Ashta Nayikas and Dance Forms (study)
by V. Dwaritha | 2013 | 71,711 words
This page relates 鈥楨xamples of Madhya 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 8 - Examples of 惭补诲丑测腻 Sv膩dh墨napatik膩
Examples of the 惭补诲丑测腻 variety of the Sv膩dh墨na-patik膩 character of woman heroine:
啶む啶掂い啷嵿お啷嵿ぐ啶苦く啷嬥そ啶曕啶� 啶う啶距ぎ啷嵿が啷佮啶啶膏啶む 啶︵ぞ啶む啶ぞ啶椸啶班す啶く啷� 啶ㄠた啶多た 啶侧ぞ啶曕啶粪ぞ啶 啷�
啶掂げ啷嵿啷� 啶膏じ啷嵿ぎ啶苦い啶啶距さ啷冟い啶ㄠ啶む啶班ぞ 啶ㄠ啶むた 啶ㄠ啶むた 啶多え啶曕啶膏啶膏ぎ啶掂ぞ啶︵啶� 啷�tvatpriyo'k峁泃a pad膩mbujayoste d膩tum膩grahamaye ni艣i l膩k峁Ｄ乵 |
valgu sasmitapa峁乿峁泃anetr膩 neti neti 艣anakaissamav膩d墨岣� ||[1]Your lord arranged your lotus feet and insisted on applying the Alta; immediately, you opened your eyes and said 鈥榥o鈥� with a beautiful smile.
啶う啶た 啶班い啶苦ぎ啶灌啶む啶膏さ啷� 啶ㄠ啶距ぐ啷� 啶う啶た 啶曕ぐ啷囙ぃ 啶ㄠ啶掂た啶оぞ啶班ぃ啶距え啶�
啶啶班た啶じ啶栢た 啶い啶苦ぐ啷囙し 啶ぞ啶班啶多啶掂う啷囙ざ啶� 啶むう啶た 啶� 啶啶炧啶氞い啶� 啶氞啶む啶曕た啶ぞ啶氞ぐ啶距ぎ啶� 啷�yadapi ratimahotsave nak膩ro yadapi kare峁嘺 n墨vidh膩ra峁嚹乶i
priyasakhi patire峁 p膩r艣vade艣a峁� tadapi na mu帽cati cetkim膩car膩mi ||[2]O! Sakhi what do I do now? My lover does not leave me, though I discourage his amorous advances and do not surrender to him.
啶曕ぞ啶啷嵿ぐ啷�啶∴ぞ啶啶班じ啶權啶椸啶う啶た 啶膏啶� 啶く啶� 啶掂ぞ啶く啶� 啶掂ぞ啶班た啶む啶洁じ啷�
啶啶 啶啶啶洁お啶� 啶啶啶洁お啷嵿く啶灌す! 啶い啶苦ぐ啶膏 啶ㄠ啶むた 啶ㄠ啶む啶むた 啶掂ぞ啶曕啶啶� 啷�
啶ぞ啶 啶ぞ啶 啶ぅ啶距そ啶 啶啶灌啶班お啶� 啶膏ぎ啷佮う啶� 啶膏ぞ啶︵ぐ啶� 啶ㄠぞ啶оぐ啶� 啶
啶啶炧啶氞い啷嵿く啶灌 啶むぅ啷堗さ啷嬥啷嵿啶むた 啶� 啶啶ㄠぐ啶膏 啶ぞ啶班啶多啶掂う啷囙ざ啶� 啶曕た啶啶むい啷� 啷�k膩makr墨岣嵞乸rasa峁単eyadapi sakhi 尘补测腻 v膩尘补测腻 v膩rito'sau
bh奴yo bh奴yo'pi bh奴yo'pyahaha! patirasau neti net墨ti v膩kyai岣� |
p膩ya峁� p膩ya峁� yath膩'ya峁� muhurapi 蝉补尘耻诲补峁� 蝉腻诲补谤补峁� n膩dhara峁� me
mu帽catyaho tathaivojjhati na punarasau p膩r艣vade艣a峁� kimetat || [3]During the game of love, O! My friend, in a lovely manner, even though melting like water, I refrain and say 鈥楴o鈥� 鈥楴o鈥� repeatedly yet my husband happily does not leave my lower lips or my sides. O! What to do? (Here, she is a 惭补诲丑测补尘腻 as she enjoys the love sport yet feels shy.)
啶啶粪啶啶︵啶啶︵ぎ啶掂ぞ啶啶� 啶曕啶侧た啶多く啶ㄠぞ啶︵啶︵啶班じ啷嵿ぅ啶ぞ 啶氞啶啶え啷�
啶曕ぞ啶ㄠ啶む啶� 啶膏啶 啶班た啶むぞ啶оぐ啷囙ぃ 啶ㄠた啶啶む 啶啶班啶膏啶溹啶炧く啶� 啶ぞ啶氞た啶む 啷�
啶嗋啷嵿啶距う啷嵿く 啶膏啶た啶むお啷傕ぐ啷嵿ぃ啶椸ぃ啷嵿ぁ啶� 啶侧啶� 啶氞啶侧ぞ啶炧啶氞げ啷囙え啶距え啶ㄠ
啶え啷嵿う啶距え啷嵿う啷嬥げ啶苦い啶曕啶｀啶∴げ啶膏啶むが啶曕く啶� 啶むえ啷嵿さ啷嵿く啶距さ啶о啶む 啶多た啶班 啷�pu峁odbhedamav膩pya keli艣ayan膩dd奴rasthay膩 cumbane
k膩ntena sphu rit膩dhare峁嘺 nibh峁泃a峁� bhr奴sa峁僯帽ay膩 y膩cite |
膩cch膩dya smitap奴r峁嘺ga峁囜笉apha laka峁� cel膩帽calen膩nana峁�
mand膩ndolitaku峁囜笉alastabakay膩 tanvy膩vadh奴ta峁� 艣ira岣� ||[4]Feeling a sudden flux, she got up from the bed of pleasure and started moving away. The husband made a gesture with his eye brow signaling for a kiss with his quivering lips. Then, the 苍腻测颈办腻 with a smile filling her cheeks covered her face with the end of the saree and with shaking earings moved her head to the sides and declined his wish.
Footnotes and references:
[1]:
艢峁涐箙驳腻谤补尘补帽箩补谤墨, lxxxii. 16.
[2]:
搁补蝉补尘补帽箩补谤墨, lxxi. 165.
[3]:
搁补蝉颈办补箩墨惫补苍补, xcv. 16.
[4]:
础尘补谤耻艣补迟补办补, cviii. 131.