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The Dhruvās in the Vikramorvasiya
73
Moreover the illustatrion of Māgadha-narkuți metre, a type of Khañjaka, is a Varāhânyotki (Sc p.) I 5 (1). That of Viślokā is a Bhramarānpokti (SC. (P), IV 4(1). Svayambhūcchandas VI 37 is possibly a Varahānyokti and IV 5, 1 a Karabhānyokti, Music and dance were integral parts of the Classical Sanskrit drama. Dhruvās contributed significantly to the emotronal and aesthetic effect of the drama.10 They played a central role in producing the emotional and lyrical intensity in the fourth act of the Vikramorvasiya.
Notes
1. The recension with Prakrit verses is accepted as original by
Ranganātha, Koṇeśvara, Bollensen, Pischel and Velankar. 2. H. D. Velankar, Vikramorvasiya, 1961, editor's Introduction,
pp. LXIV-LXVII. Velankar has discussed in detail various problems connected with the Dhruvās of Vik. The references to Vik. here are to his edition. For the general character, nature and functions of the Dhruvā see V. Raghavan's article. *Music in ancient Indian drama', The Journal of the Musical
Academy, Madras, Vol. 23, pp. 84-89. 3. Velankar thinks this and the following are Aksepiki Dhruvās,
but in view of Bharata's definition that the Antarā Dhruvā is sung when one is in deep grief, or in swoon or out of his mind we can call them Antarā. 'Āksepiki is the Dhruvā for
the switch-over to a changed mood or situation'. 4. Except the first three : which are in the shortest metres (every
line of two or three syllables) and are in Sanskrit. They are more for the completeness of the treatment, and could have
been hardly functional. 5. See ‘Dombikā and Sidgaka’, in the present collection, pp. 20–33. 6. It is interesting to note that this SK. Dhruvā is an Anyokti
using Vyādha (hunter) as its symbol. The purport of the verse is that when the lion had left his den in search of some prey