Ashta Nayikas and Dance Forms (study)
by V. Dwaritha | 2013 | 71,711 words
This page relates ‘Examples of Pragalbha 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 9 - Examples of ʰ Svādhīnapatikā
Examples of the ʰ variety of the Svādhīna-patikā character of woman heroine:
वाचः कर्णसुधास्तव स्मितरुचिर्ज्योत्स्न� चकोर� दृशै पत्युस्स्तौत� मृगेक्षणेऽधरसुधास्वादं रसज्ञोऽनिशम् �
अङ्गस्पर्शनसौरभे � सुतरां त्वग्घ्राण सन्तर्पण� नित्यं हृत्कमलस्थितां वरतन� त्वा� � श्रियं मन्यते �vāca� karṇasudhāstava smitarucirjyotsnā cakorau dṛśai patyusstauti mṛgekṣaṇe'dharasudhāsvāda� rasajño'niśam |
aṅgasparśanasaurabhe ca sutarā� tvagghrāṇa santarpaṇe nitya� hṛtkamalasthitā� varatanu tvā� sa śriya� manyate ||[1]Your speech is honey to his ears. The brightness of your smile equals the moon light. O! Deer eyed one, your husband praises your chakora like eyes. The taste of your lower lip is always on his tongue. He lovingly touches your limbs and likes your perfume. He keeps your beautiful body always in his lotus heart and wishes prosperity to you.
वक्त्रस्याधरपल्लवस्य वचसो हास्यस्य लास्यस्य वा धन्यानामरविन्दसुन्दरदृशा� कान्तस्तनोति स्तुतिम् �
स्वप्नेनाप� � गच्छति श्रुतिपथ� चेतःपथ� दृक्पथ� क्वाप्यन्य� दयितस्� मे सख� कथ� तस्यास्त� भेदग्रहः �vaktrasyādharapallavasya vacaso hāsyasya lāsyasya vā dhanyānāmaravindasundaradṛśāṃ kāntastanoti stutim |
svapnenāpi na gacchati śrutipatha� cetaḥpatha� dṛkpatha� kvāpyanyā dayitasya me sakhi katha� tasyāstu bhedagraha� ||[2]Fortunate are those lotus eyed girls whose lovers praise them–their face, tender leaf like lips, their speech, laughter and dance. How can my lover compare me to another woman as he has not seen, heard or thought of any one other than me?
आस्य� हास्यपुरस्कृतं नयनयोर्लास्य� हि यासामस� कान्तः स्तौति मृगीदृशा� सपुलकं धन्य� रमण्यस्त� ता� �
नाना नर्मविचक्षणास्वप� सख�! प्रायोभिदा� पश्यतो भर्तुः किन्तु पराङ्गनासु � कथ� चेतस्तथा स्निह्यत� ॥{ग्ल्_नोते:३९०६१५:}āsya� hāsyapuraskṛta� nayanayorlāsya� hi yāsāmasau kānta� stauti mṛgīdṛśāṃ sapulaka� dhanyā ramaṇyastu tā� |
nānā narmavicakṣaṇāsvapi sakhi! prāyobhidā� paśyato bhartu� kintu parāṅganāsu na katha� cetastathā snihyate ||[3]A friend talks about the good fortune of the ⾱. Her face is characteristic with laughter. Her eyes are graceful. Her husband always praises the deer eyed damsel with horripilation. She who is a master in dalliance is fortunate as her husband follows her unconsciously and firmly in love.
सालो� च्चि� सूरे घरिणी घरसामियस्स घेत्तू� �
नेच्छंतस्स � चलणे धुयै हसन्ती हसंतस्� �
छाया
सालोकए� सूर्ये गृहिणी गृहस्वामिन� गृहीत्वा �
अनिच्छतश्च चरणौ धुवत� हसन्ती हसतः �sāloe cciya sūre ghariṇ� gharasāmiyassa ghettūṇa |
necchaṃtassa ya calaṇe dhuyai hasantī hasaṃtassa ||[4]
sālokaeva sūrye gṛhiṇ� gṛhasvāmino gṛhītvā |
anicchataśca caraṇau dhuvati hasantī hasata� ||[5]The wife who was confident of her husband’s love and thus was free with him, wanted to make love in the evening. She laughed and grabbed him and then both of them laughed.
शून्यं वासगृह� विलोक्� शयनादुत्था� कि� चिच्छनैर्निद्राव्याजमुपागतस्� सुचिरं निर्वर्ण्य पत्युर्मुखम् �
विस्रब्ध� परिचुम्ब्य जातपुलकामालोक्� गण्डस्थली� लज्जानम्रमुखी प्रिये� हसता बाला चिरं चुम्बिता �śūnya� vāsagṛha� vilokya śayanādutthāya ki� cicchanairnidrāvyājamupāgatasya sucira� nirvarṇya patyurmukham |
visrabdha� paricumbya jātapulakāmālokya gaṇḍasthalī� lajjānamramukhī priyeṇa hasatā bālā cira� cumbitā ||[6]Assuming her lord to be asleep, the heroine kisses him and is stunned to find him horripilating. Aware of being noticed she shys away as he laughingly kisses her for long.
Footnotes and references:
[2]:
鲹ñᲹī, lxxii. 166.
[3]:
鲹첹īԲ, xcvi. 16.
[4]:
[5]:
Hemachandra, 屹ԳśԲ, vol. 2 (Bombay: Sri Mahavira Jaina Vidyalaya, 1938), 244.
[6]:
śٲ첹, lxxxii. 107.