________________
1632
SAHRDAYĀLOKA following verse :
"sarveşām eva kāvyānām mātřkā vșttayaḥ smộtāḥ, ābhyo vinis srutam hy etad daśa-rūpam prayogataḥ.” XVIII-4.
Dr. Bhat translates (pp. 112, ibid) "The vștti-s or styles are traditionally known as the “mothers” of all dramatic poems. The ten kinds of play, so far as their production is concerned, have proceeded from these." . The first half of the verse observes "sarvesam eva kávyānām" and in the next half the daśa-rūpa' is said to have proceeded from these (i.e. vstti-s). So, no water-tight division was meant by Bharata between 'kāvya' and daśa-rupa', the latter also being ‘kāvya' in the wider sense of the term. Thus Dr. De's observation concerning the importance of 'rasa' in drama also, as in 'poetry, and thereby making sanskrit drama a lesser drama, is also unfounded.
Bharata, before coming to the definitions of each variety of the ten rūpaka-s, observes how different vștti-s are associated with different types of rūpaka-s. He says that both nātaka and prakarana proceed from all styles, and resort to different structures (bandha) (XVIII-7), but the other eight types such as vīthī, samavakāra, īhāmțga, utsysţikā’nka, vyāyoga, bhāņa, prahasana and dima should be composed without using kaisiki-vrtti. Bharata now defines “nātaka” proper (XVIII. 10-12) :
"prakhyāta-vastu-visayam prakhyātódātta-nāyakam caiva, rājarsi-vamsya-caritam tathaiva divyā”śrayopetam. 11 nānā-vibhūtibhir yutam rddhi-vilāsā"dibhir guņai ś caiva, anka-praveśakā"dhyam bhavati hi tan nāțakam nāma. 12 nrpatīnām yac caritam nānā-rasa-bhāva-cestitam bahudhā sukha-duḥkhótpatti-kstam bhavati hi tannātakam.nāma." 13
(Trans., pp. 115, ibid) - (10-12)
Jain Education International
For Personal & Private Use Only
www.jainelibrary.org
