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Ashta Nayikas and Dance Forms (study)

by V. Dwaritha | 2013 | 71,711 words

This page relates ‘Other varieties of Khandita� of the study dealing with the Ashta-Nayikas—a classification of eight kinds of “Heroines� representing the eight emotional states (avastha) employed in the classical Indian dance and performing arts (otherwise known as Natya Shastra). These Ashtanayikas reflect the eight types of romantic relationships and have hence formed the expressive subject of many classical painting, poems and dramatic plays.

Go directly to: Footnotes.

Part 11 - Other varieties of ṇḍ

Examples of the other varieties of the ṇḍ character of woman heroine:

ŚṛṅñᲹī states that all angry are ṇḍs. When the anger is dominant the heroine is a ṇḍ, when she is simmering silently, then she is Բī; when she speaks sarcastically and so on, then she is ٳī, ī and ٳīī, when she speaks to her friends in absence of the ⲹ첹 then she herself becomes ԲⲹDzḥk󾱳. At this juncture, ŚṛṅñᲹī says that even a Գٲ is a ṇḍ when her anger is in the forefront. It is the change of mood that comes after the quarrel which determines her as a Գٲ.

Thus ŚṛṅñᲹī says ṇḍ is of five types

  1. Բī,
  2. ٳī,
  3. ī,
  4. ٳīī and
  5. ԲⲹDzḥk󾱳

The last variety ԲⲹDzḥk󾱳 has a sub variety ṣy, thus making it six altogether. As this ԲⲹDzḥk󾱳 has been dealt with in the previous chapter, now, only four divisions are treated here.

1 Բī

The word Բ literally means ‘sulking�. The heroine, who sulks, is called a Բī. 鲹ñᲹī treats Բī as a separate and not under the banner of the ṣṭ屹ٳ�. 鲹ñᲹī defines Բ as that reaction which indicates the hero’s mistake.

प्रियापराधसूचिकाचेष्टा मानः �

priyāparādhasūcikāceṣṭā Բ� |[1]

ŚṛṅñᲹī expounds Բ�. It refutes the definition of Բ by an ealier author as:[2]

अपराधभवः कोपो यूनोर्मा� उदाहृत� �

aparādhabhava� kopo yūnorԲ udāhṛta� |

Anger born due to the wrong done by the lover is Բ (Older indicates the Āǻ). 

He says that this definition is not appropriate as there will be no distinction between a ṇḍ and a Բī. Kopa and Բ are not the same. The silence caused by Kopa is Բ. Բ is an activity of Kopa (anger).

कोपोत्पन्नमौनं मानः, कोपचेष्ट� मा� इत� �

kopotpannamauna� Բ�, kopaceṣṭā Բ iti |[3]

Now, ŚṛṅñᲹī defines Բ and Բī respectively as�

प्रियापराधजनितकोपजन्यमौनमे� मानः; मानोऽस्य� अस्तीति मानवती{ग्ल्_नोते:३९०९२५:}

priyāparādhajanitakopajanyamaunameva Բ�; Դ'syā astīti Բvatī[4]

Բ is the silence born out of anger caused by the mistake committed by the lover. The lady who has Բ is a Բī.

This Բ of a Բī is of 3 types: They are

1) Laghu,
2) Madhyama and
3) Guru.

� � लघुर्मध्योगुरुश्�, अल्पापनेयो लघुः � कष्टतरापनेयो मध्यमः � कष्टतमापनेयो गुरु� � असाध्यस्तु रसाभास� � अपरस्त्रीदर्शनादिजन्म� लघुः � गोत्रस्खलनादिजन्मा मध्यमः � अपरस्त्रीसङ्गजन्म� गुरु� � अन्यथा सिद्धकुतूहलाद्यपनेयो लघुः � अन्यथावा� शपथाद्यपनेयो मध्यमः � चरणपातभूषणाद्यपनेय� गुरु� �

sa ca laghurmadhyoguruśca, alpāpaneyo laghu� | kaṣṭatarāpaneyo madhyama� | kaṣṭatamāpaneyo guru� | asādhyastu rasābhāsa� | aparastrīdarśanādijanmā laghu� | gotraskhalanādijanmā madhyama� | aparastrīsaṅgajanmā guru� | anyathā siddhakutūhalādyapaneyo laghu� | anyathāvāda śapathādyapaneyo madhyama� | caraṇapātabhūṣaṇādyapaneyo guru� ||[5]

Easily appeased is Laghu, difficult to appease is Madhyama and most difficult to appease is Guru.The one who is not appeasable is a or semblance of Rasa. Laghu is born when the hero sees the rival woman. When the lover calls by a wrong name Madhyama is born. When the lover is united with another lady Guru is born. Appeased by simple distractions is Laghu Բ. Appeased by promises and so on is Madhyama Բ. Appeased only when he falls at her feet is Guru Բ. This could be better understood by a tabular coloumn (Fig. 3) attached in the appendix.

LaghuԲvatī

� वक्ष्याम� प्रियेणेति प्रतिज्ञायानया स्थितम� �
वाग्भिरे� प्रियेणास्या हन्त मानो निराकृतः �

na vakṣyāmi priyeṇeti pratijñāyānayā sthitam |
vāgbhireva priyeṇāsyā hanta Դ nirākṛta� ||
[6]

I vowed that I will not talk to him but, he spoke pleasing words and took away all my Բ.

A ѳܲ’s Բ is very light:

अन्यां निषेवमाण� तु यद� कुप्यत� सा प्रिये �
रोदित्यस्याग्रतः स्वल्पमनुनीता � तुष्यत� �

anyā� niṣevamāṇe tu yadi kupyati sā priye |
rodityasyāgrata� svalpamanunītā ca tuṣyati ||
[7]

When the ѳܲ notices her lover’s union with another lady, she cries in front of him but feels appeased with a few words of appeasement.

Ѳ Բvatī

उचितस्त्यक्तुं मानो यद्यमुनै� विधीयत� शपथः �
शपथप्रतीतिरपथप्रवृत्तपुंसः कथ� भवतु �

ucitastyaktu� Դ yadyamunaiva vidhīyate śapatha� |
śapathapratītirapathapravṛttapuṃsa� katha� bhavatu ||
[8]

It is correct to give up the anger when he promises, but how do you believe a man who makes a habit of transgressing his promises.

एकस्मिञ्शयने विपक्षरमणीनामग्रहे मुग्धय� सद्य� कोपपराङ्मुखं ग्लपितया चाटूनि कुर्वन्नाप� �
आवेगादवधीरितः प्रियतमस्तूष्णी� स्थितस्तत्क्षण� -न्मा भून्म्ला� इवेत्यमन्दवलितग्रीवं पुनर्वीक्षितः �

ekasmiñśayane vipakṣaramaṇīnāmagrahe mugdhayā sadya� kopaparāṅmukha� glapitayā cāṭūni kurvannāpi |
āvegādavadhīrita� priyatamastūṣṇī� sthitastatkṣaṇ� -nmā bhūnmlāna ivetyamandavalitagrīva� punarvīkṣita� ||
[9]

The hero who was sleeping on the same bed as the heroine, by mistake called her the name of another lady. Angered by this the turned towards the other side. When the hero tried pacifying her, she got angry and insulted him by which even he became silent. At the exact moment, the wondered if he was sad and turned to see him with love filled eyes.

गुरु मा� उदाहरणम्शिक्षयति त्वा� प्रेयस� चरणनिपतितेऽप� मा दृशं देहि �
अविचार्य दुःखदायी गुरुस्त्वयाय� कृतो मानः �

guru Բ udāharaṇamśikṣayati tvā� preyasi caraṇanipatite'pi mā dṛśa� dehi |
avicārya duḥkhadāyī gurustvayāya� kṛto Բ� ||
[10]

लिखन्नास्त� भूमि� बहिरवनतः प्राणदयितो निराहारा� सख्य� सततरुदितोच्छूननयना� �
परित्यक्तं सर्व� हसितपठित� पञ्जरशुक�-स्तवावस्� चेयं विसृ� कठिन�! मानमधुना �

likhannāste bhūmi� bahiravanata� prāṇadayito nirāhārā� sakhya� satataruditocchūnanayanā� |
parityakta� sarva� hasitapaṭhita� pañjaraśukai-stavāvastha ceya� visṛja kaṭhine! Բmadhunā ||
[11]

A friend addresses the heroine who has been angry for long—O stone hearted one! See, outside your lover is standing with bent head writng on the floor. Your friends are also not eating or drinking anything and have cried their tears out. Even the caged parrot has stopped laughing yet this is your stand. Immediately let go of your anger.

मानवती साधारण उदाहरणम्�
कृतापराध� कान्तश्चेत्तेन मा भाषण� कुरु �
अनागस्काभिरस्माभिरनालापः किमौचिती �

Բvatī ṇa ܻ󲹰ṇa�
kṛtāparādha� kāntaścettena mā bhāṣaṇa� kuru |
anāgaskābhirasmābhiranālāpa� kimaucitī ||
[12]

A friend addresses the angered lady—If the lover has misbehaved you need not talk to him. But why do you not speak to us, we have not committed any mistake.

स्वीया मानवती उदाहरणम्�
मिथ्योट्टङ्क्य स्त्रीभिरुक्तं स्वमत्� दृष्टस्साक्षान्मानयत्येष नत्य �
आगोऽपि स्याच्चेत्कृतं दैवगत्� पत्य साकं मानवत्� � भाव्यम� �

ī Բvatī ܻ󲹰ṇa�
mithyoṭṭaṅkya strībhirukta� svamatya dṛṣṭassākṣānԲyatyeṣa natya |
āgo'pi syāccetkṛta� daivagatya patya sāka� Բvatya na bhāvyam ||
[13]

मुग्धा मानवती उदाहरणम्�
मन्य� कृते प्रथममेव विकारमन्यं नो जानती नववध� रुदती पर� सा �
धूर्ते� लोचनजल� परिमृज्य बाढं संचुम्ब्� चाधरदल� गमित� प्रसादम् �

mugdhā Բvatī ܻ󲹰ṇa�
manyau kṛte prathamameva vikāramanya� no jānatī navavadhū rudatī para� sā |
dhūrtena locanajala� parimṛjya bāḍha� saṃcumbya cādharadala� gamitā prasādam ||
[14]

Ignorant of his other follies, the new bride assumes his mistake as the first time and cries in front of him. The Rogue wipes her tears away and makes her happy by kissing her lower-lips.

मध्य� मानवती उदाहरणम्�

Բvatī ܻ󲹰ṇa�

Here the is by age and not Բ.

सुललितमधिरूढेनाधुन� फालदेश� भ्रुकुटिसुभगभावेनाशु संमोहितास्मि �
स्मरललितनवीना� मुग्धतां पश्य गत्व� युवतिभिरपि दृश्या� मानिनीमानशोभाम� �

sulalitamadhirūḍhenādhunā phāladeśa� bhrukuṭisubhagabhāvenāśu saṃmohitāsmi |
smaralalitanavīnā� mugdhatā� paśya gatvā yuvatibhirapi dṛśyā� māninīԲśobhām ||
[15]

प्रगल्भा मानवती उदाहरणम्-करकञ्जशायितमुखेन्दुचन्द्रिकापरिपूरितोल्लसितकेलिमन्दिरा �
हरिणीदृगश्रुजलबिन्दुहारिणी परिपीयतां सुभग सुन्दरी दृशा �

Բvatī udāharaṇam-karakañjaśāyitamukhenducandrikāparipūritollasitakelimandirā |
hariṇīdṛgaśrujalabinduhāriṇ� paripīyatā� subhaga sundarī dṛś� ||
[16]

In the bedroom, she sits with her face on her cheeks and tears flow from her doe like eyes.

परकीया मानवती उदाहरणम्�
कान्तं श्रुतान्यवनितारतिमेतदी� वक्त्रेन्दुकान्तिरसलाल� दृक् चकोर� �
प्रेष्ठं स्वमन्दिरगवाक्षगतं विविक्ते नालोकयन्निजगवाक्षगता मृगाक्षी �

貹ī Բvatī ܻ󲹰ṇa�
kānta� śrutānyavanitāratimetadīya vaktrendukāntirasalālasa dṛk cakorā |
preṣṭha� svamandiragavākṣagata� vivikte nālokayannijagavākṣagatā mṛgākṣ� ||
[17]

Having heard that he had union with another, she turned her face away from her window and did not see him approaching the window.

सामान्� मानवती उदाहरणम्�
सन्तर्पय प्रियवचस्सुधया श्रुती मे प्रेम्णा विलोकय मृगाङ्कमुख� प्रसी� �
सर्व� यदस्ति नन� तत्त्वदधीनमेव कान्ते सुखं मम मन� वस� जीवितं � �

峾Բⲹ Բvatī ܻ󲹰ṇa�
santarpaya priyavacassudhayā śrutī me premṇ� vilokaya mṛgāṅkamukhi prasīda |
sarva� yadasti nanu tattvadadhīnameva kānte sukha� mama mano vasu jīvita� ca ||
[18]

The ٳī, ī and ٳīī are generally classified under ī’s Ѳ and ʰ. The ѳܲ ī is too soft and innocent to be a ٳī and the like.

मुग्धानुरागस्य प्राबल्याभावान्मुग्धायां खण्डिताभेद� नेत्यस्माभिरुच्यते �

mugdhānurāgasya prābalyābhāvānmugdhāyā� khaṇḍitābhedo netyasmābhirucyate |[19]

In spite of this, ŚṛṅñᲹī goes on to explain the varieties of ѳܲ ٳī for a poetic fascination.

The earlier authors have always associated ٳī and other varieties with ī only. 鲹ñᲹī refutes this and explains that these varieties are possible even among ʲī and 峾Բ heroines. The Āǻ岹 of 鲹ñᲹī does not agree with 鲹ñᲹī’s statement. ŚṛṅñᲹī which normally refutes 鲹ñᲹī’s stand agrees (to 鲹ñᲹī) here.

ŚṛṅñᲹī states that wherever there is love, anger and jealousy are bound to be present. Even a ʲī or 峾Բ has love and thus are bound to be angered by the lover’s misconduct. The argument that a ʲī out of fear of being heard or seen will not show her anger towards her lover is refuted by ŚṛṅñᲹī. It says that the meeting or union of ʲī is only possible when there is privacy. If there is privacy there could be sarcastic comments or any other way of showing anger and displeasure.

A 峾Բ also has ٳī and other varieties. Though they are professionals, they also have a certain degree of love. When the loved one transgresses, then anger and jealousy is bound to create the ٳī and other varieties.

2 ٳī

धीरा—वक्रोक्तिव्यङ्गयकोप प्रकाशिक�;

ī—vakroktivyaṅgayakopa prakāśikā;[20]

The one who implies her anger through crooked speech is called a ī

ѳܲ ٳī—udāharaṇa�

अय� बन्धूकभ्रान्त्या भ्रमरोऽय� तेऽधरं दशति �
इत्युक्त� सस्मितमयमधरे कान्ता� � चुम्बत� प्रेयान् �

ayi bandhūkabhrāntyā bhramaro'ya� te'dhara� daśati |
ityukta� sasmitamayamadhare kāntā� ca cumbati preyān ||
[21]

The heroine comments on seeing her lover’s lip bearing the bite marks of another lady. The bee must have mistaken your lips for the Banduka flower. The lover hearing the remark hastens to kiss her lower lip with a smile.

Ѳ ٳī

She is the one who speaks sarcastically to her lover who has committed a mistake. She speaks with alliteration to makes sure he knows that she is aware and not happy about his transgression. She burns him with her crooked speech.

धीरा तु वक्तिवक्रोक्त्या सोत्प्रासं सागस� प्रियम� �
प्रियं सोत्प्रासवक्रोक्त्या मध्य� धीरा दहेद्रुष �

ī tu vaktivakroktyā dzٱ� sāgasa� priyam |[22]
ⲹ� sotprāsavakroktyā ī dahedruṣa ||[23]

ٳī is one who exhibits her anger on her lover, who has wronged, through alliteration and twisted speech.

कोपसूचकभाषिणी मध्याधीरा �

kopasūcakabhāṣiṇ� ī ||[24]

Ѳ ī is one who indicates her anger through her speech.

屹ś of Śāradātanayā gives a new definition of Ѳ ٳī, different from all others.

धीरा रतिपरिश्रान्ता मूर्च्छिताऽप� पुनः पुनः �
प्रोत्साहयति वा स्वैरं यतते पुरुषायिते �
उपचारै� सविनयैरथवाऽक्रमभाषितैः �
खेदयत्ये� नेक्षे� सापराध� प्रियं रुषा �

ī ratipariśrāntā mūrcchitā'pi puna� puna� ||
protsāhayati vā svaira� yatate puruṣāyite |
upacārai� savinayairathavā'kramabhāṣitai� ||
khedayatyeva nekṣeta sāparādha� ⲹ� ruṣ� |
[25]

She gets tired of making love and even faints again and again, yet she remains interested and tries to be bold like the man. She hurts her sinful lover by her hospitality, humbleness non-stop chattering and she refuses to see him out of anger.

The following example is based on the general definition of a ٳī using harsh twisted words to exhibit her anger.

कोदोषो माणिमालिकायद� भवेत� कण्ठ� � कि� शङ्करो धत्त� भूषणमर्धचन्द्रममलं चन्द्र� � कि� कालिमा �
तत� साध्वे� कृतं कृतं भणितिभिर्नैवापराद्धं त्वय� भाग्यं द्रष्ट� मनीशयैव भवतः कान्तापराद्ध� मय� �

kodoṣo māṇimālikāyadi bhavet kaṇṭhe na ki� śaṅkaro dhatte bhūṣaṇamardhacandramamala� candre na ki� kālimā |
tat sādhveva kṛta� kṛta� bhaṇitibhirnaivāparāddha� tvayā bhāgya� draṣṭu manīśayaiva bhavata� kāntāparāddha� mayā ||
[26]

The hero comes wearing a pearl necklace and with a mark like the 8th digit of the moon. The heroine comments seeing that–what is wrong in wearing the pearl necklace (of the other woman)? Does not lord Shankara wear it? What is wrong in sporting the black mark? Does not the bright moon sport one? You have done a good job. There is no mistake done by you. It is all the mistake of this lover of yours–me, this poor lady.

लाक्षालक्ष्म ललाटपट्टमभित� केयूरमुद्र� गल� वक्त्र� कज्जालकालिमा नयनयोस्ताम्बूलरागोऽपरः �
दृष्ट्वा कोपविधाय� मण्डनमिद� प्रातश्चिर� प्रेयस� लीलातामरसोदर� मृगदृश� श्वासा� समाप्तिं गताः �

lākṣālakṣma lalāṭapaṭṭamabhita� keyūramudrā gale vaktre kajjālakālimā nayanayos峾ūrāgo'para� |
dṛṣṭvā kopavidhāyi maṇḍanamida� prātaścira� preyaso līlātāmarasodare mṛgadṛśa� śvāsā� samāpti� gatā� ||
[27]

A friend explains to another friend, the state of the heroine when she sees her lover sporting marks of union with another lady.

His forhead has many marks of Lac, indicative of him falling at her feet. The neck had pressing marks of the armlet which indicated an embrace. The mouth had the blackness of , indicating him having kissed her eyes. His eyes had the colour of 峾ū (), indicating the lady having kissed his eyes–in this manner when the hero came in the morning, the doe eyed put a lotus near her nose to smell as though to smell, in which her sighs drowned. (She did that so that her face could be hid and her anger be concealed. Also, the heavy sighs that she would leave out of jealousy would be drowned in the lotus.)

An example where the uses sarcastic speech to rebuke her hero who has transgressed:

तदवितथमवादीर्यन्म� त्वं प्रियेति प्रियजनपरिभुक्तं यद� दुकूलं वसान� �
मदधिवसतिमागा� कामिना� मण्डनश्रीर्व्रजति हि सफलत्व� वल्लभालोकनेन �

tadavitathamavādīryanmama tva� priyeti priyajanaparibhukta� yad dukūla� vasāna� |
madadhivasatimāgā� kāminā� maṇḍanaśrīrvrajati hi saphalatva� vallabhālokanena ||
[28]

She is angry due to his infidelity, filled with jealousy, she comments sarcastically–you said I am your beloved, well! It is true. A person’s adornment becomes meaningful only when it is seen by the loved one. That is why you have come here adorned by the clothes of the other woman (to show me).

ʰ ٳī

She is the one who hides her anger towards the hero who has committed a transgression. She exhibits an extra ordinary patience and respects him, but disappoints him during dalliance. ٲśū貹첹 alone mentions her as two different varieties–the first one who respects the hero and the second one who is not interested in love sport.

सावहित्थादरोदास्ते रत�, धीरेतर� क्रुधा �
उदास्त� सुरत� धीरा सावहित्थ� � सादर� �

sāvahitthādarodāste ratau, dhīretarā krudhā |[29]
udāste surate ī sāvahitthā ca sādarā |[30]

The above two definitions are very similar in tone. A ī is respectful to her lover and shows her anger towards him through deceptive modes during dalliance.

The following example is also seen in śٲ첹, ٲśū貹첹 and 󾱳ٲⲹ岹貹ṇa

एकत्रासनसंस्थिति� परिहृत� प्रत्युद्गमाद्दूरत स्ताम्बूलाहरणच्छले� रभसाश्लेषोऽप� संविघ्नितः �
आलोपोऽपि � निगितः परिजनं व्यापारयन्त्याऽन्तिकेकान्त� प्रत्युपचारतश्चतुरया कोपः कृतार्थीकृतः �

ekatrāsanasaṃsthiti� parihṛtā pratyudgamāddūrata stāmbūlāharaṇacchalena rabhasāśleṣo'pi saṃvighnita� |
ālopo'pi na nigita�
[31] parijana� vyāpārayantyā'ntikekānta� pratyupacārataścaturayā kopa� kṛtārthīkṛta� ||[32]

The hero comes to the after going to another lady. The cleverly shows her anger in this way. When the hero arrives, she gets up in the pretence to welcome him and avoids being seated in the same couch. The hero tries to embrace her but immediately she avoids it by going and getting betel leaves and nuts. She keeps calling the servants often in the pretence of waiting upon the hero. In this manner; she does not even talk to him.

ٳī Jyeṣṭhā Kaniṣṭhā

एकस्मिन् शयने सरोरुहदृशोर्विज्ञा� निद्रा� तयोरेकांपल्लवितावगुण्ठनपटामुत्कन्धरो दृष्टवान� �
अन्यस्या� सविध� समेत्य निभृतव्यालोलहस्ताङ्गुलिव्यापारैर्वसनाञ्चलं चपलयन् स्वापच्युतिं क्लृप्तवान� �

ekasmin śayane saroruhadṛśorvijñāya nidrā� tayorekāṃpallavitāvaguṇṭhanapaṭāmutkandharo dṛṣṭavān |
anyasyā� savidha� sametya nibhṛtavyālolahastāṅgulivyāpārairvasanāñcala� capalayan svāpacyuti� klṛptavān ||
[33]

On raising his head the ⲹ첹 saw both his lotus eyed beloveds� asleep (indicative of their disinterest in dalliance) in the same bed. On seeing that one of them was fully veiled, he gently pulled the saree of the other and aroused her. (The one who is awakened is more like by the hero thus she is a ṣṭ and the other 첹Ծṣṭ)

3 ī

अधीरा—अव्यङ्ग्यको� प्रकाशिकाअधीरा �

aī—avyaṅgyakopa prakāśikāaī |[34]

The one who shows her anger directly is called an ī.

अस्यां निशि दुःखार्तां चक्रीमि� याहि (ता� कितव?) �
तस्यां निष्करुणायां निष्करुण त्वं प्रयाह� निष्करुणम् �

asyā� niśi duḥkhārtā� cakrīmiva yāhi (tā� kitava?) |
tasyā� niṣkaruṇāyā� niṣkaruṇa tva� prayāhi niṣkaruṇam ||
[35]

The verse is said by the to the ⲹ첹 who has been to another lady. She tells him to go back to the other lady who is pining for him like a female Chakravaka bird. If she is also angry due to his transgression, then to go away to another lady in his usual heartless manner.

Ѳ ī

The heroine who is unable to control her anger towards the hero who has been to another lady is Ѳ ī. In her anger, she uses harsh words to hurt him.

अधीरा परूषैर्वाक्यैः खेदयेद� वल्लभं रुषा �

aī parūṣairvākyai� khedayed vallabha� ruṣ� |[36]

Almost every author seems to have agreed to this definition. Ѳ aī is one who uses harsh words.

अधीरायास्तु परुष� वाक् �

aīyāstu paruṣ� vāk |[37]

ŚṛṅñᲹī refutes this definition and says that a Ѳ who is SaԲ madana cannot be a person who uses harsh words, and refines this definition as�

पत्युरन्यापदेशेन कोपं प्रकाशयत� चेन्मध्याऽधीरा �

patyuranyāpadeśena kopa� prakāśayati cen'ī |[38]

She scolds her husband indirectly by referring him to another object or person.

अन्यत्� गमितरात्रे मित्� प्रातः समायात �

anyatra gamitarātre mitra prāta� samāyāta |
kṣaṇadarśita bahurāgaprabhānidhāna prabho namastubhyam ||[39]

जातस्त� निशि जागर� मम पुनर्नेत्राम्बुज� शोणिमा निष्पीतं भवता मध� प्रविततं व्याघूर्णितं मे मन� �
भ्राम्यद्भृङ्गघन� निकुञ्जभवन� लब्ध� त्वय� श्रीफल� पञ्चेषुः पुनरेष मा� बहुतरं क्रूरै� शरैः कृन्तत� �

jātaste niśi jāgaro mama punarnetrāmbuje śoṇimā niṣpīta� bhavatā madhu pravitata� vyāghūrṇita� me mana� |
bhrāmyadbhṛṅgaghane nikuñjabhavane labdha� tvayā śrīphala� pañceṣu� punareṣa mā� bahutara� krūrai� śarai� kṛntati ||
[40]

The ⾱ tells her unfaithful hero thus: “You did not sleep the whole night, yet it is my eyes that are red (due to crying), you are the one who tasted wine yet it is my mind that is reeling (out of love), yor are one who begot the Ś󲹱 crowded with hovering bees yet I am the one who is being pierced by the burning arrows of Manmatha.

स्वं दृष्ट्वा करजक्षतं मधुमदक्षीबाविचार्येर्ष्यय� गच्छन्ती क्� नु गच्छसीति विधृता बाला पटान्त� मय� �
प्रत्यवृत्तमुखी सबाष्पनयना मा� मुञ्� मुञ्चेति सा कोपप्रस्फु रिताधर� यदवदत्तत्केन विस्मार्यत� �

sva� dṛṣṭvā karajakṣata� madhumadakṣībāvicāryerṣyayā gacchantī kva nu gacchasīti vidhṛtā bālā paṭānte mayā |
pratyavṛttamukhī sabāṣpanayanā mā� muñca muñceti sā kopaprasphu ritādharā yadavadattatkena vismāryate ||
[41]

A separated ⲹ첹 is recollecting and narrating about his intoxicated to another man—Being intoxicated by liquor she glanced at the nail marks made by her on me and became jealous without thinking about anything and started to leave. On this I caught the end of her saree and asked her -: Hey! Where are you going now?� For this she turned around with eyes filled with tears and lips held in anger and said “Leave me! Leave me�. How can I forget this incident?

ʰ ī

The heroine who beats and threatens the hero who has committed a sin is a ʰ ī.

अधीरा तु रुषा हन्त� संतर्ज्य दयित� यथ� �

aī tu ruṣ� hanti saṃtarjya dayita� yathā ||[42]

An example from śٲ첹 where the beats her unfaithful lover:

कोपात्कोमललोलबाहुलतिकापाशे� बद्ध� दृढं नीत्वा वासनिकेतनं दयितया सायं सखीना� पुरः �
भूयोऽप्येवमिति स्खलत्कलगिरा संसूच्� दृश्चेष्टितं धन्य� हन्य� एष निह्नुतिपर� प्रेयान्रुदत्य हसन् �

kopātkomalalolabāhulatikāpāśena baddhā dṛḍha� nītvā vāsaniketana� dayitayā sāya� sakhīnā� pura� |
bhūyo'pyevamiti skhalatkalagirā saṃsūcya dṛśceṣṭita� dhanyo hanyata eṣa nihnutipara� preyānrudatya hasan ||
[43]

The hero who has committed a sin comes home in the evening–The heroine out of anger forcibly binds him with her soft and fickle hands and takes him in front of her friends. There, she indicates his folly and asks him with trembling voice “Will you repeat this?� The hero who is ashamed because of her crying, laughingly accepts her beatings.

कान्ते सागस� काचिदन्तिकगत� निर्भर्त्स्य रोषारुणैर्भ्रूभङ्गीकुटिलैरपाङ्गवलनैरालोकमान� मुहु� �
बद्ध्व� मेखलया सपत्नरमणीपादाब्जलाक्षाङ्कित� लीलानीलसरोरुहे� निटिलं हन्त� स्� रोषाकुला �

kānte sāgasi kācidantikagate nirbhartsya roṣāruṇairbhrūbhaṅgīkuṭilairapāṅgavalanairālokamānā muhu� |
baddhvā mekhalayā sapatnaramaṇīpādābjalākṣāṅkita� līlānīlasaroruheṇa niṭila� hanti sma roṣākulā ||
[44]

The hero who has committed a mistake goes near the heroine; she threatens him and gives him oblique looks which are red with anger. She knits her eye brows and keeps looking at him again and again. Then she binds him with her belt and beats him, who sports the Mehandi marks of the lotus feet of the other girl; with the blue lotus meant for love sport.

The following two verses together is an example of ī from śٲ첹.

पुरस्तन्व्या गोत्रस्खलनचकितोऽहं नतमुखः प्रवृत्त� वैलक्ष्यात्किमपि लिखितु� दैवहतक� �
स्फुटो रेखान्यासः कथमप� � तादृक्परिणतो गत� ये� व्यक्तिंपुनरवयवै� सै� तरुणी �
ततश्चाभिज्ञा� स्फु रदरुणगण्डस्थलरुच� मनस्विन्या रू � प्रणयसहसोद्गद्गदगिरा �
अह� चित्रं चित्रं स्फु टमित� निगद्याश्रुकलुषं रुषा ब्रह्मास्त्र� मे शिरस� निहितो वामचरण� �

purastanvyā gotraskhalanacakito'ha� natamukha� pravṛtto vailakṣyātkimapi likhitu� daivahataka� |
sphuṭo rekhānyāsa� kathamapi sa tādṛkpariṇato gatā yena vyaktiṃpunaravayavai� saiva taruṇ� ||
tataścābhijñāya sphu radaruṇagaṇḍasthalarucā manasvinyā rū ḍha praṇayasahasodgadgadagirā |
aho citra� citra� sphu ṭamiti nigadyāśrukaluṣa� ruṣ� ٰ� me śirasi nihito vāmacaraṇa� ||
[45]

A hero who was unsuccessful in appeasing his heroine, tells thus to his friend—By mistake I took the name of another lady in front of the , I got scared and immediately bent my head and started scribbling something on the floor. But as ill fate would have it, the picture I drew was of the girl whose name I had just mentioned. She recognized the picture and instantaneously her cheeks became red with anger. She became jealous and then said with a faltering voice ‘Oh! A picture will be a picture only� and like the lethal weapon (ٰ), placed her left foot on my forehead.

ī ṣṭ 첹Ծṣṭ

अन्त� कोपकषायिते प्रियतमे, पश्यन् घन� कानन� पुष्पस्यावचयाय नम्रवदनामेकांसमायोजयत् �
अर्धोन्मीलितलोचनाञ्चल चमत्काराभिरामाननां स्मेरार्द्राधरपल्लवा� नववधूमन्या� समालिङ्गति �

anta� kopakaṣāyite priyatame, paśyan ghane kānane puṣpasyāvacayāya namravadanāmekāṃsamāyojayat |
ardhonmīlitalocanāñcala camatkārābhirāԲnā� smerārdrādharapallavā� navavadhūmanyā� samāliṅgati ||
[46]

On seeing both his beloveds red with anger (due to his transgression), the ⲹ첹 sent away the elder one whose face was downcast to fetch flowers. He then embraced the newly wed with an attractive face, drowsy eyes and a smile on her moist lips.

4 ٳīdhirā

She is the one who has both the qualities of ٳī and also the qualities of aī. She is partially controlled.

Ѳ ٳīī

She speaks sarcastically with tears and faltering voice. Her main character is to weep unabashedly.

धीराधीरा तु वक्रोक्त्य� सबाष्प� वदति प्रियम� �

īī tu vakroktyā sabāṣpa� vadati priyam ||[47]

ٲśū貹첹, 鲹ñᲹī and 鲹ṇaܻ첹 say that she speaks sarcastically. Other wise she is expressed as a lady who cries to portray her anger.

धीराधीरा तु रुदितैरधीरा परुषोक्तिभिः �

īī tu ruditairaī paruṣoktibhi� |[48]

A famous quotation from śٲ첹.

बाले! ना�! विमुञ्� मानिनि रुषं! रोषान्मय� कि� कृतं? खेदोऽस्मास�, � मेऽपराध्यत� भवान्सर्वेऽपराधा मय� �
तत्किंरोदिषि गद्गदे� वचसा, कस्याग्रतो रुद्यत�, नन्वेतन्मम, कातवास्म�? दयित�, नास्मीत्यत� रुद्यत� �

bāle! nātha! vimuñca mānini ruṣa�! roṣānmayā ki� kṛta�? khedo'smāsu, na me'parādhyati bhavānsarve'parādhā mayi |
tatkiṃrodiṣi gadgadena vacasā, kasyāgrato rudyate, nanvetanmama, kātavāsmi? dayitā, nāsmītyato rudyate ||
[49]

The hero has come home after going to another lady. This Ѳ ٳīī ⾱ is angry and wants to make sure that he becomes aware of her mental state. She weeps uncontrollably and does not talk to him. Hence, the ⲹ첹 starts a conversation.

ⲹ첹 -O! dear girl Heroine -Yes! Lord.
ⲹ첹 -O! Grumpy woman! leave your anger. Heroine -What did I achieve by being angry?
ⲹ첹 -I am feeling hurt.
Heroine -You did not commit any crime towards me. Everything is my fault only.
ⲹ첹 -Then why are you crying with a faltering voice? Heroine -In front of whom am I crying?
ⲹ첹 -In front of me. Heroine -Who are you to me? ⲹ첹 -I am your lover.
Heroine -I am not, that is why I am crying!

ʰ Dhīraī

She has the characteristics of both the ʰ ٳī and ʰ ī, thus she shows disinterest in love and also beats and threatens him. She is also associated with sarcastic speech and tears by some authors.

रत्युपेक्ष� तर्जनादिभि� स्वकोपप्रकाशिकाप्रगल्भाधीराधीरा �

ratyupekṣ� tarjanādibhi� svakopaprakāśikāīī |[50]

The one who is disinterested in love making and also beats her unfaithful lover to indicate her anger is called a ʰ īī.

प्रत्यसीदत� सागस� प्रियतमे सा सम्भ्रमादुत्थिता वैयात्यत� पुरत� स्थिते सत� पुनर्मानावधूताशय� �
रात्रौ क्वासि � चेदियं मणिमयी माला कुतस्त� वदेत्युक्त्व� मेखलया हतेन सहसाश्लिष्टा सबाष्प� स्थिता �

pratyasīdati sāgasi priyatame sā sambhramādutthitā vaiyātyat purata� sthite sati punarmānāvadhūtāśayā |
rātrau kvāsi na cediya� maṇimayī mālā kutaste vadetyuktvā mekhalayā hatena sahasāśliṣṭā sabāṣpa� sthitā ||
[51]

When the hero who has committed a mistake sits in front, she restlessly gets up. When he goes in front of her, she stands there itself; shattering his hopes again by her silence. She then asks him ‘Where were you in the night? How did you get this garland?� Saying thus, the wife struck him with her girdle and stood embarrassed with tears.

Another example from śٲ첹

कोपो यत्र भुकुटिरचना निग्रह� यत्र मौनं यत्रान्योन्यस्मितमनुनय� दृष्टिपातः प्रसाद� �
तस्य प्रेम्णस्तदिदमधुना वैशस� पश्य जातं त्वं पादान्ते लुठस� � � मे मन्युमोक्ष� खलायाः �

kopo yatra bhukuṭiracanā nigraho yatra mauna� yatrānyonyasmitamanunayo dṛṣṭipāta� prasāda� |
tasya premṇastadidamadhunā vaiśasa� paśya jāta� tva� pādānte luṭhasi na ca me manyumokṣa� khalāyā� ||
[52]

The hero who has committed a mistake takes great effort to appease her, for which the heroine answers him–O lord! The bond of love between us is over now. The love in which anger was expressed with crooked brows, separations and silence, that anger would get appeased just by seeing each other and smiling at each other. Now, that love itself is over. (So, do not try to appease me). You are rolling at my feet and yet my anger is not being appeased.

धीराधीरा ज्येष्ठा कनिष्ठ� च�
धौर्याधैर्यपरिग्रहग्रहिलयोरेणीदृशो� प्रीतय� रत्नर्द्वन्द्वमनन्तकान्तिरुचिर� मुष्टिद्वय� न्यस्तवान् �
एकस्या� कलयन� कर� प्रथमत� रत्न� परस्या� प्रियो हस्ताहस्तिमिषात् स्पृशन्कुचतटीमानन्दमाविन्दत� �

īī ṣṭ 첹Ծṣṭ ca�
dhauryādhairyaparigrahagrahilayoreṇīdṛśo� prītaye ratnardvandvamanantakāntirucira� muṣṭidvaye nyastavān |
ekasyā� kalayan kare prathamato ratna� parasyā� priyo hastāhastimiṣāt spṛśankucataṭīԲndamāvindati ||
[53]

To please both his angered beloveds, the cunning ⲹ첹 holds two beautiful shining jewels in his hand. He gave one to the elder one and on the pretext of handing over the second; he enjoyed the bliss of touching the breasts of the other one.

For a better understanding of these (ī and others) a tabular column is attached in the appendix–Fig 4.

Footnotes and references:

[back to top]

[1]:

鲹ñᲹī, 101.

[2]:

V. Raghavan feels it is Āǻ岹kāra vide foot note in pg. no. 23

[3]:

ŚṛṅñᲹī, 23.

[4]:

Ibid., 25.

[5]:

鲹ñᲹī, 101.

[6]:

ŚṛṅñᲹī, cxxv. 25.

[7]:

Śṛṅ Tilaka, I. lvi. 14.

[8]:

ŚṛṅñᲹī, cxxvi. 25.

[9]:

śٲ첹, xxii. 39.

[10]:

ŚṛṅñᲹī, cxxvii. 25.

[11]:

śٲ첹, vii. 19.

[12]:

ŚṛṅñᲹī, cxxiv. 25.

[13]:

Ibid., cxxviii. 25.

[14]:

Śṛṅ Tilaka, I. lvii. 14.

[15]:

ŚṛṅñᲹī, cxxix. 25.

[16]:

Ibid., cxxx. 25.

[17]:

Ibid., cxxxi. 25.

[18]:

Ibid., cxxxii. 26.

[19]:

Ibid., 24.

[20]:

Ibid., 26.

[21]:

Ibid., cxxxvii. 26.

[22]:

鲹ṇaܻ첹, I. 24.

[23]:

Cf. 󾱳ٲⲹ ٲ貹ṇa, III. lxi. 187.

[24]:

ŚṛṅñᲹī, 7.

[25]:

屹śna, IV. cl. 136.

[26]:

鲹ṇaܻ첹, I. 24�25.

[27]:

śٲ첹, lx. 86.

[28]:

鲹첹, xlii. 24.

[29]:

ٲśū貹첹, II. xix. 243.

[30]:

鲹ṇaܻ첹, IV. 26.

[31]:

󾱳ٲⲹ ٲ貹ṇa has a different reading [_[lV:

[32]:

śٲ첹, xviii. 34; ٲśū貹첹, II. 243; 󾱳ٲⲹ ٲ貹ṇa, III. 190.

[33]:

鲹ñᲹī, xviii. 58�59.

[34]:

ŚṛṅñᲹī, 26.

[35]:

Ibid., cxxxv. 26.

[36]:

鲹ṇaܻ첹, I. 25.

[37]:

鲹ñᲹī, 40.

[38]:

ŚṛṅñᲹī, 7.

[39]:

Ibid., xxxv. 7.

[40]:

鲹ñᲹī, xiii. 46.

[41]:

śٲ첹, xlv. 79.

[42]:

Śṛṅ Tilaka, I. lxxix. 21.

[43]:

śٲ첹, ix. 22.

[44]:

鲹ṇaܻ첹, I. 26.

[45]:

śٲ첹, li–lii. 75.

[46]:

鲹ñᲹī, xix. 60�61.

[47]:

鲹ṇaܻ첹, I. c. 25.

[48]:

󾱳ٲⲹ ٲ貹ṇa, III. lxii. 187.

[49]:

śٲ첹, lvii. 82.

[50]:

ŚṛṅñᲹī, 7.

[51]:

鲹ṇaܻ첹, I. civ. 27.

[52]:

śٲ첹, xxxviii. 62.

[53]:

鲹ñᲹī, xx. 62�63.

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