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848
SAHRDAYĀLOKA
We have quoted these verses here again only to bring home a point that being rasā"śraya and therefore vākyárthábhinaya-rūpa from one angle, nātikā, totaka (some call it trotaka and the illustration cited is Vikramorvašīyam) and sattaka are varieties of major types i.e. rūpakas and therefore do not deserve separate recognition beyond the ten types of drama. Or, at the most the sattaka, being almost imitative form of nātikā, is included in the same. Saţtaka has majority of female characters and kaisiki-prādhānya as in nātikā and hence it is so to say,
nātika-pratirūpaka, and hence a sub-variety of nātikā and so included in it. But in the VIII Ch. (Verses 1-3) Sāradātanaya observes that ten types of rūpakas and other twenty types (of upa-rupakas) are also enumerated. Then he says : (VIII/3) (pp. 321 ibid) -
rasā”tmakā daśaitesu, vimsad-bhāvā”tmakā matāḥ. teşām rūpaka-samjñā’pi prāyo dịśyatayā kvacit. trīmsad rūpaka-bhedāśca
prakāśyante'tra laksanaiḥ. As all thirty are to be viewed on stage, they are rūpakas also. Thus, for Sāradātanaya, the twenty (minor) art-forms which mention toțaka, nātikā, and saţtaka also among them, are bhāvā”śraya forms as against rasā”śraya forms the daśa-rūpakas. These twenty are padárthábhinayātmaka as they have more of dance than of drama in them. Hence they are mixed art-forms. Sāradātanaya observes (Ch. IX./2, pp. 374, edn. Agrawal ibid) :
daśarūpena-bhinnānām rūpakānām atikramāt avāntarabhidāḥ kāścit padárthábhinayātmikāḥ te nștya-bhedāḥ prāyeņa samkhyayā vimśatirmatāḥ, toțakam... pārijātakam ity api. etā nāmántaraih kaiścid ācāryaiḥ kathitā api
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| SR No. | 006909 |
| Book Title | Sahrdayaloka Part 02 |
| Original Sutra Author | N/A |
| Author | Tapasvi Nandi |
| Publisher | L D Indology Ahmedabad |
| Publication Year | 2005 |
| Total Pages | 642 |
| Language | English |
| Classification | Book_English |
| File Size | 15 MB |