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Classification of Poetry
839 evamvidha-viruddha-padártha-visayaḥ katham abhinayaḥ prayoktavya iti cet, anūdyamānaivamvidha-vācya-visaye yā vārtā sā'trā'pi bhavisyati.... etc.”
Thus padárthavişaya-abhinaya, and therefore also vākyártha-visaya-abhinaya are not absolutely new terms.
For Bhoja, the ten rūpakas and also nātikā and sattaka are rasāśraya varieties and thus they make for tweve major types.
As for 'Nātikā', though Dhananjaya calls his work “daśa-rūpaka" and says that rūpakas are only ten in number, he yet defines nātikā in DR. III, after defining nātaka and prakarana. Bharata also does exactly the same as for Bharata, and therefore also for Dhananjaya, Nātikā is a form derived from both nāšaka and prakarana. Bharata observes : (pp. 435, 5 Vol. II. G.O.S. Edn. '34, O. I. Baroda) -
anayośca bandha-yogād anyo bhedah prayokt;bhiḥ kāryaḥ, (XVIII. 57 ab) prakaraṇa-nāțakabhedād
utpädyam vastu, nāyakam nrpatim. (XVIII. 58 ab.) A discussion is read as to whether nrtta and nātya are identical or not in the Abh. (pp. 170. 171. etc. Vol. I. G.O.S. Edn. '56). Here we read names such as dombikā. prasthāna, sidgaka. bhānaka, bhānikā, rāga-kāva, etc. One thing is certain that these art-forms were perhaps forms accepted from folk-art and were even older than Bhāmaha and Dandin and certainly predecessors of Bhoja knew them all. A.bh. has an expression viz. "Kohalas tu braviti" (pp. 171, ibid), and also "kohalā"dyaih" - which proves that these art-forms were perhaps even older than Bharata, who mentions only nātikā, for reasons best known to him only. A.bh. even quotes a name - "cūļāmaņi-dombikāyām...” with reference to one dombikā.
We know that Dhananjaya also, after Bharata, takes nātikā as a samkīrṇa or mixed form. The DR. III. 43 observes :
"laksyate nātikā'py atra samkīrṇānya-nivṛttaye, tatra vastu prakaraṇāt
nāțakān nāyako nộpaḥ." by ‘rejection of other mixed forms' or 'anya-nivșttaye' is meant that Dhananjaya was not inclined to accept many mixed forms like these, the prakaranī being the
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