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SAHṚDAYALOKA
gadya-pradhāna is also three-fold like-wise e.g. sajātiya (gadya) as in Pañcatantra, vijātīya as in Kātyāyana's or Pāṇini's prākṛta-lakṣaṇa etc., the third variety is seen as in the speech of mayūra, śuka, mārjāra etc. Tulya-rupa is again three-fold with sajātīya-vijātīya and both types of letters seen therein.
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In the XIth prakāśa or chapter in the Śr. pra. Bhoja discusses various types of prabandhas or compositions. He gives two basic types of a prabandha or a major composition viz. prekṣya or that which is to be viewed (on the stage) and śravya or that which is to be heard (and read). He observes (pp. 461, ibid): "prabandhas' ca iha dvidhā: prekṣyaḥ, śravyaś ca. tayor abhineyaḥ prekṣyaḥ, i.e. that which is presented through acting is prekṣya. Each of it is of 24-types, the prekṣya is such as nāṭaka, etc. sa ca nāṭakā"dibhedac catur vimsati prakāro bhavati. He enumerates these types of plays such as nāṭakam, prakaraṇam, vyāyogaḥ, ihāmṛgaḥ, samavakāraḥ, ḍimam, utsṛṣṭikānkam, bhāṇam, prahasanam, vithi, and nāțikā, śrīgaditam, durmallikā, prasthānam, kāvyam, bhāṇakam, bhānikā, goṣṭhī, hallīsakam, nartanakam, prekṣaṇakam, natyam, and rāsakam. That which is not to be represented on the stage is 'sravya'. This again is 24-fold such as - ākhyāyikā, upākhyāna, ākhyāna, nidarśana, pravahlikā, mandhullikā, maṇikulyā, kathā, parikathā, khaṇḍa-kathā, upakathā, bṛhat-kathā, campūḥ, parva-bandhaḥ, kāṇdabandhaḥ, sarga-bandhaḥ, āśvāsabandhaḥ, sandhibandhaḥ, avaskandha-bandhaḥ, kavya-śāstram, śāstra-kāvyam, koṣaḥ, samghātaḥ, samhitā, and sahitya-prakāśa.
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It may be noted that twelve kinds of preksya such as nātaka, prakarana, ihāmrga, vyāyoga, samavakāra, dima, utsṛstikānka, bhāṇa, prahasana, vīthi, and nātikā and sattaka fall under vākyárthábhinaya.
Padárthábhinaya is seen in the other 12 types such as śrīgadita, durmallikā. prasthāna, kāvya, bhāṇaka, bhānikā, gosthī, hallisaka, nartanaka, preksanaka, rāsaka, and natya-rāsaka.
All these each are defined and illustrated with mention of many rare and lost works. But Bhoja had an access to the same. On the first ten types of major preksva rūpakas, Bhoja cites the definitions as given by Bharata. He observes (pp. 465, Vol. II, ibid)
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