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Classification of Poetry
851
in the foregoing pages which read as : "ukta-vyākhyāne tu kohalā"di-laksita-totakasattaka-rāsakā"di-samgrahah." We have quoted all these passages above with clear references. So, one thing that emerges is that Abhinavagupta knows all the names quoted by Kohala and others and also by Sri Harsa in his Vārttika. He is also supposed to know the types mentioned by Bhāmaha and Dandin. So, we will not be away from truth if we conclude that Abhinavagupta knew the following uparūpakas, viz. (1) toțaka (3) satďaka (3) rāsaka (4) kāvya (5) rāga-kāvya (6) dvipadi (7) śamyā (8) skandhaka (9) lāsya (10) chalita (ka). These are through Kohala and others and Bhāmaha and Dandin. Perhaps through Vätsyāyana's Kāmasūtra he also knew (11) Hallisaka, (12) Natyarāsaka and (13) Preksanaka. Through Kumārila again Dvipadī and Rāsaka are known which were read in earlier documents also. Again A.bh. mentions further upa-rūpakas (Ch. IV. N.S.) such as - (14) Dombikā (15) Prasthāna (16) a or şid gaka (17) Bhānaka (18) Rāgakāvya (19) Bhānikā (20) Prerana (21) Rāmākridaka, with Rāsaka and Hallisaka already enumerated. Avaloka also was perhaps available to Abhinavagupta and there we find seven varieties of nộtya such as dombi, (= dombikā), (22) Srigadita, and bhāna, bhānī, prasthāna, rāsaka and kāvya-all noted above.
Bhoja was perhaps acquainted with all these names and also their features through different sources prior to him. But actually Bhoja enumerates the following. twelve types of uparūpakas such as - (1) Srigadita (2) durmilikā (or tā), (3) prasthāna (4) Kāvya (or citra-kāvya), (5) bhāņa (śuddha, citra and sammilita), (6) bhāņikā (7) gosthi (8) hallisaka (9) nartanaka (10) prekșanaka (11) rāsaka and (12) nātya-rāsaka or carcarī.
The Uparūpakas as noted above are closer to dance than drama and could be representative of folk-art also. Many of these are performed by a single artist i 'ekahārya'.
Hemacandra following Bharata, gives nāţika after treating the ten major types. He classifies kāvya=literature into preksya and śravya. Preksya again is pāțhya and 'geya'. Pāțhya varieties are the ten rūpakas and nātikā and among geya varieties, - which are also preksya and therefore enacted on stage and make for visual art-forms belonging to the class of performing art in general, - he enamerates (1) dombikā (2) bhāņa (3) prasthāna (4) singaka (5) bhāņikā (6) prerana (7) rāmākrīda (8) hallisaka (9) rāsaka (10) goşthī (11) śrīgadita and (12) rāga-kāvya, etc. He says that details for these which he has only defined should be sought from - "brahmabharata-kohalā”di-śāstrebhyaḥ avagantavyaḥ.”
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