Indological Studies

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

Page 87

Bhavāi and the Folk Elements in the Classical Drama
77
The subject of Prasthāna was Pravāsa-vipralambha, and hence its characteristic song related to Prathamānurāga, departure of the hero and the descriptions of the Spring and the Rains by the Virahotkaņķhitā heroine.
Bhāṇa, Bhāņikā and Preraņa made symbolic use of the nature, traits and behaviour of animals to serve as instructive examples.
Preksanaka presented spectacles like Siva's burning of Kāma, which was performed by a troupe of actors at some street-corner, public square or temple premises.
In several Uparūpakas, the language of the song that served as the text for the dance was not Sanskrit or Prakrit but Apabhramśa-a strong evidence of the popular or folk origin of these dramatic types.
(3)
The song constituent of the Uparūpakas is treated in musical works like the Samgitaratnákara and the Sangita samaya sāra, while the dance constituent is handled by the works like the Nittaratnāvali.
Under the section on the country dances (deši-nrtta), Jāya Senapati's NȚttaratnāavali (1253–54 A. D.) describes, over and above the dances Rāsaka, Carcari, Nāțyarāsaka and Preksaņa, a few other's named Peraņi, Gomdali, Bhāņdika and Bahurūpa. These latter types have arisen later than the former ones and they have survived in some form or other, in the folk traditions upto the present day. For example the Bahurūpa of the Nịttaratnāvali continues to live today in the performances of the folk artist known as bahurūpi or bahurūpiyā. The Bhāņờika is still kept alive by the Bhāņda community. The Gondali is found today in Mahārāștra in the form of gomdhal, which consists of singing Povādās. Lāynīs etc. on festive occasions like marriage. It is also celebrated as a religious festival in honor of a goddess.
This Gondali has very interesting history. According to the Minasollasa (composed in 1131 A. D.). King Someśvara witnessed