Sagardatt and Lalitang Rasaka

Author(s): Shantisuri , Ishwarsuri, Shilchandrasuri, H C Bhayani
Publisher: Kalikal Sarvagya Shri Hemchandracharya Navam Janmashatabdi Smruti Sanskar Shikshannidhi Ahmedabad

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tions occurring in Bhoja's Sṛngaraprakasa strongly suggests that Bhoja was quoting from some Ap. Rāsakas. A shorter variety of Rāsaka, a lyrical song to accompany a circular group-dance is also described by the prsodists and this has continued with periodical changes in its form and function down to the present day in certain western and central regions of India.
As stated at above there is not one but several aspects from which the SR. proves to be of considerable importance and interest. The literary form of the SR. is so novel as to bestow on it the distinction of being the first Ap. text of its kind published so far. As the title of the SR. indicates, it is a Rāsaka type of poetic composition. By this one would be instantly reminded of the Rasa compositions the exuberance of which in the Old Western Rajasthani literature is so remarkable. But the form of the present Rāsaka is, as the treatment below indicates, altogether different from that of the OWR. Rāsās.
There are two prosodists who at all take any notice of the form. The addition they make to our knowledge, though meagre, is quite welcome in view of the general paucity of information relating to the structural side of the Apabhnasa poetry. Of these two prossodists one is far. The portion IV 27 to IV 38 of his fa evidently, though not expressly, deals with a few Apabhrśa metres, strictly so called. This small section, after treating दोहा, मागधिका, मात्रा, रड्डा, अडिल्ला and ends up by defining the 4 form at 37-38. We come to know from this that two different types of रासक were familiar to विरहाङ्क. Vis. IV 37 says that रासक is constituted with विस्तारितकs or द्विपदीs closed with विदारी. All these peculiar terms are defined by विरहाङ्क at the beginning of the II of the Vjs. But our concern is with the second type of 4%, treated at lv 38. There we are told that that which is built up with many अडिलाs or दुवहअs, with many मात्राs, रड्डाs and ढोसा is called by the name TH. A definition essentially similar but supplementary in details is advanced by स्वयंभू. In his स्वयंभूच्छंदस् while closing the treatment of Apabhrmsa metres, he thinks his worthwhile to say something regarding the form and the last four stanzas (VII 49-52) of the Sc. are devoted
.