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SAHRDAYĀLOKA to convey such meaning that is cherished by the king. There is, in between, a type of presentation of the activity of a paramour, or an expert messanger, etc. which pleases the mind of a prince. In the end, the performance of dombikā ends after the lady dancer making suggestive gestures to a king or prince as if he is somebody else, cleverly acts for extracting money from him. This is seen as in Gunamālā (dombikā). All this, H. seems to accept from the A.bh. (pp. 175, NS. Vol. I. G.O.S. '54 Edn.) In Gunamālā, the dancing artist gets involved in pleasing songs suggesting, - "I say this to you" - etc. and tries to convey the secret love for the prince in her own heart and she dances in co-ordination of tune, rhythm and timefactor (tāla/laya).The outward form is of course of popular dance. The dancer also exhibits such physical gestures as raising of eye-brows, horripilation, casting of glances etc. to show that the theme of her song enters into the king's heart. Thus by principally providing entertainment through song, and presenting physical gestures that go with the same, the dances, catching the heart of the king through dance, renders the song subservient and presents body-movements in keeping with the emotion concerned.
This dombikā art-form is not of the type of direct-experience as in case of a drama. For in this art-form, there is no concealment of the dancer's own self (as in case of the actor) through the medium of āhārya-abhinaya i.e. costumes, set-up etc. Thus the presentation does not carry an effert of direct experience, but the dancer presents a dance-theme, with some acting, to a near similar effect. So, there is no manifestation, as in case of a rūpaka (i.e. major type of drama) of an extra ordinary form here. In geya variety there is no attempt to impart adivce or information (vyutpatty-anusamdhānam), but in pāțhya variety, i.e. major rūpaka, proficiency is a principal goal. This is so ordained by Bharata Muni with reference to the pāțhya. Here ends H.'s discussion.
H. thus discusses elaborately the different impressions created from artistic point of view, between păthyarūpakas and geya-upa-rūpakas. On one hand such types as nātaka and the rest are of the form of direct experience, while dombikā and the rest do not have this strength, but through elements of dance and music there is a chance of suggesting the inner feelings of heart, of course, to some extent only. Ācārya draws from the A.bh. but makes the presentation clearer and to the point, which is not seen in Bhoja and the rest. Of course in the Avaloka or the Dasarūpaka, we get an idea of the difference in the arts of dance, (nrtya), nrtta (or rhythmic bodily movements) and nārya or drama proper. Nịtta is an art-form
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