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SAHRDAYĀLOKA Nātya-rāsaka according to NLRK is - "bahutāla-layā”tmakam, hāsa-śựngāramanditam, ekánkam, daśa-lāsyanga-bhūșitam, udātta-nāyaka-pithamardópanāyakam, vāsakasajjā-nāyikam; yathā 'vilāsavati'.
Thus a nātya-rāsaka has abundance of music decked with rythm or pause and tāla, i.e. beating time, or beats. It is adorned with the sentiments of häsya and śộngāra. It is having a single act. It is bestowed with ten lāsyángas. The hero is an udātta type, pithamarda is hero's assistant, an upanāyaka, and the heroine is of the vāsaka-sajjā type. The illustration is Vilāsavatī. Vāgbhata II has accepted H.C., and Abhinavagupta's concept when we read :
"aneka-nartakīyojyam citra-tāla-layánvitam, ā-catuḥsaști-yugalād
rāsakam masp oddhate.” - The S.D. has some further details as we will go to see, but one suggestion made by Prof. Babulal Šukla Šāstri, in a ft. note 1, on pp. 305, of his NLRK, edn. is acceptable to us. It is that it is through some scribe's mistake that we read 'mūrkhanāyakam' in place of 'mukhya-nāyakam'. This is a reasonable suggestion, not only taking into account the absence of an autograph, but also taking a scribe's innocence into consideration, and also other definitions that preceded Viśvanātha, not mentioning a 'mūrkha' nāyaka. The S.D. reads as - (S.D. VI. 288-290) -
rāsakam pañca-pātram syān-mukha-nirvahanánvitam, bhāṣā-vibhāṣā-bhūyistham, bhāratī-kaiśikī-yutam. 288 a-sūtradhāram ekánkam sa-vīthyangam kalānvitam, ślīsta-nāndīyutam khyātanāyikam mūrkha (mukhya) nāyakam. 289 udāttabhāva-vinyāsa-samśritam, cótraróttaram, iha pratimukha-sandhim api kecit pracakşate."
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