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representations are envisaged for dramas with more action than the
Anargharāghava, actual performances — which normally include only one episode of a play at one go — often resemble spectacular chanting recitations of poetry interspersed with well-choreographed movements rather than what
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Because of its elegant style, learned allusions and often striking imagery, the poem has been a great favourite among pandits , although it received little attention in the West until recently. The well-known epic story of Rama’s exploits is presented as a series of political intrigues and
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by Judit Törzsök, Critical edition, Vol I: The
Commentary of Viṣṇubhaṭṭa; Vol. II: The Anargharāghava of Murāri as Read by Viṣṇubhaṭṭa, Notes, Appendices by Harinarayana Bhat, Journal of the American Oriental Society, Vol. 123, No. 2 (Apr. – Jun., 2003),
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The play has little action — most fights and events take place behind the scenes or between acts — focussing instead on diction and other elements of dramatic representation, reminiscent of the
Keralan
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Murāri's emphasis on writing a play rather than a series of beautiful stanzas is also seen in the numerous allusions to plays and theatre. In the
Prakrit-Sanskrit prelude of Act 4, entitled
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with
Sanskrit commentary and Hindi translation by Rāmacandra Miśra, Varanasi: Chowkhamba Vidya Bhawan, 1960.
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Viṣṇubhaṭṭaviracitā Anargharāghavapañcikā: The
Commentary of Viṣṇubhaṭṭa on the Anargharāghava of Murāri
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by Karin
Steiner, Drama und Theater in Südasien, Wiesbaden: Harrassowitz Verlag, 1997.
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Anargharāghava: Das
Schauspiel vom kostbaren Raghuspross. Einführung und Übersetzung
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directs everything himself, just as a stage-manager does (
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134:svayaṃ sūtradhāravat sarvapreraka iti bhāvaḥ
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209:This article includes a list of general
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