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870
SAHRDAYĀLOKA nibaddham etac caturbhir-apasāraiḥ prasthānam iti bruvate
pravāsam upalaksayat sudhiyaḥ." We have discussed this definition under Bhoja. It may be noted that though Rāmacandra and Gunacandra are H.'s disciples, they choose to follow Bhoja and not Abhinavagupta as done by their master here. Śāradātanaya, at BP. (IX. 27, pp. 384, ibid) observes :
"prasthānam kaiśikīvȚtti-yutam hīnópanāyakam, ā-pāna-keli-lalitam laya-tāla-kalánugam. dāsā”dināyakam dvyankam, vița-cețā”di-nāyakam, mukhanirvahaņópetam,
śrngāratilakam yathā.” "Prasthāna has Kaišiki vịtti - It is having a lowly born as upa-nāyaka i.e. subordinate hero. It has the grace of drinking bout and sport (connected with the same). It is rich with harmony and rhythem and art (or art with harmony and rhythem prominent in it). The hero is in form of a servant and it has two acts. Or, the hero is vita, ceta etc. There are two junctures viz. mukha and nirvahana. It is illustrated by śộngāratilaka."
Śāradātanaya's prasthāna does not share the features as described by either Abhinavagupta or Bhoja. Prasthāna for him is primarily musical - 'laya-tālakalánugam'. The theme is erotic with kaiśiki diction and viţa or ceța as its hero. Scenes of drinking and marry-making abound in it. It is having two acts and two junctures.
But while discussing rāsaka at IX. 37 BP., Śāradātanaya first gives the first three lines from Bhoja's definition of 'prasthāna' and the fourth-line has -
"mukha-nirvahaņa-sametam
prasthānam bhavati caikánkam.” (pp. 388, ibid) Perhaps these lines are misplaced here through the mistake of some copvist, or, as Dr. Raghavan thinks, Sāradātanaya means to bring together other definitions of
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