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Classification of Poetry
893 The second verse is read in Bhoja as - (pp. 467, Edn. ibid)
"ākāśa-puruṣam uddiśya vastu yat pathyate'thavā kriyate, viśliştodbhata bhāva-prayogam
iha nandimāli sah." Śā. reads (BP. pp. 380, ibid) :
ākāśapuruşam uddiśya vastu yat pathyate'thavā kriyate, viśistodbhāvya-bhāva-prayogavān
nandimālī sah." Both have the form ‘nandimālī, meaning the original word is “nandimālin”.
The fourth line is read as "viślistódbhaça-bhāva-prayogam" in Bhoja, and "viśistódbhāvya-bhāva-prayogavān" in Sā. Sā. means that nandimālin is furnished with presentation of bhāvas that are imagined specially (for this presentation). Bhoja means "having the prayoga or presentation of bhāvas that are “specially correlated and forceful; viślista is taken by us as 'viseseņa ślişta' “mixed in a special way.” The special feature of this variety is that here the theme or action is presented addressing it to ākāśa-purusa or a character which is not actually present on the stage but is imagined to be present.
Dr. Raghavan again makes a bold surmise when he tries to suggest that this variety could be a link between bhāna, the major type and an upa-rūpaka bhāna. We again call this a bold statement not founded on logic. For nowhere in the history of Indian art it is observed that there was a "stage of transition from rūpakas to upa-rupakas. Actually the major and minor types could have co-existed of vore in India and the minor types could have represented regional popular folk art-forms. Both were actually accepted and equally respected. Now Bhoja speaks of Bhāņikā (pp. 467, ibid) :
prāyo hari-caritam idam svīkşta-gāthā"di-varņa-mātraś ca, sukumāratah prayogād bhāņópi hi bhāņikā bhavati divyabhis caribhir vivarjitā
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