Ashta Nayikas and Dance Forms (study)
by V. Dwaritha | 2013 | 71,711 words
This page relates ‘Examples of Mugdha Virahotkanthita� 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 6 - Examples of ѳܲ վdzٰ첹ṇṭ
Examples of the ѳܲ variety of the վdzٰ첹ṇṭ character of woman heroine:
यन्नाद्याप� समागतः पतिरित� प्रायः प्रपेद� परामित्थ� चेतस� चिन्तयत्यप� सखी� � व्रीडय� पृच्छत� �
दीर्घं � श्वसित� दधात� चकित� � प्रेक्षत� केवल� किञ्चित्पक्वपलाण्डुपाण्डुररुचि� धत्त� कपोलस्थलीम् �yannādyāpi samāgata� patiriti prāya� prapede parāmittha� cetasi cintayatyapi sakhī� na vrīḍayā pṛcchati |
dīrgha� na śvasita� dadhāti cakita� na prekṣate kevala� kiñcitpakvapalāṇḍupāṇḍuraruci� dhatte kapolasthalīm ||[1]When the ⲹ첹 does not show up, the ⾱ assumes that he has gone to another woman and does not even ask her friend why he is not coming; out of shyness neither does she heave deep sighs nor does she looks agitated; she simply turns pale like an onion.
समामत्� प्रायो भृशमनवलोक्� प्रियतमा� गत� कामप्यन्या� व्रजति यदिदानीमप� � सः �
इतीवान्तर्मुग्ध� मुहुरप� � चिन्ताकुलमुखी सखीषु स्वावस्थां शि�-शि�! सलज्जा तिरयति �samāmatra prāyo bhṛśamanavalokya priyatamā� gata� kāmapyanyā� vrajati yadidānīmapi na sa� |
itīvāntarmugdhā muhurapi ca cintākulamukhī sakhīṣu svāvasthā� śiva-śiva! salajjā tirayati ||[2]After staring long at the lady love, the hero moves away. Even at his departure and long absence, she does not suspect him of going to the other lady’s house. While she sits amongst her friends and hides her feeling, she also chants the name of the lord Ś.
Footnotes and references:
[1]:
鲹ñᲹī, lix. 148.
[2]:
鲹첹īԲ, II. lxxx. 13.