Part 8 - Styles (vṛtti) of the Prakaraṇa

The styles or vṛttis are the most important aspects of any drama. It is the style which decides the type of drama, i.e. whether Nāṭaka or Prakaraṇa or any other type of drama.

According to the rule, prescribed by the Nāṭyaśāstra and the Daśarūpaka, Prakaraṇa should consist of all the four styles, i.e.

1. verbal style (bhāratīvṛtti),
2. gay style (kaiśikīvṛtti),
3. grand style (sāttvatīvṛtti) and
4. violent style (ārabhaṭīvṛtti).

Verbal style (bhāratī-vṛtti):

The Verbal style (bhāratīvṛtti) is known from its stress on words and proper languageand it is related to the sentiments like odious (bibhatsa) and pathetic (karuṇa). The grand style (sāttvatīvṛtti) consists of quality of goodness, predominant features, appropriate words and proper actions. The style is dominated by the sentiments like heroic (vīra), marvellous (adbhuta) and furious (raudra).

Gay style (kaiśikī-vṛtti):

Further, the gay style (kaiśikīvṛtti) is known from women folk, dance, song, costumes, amorous activities and humorous words. The gay style is related to the sentiments like laughter (hāsya) and erotic (śṛṅgāra). Again, the violent style (ārabhaṭīvṛtti) is full of deception, haughtiness, false statementsand violent emotions. It also contains various types of fights, peculiar dresses, use of masks and use of weapons. The sentiment is related to the sentiments like furious (raudra) and terrible (bhayānaka).

Grand style (sāttvatī-vṛtti):

The Mudritakumudacandra is a pure (śuddha) type of Prakaraṇa, which has a story of two preceptors, i.e. Devasūri, a Śvetāmbara, who is very calm, quite, braveand talented in nature, possesses good qualityand Kumudacandra, a Digambara who is brave and talented but has ego, anger, jealousy and they are the main causes of his downfall. These characteristics are the elements of the heroic (vīra) and furious (raudra) sentiments. Therefore, the drama mainly consists of the grand style (sāttvatīvṛtti).

Violent style (ārabhaṭī-vṛtti):

Again, the drama does not contain any amorous activities like sensual activities, dance and song and basically there is no female character in it; but in some places, there is the reflection of humour. Thus, it could be said that the drama contains low type of gay style (kaiśikīvṛtti). Further, the drama does not contain any violent scenes like fighting or use of weapons; however, it contains debate between Śvetāmbaras and Digambaras. Particularly Digambaras tried to offend Śvetāmbarasby all means. Therefore, violent style (ārabhaṭīvṛtti) is employed to a certain extent. The rest is verbal style (bhāratīvṛtti), which gives importance to the proper language and words in the drama.

Four divisions of the Verbal style:

Again, the verbal style (bhāratīvṛtti) is divided into four folds, i.e.

1. propitiation (prarocanā),
2. preface (āmukha),
3. garland (vīthī) and
4. farce (prahasana).

The vīthī and prahasana are excluded here because they are described separately as two types of drama. The prarocanā comes under one of the nineteen types of preliminaries or pūrvaraṅga (starts with pratyāhāra and ends with prarocanā) performed at the beginning of drama. However, these preliminaries except the benediction (nāndī) are carried out without being noticed by the audience.

The last is preface (āmukha), which is also called prologue (prastāvanā). In the prologue, the bhāratīvṛtti is applied through the dialogues of Sūtradhāra and Sthāpaka, who discuss mostly in Sanskrit. The verbal style (bhāratīvṛtti) is not applied to the female characters, because they speak in Prakrit. By the artistic skill, Sūtradhāra and Sthāpaka create interest in the mind of the audience for the play. This verbal act is the main purpose of the verbal style (bhāratīvṛtti).

Again, preface (āmukha) is of five kinds, i.e.

1. abrupt dialogue (udghātyaka),
2. story caught up (kathodghāta),
3. excess representation (prayogātiśaya),
4. entrance (pravṛttaka) and
5. continuance (avalagita).

Abrupt dialogue (udghātyaka) –

In abrupt dialogue, a character enters the stage with explicit and equivocal words changing the original words of the stage-manager and establisher.

Continuance (avalagita) –

In continuance, a result is achieved which is never contemplated before and without any explicit action.

Excess representation (prayogātiśaya) –

In excess representation, a character enters the stage through the observation of Sūtradhāra.

Story caught up (kathodghāta) –

In story caught up, a character enters the stage repeating the words of the Sūtradhāra or based on its meanings.

Entrance (pravṛttaka) –

In entrance, a character enters the stage referring to the seasons or occasions described by the Sūtradhāra.

According to the rule of Bharata (Nāṭyaśāstra.XI.35), the poet should employ at least one of these five varieties of preface (āmukha) in the first act, just after the prologue (prastāvanā).

The Mudritakumudacandra has employed three types of preface (āmukha), out of the five types, i.e.

1. entrance (pravṛttaka),
2. story caught up (kathodghāta) and
3. excess representation (prayogātiśaya).

Entrance (Pravṛttaka) –

In the Mudritakumudacandra, the entrance or pravṛttaka is employed when the character Pārśvadeva enters the stage referring to the description of the spring season (gaganataruridānīm……svairacārāḥ purandhryaḥ -I.24-25), which is expressed in the prologue from behind the curtain.

Story caught up (Kathodghāta) –

In the Mudritakumudacandra, the story caught up or kathodghāta is employed when the character Pārśvadeva enters the stage with the word “sacakranandanapaṭuḥ…”, which comes from behind the curtain, in the prologue.

Excess representation (Prayogātiśaya) –

In the Mudritakumudacandra, the excess representation or prayogātiśaya is employed when the character Pārśvadeva, entering the stage, asks his friend Śobhana as to where is he hurrying:

“kutra tvaritatarapādapātam pracalito’si”?

The words of Sūtradhāra, viz. match with [the following words, and express his deep concern for the Naṭī]:

“kimiti cintātapaklāntevopalakṣate bhavatī”.

Further, in the prologue, triple-meaning (trigata), one of the ancillaries of the vīthī (NŚ.VIII.124) needs to be employed. In “trigata”, “tri” means three or more than one. Thus, the conversations of the Sūtradhāra, Sthāpaka or Naṭī should convey the tripple meaning. It is applied after nāndī, by the speech of the Sūtradhāra to his attendant or the female actress. The speech is of course personal but it should be related to the plot, in the form of simple assertion or laughter. In the Mudritakumudacandra, the conversation of Sūtradhāra and Naṭī, on the matter of Naṭī relate to her daughter, viz. Vijayaśrī, who is beautiful, wise and blessed and hence is the desire of even the great sages. However, she has two proposals from two people in her hand. One is Kairavendu, who is talented, rich and skillful; but he considers all the three worlds subordinate to himself. On the other hand, the other is Devaguru, who is noble, discriminating, handsome and gentle, but is poor. This matter of Naṭī is related to both the characters of the drama, i.e. Kumudacandra and Devasūri. Also the matter has double meaning; and hence it comes under the tripled (trigata). In this way, verbal style (bhāratīvṛtti) is employed in the drama.