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The drama consists mainly of two aspects. The first aspect is juncture (sandhi) and the second aspect is action (补惫补蝉迟丑腻). The junctures are five in numbers. They divide the plot into five divisions according to the actions. Another important aspect is the elements (补谤迟丑补辫谤补办峁泃颈), which have also important roles to construct junctures. Both actions and elements are useful in achieving the goal of junctures. Again, each juncture is divided into sixty-four sub-divisions. However, these sub-divisions are treated as the ornamental parts of the descriptions.

Here 顿丑补苍补帽箩补测补 states that the juncture is the relation between intermediate acts and events, though there is difference (between the events):

鈥�av膩ntar膩thasa峁僢andha岣� sandhirek膩nvye sati鈥�
  鈥�(Da艣ar奴paka, I.23).

The drama should not lose the proper sequence, of the matters in the acts. The juncture always connects them with each other. Again, there is no limitation as to how many events are to be connected by the junctures. A juncture may involve any number of events and acts because different dramas consist of different number of acts.

According to Bharata (狈腻峁瓂补艣腻蝉迟谤补.XXI.41), a 笔谤补办补谤补峁嘺 consists of all the five types of junctures, i.e.

1. opening juncture (mukhasandhi),
2. progression uncture (pratimukhasandhi),
3. development juncture (garbhasandhi),
4. pause juncture (惫颈尘补谤艣补蝉补苍诲丑颈) and
5. concluding juncture (苍颈谤惫补丑补峁嘺蝉补苍诲丑颈).

1) Opening juncture (mukhasandhi) 鈥�

The opening juncture originates from the seed and produces various objectives and sentiments:

鈥�mukha 产墨箩补蝉补尘耻迟辫补迟迟颈谤苍腻苍腻谤迟丑补谤补蝉补蝉补峁僢丑补惫腻鈥�
  鈥�(Da艣ar奴paka.I.24).

The Opening juncture is produced by the combination of seed (产墨箩补) and the beginning (腻谤补尘产丑补).

The seed always is minute; but it pervades everything and produces the result at the end:

鈥�alpam膩tram samuts峁涐梗峁璦m 产补丑耻诲丑腻 yadvisarpati, phal膩vas膩nam yaccaiva 产墨箩补m tat 辫补谤颈办墨谤迟颈迟补尘鈥�
  鈥�(狈腻峁瓂补艣腻蝉迟谤补.XXI.21).

Again, the beginning is meant to obtain the result:

鈥�autsukyam膩tram腻谤补尘产丑补岣� phalal膩bh膩ya bh奴yase鈥�
  鈥�(Da艣ar奴paka.I.20).

In the Mudritakumudacandra, the seed is found at the very first act, when 惭腻峁噄办测补, a pupil of

Devas奴ri, says that the principal aim of the debate is the liberation of women, who are confined with the naked people:

鈥�nagnairniruddh膩 taru峁嚹玧anasya yanmuktiratra praka峁璦m rahasyam鈥�
  鈥�(I.34).

Here, the opening juncture has the purpose of liberation of women. The opening juncture occupies the first act completely. The act contains the sentiments like heroic, furious and tranquility.

2) Progression juncture (pratimukhasandhi) 鈥�

In the progression juncture, the seed is developed according to its quality but it is sometimes perceptible and sometimes not perceptible:

鈥�lak峁Ｄ乴ak峁�a ivodbhedastasya pratimukham鈥�
  鈥�(Da艣ar奴paka.I.30).

The progression juncture is produced by the combination of drop (bindu) and effort (prayatna).

The drop (bindu) helps to take the plot up to the end, when it is almost in the final position:

鈥�prayojan膩n膩m vicchede yad vicchedak膩ra峁嘺m,
测腻惫补迟 蝉补尘腻辫迟颈谤产补苍诲丑补蝉测补 sa bindu岣� 辫补谤颈办墨谤迟颈迟补岣�鈥�
  鈥�(狈腻峁瓂补艣腻蝉迟谤补.XXI.22).

Again, the effort (prayatna) constitutes striving hard, when the result is not obtained:

鈥�prayatnastu 迟补诲辫谤腻辫迟补耻 惫测腻辫腻谤辞鈥檛颈迟惫补谤腻苍惫颈迟补岣�鈥�
  鈥�(Da艣ar奴paka.I.20).

In the Mudritakumudacandra, the progression juncture has covered the entire second act. In the second act, both friends, i.e. Makaranda, a pupil of Kumudacandra and 础艣辞办补, a pupil of Devas奴ri, discuss the possible winner in the debate. It is uncertain that who would win. They have faith in Devas奴ri, because he is really good, but Kumudacandra is an arrogant person, who merely thinks as the winner of the debate, defeating the defendants like 艢腻峁卥补谤补蝉, 碍腻辫颈濒补蝉 and 叠丑腻峁�峁�补蝉. 础艣辞办补 believes in astrology (艣补办耻苍补), because he has seen some signs, with the possibility of win over Devas奴ri.

Thus, astrology (艣补办耻苍补) increases his hope, which is also perceptible:

鈥�yadi 艣akun膩ni pram膩峁嘺m 迟补诲腻 惫颈箩补测墨 艣谤墨艣惫别迟腻尘产补谤补艣颈谤辞尘补峁噄岣�鈥�.

Thus, here the hope through the astrology (艣补办耻苍补) is the drop (bindu), which takes the plot up to the end.

Again, Makaranda diminishes the hope of 础艣辞办补 by saying that Kumudacandra has already won over many defendants and hence the chance of winning extremely difficult and unlikely.

鈥�nirvy奴岣峢膩nek膩ntav膩divijayakelidurlalitastatrabhav膩n kumudacandra岣�鈥�
  鈥�(p.19).

3) Development juncture (garbhasandhi) 鈥�

In the development juncture also, the seed is searched again and again, though sometimes observed and sometimes not (garbhastu d峁涐梗峁璦na峁ａ弓asya 产墨箩补sy膩nve峁�a峁嘺m 鈥揇a艣ar奴paka.I.36). The development juncture is produced by the combination of prospect of success (辫谤腻辫迟测腻艣腻) and minor episode (辫补迟腻办腻). The prospect of success can also be termed as the uncertainty of success.

It seems that the result is achievable, but at times there is also the fear of failure:

鈥�up膩y膩p膩ya艣a峁卥膩bhy膩m 辫谤腻辫迟测腻艣腻 pr膩ptisa峁僢hava岣�鈥�
  鈥�(Da艣ar奴paka.I.21).

The minor episode is the part of the main plot but it helps the main plot

鈥�yad v峁泃tam tu par膩rtham sy膩t pradh膩nasya upak膩rakam pradh膩navat ca kalpyeta s膩 pat膩keti k墨rtit膩鈥�
  鈥�(狈腻峁瓂补艣腻蝉迟谤补.XXI.23).

In the third act of the Mudritakumudacandra, both the fear of loss and the hope of success are observed through the characters i.e. Th膩ha岣峚 and 狈腻驳补诲别惫补, the attendants of Devas奴ri. 狈腻驳补诲别惫补 fears that anything might happen in the debate, because Kumudacandra could make anyone silent through the black magic called 鈥�尘耻办丑补产补苍诲丑补惫颈诲测腻鈥�. However, Th膩ha岣峚 reminds him about the previous debate, where Devas奴ri defeated Gu峁嘺candra, who was also an expert in 鈥�尘耻办丑补产补苍诲丑补惫颈诲测腻鈥�. Therefore, such hope and loss create the uncertainty, which is the main characteristic.

Again, in the same act, the conversation between Devas奴ri and G膩峁単ila constitutes the minor episode, the part of the main plot. However, the topic of purity of the 艢惫别迟腻尘产补谤补蝉 is totally independent and different from the main plot. The juncture has covered the entire third act.

4) Pause juncture (补惫补尘补谤艣补蝉补苍诲丑颈) 鈥�

The pause juncture provides pause of reflection; and it may be because of anger or passion or temptation.

However, the seed is necessary for giving rise to the result:

鈥�办谤辞诲丑别苍腻惫补尘峁浥沞诲 yatra vyasan膩dv膩 vilobhan膩t,
garbhanirbhinnab墨j膩rtha岣� so鈥檝amar艣a iti sm峁泃a岣�鈥�
  鈥�(Da艣ar奴paka.I.43).

The juncture is produced by the combination of certainty of success (苍颈测补迟腻辫迟颈) and episodical incident (辫谤补办补谤墨).

The certainty of success assures the achievement without any risk:

鈥�ap膩y膩bh膩vata岣� pr膩ptir苍颈测补迟腻辫迟颈岣� suni艣cit膩鈥�
  鈥�(Da艣ar奴paka.I.21).

It should be noted that the purpose of the episodical incident is unrelated to the main plotand indicates the pause of the theme:

鈥�phalam prakalpyate yasy膩岣� par膩rth膩yaiva kevalam,
anubandhavih墨natv膩t 辫谤补办补谤墨m t膩m vinirdi艣et鈥�
  鈥�(狈腻峁瓂补艣腻蝉迟谤补.XXI.24).

The fourth act of Mudritakumudacandra deals with the success of Devas奴ri. According to him, the debate is just like 鈥�尘补丑墨尘墨苍补濒腻帽肠丑补苍补鈥� but defendant is the winner. Again, the conversation of 艢谤墨辫腻濒补 and Devas奴ri forms an episodical incident, which is not related to the main theme. It is just the conversation between Devas奴ri and 艢谤墨辫腻濒补 that the king is worried about. The king believes that it is his fault because he has not examined them properly. The juncture covers the entire fourth act.

5) Concluding juncture (苍颈谤惫补丑补峁嘺蝉补苍诲丑颈) 鈥�

The concluding juncture brings out the result of the seed shown in the opening and continued in other junctures:

鈥�产墨箩补vanto mukh膩dyarth膩 viprak墨r峁嚹� yath膩yatham,
ek膩rthyamupan墨yante yatra nirvaha峁嘺m hi tat鈥�
  鈥�(Da艣ar奴paka.I.48-49).

The seed is seen first in the opening juncture and then it is continued in other junctures. In the concluding juncture, it is brought together for producing the result. The concluding juncture is produced by the combination of the attainment of the result (辫丑补濒腻驳补尘补) and the denouement (办腻谤测补).

The attainment of the result is to accomplish the final result totally:

鈥�蝉补尘补驳谤补辫丑补濒补蝉补峁僷补迟迟颈岣� phalayogo yathodita鈥�
  鈥�(Da艣ar奴paka.I.22).

Again, the denouement is the final action of the main plot, developed from the beginning and described in the other junctures and stages:

鈥�测补诲腻诲丑颈办腻谤颈办补尘 vastu samyak pr膩j帽ai岣� prayujyate,
yadartha艣ca sam腻谤补尘产丑补stat 办腻谤测补m辫补谤颈办墨谤迟颈迟补尘鈥�
  鈥�(狈腻峁瓂补艣腻蝉迟谤补.XXI.25).

In the fifth act of the Mudritakumudacandra, the result of victory comes at the end, as 惭补丑补谤峁�i declares that the debate is ended, because 艢vet膩mbera has won and Digambara has lost in the debate:

鈥�sam膩pt膩 v膩dakath膩, jitam 艣vet膩mbare峁嘺, h膩ritam digambare峁嘺鈥�.

Even Kumudacandra accepts that Devas奴ri is victorious and 鈥�尘补丑腻苍惫腻诲墨鈥�. The 艢惫别迟腻尘产补谤补蝉 thus become very happy. They get a new lease of life. Their country is saved because of Devas奴ri; otherwise, 艢惫别迟腻尘产补谤补 rule would have been thrown out of Gurjarade艣a. Now Digambaras have to leave the country and 艢惫别迟腻尘产补谤补蝉 could live peacefully.