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Ashta Nayikas and Dance Forms (study)

by V. Dwaritha | 2013 | 71,711 words

This page relates ‘Activities of Vipralabdha� 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 12 - Activities of վ

Examples of the activities of the վ character of woman heroine:

1 Ჹō

Padam[1]
LanguageTelugu
ҳṇṭ
dzDz�ṣētñ
Meaning
Indu rā dagadu nē nēlavacciti
namma!
Իǰō mōsamāye vāḍindu lēḍāye
I should not have come here. Why did I come here? I am cheated in front of everybody as he is not here.
Munu munne śṛṅgārincukoni tamakamuna rāga
Nanujūci nīvaina vaddanavaitivē Vanajākṣi! Gaṭṭiga vancanalē jēsitivi
Ghanamu guṭṭudīre nayyō! Kannavārella -navvaga
I dressed myself up and left home with all my heart. You, who saw me leaving, why did you not abstain me? O lotus eyed one! This is utter deceit. I have been exposed and laughed at by all.
Piluvaka nandu bōyēdi telisi vīdhīlō
jelulu
Kilakila navvēru gumpulu gūḍuka
Valapu siggerugadani palikē rā ṭa
lella
Celi! Vini vinamulu cēsiti vivēkamu lēka
The women in the street will form groups and laugh at me when they come to know that I went there uninvited. I have often heard that when you are in love, you are not ashamed yet I have not gained any wisdom!
Kaliki muvvagōpāluni galasina dānanai
Yelami sakhula gūḍi māyiṇṭa
Գṇḍ첹
Paliki bonkaḍanucu paḍucu tanamu cēsi
Niluvaka vaccina phalamu galigenu
Having once had Muvva Gopala’s grace, I left home without staying in the company of my friend, filled with youthful confidence that he would not lie to me. Alas! This has brought about such bitter fruit!


2 Nirveda[2] ‼ǻԳ

Padam[3]
岵m–Bairavi; ḷam -Miśram.
Composer -Kavi ñپ
Բܲ�ղ�
Pallavi
Iṉi mēlevarukkum eṉakkum -oru
ōܳ
iṇaṅkādaḍi māṉ�
From now on he and I will never unite. O! friend
ṉu貹
kaṉimiku taṇṭalai
sūḻuñ sikaṇḍimalai
첹Ի岹峾 valiya
vantunalañ coṉṉālum
Even if Kandaswamy residing in Sigandi hill which is full of fruits, comes on his own and tells good things, from now on he and me will never unite.
ṇa
vīṇilē� vāymoḻi
pōkkuṟāy -peṇṇē
migavum eṉmaṉadaip -pu�
ākkuṟāy -yārum
kōṇik koḍuttuk ōḍi
kiḍaippadil -kōṇāmal
kāṇikiḍaittālp ōܳ -po�
kaikkā yiran tantālum
You are unnecessarily stating things.You are hurting my heart with those words. Nobody gets a crore by giving a small measure. Getting something without much trouble is enough. Even if thousand gold coins are given in hand� I will never unite with him.


3 Kheda[4] —sǰǷ

See the example of shedding of tears 

4 ś[5] —shedding of tears

यत्संकेतगृहं प्रिये� कथित� सम्प्रेष्य दूती� स्वय� तच्छून्य� सुचिरं निषेव्� सुदृशा पश्चाच्च भग्नाशया �
स्थनोपासनसूचना� विगलत्सान्द्रांजनैरश्रुभिर्भूमावक्षरमालिके� लिखिता दीर्घं रूदत्य� शनैः �

yatsaṃketagṛha� priyeṇa kathita� sampreṣya dūtī� svaya� tacchūnya� sucira� niṣevya sudṛś� paścācca bhagnāśayā |
sthanopāsanasūcanāya vigalatsāndrāṃjanairaśrubhirbhūmāvakṣaramālikeva likhitā dīrgha� rūdatya� śanai� ||
[6]

The sent her lady messenger to the place of tryst fixed by her lover. Later, on going there she found it deserted, waited for a longtime and finally she was dejected. She shed tears for a long time which was washing collyrium from her eyes that fell on the ground. The tear marks on the ground looked like a string of letters (written in black) and these indicated the place where she waited (hopelessly).

5 Cinta[7] —anxiety (contemplating the reason of his not coming)

Language -ԲԲḍa
dzDz�Shatavadani. R. Ganesh
岵–Hindōḷa; ḷa-ŧ첹
The heroine wonders as to what is retaining the hero. He, who had sent a message through the ūپ, has not kept the appointment. What could be the reason?
Pallavi
Illige bārenendu sollisidavanelli?
Nalleyanēm toredanē? praphullanu ǀǀ
The one who asked me to come here-where is he? Did the charming one forget his beloved?
䲹ṇa
Maneyanentō maretu bande Janaranentō jayisi bande ǀ Manavanentō mathisi bandōḍa
Miniyanēke kāṇalollam? ǀǀ
As I came here, I forgot the house; I won over the people in the house and forgetting the house, I came here, thinking constantly about you. Why is not the pleasant lover seen anywhere?
䲹ṇa 2
Mātanittu meresidavanu Dūtaninda tiḷisidavanu ǀ Ētakintu suḷiyadāda�? Sōtanē mattārigītam ǀǀ
He informed through the messenger (the appointment). His words over joyed me. Still there is no trace of him. Could he have lost himself to another (girl)?
䲹ṇa 3
Hottu muḷugi mīrutihudu Cittasoukhyavū jārutihudu ǀ Etta pōpenō hā! hatāśe
Ettalāpeno mogavaninnu ǀǀ
The time is passing. My peace of mind is also slipping away. Where can I go? Damn! How will I even show my face to others?


6 ʰ貹[8] —raving or Ā貹[9] —unclear conversation,

गच्छाग्र� सख� का प्रियागमकथ� प्राप्तो निशीथः पर� संकेतालय मोक्ष्यस� मम वृथा जातोऽश्रुभिः पङ्किल� �
यद्व� रुद्रनरेश्वर� प्रियतमे राज्यश्रिय� वल्लभे भारत्य दयित� भुवः कृतपदा� प्रायो वय� वञ्चिताः �

gacchāgre sakhi kā priyāgamakathā prāpto niśītha� para� saṃketālaya mokṣyase mama vṛthā jāto'śrubhi� paṅkila� |
yadvā rudranareśvare priyatame rājyaśriyo vallabhe bhāratya dayite bhuva� kṛtapadā� prāyo vaya� vañcitā� ||
[10]

Hey friend, go ahead. It is midnight. The tryst is being left by me. It is my mistake to have loved the king of the land. That is why all of us are cheated.

7 ṛt貹[11] —suffering at heart or Գ貹[12] —great heat

� पतति यदुपति शंसी सम्प्रति वंशीरव� श्रवणे �
तदिद� केलिगहनं प्रतितरुगहनं दधनमन्ये �

na patati yadupati śaṃsī samprati vaṃśīrava� śravaṇe |
tadida� keligahana� pratitarugahana� dadhanamanye ||
[13]

When, I can not hear the sound of the flute, indicating the presence of ṛṣṇa; then, this romantic garden feels as though every tree is on fire.

8 岵�[14] —being awake

नास्माभि� कुलगालिराल� गुणिता नो वा जनाक्षारणा, नो नाथादभिभूतिभीतिरप� नो कुत्सासपत्नीजनात� �
गर्जद्घोरघने चलत्� णिगण� त्यक्त� निशीथे गृहं, कुंज� जागरणंबिना विहरणं लाभो भवत्केवलम् �

nāsmābhi� kulagālirāli guṇitā no vā janākṣāraṇ�, no nāthādabhibhūtibhītirapi no kutsāsapatnījanāt |
garjadghoraghane calatpha ṇigaṇe tyakta� niśīthe gṛha�, kuṃje jāgaraṇaṃbinā viharaṇa� lābho bhavatkevalam ||
[15]

O friend! I did not mind the abuse of my family, little did I think of the belittling words of the world, neither did I consider that my husband will be angry because of my dishonouring him, even without considering the scoldings of my co-wives I left home and came here. The path was filled with loud thunder rain and groups of snakes. O friend! What is the use of being awake, if I do not meet my lover at the bower?

9 ܱ[16] —scoldings by the friends.

屹ḷi[17]
Բܲ�Telugu
岵–Hindustāni kāpi; ḷa-ū貹첹
Composer -Unknown
Here a friend reprimands the for not listening to her words of caution.
Pallavi
Vaddani nēnaṇṭinigā vānijōli nīku
celi ǀǀ
I told you not to be associated with that man, O friend!
Anupallavi
Taddayu mōsagāḍani vāniddesa jērina nāḍ� ǀǀ
When he came this side, then itself I told you that he is a great cheat.
䲹ṇa
Cokkapu doravalenu vakkaṇagā ṭalāḍi ǀ
Nakkavinayamulu jēsē ṭakkaritō
󲹱ǀǀ
He is a smooth talker like an absolute lord and is cunning, showing false politeness like a jackal. A friend ship with that fraud� (was forbidden by me)


10 Bhaya[18] 𲹰

Tamil Poem from Kurunthokai 123[19]
Tiṉai -Neytal
Poet: Aiyūr Muḍavan
Here, she is scared that her brothers might return before she meets her lover.
Translated by A.K.Ramanujan
Iru� tiṇindaṉṉa īrn da� ḻu Ծḻa,
Nilavuk kuvittaṉṉa ve� maṇal oru
ṟa,
The sands are like heaped up moonlight.
Right next to it stands all by itself,
Karu� kōṭṭup puṉṉaip pūm poḻil
pulamba,
Iṉṉum vārār; varūum,
Pal mī� vēṭṭattu eṉṉaiyar timilē.
as if all night were crammed into it,
the cool dense shade of a flowering grove of the black punnai.
Our man has not come back.
Only our brothers� fishing boats will return from their hunt of many kinds of fish.


11 śⲹ[20] —becoming thin

कार्श्यं तु स्मरसंतापविहित� तनुत� तनोः �

kārśya� tu smarasaṃtāpavihitā tanutā tano� |[21]

12-14 śⲹ, ś and ū󲹲Բ

[12 ś[22] —heavy sighs]
[13 ś�Talking ill about him to her friends]
[14 ū󲹲Բ[23] 첹ԳپԲ.

Common example for śⲹ, ś, ū󲹲Բ [ū󲹲Բ] and talking ill about him to her friends.

屹ḷi
Բܲ�Kannada
岵–Mukhāri, ḷa -ū貹첹
dzDz–Smt. Dwaraki Krishnaswami
Inspired by ṣētñ
Pallavi
Bhramisi mōsa pōdenēke manavē
ennoḷa manavē
Bhramisi mōsa pōdenēke jāmaveraḍu kāydenē
峾ḵ kusidu mogebiddu
첹Ի徱ŧ
O mind why have you been infatuated and cheated?
I am have already waited for two and have been cheated. Having waited so long, I am tired, distressed and giddy
Anupallavi
Canna candramanē ava ellarigū
ٲṇa𱹱
Canna candramanē ava nellarigū
yen iniya
Kanali kēṇḍa vāguva enna pāligē
ava
Kanali kēṇḍa vāguva enna pāligē
첹ṭa 첹ṭ� -bhramisi
He is like the beautiful moon which emits coolness to others. My lover is like the moon for others. To me, he is like the burning hot coal. To me he is like the coal which burns brightly.
䲹ṇa�(ٳś)
Jhaḷa jhaḷa jhaḷa kaṇṇīra ōḍa harisi
ṅgṭṭ
Khaḷanē ā 첹貹ṭa vañcisi kāḍutihanē enna
Niḷniṭṭusiriḍutā nondire nā, baḷige bāranēkē
Balunirdayiyē bīguva bahu
ܳԲ徱
I shed free flowing, uncontrollable tears and lost all my faith. That cunning villan is troubling me by his betrayal. I heave deep sighs of distress. why has he not come yet?
He is very uncompassionate, haughty and a boaster.


15 Angry on him or Angry on her self

[i.e., The one who is cheated will not only be sad but will also feel angry towards the wrong doer (the ⲹ첹 or the sakhi) and sometimes towards herself]

Գٲḥpܰīٱ[24];
dzDz�D.V.Gundappa
岵–Māyāmaḷavagouḷa; tāḷaѾś
Here is a song, in which the heroine is angry on her lord for having cheated her. This is addressed to the by her sakhi.
Բܲ�ԲԲḍa
Pallavi
Ēnidu rōṣā–vīrāvēśā ǀǀ
Why this anger, O lady of valour!
Anupallavi
Mānini ninnaṅga–bhāvaprakāśā ǀǀ
O proud girl, your body reflects all feelings.
䲹ṇa
Kleśavēnāyitē–yōṣāmaṇiye ninage ǀ Hāsyavāḍidanāre–dōṣavadēne ǀǀ Āśⲹ tōri ni-rāśaya geyda ā Kēśavanō� muni-dākāśaviriveya ǀǀ
O gem of women, why are you distressed? Who ridiculed you? What was the mistake committed? Do you know the limit of your anger on ś, who made you wish for and then cheated?

Footnotes and references:

[back to top]

[1]:

Muvvagopala Padavali, 177.

[2]:

鲹ṇaܻ첹, I. cxlix. 35; 鲹첹īԲ, I. lxxii. 12; 鲹ñᲹī, 138; ᱹī峾ṇi, V. lxxxiii.

[3]:

Thamizhil Bharathanatiya Paadalkal, 82.

[4]:

屹śԲ, IV. clx. 139; 鲹ṇaܻ첹, I. cxlix. 35; ᱹī峾ṇi, V. lxxxiii.

[5]:

鲹ṇaܻ첹, I. cxlix. 35; 鲹첹īԲ, I. lxxii. 12; 鲹ñᲹī, 138; ᱹī峾ṇi, V. lxxxiii.

[6]:

岵ṭṭ, 屹ԳśԲ, V. 64.

[7]:

屹śԲ, IV. clx. 139; 鲹ṇaܻ첹, I. cxlix. 35; 鲹첹īԲ, I. lxxii. 12; 鲹ñᲹī, 138; ᱹī峾ṇi, V. lxxxiii.

[8]:

屹śԲ, IV. clx. 139.

[9]:

鲹ñᲹī, 138.

[10]:

ʰ貹ܻīⲹ, I. xlviii. 21.

[11]:

屹śԲ, IV. clx. 139.

[12]:

鲹ñᲹī, 138.

[13]:

Śṛṅī, clxxiii. 119.

[14]:

屹śԲ, IV. clx. 139.

[15]:

Śṛṅī, clxxvi. 120.

[16]:

鲹첹īԲ, I. lxxii. 12; 鲹ñᲹī, 138.

[17]:

Bunch of 屹ḷis, 190.

[18]:

鲹ñᲹī, 138.

[19]:

Palaniappan Vairam Sarathy, “Come Fast! Before My Brothers!–Kurunthokai 123,� Karka..Nirka, May 11, 2009, http://karkanirka.org/2009/05/11/kurunthokai_123/.

[20]:

屹śԲ, IV. clx. 139.

[21]:

屹ⲹ ٲ貹ṇa, IV. 166.

[22]:

屹śԲ, IV. clx. 139; 鲹ṇaܻ첹, I. cxlix. 35; 鲹첹īԲ, I. lxxii. 12; 鲹ñᲹī, 138; ᱹī峾ṇi, V. lxxxiii.

[23]:

屹śԲ, IV. clx. 139; 鲹ṇaܻ첹, I. cxlix. 35; 鲹첹īԲ, I. lxxii. 12; 鲹ñᲹī, 138; ᱹī峾ṇi, V. lxxxiii.

[24]:

D.V. Gundappa, Sri Chennakeshava Anthahpurageethe (Mysore: Kavyalaya Publishers, 2002), 73.

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