Indological Studies

Author(s): H C Bhayani
Publisher: Parshva Prakashan

Page 24

14
Literary and Performing Arts
संपादितोत्सेकेषु बिन्दुमात्राक्षरच्युतक लोकेषु, हस्यमानेषु दीर्घ कालानुभूतनिष्फलचिन्तामौनेषु प्राश मन्येषु, प्रकाश्यमानेषु साधुवादविधिना बुधानां बाधरभसे विजम्भमाणे fazez farsani #gatht......I
Herein the Kāvyagoșthi is said to be abounding in Citrālaṁkāras. Elaborating this, Dhanapāla refers to Prahelikās, Praśnottaras, Satprajñagāthās and Cyutakas (the last of the Bindu, Mātrā and Aksara type). It is also indicated that high intellectual calibre and literary sophistication were pre-requisites for actively participating in the Goșthi, which afforded cultural entertainment and aesthetic pleasure. It should be marked that the Satprajāñka Gāthās are here characterized as having a deep and lucid purport.
There are two other important references to Chappannaya in the Kuvalayamālā. Once it is said that Chappannayas, the eminent poets, cannot be adequately praised as they were the measuring rod for all who write verses rich with nuances (p. 3, 1.25). In another reference Pādalipta, Sātavāhana and Chappannayas are mentioned as most eminent among the poets (p. 3, 1.18). From these two references it is quite clear that Uddyotana has here some specific poets in view. Combined with Anandavardhana's mention of Sagprajña-Gāthās this can be taken to imply existence of some collection containing the Gāthās written by Chappannayas, as is suggested by Upadhye. 16 That it is a fact and not merely a possibility is shown by one actual reference to such a work. In the tale of Silasundari in Sāntisūri's Puhavicamdacariya (composed in 1104-5 A.D.), four young boys are described (p. 117, line 30) as trying to catch the attention of a beautiful girl in various ways; one of these ways was to recite Chappannaya-gāhās with sweet, charming voice. Here Ratnaprabha's Sanketa (to be dated possibly in the fourteenth century) explains Chappannayagāhāo as TIT177771 talasta:. This reference certifies that there was a Gathākoša, an anthology of Gāthās, of erotic character and known as Chappannaya-gāhāo. It seems very likely that in Anandavardhana's expression Satprajñādigäthäsu there is a reference to this specific