Daśarūpaka
Daśarūpaka is a dramatic artwork that deals with the 10 Rūpaka-s mentioned in Bharata’s Nāṭyaśāstra. Daśarūpaka is a simple instruction manual for dramatists and playwrights who wish to convert their stories to play. Interestingly, Dhanañjaya has not even changed the names or terminologies used in Bharata’s Nāṭyaśāstra. It describes drama theory, including its technical components and the rules of various types of dramas. Dhanañjaya has only elaborated on the fundamental dramaturgic ideologies of the plot (vastu), the hero (netā), and sentiment (rasa). He divided Daśarūpaka into four chapters based on these three characteristics of drama.
Chapter I describes the natures of pantomime (nṛtya), dancing (nṛtta), drama (nāṭya), gentle dance (lāsya), wild dance (tāṇḍava), and plot (vastu). It then establishes ten types of dramas, which are determined by the plot (vastu), the hero (netā), and sentiment (rasa). Again, it describes the primary classification of subject matter like Principal (ādhikārika) and incidental (prāsaṅgika), five kinds of elements (arthaprakṛti) such as the skeleton of the art (bīja), a drop of art (bindu), episode (patākā), episodical incident (prakāri) and outcome (kārya); five kinds of stages (avasthā) such as beginning (ārambha), effort (prayatna), the prospect of success (prāptyāśā), the certainty of success (niyatāpti) and attainment of success (phalāgama). Furthermore, it describes five types of junctures, such as Opening (mukha), Progression (pratimukha), Development (garbha), Pause (avamarśa), and Conclusion (nirvahana), and their sub-divisions; six-fold application of the subdivisions, such as arranging the subject chosen (iṣṭārthasya racanā), covering up of what is to be covered (gopyagupti prakāśa), emotion (rāga), the component of astonishment in the depiction (prayogasyāścarya) and nourishing attention throughout the story (vṛttāntasyānupakṣaya). It again divides the subject matter into two categories: intimated (sūcya), seen and heard (dṛśyaśravyaśca), as well as five types of intermediate scenes (arthopaṣkepaka), such as explanatory scene (viṣkambhaka), introductory scene (praveśaka), hint scene (cūlikā), anticipatory scene (aṅkāsya), and continuance scene (aṅkāvatāra). Finally, it describes some technical aspects, such as aloud (prakāśa), aside (svagata or ātmagata), personal address (janāntika), discussion with imaginary being (ākāśabhāṣita), private announcement (apavārita), and conclusion (bharatavākya).
In Chapter II, the hero is described with many adjectives, including learnedness, charming, liberal, intelligent, kind, famous, straightforward, eloquent, noble-born, resolute and young. It describes the qualities of a hero, such as intelligence, energy, memory, wisdom, art and pride, heroism, robustness, vigorous, and knowledge of codes and laws. It also describes four types of heroes such as self-controlled and frivolous (dhīralalita), self-controlled and calm (dhīrapraśānta), self-controlled and sublime (dhīrodātta), and self-controlled and impetuous (dhīroddhata). Again, this defines the hero and his companions, such as servants and whistlers. It describes the opponent of the hero and his qualities, such as the beauty of character (śobhā), vigor (vilāsa), calmness (mādhurya), balance (gāmbhīrya), strength (sthairya), honour (tejas), lightness (lalita) and magnanimity (audārya). It also describes three types of heroines such as one’s wife (svīyā), the wife of a stranger (anyā) and an ordinary woman or courtesan (sādhāraṇā). Further, it describes different types of heroines according to their relationships, such as dressed for reception (vāsakasajjā), afflicted (virahotkaṇṭhitā), furious (khaṇḍitā), separated by strife (kalahāntaritā), betrayed (vipralabdhā), separated from the beloved (proṣitapriyā) which goes after (abhisārikā). Again, this describes the heroine’s messengers. It also describes the heroine’s twenty natural graces, such as emotion (bhāva), feeling (hāva), passion (helā), beauty (śobhā), love (kānti), splendour (dīpti), sweetness (mādhurya), courage (pragalbhatā) ), dignity (audārya), self-control (dhairya), athleticism (līlā), joy (vilāsa), taste (vicchitti), confusion (vibhrama), hysterical mood (kilakiñcita), a manifestation of love (moṭṭāyita), feigned anger (kuṭamita), affected by indifference (bibboka), foolishness (lalita) and insolence (vihṛta). In addition, the assistants of the king, group arrangement of characters, stylistic procedures and their use, local peculiarities of the drama, languages and forms of speech of the characters are described.
Chapter III describes the ten types of drama, the beginning of drama through exposition, the application of vocal styles (bhāratīvṛtti) and its sections such as reconciliation (prarocanā), prologue (āmukha), garland (vīthī) and farce (prahasana). It also describes the adaptation of the story, the arrangement of the dramatic structure, the characteristics of the action and the content.
Chapter IV describes in detail eight types of emotions such as erotic (śṛṅgāra), heroic (vīra), repulsive (bībhatsa), furious (raudra), comic (hāsya), brilliance (adbhuta), terrible (bhayanaka) and pitiful (karuṇa) and their production, determinants (vibhāva) and consequent states (anubhāva) and involuntary states (sāttvikabhāva). It also describes thirty-three temporary states (vyabhicāribhāva), permanent states (sthāyibhāva), and the fourfold nature of emotions, such as erotic (śṛṅgāra), heroic (vīra), averseness (bībhatsa), and wrathfulness (raudra). Here Dhanañjaya denies the permanent state of peace (śama) as śanta. His view on emotions differs from that of his predecessors, such as Ānandavardhana and Abhinavagupta. He does not accept the indicative mood (vyaṅgya-vyañjaka) shown in the expression of feeling. Even he does not dispute Ānandavardhana’s opinion about the use of metaphorical desolation (vyañjaka vyāpāra) for emotion. He argues that emotion should be decided by the imagination (bhāvanāvādī) of the speakers. Thus, Dhanañjaya’s theory of emotion is different from others.
Chapter I describes the natures of pantomime (nṛtya), dancing (nṛtta), drama (nāṭya), gentle dance (lāsya), wild dance (tāṇḍava), and plot (vastu). It then establishes ten types of dramas, which are determined by the plot (vastu), the hero (netā), and sentiment (rasa). Again, it describes the primary classification of subject matter like Principal (ādhikārika) and incidental (prāsaṅgika), five kinds of elements (arthaprakṛti) such as the skeleton of the art (bīja), a drop of art (bindu), episode (patākā), episodical incident (prakāri) and outcome (kārya); five kinds of stages (avasthā) such as beginning (ārambha), effort (prayatna), the prospect of success (prāptyāśā), the certainty of success (niyatāpti) and attainment of success (phalāgama). Furthermore, it describes five types of junctures, such as Opening (mukha), Progression (pratimukha), Development (garbha), Pause (avamarśa), and Conclusion (nirvahana), and their sub-divisions; six-fold application of the subdivisions, such as arranging the subject chosen (iṣṭārthasya racanā), covering up of what is to be covered (gopyagupti prakāśa), emotion (rāga), the component of astonishment in the depiction (prayogasyāścarya) and nourishing attention throughout the story (vṛttāntasyānupakṣaya). It again divides the subject matter into two categories: intimated (sūcya), seen and heard (dṛśyaśravyaśca), as well as five types of intermediate scenes (arthopaṣkepaka), such as explanatory scene (viṣkambhaka), introductory scene (praveśaka), hint scene (cūlikā), anticipatory scene (aṅkāsya), and continuance scene (aṅkāvatāra). Finally, it describes some technical aspects, such as aloud (prakāśa), aside (svagata or ātmagata), personal address (janāntika), discussion with imaginary being (ākāśabhāṣita), private announcement (apavārita), and conclusion (bharatavākya).
In Chapter II, the hero is described with many adjectives, including learnedness, charming, liberal, intelligent, kind, famous, straightforward, eloquent, noble-born, resolute and young. It describes the qualities of a hero, such as intelligence, energy, memory, wisdom, art and pride, heroism, robustness, vigorous, and knowledge of codes and laws. It also describes four types of heroes such as self-controlled and frivolous (dhīralalita), self-controlled and calm (dhīrapraśānta), self-controlled and sublime (dhīrodātta), and self-controlled and impetuous (dhīroddhata). Again, this defines the hero and his companions, such as servants and whistlers. It describes the opponent of the hero and his qualities, such as the beauty of character (śobhā), vigor (vilāsa), calmness (mādhurya), balance (gāmbhīrya), strength (sthairya), honour (tejas), lightness (lalita) and magnanimity (audārya). It also describes three types of heroines such as one’s wife (svīyā), the wife of a stranger (anyā) and an ordinary woman or courtesan (sādhāraṇā). Further, it describes different types of heroines according to their relationships, such as dressed for reception (vāsakasajjā), afflicted (virahotkaṇṭhitā), furious (khaṇḍitā), separated by strife (kalahāntaritā), betrayed (vipralabdhā), separated from the beloved (proṣitapriyā) which goes after (abhisārikā). Again, this describes the heroine’s messengers. It also describes the heroine’s twenty natural graces, such as emotion (bhāva), feeling (hāva), passion (helā), beauty (śobhā), love (kānti), splendour (dīpti), sweetness (mādhurya), courage (pragalbhatā) ), dignity (audārya), self-control (dhairya), athleticism (līlā), joy (vilāsa), taste (vicchitti), confusion (vibhrama), hysterical mood (kilakiñcita), a manifestation of love (moṭṭāyita), feigned anger (kuṭamita), affected by indifference (bibboka), foolishness (lalita) and insolence (vihṛta). In addition, the assistants of the king, group arrangement of characters, stylistic procedures and their use, local peculiarities of the drama, languages and forms of speech of the characters are described.
Chapter III describes the ten types of drama, the beginning of drama through exposition, the application of vocal styles (bhāratīvṛtti) and its sections such as reconciliation (prarocanā), prologue (āmukha), garland (vīthī) and farce (prahasana). It also describes the adaptation of the story, the arrangement of the dramatic structure, the characteristics of the action and the content.
Chapter IV describes in detail eight types of emotions such as erotic (śṛṅgāra), heroic (vīra), repulsive (bībhatsa), furious (raudra), comic (hāsya), brilliance (adbhuta), terrible (bhayanaka) and pitiful (karuṇa) and their production, determinants (vibhāva) and consequent states (anubhāva) and involuntary states (sāttvikabhāva). It also describes thirty-three temporary states (vyabhicāribhāva), permanent states (sthāyibhāva), and the fourfold nature of emotions, such as erotic (śṛṅgāra), heroic (vīra), averseness (bībhatsa), and wrathfulness (raudra). Here Dhanañjaya denies the permanent state of peace (śama) as śanta. His view on emotions differs from that of his predecessors, such as Ānandavardhana and Abhinavagupta. He does not accept the indicative mood (vyaṅgya-vyañjaka) shown in the expression of feeling. Even he does not dispute Ānandavardhana’s opinion about the use of metaphorical desolation (vyañjaka vyāpāra) for emotion. He argues that emotion should be decided by the imagination (bhāvanāvādī) of the speakers. Thus, Dhanañjaya’s theory of emotion is different from others.
Daśarūpaka is divided into four chapters, each titled Prakaasha, and contains approximately 300 kārikās (verses). It is customary in Sanskrit literature to use different words to refer to each book chapter. The author only considers Nṛtyaṁ and Nṛttam as components of a Rūpakaṁ’. The four chapters include the following:
1. Chapter 1: Two different assortments of Nṛthya and Nātya, 5 causations, 5 executive processes, 5 junctures, 5 Athopakṣēpa (suggestive devices)
2. Chapter 2: Characteristics of hero, heroine and their subordinates, 4 types of vṛtti
3. Chapter 3: Main theme of the work, 10 types of Rūpakas
4. Chapter 4: Rasa theory in respect of Vyañgya Vyañjaka Bhāva and Bhavya Bhavaka Bhāva
1. Chapter 1: Two different assortments of Nṛthya and Nātya, 5 causations, 5 executive processes, 5 junctures, 5 Athopakṣēpa (suggestive devices)
2. Chapter 2: Characteristics of hero, heroine and their subordinates, 4 types of vṛtti
3. Chapter 3: Main theme of the work, 10 types of Rūpakas
4. Chapter 4: Rasa theory in respect of Vyañgya Vyañjaka Bhāva and Bhavya Bhavaka Bhāva
Daśarūpaka is a Sanskrit literary work that has simplified the Nāṭyaśāstra into 10 rūpakas, making the extensive work more straightforward for playwrights to understand the nuances of the norms associated with Sanskrit theatrics. It can also be seen that many playwrights have drawn the information from Daśarūpaka. This is a significant contribution of the work towards Sanskrit literature.
Daśarūpaka is a Sanskrit literary work that has simplified the Nāṭyaśāstra into 10 rūpakas, making the huge work simpler for playwrights to understand the nuances of the norms associated with Sanskrit theatrics. It can also be seen that many playwrights have drawn the information from Daśarūpaka. This is a major contribution of the work towards the Sanskrit literature.
The scholar Śrī Ādya Raṅgācārya noted in his introduction to the Nāṭyaśāstra: Almost a thousand years ago, a writer named Dhanañjaya wrote a treatise called Daśarūpaka (Ten Forms of Play). He did what I had originally planned, viz., let us abbreviate the work only in so far as it concerned the drama.
The scholar Śrī Ādya Raṅgācārya noted in his introduction to the Nāṭyaśāstra: Almost a thousand years ago, a writer named Dhanañjaya wrote a treatise called Daśarūpaka (Ten Forms of Play). He did what I had originally planned, viz., let us abbreviate the work only in so far as it concerned the drama.
1. भारती संस्कृतप्रायो वाग्व्यापारो नटाश्रयः। भेदैः प्ररोचनायुक्तैः वीथीप्रहसनामुखैः॥ [दशरूपकम् - ३.५] bhāratī saṃskṛtaprāyo vāgvyāpāro naṭāśrayaḥ।
bhedaiḥ prarocanāyuktaiḥ vīthīprahasanāmukhaiḥ॥ [daśarūpakam - 3.5]
bhāratī, the business of speech and the refuge of the actor is almost Sanskrit with laudation of the diversity of vīthī, Prahasana and Āmukha.
2. द्वेधा विभागः कर्तव्यः सर्वस्यापीह वस्तुनः। सूच्यमेव भवेत् किञ्चित् दृश्यश्रव्यम् अथापरम्॥ [दशरूपकम् ]
dvedhā vibhāgaḥ kartavyaḥ sarvasyāpīha vastunaḥ। sūcyameva bhavet kiñcit dṛśyaśravyam athāparam॥ [daśarūpakam ]
Everything here [In the composition] should be divided and pointed out into dṛśyam [ visual ] and śravyam [auditory].
bhedaiḥ prarocanāyuktaiḥ vīthīprahasanāmukhaiḥ॥ [daśarūpakam - 3.5]
bhāratī, the business of speech and the refuge of the actor is almost Sanskrit with laudation of the diversity of vīthī, Prahasana and Āmukha.
2. द्वेधा विभागः कर्तव्यः सर्वस्यापीह वस्तुनः। सूच्यमेव भवेत् किञ्चित् दृश्यश्रव्यम् अथापरम्॥ [दशरूपकम् ]
dvedhā vibhāgaḥ kartavyaḥ sarvasyāpīha vastunaḥ। sūcyameva bhavet kiñcit dṛśyaśravyam athāparam॥ [daśarūpakam ]
Everything here [In the composition] should be divided and pointed out into dṛśyam [ visual ] and śravyam [auditory].