Ashta Nayikas and Dance Forms (study)
by V. Dwaritha | 2013 | 71,711 words
This page relates 鈥楧ivisions of 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.
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Part 4 - Divisions of 厂惫腻诲丑墨苍补辫补迟颈办腻
Dhanika, in his Avaloka of 诲补艣补谤奴辫补办补尘 mentions that the 补惫补蝉迟丑腻 of 厂惫腻诲丑墨苍补辫补迟颈办腻 is not for 笔补谤补办墨测腻 and 厂腻尘腻苍测腻[1]. But this is not justified as it is also possible for a 笔补谤补办墨测腻 or a 厂腻尘腻苍测腻 to have a faithful lover. Ajamila from 叠丑腻驳补惫补迟补辫耻谤腻峁嘺 (5th 厂办腻苍诲补); who was attached to a 诲腻蝉颈 is an apt example.
艢峁涐箙驳腻谤补尘补帽箩补谤墨 criticizes the classification of a 厂惫腻诲丑墨苍补辫补迟颈办腻 into 顿丑墨谤补, 础诲丑墨谤补 and so on. It further states that any anger shown by a 厂惫腻诲丑墨苍补辫补迟颈办腻 is not real and is only feigned. As the moment the 苍腻测补办补 cheats on her, he seizes to be an 鈥�础苍耻办奴濒补 狈腻测补办补鈥� and her anger due to his infidelity makes her a 碍丑补峁囜笉颈迟腻 苍腻测颈办腻. This seems a very valid argument as a 顿丑墨谤腻 is opposite to a 厂惫腻诲丑墨苍补辫补迟颈办腻 by nature.
Thus, it can be concluded that 厂惫腻诲丑墨苍补辫补迟颈办腻 has only five major divisions (apart from the ones newly introduced by 艢峁涐箙驳腻谤补尘补帽箩补谤墨) namely鈥�
Footnotes and references:
[1]:
顿补艣补谤奴辫补办补, II. 274.