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鈥�(厂补峁単墨迟补苍腻谤补测补峁嘺, Vol. II, p.418 & 420)

笔耻谤耻峁�o迟迟补尘补 Mi艣r膩 refers to Kohala when he defines the term 苍峁泃迟补. He says:

啶ㄠ�冟い啷嵿い啶� 啶氞ぞ啶�啶� 啶む�嵿ぐ啶苦ぇ啶� 啶�啷嵿ぐ啷嬥�曕�嵿い啶� 啶掂た啶粪ぎ啶� 啶掂た啶曕�熰�� 啶侧�樴�� 啷�
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苍峁泃迟补峁� 肠腻辫颈 迟谤颈诲丑腻 辫谤辞办迟补峁� 惫颈峁�a尘补峁� 惫颈办补峁璦峁� laghu |
惫颈峁�a尘补峁� tatsamuddi峁ａ弓a峁� yadrajjubhrama峁嚹乨ikam || 31 ||
vir奴pave峁Ｄ乿ayavavy膩p膩ra峁� 惫颈办补峁璦峁� matam |
upeta峁� 办补谤补峁嘺iralpaira帽cit膩dyairalaghu sm峁泃am || 32 ||

(Trans: 痴颈峁�a尘补, 惫颈办补峁璦 and laghu are again three varieties of 苍峁泃迟补. That is known as 惫颈峁�a尘补 which is marked by walking on ropes. 痴颈办补峁璦 is known to employ ludicrous form, dress and action. Laghu is presented with a few 办补谤补峁嘺蝉 such as 础帽肠颈迟补 etc.)^[1]

Here, the author explains that the term 鈥�补帽肠颈迟补鈥� refers to a particular variety of 办补谤补峁嘺 which is to be explained. The variety of 苍峁泃迟补 called 鈥�laghu鈥� is the same as the varieties of 苍峁泃迟补 such as 岣峯尘产颈办腻, 产丑腻峁噄办腻 etc., which are spoken of by Kohala. These forms (岣峯尘产颈办腻, 产丑腻峁噄办腻) are commonly known as minor forms of drama called 耻辫补谤奴辫补办补蝉. They are varieties of plays where the elements of music and dance are very dominant. Even though that be the case, it is not strange that these are being called 鈥�苍峁泃迟补-惫颈艣别峁�a蝉鈥� (translated by Mandakranta Bose as 鈥榮pecific dances鈥�). What is relevant here to Kohala is that 笔耻谤耻峁�o迟迟补尘补 Mi艣r膩 mentions that he (Kohala) has explained forms such as 岣峯尘产颈办腻, 产丑腻峁噄办腻 and others.

笔耻谤耻峁�o迟迟补尘补 Mi艣r膩 speaks of the classification of 苍峁泃迟补 that is found in 狈腻谤补诲补蝉补峁僪颈迟腻, where it has been said that the dance of a male is called 迟腻峁囜笉补惫补 and dance of a female is 濒腻蝉测补. He points out that this classification is of a very general nature and goes on to explain that 迟腻峁囜笉补惫补 is again of two types鈥�辫谤别谤补峁嚹� and 产补丑耻谤奴辫腻. Here he mentions that the two types of 濒腻蝉测补, namely sphurita and yauvata have not been explained by ancient 腻肠腻谤测补蝉 like Bharata and Kohala as well as by new (later) authorities like 艢腻谤峁単补诲别惫补.

Footnotes and references:

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[1]:

厂补峁単颈蝉迟补苍腻谤腻测补峁嘺: 2009: Vol. II: p.419