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The three terms 苍腻峁瓂补, 苍峁泃迟补 and 苍峁泃测补 were very prominently used in the subject of Sanskrit dramas. 碍腻濒颈诲腻蝉补 is the author of the three famous dramas 惭腻濒补惫颈办腻驳苍颈尘颈迟谤补, 痴颈办谤补尘辞谤惫补艣墨测补 and Abhij帽膩na 艢akuntala. During his time, 苍腻峁瓂补 meant acting as well as dancing. He refers to 苍腻峁瓂补 in various places through different characters in his work.

The divinity accredited to this art of 苍腻峁瓂补 is reflected in this verse. He says that the sages consider this 苍腻峁瓂补 as a beautiful offering to the gods and 苍腻峁瓂补 has been divided in two different ways by 艢颈惫补 in his body, which is blended with that of 鲍尘腻, wherein the behavior of men arising from the three prime qualities and distinguished by various sentiments.

鈥�狈腻峁瓂补 (scenic art, or dancing) is mostly the one chief amusement of the people of varied tastes.鈥�

诲别惫腻苍腻尘颈诲补尘腻尘补苍补苍迟颈 尘耻苍补测补岣� 办腻苍迟补峁� 办谤补迟耻峁� c膩k峁�u峁�a峁價udre峁噀damup膩k峁泃avyatikare sv膩峁単e vibhakta峁僤vidh膩 |
traigu峁噛odbhavamatra lokacarita峁� n膩n膩rasa峁� d峁浥泍ate 苍腻峁瓂补峁� bhinnarucerjanasya bahudh膩pyeka峁� sam膩r膩dhanam ||^[1]

Lord 艢颈惫补, who has a passion for dancing and singing, in association with his consort 笔腻谤惫补迟墨 represents two varieties of dance which is uddhata and 蝉耻办耻尘腻谤补. Uddhata is the violent 迟腻峁囜笉补惫补 of 艢颈惫补 and 蝉耻办耻尘腻谤补 is the delicate 濒腻蝉测补 of 笔腻谤惫补迟墨. Both these are combined in his own body which is in the form of 础谤诲丑补苍腻谤墨艣惫补谤补.

K膩峁璦yavema in his commentary says, sages like Bharata, 惭补迟补峁単补, and others refer 苍腻峁瓂补 as a sacrifice to gods like Indra. This is considered because it is the essence of all the four Vedas.

He also quotes verses from the 狈腻峁瓂补艣膩stra, which says,

鈥�狈腻峁瓂补, is the fifth Veda which comprises of the essence of all scientific ideas and demonstrative of all arts and crafts besides embracing episodes.鈥�

sarva艣膩str膩rthasampanna峁� sarva艣ilyapravarttakam |
苍腻峁瓂腻办丑测补峁� 辫补帽肠补尘补峁� 惫别诲补峁� setih膩sa峁� karomyaham ||^[2]

狈腻峁瓂补 entertains the people of varied tastes. This 苍腻峁瓂补, which starts with a worship to 谤补峁単补 诲别惫补迟腻, is a peaceful sacrifice devoid of animal killing and bloodshed. So it is equivalent to a 测补箩帽补.^[3] The performers, as well as the audience, attain the same position as a person who is well versed in the Vedas, who performs sacrifices, who offers charity and performing other 诲丑腻谤尘颈肠 actions. The only difference between 苍腻峁瓂补 and 测补箩帽补 is that the former is 诲峁涐梗峁璦辫丑补濒补 but the latter is a诲峁涐梗峁璦辫丑补濒补.

Bharata says,

鈥淭丑别 combination of song, instruments and dance is called prayoga.鈥�^[4]

碍腻濒颈诲腻蝉补鈥檚 reverence to Bharata is known from this verse.

鈥淭丑别 lord of the gods, with the guardians of the quarters, is desirous of seeing today the dramatic performance taught to you by the sage Bharata, which is the substratum of the eight sentiments, and wherein is charming acting.鈥�

munin膩 bharatena ya岣� prayogo | bhavat墨峁�va峁ａ弓aras膩艣rayo 苍颈测耻办迟补岣� ||
lalit膩bhinaya峁� tamadya bhart膩 | 尘补谤耻迟腻峁� dra峁ａ弓uman膩岣� salokap膩la岣� ||^[5]

In this drama, 碍腻濒颈诲腻蝉补 refers to the art of dancing as taught by Bharata himself to the celestial damsels. The gods are eager to witness the play called 鈥�尝补办峁�m墨蝉惫补测补尘惫补谤补鈥� which contains the eight rasas and which is to be gracefully enacted by 弄谤惫补艣墨 and others in the heaven.

碍腻濒颈诲腻蝉补 refers to 苍腻峁瓂补 as one that has practical application. He says,

鈥淭丑别 science of 苍腻峁瓂补 is known for its practical representation.鈥�

prayogapradh膩na峁� hi n膩峁璦ya艣膩stram |^[6]

碍腻濒颈诲腻蝉补 rightly points out that, abhinaya, which is the main element of 苍腻峁瓂补, is to be seen and judged when performed rather than questioning about it. This is how 碍腻濒颈诲腻蝉补 conceives 苍腻峁瓂补 in his works.

K膩峁璦yavema in his commentary adds, the practical representation is called abhinaya.

prayogo yastu n膩峁瓂膩derbhavedabhinayo hi sa岣� |

碍腻濒颈诲腻蝉补 refers to a special kind of dance called calita, which is danced by 惭腻濒补惫颈办腻.

deva 肠补迟耻峁�p补诲辞诲产丑补惫补峁� 肠补濒颈迟补峁� du峁�prayojyamud膩haranti |^[7]

K膩峁璦yavema in his commentary states,

鈥淭his is a kind of dance wherein the incident taken place earlier is exhibited by the dancer indicating her mind. Calita contains the four abhinayas and it is of 箩腻迟颈 and svara comprising of 艣峁涐箙驳腻谤补 and laya.鈥�

迟补诲别惫补迟补肠肠补(肠肠丑补)濒颈迟补峁� 苍腻尘补 s膩k峁Ｄ乨yadabhin墨yate |
惫测补辫补诲颈艣测补 辫耻谤腻惫峁泃迟补峁� sv膩bhipr膩yaprak膩艣akam ||^[8]

This dance is mainly of the 艣峁涐箖g膩ra rasa and is based on 肠补迟耻峁�p补诲补, a song consisting of four parts. This dance is considered the most difficult one to be enacted and what 惭腻濒补惫颈办腻 performs here is a 肠补迟耻峁�p补诲补 calita. This calita has references in the 耻辫补谤奴辫补办补蝉 as a dance.^[9]

Bharata describes thus: 肠补迟耻峁�p补诲补 is the dance, which begins with delicate movements and relates to the erotic sentiment and has been created by goddess 笔腻谤惫补迟墨. This should be performed by women, mostly in madhya laya.

A song with four vastus is a 肠补迟耻峁�p补诲补.

ekavastu 诲丑谤耻惫腻 j帽ey膩 dvivastu 辫补谤颈驳墨迟颈办腻 |
trivastu 尘补诲谤补办补峁� 箩帽别测补峁� caturvastu 肠补迟耻峁�p补诲腻 ||^[10]

There are many references of dance performance in the prahasana. The 叠丑补驳补惫补诲补箩箩耻办墨测补 has two beautiful love songs rendered by the heroine who illustrates the 濒腻蝉测腻峁単补 called 腻蝉墨苍补辫腻峁环测补.^[11] In the Dh奴rtanartaka prahasana, the dance performance of Vasantavalli is described.

叠丑腻峁嘺 is developed from the pantomime or the musical dance with 濒腻蝉测补 is employed in it. The 苍补谤迟补办墨 exhibits movements of the limbs. Abhinava classifies 产丑腻峁噄办腻 as 耻诲诲丑腻迟补, forceful. It is full of instrumental music.^[12] As a dance it is vigorous, in contrast to the gentle or delicate manner of most of the dances.^[13] This relates to 迟腻峁囜笉补惫补. 叠丑腻峁嘺 is uddhata when the plot is terrible, lalita when the plot is charming and lalithoddhata when the plot shows the element of both. This has the ten 濒腻蝉测腻峁単补s and a little of 办补颈艣颈办墨 style.^[14] Gaits of animals are performed by the dancers.

During the madana festival, the maids sing a 诲惫颈辫补诲墨办丑补峁囜笉补 song and dance a 肠补谤肠补谤墨 before the king who shows deep appreciation for it.^[15] Udayana belonged to 顿丑墨谤补濒补濒颈迟补 type of hero who was skilled in arts.

In 惭峁沜肠丑补办补峁璱办腻 the heroine Vasantasena is referred to as a courtesan, 辫谤补驳补濒产丑腻 苍腻测颈办腻 who is talented in fine arts. Her skill in dancing is known from the placing of her foot.^[16] She is known as 濒腻蝉颈办补 (dancer).^[17] She has attained skill in the use of her voice by her acting (dancing) on the stage, by the training received in the arts and her cleverness in the art.^[18]

Thus, the 谤奴辫补办补 and upa谤奴辫补办补 types of dramas are of 苍腻峁瓂补 and 苍峁泃测补 variety and there is ample scope for delineation of gati in these dramas.

Footnotes and references:

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[1]:

惭腻濒补惫颈办腻驳苍颈尘颈迟谤补 A-I. V-4

[2]:

狈腻峁瓂补艣膩stra I. 15

[3]:

Ibid. I.124.

[4]:

狈腻峁瓂补艣膩stra XXXII.378.

[5]:

Vik. A-II.V-18.

[6]:

惭腻濒补惫颈办腻驳苍颈尘颈迟谤补 A-I.

[7]:

Ibid. A-I.

[8]:

Ibid. A.I. com.p.6.

[9]:

惭腻濒补惫颈办腻驳苍颈尘颈迟谤补 A-I.

[10]:

狈腻峁瓂补艣膩stra XXXII. 7.

[11]:

Bh.Ajj. V 28,29.

[12]:

狈腻峁瓂补艣膩stra Vol I. com. p 166.

[13]:

Ibid.p 181.

[14]:

厂腻丑颈迟测补-诲补谤辫补峁嘺 VI.pp 333-335.

[15]:

Rat.I.16.

[16]:

Mric.I.17.

[17]:

Ibid I 23.

[18]:

Ibid I 42.