Itivritta: Theme

and
Development
DR. BHANDARAM VANI

Introduction

Sanskrit dramaturgy has an important place not only in Indian

literature, but in the world literature as well. Dramaturgy in Indian
literature has a long tradition. Natya is another and perhaps a wider term
for drama or the dramatic art, and is called so because it represents the
different situations in life. Drama is known as Drishya kavya seen and
exhibited, while the other compositions in literature like poetry are called
as Sravya kavyas which can be only heard and recited. In the drama, the
subject matter is represented by actors assuming particular characters
evoke Rasa – sentiment –which is its chief element.

Natyashastra aimed at audience of different age groups to react to

different types of acting and scenes like the young audience are interested
in the love story, aged audience enjoy stories of virtue and philosophical,
heroic audience enjoy the heroic deeds of the hero, children do enjoy the
comic scenes, women appreciate good costume and make-up etc. Lord
Brahma explains the nature and purpose of Natya as not just narrating the
story of either demons or Gods or humans, but it speaks of the imitation
of the happenings in the three worlds. Natya presents righteous, evil,
peace, war, humor, love hatred, creation and destruction etc. Natya deals
with various ideas and ideologies and states of mind, imitating the actual
life of three worlds, the pain & pleasure experienced by the humanbeings.
The play Itivrita – the plot and its production on the stage enjoy equal
status in a dramatic representation. The themes of Natya are taken out of
the narratives from history, legends, Vedas and Shastra and are presented
in an enjoyable way. The thematic values’ being instructive by nature
promotes not only gives good counsel but strength, peace of mind and
enjoyment too. Thus the purpose of Natya (drama / creative work) is to
provide good counsel, enlightenment, longevity, peace and happiness,
entertainment and create Rasa (aesthetic experience) through the medium
of Bhava or emotion.

When the nature and purpose of Natya has been explained thus the
demons that were disturbing the production and everyone were pacified.
Lord Shiva pleased with the production and appreciated them and
addressed saying, the Natya is a beautiful way which is conducive to fame,
well being, piety and intellectual advancement. (AhoNatyamidam
samyaktvayasrushtammahamate, yashsyam ca shubhartham ca
punyambuddivivardhanam) (NS IV, 12). In order to achieve the purpose of
drama Bharata gave some necessary instruction to authors and actors that
contribute much to the development and effect of the drama. Since these
are not incidental but essential has validity any time. Nataka or a creative
art should have a proper script and its presentation involves in
commissioning of several arts and crafts like literature, histrionic
expressions, dance, vocal and instrumental music painting sculpture and
architecture. The comprehensiveness of drama covering whole range of all
possibilities gives pleasure to those who witness or read a production of
the poet though their tastes may vary.

The literary work which is an instrument or basis for the presentation of

a spectacle is called Rupaka as the actors assume the physical forms of the
characters played by them. They are mainly divided into Rupakas and Upa
– Rupakas.
 In Rupakas the story, dialogue, establishing characters and message are
most important and song and dance take secondary place whereas music
and dance predominate in Uparupakas. Bharata classifies Rupakas into ten
depending on the text, its treatment and number of acts, etc. They are
Nataka, Prakarana, Anka, Vyayoga, Bhana, Samavakara, Vidhi, Prahasana,
Dima and Ihamriga and Nalika which is divided from Nataka and
Prakarana. The Uparupakas are of 18 types in which Natika, Sattaka,
Trotaka, Prekshanaka, and Prakaranika are well-known. In Chapter XVIII,
Bharata deals with all the above in great detail. Nataka is the most
important among the ten major forms of play. In Chapter xix Bharata
mentions the details above the plot the Itivritta its structure and
development.

Among Dasarupakas Nataka and Prakarana are given priority due to the
plot (the Itivritta) developed systematically in them. As Nataka became
source of inspiration for all the forms of Rupakas to the extent that Nataka
is used as synonym of any kind of Rupaka. The characteristics of Nataka
enumerated by Bharata in the Chapter XIX 139-142 are not only applicable
to Nataka alone but for any kind of literary art. “A Nataka should have 5
Sandhis – divisions, Vrittis – modes of expression, 64 Sandhyangas – Sub
divisions and 36 Lakshanas – poetic embellishments. A Nataka written by
an author should have pleasant diction, be easy to comprehend, embrace
various emotions, Rasas, actions and incidents and should be embellished
by the figures of speech etc. Such a Nataka, when produced by competent
– authors and actors who divest themselves of their natural demeanor will
please audience.”

Bharata started to explain the creation and development of drama

(Nataka) keeping in the view these comprehensive characteristics.

The Itivritta – the theme or the main story of the Kavya or the play is
called as the body comprising five divisions. The author should select a
good story and the proper form of Rupaka then proceed to weave the
story in to a well constructed attractive plot. The stories (theme) are of
three varieties – (1) Prakhyata – well known, (2) Utpadhya – fictional and
(3) Sankirna – mixed. The story should have a purpose and it should be
achieved by the hero of exalted nature. The Ramayana and Maha Bharatas
have supplied many stories for the poets to develop their art .The themes
chosen by them have been changed slightly to give a special charm, glory
and dramatization. The plot again is of two kinds, (1) Adhikarika – Principal
and (2) Prasangika – Incidental. The Adhikarika Itivritta is the story that
revolves around the hero and attainment of particular result and its
exaltation with the assistance which the author ( poet ) plans by means of
the associated heroes ( Upanayakas ) resorting to rules. Prasangiketivritta
is that any incident mentioned for helping any other incident to enhance
the value of main plot. The minor characters act in their own interest
incidentally further the purpose of the hero of main story. Prasangika-the
subplot is again of two kinds – Pataka and Prakari. Pataka is an episode is
introduced to give an additional interest and progress in the plot while
assisting the hero to achieve the purpose. This may extend a considerable
length and also may extend till the end of the drama. Whereas Prakari is
an episodical incident of a limited duration to help the hero to achieve the
purpose.

Since it is not possible to depict the whole life story of hero on the
stage, but some incidents which are necessary for achieving the purpose
of the play and also progression which may not be stage worthy have to be
suggested to the audience. Tragic incidents like death, battles, and the
utterance of the curse, sleep, kissing and others are expressly forbidden
from being shown on the stage. Such scenes and all others which are
difficult to be depicted on the stage like flying up in the sky, travelling to
long distance and those which are considered unnecessary to be shown
on the stage are conveyed to the audience through five Arthopakshepakas
– suggestive devises known as Vishkambha – supporting scene, Pravesaka
-introductory scene, Culika – intimating speech, Ankavatara – transitional
scene and Ankamukha-anticipatory scene.

The first two are in the form if conversation on these forbidden matters.
The Viskambha is pure ( suddha ) when middle characters speaking in
Sanskrit take part and is mixed (misra) when middle characters speaking
in Sanskrit and low characters speaking in Prakrta. The Pravesaka, is not
allowed to occur in the first act, as the low characters speaking in Prakrta.
So it will not take part in the first act. The Chulika connects any two acts
through an announcement made behind the curtain. The Ankavatara is
indicated by the absence of the characters at the beginning of an act by,
thus showing it to be in continuation of the previous one. The Ankasya or
Ankaasya makes a reference to what follows in the succeeding act by the
characters of the previous act.

These five devices are employed to explain or suggest the time period
etc, the inner meaning of the incident, and also the importance of the
particular episode, and coming up events. Any incident or episode which
neither have any direct relation with the main story nor helps in
progression of the story should not be included in these suggestive
devices. There are certain other stage directions, such as Apavarya –
aside, Atmagatam – self, and Janantikam – to the audience and others,
which permit the actors on the stage to speak to one or two among
themselves in a manner that it isaudible only to the audience leaving the
other actors.

The entry of a new character to the stage is made by the announcement

to that effect by a character already present on that stage. To denote the
urgency of the entry, sometimes a character enters by a toss of the
curtain. Certain other devices are also adopted to further the progress of
the plot, such as the writing of love letters, painting the figures of lovers,
dance, a play with in a play, and so on.

The plot should be developed appropriately using five Karyavasthas

-executive processes for the achievement of an objective. The efforts of
the hero are delineated in five stages. They are (1) Prarambha – the
Begining (2) Prayatha – the effort (3) PraptiSambhava – the possibility of
attainment (4) Niyatapti – visualization of the certainty of success (5)
Phalaprapti attainment of Result. The desire to achieve the purpose takes
the germ ( Bija ) is followed by necessary striving towards the attainment
of purpose, assessment of the possibility which results on the certainty of
success and finally desired purpose in achieved. These five stages
executed together in the progress of the story conduce to the fruition.
These are called Karyavastas – the executive process. These five processes
indicate the mental stages of the hero. The reason why it is stated that
Nataka and Prakarana should have five or more acts is because each of
these processes has to be executed in each one act. These are five
successive stages of every action begun by persons look forward for
desired results. In case of incidental plot ( praasangika ) this rule will not
apply as it serves the purpose of another plot.

The five stages of plot (executive processes) have five corresponding

elements of the plot. These elements that promote the Karyavastas are
called as Arthaprakritis – the causations. They are five. (1) Bija – Germ, (2)
Bindu – Prominent point (3) Pataka – Episode (4) Prakari – sub-story and
(5) Karya – denouement. The plot is in the Bija form which is the cause to
start ( expands itself in various ways and ends in fruition ) and in the Bindu
form it spreads till the end of the play even when the cause is suspended
with an effort, in the Pataka form the characters get their purpose served
and in the Prakari form an event is introduced only to help the hero to
attain success to a certain extent and disappears from the story and the
Karya is the form where the efforts made for the purpose of the principal
plot are introduced. In other words the Bija is the cause to start, the Bindu
is the cause for effort the Pataka is the cause of possibility, the Prakari is
the cause of certainty and the Karya is the cause for the result. Bija, Bindu,
Karya are necessary in all works, and Pataka and Prakari can be used
whenever they are required. The Pataka and Prakari causations should end
at the developmental stage of drama or at the pause, because they are
treated for a different purpose other than the main story. Hence it is the
responsibility of the author to choose effective incidents and episodes
that have to be presented in various acts with continuous thread of unity.
He should make it comprehensive without losing the continuity of the
story.

The causations ( ArthaPrakritis ) relating to various processes

(Karyavastas) and suggestive devices ( Artho – pakshepakas ) maintain the
continuity of the story while Sandhis – divisions closely unite the story.
The process of connecting the various incidents in play or a poetical work
is called Sandhi – the division. It is the responsibility of the author to
select an effective story and present it with the division of acts without
losing the continuity thread of unity. He should make it comprehensive by
grouping incidents in such a way that it maintains the continuity of the
story. The division into acts is external providing respite to both the
actors and audience. The division into Sandhi is internal, achieving unity
in the progression of the plot.
The poetical composition should have these following five sandhis –
divisions. Bharata named them as (1) Mukha Sandhi – opening juncture (2)
Pratimukha Sandhi – progression or expanding division (3) Garbha sandhi
– developing division (4) Vimarsha Sandhi – the pause and (5) Nirvahana
Sandhi – concluding division. The division into acts is external providing
respite to both the actors and audience while Sandhi – the juncture is the
internal achieving unity in the progression of the plot.

In general the five acts in a play are associated with five divisions. If the
acts are less in a Play , then each act may have more than one Sandhi, if
acts are more than five in a play Sandhi may have to be expanded to the
next act. Mukha Sandhi is the opening in which the germ (desire) is
created in the mind, In Pratimukha sandhi uncovering of the germ
(expression of desire) takes place which is sometimes perceptible,
sometimes lost, In Garbha Sandhi – the sprouting of the germ (prospect of
desire), in Vimarsha Sandhi is pause over the germ that has sprouted
(sudden turn in the progression leading to suspense about the
achievement) and in the last Nirvahana Sandhi – brings all the objects
together (successful achievement of the desire) finally attains fruition.

Each Sandhi – division again has as its Angas – sub divisions 64 in all
together.

Sub-divisions of Mukha Sandhi (12): Upaksheepa – suggestion, Parikara

– Enlargement, Parinyaasa – establishment, Vilobhana – allurement, Yukti
-resolve, Praapti – attainment, Samaadhaana – settling, Vidhaana –
conflict of feelings, Paribhaavana – surprise, Udbheeda – disclosure,
Karana – resumption and Bheeda – parting.

Sub-divisions of Pratimukha Sandhi (13) : Vilaasa – amorousness,

Parisarpa – pursuit, Vidhuuta – denial, Taapana – apprehension, Narma –
playful joke, Narmadyuti – willful joke, Pragamana – responsive dialogue,
Niroodha – impediment, Paryupaasana – pacification, Pushpa – interesting
statement, Vajra – curt replies, Upanyaasa – reasoning and
VarnaSamhaara – union of various characters.

Sub-divisions of Garbha Sandhi (13) : Abhuutaaharana – misstatement,

maarga – indication, Rupa – hypothetical statement, Udaaharana –
overstatement, Krama – imaginative interpretation, Sangraha – winning
over, Anumaana – inference, Praarthanaa – request for enjoyment,
Aakshipti – revelation, Totaka – indignant statement, Adhibala – deceitful
outwitting, Udveega – dismay, Vidrava – panicky apprehension.

Sub-divisions of Vimarsa Sandhi (13) : Apavaada -censure, Sampheeta –

rebuke, Abhidrava – insolence, Sakti-conciliation, Vyavasaaya-assertion,
Prasanga – revered reference, Dyuti – contemptuous statement, Kheeda –
lassitude, Pratisheedha -opposition, Viroodhana – prevention, Aadaana –
summing up, Chaadana – forbearance, Prarocanaa – precursion.
 Sub-divisions of Nirvahana Sandhi (14) : Sandhi – injunction, Viboodha
-vigilance, Grathana – assembling, Nirnaya – declaration of facts,
Paribhaashana – accusation, Dhriti – substantiation, Aananda – bliss
(pleasure), Samaya – deliverence, Prasaada – satiation, Upaguhana
-surprise, Bhashana – clever speech, Purvavaakya – retrospect,
Kaavyasamhaara – conclusion, Prasasti – blessing.

The five executive processes, five Sandhis – divisions and sixty four sub
divisions interpret the progress of the play to audience serving as
beneficiary accomplices for the achievement of the main object. An
experienced author need not put any effort to incorporate all these in his
poetical work / drama. All the subdivisions may not be present in the play.
These sub-divisions contribute to the building up emotions and there by
realization of Rasa.

Sandhyangas serve some important purposes like 1.Ishtaartha Racana –

expatiating on the desired objective,2. Vrittaanta anupakshayam –
maintain the continuity of the story without detriment to the main
objective, 3. Prayoga ragapraapti – making up the production impressive,
4. Guhya Guhanam – concealment of the aspects that are to be concealed,
5.Aascarya Abhikhyanam – inclusion of an element of surprise and
6.Prakasya Prakaasanam – exposition of the required aspects.

In case of an author the knowledge and application of Sandhyangas

develops a consistent story and in case of an actor he can express the
emotions that produce the proper Rasa in the audience in case of
audience their interest will increase. So the author, actor and audience
enjoy the play and the purpose of the play will be well served.

When all the aspects of story are not expressed by Sandhyangas (which
might be detrimental to the main objective) then intermediary divisions
are employed. They are 24 Sandhyantaras – intermediary divisions. When
some matter being taken in hand another matter of similar nature is
suggested through an accidental idea it is called (PatakaSthanaka)
dramatic irony. There are four kinds of Patakasthankas – dramatic irony
that are employed in a play along with five divisions and sub-divisions. The
four kinds of Patakasthankas – dramatic irony are 1.Artha Sampatti – The
sudden development of a novel meaning due to an indirect suggestion.
2.Slishtam – Words completely carrying double meaning and expressed in
a poetic language. 3. Arthopakshepanam – That which suggests with
courtesy the object of a play in a subtle manner and in the form of a
dialogue. 4. Vacana vinyasa – Words with double meaning expressed in a
well-knit poetic language and having a reference to something (NS XXI
30-34).

The four Vrittis – modes of expression that are found in a play or poem
differentiates one form of play from another. They are made a repository
of the various states and sentiments. Vritti is man’s activity results from
mind, word and body to achieve certain objective. That is why
vritti-modes of expression are called as Natyamaatruka-mother of
dramatic representation, the constituent of all dramatic works including
poetry. They are Bharativritti-proper vocal expression, Saatvativritti –
emotional expression, Kaishikivritti – the delicate expression, and
Arabhativritti – energetic expression. Bharata says he derived Bharativritti
– proper verbal expression from Rig-Veda, Saatvativritti – emotional
expression from Yajurveda , Kaishikivritti- the delicate expression from
Samaveda , and Arabhativritti – energetic expression from Atharveveda .
Each of these has sub-divisions which can be adopted according to the
need.

Bharativritti – Proper verbal expression are of four varieties

1.Prarochana-laudation, 2. Amukha – introduction, 3.Vithi and 4 Prahasana.
Amukha the introduction of the character on to stage is of 5
types1.Udghata – accidental interpretation 2.Khatodghata – opening of
story, 3.Prayogatishaya – particular presentation, 4.Pravrittaka – personal
business, 5 Avalagita – transference.

Saatvativritti – emotional expression is endowed with the sattva quality,

the Nyayas, metres and has exuberance of joy and consists of the word,
the gestures and the acts showing of sentiment. This is also four types
1.Uttapaka – challenges,2.Pravrittaka – change of action, 3.Sallapaka
-exchange of harsh words 4.Samghataka – breach of alliance.

Kaishiki vritti – the delicate expression is interesting on account of

graceful costume worn by mostly women, dance and singing is included
and other amorous actions are expressed. This style is also motivated by
the mind, the word and the body. There are four types 1.Narma –
pleasantry, 2.Narma – beginning of pleasure 3.Narmasphota – revelation of
pleasure, and 4. Narmagarbha – covert pleasure.

Arabhativritti – energetic expression includes mostly the qualities of a

bold person, such as speaking many words, deceit, falsehood and where
vigorous physical action like falling ,jumping fighting etc is expressed. It
has four varieties 1.Sankshiptaka – Compression, 2.Avapaata – commotion,
3.Vastoothaapana – raising various feelings, and 4.Sampheta – conflict.

Nataka and Prakarana are full with histrionic expressions hence all
these four Vrittis definitely appear when they are presented. All these
vrittis –styles of expression are intermixed with one another but generally
one mode of expression gains prominence. The importance of the style is
determined by the Rasa it is intended to produce. Bharata specified that a
mode of expression produces a particular rasa. Kaishiki vrittti should be
employed to produce Sringara Rasa and Hasys Rasa , Satvativritti for Vira
Rasa, Adbhuta Rasa and Santa Rasa, Arabhativritti for Roudra Rasa and
Bhayanaka Rasa,Bharativritti for Bhibhatsa Rasa and Karuna Rasa.

Bhatara has enumerated thirty-six gunas – embellishments like

Bhushana-ornament, Arthasanghata – brevity, Shobha – brilliance etc and
defined them. These embellishments are based on emotions and follow
them. Propriety with reference to Rasa should be taken care in providing
these embellishments. A creative author can effectively use the
embellishments that seem to be very ordinary but lend a different
meaning .Poetic embellishments are innumerable depending on the
creativity of a genius poet.

Finally, when an author who tries to writing a play or poem, he should

choose the life story of an ideal hero, pick-up attractive and interesting
episodes and incidents, screen them, alter them from the view point of
propriety, creation of Rasa dramatic values, stagebility etc.

Then the subject (Itivritta) should be made into five divisions (Panca
Sandhis) with the five executive process, five suggestive devices ,five
causations sixty four sub-divisions, and four modes of expression, thirty
six poetic embellishments, subsidiary and intermediary divisions ,four
dramatic ironies to make a schedule / screen play for a well-knit plot –
The Itivritta.

Drama is the imitation ( anukarana ) of the ways of the world involving

the various emotions and deferring circumstances It gives peace,
entertainment and happiness, as well as beneficial advice based on the
actions of high, low and middle people. It brings rest and peace to persons
affected by sorrow or fatigue or grief or helplessness. There is no art, no
knowledge, no yoga, and no action that is not found in drama. The perfect
screen-play will achieve the purpose of the art. Thus with all these ideal
thoughts of Indian mindset the dramatists proceeded and proceeding with
the creation of drama in abundance.