Sahrdayaloka Part 02

SR No.: 006909
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

Page 312

Classification of Poetry
867
the details of music and dance in these four Exists or how they depicted Vira-rasa
Vira-rasā"ḍhya-catur apasāra', as obviously the technique of it was handed down in practice and not recorded. However, Ramacandra who borrows the definition from Śr. Pra., adds something to our knowledge of this Apasara. He interprets Apasara as interludes of dance, "nṛtya-cchinnani-khaṇḍāni apasāraḥ." (p. 214, N.D.). The Kuṭṭanīmata, refers to Apasaraka in dance in śl. 87."
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Dr. Raghavan should feel convinced about the nature of 'Vira-rasa"ḍhyaapasara', which are graceful movements of dance with final exits from the stage, after depicting the heroic acts, during pravāsa, of the hero. Abhinavagupta also calls it "alpā”viddham su-masṛṇam" meaning the same mixture of forceful and graceful movements of dance in this art-form.
Hemacandra defines prasthana after A.bh. as -
"gajā"dīnām gatim tulyām kṛtva pravasanam tathā, alpā"viddham su-masṛṇam tat prasthanam pracakṣate."
We have discussed the implications of this definition above. The only point to be noted is that H. takes it as a "prekṣya"/"geya" variety of art-form. For him, prekṣya is abhineya and 'śravya' is an-abhineya. But the preksya is again two-fold such as pathya and geya (Kā. Śā. VIII/2) (pp. 432, ibid). It may be noted that in păţhya he includes all major ten types of rūpakas along with nāțikā and saṭṭaka. This we have seen above also. But he accepts DR.'s observation also along with his loyalty towards Bharata and Abhinavagupta, when he says - (pp. 432, ibid): tathā ca nāṭakā"dīni vithyantāni väkyárthābhinaya-svabhāvāni bharata-muninópadarśitāni saṭṭakaś ca kaiścit."
He calls them 'pathya' meaning perhaps thereby that these major rūpakas have dialogues in prose (= pāṭhya) and are totally rasa-oriented. The 'geya', - which he enumerates as at least twelve and also remains open to other varieties by adding 'adi' at the end of ka. śā. VIII. 4, - are of the nature of padárthábhinaya. He
observes :
(Kā. śā. VIII. 4) pp. 445, ibid
"geyam dombika-bhāṇa-prasthāna
rāgakāvyā"di."
śingaka-bhāṇikā-preraṇa-rāmākrīdḍa-hallisaka-rāsaka-goṣthī-śrigadita