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

Page 36

26
Literary and Performing Arts
guished from the literary and lyrical Apabhramsa works with the same class-designation, the identity of designation may not be quite without significance. And in the case of the literary Rāsaka and Carcari we find Apablıramsa to have been their typical language and the Rāsaka their typical metre.14 From this it may not be unsafe to infer that the Uparūpakas Rāsaka and Nāțyarāsaka (=Carcari) too, like the Dombikā, had songs in Apabhramsa language and Rāsaka metre.
This evidence for the use of Apabhramśa for some of the Uparūpakas significantly extends the hitherto known range of Apabhramša literature.
II. Dombikā and Durmilikā.
4. The carliest definition of the Dombikā cited from some ancient source in the ABH. (p 181) is as follows :
छन्नानुरागगर्भाभिरुक्तिभित्र भूपते: । आवज्यते मनः सा तु ममृणा डाम्बिका मता ॥
The two main characteristics of the Dombikā mentioned here, viz, dealing with clandestine love and seeking royal gifts by singing eulogies, etc. are referred to several times in the ABH.15
Now in Bhoja's S'qigāraraprakāśa the Dombikā, inspite of the fact that it is actually mentioned in it as 'Dombalikā' in some other context, 16 does not seem to figure in its list of the twelve Uparūpakas, which is as under17 :
Śrigadita, Durmilikā, Prasthāna, Kāvya, Bhāņaka, Bhāņikā, Goșthi, Hallisaka, Nartanaka, Preksanaka, Rāsaka and NāțyaRāsaka.
And if such were the case, there was no other way to explain it except as a plain lapse on Bhoja's part, and so it is assumed by Raghavan.18 Of course it would be just another way of saying that such an omission was very strange and quite anaccountable.