Book Title: Sambodhi 2002 Vol 25
Author(s): Jitendra B Shah, N M Kansara
Publisher: L D Indology Ahmedabad

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Page 34
________________ Vol. XXV, 2002 Śaradātanaya has - (BP. IX. 13, pp. 378, GENERAL INTRODUCTION TO UPARUPAKAS... Jain Education International Edn. Agrawal, ibid)"atha śrīgaditam vidyāt prasiddhodatta-nāyakam, bhārati-vṛtti-bahulam udatta-vacanānvitam. garbhavamasa-sandhibhyām sunyam prakhyāta-nāyakam, ekankam, vipralambhākhyarasa-prāyam kvacit kvacit. yasmin kulānganā patyuḥ śaurya-dhairyādikān guṇān, sakhīnām agrato vakti, tan upalabhate'tha vā. vipralabdha ca tenaiva yadi, tatsangamāśayā āsīnā, yatra lalitam priyābhoga-vibhuṣitam utkanthita paṭhed-gayet pāṭhyam vā gītameva vā, evamvidham śrīgaditam rāmānandam yathā kṛtam." Śāradātanaya has something more to say than the earlier writers. He cites an example viz. Rāmānandam. For Śāradātanaya, this art-form is not just all dance and music but is a play, a type of drama, with one act and three samdhis such as mukha, pratimukha, and nirvahaṇa, with garbha and avamarśa absent from it. It has a famous and nobly born hero and is decorated with lofty expression udatta-vacanānvitam. There is prominance of bhārati-vṛtti and this suggests that the physical action may be on a low key with descriptive element thriving. Because of this we have a lot of talks, wherein a lady from a noble family describes before her friends (=sakhīnām agrato vakti) (and this is against a single friend as described by Bhoja, Hemacandra and the ND), the high qualites 29 For Personal & Private Use Only - www.jainelibrary.org

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