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Classification of Poetry
935 times more sensible variants worth accepting while critically editing Bhoja's Śr. Pra. Actually the BP. could prove to be more helpful in preparing a critical text of Bhoja's Śr. Pra.
Prof. Agrawal explains passage no. 35 (pp. 387) beginning with "nịttena vibhajet...” etc., as follows -
With the help of dance, it (i.e. rāsaka) (or nātya-rāsaka) should be divided into three or four parts. (The dancers) should move out with the help of physical movements in tune with one another and with mutual clashing of palms. After
second unit has to make entry. Their (i.e. of both units) meeting, entry and exit should be simultaneous. With mātrā and tāla they should present 'puspáñjali' also. After the entry of the two characters, others enter. Then the singers sing with baddhāpanava-tāla, varnakas such as rathyā-varna etc., and suska-gīta. Then with dancers showing latā, bhedyaka, gulma, and various devices of dance, pindi bandha dance is performed at one place. After that, with the help of suska-varnaprayoga, the tāla called 'malla' has to be presented. The drum (murajāksara-vādya) is to be beaten with a stick, and then two sticks. Thus, in order of the dance, first 'apasāra' is completed. This ‘apasāra' is three-fold. Here also, as before, the dance and layakrama have to be observed. In the end of 'rāsaka' performance benediction - śubhārtha-vacana-krama-has to be presented.
All this explanation of rāsaka is as clear to us as it is to Dr. Agrawal. The NLRK., Vāgbhata II and the SD. have the following observations : NLRK. (pp. 304 & 305) has both ‘rāsaka' and 'nātyarāsaka' explained as below :
atha rāsakam - mukhya-nāyikam, sakala-bhāṣā-vibhāsa-sobhitam, udāttanāyakam, pañca-pātra-prayojyam, aneka-kalópadeśa-vārtāmanditam, masrnodātta bhāva-bhūsitam, uttarottara-pradhānam, ekánkam, sūtradhāra-parihīnam, vithyanka-yuktam. yathā-madanikā kāmukam.
The fact that NLRK. describes 'rāsaka' having 'one acť, proves that it is not just a dance performance but is an upa-rupaka, a minor type of drama. For the NLRK., the rāsaka is having a famous heroine. All languages are used in dhīródārta'. There are five characters in this art-form. It is having discourses on various arts. Soft and lofty feelings and emotions are delineated. In the dialogues, there is arrangement of gradual rising (of emotions). There is one act, and sūtradhāra is absent from this art-form . All the limbs-angas-of vithi are woven in it. The illustration is 'Madanikā-kāmuka'.
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