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chapter of our work which is almost entirely based on the Dasarūpaka, is Dhananjaya. His work, the Dasarūpaka, synthesizes "the two main classifications of the Hero; for, he says, each of the four types of the Hero (Dhiralaita etc.) as an Alambanavibhāva of the śrgararasa is again of four kinds viz. Anukūla, Daksina, etc. 187 He has also mentioned the Pratināyaka or the opponent of the Hero. The threefold classification of the Hero into Jyestha, Madhyama and Adhama (Higher, Middle and Lower has been attributed by him also to the Hero alongwith all the other characters. It should be understood that the Dasarūpaka is primarily a work on dramaturgy and not on the erotics. This is why the śộngāra Nāyakatva here is only a phase of the life of the general Hero of the play and therefore has no claim to any independent treatment in his work. 1 8 8
Bhoja has as many as six bases for the classification of the Hero. To the divisions of the Nayaka into (1) Uttama etc. on the basis of his qualities; into (2) Dhirodatta etc. on the basis of his general characteristics; and into (3) Anukula etc. on the basis of his relations with Heroine, Bhoja adds the classifications of the Hero (4) into Nāyaka, Pratinayaka, Upanāyaka and Anunāyaka on the basis of his relative position and importance in a plot, (5) into Sättvika, Rājas and Tāmas, according to his nature and (6) into Asādhārana and Sadhārana, strangely, according as he has one or more wives. It may be remembered here that Bhoja associates each of the four main types of the Hero, viz. Dhiroddhata etc. with one of the four types of the Sțngāra which he has divided into four types viz. Dharmasrngāra, Arthasțngāra, Kamaśrngära and Mokşaśșrgāra. Thus the Hero of Dharmaśộngāra is Dhirodātta, that of Arthaśrngāra, Dhiroddhata, that of Kāma, Dhiralalita and of Moksa. Dhirapraśānta. 189 Hemachandra's Classification
On Hemachandra's classification of the Nāyaka and the Nāyikā, Dr. Rakesh Gupta remarks: "Hemachandra in his Kāvyānuśāsana has repeated Rudrața's principal scheme of
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