Com. As, in the Ratnāvalī, the king’s obtaining universal sovereignty through his marriage with Ratnāvalī.
Notes. This is called phalāgama in section 28 above, and also in the definition given in Pratāpar.
‖ Bh. 19. 12; SD. 329; Pratāpar. 3. 5. Cf. Lévi, p. 33.
The Five Junctures
34 (P. 22 b, 23 a; H. 21).
- arthaprakṛtayaḥ pañca pañcāvasthāsamanvitāḥ
yathāsaṃkhyena jāyante mukhādyāḥ pañca saṃdhayaḥ.
‘There are five Elements of the plot (arthaprakṛti), parallel with the five Stages (avasthā) [of the action]; [from these] respectively arise the five Junctures (saṃdhi), beginning with the Opening (mukha).’
Notes. The Junctures are the structural divisions of the drama, which correspond with the elements of the plot and the stages in the hero’s realization of his purpose. They and their subdivisions are defined in the following sections.—This section is quoted at Pratāpar. 3. 3, p. 105.
‖ SD. 330; Pratāpar. 3. 3, p. 104. Cf. Lévi, p. 35.
35 (P. 23 b; H. 22 a).
- antaraikārthasambandhaḥ saṃdhir ekānvaye sati.
‘Juncture (saṃdhi) is the connection of one thing with a different one, when there is a single sequence [of events].’
Notes. ‖ SD. 331; Pratāpar. 3. 3, p. 104. Cf. Lévi, p. 35.
36 (P. 24 a; H. 22 b).
- mukhapratimukhe garbhaḥ sāvamarśopasaṃhṛtiḥ.
‘[The five Junctures are]: the Opening (mukha), the Progression (pratimukha), the Development (garbha), the Pause (avamarśa), and the Conclusion (upasaṃhṛti=nirvahaṇa).’
Notes. These are defined in sections 37, 51, 66, 81, 96.—This section is quoted at Pratāpar. 3. 3, p. 104.
‖ Bh. 19. 35 b, 36 a; SD. 332; AP. 337. 21; Sarasv. 5. 128 (ed. B. 5. 129). Cf. Lévi, p. 35.
