________________
1696
SAHRDAYĀLOKA extra or not required for rasa-manifestation, should be either changed or completely discarded by a good poet.
After this V. takes up such topics such as vșttis and the rest as pointed out by us earlier.
The Rasārnava-sudhākara (RS., Edn. Trivedrum, T. Ganapati śāstri, Trivendrum, 1916 A.D.) of Singabhūpala has its own identity among all the works on dramaturgy. It is written in a smooth and flowing style and covers all topics concerning dramaturgy and quotes views of the ancients. It is directly under the infulence of Dhananjaya-Dhanika and Bhoja but Ānandavardhana with the Kashmir tradition also finds ample respect in this work. The first chaptervilāsa-treats of nāțaka-laksana in general, rasa-laksana, vibhāva-lakṣaṇa and its two types, nāyaka with his qualities and all types, nāyakasahāyāh, nāyikā in three types, all types of nāyikās, nāyikāsahāyāḥ, · śộngāróddīpana-vibhāvasya cāturvidhyam, guna-s of the alambana, four types of alamkrti, tafasthaūddīpana-vibhāvas, anubhāva-lakṣaṇa, four-fold anubhāva-s under the influence of Bhoja or Mālava-school such as cittaja, gātraja, vāg-ārambha, and buddhyārambha-anubhāvas.
The second vilāsa treats of all vyabhicărins, consideration of additional vyabhicărins beyond the 33 given by Bharata, sthāyilaksanam, rati as treated in Bhoja, sthāyins as treated by Bhoja, rasa-nirūpanam, eight-fold rasa-s, topics concerning individual rasa-s, rasa-sāmkarya, rasa-virodha etc., rasā”bhāsa, etc.
The third vilāsa has-nātya-śabda-vyutpattiḥ, rūpaka-sabdā”rthaḥ, nātyasya daśa-vidhatvam, rūpaka-bhedakāḥ, netā, itivṛtta, 5 varieties of itivștta, bīja, bindu etc., pañca-kāryavasthāḥ, pañca-sandhayaḥ, sandhyanga-s 21 sandhyantara, sandhyanga-sandhyantarāņām prayoge bhedaḥ, 36 vastu-bhūşaņāni, rūpakesu nāțaka-prādhānyam, prastāvanā, etc., vastuno dvaividhyam ankávatāra-devices, anka-lakṣaṇam, prakarana, other rūpakas, language, nirdeśa-paribhāṣā, names of character etc. etc.
The R.S. has not left any topic concerning dramaturgy out of its treatment. In this it stands comparision with the N.D.
After viewing some important primary observations, we will deal with the treatment of sandhi-s and sandhyanga-s first, as read in the RS. and then deal with the types of drama in due course.
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