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SAHRDAYĀLOKA It may be noted that Dr. Raghavan finds things to be 'queer' and 'strange' when he finds names of art-forms not mentioned in Bhoja or his predecessors. Like forms of literature, even newer art-forms also were added to the list by later writers as they perhaps witnessed them being presented on the stage in various parts of India, as time rolled on. Dr. Raghavan is ill at ease with Sāradātanava when he claims to have witnessed the performance of all the thirty types of art-forms. Why should we doubt Sä.'s integrity. Why should we call the approach of śā. NLRK. S.D., and Vānmaya-viveka as either strange or queer ? Why ? Newer and newer desi types could have envolved in course of time and some of them might have received new names though carrying some traits of an old known art-form. The point is we should remain open and go for a careful historical, critical and exhaustive study of all art-forms recorded or known to-day in various parts of modern India. The
ai' from Gujarat also deserves a special notice. Why should we feel shy of recognising various newer forms ? On the other hand we should feel proud of the vast repertoire or reservoir of art in India, both classical and desi. No use getting either alarmed or nervous about the same.
We will now discuss the new names as seen in the S.D. and also see what Dr. Raghavan has to note about the same. Prerkhaņa in the S.D., is -
garbhávamaría-rahitam prenkhanam hina-nāyakam, a-sutradhāram ekánkam a-viskambha-praveśakam. - VI. 286. niyuddha-sampheța-yutam sarva-vịtti-samāśritam, nepathye gīyate nāndi tathā tatra prarocanā. VI. 287
yathā, vālivadhah. This means that the 'prenkhana' is having a single act, with no garbha and vimarśa junctures, a hero of a lowly status, is without a sūtra-dhāra and there is absence of either viskambhaka or praveśaka.
It is having individual fight and quarrel among people, and all vșttis. Nāndī is sung behind the curtain and so also is prarocanā presented from the back of the cartain. 'Vālivadhah' is an illustration.
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