Sahrdayaloka Part 03

SR No.: 006910
Original Sutra Author: N/A
Author: Tapasvi Nandi
Publisher: L D Indology Ahmedabad
Publication Year: 2005
Total Pages: 676
Language: English
Classification: Book_English
File Size: 15 MB

Page 455

Chapter XVIII “Dasarūpaka-Vicāra”
While dealing with the topic of classification of poetry, we had suggested that such form of poetry which is both drśya and śravya, i.e. the rūpaka-s, will be taken up later. Accordingly, we take up this topic in this chapter, at the end of Vol. I of our proposed work, “Sahğdayāloka; OR, Thought-currents in Indian Literary criticism." It may be noted that the type of poetry called Upa-rūpakas could have been placed here also, but as, we thought, this variety had less of drama then of poetry as compared to the major rūpaka-s, we dealt with them in the earlier chapter. The upa-rupakas involve a lot of dance and music as well. The rūpakas the ten major types to be considered here, are also kävya' from the point of view of the written script and also when they are only read and not presented on the stage. It is to be noted very carefully that when we call them kāvya or "drśya kāvya", they do not cease to be pure drama i.e. rūpaka. Even Bharata did not hesitate in taking them under kavya, for he talks of guna, laksana, dosa, alamkāra, rīti, vịtti, pravstti, etc. in view of “kavya-rasa". The use of these beautifying agents is contemplated by Bharata in view of “kāvya-rasa”. So, it is gross mis-understanding on the part of such great Scholars like Dr. S. K. De, when he observes only to run down sanskrit drama, that Sanskrit Drama, also like Sanskrit poetry, had “rasa" in the centre ! Actually “Rasa” is in the centre of any art, including poetry, drama, music, dance and what not ! So, the consideration of ten major types of drama will complete the circle. The methodology will be the same. We will of course keep Bharata as a starting point and go through major works on dramaturgy to pin-point the characterstics of Sanskrit drama in general. We will also deal with the problem of the structure of Sanskrit drama, with its plot divided into junctures or Sandhis and then sub-divided into sandhyanga-s. We will have passing observations on some allied topics also. Other topics, that are part of what the Mālava-school of aesthetics terms as "buddhyārambha anubhāva", such as rīti, vrtti and pravịtti, will form part of our proposed volume II of this project. Each topic will be given a separate