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

APPENDIX B 439
springs the action, as in the Ratnávali from Yaugandharáyana's
scheme to secure the princess for the king. The second, with
change of metaphor, is the drop ( bindu ), which spreads out as
oil on water ; the course of the drama, which has seemed to be
interrupted, is again set in activity ; thus in the Ratnávali,
when the festival of the god of love is over, the princess gives a
decisive impulse to the motion of the drama by recognising in
him, whom she deemed the god himself, the king for whom,
she was destined as a bride. The other three elements are the
episode, the incident and the denouement ( kárya )."—Keith—
Sanskrit Drama, P. 298. [See दशरूपक १।१७] पताका is an episode
which contributes greatly to the development of the plot [“व्यापि
प्रासङ्गिकं वृत्तं पताकेत्यभिधीयते”—साः दः ६।६७ ]. In Ratnávali the concoc-
tion of the plot made by विदूषक and सुसङ्गता which extends to a
great length (i.e., the whole of Act III) may be roughly called a
पताका, though Prof. Keith does not admit it. प्रकरी is an incident
of small dimension, which can be illustrated by the introduction
of the incident of the monkey and the Sáriká (“प्रासङ्गिकं प्रदेशस्थं
चरितं प्रकरी मता”—साः दः ६।६७) (Act II—Pp. 122-154). कार्य is the
final unravelling of the plot (denouement). In रत्नावली, the final
union of the hero and the heroine is the example of कार्य ।
The अवस्थाs or the stages of the development of the plot are
five in number ; such as, प्रारम्भ, यत्न, प्राप्त्याशा, नियताप्ति and फलागम ।
प्रारम्भ (Beginning) is the first stage in which the desire to attain
the final end is indicated. ( “भवेदारम्भ औत्सुक्यं यन्मुख्यफलसिद्धये”
—साः दः ६।७१ ) । यौगन्धरायण’s anxiety to put Ratnávali in