Dasarupaka (critical study)
by Anuru Ranjan Mishra | 2015 | 106,293 words
This page relates 鈥楽tyle (Vritti) of the Prahasana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)
Part 8 - Style (V峁泃ti) of the Prahasana
According to Bharata and 顿丑补苍补帽箩补测补, verbal style (产丑腻谤补迟墨惫峁泃迟颈) should be applied to a Prahasana.
The verbal style is divided into four kinds; i.e.
Though Bharata states that verbal style is based on humour, which comes through the language and costume, it has also two parts based on comic, i.e. Prahasana and ancillaries of 惫墨迟丑墨. These ancillaries of 惫墨迟丑墨 are used in the comic plots like Prahasana, 叠丑腻峁嘺.
In general, the verbal style should be used in the prologue of every drama; and hence prologue should include at least one of the five divisions of the element called:
- 腻尘耻办丑补, i.e. abrupt dialogue (耻诲驳丑腻迟测补办补),
- story caught up (办补迟丑辞诲驳丑腻迟补),
- excess of representation (辫谤补测辞驳腻迟颈艣补测补),
- entrance (辫谤补惫峁泃迟补办补) and
- continuance (avalagita).
In the Mattavil膩sa, excess of representation (辫谤补测辞驳腻迟颈艣补测补) is applied, because, in excess of representation, the character enters through the observation of the stage-manager. Here 碍腻辫腻濒颈办补 enters through the observation of the stage-manager with his female friend Devasom膩.