Rākṣasa's Ring 4.2_24

4.2_24

tadrājyāṅgadhuraṃ voḍhuṃ dhṛtimānrākṣaso'rhati .
tatsaṃgraho'ta evātra sādhyo nītistu sādhanam ..'
evamatrārthata induḥ śāṭhyamiti śabdataśca manākkāvyārtho dhvanitaḥ .
‘udīritarūyambakāryairnāndīpadyadhvaniḥ śubhaḥ .
sa eṣa ḍhuṇḍhinākāri kārikāḍiṇḍimaiḥ sphuṭaḥ ..'
atha nāṭakādilakṣaṇāni nirūpyante –
‘rūpyate'bhinayairyatra vastu tadrūpakaṃ viduḥ.
nāṭakādyairdaśavidhaṃ tadityanyatra vistaraḥ ..'
taduktaṃ daśarūpakeṃ---
‘nāṭakaṃ saprakaraṇaṃ bhāṇa: prahasanaṃ ḍimaḥ .
vyāyogasamavākārau vīthyaṅkehāmṛgā iti ..'
eteṣāṃ lakṣaṇāni vistarabhayānnehocyante .
athaiṣāṃ sāmagrī nirūpyate . tatra pañcasaṃdhayaḥ-- ‘mukhaṃ pratimukhaṃ garbhaḥ
savimarśā nibarhaṇam’ iti . saṃdhirnāma ekena prayojanenānvitānāṃ kathāṃśānāmavāntaraprayojanasaṃbandhaḥ . tatrārambhabījasaṃbandho mukhasaṃdhiḥ . yatrabindusaṃbandhaḥ pratimukhasaṃdhiḥ . prāptyāśāpatākayoḥ saṃbandho garbhasaṃdhiḥ.
niyatāptiprakarṣasaṃbandho vimarśasaṃdhiḥ . phalāgamakāryayoḥ saṃbandho nibarhaṇasaṃdhiḥ .

“Therefore, the steadfast Rākṣasa is worthy of bearing the burden of the constituents of royalty.
For this reason his conciliation is the objective here, while statecraft is the means.”
Thus, by implication through meaning (the moon) and through explicit word (evasiveness), the plot of the drama is slightly suggested.
“The auspicious suggestion in the verses of the benediction, uttered by the venerable Tryambaka,
has been made clear by Ḍhuṇḍhi through the kettle-drums of mnemonic verses.”
Now the definitions of the play and so forth are set forth:
“Where the subject-matter is represented through dramatic representations, they know that to be a dramatic composition.
It is of ten kinds, beginning with the play; the elaboration of this is elsewhere.”
As it is stated in the Daśarūpaka:
“The play, along with the drama of fiction, the monologue, the farce, the drama of excitement,
the military spectacle, the supernatural spectacle, the street play, the tragic play, and the drama of pursuit.”
The definitions of these are not stated here for fear of prolixity.
Now their components are set forth. In that regard, there are five dramatic junctures: “the opening, the progression, the development,
along with the pause, and the conclusion.” A dramatic juncture is the connection with an intermediate purpose among plot segments unified by a single main purpose. There, the opening juncture is the connection of the beginning with the germ. Where there is a connection with the drop, that is the progression juncture. The connection between the hope of attainment and the episode is the development juncture.
The connection between the certainty of attainment and the episodic incident is the pause juncture. The connection between the arrival of the fruit and the final catastrophe is the conclusion juncture.