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958
SAHRDAYĀLOKA sandhi-traya-samanvitā. maņikulyāyām jalam iva na laksyate yatra pūrvato vastu, paścāt prakāśate yā sā
manikulyā’pi mallikā jñeyā. In mallikā, love in union is the principal sentiment. It is graced by kaisiki vrtti. It has either one or two acts and we find activities of a vidusaka or a vita in them respectively.
It is accompanied by gāthā (= metre of that name), and dvipathaka (or dvipathikā ?) (a prakrta metre), and it has tāla i.e. tempo such as rathyā and vāsaka. The theme is not clear in the beginning and later it is clearly understood There are three samdhis with garbha and avamarsa absent from it.
Śā. here quotes an āryā verse from Śr. Pra. of Bhoja, describing manikulya which is given by Bhoja as a variety of śravya-kāvya or non-dramatic Composition. Śā. observes that as water, the theme in a manikulyā is not marked in the beginning, so also in Mallikā the theme is not clear in the beginning but is seen or grasped at a later stage. So, this manikulyā is also mallikā.
Dr. Raghavan observes that, "It is sāradātanaya's description of the Mallika that takes one's breath away." We do not know why Dr. Raghavan is so scared. Actually we find common names in different lists. Bhāņa is read both in rūpaka and uparūpaka. So, if manikulya is another name for mallikā, nothing is lost. Or, if that literary composition called manikulyā has some remote capability of being staged, it is equivalent to Mallikā as in both the theme is not transparent in the beginning and becomes clear in the end. Thus in Bhoja also, we can see an indirect reference to mallikā.
Similarly at the end of durmallikā in B.P., Bhoja's manthulli, a type of literary composition is described. The kā. śā of H. reads matallikā for manthullī. B.P. also reads matallikā. The second characteristic of manthulli as described by Bhoja, discussed by us earlier, is capable of dramatic presentation also and therefor Śā. could have read it along with durmallikā. Dr. Raghavan need not get alarmed over this.
Kalpavallī (B.P. IX. 55, pp. 392 ibid) is yet another art-form not seen in Bhoja. It is defined as -
kalpavalli bhaved-dhāsyaśrngāra-rasa-bhāva-yuk,
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