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Shri Mahavir Jain Aradhana Kendra
www.kobatirth.org
Acharya Shri Kailassagarsuri Gyanmandir
36
गीतवीतरागप्रबन्ध Upendravajrá :(5) : ix.4-5; xvii.-1; xxiii,2; xxv. 8 Varśastha; (1): xxv.9. Vasantatilaka : (3): viii.3; xi.5: xii 3.
This clearly shows that the author's favourite pattern is the Upajati. Some times he combines Vaṁśastha with Indravajrā (xx.7). Next come Malini, Sārdūla. vikrīdita, Indravajrā. Sragdharā and Upendravajrá, Vasantatilaka, and Aryāgīti,
Experts tell me that the Astakas can be tuned to different Rāgas and Tālas, about which this editor is quite ignorant. Dr. Nemichandra, Arrah, has added an exhaustive note (in Sanskrit) on the GV in his Samskrtagīti-kavyānucintanam (Chowkhamba Vidyabhavana, Varanasi 1970). After adding a few words about the author and his age, the contents of the poem are indicated. Some of the Scenes are pointed out as strikingly poetic; and the different Alamkāras used by the author are discussed often indicating their contexts. The Rágas used in the Astapadīs are set forth with their musical patterns, suited for different situations : this is a significant contribution to the study of this poem (which is being published here in Nagart characters) with a view to attracting a wider circle of readers (pp.126-40). Incidentally the items of cultural interest (such as the family life, food, clothes, conveyances, cultivation of arts etc.) are covered at the close of the book (pp. 224-28). Dr. Nemichandra informs me that a friend of his is adapting these Aştakas to different Ragas: one can await the results. In the meanwhile, these Aştakas can be analysed metri
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