Part 8 - Styles (vṛtti) of the Samavakāra

Styles (vṛttis) are the central points of any drama, which are primarily known from the conduct of the hero and the sentiment. According to Bharata, amavakāra should be devoid of gay style or kaiśikīvṛtti. It means that it could have other three styles, i.e. verbal style (bhāratīvṛtti), grand style (sāttvatīvṛtti) and violent style (arabhaṭīvṛtti). These styles are related to the sentiments like heroic (vīra), marvelous (adbhuta), furious (raudra), terrible (bhayānaka), odious (bībhatsa) and pathetic (karuṇa) (Nāṭyaśāstra.XXII.63-65). However, it is up to the poet what styles he should use; he may use these styles or some of these styles according to his plot.

Vatsarāja’s Samudramanthana has used the heroic (vīra) as the principal sentiment and others as subordinate sentiments, because it has the descriptions of the incidents like fighting (between gods and the demons), illusion, altercation, typhoons, separation and astonishment. These incidents are the features of the grand style (sāttvatīvṛtti) and violent style (ārabhaṭīvṛttis). Further, it has applied low gay style (kaiśikīvṛtti) in the drama, which is suggested by Dhanañjaya. Again, verbal style (bhāratīvṛtti) is compulsory for all types of drama, because the elements of the verbal style (bhāratīvṛtti) are seen in the prologue or prastāvanā or āmukha of the drama.

The verbal style (bhāratīvṛtti) has four elements, i.e.

1. propitiation (prarocanā),
2. preface (āmukha),
3. Vīthī and
4. Prahasana.

Both Vīthī and Prahasana have been omitted here, because they are generally prescribed in all ten types of drama. Then Prarocanā has been included in the Pūrvaraṅga and rest is called the Āmukha or the Prastāvanā.

It is again divided into four parts, i.e.

1. accidental interpretation (udghātyaka),
2. story caught up (kathodghāta),
3. excess of representation (prayogātiśaya),
4. the personal business (pravṛttaka) and
5. continuance (avalagita).

According to Bharata, preface (āmukha) should contain at least one of these verities (Nāṭyaśāstra.XXII.35).

Out of these, the Samudramanthana has used two of them i.e.

1. accidental interpretation (udghātyaka) and
2. continuance (avalagita).

Accidental interpretation (Udghātyaka) –

When a character enters the stage citing a specific word of the Sūtradhāra, it is called Udghātyaka. In the Samudramanthana, Padmaka enters citing the word samudra, which is used by the Sūtradhāra for the king Paramardideva who possesses all wealth like samudra.

Continuance (Avalagita) –

When an expert transfers an idea to another, to bring out the desired effect, it is called avalagita. In the Samudramanthana, Sthāpaka transfers his idea that Sūtradhāra should take the help of the king Paramardideva who will make wealthy all at once, to his eleven brothers.