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Bharata says 补峁単补蝉 of 濒腻蝉测补 (dance) can be made use of in 苍腻峁璦办补蝉. They are performed individually by a dancer (like in 产丑腻峁嘺) in a delicate manner. 尝腻蝉测补 should be familiar, having imaginary ideas like 辫谤补办补谤补峁嘺 and different moods.

尝腻蝉测腻峁単补蝉, which are the ancillaries of 濒腻蝉测补, are ten as enumerated by Bharata. They are:

1. geyapada,
2. 蝉迟丑颈迟补辫腻峁环测补,
3. 腻蝉墨苍补,
4. 辫耻峁�p补驳补峁囜笉丑颈办腻,
5. pracchedaka,
6. 迟谤颈尘奴岣峢补办补,
7. saindavaka,
8. 诲惫颈尘奴岣峢补办补,
9. uttamottamaka and
10. uktaprayukta.^[1]

Bharata describes the performance of 濒腻蝉测腻峁単补蝉 under 诲补艣补谤奴辫补办补 and the 迟腻濒补 chapters. These can be brought under the 办补颈艣颈办墨惫峁泃迟颈, which involves graceful movements of the body, song and dance sequences, and based on 艣峁涐箙g膩ra rasa. Abhinava says 濒腻蝉测补, a graceful form of dance that involves music also, happens to be a part of the 蝉耻办耻尘腻谤补 variety of dramas.^[2]

These are performed by a single dancer and are 别办腻丑腻谤测补 like 产丑腻峁嘺. They are applied in 苍腻峁璱办补蝉, as they are music and dance based, along with 办补颈艣颈办墨 惫峁泃迟颈. 惭腻濒补惫颈办腻驳苍颈尘颈迟谤补 which is termed as 苍腻峁璱办补 by scholars like Raghavan, has some references of 濒腻蝉测腻峁単补蝉.^[3]

Abhinavagupta considers 濒腻蝉测补 as a separate dance form of the graceful style, connected with Parvati, which with its ten forms is part of the 辫奴谤惫补谤补峁単补 of the 蝉耻办耻尘腻谤补 variety of dramas. This is explained at length in his commentary on the 迟腻濒腻诲丑测补测补, where also Bharata describes the 濒腻蝉测补 in connection with laya.^[4]

Bharata says in the 迟腻濒补 chapter, 鈥淚t is defined as 鈥�濒腻蝉测补鈥� because of its lasanas hining nature and it relates to women and men. It could be pertaining to a single idea or based on several ideas.^[5]

Here, it is connected with performances in 辫奴谤惫补谤补峁単补 and is based on movements and 迟腻濒补. Bharata enumerates the 迟腻濒补, 惫峁泃迟补, 辫腻峁嚹�, etc. for all the l膩sy补峁単补蝉 and so the gaits should be performed based on these elements.

In geyapada as in plays like 产丑腻峁嘺 after the 腻蝉腻谤颈迟补 the upohana is done with three parivartanas. 笔补谤颈诲丑腻苍补办补 is to be performed with the c膩capu峁璦 迟腻濒补 of two 办补濒腻蝉 followed by the parivartana. In a parivartana, the passage for men should be used first, and it should be in three sentences to be followed by another for women, which has four sentences. Thus, here the gati is based on the parivartanas on the stage, which are in the form of worshipping the 诲颈办-辫腻濒补蝉. As it is connected with 辫奴谤惫补谤补峁単补, the 补峁単补丑腻谤补蝉 can be performed. Abhinava adds that both uddhata and 蝉耻办耻尘腻谤补 will be used in this.

厂迟丑颈迟补辫腻峁环测补 should have one or two verses and it should be sung in consonance with the 迟腻濒补 called 肠补肠肠补迟辫耻峁璦 in pa帽ca辫腻峁嚹�.

The 苍补谤迟补办墨 performs the 产丑奴尘颈 肠腻谤墨蝉 in standing position after entering.

pa帽cap膩峁噄n膩 caccatpu峁璭na v膩 g墨yam膩ne abhinaya苍峁泃迟补bhy膩峁� v膩 yojayet |
anantaramavas膩na峁� tadarthanirvaha峁嘺峁� 办腻谤测补峁� |
drutalayena dvikalena pa帽cap膩峁噄n膩 g膩tavya峁� nartitavyam |
辫谤补惫颈艣测补 sthitayaiva bh奴肠腻谤墨蝉thay膩 nartaky膩 pa峁環yate'treti 蝉迟丑颈迟补辫腻峁环测补m |^[6]

膧蝉墨苍补辫腻峁环测补 is recited in t峁泍a艣ra迟腻濒补, sitting position.

Abhinava says the 苍峁泃迟补 and abhinaya can be employed in this.

tasy膩艣ca 苍峁泃迟补bhinay膩diprayoga岣� |

However, we can use the 苍峁泃迟补 hastas and abhinaya hastas along with mukhaja abhinaya and 腻蝉补苍补 蝉迟丑腻苍补蝉 and 办补谤补峁嘺蝉.

笔耻峁�p补驳补峁囜笉颈办腻 should be in sama惫峁泃迟补 with four 蝉补苍苍颈辫腻迟补 and 肠补帽肠补迟辫耻峁璦 迟腻濒补. For each pada there should be music and dance.

The two 惫峁泃迟补s for this are 办丑补帽箩补 and 苍补谤办耻峁璦.

p膩de p膩de tu tasye峁ａ弓a峁� 惫腻诲测补峁� 苍峁泃迟补峁� tathaiva ca |
ata艣c膩nye sm峁泃a峁� v峁泃te 办丑补帽箩补narku 峁璦sa峁僯帽ite |^[7]

The actions should be befitting a masculine feel and the conclusion should be with 补惫颈诲诲丑腻肠腻谤墨 with bold steps and expressive 补峁単补丑腻谤补蝉. The 艣颈谤峁�a办补 for this must be pa帽ca辫腻峁嚹�. Abhinava says after each line 蝉耻峁�k腻办峁�a谤补 should be sung along with varieties of instruments and dance. This is like 谤补峁単补诲惫腻谤补 and nandi.^[8]

Pracchedaka consists of three limbs namely 辫谤补办谤墨岣峣迟补, 迟辞峁璦办补 and 苍腻谤腻肠补办补.

It represents the dance relating to a heroine and having dressed up with proper ornaments she steps into sportive dance expressing various feelings like 丑别濒腻 etc.

苍峁泃迟补峁� pr膩s膩dakr墨岣嵞乺tha峁� 丑别濒腻dibhirala峁卥峁泃am |^[9]

Abhinava feels that this comes under 肠腻谤墨 variety of 辫奴谤惫补谤补峁単补 which is based on 蝉峁涐箙驳腻谤补 rasa.

In 迟谤颈尘奴岣峢补, which is in 肠补肠肠补迟辫耻峁璦 迟腻濒补, the sentences should be delivered with emotions befitting a male with a dramatic manner. Abhinava opines that it should be performed with not so lenghthy uddhata 补峁単补丑腻谤补蝉, which are suitable for men. Saindhavaka is in 辫谤腻办峁泃 language and should have musical accompaniments and songs. Here there should not be any text and thus there is more scope for 苍峁泃迟补 gati. In 诲惫颈尘奴岣峢补办补 the 迟腻濒补 is 肠补帽肠补迟辫耻峁璦. It should represent a variety of meaning and it is of masculine nature. This can be represented by uddhata 肠腻谤墨蝉. Uttamottamaka should have embellishments of 丑别濒腻. Uktapratyukta abounds in anger and pleasure. All these l膩sy补峁単补蝉 can be performed with suitable 肠腻谤墨蝉, 尘补峁囜笉补濒补蝉, 办补谤补峁嘺蝉 and 补峁単补丑腻谤补蝉.

Abhinava gives references for these l膩sy补峁単补蝉 under 诲补艣补谤奴辫补办补 chapter. 惭补濒补测腻惫补迟墨 singing to the accompaniment of 惫墨苍腻 in act one of N膩g膩nanda comes under geyapada. S膩garika鈥檚 words expressing her longing and loverlornness in act two of 搁补迟苍腻惫补濒墨, is 蝉迟丑颈迟补辫腻峁环测补. 膧蝉墨苍补 can be identified in act three where the king is introduced as seated and gesticulating love sickness and expressing the mood of a longing lover wishing to attain his object. These can be enacted with proper 蝉迟丑腻苍补蝉 and gatis.

Bharata says, that singer or that drummer who does not know the principles of the time-measure does not measure who does not know the principle of time-measure does not deserve the name and hence one should get proficiency in 迟腻濒补.

Footnotes and references:

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[1]:

狈腻峁瓂补艣腻蝉迟谤补 XX.127,128.

[2]:

Ibid.XIX.p.65.

[3]:

Sanskrit Drama鈥揑ts Aesthetics and Production. V. Raghavan.p.168

[4]:

狈腻峁瓂补艣腻蝉迟谤补 XXXI. 335 -367

[5]:

Ibid.XXXI. 331.

[6]:

Ibid XXXI. com. p.271.

[7]:

Ibid. XXXI. 347.com.p.272.

[8]:

Ibid. XXXI. com.p.272.

[9]:

Ibid.XXXI. 350.