouting up of the bīja, and after a situation which elucidates a complex of facts, a step towards the end may be taken and the play might begin.135 Thus all these saṃdhyaṃga give a gradual development within the ‘Saṃdhi’ itself, and in this way, it can be seen that saṃdhyaṃga are the ‘avayavas’ of the saṃdhi’ although not all may be necessary in any drama. To conclude, I would prefer to quote the statement of Prof. Dr. T.G. Mainkar that ‘Any attempt at locating the Saṃdhyaṅgas is bound to be a subjective one and hence a comparative study of the analysis given in the commentaries and the illustrations from the textbooks, shows that at times a situation which amounts to one Saṃdhyaṅga according to one authority, has been taken to from another Saṃdhyaṅga by another; similarly in the same play a Saṃdhyaṅga is located at different places by different authorities; and lastly one and the same authority finds two different Saṃdhyaṅgas in one and the same place in a play.’136 Thank you.

संस्कृत संख्याएँ

पुल्लिङ्ग स्त्रीलिङ्ग नपुंसकलिङ्ग 1. प्रथम: (पहला) प्रथमा प्रथमम् 2. द्वितीय: (दूसरा) द्वितीया द्वितीयम् 3. तृतीय: (तीसरा) तृतीया तृतीयम् 4. चतुर्थ: (चौथा) चतुर्थी चतुर्थम् 5. पञ्चम: (पाँचवाँ) पञ्चमी पञ्चम् 6. षष्ठ: (छठा) षष्ठी षष्ठम् 7. सप्तम: (सातवाँ) सप्तमी सप्तमम् 8. अष्टम: (आठवाँ) अष्टमी अष्टमम् 9. नवम: (नौवाँ) नवमी नवमम् 10. दशम: (दसवाँ) दशमी दशमम् 11. एकादश: (ग्यारहवाँ) एकादशी एकादशम् 12. द्वादश: (बारहवाँ) द्वादशी द्वादशम् 13. त्रयोदश: (तेरहवाँ) त्रयोदशी त्रयोदशम् 14. चतुर्दश: (चौदहवाँ) चतुर्दशी चतुर्दशम् 15. पञ्चदश: (पन्द्रहवाँ) पञ्चदशी पञ्चदशम् 16. षोडश: (सोलहवाँ) षोडशी षोडशम् 17. सप्तदश: (सतरहवाँ) सप्तदशी सप्तदशम् 18. अष्टादश: (अठारहवाँ) अष्टादशी अष्टादशम् 19. एकोनविंश: (उन्नीसवाँ) एकोनविंशी एकोनविंशम् 20. विंश: (बीसवाँ) विंशी विंशम् 21. एकविंश: (इक्कीसवाँ) एकविंशी एकविंशम् 22. द्वाविंश: (बाईसवाँ) द्वाविंशी द्वाविंशम् 23. त्रयोविंश: (तेईसवाँ) त्रयोविंशी त्रयोविंशम् 24. चतुर्विंश: (चौबीसवाँ) चतुर्विंशी चतुर्विंशम् 25. पञ्चविंश: (पञ्चीसवाँ) पञ्चविंशी पञ्चविंशम् 26. षड् विंश: (छब्बीसवाँ) षड्विंशी षड्विंशम् 27. सप्तविंश: (सत्ताईसवाँ) सप्तविंशी सप्तविशंम् 28. अष्टाविंश: (अट्टाईसवाँ) अष्टाविंशी अष्टाविंशम् 29. एकोनत्रिश: (उन्तीसवाँ) एकोनत्रिंशी एकोनत्रिंशम् 30. त्रिंश: (तीसवाँ) त्रिंशी त्रिंशम्