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SAHṚDAYALOKA
chalita-lakṣaṇam yathā-"rati-krodhótsäha-bhāva-pradhānam chalikam smṛtam. iti." The Kathāsaritsāgara (III. iii. 20) mentions it as 'chalita', a dance-variety, performed by Rambha in heaven.
912
We have seen above that Dandin's Kāvyādarśa I. 39, mentions some uparūpakas which are prekṣya-prabandhas. His words are : "lāsya-chalika-śamyā"di preksyártham, itarat punaḥ..." Still earlier, Bhāmaha also while dealing with the classification of kävya, speaks of rūpaka class as represented by nāṭaka and some upa-rupaka-compositions, such as dvipadi, samya, rāsaka, and skandhaka. He observes (I. 24):
nātakam dvipadi-śamyā
rāsaka-skandhakā"di yat, uktam tad abhineyártham ukto'nyais tasya vistaraḥ."
Bhoja seems to be inspired by both Bhamaha and Dandin. Dandin's chalika is explained by Bhoja in the śabdālamkāra section (S.K.A.) as - "idam tu śṛngāra-vīra-rasa-pradhānatvāt chalikam." Dr. Raghavan (pp. 556, ibid) observes that chalika is tāṇḍava and lasya taken together. Thus it is a dance having vira and śṛngāra rasas. Bhoja (S.K.A. pp. 308) illustrates chalika by a prakṛta gatha. The Sanskrit rendering is :
"niśamya paścāt turagaravam śūkarī himsártham hasati, nija-kantam damśṭrā-yugalena punaḥ punar na ca daśati.”
This is a picture of a she-pig, though hounded by hunters, still laughing and sporting with her mate. Actually technically this is an illustration where emotions or feelings of animals other than humans are described and we may take it as rasā"bhāsa rather than rasa! Taruṇavācaspati and as suggested by Dr. Raghavan, his son Kesava explain 'chalika' as "chalikam chadmanā vṛttam." This explanation is similar to the one given by Kāṭayavema. Taruṇavācaspati also adds - "mardalachalika"di-vādya-viśeṣāṇām ekasmin kāle viramaņa - prakramaṇam chalikam ity ucyate." Which explain 'chalika' as simultaneous stopping and sounding of drums and other musical instruments. Chalika is thus like 'mardala', the name of some instrument and also an aspect of instrumentation in dance-music.
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