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 339

894
lalita-karana-samyuktā
tālántarāla-nṛttā
kvacid api radhyā (thyā ?) di samkalitā
ardhód graha-nivāraṇa
gayana-saha-vacana-mattapālībhiḥ,
viśrāmaiś ca vihīnā
strī-yojyā varjitais tālaiḥ.
vastūni bhāṇikāyā
nava daśa vā niyamato vidhīyante navamadya-pañcameṣu sthāneṣu
ca bhagnatālaḥ syāt.
sthānántareṣu cásyām
laya-tāla-vidhir yadṛcchayā kriyate. vividha-vaco-vinyāsaiḥ
sabhya-janótsäha-sampattiḥ. (pp. 468, ibid)
Dr. Raghavan's reading (pp. 552, ibid) is not satisfactory. It reads as - "prayo haricaritayutanvikṛtā (yutaḥ strikṛta) gāthā"di varna-mātrās ca, sukumārataḥ prayogad bhāṇópi bhānikā bhavati." Thus, bhāņikā contains mostly Hari's behaviour (or narration), and it contains gāthās and varṇamātrās recited by a female character. The performance is graceful. With this basic difference bhāņa itself is bhāṇikā. Again in bhāṇikā, the movements called divya-cārīs are not performed. These are movements involving jump and swaying of limbs above ground. Lalila-karaṇas, i.e. graceful movements are executed in bhāņikā. Female characters are seen in bhāņikā. The women sing the gatha, etc. i.e. the libretto. Nine or ten vastus or feet or parts are marked in bhāņikā. Those who sing also speak or narrate - (gayana-saha-vacana). Through a variety of expressions, the energy or determination, or firmness of cultured men is increased in this art-form. Thus both bhāṇa and bhāṇikā have a lot of speach element. They differ from bhāṇa-the major type of rūpaka, as they contain more of dance, song and music and less of drama and abhinaya.
SAHṚDAYĀLOKA
Hemacandra has the following for bhāṇa, and bhāņikā. He seems to accept Abhinavabharati's cirantanas with reference to the concepts of bhāṇa and bhāṇikā.