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Classification of Poetry
943 should look into H. carefully. Even Dr. K. Krishnamoorthy has not done it. Our gurus Prof. Parikh and Kulkarni have also not compared the two texts word for word. This has to be done sometime. But for the present we will proceed with H. on dombīkā and other art-forms. At least Dr. Raghavan has certainly not looked into H. and his Viveka carefully, when Dr. Raghavan observes that șidgaka of Abhinavagupta could be Srigadita of Bhoja he seems to be quite off the mark. Actually, șidgaka of the A.bh. is read as Singaka by H. who again reads 'Singataka' in Viveka (pp. 446, ibid). This șidgaka of Abh., is the same as singaka/singataka of H. and is certainly not the śrīgadita of Bhoja as Dr. Raghavan observes (pp. 569, ibid). The picture emerges that Dr. Raghavan has not paid due attention to H., and this is very very sad. After completing the topic of 'geya' varieties, which H. has not named as 'upa-rūpaka', H. observes : "ādigrahaņāt śampā-cchalitadvipad yādi parigrahah. prapancastu brahmabharata - kohalā"diśāstrebhyo’vagantavyaḥ.” (p. 449, ibid).
As said above, so far as the definitions of these uparāpakas are concerned, H. has accepted the lead of the A.bh. and Bhoja, but in his Viveka he has culled out the ideas as laid down in the A.bh. Here as observed above he has accepted quite often words, phrases and sentences from the A.bh. and has evolved a clear design, not seen in the Abh. clearly. We will quote and explain the portion from H.'s Viveka. First we will give the substance from the Viveka, and then the actual quotation.
H. explains as follows:
The province of 'geya-kāvya' is three-fold such as masļņa or graceful, uddhata or forceful and miśra or mixed. In 'dombikās', which are promoted primarily to flatter a king, the form is graceful. In bhāņakas, such as in the description of the behaviour of Nrsimha etc., the form is only forceful. That even in pure graceful there is some element of the forceful, is appropriate. Here the difference is based on the proportion of forceful or graceful. (there is higher or lower degree in the artistic mixture). The first (i.e. in which masrna is in higher degree as compared to the forceful) is seen in singataka. When forceful is predominant and the graceful is mixed therewith in a lower degree we get bhānikā. The other varieties of geyakāvya such as prerana, rāmākrīda, rāsaka, hallīsaka etc. are graced with the beauty of the mixture of these two in higher or lesser degree.
A prima facie view is now considered. The objection is that in cases of dombikā, singataka etc. the statements are found not to be exactly relevant with
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