रत्नावली नाटिका (सम्राट हर्षवर्धन - शास्त्रीय नाटिका रत्न सम्पूर्ण ४ अङ्क सान्वय सटीक)

438 रत्नावली which again sets in activity the course of the drama which seems to be already interrupted), पताका (episode), प्रकरी (incident) and कार्य ( denouement ) which are all प्रयोजनसिद्धिहेतवः। बीज is the brief allusion of the circumstance which develops to its ultimate end. ( “अल्पमात्रं समुद्दिष्टं बहुधा यद् विसर्पति। फलस्य प्रथमो हेतुर्बीजं तदभिधीयते”—साः दः ६।६५-६६ ) The brief soliloquy of यौगन्धरायण in Act I—“एवमेतत् कः सन्देहः....भीत एवास्मि भर्तुः” (Pp. 18-20) is called the बीज of रत्नावली, because this initial stage develops into the conclusion of the drama [“रत्नावल्यां वत्सराजस्य सागरिकाप्राप्तिहेतुरनुकूलदैवो यौगन्धरायणव्यापारो विष्कम्भके न्यस्तं...यौगन्ध......कः सन्देहः इत्यादिना......स्वामिनी इङ्गितज्ञो इत्यन्तेन”—दशरूपके १।१६ ] बिन्दु is what bridges up the break caused by some digression. [ “अवान्तरार्थविच्छेदे बिन्दुरच्छेदकारणम्” —साः दः ६।६६ ] When at the end of Act I, the worship of Cupid was concluded, and Ságariká was going away, she heard the वैतालिक sing “उदयनस्येन्दोरिवोदीक्षते” (P. 59) and longed for seeing the King whom so long she took for Cupid in flesh and blood. This sets up the connection with what transpires in Act II. [ cf.—“रत्नावल्यामनङ्गपूजापरिसमाप्तौ कथार्थविच्छेदे सति ‘उदयनस्येन्दोरिवोदीक्षते’ इति सागरिका श्रुत्वा ( सहर्षम् ) ‘कथं एसो सो उदअणणरिंदो’ इत्यादिरवान्तरार्थहेतुः” —सा. द. ६ ] “There are also five elements of the plot (arthapra- kriti), which the theory not very accurately parallels with the five stages of the action.* The first is the germ (bija) whence *The parallelism is faulty ; neither episode or incident is necessary nor corresponds to práptyáshá, and niyatápti, nor garbha, nor vimarsha. Dhanika admits this in effect ; there is no episode in Ratnávali.