Ashta Nayikas and Dance Forms (study)
by V. Dwaritha | 2013 | 71,711 words
This page relates ‘Examples of Svadhinapatika� 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 5 - Examples of īԲ貹پ
Examples of the Svādhīna-patikā character of woman heroine:
At first, the īԲ貹پ ⾱ with general features, not falling under any of the divisions namely�ī, and so on are dealt with here.
घरिणिघणत्थणवेल्लणसुहेलिपडिअंसहोंतपहिअस्स �
अवसौणंगारअवारविठ्ठिअहासुहाअंति �ghariṇighaṇatthaṇavellaṇasuhelipaḍiaṃsahoṃtapahiassa |
avasauṇaṃgāraavāraviṭhṭhiahāsuhāaṃti ||गृहिणीघनस्तनप्रेरणसुखकेलिपतितस्य भविष्यत्पथिकस्� �
अपशकुनाङ्गारकवारविष्टि दिवसाः सुखयन्ति �gṛhiṇīghanastanapreraṇasukhakelipatitasya bhaviṣyatpathikasya |
apaśakunāṅgārakavāraviṣṭi divasā� sukhayanti ||[1]Tuesday will be a bad omen saying thus the wicked traveler enjoys the rainy days urging dalliance with their heavy breasted wife.
काञ्चीनारी� नृपतितिलकोरायवङ्गः सदाल� स्वारुह्याङ्कं पिबत� मधुर� चाधर� प्रेक्षतेऽङ्गम� �
तत्संलाप� निशमयत� वै सौरभ� जिघ्रतीदं स्पृष्ट्वा स्पृष्ट्वा वरकुचयुग� मोदत� कामतन्त्रः �kāñcīnārī� nṛpatitilakorāyavaṅga� sadāla� svāruhyāṅka� pibati ܰ� cādhara� prekṣate'ṅgam |
tatsaṃlāpa� niśamayati vai saurabha� jighratīda� spṛṣṭvā spṛṣṭvā varakucayuga� modate kāmatantra� ||[2]The best of Kings�King ⲹ ղṅg ascends on the limbs of the belted woman who is ever competent in the matters of love. He drinks the sweet lower lip, looks at her limbs, sincerely listens to her words, smells her fragrance and is elated to frequently touch both her breasts.
वेणीप्रसूनरचनासु मनोहरासु पत्रावलीविरचने कुचयोः कृशाङ्गि �
कान्ते सखीषु तुलितानुनय� प्रकाममङ्गप्रसाधनविध� तव काप्रवीणा �veṇīprasūnaracanāsu manoharāsu patrāvalīviracane kucayo� kṛśāṅgi |
kānte sakhīṣu tulitānunayā prakāmamaṅgaprasādhanavidhau tava kāpravīṇ� ||[3]O lean limbed lady! Who is an expert amongst your lover and friends in arranging flowers on the hair, in making beautiful leaf designs on the breasts and with delightful ways of ornamenting the limbs?
लिखत� कुचयोः पत्र� कण्ठ� नियोजयति स्रज� तिलकमलिकेकुर्वन्गण्डादुदस्यत� कुन्तलान� �
इत� चटुशतैर्वारं वारं वपुः परित� स्पृ�-न्विरहविधुरो नास्या� पार्श्वं विमुञ्चत� वल्लभः �likhati kucayo� 貹ٰ� kaṇṭhe niyojayati sraja� tilakamalikekurvangaṇḍādudasyati kuntalān |
iti caṭuśatairvāra� vāra� vapu� parita� spṛśa-nvirahavidhuro nāsyā� pārśva� vimuñcati vallabha� ||[4]The ⲹ첹 draws designs of sandal paste on her breasts, adorns her neck with a necklace, marks her forehead with a tilak, and removes her hair from her cheeks. Like this the ⲹ첹 appeases his sorrow of separation from the heroine by thousands of clever deeds to keep touching all over her body and to not leave her vicinity.
लालयन्नलकप्रान्तान� रचयन� पत्रमञ्जरी� �
एतां विनोदयन् कान्तश्छायावदनुवर्तत� �lālayannalakaprāntān racayan patramañjarī� |
etā� vinodayan kāntaśchāyāvadanuvartate ||[5]The hero caresses her curls and decorates her cheeks with fragrant substances. Thus fondling her, the lover follows her like a shadow.
From īٲDZԻ岹:
अथ कान्तं रतिक्लान्तमप� मण्डनवाञ्छया �
निजगाद निराबाधा राधा स्वाधीनभर्तृका �atha kānta� ratiklāntamapi maṇḍanavāñchayā |
nijagāda nirābādhā rādhā svādhīnabhartṛkā ||[6]Then, as they were idle in the aftermath of the love making, addressed ṛṣṇa, who was completely under her sway, to dress her up.
ṣṭ貹徱 24
कुरु यदुनन्दन चन्दनशिशिरतरेण करेण पयोधरे �
मृगमदपत्रकमत्र मनोभवमङ्गलकलशसहोदर� �kuru yadunandana candanaśiśiratareṇa kareṇa payodhare |
mṛgamadapatrakamatra manobhavamaṅgalakalaśasahodare ||O the delight of Yadu's clan, paint musky foliages on my bosoms that are love's ritual vessel, and that are the co-born ones to auspicious vessels. Paint on them with your own palms that are cooler than the sandal-paste.
निजगाद सा यदुनन्दन� क्रीडत� हृदयानन्दन� � ध्रुवम� �
nijagāda sā yadunandane krīḍati hṛdayānandane || dhruvam ||
She told ṛṣṇa, the joyful Yadu hero, who was engaged in the play of love to delight her heart.�Dhruvam
अलिकुलगञ्जनमञ्जनकं रतिनायकसायकमोचने �
त्वदधरचुम्बनलम्बितकज्जालमुज्जवलय प्रि� लोचन� � नि� � �alikulagañjanamañjanaka� ratiⲹ첹sāyakamocane |
tvadadharacumbanalambitakajjālamujjavalaya priya locane || nija 0 ||My eyes are bows that release sidelong-glances, akin to the arrows of Lovegod, but when you kissed them their Ჹ was erased, oh, dear, brighten them up with such kajal glossier than the blackness of swarms of honeybees.
नयनकुरङ्गतरङ्गविकासनिरासकर� श्रुतिमण्डले �
मनसिजपाशविलासधरे शुभवेश निवेशय कुण्डल� � नि� � �nayanakuraṅgataraṅgavikāsanirāsakare śrutimaṇḍale |
manasijapāśavilāsadhare śubhaveśa niveśaya kuṇḍale || nija 0 ||My restless doe eyes end at the ears, O beautifully dressed one! hang my earrings on the lobes of the ears to make snares of love.
भ्रमरचयं रचयन्तमुपर� रुचिरं सुचिरं मम संमुखे �
जितकमल� विमल� परिकर्मय नर्मजनकमलक� मुखे � नि� � �bhramaracaya� racayantamupari ܳ� ܳ� mama saṃmukhe |
jitakamale vimale parikarmaya narmajanakamalaka� mukhe || nija 0 ||Readjust my curly hair which has fallen on my face, more beautiful than a full bloomed lotus, like a gleaming line of black bees.
मृगमदरसवलितं ललित� कुरु तिलकमलिकरजनीकर� �
विहितकलङ्ककल� कमलानन विश्रमितश्रमशीकर� � नि� � �mṛgamadarasavalita� lalita� kuru tilakamalikarajanīkare |
vihitakalaṅkakala� kamalānana viśramitaśramaśīkare || nija 0 ||Make a mark on the forhead, where the sweat drops have lulled by now, like the mark on the moon, with the deer musk, O moon faced ṛṣṇa!
मम रुचिरे चिकुरे कुरु मानद मानसजध्वजचामरे �
रतिगलिते ललित� कुसुमानि शिखण्डिशिखण्डकडामर� � नि� � �mama rucire cikure kuru mānada mānasajadhvajacāmare |
ratigalite lalite kusumāni śikhaṇḍiśikhaṇḍakaḍāmare || nija 0 ||Hey adorable one! Fix flowers on my tresses which have been disheaveled during the act of love making. My hair is like the banner of the god of love and more beautiful than the plumes of a peacock.
सरसघने जघने मम शम्बरदारणवारणकन्दर� �
मणिरशनावसनाभरणान� शुभाशय वासय सुन्दर� � नि� � �sarasaghane jaghane mama śambaradāraṇavāraṇakandare |
maṇiraśanāvasanābharaṇāni śubhāśaya vāsaya sundare || nija 0 ||Oh the abode of auspiciousness! Decorate my hips which resemble the elephantine mountain slopes with silk, jewels and girdle with bells resounding.
श्रीजयदेववचस� रुचिरे हृदय� सदयं कुरु मण्डने �
हरिचरणस्मरणामृतकृतकलिकलुषभवज्वरखण्डन� � नि� � �śrījayadevavacasi rucire hṛdaya� sadaya� kuru maṇḍane |
haricaraṇasmaraṇāmṛtakṛtakalikaluṣabhavajvarakhaṇḍane || nija 0 ||[7]Oh, Krishna, you make your heart benign to listen to the auspicious saying rendered by Jayadeva, which is an eradicator of fevers caused by the impurities of Kali era and which is filled with the nectar derived by meditating on your feet.
It is to be noted here that the ⾱ delineated above in the ṣṭ貹徱, falls under a sub classification named ū貹, the one who is proud of her physical beauty.
屹ḷi[8] Language—Telugu ; 岵�Paras; ḷa—ĶĻ徱; dzDz�Dharmapuri ܲⲹ |
Situation. Here the friend is talking about the hero and his behavior towards the heroine. |
Pallavi Smarasundarāṅguni sariyevvarē Sarasakōtilō navajīruhamīrē |
Meaning Who can equal him? Who is as beautiful as Manmatha He is one in a crore. |
Charaṇa 1 Āḍinamāṭalu aḍḍamu palukaḍ� Ē ceḍiyalanu kanulajūḍaḍ� |
He would not negate, what is said. He would not see another lady. |
Charaṇa 2 Vinulakimpuga vīṇavāyinci ali ŧṇiŧ ḍa ṣiܲŧ |
He would play the lute, pleasantly to the ears. When the ⾱ sings, he applauds her. |
Footnotes and references:
[1]:
[4]:
Śṛṅ Tilaka, I. cxxxiii. 35; Vāgbhaṭṭa, 屹ԳśԲ, ed. Shivadutta and Kasinatha Panduranga Parab, Kāvyamāla 43 (Bombay: Tukaram Javaji, 1915), V. 63.
[5]:
鲹첹, xxxviii. 22.
[6]:
Jayadeva, īٲDZԻ岹 of Jayadeva -Love song of the Dark Lord, ed. Barbara Stoler Miller (Delhi: Motilal Banarsidass, 2007), 166.
[7]:
Ibid., 166�67.