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Vada in Theory and Practice: Studies in Debates, Dialogues and Discussions in Indian Intellectual Discourses c10.s2: Vāda Reflected in the Conceptual Framework of Nāṭyaśāstra

Vāda in Theory and Practice: Studies in Debates, Dialogues and Discussions in Indian Intellectual Discourses c10.s2

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Vāda Reflected in the Conceptual Framework of Nāṭyaśāstra

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In *Nāṭyaśāstra* several categories reflect *vāda* concepts. Out of the nineteen items of *pūrva-raṅga* (preliminaries to be performed before producing a play on the stage), *trigata* consists of a loose talk between *sūtradhāra* (stage manager) and his two associates involving questions, objections and sarcastic remarks on the very performance of the play to be produced. One of the two associates of the stage manager in *trigata* is necessarily the *vidūṣaka* (jester). An impromptu debate is created through *trigata* in a theatric manner by his interjections. The very concept of *pūrva-raṅga* presents the *vidūṣaka* as a character who would use his debating skills for humour.

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*Vāda* and its categories are conspicuously employed in the theory of *vācika abhinaya* involving speech for performance. A content of a dramatic piece is structured in dialogues. The presentation of these dialogues with *abhinaya* creates theatre. The verbal content of a play in this way may have exchange of views, discussions involving repartees and rejoinders. In chap. XXII of *Nāṭyaśāstra*, Bharata has discussed twelve types of *vākyābhinaya*, some of the categories of which are imbued with skills of debate. These twelve types are: *ālāpa* (addressing), *pralāpa* (gibberish talk), *vilāpa* (lamentation), *anulāpa* (repetition), *saṃlāpa* (exchange of words, verbal dual), *apalāpa* (refutation of what has been said earlier), *sandeśa* (message), *atideśa* (agreement), *nirdeśa* (instruction), *vyapadeśa* (concealed speech), *upadeśa* (advice) and *apadeśa* (suggestion).⁵

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In his treatment of thirty-six *kāvya lakṣaṇas* (characteristics of a literary discourse), Bharata Muni has incorporated some of the categories related to *vāda*. *Dṛṣṭānta* is one of the *kāvya-lakṣaṇas*. An illustration which comes in attestation to the context of *pakṣa* exemplifying the (cause *hetu*) is *dṛṣṭānta*.⁶ This is an application of one of the techniques of debate as given in *Nyāyadarśana*.

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In fact, the practice of *dṛṣṭānta* — exemplification of a philosophical discourse or argument by an illustration involving an episode — is very old. In Buddhism, a dārṣṭāntic sect, known for giving *dṛṣṭāntas* (illustrations) developed along with the four well-known sects (Sautrāntika, Vaibhāṣika, etc.). However, the idea of *dṛṣṭānta* as a *kāvya lakṣaṇa* in *Nāṭyaśāstra* has been directly borrowed from *Nyāyadarśana* as the use of terms *hetu* and *pakṣa* clearly suggests.

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*Prāpti* is another *kāvya lakṣaṇa* envisaging the techniques of *vāda*. *Prāpti* incorporates the concepts of *anumāna* and *pañcāvayava vākya* from *Nyāyadarśana*. It occurs when a *bhāva* (situation) is inferred by visualizing some of the *avayavas* (components).⁷ In *akṣara-saṃghāta* (confluence of letters) *chala* as defined in Nyāya philosophy is adopted. Abhinavagupta has cited dialogues from the play *Ubhayābhisārikā* to illustrate *akṣara-saṃghāta*. In the dialogue between a *viṭa* (pander) and a *parivrājikā* (nun), the former tells his name as Vaiśikācala and the nun adopting *chala* (cheating), understands the meaning of his name in the sense of an adherent of the Vaiśeṣika philosophy, and quickly retorts that she has nothing to do with a person who sticks to the Vaiśeṣika philosophy. In this way the dialogue goes on presenting a fake debate.⁸

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The *sandhyaṅgas* (components of junctures of plot in a drama) also incorporate elements of debate. In the third juncture named as *garbhasandhi* (embryo) the tussle reaches the peak. Some of the components of *garbhasandhi* naturally are imbued with sharp exchange of words. We can see the use of techniques of debate like *jalpa*, *vitaṇḍā*, *chala*, *jāti* or *nigraha-sthāna* in them. *Vyavasāya* is arriving at a decision through *pratijñā* and *hetu*. A speech in challenging tone is *dyuti*. Dialogues attributing blemishes are *paribhāṣaṇa*.⁹

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⁹ 9

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Dhanañjaya in his *Daśarūpaka*, however, uses the term *jalpa* (debate) to define *paribhāṣā*.¹⁰

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¹⁰ 10

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Some other *sandhyaṅgas* imbibing the tenets of *vāda* are *yukti*, *samādhāna*, *anumāna*, *ākṣepa*, *apavāda*, *gurukīrtana* and *nirṇaya*.

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Amongst the ten major forms of drama — the *daśarūpakas* — the definitions of *prahasana* and *vīthī* as given in *Nāṭyaśāstra* include some categories of debate. In fact, *vīthī* is a theatre of debate. Unfortunately, *vīthīs* exemplifying the definition in *Nāṭyaśāstra* are not available. There are thirteen *vīthyaṅgas* (components of *vīthī*). Some of them are in fact built in by various forms of debate. These thirteen *vīthyaṅgas* create the structure of the prologue of a play and they also make two of the major forms of drama – *prahasana* and *vīthī*. In *prahasana*, characters like a recluse, an ascetic, a brāhmaṇa and others engage themselves in *hāsyavāda*, i.e. arguments for creating laughter. Then the play also presents *dhūrtapravivāda* (debate between the rogues).¹¹

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¹¹ 11

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Out of the thirteen constituents of the *vīthī*, the following are imbued with some form of debate or the other — *udghātyaka*, *nālikā*, *asatpralāpa*, *vākkelī*, *prapañca*, *mṛdava*, *chala*, *trigata*, *adhibala* and *gaṇḍa*.¹²

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¹² 12

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Of these *udghātyaka* is an accidental interpretation, suggestive of the meaning of a sentence otherwise obscure. *Avaspandita* is a transferred significance, where the meaning is intrepretated otherwise. *Nālikā* is an enigmatic speech making fun of others. *Asatpralāpa* is a jittering in the form of an advice given to a fool who rejects it outright. *Vākkelī* is formed of repartees in course of a playful conversation. *Mṛdava* is advancing arguments for praise and condemnation, the intention being just opposite. It involves sarcasm. *Chala* is misrepresentation of a sentence in order to deceive another or to provoke him. *Trigata* has been discussed as one of the constituents of *prastāvanā* (prologue) of a play. *Adhibala* is strengthening an argument during the course of dialogue between two persons, each defending his own position through reasoning. *Gaṇḍa* is verbosity with anger and excitement in the form of altercation casting several aspersions.

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Finally, *Nāṭyaśāstra* also opens the gateways for a *svarāja* in theatre in the treatment of an inner *vāda* which goes on inside an actor. Bharata Muni presents his own paradigm for the autonomy of his discipline and freedom of the artist. *Loka* (world), *veda* (theory) and *adhyātma* (self of the artist), these three are defined by him as the *pramāṇas* (criteria) for theatre.¹³ An artist has to search his own way in the context of the world around him and the framework of theories and methods that he has been tutored in.

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