Indological Studies

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

Page 91

The Character of Akṣiptikā
चञ्चत् पुटादितालेन मार्ग-त्रय-विभूषिता । आक्षिप्तिका स्वर-पद-ग्रथिता कथिता बुधैः ॥
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From these two accounts we understand that a Dhruva is called Akṣiptika if it describes the appearance of a character and is sung in a particular manner with a particular Tala.
Bhoja gives Akṣiptika as one of the six varieties of the Sabdalamkara called Sravya. He defines it as follows :
अभिधित्सित - रागविशेष-प्रयोग मात्र फलं वचनमाक्षिप्तिका ।
(Sarasvatikaṇṭhābharaṇa under II. 140-141)
This means that in an Akṣptika song the words have no more function than to serve as a base for the particular Raga that is to be sung. What is aimed at is a musical composition and not a poetic composition. Bhoja has given a illustration of Akṣiptikā. It is an Apabhraṁśa verse which prays to the goddess Mahalakṣmi, describing the beauty of her features. her power and her blessedness'.
verse as an
Now several facts are noteworthy in Bhoja's treatment of Akṣiptikā. He does not connect or confine it to the drama. The illustration given by him is a Stuti of Mahalakṣmi. Moreover, he' mentions and defines Ākṣiptikā and Dhruvā separately as two of the six varieties of Śravya.
On the basis of the above given data Raghavan has attempted to ascertain the precise nature, and character of Ākṣiptikā. Bhoja's six varieties of Sravya are Asiṣ, Namaskriyā, Vastunirdeśa, Nandi, Akṣiptikā and Dhruvā. Raghavan thinks that these kinds of Śravya Sabdalaṁkāra pertain to drama only and have little to do with poetry. Nandi and Dhruva are clearly associated with drama and the same may apply to the other varieties. Moreover. Akṣiptika, from its only two known occurrences in the Vikramorvasiya, is actually seen to be connected with the Praveśiki Dhruvā in the drama.
But this view of Raghavan has to face several difficulties. Raghavan finds it rather difficult to account for the illustration