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Classification of Poetry
891 becomes three-fold. This could mean that we can have a variety of suddha vicestita in either tāndava alone or lāsya alone, and a mixed viceștita of both tāndava and lalita, i.e. lāsya.
DR. Raghavan further observes, and we agree with this, that the sankirna and citra varieties seem to be distinguished on other grounds also, such as actions involved - citraiś ca vicestitaih. This we have noted above. But we have equated 'vicestita' with the style of performance i.e. the variety of dance through which the bhāņa is presented. Bhoja reads further :
“yad duşkaram abhineyam, citram, cā’tyudbhatam ca yad bhavati tad-bhāņake bhidheyam
yutam anutālair vitālaiś ca." Sā. also reads the same excepting that in the first line also, he (i.e. BP) has "abhidheyam", as in the third line. We feel "abhidheya” (= theme) should be preferred at both the places. The idea is that, when the abhidheya i.e. theme to be presented is difficult, it makes for 'citra' variety. When the abhidheya (= theme) is forceful (i.e. udbhata) in a 'bhānaka', it is accompanied by anurāla and vitāla. It may be noted that the term used here is "bhānaka" for "bhāna”. Earlier we had - noted that these words look like synonyms and our observation is borne out to be true. Here, Dr. Raghavan observes, (pp. 552, ibid) - "Bhoja says that in Bhāna, things very difficult for Abhinaya and intricate rhythems also must be intorduced."
Then an interesting verse is read slightly differently, but with identical effect in Bhoja and Sā. Bhoja reads -
"sótraivántarbhāvyaḥ yo bhāno mandi-māli-nāmā syāt. bhinnaḥ kaiścit kathito
bharata-matam samyag a-viditvā.” and śā. reads,
"tasyántarbhāvo yo bhāņésau nandimāli-nāmā syāt, bhinnaḥ kaiścit kathito bharata-matam samyag a-viditvā.”
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