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

APPENDIX B 443 the mock fire of the palace in Act IV, and the remaining portion of that Act gives the conclusion......But far more complex is the insistence on the subdivision of the five junctures into 64 members (12, 13, 12, 13 and 14 respectively). The distribution, however, has no real value......when used, they should be essentially subservient to the sentiment which the piece seeks to create ; they should either treat the subject chosen, expand the plot, increase interest, produce surprise, represent the parties in action or conceal what should be concealed......some must be included in any drama, since one without any would be like a man without limbs, and adroitly used, they may give merit to a mediocre subject- matter" (Nātyashāstra, Benares Edition, Chapter XXI, 53-56) —Keith, Sanskrit Drama, Pp. 298-300. As regards the working of मुखसन्धि, see the Critical Remarks of Act I—Pp. 106-107. मुखसन्धि—has twelve aspects ( अङ्गs ) :— (1) उपक्षेपः ( काव्यार्थस्य समुत्पत्तिः, बीजन्यासः, beginning )—e. g., एवमेतत् कः सन्देहः हौपादन्यस्यात् etc. (P. 18). (2) परिकरः ( सस्तुतप्रार्थबाहुल्यं, elaboration of the plan)—e. g., अन्यथा कः......स्पृशन्ति स्वामिनमभ्युदयाः (P. 18). (3) परिन्यासः ( तन्निष्पत्तिः ) e. g., प्रारम्भेऽस्मिन् स्वामिनः वृद्धिहेतौ etc. (P. 20). (4) विलोभनम् ( गुणाख्यानम् )—e. g., विश्रान्तविग्रहकथः etc. (P. 21) ; or कस्सापाम्न etc. (P. 59). (5) युक्तिः ( अर्थानां सम्प्रधारणम् )—e. g., मयापि चेनां देवीहस्ते...मिलितः (P. 18). Cf. दशरूपकः—"इत्यनेन सागरिकाया अन्तःपुरस्थाया वत्सराजस्य सुखेन