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subject - that of Nayaka-Nāyikā-Bheda - where Dhananjaya is a greater authority than Hemachandra. Even Hemachandra realizes this – that is evident at every step in this chapter. Of course, Rudrața and Rudrabhatta also cast their influence on our author, may be, through the Dasarū paka. Hemachandra is a Follower of Bharata
Hemachandra's exposition of the twenty Sättvika Alamkāras (Natural Graces) of the Heroine, reminds us of the twenty graces mentioned by Bharata. Bharata classifies them under three heads : Angaja or Physical, Ayatnaja or Involuntary and Syabhāvaja or Dispositional. Hava, Bhāva and Hela are Angaja; Sobhā, Kānti, Dipti, Madhurya, Pragalbhatā, Andārya and Dhairya are Ayatnaja; and Lilā, Vilāsa, Vicchitti, Vibhrama, Kilakiñcita, Mottāyita, Kuttamita, Bibboka, Lalita and Vihịta are Svabhāvaja. All these are defined by Dhananjaya in his Daśarūpaka (11.30-41). And Hemachahdra is a follower of Bharata, as he himself declares at the end of this chapter (Asmābhir Bharatamatānusāribhir etc. p. 431). Nāyaka-Nāyikā-Bheda : A Highly Conventionalized Subject208
Dr. S. K. De's remarks are interesting.
The subject of the classification of the Hero and the Heroine is a highly conventionalized one in Sanskrit Literature, both creative and critical. It is intimately connected with the drama in general and Sțngārarasa in particular. In the classical period of Sanskrit Literature love-poetry bloomed in its fullness which brought in its wake an overflow of amourous descriptions which followed conventional patterns. The Kāmasutrā had a contribution to make in this field. The science of Erotics had indeed a profound influence on the theory and practice of poetry of this period. As it deals with the art and practice of love, it has sections on the ways and means of winning and keeping a lover, courtship and signs of love, on marriage, and conduct of married life, and on the practical psychology of
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