Sambodhi 2002 Vol 25

Author(s): Jitendra B Shah, N M Kansara
Publisher: L D Indology Ahmedabad

Page 36

Vol. XXV, 2002 GENERAL INTRODUCTION TO UPARUPAKAS... 31
Vāgbhata (II), naming his work and also modelling it after the Kāvyānuśāsana of Hemacandra, calls śrīgadita as 'geya' art-forin. Hemacandra divides 'preksya' i. e. abhineya as pāthya and geya, but Vägbhata does not indicate that he takes geya also as abhineya. But we may conclude that as he chooses to follow Hemacandra, for him also the 'geya' art-forms are part of abhineya also. He observes : (pp. 18, ibid)
"ekasītram tu netā syād gopastrīņām yathā harih. yasmin kulānganā patyuh sakhyagre varnayed guņān, upalambliani ca kurute.
geye śrīgaditam tu tat." As is Hari of gopis, so there is one netā i. e. nayaka and in this 'geya' artform, the heroine, a nobly born lady, describes before her friend the qualities of her husband, and also passes adınonition.
In the Sāhitya-darpana (=S.D.) Viśvanātha obsesves : (S. D. VI. 293/295) :
"prakhyātavittam ekāngam prakhyātodātta-nayakam, prasiddha-nayikam, garbha-vimarsābhyām vivarjitam. (VI/293) bhāratī-vitti-bahulam śrī-ti-sabdena sankulam, matan śrīgaditam nāma vidvadbhir uparūpakam. (VI/294) śtir (strīr) ásīnā śrīgadite gāyet kiñcit pathed api, ekānko bhāratīprāya
iti kecit pracakșate. (VI. 295) Obviously this is modelled after the BP. But there is something more. Visvanatha does not cite an illustration, which he does quite often in other artforms. Here he says — ūhyam udāharanain. Then, he says that this art-form is