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Vol. XXV, 2002
Śaradātanaya has -
(BP. IX. 13, pp. 378,
GENERAL INTRODUCTION TO UPARUPAKAS...
Jain Education International
Edn. Agrawal, ibid)"atha śrīgaditam vidyāt prasiddhodatta-nāyakam, bhārati-vṛtti-bahulam udatta-vacanānvitam.
garbhavamasa-sandhibhyām sunyam prakhyāta-nāyakam, ekankam, vipralambhākhyarasa-prāyam kvacit kvacit. yasmin kulānganā patyuḥ śaurya-dhairyādikān guṇān, sakhīnām agrato vakti, tan upalabhate'tha vā. vipralabdha ca tenaiva
yadi, tatsangamāśayā āsīnā, yatra lalitam priyābhoga-vibhuṣitam
utkanthita paṭhed-gayet
pāṭhyam vā gītameva vā,
evamvidham śrīgaditam
rāmānandam yathā kṛtam."
Śāradātanaya has something more to say than the earlier writers. He cites an example viz. Rāmānandam. For Śāradātanaya, this art-form is not just all dance and music but is a play, a type of drama, with one act and three samdhis such as mukha, pratimukha, and nirvahaṇa, with garbha and avamarśa absent from it. It has a famous and nobly born hero and is decorated with lofty expression udatta-vacanānvitam. There is prominance of bhārati-vṛtti and this suggests that the physical action may be on a low key with descriptive element thriving. Because of this we have a lot of talks, wherein a lady from a noble family describes before her friends (=sakhīnām agrato vakti) (and this is against a single friend as described by Bhoja, Hemacandra and the ND), the high qualites
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