Ashta Nayikas and Dance Forms (study)
by V. Dwaritha | 2013 | 71,711 words
This page relates ‘Definition and examples of Proshyatpatika� 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 5-6 - Definition and examples of ʰṣyٱ貹پ
Definition and Examples of the ʰṣyٱ貹پ character of woman heroine:
Bhānudatta in his 鲹ñᲹī brings about a ninth variety of ⾱ called the ʰṣyٱ貹پ. He establishes that this variety cannot be included in any of the other eight varieties.
तथ� हि तस्याः प्रोषितपतिकाविप्रलब्धोत्कासु नान्तर्भाव� भर्तुः सन्निधिवर्तित्वात् � नापि नवमी नायिकाभवितुमर्हत�, भर्तुः सन्निधिवर्तित्वात् � नापि कलहान्तरितायामन्तर्भाव�, कलहाभावादनपमानितपतित्वाच्च � � खण्डितायामन्तर्भाव�, प्रियस्यान्योपभोगचिह्नितस्यागमनाभावात्, प्रियाया� कोपसन्दर्शनान्तर्भावादर्शनात� काकुवचनकातरप्रेक्षणादिपक्षपातदर्शनाच्च � � � वासकसज्जायामन्तर्भाव� � वारनियमाभावात्, सज्जीकरणभावनिर्वेददर्शनाच्च � � � स्वाधीनपतिकायामन्तर्भावः � अग्रिमक्षण एव सङ्गविच्छेददर्शनात� � नह� स्वाधीनपतिकाया� कदाचिदपि सङ्गविच्छे� इत� सम्प्रदायः � व्रजन्नप� पतिः स्वाधीनपतिकय� निरुध्यत� � अन्यथा भर्तरि स्वाधीनत्वमे� भज्येत � ने� तथ� सर्वथा भर्तुर्विदेशगमनात् � कि� चिन्निर्वेदाश्रुपातनिश्वासवनविहारादिमदनमहोत्सवादिव्यतिरेकदर्शनाच्च � नाप्यभिसारिकायामन्तर्भाव� � अभिसारोत्सवाभावात् अन्तस्तापदर्शनाच्चेत� युक्तमुत्पश्यामः �
tathā hi tasyā� proṣitapatikāvipralabdhotkāsu nāntarbhāva� bhartu� sannidhivartitvāt | nāpi navamī ⾱bhavitumarhati, bhartu� sannidhivartitvāt | nāpi kalahāntaritāyāmantarbhāva�, kalahābhāvādanapamānitapatitvācca | na khaṇḍitāyāmantarbhāva�, priyasyānyopabhogacihnitasyāgamanābhāvāt, priyāyā� kopasandarśanāntarbhāvādarśanāt kākuvacanakātaraprekṣaṇādipakṣapātadarśanācca | na ca vāsakasajjāyāmantarbhāva� | vāraniyamābhāvāt, sajjīkaraṇabhāvanirvedadarśanācca | na ca svādhīnapatikāyāmantarbhāva� | agrimakṣaṇa eva saṅgavicchedadarśanāt | nahi svādhīnapatikāyā� kadācidapi saṅgaviccheda iti sampradāya� | vrajannapi pati� svādhīnapatikayā nirudhyate | anyathā bhartari svādhīnatvameva bhajyeta | neha tathā sarvathā bharturvideśagamanāt | ki� cinnirvedāśrupātaniśvāsavanavihārādimadanamahotsavādivyatirekadarśanācca | nāpyabhisārikāyāmantarbhāva� | abhisārotsavābhāvāt antastāpadarśanācceti yuktamutpaśyāma� ||[1]
A ʰṣiٲṛk’s husband has gone abroad, a վ comes to the tryst expecting her hero and is disappointed and an Utka (վdzٰ첹ṇṭ) is one who is anxious about why her lord has not arrived. This ʰṣyٱ貹پ is different from all these above mentioned as she is in the proximity of her lord. A ʰṣyٱ貹پ is different from a Գٲ as there is no quarrel or insult between her and her lord.
A ʰṣyٱ貹پ is different from a ṇḍ too as there are no signs of union with another lady as well as cunning or crooked speech indicating anger, is also not present. She is not a 첹ᾱ as she does not decorate her self and her room, and is not distressed at his non arrival. A īԲ貹پ is never detatched from her lord, but a ʰṣyٱ貹پ will be deprived of her lover’s presence shortly, thus she is not a īԲ貹پ. A departing husband is against the basic characteristic feature of a īԲ貹پ. As a ʰṣyٱ貹پ’s husband is departing, she is filled with distress, sheds tears, heaves deep sighs and tormented by Manmatha. She is not an , as an is filled with happiness arising out of expecting union with her lover, but a ʰṣyٱ貹پ is distressed due to the knowledge of separation from her lover shortly.
Thus having established that a ʰṣyٱ貹پ is surely different from the other eight ⾱s, Bhanudatta goes on to define her and enlist her activities.
लक्षणं तु यस्याः पतिरग्रिमक्षणे देशान्तर� यास्यत्येव सा प्रोष्यत्पतिका � अस्याश्चेष्टाः काकुवचनकातरप्रेक्षणगमनविघ्नोपदर्शननिर्वे� सन्तापसम्मोहनिःश्वासवाष्पादय� �
lakṣaṇa� tu yasyā� patirṣaṇe deśāntare yāsyatyeva sā proṣyatpatikā | asyāśceṣṭā� kākuvacanakātaraprekṣaṇagamanavighnopadarśananirveda santāpasammohaniḥśvāsavāṣpādaya� ||[2]
A ʰṣyٱ貹پ is the ⾱ whose husband is about to leave for abroad the next moment, shortly (ṣaṇe). Her activities are crooked speech in a faltering voice, anxious looks, finding reasons to stop him from going, distress, heat caused by lamentation, heaving deep sighs and shedding of tears.
1 Examples of Mugdhā ʰṣyٱ貹پ
प्राणेश्वर� किमप� जल्पति निर्गमाय क्षामोदरी वदनमानमयाञ्चका� �
आली पुनर्निभृतमेत्� लतानिकुञ्जम् उन्मत्तकोकिलकलध्वनिमातता� �prāṇeśvare kimapi jalpati nirgamāya kṣāmodarī vadanamānamayāñcakāra |
ālī punarnibhṛtametya latānikuñjam unmattakokilakaladhvanimātatāna ||[3]When her lord uttered something about his proposed departure, the slim waisted ⾱ cast her face down. Her friend then went to the bower and produced sweet notes of an intoxicated cuckoo (suggesting to the hero the impending spring)
2 Examples of Madhyā ʰṣyٱ貹پ
गन्तुं प्रिये वदति निःश्वसितं � दीर्घमासीन्� वा नयनयोर्जलमाविरासीत् �
आयुर्लिपिं पठितुमेणदृशः परन्तु भालस्थली� किमु कच� समुपाजगा� �gantu� priye vadati niḥśvasita� na dīrghamāsīnna vā nayanayorjalamāvirāsīt |
āyurlipi� paṭhitumeṇadṛśa� parantu bhālasthalī� kimu kaca� samupājagāma ||[4]When the hero announced the impending departure, the doe eyed ⾱ did not heave a heavy sigh, neither did she shed tears. But she fainted, thus allowing a strand of hair to fall upon the fore head and read her longevity written by Brahma.
3 Examples of Pragalbhā ʰṣyٱ貹پ
नायं मुञ्चत� सुभ्रुवामप� तनुत्यगे वियोगज्वरस्तेनाह� विहिताञ्जलिर्यदुपत� पृच्छामि सत्य� वद �
ताम्बूलं कुसुमं पटीरमुदकं यद्वन्धुभिर्दीयत� � स्यादत्रैव परत्� तत्किम� विषज्वालावलीदुःसहम� �nāya� muñcati subhruvāmapi tanutyage viyogajvarastenāha� vihitāñjaliryadupate pṛcchāmi satya� vada |
tāmbūla� kusuma� paṭīramudaka� yadvandhubhirdīyate | syādatraiva paratra tatkimu viṣajvālāvalīduḥsaham ||[5]O lord of the yadus! The fever of separation does not leave a love struck maiden even after her death. I therefore request you with folded hands to tell me–do the betel leaves, flowers and sandal paste offered by the relatives produce the same effect of passion in the other world too? (In the event of separation from this world)
4 Examples of ʲī ʰṣyٱ貹پ
न्यस्त� पन्नगमूर्ध्न� पादयुगलं भक्तिर्विमुक्त� गुरौ त्यक्त� नीतिरकार� कि� � भवतो हेतोर्मय� दुष्कृतम� �
अङ्गानां शतयातन� नयनयोः कोऽप� क्रम� रौरव� कुम्भीपाकपराभवश्� मनसो युक्तं त्वय� प्रस्थित� �nyasta� pannagamūrdhni pādayugala� bhaktirvimuktā gurau tyaktā nītirakāri ki� na bhavato hetormayā duṣkṛtam |
aṅgānā� śatayātanā nayanayo� ko'pi kramo raurava� kumbhīpākaparābhavaśca manaso yukta� tvayi prasthite ||[6]I have trodden on the heads of snakes (to reach the tryst), disobeyed elders and sacrificed morals. What sins have I not commited for your sake? Now with your departure my body will have to under go the hellish torture of Śٲٲ�, my eyes Ƿɰ� and ܳī첹[7] for my mind.
5 Examples of 峾Բ ʰṣyٱ貹پ
तव विरहज्वरपाण्डुरगण्डस्थलमीक्षितु� चिरेणाद्� �
प्रियत�! देहि पिनद्ध� मणिनिकरै� काञ्चनादर्शम� �tava virahajvarapāṇḍuragaṇḍasthalamīkṣitu� cireṇādya |
priyatama! dehi pinaddha� maṇinikarai� kāñcanādarśam ||[8]Having seen for long, my cheek pale due to your absence, O love! give the covered collection of gemmed gold-thus said the courtesan.
मुद्रा� प्रदेह� वलया� भवद्वियोगमासाद्य यास्यत� बहिः सहसा यदेतत् �
इत्थ� निगद्य विगलन्नयनाम्बुधारा वाराङ्गन� प्रियतमं करयोर्बभार �mudrā� pradehi valayāya bhavadviyogamāsādya yāsyati bahi� sahasā yadetat |
ittha� nigadya vigalannayanāmbudhārā vārāṅganā priyatama� karayorbabhāra ||[9]O dear! My bracelet will drop away as you leave (as I will wane due to separation) so, please give me your ring to wear in the place of my bangles. Saying so the courtesan held the lover’s hand and started crying
6 The Discussion
ŚṛṅñᲹī has a long discussion regarding the ninth variety ʰṣyٱ貹پ created by Bhānudatta. He cites the Āmodakāra and refutes the name change of ʰṣiٲṛk to ʰṣyٱ貹پ.
अत्रामोदकारा� प्रोषितभर्तृकेत्यत्र प्रोषितशब्दः क्तप्रत्ययान्त�; एष क्तप्रत्यय� ‘निष्ठा� (�-�-१०�) इत� सूत्रे� भूतार्थे विहितः; एतेन भूतार्� एवाय� � तु वर्तमानार्थो भविष्यदर्थश्�; तस्मात्प्रवसत्पतिकायां प्रोषितभर्तृकेति पद� � संभवतीति तस्य� नामान्तर� कल्पनीयमित� स्वग्रन्थे लिखितवन्तः �
atrāmodakārā� proṣitabhartṛketyatra proṣitaśabda� ktapratyayānta�; eṣa ktapratyayo ‘niṣṭhā� (3-2-102) iti sūtreṇa bhūtārthe vihita�; etena bhūtārtha evāya� na tu vartamānārtho bhaviṣyadarthaśca; tasmātpravasatpatikāyā� proṣitabhartṛketi pada� na saṃbhavatīti tasyā nāmāntara� kalpanīyamiti svagranthe likhitavanta� |[10]
The Āmodakāra says that the word �ʰṣiٲ� is a past passive participle �Գٲ� signifying a past action could not refer to the present or the future. Thus the name ʰṣiٲṛk could not refer to a lady whose lover is about to start on a journey thus requiring the creation of another name for her.
For this argument, the ŚṛṅñᲹī refutes and presents its argument as–The word ʰṣiٲṛk denotes all the three tenses.
प्रोषितामिति ‘नपुंसकेभावे क्तः� (�-�-११�) इत� सूत्रे� कालसामान्य� भावे क्तः � लौकिकविग्रहवाक्य� नपुंसकलिङ्गे� विवृतत्वात� प्रोषितं प्रवास इत्यर्थः � तत� सप्तमीगर्भ� व्यधिकरणबहुव्रीहि� प्रोषितं भर्तरि यस्याः सेति गरुडध्वजवत� �
proṣitāmiti ‘napuṃsakebhāve ktaḥ� (3-3-114) iti sūtreṇa kālasāmānye bhāve kta� | laukikavigrahavākye napuṃsakaliṅgena vivṛtatvāt proṣita� ityartha� | ٲٲ� saptamīgarbho vyadhikaraṇabahuvrīhi� proṣita� bhartari yasyā� seti garuḍadhvajavat |[11]
The �kta pratyaya� in ʰṣiٲm, neuter gender would refer to all the three times–past, present and future vide Panini 3.3.114. Thus, ʰṣiٲm would mean voyage (as in the case of Bahuvrihi compound like Garuda�dvaja) The compound ʰṣiٲṛk is to split as a Vyadikarana Bahuvriti meaning ‘one in whose husband there is voyage�.
The � word of the ʰṣiٲṛk would indicate both the husband and the lover. Thus even a ʲī and a 峾Բ can be a ʰṣiٲṛk, states ŚṛṅñᲹī.
भर्तृशब्दस्य लौकिकालौकिकसम्बन्धाभ्यां नायिकाधिकर� स्वविषयानुरागभरणकृत्� बोधकत्वे� � स्वीयापरकीयासामान्यारूपासु प्रोषितभर्तृकासु अव्याप्तिः �
bhartṛśabdasya laukikālaukikasambandhābhyā� ⾱dhikaraṇa svaviṣayānurāgabharaṇakṛtya bodhakatvena na svīyāparakīyāsāmānyārūpāsu proṣitabhartṛkāsu avyāpti� |[12]
Thus ŚṛṅñᲹī brings in the ʰṣyٱ貹پ (of 鲹ñᲹī) into the brackets of ʰṣiٲṛk and also justifies the lack of any need to have a name change for the ʰṣiٲṛk.
Now, ŚṛṅñᲹī defines ʰṣiٲṛk as the ⾱ who suffers due to her lover’s travel.
पतिप्रवासखिन्न� प्रोषितभर्तृका
patikhinnā proṣitabhartṛkā[13]
This definition covers all the three times–past, present and future; that is the hero who has gone on a journey, one leaving for a journey and one who will be leaving for a journey shortly.
ʰṣiٲṛk is then divided into three varieties.
- ٲⲹٱ貹پ.
- ٱ貹پ.
- ṣiٲṛk.
It also comes up with a sub-variety in ʰṣiٲṛk as ⲹԳܳ辱.
Footnotes and references:
[1]:
鲹ñᲹī, 184�186.
[2]:
Ibid., 187.
[3]:
Ibid., lxxxiv. 188.
[4]:
Ibid., lxxxv. 189.
[5]:
Ibid., lxxxvi. 191.
[6]:
Ibid., lxxxvii. 192.
[8]:
鲹첹īԲ, I. cxiv. 18.
[9]:
鲹ñᲹī, lxxxviii. 193.
[10]:
ŚṛṅñᲹī, 32.
[11]:
Ibid.
[12]:
Ibid., 33.
[13]:
Ibid.