Ashta Nayikas and Dance Forms (study)
by V. Dwaritha | 2013 | 71,711 words
This page relates 鈥業ntroduction and definition of Svadhinapatika鈥� of the study dealing with the Ashta-Nayikas鈥攁 classification of eight kinds of 鈥淗eroines鈥� 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 1-2 - Introduction and definition of 厂惫腻诲丑墨苍补辫补迟颈办腻
Sv膩dh墨na-patik膩, also known as 厂惫腻诲丑墨苍补-产丑补谤迟峁沰腻, is the heroine who has captivated her hero. Her 苍腻测补办补 is very attached to her. He is always beside her. He is eagerly waiting for dalliance and is very happy and contended with her. He is faithful to her and does not cheat upon her. He is an 础苍耻办奴濒补 苍腻测补办补 who does not go to another girl irrespective of her beauty. He constantly cajoles her and does not do anything to upset her and she inturn loves him a lot and is confident of his love and favour. She possesses a happy countenance and is depicted as one who is well dressed in radiant and gaudy coloured clothes.
She is always beaming with pleasure and is seen enjoying with her friends.
啶膏啶班い啶距い啶苦ぐ啶膏啶班啶う啷嵿ぇ啷� 啶じ啷嵿く啶距 啶ぞ啶班啶多啶掂 啶む 啶ㄠぞ啶啶� 啷�
啶膏ぞ啶啶︵啷佮ぃ啶膏ぎ啷嵿お啷嵿ぐ啶距お啷嵿い啶� 啶さ啷囙い啷� 啶膏啶掂ぞ啶о啶ㄠき啶班啶む啶曕ぞ 啷�surat膩tirasairbaddho yasy膩岣� 辫腻谤艣惫别 tu 苍腻测补办补岣� |
s膩modagu峁嘺sampr膩pt膩 bhavet sv膩dh墨nabhart峁沰膩 ||[1]
Bharata says a 厂惫腻诲丑墨苍补辫补迟颈办腻 is one who has captivated her husband. She possesses a happy countenance as her hero lives by her side eagerly for union.
Vidy膩n膩tha in his 笔谤补迟腻辫补谤耻诲谤墨测补 claims her to be a lady, who is always cajoled and made happy by her lover.
啶啶班た啶啶げ啶距げ啶苦い啶� 啶ㄠた啶む啶 啶膏啶掂ぞ啶о啶ㄠお啶むた啶曕ぞ啶い啶� 啷�
priyopal膩lit膩 nitya峁� sv膩dh墨napatik膩mat膩 |[2]
厂腻丑颈迟测补诲补谤辫补峁嘺, 艢峁涐箙g膩ratilaka, K膩y膩la峁卥膩ra and Bh膩vaprak膩艣a give similar definitions to this. 厂补谤补蝉惫补迟墨办补峁囜弓丑腻产丑补谤补峁嘺 and K膩vy膩nu艣膩sana also have a very similar tone.[3]
啶じ啷嵿く啶距 啶膏啶班い啶掂た啶侧ぞ啶膏啶班ぞ啶曕啶粪啶熰ぎ啶ㄠぞ啶� 啶い啶苦 啶膏啶ムた啶む 啶ぞ啶班啶多啶掂
啶掂た啶掂た啶о啷嵿ぐ啷�啶∴ぞ啶膏啷嵿い啶� 啶膏ぞ啶о啶ㄠお啶むた啶班啶さ啷囙い啷嵿い啶む啶� 啷�yasy膩岣� suratavil膩sair膩k峁涐梗峁璦man膩岣� 辫补迟颈岣� 蝉迟丑颈迟补岣� 辫腻谤艣惫别
vividhakr墨岣嵞伈醪拱斐倌� s膩dh墨napatirbhavettatra ||[4]
厂惫腻诲丑墨苍补辫补迟颈办腻 is the heroine whose hero attracted by her amorous play never leaves her side and who is interested in various amusements.
An example from 艢峁涐箙g膩ra艣ataka which describes the cajoling words of a hero to his beloved:
啶膏啶оぞ啶く啷嬥そ啶た 啶曕啶粪く啶班啶椸ざ啶距え啷嵿い啷嵿く啷� 啶ㄠぞ啶膏ぞ啶椸啶班ぎ啷佮啷嵿い啶� 啶� 啶侧啶氞啶涏げ啷囙え 啷�
啶呧え啶權啶椸じ啶炧啶溹啶掂え啶︵啶粪啶熰た啶多啷嵿い啶苦 啶啶栢ぞ啶啶む 啶む 啶た啶い啷�啶� 啶氞え啷嵿う啷嵿ぐ啶� 啷�sudh膩mayo'pi k峁yaroga艣膩ntyai n膩s膩gramukt膩 pha lakacchalena |
ana峁単asa帽j墨vanad峁涐梗峁璱艣akti岣� mukh膩m峁泃a峁� te pibat墨va candra岣� ||鈥淢y beloved, the moon, although himself full of nectar, in order to find a cure for its debilitating sickness, has descended in the form of the large pearl in your nose ring, so that he can sip the nectar of your lips and live for ever.鈥�[5]
艢峁涐箙g膩r膩r峁嘺vacandrik膩 and 艢峁涐箙g膩ravil膩sin墨 come up with a little different definition. Here, the hero is said to be controlled by the heroine.
啶じ啷嵿く啶距 啶膏ぞ啶啶啶ぎ啶距ざ啷嵿ぐ啶苦い啷嵿く 啶う啶о啶ㄠ 啶い啶苦 啶膏う啶� 啷�
啶膏啶掂ぞ啶о啶ㄠお啶むた啶曕ぞ 啶ㄠぞ啶班 啶膏ぞ 啶啶班啶曕啶むぞ 啶班じ啶曕啶掂た啶︵啶� 啷�yasy膩岣� s膩m墨pyam膩艣ritya yadadh墨na岣� 辫补迟颈岣� 蝉补诲腻 |
sv膩dh墨napatik膩 n膩r墨 s膩 prokt膩 rasakovidai岣� ||[6]
1 New shades
鈥� 狈腻峁瓂补诲补谤辫补峁嘺 gives a new shade to 厂惫腻诲丑墨苍补辫补迟颈办腻.
啶膏啶啶啶ぞ啶ㄠた啶ㄠ 啶掂ざ啷嵿く啶距じ啶ㄠ啶ㄠ 啶膏啶掂ぞ啶о啶ㄠき啶班啶む啶曕ぞ 啷�
subhagamm膩nin墨 va艣y膩sanne sv膩dh墨nabhart峁沰膩 |[7]
As the hero is always at her side and under her control, the heroine who considers herself beautiful is called a 厂惫腻诲丑墨苍补辫补迟颈办腻.
An appropriate example is found in 顿补艣补谤奴辫补办补 describing the pride of the 苍腻测颈办腻:
啶ぞ 啶椸ぐ啷嵿さ啶啶︵啶掂す 啶曕お啷嬥げ啶むげ啷� 啶氞啶距じ啷嵿い啶� 啶曕ぞ啶ㄠ啶むじ啷嵿さ啶灌じ啷嵿い啶侧た啶栢た啶むぞ 啶ぎ 啶啷嵿啶班啶むた 啷�
啶呧え啷嵿く啶距お啶� 啶曕た啶� 啶� 啶膏啶� 啶ぞ啶溹え啶啶︵啶多ぞ啶ㄠぞ啶� 啶掂啶班 啶� 啶氞啶︵啶さ啶むた 啶掂啶ぅ啷佮ぐ啶ㄠ啶むぐ啶距く啶� 啷�m膩 garvamudvaha kapolatale cak膩sti k膩ntasvahastalikhit膩 mama ma帽jar墨ti |
any膩pi ki峁� na sakhi bh膩janam墨d峁浥浤乶膩峁� vair墨 na cedbhavati vepathurantar膩ya岣� ||[8]A friend tells a 厂惫腻诲丑墨苍补辫补迟颈办腻鈥揙! Do not pride yourself on the account that the hero himself drew the design on your cheek. The touch of your lover did not bring about trembling in you which would have become an enemy to his touch. Others are unable to control their trembling. This could probably imply that the friend is jealous of the 苍腻测颈办腻鈥檚 good fortune.
鈥� The Kanda Padya[9] defines her as the one who makes the 苍腻测补办补 forget the other women and brings him under her control. This proud heroine who lives like this in this earth is called a 厂惫腻诲丑墨苍补辫补迟颈办腻.
Parasatiya nenapa marasuta varanam
Sv膩dh墨na go岣穒suta garuvikeya n膩m
Pha岣纺乿a岣放� 墨 dhareyo岣� sv膩dh墨na
Patike yembuva岣�[10]
鈥� The Portrayal of this 苍腻测颈办腻 shows an example of single minded love on the part of the 苍腻测补办补, but if any poet was to picturize this 苍腻测补办补 as henpecked then it would be a 搁补蝉腻产丑腻蝉补. He loves her and does anything she wants out of love for her and not because he is scared or afraid of her. 鈥�Parantu yadi 办颈蝉墨 kavi k膩 udde艣ya n膩yak ko j艒ru k膩 gul膩m dikh膩kar usk膩 upah膩s 耻岣嵞乶腻 rah膩 ho to yah prasang bh墨 Rasabh膩s k膩 ud膩hara峁� ban 蝉补办迟腻 hai.鈥�[11]
2 The Debate in the Definition:
搁补蝉补尘补帽箩补谤墨 describes 厂惫腻诲丑墨苍补辫补迟颈办腻 as
啶膏う啶� 啶膏ぞ啶曕啶むぞ啶溹啶炧ぞ啶曕ぐ 啶啶班た啶い啶ぞ 啶膏啶掂ぞ啶о啶ㄠお啶むた啶曕ぞ 啷�
蝉补诲腻 s膩k奴t膩j帽膩kara priyatam膩 sv膩dh墨napatik膩 |[12]
艢峁涐箙驳腻谤补尘补帽箩补谤墨 refutes this definition saying the word 鈥�蝉补诲腻鈥� should be discarded as these eight 苍腻测颈办腻s are eight different 补惫补蝉迟丑腻蝉 or stages of a heroine and a word like 鈥�厂补诲腻鈥� would mean being constant which is against the whole theory of stages. Thus 艢峁涐箙驳腻谤补尘补帽箩补谤墨 comes up with a new definition.
啶呧え啷佮啷傕げ啶啶班た啶ぞ 啶膏啶掂ぞ啶о啶ㄠお啶むた啶曕ぞ 啷�
anuk奴lapriy膩 sv膩dh墨napatik膩 |[13]
One who has an obedient or faithful lover is called 厂惫腻诲丑墨苍补辫补迟颈办腻.
This definition seems incomplete. Many verses of a virahi 苍腻测补办补, who has gone to a distant land and pines for his heroine or sometimes wonders the extant of trouble; she might be under, like the following example; are found. Such a situation proves his faithfulness for her.
啶о啶班 啶掂ぞ啶班た啶оぐ啶膏啶� 啶掂ぞ啶班た 啶曕た啶班い啶� 啶多啶班啶む啶掂ぞ 啶ㄠた啶多啶ム 啶о啶掂え啶苦
啶︵啶班啶樴啶氞啶涏啶掂ぞ啶膏ぎ啷佮う啶多啶班啶｀ぞ 啶掂た啶班す啶苦ぃ啷�啶� 啶ぞ啶侧ぞ啶� 啶氞た啶班 啶о啶ぞ啶い啶� 啷�
啶呧ぇ啷嵿さ啶ㄠ啶啶� 啶掂た啶啶曕啶む啶｀啶犩ぎ啶栢た啶侧ぞ啶� 啶班ぞ啶む啶班た啶� 啶むぅ啶� 啶曕啶班え啷嵿う啶苦い啶�
啶椸啶班ぞ啶た啶｀啶� 啶啶ㄠぐ啶о啶掂啶膏啶� 啶掂じ啶むた啶班啶椸啶班ぞ啶 啶ㄠた啶粪た啶︵啶оぞ 啶ぅ啶� 啷�dh墨ra峁� v膩ridharasya v膩ri kirata岣� 艣rutv膩 ni艣墨the dhvani峁�
d墨rghocchv膩samuda艣ru峁嚹� virahi峁嚹箖 b膩l膩峁� cira峁� dhy膩yat膩 |
adhvanyena vimuktaka峁囜弓hamakhil膩峁� r膩tri峁� tath膩 krandita峁� gr膩mi峁嘺i岣�
punaradhvagasya vasatirgr膩me ni峁ddh膩 yath膩 ||[14]On hearing the loud thunders in the night; the traveler, who was away from his beloved cried so loudly that the villagers have banned the stay of travelers hence forth.
If the definition presented by 艢峁涐箙驳腻谤补尘补帽箩补谤墨 is to be considered, then, that 苍腻测颈办腻 should be termed a 厂惫腻诲丑墨苍补辫补迟颈办腻; but since they are apart from each other and he is on a journey, she is considered a 笔谤辞峁迟补辫补迟颈办腻.
3 Definition -Conclusion
Another point to ponder is that, only the love or faithfulness from the part of the hero will not suffice to establish the 厂惫腻诲丑墨苍补辫补迟颈办腻. A 厂惫腻诲丑墨苍补辫补迟颈办腻 should be confident about her lover. What is the point of the hero鈥檚 faithfulness in her if she persistently doubts him and is not convinced about his love? Then, she will begin to be watchful and will misinterpret his words leading to quarrels. Hence it must be understood that a 厂惫腻诲丑墨苍补辫补迟颈办腻 is confident about her lover鈥檚 love for her.
Thus, it must be concluded that a 厂惫腻诲丑墨苍补辫补迟颈办腻 is one, as defined by 诲补艣补谤奴辫补办补尘, both cajoled by the lover and confident about his love too.
啶嗋じ啶ㄠ啶ㄠぞ啶い啷嵿い啶班ぎ啶｀ぞ 啶灌啶粪啶熰ぞ 啶膏啶掂ぞ啶о啶ㄠき啶班啶む啶曕ぞ 啷�
膩sann膩yattarama峁嚹� h峁涐梗峁� sv膩dh墨nabhart峁沰膩 |[15]
Footnotes and references:
[1]:
狈腻峁瓂补艣腻蝉迟谤补, XXIV, ccxi, 675.
[2]:
笔谤补迟腻辫补谤耻诲谤墨测补, I. 19.
[3]:
This verse is considered to be an interpolation. It has been used as it seems fit in the description. Authentication is beyond the realm of this work.
[4]:
碍腻惫测腻濒补峁卥腻谤补, XII. 386.
[5]:
[7]:
[8]:
顿补艣补谤奴辫补办补, II. 260.
[9]:
[10]:
Lalita 艢r墨niv膩san, ed., 鈥�A峁ａ弓a苍腻测颈办腻 Prasanga,鈥� in 狈峁泃测腻谤肠补苍脓 (Bangalore: N奴pur膩, 1994).
[11]:
[12]:
搁补蝉补尘补帽箩补谤墨, 163.
[13]:
Akbar Shah, 艢峁涐箙驳腻谤补尘补帽箩补谤墨, ed. Dr. V. Raghavan (Hyderabad: Hyderabad Archaeological Department, 1951), 15.
[14]:
[15]:
顿补艣补谤奴辫补办补, II. xxiv. 259.