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Ashta Nayikas and Dance Forms (study)

by V. Dwaritha | 2013 | 71,711 words

This page relates ‘Anunaya (methods of appeasement)� 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 12 - Anunaya (methods of appeasement)

When the is angry, it is the duty of the hero to appease her. He should use the following methods of appeasement (anunaya) namely:

1) ,
2) bheda,
3) Բ,
4) nati,
5) ܱṣa and
6) Գٲ.

सा� भेदोऽथ दानञ्च नत्युपेक्ष� रसान्तरम� �
तद्भङ्गा� पतिः कुर्य्यात् षडुपायानित� क्रमात� �

峾 bhedo'tha Բñca natyupekṣe Գٲm |
tadbhaṅgāya pati� kuryyāt ṣaḍupāyāniti kramāt ||
[1]

These methods of appeasement (anunaya) are to be used by the if and when needed towards her hero. մDZ辱ⲹ says that a husband is entitled to be angry if his wife is too obstinate to yield to his sweet persuasion and when he, mistakes the time and place of meeting suggested by the heroine.

ṇa-varai y-iṟappiṉuñ cey-kuṟi piḻaippiṉum
pulattal-u m-ūṭa-u� kiḻavō� k-uriya
.[2]

Even a ⾱ could employ these to appease her hero. She should not disregard her hero when he is angry—says Śṛṅ tilaka:

इत्युपायान्प्रयुञ्जी� नायिकापि प्रियं प्रत� �
क्रुद्घं नोपेक्षत� कि� चित्तत्रान्यत्कारण� भवेत� �

ityupāyānprayuñjīta ⾱pi priya� prati |
krudgha� nopekṣate ki� cittatrānyatkāraṇa� bhavet ||[3]

1 —weet talking

दुर्विनीतोऽप� पाल्योऽह� त्वय� सुभ्रु क्षमाभृत� �
इत� वाक्यं भवेद्यत्� तत्सामेत� निगद्यते �

durviīto'pi pālyo'ha� tvayā subhru kṣamābhṛtā |
iti vākya� bhavedyatra tatsāmeti nigadyate ||
[4]

is when the hero appeases the thus–even if I am a bad person, o! beautiful armed one; I am worth being protected (embracing). Appeasing a ѳܲ also an example of .

मुग्धामनुनयत्येव मृदूपाये� सान्त्वयन् �
नातिभीतिकरैर्वाक्यैर्निर्बन्धैर्बालभीषितै� �

mugdhāmanunayatyeva mṛdūpāyena sāntvayan |
nātibhītikarairvākyairnirbandhairbālabhīṣitai� ||
[5]

The Hero appeases the ѳܲ ⾱ by soft words. He does not use harsh threatening sentences, instead speaks to her like a child.

Example:

सरति सरसस्तीरादेषा भ्रमद्भ्रमरावली सुमुखि विमुखि पद्म� मन्य� तवास्यपिपासय� �
इत� निगदित� कि� चिद्भीत्� विवर्तितकं धर� वदनकमल� बाला भर्त्र� चिरं परिचुम्बित� �

sarati sarasastīrādeṣ� bhramadbhramarāvalī sumukhi vimukhi padme manye tavāsyapipāsayā |
iti nigadite ki� cidbhītya vivartitaka� dharā vadanakamale bālā bhartrā cira� paricumbitā ||
[6]

O! beautiful faced one! I think this one bee from the collection of bees which were roaming around the bank of the tank, has left the lotus to drink the nectar from your mouth. Just as the husband said thus, the innocent one out of fear turned her shoulders around and the husband kissed her lotus lips for a long time.

2 Bheda—Trying to convince through friends

यस्मिन्परिजन� तस्याः समावर्ज्� प्रसादितम् �
तेनै� लभते कान्ता� कान्तो भेदः � उच्यते �

yasminparijane tasyā� samāvarjya prasāditam |
tenaiva labhate kāntā� kānto bheda� sa ucyate ||
[7]

When the hero tries to appease the by attracting the people liked by her and making them mediate between them, then it is called bheda.

Padam[8]
Language -Telugu
-峾ōᾱ
Composer -ṣētñ
Intadayagala dāninēla rāvaddaṇṭi? venta nirdayurālavē
Santatamu mā muvvagōpāla ī
Sarasatvamule yencunē O celiyarō!
Why have you asked him not to come to you? Such a compassionate one is he.
O my dear friend Lord Muvva Gopala always recollects your pleasing ways.
Veladi ī ṇa ṛtԾ
niṇḍukoluvulō vēnōḷḷa goniyāḍunē!
Palumāru īku sari ū貹پ lēdanucu bāsa jēsedananiyenē Telasi padivēla janmamulaku ī
ṛṇamu dīrcukō jālananenē
Celiya tanamīda īvalukajendinadi tā Cēsina pāpaԱŧ! Ō celiyarō!
In an open assembly he speaks of you in umpteen ways. He praises your nature to be as sweet as nectar. Many a times he swears that there is nobody to equal you in beauty. Often he proclaims that his indebtedness to you will not be redeemed even after being born thousands of times. O dear friend! Your anger against him, he said, is only because of the past sins commited by him.
Munu īdu kemmōvi ŧԱ lānaga brāṇa
Mulu nilici yunna vanenē!
Ghanamaina viraha
vēdanakōrvajāla nika ṣiԳ
Աŧ
!
Tanuvu tanasomme yiccakamu
īṭa
Tana cittamerugu nanenē Vanajākṣi nanaga banilēdu nāpālidaivamu
Karuṇadappe nanenē! O celiyarō
He said he is able to survive this life, only in the hope of tasting honey from your coral lips. He is unable to live without you and pleads you to save him as his body is given to you and even your mind is aware of that. He promises that his words are genuine. He also said that it is only fate that is to be blamed and not you, the lotus eyed one.
Mundu mā muvvagōpāla rā rā!
Yanina
Muddu tāmaruva nanenē Kandarpuḍikanēmi cēsunō yeruga mā kalikitō delupu Աŧ!
Mande mēlamuna nēnāḍina ṭa tana madinunca valavadanenē
Yindu mukhi nanugūḍi lālincina soga Sentanucu dalatu nanenē! O celiyarō
He says that he cannot forget the times that you called him by name Muvva Gopala and honoured him with your kisses. He would not know what more torments cupid has in store for him. He requested to inform you that what ever he might have said as a joke need not be taken to heart. He remembers you having caressed him with your moon like face.


3 Բ—Giving gifts to appease

अलंकारादिक� दद्यान्नायको यत्र तुष्� ये �
उद्दिश्य कारण� कि� चिद्दानं तस्याच्च तद्यथा �

alaṃkārādika� dadyānnāyako yatra tuṣṭa ye |
uddiśya kāraṇa� ki� cidԲ� tasyācca tadyathā ||[9]

When the hero tries to appease the heroine through gifts like ornaments and the like, then it is called Բ.

屹ḷi
Language -Telugu
岵-Pūrvikalyāṇi; ḷa-Ā徱
dzDz�ʲṭṭ󾱰峾ⲹ
Though this particular song does not
depict the hero actually giving her gifts or promising her to do so, this song is indicative of the fact that he had promised her earlier.
Pallavi
Nī ṭalē māyanurā 峾 balkarā
What happened to what ever you said? ! Please tell me.
Anupallavi
Ēmēmō bōdhiñci nanu ēmāra cēsēmurā
So many things you had promised me and now, you have cheated me.
䲹ṇa 1
Cakkani 峾vale cekkili nokkirava Mukkēra ī kiccēnaṇi ṭakkulacē cokkiñcina
You, the nice lord pinched my cheeks and said you will give me diamond nose ring and cleverly charmed me.
䲹ṇa 2
ṭi māṭiki maruṭalāḍa pilcucu Pātilu ī pampenani tātōṭa nuṭ� īṭina
Again and again to converse with me you invited me and bragged and boasted that you will send a bracelet to me.
䲹ṇa 3
Jālamu jēsi kalalēci rattanāla jumukī jata pampēnani tāḷavana ō ala
O The lord ḷavanaō! You tricked me to unite with you by saying you will get me a pair of gemmed jumkis.


4 Nati—Falling at her feet

केवल� दैन्यमालम्ब्� पादपात� नतिर्मता �
अभीष्टा सा भृशं स्त्रीणा� ललित� � भवेद्यथा �

kevala� dainyamālambya pādapāto natirmatā |
abhīṣṭā sā bhṛśa� strīṇāṃ lalitā ca bhavedyathā ||[10]

Becoming miserable, when the hero falls at her feet, then it is called nati. Women feel nice and like this kind of action.

Example: 

सुतन�! जहिह� मौनं पश्य पादानत� मा� � खल� तव कदाचित्कोप एवंविधोऽभूत् �
इत� निगदति नाथे तिर्यगामीलिताक्ष्या नयनजलमनल्प� मुक्तमुक्त� � कि� चित् �

sutanu! jahihi mauna� paśya pāԲta� mā� na khalu tava kadācitkopa evaṃvidho'bhūt |
iti nigadati nāthe tiryagāmīlitākṣyā nayanajalamanalpa� muktamukta� na ki� cit ||
[11]

“O beautiful bodied one! Leave your anger and look at me who has fallen at your feet. You have never been so angry with me�. Having been told like this by the lover, the obliquely closed her eyes and started shedding tears but did not say anything.

5 ṣa—Disregarding her

प्रसादनविधिं त्यक्त्व� वाक्यैरन्यार्थसूचकैः �
यस्मिन्प्रसाद्यत� योषिदुपेक्षा सा मत� यथ� �

prasādanavidhi� tyaktvā vākyairanyārthasūcakai� |
yasminprasādyate yoṣidupekṣ� sā matā yathā ||[12]

When the hero stops trying to appease her and makes sentences indicating otherwise, then it is called ܱṣa

Example: 

स्वचरणपीडानुमितत्वन्मौलिरुजाविनीतमात्सर्य्या �
अपराद्घा सुभग! त्वा� स्वयमहमनुनेतुमायात� �

svacaraṇapīḍānumitatvanmaulirujāviītamātsaryyā |
aparādghā subhaga! tvā� svayamahamanunetumāyātā ||
[13]

6 鲹Գٲ�Trying to change the mood

अकस्माज्जायत� यत्र भयहर्षादिभावना �
सोऽय� प्रसङ्गविभ्रंश� कोपभ्रंशात्मको यथ� �

akasmājjāyate yatra bhayaharṣādibhāvanā |
so'ya� ṅgṃśa� kopabhraṃśātmako yathā ||[14]

When there is sudden fear, laughter etc then the anger is destroyed. This is called ṅgṃśa or Գٲ [Գٲm].

Example: 

सन्त्येवात्र गृहे गृहे युवतयस्ताः पृच्� गत्वाधुन� प्रेयांस� प्रणमन्त� कि� तव पुनर्दास� यथ� वर्तते �
आत्मद्रोहिणि! दुर्जनैः प्रलपितं कर्णेऽनिशं मा कृथा -श्छिन्नस्नेहरस� भवन्ति पुरुषा दुःखानुवर्त्या� पुनः �

santyevātra gṛhe gṛhe yuvatayastā� pṛccha gatvādhunā preyāṃsa� praṇamanti ki� tava punardāso yathā vartate ||
ātmadrohiṇi! durjanai� pralapita� karṇe'niśa� mā kṛthā -śchinnasneharasā bhavanti puruṣ� duḥkhānuvartyā� puna� ||
[15]

A sakhi tells the Բ⾱: There are women in every house. Go and ask them if their husbands fall at their feet like how your husband does. O Āٳdzṇi (one who cheats herslf) do not listen to the ravings of the bad. It is difficult to bring back a man who has lost interst.

Footnotes and references:

[back to top]

[1]:

鲹Ի, 16.

[2]:

“Porulatikaram of Tolkappiyam,� IV. cliv. 107.

[3]:

Śṛṅ Tilaka, II. lxxviii. 60.

[4]:

Ibid., II. lxiv. 57.

[5]:

Ibid., I. liv. 13.

[6]:

Ibid., I. lv. 13.

[7]:

Ibid., II. lxviii. 58.

[8]:

Muvvagopala Padavali, 155.

[9]:

Śṛṅ Tilaka, II. lxvi. 58.

[10]:

Ibid., II. lxxii. 59.

[11]:

śٲ첹, xxxix. 63.

[12]:

Śṛṅ Tilaka, II. lxx. 59.

[13]:

鲹Ի, 17.

[14]:

Śṛṅ Tilaka, II. lxxiv. 60.

[15]:

śٲ첹, xci. 116.

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