Ashta Nayikas and Dance Forms (study)
by V. Dwaritha | 2013 | 71,711 words
This page relates ‘Role of a Sakhi (the friend and guide of the heroine)� 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 3 - Role of a Sakhi (the friend and guide of the heroine)
Post the bhakti movement, the sakhi is considered a Guru to the īٳ (heroine) who yearns to unite with the 貹ٳ (hero). True to this idea, the sakhi of a 첹Գٲ guides and advises her. She reprimands the heroine for having sent the hero away. Sometimes, she is seen as the one who consoles the heroine. In othe times, she is seen as a person on whom the ⾱ blames.
Here is an example from the īٲDZԻ岹 where the sakhi advices the Գٲ.
तामथ मन्मथखिन्नाम� रतिरसभिन्नाम� विषादसम्पन्नाम� �
अनुचिन्तितहरिचरिताम् कलहान्तरितमुवा� सखी �tāmatha manmathakhinnām ratirasabhinnām viṣādasampannām |
anucintitaharicaritām kalahāntaritamuvāca sakhī ||, suffering because of manmatha and whose wish for dalliance is just wrecked, is laden in her woes, but constantly thinks of ṛṣṇa. To that Գٲ ⾱, her friend speaks.
हरिरभिसरति वहति मधुपवन� �
किमपरमधिकसुखम् सख� भुवन� �harirabhisarati vahati madhupavane |
kimaparamadhikasukham sakhi bhuvane |Hari comes towards you when the spring winds blow. Can there be any better happiness in your realm?
माधव� मा कुरु मानिनि मानमये—धृवम्
mādhave mā kuru mānini mānamaye—dhṛvam
Oh indignant girl. Do not be angry with .
तालफ लादप� गुरुमतिसरसम् �
किम् वि� लीकुरुषे कुचकलशम् �tālapha lādapi gurumatisarasam |
kim vipha līkuruṣe kucakalaśam ||Why do you waste the pitcher -like breasts of yours which are sweeter and heavier than the palm fruit?
कत� � कथितमिदमनुपदमचिरम् �
मा परिह� हरिमतिशयरुचिरम� �kati na kathitamidamanupadamaciram |
mā parihara harimatiśayaruciram ||How many times have I told you not to spurn ṛṣṇa who is longing to charm you?
किमिति विषीदस� रोदिषि विकल� �
विहसति युवतिसभा तव सकला �kimiti viṣīdasi rodiṣi vikalā |
vihasati yuvatisabhā tava sakalā ||Why do you wail in dejection while all the girls in the group are laughing at you?
सजलनलिनीदलशीतलशयने �
हरिमवलोक्य सफ लयनयने �sajalanalinīdalaśītalaśayane |
harimavalokya sapha layanayane ||Make Hari sit on a couch made of cool lotus leaves, look at him and make your eyes fruitful.
जनयस� मनसि किमिति गुरुखेदम� �
शृणु मम वचनमनीहितभेदम् �janayasi manasi kimiti gurukhedam |
śṛṇu mama vacanamanīhitabhedam ||Why do you immerse yourself in such despair? Listen to my words which explain how he regrets betraying you.
हरिरुपयातु वदतु बहुमधुरम� �
किमिति करोष� हृदयमतिविधुरम् �harirupayātu vadatu bahumadhuram |
kimiti karoṣi hṛdayamatividhuram ||Let Hari come and speak to you sweetly. Why do you condemn your heart to loneliness?
श्री जयदेवभणितमतिललितम् �
सुखयतु रसिकजनम् हरिचरितम� �śrī jayadevabhaṇitamatilalitam |
sukhayatu rasikajanam haricaritam ||[1]May the song on Ჹ’s life composed by Jayadeva give pleasure to the .
Footnotes and references:
[1]:
īٲDZԻ岹, 156.