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879
Classification of Poetry
predominant. This does not agree with Dr. Raghavan's observation of taking Gita-govinda as 'kavya' or 'raga-kavya', for it is not having 'one act', and 'garbhavamarśa-sandhibyām hinam" i.e. not having garbha and avamarśa sandhis. Again it is having a number of characters and even this also goes against Dr. Raghavan's description of kavya being presented only by one person, such as the wife of Kavi Jayadeva.
So, for Śāradātanaya, Kävya is endowed with hasya and śṛngāra rasas and is gifted with all the vṛttis (such as kaiśikī, ārabhați, etc.) This art-form is rich in bhagna-tāla, dvipadi and khandamātrā. These terms are not clear to us but we know that Bhamaha (I 24) had mentioned 'abhineyártha' such as nāṭaka, dvipadī and samyā. Tatacārya in his commentary does not explain (pp. 11) this term 'dvipad?'. For Saradātanaya this 'kāvya' is a one-act presentation and it has mukha, pratimukha and nirvahaṇa sandhis. It has vita, ceți, kulanganā nāyikā, and nayaka of the 'lalitódatta' variety. Sāradātanaya further adds: (BP. IX. 29 - pp. 385, ibid).
"viprā'mātya-vanik-putranāyikā-nāyakójjvalam
mudita-pramadā-bhāṣācestitair antara'ntarā. grathitam, vita-ceṭā"diveṣa-bhāṣābhir eva vā,
evam vā kalpayet kavyam
yathā sugrīva-kelanam."
A second form of Kavya is described with "sugrīva-kelana" as an illustration, the first form being illustrated by "gauḍa-vijaya".
This variety of Kavya has in it characters such as a brahmin-vipra, a vaṇik putra, is beautified by nayikā and nayaka (in form of a brahmin or a vanik-putra). This form is intervowen in the middle at places by women who are joyous, and their language (expressing joy), and the joyous activities of such ladies. It is again gifted with the costumes and language of vita, ceta and such other characters. The illustration is "sugrīvakelana". This variety has traits of the prakarana type. Though Śāradātanaya does not mention the number of acts or sandhis, we can imagine that they remain the same as in the first variety.
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