Vastu refers to the story or the plot of a play and is also referred to as itivṛtta. The vastu or itivṛtta is of two kinds – ādhikārika and prāsaṅgika.
The ādhikārika-itivṛtta refers to the main plot of the play – it is the primary story that runs through the play and is its most important thread.
But then, what is the use of lamenting over that? There is another side to this topic. We see this kind of admixture only among the rarefied urban population. Those who are wealthy or in prestigious positions or in seats of power are into mixed relationships for many reasons. These are the urban nouveau riche. If we leave them aside and look at populations of tribesmen and categories of poor people, we see resistance to the idea of this admixture. Such people have maintained the differences in clans and categories that have come to them from time immemorial.
ಉಪಗುಪ್ತ ಮತ್ತು ವಾಸವದತ್ತೆಯರನ್ನು ಕುರಿತ ಕಥನಕವನವೊಂದರಲ್ಲಿ ಪೈಗಳು ವಾಸವದತ್ತೆಯ ಮೇಲೆ ಬಂದೆರಗಿದ ಕೊಲೆಯ ಆರೋಪವನ್ನು ಬಣ್ಣಿಸುತ್ತಾರೆ. ಈ ಪ್ರಸಂಗದಲ್ಲಿ ಊರಿನ ಜನರು ಗಾಳಿಸುದ್ದಿಗಳಿಗೆಲ್ಲ ದಿಕ್ಕುದೆಸೆಯನ್ನು ಕಲ್ಪಿಸಿ ಅವೆಲ್ಲ ಕಡೆಗೆ ವಾಸವದತ್ತೆಯೇ ಅಪರಾಧಿನಿ ಎಂಬತ್ತ ಬೆರಳು ಚಾಚುವ ಬಗೆಯನ್ನು ಹೀಗೆ ಕವನಿಸಿದ್ದಾರೆ:
ಸೂಚಿಸುತಿದೆಲ್ಲವೀ ಸುದ್ದಿ ವಾಸವದತ್ತೆ-
ಯನೆ, ಉದೀಚಿಯನೆಂತೊ ಸೂಜಿಗಲ್ಲಂತೆ (‘ವಾಸವದತ್ತೆ’, ಪು. ೨೭೦)
समस्या – अन्धः पठति पत्रिकाम् ।
सुबोधैवेयं समस्या ।
परिहारः –
अहं च सर्वकर्तास्मि मत्समो नास्ति भूतले ।
इति नित्यप्रवृत्त्या गर्वान्धः पठति पत्रिकाम् ॥ (अवधानभारती, 39)
इहान्धशब्दस्य गर्वान्ध इति परिणामनेन परिहृताभूत् समस्या । मदमत्तस्य पत्रिकापठनं न खल्वनुपपन्नम् । तथापि आद्यास्त्रयः पादाः वृथैव पूरिताः सन्ति । यदीहावधानी तस्य पत्रिकापठने कमपि हेतुं न्यवेशयिष्यत् तर्हि परिहारोऽयं रम्योऽभविष्यत् । प्रकारश्चात्र समासाश्रितः शब्दच्छलः ।
Rāma’s messengers quickly conveyed the message to Sage Vālmīki. The maharṣi said, “So be it! A husband is a wife’s divinity. Sītā will act in a way that Rāghava is satisfied.” Rāma was happy to hear the maharṣi’s message. He declared that Sītā’s śapatha – test of purity would take place the next day and those interested in witnessing it may assemble.
सनातन धर्म अगणित समस्याओं के श्रेष्ठ निदानों का अनमोल खजाना है। उदाहरण के लिए ‘संकल्प’ पर विचार करें जिसे हम अपने दैनिक पूजा पद्धति की एक क्रिया के रुप में करते हैं। इसमें हम वर्तमान दिन के साथसाथ ब्रह्माण्डिय काल को स्वीकारते है, अपने निवास स्थल के साथ साथ हम ब्रह्माण्डिय देश को भी स्वीकारते है। हम कहते है “शुभे शोभने मुहूर्ते आद्य-ब्रह्मणः द्वितिया-परार्धे” से लगा कर ‘कर्मकाण्ड़ करने के दिन तक। उसी प्रकार ब्रह्माण्ड से प्रारम्भ कर ‘जम्बूद्वीपे भारतवर्षे भरतखण्डे गोदावर्याः दक्षिणे तीरे’ तक हम दिक् का स्मरण करते हैं। इसमें एक व्यक्ति अपनी स्थिति और विशिष्ट समय
Having now reflected upon the steps to attain the right level of eligibility, let us think once again about the four problems due to changing times.
Jinasena, the author of Pūrvapurāṇa, hailed from Karnataka. He composed this work in an age when the central tenets of literary aesthetics were taking shape, and so his observations merit close study. Let us examine a few relevant verses from Pūrvapurāṇa.
Jinasena held that poetry is a vehicle of religion. The foremost aim of poetry, according to him, is the dissemination of dharma:
त एव कवयो लोके त एव च विचक्षणाः।
Lakṣmaṇa described to Rāma the glory of the aśvamedha and narrated the story of Indra vanquishing Vṛtrāsura. Upon performing the aśvamedha to Bhagavān Viṣṇu, Indra got rid of his fear of brahmahatyā doṣa, which he had acquired upon killing the rākṣasa. Brahmahatyā then took residence in four different places – first, as froth in rivers; second, as latex in trees; third, as menstrual blood in youthful women; and fourth, in those who kill the brāhmaṇas.
