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Classification of Poetry
947
depending solely on tāla and laya i.e. time-measure and rhythm, which is similar to modern dance patterns in the west with thrusts, both horizontal and vertical, in principal. This can be placed with 'break' or 'twist dance. Nrtya is a classical danceform with emotive content. Natya is rasa-oriented drama proper. It may be noted that when H. enumerates 'sattakā"di' as forms of rūpakas, which were taken only as upa rūpakas by ancients such as Kohala and the like, it is clear that these artforms must be involving a lot of the element of acting proper, and therefore these must be capable of the dramatic effect. A close examination of the A.bh, suggests that the limits of rūpakas and upa-rūpakas were not water-tight. but H. has specified the basic difference in these two art-forms more clearly and candidly. One thing emerges that these upa-rupakas were perhaps evolved as forms of folk-art and the difference in their types and their number expanded with the passage of time. That H. has accepted dombikā, bhāna, prasthāna, śingaka, bhāņikā, prerana, rāmākrīda, hallisaka and rāsaka from A.bh. and the ancients, and three art-forms such as gosthi, śrīgadita, and kāvya from Bhoja is clear. Bhoja also derived inspiration from both Abhinavagupta, and also ancients like Kohala. An interection between Mālava and Gujarat also can be imagined in the field of folk-art. For Bhoja there are 12 upa-rupakas such as śrī. gadita, durmilikā, prasthāna, kāvya (i.e. citrakavya), bhāna (three-fold; suddha, citra and sankirna), bhānikā, gosthi, hallīsaka, nartanaka, prekșanaka, rāsaka and nātya-rāsaka (also termed 'carcari).
If we accept difference in an art-form going by difference in the name given to the same, though of course in a single name also we come across difference in definition by different authorities, we can count in H. such art-forms as additional ones e.g. dombikā, singaka, prerana, rāmākrīda, and (rāga) kävya as compared to Bhoja. Bhoja's durmialikā, (citra) kāvya, nartanaka, prekşanaka, and nātya-rāsaka are missing in H. Durmilikā seems to be a vulgar art-form, not read in Abhinavagupta, but also read later in the Nātyadarpana and Sāradātanaya's Bhava-prakāśana. As 'prasthāna' is noted in the A.bh., we read it in H. also and this art-form is true to its name because in it a lover undertakes a journey. Rāmacandra, later, accepts the definition from Śr. Pra. For śāradātanaya 'prasthāna' is not identical conceptually with that of Abhinavagupta or Bhoja. We do not know the source of his concept.
The concept of (citra) kāvya in Bhoja is not clear and it has contexts of music. We read notations of rāga, tāla, and choreography but the meaning is not clear to us. In uparūpaka called 'kāvya' there is one rāga, in citra-kāvya, however there are many rāgas. Bhoja has an elaborate discussion on Bhāņa, which is accepted by
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