Indological Studies

SR No.: 022756
Original Sutra Author: N/A
Author: H C Bhayani
Publisher: Parshva Prakashan
Publication Year: 1993
Total Pages: 376
Language: English
Classification: Book_English
File Size: 25 MB

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Literary and Performing Arts:
4. The four-partite Dvipadi is not treated by some wellknown prosodic authorities like Svayambhu and Hemacandra But they do treat its basic units under the Dvibhangikā and Tribhangikā in the Sirsaka class of metres. Actually their scheme of metrical classification has a different basis, while the VJS prosodic tradition appears to be based on a type of Prakrit poems that went out of vogue during the later times. The Caupannamahāpurisacariya has specimens. of both the uses of Dvipad.
(2) The Carcari song at Kuvalayamālā, p. 145
12. At Kuvalayamālā § 235, p. 145, 1. 7-8 we have another specimen of a Carcari song14. Prince Dappaphaliha, who was drugged and was out of his mind, is described there as dancing a Carcarikā, the verbal text of which did not have any connected meaning or acceptable grammar. This nonsensical Carcarikā song is in slightly Prakritized Sanskrit and it is made up of a rhymed stanza in the Chittaka or Toṭaka metre15. (Each line has four Sa-ganas i.e. ~~ × 4). Unlike the Carcari at Kuvalayamālā §9, this instance has no connection with the Spring Festival. The language of the song is modified Sanskrit and not Prakrit. The song has only one stanza and its metre is such as is common to. Sanskrit and Prakrit.
(5) The song at Upamitibhavaprapañcākathā, pp. 272-273.
13. King Ripudaraṇa is described at Upamitibhavaprapañcākathā, pp. 272-273 as forced to dance a tri-talaka Rasa and the accompanying song16 is given in st. 438-442. From the two Carcaris of the Kuvalayamālā discussed above we know that the song accompanying the Rasa dance was called Carcari. So eventhough the song in the above-given context of the Upamitibhavaprapāñcākatha is not actually called Carcari, we may take it as the same functionally. And a formal analysis of this song justifies our assumption. The song consists of four Vastukas, each of which is followed by Dhruvaka. But here the Vastukas and the Dhruvaka are in the same metre, while the prosodists seem to prescribe different metres.