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SAHṚDAYALOKA
"padárthábhinaya-svabhāvāni dombikā”dīni geyāni rūpakāņi cirantanair uktāni.”
He accepts these art-forms as 'rūpaka' as well as calls them 'geya' variety suggesting that these popular art-forms are a curious mixture of some drama and more music, dance and song and are padárthábhinaya rupa, i.e. as is meant by the DR., they are minor art-forms which have 'bhava' at the centre and not 'rasa'. Again, in his Viveka (pp. 445, ibid), H. makes it clear that the performance or presentation of geya-kavya is three-fold such as masṛna or gentle, uddhata or highpitched and miśra or mixed : "trividho hi geya-kāvyasya prayogaḥ, masṛṇaḥ, uddhato, miśraś ca. Dr. Raghavan could have benefited had he looked into Viveka on it. H. further states (pp. 446, ibid) - "tathā hi dombikāsu narapati-caṭukaprādhānyena pravṛttāsu sukumāram eva śuddham rūpam. bhāṇakeṣu nṛsimhā❞dicarita-varṇane uddhatam eva. yat punar masṛṣe'py uddhatam praviśati tad ucitam eva. tatrápy-alpatva-bahutva-kṛto bhedaḥ. pūrvaḥ prasthāna-prabandhaḥ uttaraḥ śingaṭakabhedaḥ. uddhate tu masṛṇánupraveśād bhāṇikābhedaḥ anyad api preraṇa-rāmākrīḍa-rāsaka-hallīsakādim alpatva-bahutva-vaicitrya-kṛtam ihaiva pravistam veditavyam."
We will discuss all this in greater details when we take up H. separately later but for the present we may note that H. has not only understood the essence of various art-forms but he has explained it so clearly that there does not remain any doubt about the nature or features of various art-forms. We repeat here that Dr. Raghavan would have definitely benefited had be looked into the Viveka of H. Actually H. suggests that the acting in these minor art-forms is three-fold and could be manifold by the fusion of these elements of acting in different proportions.
So, for H., as for Abhinavagupta, 'prasthāna' is an art-form in which the acting is less hot and more soft. H. here has accepted Abhinavagupta's lead and not that of Bhoja. Prior to this, under DR. I. 8 Dhanika mentions 'rūpakántara' such as: (pp. 8, Adyar Edn. ibid).
"dombī śrīgaditam bhāņo, bhāṇī-prasthāna-rāsakāḥ,
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kavyam ca, sapta nṛtyasya bħedā syus te'pi bhāṇavat."
The Avaloka mentions seven art-forms but distinguishes them from the major art-forms, the rūpakas, on the ground that the natya (= major rūpakas) are rasa"śraya i.e. rasa-oriented while these seven minor art-forms, which are termed 'nṛtya' are 'bhāvā❞śraya'.
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