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Classification of Poetry
925 danced in joy on securing Amsta i.e. nectar in the churning of ksīra-sāgara or dugdha-mahodadhi -
"labdhvā dugdha-mahodadhau suraganaiḥ pitvā’mộtam yas radā, pindi-śříkhalikā-viśesa-vihito yukto latā-bhedyakaih..." (pp. 469, ibid) The B.P. completes the verse, with these last two lines - "citrā”todyapadakramaiḥ layayuto bheda-dvayā’lamệtaiḥ,
cārīkhanda-sumandalaiḥ anugataḥ sóyam mato rāsakaḥ." Bhoja observes,
"evam nịtta-krameņā’nyo
hy apasāras samāpyate.” and adds,
"apasāratrayam cányat
kalpyate sāmpratam mayā.” We can imagine that Bhoja must have observed actual innovations introduced by artists but perhaps not mentioned in theory till his time. So, he seems to suggest that "three more varietics of 'apasāra' are imagined by me."
Dr. Raghavan observes that (pp. 563, ibid) the Sangita-ratnākara gives a musical composition called 'rāsa' as one of the eight sūda-prabandhas. (IV. 175-8). It is also so called because it is sung in Rāsa-tāla. Sārangadeva holds that this composition was not in vogue even in his times.
We have observed earlier that Bhoja calls the nātya-rāsaka by the name of 'carcarī also. The meaning of 'carcari can be understood with the help of Harsa's Ratnāvali and also Rājasekhara's Karpūra-mañjarī. In Ratnāvali, a nātikā, which is more of an entertainment (i.e. ranjanā-pradhāna), we find more of dance and music. Here, we have a spring-dance called "carcari” by name, introduced in Act I. Yaugandharāyana informs of the vasanta-festival being held outside. He hears the 'carcarī of vasanta, sung and danced by the citizens. Then the dance is introduced on the stage. At this point, it is not the carcarī song but another called dvipadīkhanda. We see three gāthās on spring which are sung and performed through acting-abhinaya-by two maid-servants or 'cetis' of Vasavadattā. Damodaragupta in his Kuttani-mata gives part of this abhinaya, in which acting of Ratnávali is described (śl. 897).
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