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1648
SAHRDAYĀLOKA Dhanika observes that by 'iti', no 'avad hārana' i.e. ascertainment is meant and hence possibility of other varieties being counted remains open. This doubt, observes Dhanika is removed by the following kārikā which rules out the possibility of upa-rūpaka-s or other art-forms being placed under the head or "rupaka". The DR. I. 9. (pp. 8, 9, 10) observes that 'nrtya' i.e. dance-form is different from 'rūpaka' as it is dependent on 'bhāva' and not 'rasa' as in case of ‘rūpaka.', 'nţtta' or rhythmic movement, which is a sort of lesser dance-form is quite different from these two as it depends only on ‘tāla' or tempo and 'laya' i.e. rhythm (tālah cañcat-putā"dih, layah drutā"dih), thus it has nothing to do with emotional content. So, even if all these three are "viewed” they have separate identity. The DR. I. 9 observes :
"anyad bhāvā”śrayam nộtyam nịttam tāla-layā”śryam, adyam padárthā’bhinayo, mārgo deśī tathā-param.”
Dhanika observes : “nộtyam padárthābhinayā”tmakam mārga iti prasiddham. nșttam tu deśī iti.” .
'Nộtya' is known as “mārga" as it is having "padárthābhinaya" as its soul. By this it is meant that the element of acting is less as compared to 'rupaka' which is vākyarthābhinayā”tmaka. It is more of dance than of acting. 'Nștta' is different from both ‘rupaka' and 'nětya' as it contains no emotional basis and depends only on rhythmic movements of limbs. This is termed 'deśī i.e. perhaps folk-based as against classical art. These two i.e. 'nrtya' and 'nrtta' are again two-fold being of the faster and slower variety :
"madhuróddhata-bhedena tad dvayam dvividham punaḥ, lāsya-tāndava-rūpeņa
nāțakā”dy upakārakam.” (DR. I. 10, pp. 10, ibid) Both graceful types (i.e. one each of nộtya and nștta, the slower variety) are termed 'lāsya', the other two (i.e. one each of nộtya, nștta) are termed 'tandava'. These help the cause of nātaka etc. (i.e. rūpakas in general). Nộtya helps at times in form of padárthā’bhinaya which is placed in berween where required, and nștta helps the cause of nāțakā"di as just a decorative agent. Dhanika observes (pp. 70) "nịtyasya kvacid avāntara padárthābhinaya rūpatvena, nșttasya ca sobhāhetutvena nāțakā”dau upayogah iti."
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