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938
SAHṚDAYALOKA
rāsa ?" Obviously, we note that Bhoja once calls them - i.e. 'prasthāna, dombalikā, as 'preksya', which is one of the śabdálamkāras that are 24 in number, 'prekṣyatva' being one of those. On the other hand, when Bhoja considers 'preksya' (pp. 381, ibid), which is bereft of vacika, sättvika and āhārya types of abhinayas and is graced by only the angika abhinaya (= āngikaika-nirvartyam), he introduces the same as "prasthāna-dombalikā”di-vākyam", i.e. which is of the form of vākya (i.e. väkyárthábhinaya ?) such as 'prasthāna" and "dombalikā”.
Now, we have seen that Bhoja, (pp. 468, Śr. Pra. Vol. II) has called 'nartanaka' such as, samyā, 'lāsya', chalita, 'dvipadi' etc. as varieties of graceful (lalita-laya) rhythm, which are 'padárthábhinaya'.
So, perhaps here, Bhoja mentions ‘dombalikā' and 'prasthāṇa' which are 'vākya' (= väkyárthábhinaya) varieties of 'prekśya', a śabdálamkara. But then he does not elaborate. Prasthāna as noticed earlier is an uparūpaka (Ch. XI. Śṛ. Pra) but 'dombalika' is left out. Perhaps, as suggested by Dr. Raghavan (pp. 567, ibid), Bhoja takes his dombalika as identical with the 'dombika' mentioned by Abhinavagupta as quoted above. Abhinavagupta has mentioned 'cuḍāmani' dombikā twice, with its author, some Rāṇaka. We will go to observe that H. also mentions dombika in the words of Abhinavagupta. But he is clear that these are "padárthábhinayasvabhāvāni dombikā”dīni geyāni rūpakāņi cirantanair (i.e. by Abhinavagupta and his seniors) uktāni. Why Bhoja calls it as, "prasthana-dombalikā"di-vākyam" is not clear to us. Could it be, as suggested by us earlier, that he takes it as a 'väkyárthábhinaya-svabhāva' art-form ? A.bh. - NS. Vol. I G.O.S. Edn., mentions dombikā on pp. 171, 172, 173, 174, 177, 178, 179 and 183 also.
Elaborating A.bh.'s discussion on 'dombika', Dr. Raghavan (pp. 568, ibid) further observes that on p. 173 (actually p. 171, G.O.S. Edn. '56 revised edn.) (or, p. 169, Edn. '92, K.Kris.) the cūḍāmaṇi dombikā is quoted but the meaning looks obscure to him. We will try to discuss this in the light of Madusūdanī - (Edn. NS. first part. B.H.U. '71, Madhusudan Shastri) But first we will quote from the A.bh. which reads as (pp. 171, G.O.S. Edn. '56): "dombika-prasthāna-ṣiḍgaka-bhāṇakabhāṇikā-rāgakāvyā”der daśa-rūpaka-lakṣanena-asamgrahān nātyād bheda iti cet, tad ai(anai.-Madhusudani) kāntikam. toṭaka-prakaraṇikä-rāsaka-prabhṛtes tad asamgṛhītasyā'pi nātyarūpatvāt." - The context is clear that A.bh. wants to suggest that eventhough these uparūpakas are not included in ten types of drama, they do not cease to be drama. Abhinavagupta goes to explain how the three types of acting or abhinaya, i.e. vācika, ängika and sättvika - is seen in these art-forms and so
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