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123
H. C. Bhayani
Lastly we have to draw attention to a dramatic work dealing with tho loves of Krsna and Rālā. A09; the Uparūpika types of dramatic
works, Rāsaka, Nāt, arāsaka and Rāsakānka are described by the works on dramaturgy. No specimens, however, of these types are preserved. Only in the case of Rāsakānka we get a pissage, quoted by Bavja in his Srigaraprakasa (Ilth century) and pther by Abhinavagups in his Abhinava-bhāratí (12th century), from a work called Radha-vipralambha by Bhejilla16. Fron Bboja's citation re know that that dramatic work must have at least four characters, viz, Krsna, Radha, the Pratinayika called Pālitakā and Vidūşaka. Abhinavagupta observes that the work freely uses the Apabhraíśa dialect. This is a very valuable evidenc: of a tradition of dramatic works composed on the thenis derived from the early life of Krsna.17
Appendix
(Text of the verses reterred to) (1). पोणत्तण-दुग्गेज्म जस्स भुआ-अत-णिठ्ठर-परिग्गहि ।
रिठस्स विसम-वलि कंठ दुक्खेण जीवि वोलीण ॥
(सेतुबंध १-३)
(2) ओआहिअ-महिवेढो जेण परूढ-गुण-मूल-लद्ध-त्थामो ।
उम्मूलंतेण दुमं पारोहो ब खुडिओ महेदस्स जसो ।।
(सेतुबंध, १-४)
(3) सो अइ जामहल्लाअमाण मुहलालि-वलअ-परिआलं ।
लच्छि-णिधेसतेउर-वई व जो वहइ वणमालं ॥
(गउडवह, २०)
(4) बालत्तणम्मि हरिणो जअई जसोआए चुम्बिअं वअणं ।
पडिसिद्धणाहि-मग्गुद्ध-णिग्गों पुण्डरी व ॥
(गउडवह, २१)
16. See v. Raghavan, Bhoja's Srigaraprakasa, 1963, pp. 889-891. Accord.
ing to the Syngaraprakasa, the Goșthi type of Uparūpaka deals with the childhood exploits of Krsna (p. 456), The Nandimāli describes
Haricarita (p. 467). There is also a teference to a Sanskrit Mahaka. vya called Krsnacarita (p. 474). These are indications of the Krsna
literature lost to us. 17. The Balacarita, attributed to Bhāsa, is of course quite well-known,
But there is the uosclved problem of its authenticity.
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