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Classification of Poetry
913
Dr. Raghavan observes (pp. 557, ibid): "The variant chalita seems to be later; having been definitely inspired by the effort to understand it on the basis of the word chala. Chalika is the correct and old name in which it occurs in some valuable but tantalisingly obscure references to it in Harivamśa. In Book II. Viṣṇuparvan, Ch.s 88, 89 and 93, (chitrasala press Edn.) Chälikya is mentioned more than once. In Ch. 88, the yādavas go to the waterside for sport and there, they indulge in music and dance, gīta, vādya, nṛtya, and abhinaya (vs. 37, 38, 42); Ch. 89 itself is called chalikya krīḍā; at the behest of Kṛṣṇa and Balarama, the Apsaras-damsels sing and dance to the music of the voice and instruments (vs. 5); they gesticulate and dance Rāsa, singing songs in different local dialects, wearing manifold local costumes, and keeping the rhythms by beat of palms -
"cakrur hasantyaś ca tathaiva rāsam tad deśa-bhāṣā-kṛti-veṣa-yuktāḥ, sa-hastatālam lalitam salīlam
varānganā mangala-sambhṛtángyaḥ.”
They then sing songs on the exploits of Krsna and Balarama at Gokula, and represent those acts in dance (vs. 8-15). Then Balarama, along with Revati, begins to dance with clap of hands (sa-hasta-tālam), and Kṛṣṇa, with Satyabhāmā and other couples follow suit. In vs. 22, which concludes the description of this section, the dance is referred to as Rasa; in the succeeding verses again, mentioning sage Nārada joining the merriment, the dance is called Rasa (see especially vs. 24, 30).. The party then jumps into water, indulge in water-sports, singing and playing on water as on drum (jala-vādita and jala-dardura, vs. 45). Eating and drinking follow after which again music and dance begin (vs. 66). Kṛṣṇa suggests that they may do chalikya. Chālikya is also referred to as a song -
"chalikya-geyam bahusannidhānam
yad eva gandharvam udaharanti."
Nārada takes up the Viņā, and Kṛṣṇa and Arjuna, the flute and Hallīsaka, implying thereby that Hallisaka, found also with variants Jhallīsaka and Ballīsaka, is a musical instrument (v. 68); the Apsaras play Mṛdanga and other instruments, now follows Asarita music (on the instruments) after which Rambha makes her appearance and dances with Abhinaya of the song (69, 70).
Then, after a respite, chālikya-gandharva is again begun (73) and Rukmini's son is said to perform it. (74)
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