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gaṇikā-nāyikā❜nvitā, tāḥ syur astau catasraḥ syur danda-rāsaka-nartanāḥ. sāpasāratrayā citra
katha-geya-samanvitā, kvacid vidūṣaka-krīḍāparihāsa-manoharā.
pārijātalatā séyam yathā gangā-tarangikā,
pārijātakam ityeva
kaiścid eṣā'bhidhīyate."
Jain Education International
'Pārijāta-latā' is having a single act, and mukha and nirvahana junctures. It is having varṇa, mātrā, khaṇḍa-tāla and gāthā (metre). The rasas are vīra and śṛngāra. The heroes are gods or kṣatriya. The heroine is a kalahántarita type, the hero is udatta person, or the nayikā is either a bhogini, svīyā (= one's own wife), or a gaṇikā i.e. a harlot. There are four or eight dancers with daṇḍa. There are three types of apasāra, a pleasant story and song in it. At times it is rendered charming by the activity or talks of vidūṣaka. This is called pārijāta-latā, the illustration being "ganga-tarangikā". Some call it "pārijātaka" also.
SAHṚDAYALOKA
Dr. Raghavan (pp. 571, ibid) observes: "Regarding the sallapa, we know it is mentioned as one of the ten types derived from naṭaka and prakaraṇa, in the prologue to the Bhagavadajjukīya (7th Cen. A.D.). The ullopya is known to us as the name of a Mārga music composition which is mentioned in ancient music treatises, in Yajnavalkya smṛti, in the music sections in the vāyu, Mārkaṇḍeya and Viṣṇudharmóttara purāņas, and in Bharata, along with other compositions of a similar nature, Aporāntaka, Madraka, Ovenaka, Rovindaka, etc. It is from Sāradātanaya, and Sagaranandin, who also mentions the ullopyaka as an uparupaka, that Viśvanatha gives it in his Sahitya - darpana under Uparūpakas."
We may add that the mention from Bhagavadajjukīya need not be taken seriously as it is a prahasana wherein characters are given to put things in a light, cross and humerous way. As for the other evidences concerning ullopyaka taking it as a marga music composition, etc. we may add that this strengthens ullopyaka's position as an uparūpaka, as all upa-rupakas by nature have less of acting and an excess of dance and music.
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