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CCCXXII
Kavyanusasana
The Viveka on this adhyâya is meagre, probably because what was to be said has been said in the Al. C.
This adhyāya is mainly based upon the Dasarūpaka of Dhananjaya a literary man of Munja's Court, as also upon the Bharata-Nātya-şāstra and the commentary of Abhinavagupta ( pp. 406 – 431).
The eighth Adhyāya treats of the varieties of poetic compositions (garaAFFITAT). The first sūtra classifies literary composition into prekshya (to be enjoyed by seeing) and Sravya (to be enjoyed by hearing or reading). In the Al. C. is explained what makes a poet whose work ( Karman) is called poetry, and then the authority of Bhatta Tota on the subject is quoted.
The second sūtra divides prekshya into Pathya (to be recited), and Geya ( to be sung). In the third sūtra are mentioned the twelve varieties of Pāthya viz: (1) Nātaka (2) Prakarana (3) Nātīkā (4) Samavakāra (5) Īhāmrga (6) Dima (7) Vyāyoga (8) Utərshţikānka (9) Prahasana (10) Bhāņa (11) Vīthi and (12) Sattaka.
The Al. C, on this sūtra quotes extensively from the twentieth chapter of the Bharata Nātyasāstra (C.S. S.). The Viveka on the same also gives interesting information. Most probably it is based upon the commentary of Abhinavagupta (pp. 432 - 445). Over and above these twelve varieties of recitable plays other varieties such as Topaka etc. defined by Kohala and others are also included under the head of pāthya (445).
The fourth sūtra mentions the eleven varieties of Geya-prekshya (visual performance which is musical) as(1) Dombikā (2) Bhāņa (3) Prasthāna (4) Şingaka (5) Bhāņikā (6) Preraņa (7) Rāmākrīda (8) Hallisaka (9) Rāsaka (10) Șrī- gadita (11) Rägaktīvya.
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