शिशुपालवध में सन्धियोजना (shishupalvadh mei sanidhyayojana)
By Sushma R. Kulshreshtha
Summary
In this article, Sushma Kulshreshtha critically examines the structure of Sandhiyojanā (dramatic segmentation) in Māgha’s epic Shishupalavadha. Drawing from classical Sanskrit dramaturgical theory, she highlights how Māgha systematically integrates five narrative segments—Mukha (opening), Pratimukha (progression), Garbha (development), Vimarsa (pause), and Nirvahaṇa (conclusion)—along with their essential components like Arthaprakritis (plot elements) and Kāryavasthās (stages of action). Each of these is skillfully placed across specific cantos, demonstrating the poet’s technical mastery and adherence to traditional poetic conventions. The article explains how Māgha balances the aesthetic and structural needs of a mahākāvya, carefully weaving seed (bīja), development (prakarī), and resolution (phala) throughout the storyline. Kulshreshtha affirms that Shishupalavadha is not only poetic but also dramaturgically robust, aligning well with classical poetics as stated by rhetoricians like Daṇḍin, Bhamaha, and Vishvanātha
Conclusion
Sushma Kulshreshtha’s analysis reveals that Māgha’s Shishupalavadha exemplifies meticulous dramaturgical design, skillfully aligning narrative segments and poetic elements with classical Sanskrit conventions. The epic’s structural sophistication demonstrates a seamless integration of aesthetic beauty and technical mastery, confirming its stature as both a literary and dramaturgical masterpiece. सुषमा कुलश्रेष्ठ के विश्लेषण से स्पष्ट होता है कि माघ का शिशुपालवध अत्यंत परिशुद्ध नाट्यसंरचनात्मक रूपांकन का उत्कृष्ट उदाहरण है, जिसमें कथा‑खंडों और काव्य‑तत्वों का समन्वय अत्यंत कौशलपूर्वक शास्त्रीय संस्कृत परंपराओं के अनुरूप किया गया है। महाकाव्य की संरचनात्मक परिष्कृतता सौंदर्यात्मक गरिमा और तकनीकी निपुणता के सहज संयोजन को प्रदर्शित करती है, जिससे यह कृति साहित्यिक और नाट्यशास्त्रीय—दोनों दृष्टियों से एक पूर्ण उत्कृष्ट काव्य के रूप में प्रतिष्ठित होती है।