________________
Prabandha as a whole. The commentary of Hemachandra
here, is, again nothing but a reproduction from the śr. Pr." 214 The term Vākyarthabhinaya' is intimately connected with
Dhananjaya's theory of Rasa. Vide D. R. IV. 215 On the meaning of these three technical terms of Drama
and Dance viz. Nātya, Nộtya and Nịtta, read K. M. Varma's study of these concepts in his monograph "Nātya, Nștta
and Nộtya : Their Meaning and Relation". 216 Vide Bhoja's Śr. Pr., p.5 36. 217 Vide D. R. with Avaloka and Laghuţikā (Ed. T.
Venkatacarya) pp. 7-10 (1. 7-9a). Also read Ibid, Intro. pp.
XXXII-XXXV. 218 Bhoja's Śr. Pr. p. 538. 219 Ibid, p. 538
220 Dr. Raghavan (ibid, p. 540-41) writes : "Of Sattaka, there
is no mention at all in Dhananjaya. Bhoja's position is ....... there is surely a variety similar to Nātikā. .... It is called Sațțaka and it differs from the Nātikā only in as much as it has no Viskambhaka and Pravesaka, and is throughout in only one language..... Sārdātanaya adds the Totaka to the Nātikā and the Sattaka as types derived
from the Nāțaka and Prakarana....." 221 Cf. Bhoja's words quoted by Dr. V. Raghavan :
"Vākyārthābhinayo'yam prakirtito nāțakadibhedena Dvādaśavidhapadārthabhinayamatha yathāsthitam vakşye 1?"
Bhoja's Śr. Pr., p. 544. 222 Bhoja's Śr. Pr., p. 546. 223 Hemachandra also describes them as "Rūpakam". It is
the Sahityadarpaņa of Viśvanātha that employs the term "Uparūpaka" for these minor shows, for the first time. Cf. S. D. (VI.3-6).
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