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Literary and Performing Arts
In Heinacandra's Grammar5 we find that two Dohās cited as illustrations are Dhavalānyoktis. Hemacandra IV 340 (2) is an Apabhramsa rendering of Jambūsāmicariu VII 6 6. IV 421 contrasts the strength of the white bull with the laziness of bad bulls.
These examples show that from the eighth to the twelfth century there was a continuous tradition of composing Dhavalanyoktis in Prakrit and Apabhramsa, and for these Dhavalas the metres that were used were the Gathā (in Prakrit) and Dohā (in Apabhramśa).
4. Dhavalas in the post-Apabhramsa literatures.
There is hardly any Apabhramśa poem which does not refer to the singing of Dhavala and Mangala songs in its description of festive Occasions like marriage, birth of a son, triumphal return of a prince, the Dikṣā ceremony of a Jain monk or the ceremonial welcome accorded to him etc.
This literary convention continues throughout the period of the Old Gujarati literature, in which the stock descriptions of such occasions invariably mention the singing of Dhavalas and Mangalas.
Some Sanskrit narratives written in Gujarat and other regions of Western India during the centuries around 1000 A.D., also refer to the singing of Dhavala and Mangala on festive occasions like marriage Hemacandra's Trişașți śalākāpuruşacaritra, while describing Rşabhadeva's wedding, mentions singing of Dhavalas and Mangalas along with other ceremonies and customs which evidently reflected the then prevalent popular traditions of Gujarat. Hemacandra has given there two actual Dhavala songs. One was sung at the time of the reception of the groom at the gate of the marriage pandal (I 2, 835-840). More interestingly another one, a special variety of Vivāha-dhavalacalled Kautuka-dhavala (I. 2, 854-862) was sung for lampooning the best man, and mocking at his greediness for sweets etc.
