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

442 रत्नावली

when the heroine decides to depict the face of Vatsa on the
canvas ; in Act II the lovers are united for the moment,
but subject to the risk of discovery by the queen ; then the
king recognizes that his success in love depends on winning
the queen's favour, which is successfully accomplished in the
last act."—Keith, Sanskrit Drama. Pp. 297-98].
"Corresponding to these five gradual stages of development
there are five Sandhis which set up connecting links of
different incidents with the main action of the drama"
( "अन्तरैकार्थसम्बन्धः सन्धिरेकान्वये सति" साः दः ६।७५ ) । They are five in
number, such as मुख, प्रतिमुख, गर्भ, विमर्श and उपसंहृतिः । "Based on
these parallel sets is a third division of the junctures (sandhi),
which carry each of the stages of the action to its normal
close. They are the opening (mukha), progression (prati-
mukha), development (garbha), pause (vimarsha) and conclu-
sion (nirvahana), corresponding clearly and closely with the
stages set out above. Abhinavagupta ( Dhvanyālokalochana )
frankly treats the avasthás as sandhis...and distinguishes the
arthaprakritis. Dasharupaka is responsible for the doctrine
that each sandhi rests on an avasthá and an arthaprakriti,
accepted in Pratíparudriya...In the Ratnávali, the opening
extends to that point in Act II, where Ratnávali decides to
depict the king as the only means of gazing on him whom
she loves...the progression extends then to the close of the
Act ; the development occupies Act III, while the pause due
to the intervention of the queen, is brought to an end by