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Classification of Poetry
945
At times, the nṛtta (i.e. dance form with limb-movement as principal and not an emotion) is chief as in case of ḍombilikā presentation. Because of this variety, such performance is termed 'valli-märga' i.e. a street-performance with variety, in common-parlance. But with all this, one point emerges and it is that 'geya' is qualified chiefly by the playing of instruments along with songs. In case of rāgakavyas the presentation is mainly through song alone. For example, Rāghava-vijaya (a rāga-kavya) is sung only in 'dhakka' rāga alone, and Marica-vadha in the grāma-rāga called kakubha. Here, it may be noted that H. has overlooked one remark from the A.bh. wherein it is stated that, though the rasas and the situations differ, the tune and the time-measure (laya/tāla) do not change in a rāga-kāvya as in drama proper.
In pathya i.e. drama proper, observes H., for bringing about a feeling of direct experience, the fixation of the use of language or dilect with reference to a given character, the use of metre and figures of speech, etc. are fixed. Now that which is sung (gīyamāna) (as in an upa-rupaka) is not always presented through acting, for fear of non-congruousness. But here (i.e. in upa-rupakas) some sättvika form of acting, which is meant for conveying this or that meaning along with a certain tune or rhythm and time-measure, is interwoven, in view of the predominant rasa. The intended object is filled in with the help of 'dhruva-geeta' here. As the cooks add required ingredients in item under preperation, so in 'geya' form also, some such element (of acting) is added. But in such art-forms as dombikā and the rest, there is no presentation as in case of an actor, of rūpa (i.e. of the form of character such as Rāma, Dusyanta, etc.), which is of an extra-ordinary nature.
In ḍombika and the rest, the beauty of letters seen in use of special letters, is principal and there is no possibility at all of acting here, as it is primarily of the form of nṛtta or limb-movements. In ḍombikā, the lady dancer speaks some sentence of common-usage, and when this speech of hers is presented in form of a song, how can there been an experience of direct-feeling (kaḥ sākṣātkārakalpárthaḥ ? pp. 448, ibid). On the other hand an experience such as direct is the main object in paṭhya variety. So, what happens in ḍombikā or kāvya (i.e. rāgakavya) art-forms is like a local dance or song performance that carries away the heart of people through the device of giving an advice indirectly or by suggesting an idea through some means.
In illustrations such as, "hetthe vi dombi", etc. there is an effort to please a king in a ḍombika-prayoga, throug a song or playing of instrument, or dance, an effort
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