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890
SAHRDAYĀLOKA
The next two verses observe, both in Bhoja and Sāradātanaya that bhāņa thus is three-fold viz. śuddha, sankirna and citra. When it is having a 'suddha' bhāsā (meaning perhaps one language) it is suddha, when it is sankīrņa or mixed, there is mixture of two languages and it is 'citra' when it abounds in many languages and also multiple activities (vicestitaih citraih). Further, it is noted by both Bhoja and Śā. that Bhāņa is again three-fold such as uddhata (= forceful), lalita (= graceful) and lalitóddhata (= a mixture of both forceful and graceful) due to varieties of artha, i.e. theme; - “arthānām auddhatyāllālityād ubhaya-bhāvāc ca.” This expression is identical in both i.e. Sr. Pra. and BP.
Thus we arrive at a threefold division of bhāna both from the point of view of language i.e. linguistic expression, and also from the point of view of content or theme i.e. artha.
Dr. Raghavan's remark does not fall in line with the above explanation which clearly follows the text and which is preferred by us. Dr. Raghavan (pp. 552, ibid) observes : “From the point of view of this dance, it has three varieties, uddhata, lalita and lalitoddhata." He quotes "ayam uddhato... arthā(nā)m auddhatyāt....” But ‘artha' sould mean here 'theme'. Of course, three-fold classification is possible from the angle of 'vicestita' which means "dance performance” which could be forceful (tāndava or uddhata), graceful i.e. lāsya or lalita and mixed. But this is a third angle. We again do not know, whether Bhoja, as is his practice elsewhere, also admits of further sub-varieties of the mutual permutation and combination of these three-fold each factors of language (bhāsa), theme (artha) and viceştita (nrtyadance). This also is possible. Of course Dr Raghavan does take note of t factor also, and further observes (pp. 552, ibid) : “From the nature of the language employed, the bhāna is distinguished into suddha, sankirna and citra, written respectively in one language, in two, and more then two.” DR. Raghavan quotes a verse from Bhoja viz.
"yadi vaişa śuddha-vācā śuddhaḥ, sankīrṇayā sankīrṇah, sarvābhir bhāṣābhiḥ
citraiś ca vicesțitaih.” He quotes this to support his above observation that bhāna is three-fold due to three types of usage of languages. But he misses out "citraiś ca vicestitaih”, which means from the point of 'vicesțita' or acting through dance also bhāņa
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