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SAHRDAYĀLOKA Though sung and represented through Abhinaya by only one, though the theme is descriptive as in a śravyakāvya and not written in form of dramatic dialogue, the citra-kāvya employs various rāgas and Tālas at different places to suit the varying Rasa and idea. The Gita-govinda is thus a citra-kavya uparūpakā. It is well known that it was intended for Abhinaya and that Jayadeva's wife herself rendered it in Abhinaya. In south India it is even now being sung and till recently rendered in Abhinaya in the bhajana tradition of the Bhāgavatas. In the Tanjore Sarasvati Mahal Library there are two copies, unfortunately incomplete, of a commentary on the Gīta-govinda giving Abhinaya for the text, word for word.”
Dr. Raghavan here explains how Kohala's concept of Kāvya (or Rāga-kāvya) was picked up by Bhoja, whose view we will now examine.
Bhoja mentions ‘Kāvya' as having another variety called citra-kāvya. He defines each in an āryā, which read as - Śr. Pra. (Vol. II. Josyer, pp. 466):
"ākṣiptikā’tha varno mātrā. dhruvakotha bhagnatālaś ca. vardhatikāccha-dhvanikā yatra syus tad iha kāvyam iti.” "yuktam layántarair yac ca dhvanikā-sthāna-nirmitaiḥ bhavati, kävyam iti vividha-rāgam
citram iti tad ucyate krtibhiḥ.” This description is full of “obscure musical terms relating to Rāga”, observes Dr. Raghavan (pp. 549, ibid). The musical composition and tāla referred to are equally obscure.
Dr. Raghavan here reads two varieties as mentioned by Bhoja. The first is pure ‘kāvya', which is in one rāga, and the other is 'citra' kāvya, full of many - (vividha) rāgas.
DR./Avaloka under DR. I. 8 mentions "Kāvya' as one of the seven types of varieties of nộtya. But nothing further is discussed by Dhanika.
Hemacandra has the following (Kā. Šā. VIII. (70), pp. 449, ibid-Edn. Parikh and Kulkarni) :
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