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(8) Hallisaka contains circular dances. The dance consists
in a male member standing in the midst of ladies like Lord Krisna in the midst of Gopis. The dances are conducted by a host of ladies and are performed with the accompaniment of music and timing.
(9) A Rāsaka is played or staged by many dancing girls to the accompaniment of variegated timing and rythms and consists of upto sixtyfour pairs - one pair consisting of a man and a woman - or couples. It is soft as well as Boisterous. This definition is from the Sr. Pr. of Bhoja. (10) In Gosthi the incidents of the life of Lord Krisna - his exploits such as the killing of the demon Rista and others are shown.
(11) In Śrīgadita, high-class ladies sing and praise the merits of their husbands, or sometimes they remonstrate with their husbands. This is also from the Śr. Pr. of Bhoja. called (12) The last variety of the Geya composition is Ragakāvya in the list of such compositions (vide K.A.S. VIII.4). But the verse cited (Q.No.70) defines a Kavya (?) by stating that this type of a Geya composition has a well-arranged plot, full of various sentiments and it is beautified by the employment of different rhythms as well as by different musical Ragas.
These are the regular, twelve kinds of Geya compositions which are marked by song, dance and music and are full of sentiments.
It may be noted that Hemachandra has used the word Adi at the end of the list of these Geya compositions. This Adi or et cetera refers to the other kinds of the Geya-kavya such as Sampa (or Samya according to Bhamaha, Daṇḍin and Bhoja, (S.P. XI, p. 468), Chalita, Dvipada and others. However, Hemachandra, instead of explaining these varieties, refers us to the works of Brahma, Bharata, Kohala and other ancient authors on Dramaturgy and Poetics.
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