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Classification of Poetry
937 The S.D. has slightly elaborated upon the NLRK. It observes that rāsaka has mukha and nirvahana junctures and adds that some expect even pratimukhajuncture also. S.D. also observes in continuation to rāsaka being bestowed with major and minor languages/dilects, it abounds in bhārati and kaiśiki vrttis. Again rāsaka has a 'nandi' in ślista words. Thus the S.D. elaborates or adds some minor features.
Dombi Dombikā or Dombalikā. This art-form is mentioned by Abh. Dhanika, Bhoja, H.C. Śā., and Vāg. II Abhinavagupta (pp. 181, N.S. Vol. I. G.O.S.) observes :
"channánurāga-garbhābhir uktibhir yatra bhūpateh āvarjayati manaḥ sā tu
massņā dombikā matā." With verbal expressions carrying concealed love, where the mind of a king is influenced, that (art-form) is called dombikā, which is of a graceful nature.
We have seen above that in a verse from Dhanika's Avaloka on D.R. I. 8, dombi is mentioned. Dhanika reads -
"dombī śrīgaditam bhāņo bhāni-prasthāna-rāsakāḥ, kāvyam ca; sapta nộtyasya
bhedāḥ syus te’pi bhāṇavat.” Dhanika called it dombī and takes is as a form of dance. But he also calls it a 'rūpaka', when he immediately observes : ityādinā rūpakántarānam api bhāvād avadhāraṇā’nupapattir ity āśankya āha” - etc. He does not elaborate.
Bhoja observes in his śr. Pra. (pp. 381, Vol. II) : “preksā-nimittam vācikādy abhinaya-rahitam āngikaika-nirvartyam prasthāna dombalikā”di-vākyam preksyam.” This Bhoja does when he classifies his śabdálamkāra called 'preksya' into six types. He further observes : "tat șodhā - lāsyam, tāņdavam, chalikam, śamyā, hallīsakam, rāsakam ca iti.”
Dr. Rāghavan (pp. 567) observes that the S.K.A. does not have the above-quoted passage in the corresponding place, i.e. while treating the six-fold śabdálamkāra. Dr. Raghavan further observes, "If these are varieties of preksya, how does Bhoja leave them and classify preksya into lāsya, tāņdava, chalika, śamyā, hallīsaka and
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