________________
Classification of Poetry
939
though they may look like more of 'nṛtta', they are very much 'natya' also. This is seen as in cuḍamani-dombikā. A.bh. (pp. 171, ibid) observes "ata eva ca cūḍāmaņi-dombikāyām prati-jñātam" bindugunam vami sahi ihodivaco amidunadham mahasarakaḥ gete um (?) -
- at eva sahṛdayāḥ smaranti "vadha (sa) ma-cūḍāmaṇiā" (iti). tasman nṛttam nātyād abhinnam, tallakṣaṇópetavat. Pundit Madhusudanajee in his Sanskrit Commentary (pp. 413, ibid) refers to this view as - "dombī śrīgaditam bhāno bhāṇī prasthāna-rāsakāḥ kāvyam ca sapta nṛtyasya bhedāḥ syuste'pi bhāṇavat; natyād bhinnäḥ. dombī dombikā ekaiva. bhāṇī bhāṇikā na. ime nṛtyasya bhedāḥ. kvacid etāni uparūpakāņi iti samgṛhitani kintu teṣām daśa-rupaka-lakṣaṇasya abhāvān mukhya-rupakeṣv a-samgrahe'pi uparūpakatvam kathañcid iti matam." But in the end Abhinavagupta holds that these are only upa-rupakas which are indirectly connected with natya or drama proper. Then he quotes the view of the ancients - tad uktam cirantanaiḥ-and gives the definitions of various art-forms as envisaged by earlier thinkers (pp. 181, bh. N.S. Vol. I. G.O.S.)
·
So, we feel that we cannot agree with Dr. Raghavan's remark (pp. 568, ibid) that, "On pp. 173, the Cuḍāmani dombika is quoted but the meaning of the context in the quotation is obscure." It is not obscure. Dr. Raghavan goes to observe that on p. 174 (pp. 172, edn. '56, revised Edn.), clandestine love is said to be the thing in the dombikā. A.bh. observes: dombikā"dau tu kāmasyaiva pracchanna-rāgaparama-rahasyópadeśāt." Dr. Raghavan thinks that this art-form is more like south Indian 'Nautch'. One dombika i.e. a class of female dancer is supported by dombagāyanas - musicians and she dances and others sing. Dr. Raghavan feels that the extensive discussion on the exact nature and extent of dramatic representation in a ḍombikā (pp. 177-179 A.bh.) is obscure. The obscurity, he thinks, is aggravated by the corruptions in the text. But the fact is that Krishnamoorthy's third revised edn. and Madhusudani clear almost all doubts. The topic concerns mainly with the fact whether dombika etc., the uparūpakas can be taken as drama or mere dance forms. The A.bh. seems to finally favour the view that indirectly (i.e. parmparayā) these art-forms also have an element of abhinaya and therefore could be taken not as drama proper but as 'upa-rupakas' or art-forms having an element of drama for sure. Dr. Raghavan observes: (pp. 568, ibid) - "The Dombi's art consisted mainly of Nṛtta or pure dance movements which by reason of their grace and appropriateness, gave an overall impression of the theme and as aid to such a general kind of action, the Dombi showed a few movements of hands, brows, eyes, etc., elements such as are concomitant when one speaks. Abhinavagupta mentions
Jain Education International
For Personal & Private Use Only
www.jainelibrary.org
