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Classification of Poetry
909 This is like A.bh.'s description. It may be noted that the definitions in both the A.bh. and the Śr. Pra, make hallīsaka, a mere dance, giving us no idea of the nature of literary composition involved in it. Probably some songs could be understood as meant here.
śā., of course, has something special to observe. But H. and the ND. follow A.bh. verbetim. Śā. (BP. IX. para 49, pp. 390, ibid) observes :
"atha hallīsakam saptanavástādaśa-nayikam, sánudātókti caikánkam kaisiki-vrtti-bhūșitam. ekárkam vā bhaved dvyankam vimarśa-mukha-samdhimat. sa-geya-lāsyam yatimat · khanda-tāla-layánvitam
eka-viśrāma-sahitam
yathā syāt keli-raivatam.” First thing to be noted in Śā. is that he illustrates hallīsaka by “keli-raivatam”. This means there was a living tradition in his days. For Šā., hallisaka is not a mere dance form, but is something more. In hallīsaka there are seven, eight or nine heroines or female characters. It is characterised by an expression (ukti), which is not noble or lofty (= anudātta). There is a single act in it and the diction is kaisiki. At times it may have even two acts and it has mukha and vimarsa sandhi. Now this is strange, for when you have vimarśa also, perhaps other samdhis also walk in naturally as nirvahana is a must for all and vimarśa has to be preceeded by pratimukha and garbha junctures. Along with a song (= sa-geya), we have, in hallisaka, lāsya (i.e. graceful dance), vati, khanda-tāla, laya and one viśrama (i.e. division). 'Keli-raivata' is an illustration cited. Śā. has some further description also (para 50, Ch. IX. pp. 360, ibid) :
lalitā daksiņā khyātā nāyakā pañca-șā api, vipra-kșatra-vaņik-putrās sacivā”yatta-siddhayaḥ.
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