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Alamkaras refer to those ornaments used to beautify the body. In the poetics Vamanacarya agreed with the bodily luster as the ornament of a heroine. So nayika-alamkara refers to the internal and external beauty, thus the limbs and ornaments are described in the poetics. The internal beauty is identified by different actions and attractive romantic postures performed by the heroine about her lover particularly. These nayika-alamkaras are explained with their definitions in the Natyasastra 76 and in the Sahityadarpana' 77 In the Natyasastra amgaja / satvaja (03 ) svabhavaja (10 ) ayanaja (07 ) hela lila sobha hava vilasa kanti bhava vicchitti dipti vibhrama madhurya kilakincita dhairya mottayita pragalbhya 176. The Natyasastra, 24.7, 11, 12, 23 177. The Sahityadarpana, 3.89-92 190

In the Sahityadarpana kuttamita audarya vibboka lalita vihrta amgaja /satvaja (03 ) svabhavaja (18 ) ayanaja (07 ) hela lila sobha hava vilasa kanti bhava vicchitti dipti vibhrama madhurya kilakincita dhairya 1 mottayita pragalbhata kuttamita audarya vibboka lalita vihrta mada tapana maugdhya viksepa kutuhala hasita cakita keli 191

1 The definitions, examples and the list of each nayika-alamkara used in the Gitagovinda are grouped and described by Kadambini Dash, as follows. Therefore only the list is presented here. Nayika-alamkara of Gitagovinda: 5.18.1Vahya-alankara (Examples) Mastaka Mukha Vaksa Hasta slatha kusumakula kuntalaya, 2 .15 galita kusumadara vilulita kesa, 7 .13 murdhni syama sarojadama, 11 .11 sraja kavaribharam, 12 .20 vadanacandana vindurinduh, 7 .1 mrgamadatilakam likhati, 7 .22 kajjvala mujjvalaya priya locane, 12 .13 citram kurubba kapolayoh, 12 .20 sahrdaya marmani varmakaroti, 4 . 3 stanavinihitamapi haramudaram, 4 .11 payodhare mrgamadapatrakam, 12 .12 karatalatalataralavalayavali 1 .4.3 kalayamivalayadi mani- bhusanam, 7 .7 keyurakamkamnamanidyutidipitasya, 11 .13 Jaghana mukharavisrmkhala mekhalaya, 2 .16 rasaturasanapi tava ghanajaghanamamdale, 10 .6 Carana ghatayajaghane kancim, 12 .20 caranaranitamaninupuraya, 2 .16 mukharita manimanjarim, 11 .3 pade kuru nupurau, 12 .20 192

Vasana padapamkajam sarasalasadalaktakaragam, 10 .7 sithilikrtajaghanadukulam, 2 .12 silaya nilanicolam, 5 .11 vasanabharanani, 12 .18 samanyangabharanam amgesu - abharanam karoti bahusah, 6 .11 vasanabharanani, 12 .18 The Vahya-alarikaras of KCCare: mastakah- kalapamukutalamba | sikhandapidamanohara cancalacandrakancala camatkarakramam camaracikura, syamasikhandacula mukhah- ambhoruhaksa, vidhumukhi, saroruha sahodara lacanayah tvadasya vidhuviksanam, khela lala khanjanaksi vaksah bharaji ki hara se vaksa akase, kanakacalavaksa dantah dalimbamanjimanjuladasana caranah raktaravindasaundaryatundilacaranabhyam vasanah cinanilalpa caladancalacelamalam amgabharanah gopijanabharanaranat karanaih, manimanditakinkiniyuta manjumanjirabhusa sincita mahendramani - valaya sreni | 5.18.2 : abhyantara alamkara Like the Vahya alamkara, the abhyantara-alamkaras are also required for the ornamentation of erotics. Bharatamuni has explained 20 and Visvanatha has 28 193

abhyantara alamkaras. These are divided into 3 categories named as: arigaja, ayatnaja, svabhavaja. 5.18.3: Angaja alankara These are the ornamental posture/actions generated in the body. a. Bhava: The first attraction in a mind previously unchanged from the time of birth forward is known as bhava 178 鈥� It's example in Gitagovinda is found in the following lines. prathamasamagama-lajjitaya patucatusatairanukulam | 2.12 b. Hava When the alteration is slightly modified and the desire for mutual enjoyment expressed by the indications of eyebrows, eyes, etc., is called hava 79. ratisukhasamayarasalataya dalamukulitanayanasarajam | 2.17 salajjalajjapivyagamadiva duram mrgadrsah | 11.33 c. Hela When the change of mind for mutual enjoyment is perceived to be very accute known as hela 180. sukhamutkanthitagopavadhukathitam vitanotu salilam | 2.18 sphuritamanamgataramgavasadiva | 11.6 rasavalitalalitagite, 11.17 The angaja alamkaras of Kishore-chandrananda-champu are: bhavah nadah ko'pi nitambini janamanah, 5.3 178. Ballantyne, J. R & Dasmitra, Padma, Ed. The Sahityadarpana, p. 83 179. 179. Ballantyne, J.R. & Dasmitra, Padma, Ed. The Sahityadarpana,, p.83 180. The Sahityadarpana, p. 83 194

} havah kataksalilasya, L.25, kulabhiridhairyavyayakaranadhurya smitalavo, v. 26 helah adya prabhrti'nalasendu sahodarasye, v. 28, purandaramanisyame achi mo tarasa, Song pa, misila cari locana variruhamadana, Song ma 5.18.4. Ayatnaja- alamkara The naturally expressed attractive postures are included in the ayatnajaalamkara. a. Sobha : The grace of limb derived from beauty, youth, high spirits and high feeling is called sobha or brilliancy 18 amgesu - abharanam karoti vahusah, Gitagovinda 6.11, racitarucirabhusam, 11.1 b. Kanti(Loveliness): When Sobha is increased by love which adds profusedly to the attraction of the woman loving, known as kanti samuditamadane ramanivadane cumbanavalitadhare | mrgamadatilakam likhati sapulakam mrgamiva rajanikare || 7.26 182 c. Dipti (Radiancy) : When loveliness expanded exceedingly is called dipti 183. kusumacayaracita sucivasagehe, 11.16 In the Kishore-chandrananda-champu the ayatnajaalamkaras are : (Sobha) - ko'pi sahasamalah samuho samaloki maya, L. 3 kancanamayi sancarini pancalika, L. 10 181. ibid, p. 83 182. The Sahityadarpana, p. 83 183. Ibid, p.83s 195

viyatastaradhika radhika, V. 11 etasyeksanakonaviksanagananilaravindasuga V. 27 (Kanti) - misila syama gaura dui maha, camikaraprakara pitamayukhalekha nilotpalamsumaya mastvavanayatejah V. 27 (Dipti) kharasmari jhaumliva, S. kha, navanitatahum mrdudehakahum S. na - (Madurya) - (Sweetness) It is pleasingness in all kind of states (Pragalbhya) - ( Boldness) It is the being devoid of fear. 184 vraje aja suni asilu tu puni prati rati asu gharu, vijane samcaru, S. va dara nahimki he parataruniharanu, S.da ' (Audarya) - (Meekness) It is mildness at all times 185 vala vimohana kalavati S. va (Dhaierya ) - ( Constancy) The steadfastness of mind unattended with selfprise is known as constancy. nivedanakachi karakanjadharuchi hele heu aruci nidrahare | naranatha srihari candana vande gori na rasa nilavahamudrahare || S. na 184. The Sahityadarpana, p. 84 185. The Sahityadarpana,, p.84 196

5.18.5: Svabhavaja alankaras (Natural expressions of beauty without effort ) a. (Lila) (Fun): The action of following the dress, manner, speech, ornament of a lover is called fun or lila. sukhamutkanthita-gopavadhukathitam vitanatu salilam 12.18 muhuravalokitamandanalila, 6.5, sakhimavalambya salilam, 11.8 b. Vilasa (Flutter of delight): The peculiarity in movement, in the way of standing, sitting, in the action of the mouth, eyes which is caused by the sight of the desired person called as vilasa 186 manohari vilasalalasam, 1.3, kapi vilasavilocana, 1.40 vilasati yuvatiradhikaguna, 7.14 vilasati vilasini kelipare 4.1 c. Kilakincita (Hysterical delight ): The combining expression of smile, weeping, laughter, alarm, anger, fatigue caused by the delight of meeting with the beloved is known as kilakincita. vilapati hasati visidati roditi cancati muncati tapam, 4.8 kimiti visidasi rodisi vikala, vihasati yuvatisabha tava sakala, 9.5 d. Kuttamita (Affected repulse of a lover's endearments) This is the prohibition by the heroine even delighted but expresses false anger to her lover when he takes her hair, bosom or the lip 187. candi ! tvameva mudamanca na pancavana, 10.11 186. Ibid, p.85 187. The Sahityadarpana, p. 87 197

e. Vibhrama (Fluster): This is the application of ornaments to the wrong places through eagerness caused by the arrival of her lover 188. slathakusumakulakuntalaya - nakhalikhitaghanastanabharam, 2.15 tasyah patalapanijankita muro nidrakasaye drsau || 12.5 f. Lalita (Voluptuous gracefulness): The disposition of the limbs with elegant delicacy is Lalita. ratisukhasamayarasalataya daramukulitanayana sarojam || 2.17 anandanugamanena manmathakalayuddhe'pi yasminnabhut || 12.2 g. Mada (Arrogance ) : It is a change caused by the pride of youth, prosperity 189 drsau tava madalase, 10.14 h. Vihruta (Bashfulness): This is the condition of unable to speak due to modesty even one ought to speak 190. savrida miksitasakhivadanam dinante 110.1 smaraparavasakuta sphitasmitasnapitadharam | 12.1 i. Tapana (Pinning): Pinning is that behavior/action of a beloved raised by the possession with love in separation. nindati candanamindukiranam, 4.2 tvayi vimukhe mayi sapadi sudhanidhirapi tanute tanudaham 14.7 188. Ibicd, p. 87 189. The Sahityadarpana, p. 88 190. Ibid, p.89 198

j. Maugdhya (Silliness): In the presence of lover asking of well known things known as maugdhya. haririha mugdha vadhunikare, 1.38, mugdhe vidhehi mayi, 10.11 k. Hasita (Giggling): This is the aimless laughing in front of the lover resulting from the outbursting of youth. a lover. vilasa ratirabhasahasitavadane, 11.14 I. Cakita (Trepidation ) : Expression of fear from a non-fearing cause in front of cakita vilokita sakaladisa, 2.11 m. Keli (Sportiveness) : Roaming or love-play with a lover is keli. kelicalanmani kundalamandita, 1.38 kelikalakutukena, 1,42 mukharamadhiram tyaja manjaram ripumivakelisulalam, 5.11 The svabhavaja alarkaras of Kishore-chandrananda-champu are: a. vilasa - kampi mora kalevara, hoigala arapara, S. Ka golidela mora vaharabhitara, S. ga jivanadanila jalajayugala vidhuvimbe hoi vilasa vilola jatakalagara jarajarasara - nikaravarasakharatara || S.ja kilakincita - mauli gala sesa satvikamrdanayana samkhyakayaka, S. ma v.37 lalita - lilavanibharasurahitaviravaroddinandajendra caramabharanam maho nah, amgaragadisamskaram salasalarat samirenapatha, L. 31 199

navanitatahum mrdudehakahum, kharasmari jhaumliva sriamga pailu re, S. na sirisadeha eha sahilu re, S. sa mada rasalasa re, S. ra, madadviradagati sakhi re, S. bha - vihrta - yasodakumaragire radha siranuaile lajjabhara re, S. ya tapana - ha ha hanta ! hatasmi kena vilasannilasmatejoghata, Sha sanukrosena sanugrahamahaha pranavisrananotuka, V. 16 kathaya sakhi yadi trnaya mene vapuratha kim visrjami dharayami, V. 19 garistha aruci kahimki karuci asane vasane gehe, S. ga dholaila pari dhali tale padiyivabhali, S. dha photaka heuchi sinciva karpuracandanamisrita vari, S. pha maugdhya - bhavato bhavati na kim hitamasrantam vahinitataparyatanam, L. 7 bhitumku pranavandhukari, lokahasare yeve yivi sari, S. la cakita - satrasapatram kisoresvaram prati sa, L.29 valliki anai duru re, vala vasare ta bhaya karu, S. va keli - ittham pratyamga ... .. vrajadevi, L. 28 majjai dela duhimkamana mahamodapravaha, S. ma ramaniyahemaku sudrsare, rakhilu kede nivide masare, S. ra virupaksadeva vipaksaku jini yase mandilu ki ksiti, S. va vicchitti - bhartvita navaravi kundalayugachavi gandare, S. bha kutuhala - smitasubhagamukha sikhandamaulirvada kimurikrtavan madamgasamgam, V. 19 dhrti hoi valahina dhusara hoiva mana, S. dha 200

purandaramani syame achi mo tarasa, S. pa