Ashta Nayikas and Dance Forms (study)
by V. Dwaritha | 2013 | 71,711 words
This page relates ‘Grey Areas regarding the Parakiya� 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 - Grey Areas regarding the Parakīyā
Some times a 첹ᾱ is seen bordering with a վdzٰ첹ṇṭٲ as mentioned above by Bharata. The acts of fear, anxiety, apprehension, looking at omens etc., are that of a վdzٰ첹ṇṭٲ. A վdzٰ첹ṇṭٲ is an example of Vipralamba Śṛṅ while a 첹ᾱ is that of Sambhoga Śṛṅ.
प्रिये�... � पूर्वासु सर्वास� विप्रलम्� शृङ्गारोऽत्र तु सम्भोग शृङ्गा� इत� भेदः �
priyeṇa... | ū sarvāsu vipralambha śṛṅgāro'tra tu sambhoga śṛṅgāra iti bheda� ||[1]
Here ū means the five ⾱ mentioned earlier. i.e. ʰṣiٲ, վ, ṇḍ, Գٲ, վdzٰ첹ṇṭ are indicative of Vipralambha Śṛṅ, and the atra, is 첹ᾱ indicative of Sambhoga. "That is the difference."
The 첹ᾱ is sure of his arrival as it is her turn of the night or she has a message from him. Thus she is anticipating and futuristic.[2]
निश्चितदयितागमना सज्जितनिजगेहदेहशयनीया ज्ञेया वासकसज्ज� प्रियप्रतीक्षेक्षितद्वार� ॥{ग्ल्_नोते:३९०६७६:}
niścitadayitāgamanā sajjitanijagehadehaśayanīyā jñeyā 첹 priyapratīkṣekṣitadvārā ||[3]
屹ṅk, Śṛṅtilakam, Śṛṅvilāsinī mention the confirmed news of the lover’s arrival in their definition of the 첹 ⾱ indicating his sure arrival and their Sambhoga.
The twelfth ṣṭ貹徱 of īٲDZԻ岹 is a wonderful example of the 첹ᾱ bordering the վdzٰ첹ṇṭ. Her activities of imagining the clouds to be Hari and kissing them, rushing forward to meet him, dressing up and looking at her reflection etc., suggests that she is a 첹ᾱ. The usage of the term �첹� in the seventh ṇa confirms the type of ⾱ while the words rodati, vilapati and patati exhibit the underlying viraha.
पश्यति दिशि दिशि रहसि भवन्तम� �
तदधरमधुरमधून� पिबन्तम् �paśyati diśi diśi rahasi bhavantam |
tadadharamadhuramadhūni pibantam |secretly looks for you in all the directions and thinks of you drinking nectar from the lips of other gopis.
ना� हर� (जगन्ना� हर�) �
सीदत� राधा वासगृह� � (धृवम�)nātha hare (jagannātha hare) |
sīdati rādhā vāsagṛhe | (dhṛvam)O Hari! O Lord Բٳ! pines for you in the bower. -Dhruvam
त्वदभिसरणरभसेन वलन्ती �
पतति पदान� कियन्त� चलन्ती �tvadabhisaraṇarabhasena valantī |
patati padāni kiyanti calantī ||She rushes in haste to meet you and faints and falls down after a few steps.
विहितविशदबिसकिसलयवलय� �
जीवत� परमि� तव रतिकलय� �vihitaviśadabisakisalayavalayā |
jīvati paramiha tava ratikalayā ||She wears cool lotus leaves to alleviate the heat of love. She now lives in the memories of your past love making.
मुहुरवलोकितमण्डनलीला �
मधुरिपुरहमित� भावनशीला �muhuravalokitamaṇḍanalīlā |
madhuripurahamiti bhāvanaśīlā ||Adorning herself like you, she repeatedly looks into the mirror and says, I am ṛṣṇa, Madhu’s enemy.
त्वरितमुपैति � कथमभिसारम् �
हरिरित� वदति सखीमनुवारम् �tvaritamupaiti na kathamabhisāram |
haririti vadati sakhīmanuvāram ||All the while she is asking her friends as to why Hari has not come promptly to her place.
श्लिष्यत� चुम्बत� जलधरकल्पम् �
हरिरुपगत इत� तिमिरमनल्पम् �śliṣyati cumbati jaladharakalpam |
harirupagata iti timiramanalpam ||Seeing the dark clouds, she assumes that you have come and attempts to embrace and kiss.
भवति विलम्बिन� विगलितलज्ज� �
विलपति रोदत� वासकसज्ज� �bhavati vilambini vigalitalajjā |
vilapati rodati 첹 ||Dressing herself appropriate for dalliance, she waits for you. While you idle here, the 첹 abandons her shame, wails and laments for you.
श्रीजयदेवकवेरिदमुदितम् �
रसिकजनम् तनुतामतिमुदितम� �śrījayadevakaveridamuditam |
rasikajanam tanutāmatimuditam ||[4]May the song of Jayadeva bring in happiness to the aesthetic people.
Footnotes and references:
[1]:
ṭy岹貹ṇa, IV. cclxvi. 383.
[2]:
This verse is also considered to be an interpolation.
[3]:
屹ṅk, XII. 386.
[4]:
īٲDZԻ岹, 147.