Ashta Nayikas and Dance Forms (study)
by V. Dwaritha | 2013 | 71,711 words
This page relates ‘Definition and examples of Proshitapatika� 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 9 - Definition and examples of ʰṣiٲ貹پ
Definition and Examples of the ʰṣiٲ貹پ character of woman heroine:
यस्याः पतिः परदेशं गत� सा प्रोषितभर्तृका �
yasyā� pati� paradeśa� gata� sā proṣitabhartṛkā |
The heroine whose husband has gone abroad, is called a ʰṣiٲ貹پ.
1 Example of ʰṣiٲ貹پ
सुन्दर� मा कुरु चिन्ता� क्षीणासि त्वं कृशाङ्गिदुःखेन �
आयास्यति कि� स्थस्यति मध� विदेशे तव प्रेयान् �sundari mā kuru cintā� kṣīṇāsi tva� kṛśāṅgiduḥkhena |
āyāsyati ki� sthasyati madhau videśe tava preyān || 641मलयमरुता� व्राता वाता विकासितमल्लिकापरिमलभरो भग्न� ग्रीष्मस्त्वमुत्सहसे यद� �
घन! घटयितु� तं निःस्नेह� � एव निवर्तने प्रभवत� गवां कि� नश्छ� न्नं � एव धनञ्जय� �malayamarutā� vrātā vātā vikāsitamallikāparimalabharo bhagno grīṣmastvamutsahase yadi |
ghana! ghaṭayitu� ta� niḥsneha� ya eva nivartane prabhavati gavā� ki� naśchi nna� sa eva dhanañjaya� ||[1]A ʰṣiٲ貹پ heroine is telling the rain bearing clouds of the first rainy season–O clouds! The wind that made the Mallika flowers blossom has gone away. Even the summer has come and gone. But both of them could not bring back that cruel man. If you are interested to enjoin both of us what I am to lose! Only the one who returns with the cows is Dhananjaya.
2 Example of Svīyā ʰṣiٲ貹پ
यदवधीन्दुमुखि स्मरसुन्दरस्तव पतिः परदेशमित� गत� �
तदवध� प्रमदे किमु रोचत� जगदिदं वद ते बत मे कुतः �yadavadhīndumukhi smarasundarastava pati� paradeśamito gata� |
tadavadhi pramade kimu rocate jagadida� vada te bata me kuta� ||[2]As the moon faced girl was told about his departure, she immediately said, “Alas! How will I enjoy anything in this world (without him)�
3 Example of ѳܲ ʰṣiٲ貹پ
दुःख� दीर्घतरं वहन्त्यप� सखीवर्गाय नो भाषत� शैवालैश्शयनं सृजन्त्यपि पुनश्शेत� � वा लज्जाय� �
कण्ठ� गद्गदवाचमञ्चति दृशा धत्त� � वाष्पोदकम् सन्ताप� सहते यदम्बुजमुखी तद्वेद चेतोभव� �duḥkha� dīrghatara� vahantyapi sakhīvargāya no bhāṣate śaivālaiśśayana� sṛjantyapi punaśśete na vā lajjāyā |
kaṇṭhe gadgadavācamañcati dṛś� dhatte na vāṣpodakam santāpa� sahate yadambujamukhī tadveda cetobhava� ||[3]Though her sorrow is too much, she does not talk to her friends. Though Ś� decorate her bed, She doesn’t lie on it. Her throat falters, yet there are no tears in her eyes. The lotus faced lady who suffers the separation of love like this is ѳܲ ʰṣiٲṛk; only learned will know her feelings (and not others).
हत्थेसुअ पाएस� � अंगुलिगणणाहि उअगआ दिअह� �
एह्णिंउण के� गणिज्जौत्त� भणिउ� रु� मुद्घा �
हस्तेष� � पादेषु � अङ्गुलिगणनाभिरुपगत� दिवसाः �hatthesua pāesu a aṃguligaṇaṇāhi uagaā diahā |
ehṇiṃuṇa keṇa gaṇijjautti bhaṇiu� ruai mudghā ||
hasteṣu ca pādeṣu ca aṅguligaṇanābhirupagatā divasā� |
idānī� puna� kena gaṇyatāmiti bhaṇitvā roditi mugdhā ||[4]Having counted the passing days with the fingers and toes, now with what shall I count saying thus the innocent girl cried.
4 Example of Madhyā ʰṣiٲ貹پ
वासस्तदे� वपुष� वलयं तदेव हस्तस्� सै� जघनस्थलरत्नकाञ्ची �
वाचालभृङ्गसुभग� सुरभ� समस्तमद्याधिकं भवति ते सख� कि� निदानम� �vāsastadeva vapuṣo valaya� tadeva hastasya saiva jaghanasthalaratnakāñcī |
vācālabhṛṅgasubhage surabhau samastamadyādhika� bhavati te sakhi ki� nidānam ||[5]O friend! I have worn the same garments, same bangles are present on my hands and I adorn the same bejwelled girdle on my hips. Yet with the onset of the spring made beautiful by the bumble bee, these same things seem intolerable. What is the cause of this?
कस्माद्विनैव घनसाररसे� पाण्डु -र्गण्डस्थली तव मृगाक्षि! समीक्ष्यतेऽसौ �
इत्थ� सखीभिरभित� परिपृच्छ्यमाना निर्य्यन्निरन्तरितबाष्पभरा रराज �kasmādvinaiva ghanasārarasena pāṇḍu -rgaṇḍasthalī tava mṛgākṣi! samīkṣyate'sau |
ittha� sakhībhirabhita� paripṛcchyamānā niryyannirantaritabāṣpabharā rarāja ||[6]
5 Example of Pragalbhā ʰṣiٲ貹پ
माला बालाम्बुजदलमयी मौक्तिकीहारयष्टि� काञ्ची किञ्� त्वय� यदुपते प्रस्थित� प्रस्थितैव �
अन्यद् ब्रूमः किमि� धमनी विद्यत� वा � वेति ज्ञातु� बाहोरह� वलयं पाणिमूलं प्रयात� �mālā bālāmbujadalamayī mauktikīhārayaṣṭi� kāñcī kiñca tvayi yadupate prasthite prasthitaiva |
anyad brūma� kimiha dhamanī vidyate vā na veti jñātu� bāhorahaha valaya� pāṇimūla� prayāti ||[7]The ⾱ who had beautiful eye brows, after the departure of lord ṛṣṇa, discarded the garland of lotus petals, pearl necklace and giridle! Not only that, sometimes her armlets reach her wrists as if to check her pulse. (suggesting her thinness).
भवद्भवनमागतं भ्रमितमीक्षिता नै� सा कलामयकलावती कुतुकमेतदालोकितम� �
विधुर्वलति पल्लवे तडिदलिन्दमालम्बत�&न्ब्स्प्;पतत्यचलयोस्तले कमलयोश्च मुक्ता वलिः �bhavadbhavanamāgata� bhramitamīkṣitā naiva sā kalāmayakalāvatī kutukametadālokitam |
vidhurvalati pallave taḍidalindamālambate patatyacalayostale kamalayośca muktā vali� ||[8]Having come home and seen it to be empty, she falls on the floor like a lotus with a pearl garland (crying)
6 Example of Parakīyā ʰṣiٲ貹پ
श्वश्रूः पद्मदल� ददात� तदपि भ्रूसंज्ञय� गृह्यत� सद्य� मर्मरशङ्कय� � � तय� संस्पृश्यत� पाणिना �
यातुर्वाचि सुहृद्गणस्� वचसि प्रत्युत्तरं दीयत� श्वासः किन्तु � मुच्यत� हुतवहक्रूर� कुरङ्गीदृशा �śvaśrū� padmadala� dadāti tadapi bhrūsaṃjñayā gṛhyate sadyo marmaraśaṅkayā na ca tayā saṃspṛśyate pāṇinā |
yāturvāci suhṛdgaṇasya vacasi pratyuttara� dīyate śvāsa� kintu na mucyate hutavahakrūra� kuraṅgīdṛś� ||[9]The deer eyed woman accepts the lotus leaf offered by her mother in law with the movement of the eye brows. She does not touch them with her hand out of fear of producing the crackling sound of dry leaves. She replies to the questions of her co sister through her friends. She does not give out her breath out of fear as it is blazing like fire.
सौधं सुधाकिरणकन्त� सितं प्रसूनतल्प� � भृत्यकृतचन्दनलेपनं � �
देशान्तर� गतवत� सख� ते� यूना कल्पान्तपावकनिभानि कृतानि सद्य� �saudha� sudhākiraṇakanti sita� prasūnatalpa� ca bhṛtyakṛtacandanalepana� ca |
deśāntara� gatavatā sakhi tena yūnā kalpāntapāvakanibhāni kṛtāni sadya� ||[10]
7 Example of 峾Բ ʰṣiٲ貹پ
विरहविदितमन्तः प्रे� विज्ञा� कान्तः पुनरपि वस� तस्मादेत्य मे दास्यतीति �
मरिचनिचयमक्ष्णोर्न्यस्� वाष्पोदबिन्दून� � विसृजत� पुरयोषिद� द्वारदेशोपविष्टा �virahaviditamanta� prema vijñāya kānta� punarapi vasu tasmādetya me dāsyatīti |
maricanicayamakṣṇornyasya vāṣpodabindūn | visṛjati purayoṣid dvāradeśopaviṣṭā ||[11]The courtesan sitting on the threshold sheds tears by putting in pepper on her eyes with the intention that should the hero return and see her pangs of separation, he would give her gold again. (Here, it is a 鲹 as there is no true viraha on the part of the 峾Բ)
प्रेमाणं परिभाव्य चेतस� निजे राजद्रियोगाङ्कतो रज्यन्ते पुरुषा� कलास� कुशल� यच्छन्ति वित्तान्यप� �
इत्यलोच्� निजप्रियागमदिन� मत्वान्तिकेकामिनी गण्ड� पाण्डुमस� करोत� गणशः कर्प्पूरसंलेपनैः �premāṇa� paribhāvya cetasi nije rājadriyogāṅkato rajyante puruṣāḥ kalāsu kuśalā yacchanti vittānyapi |
ityalocya nijapriyāgamadina� matvāntikekāminī gaṇḍa� pāṇḍumasau karoti gaṇaśa� karppūrasaṃlepanai� ||[12]
8 ⲹԳܳ辱
In this variety, ʰṣiٲ貹پ; ŚṛṅñᲹī brings in a sub variety called the ⲹԳܳ辱. She is the heroine whose friend who is supposed to be her pillar of support during her times of separation, leaves her and goes on a journey.
नायकपरदेशगमनानन्तर� स्वसमाधानकर्त्री सख्यपि चेत्क्वचित प्रयाण� करोत� सा सख्यनुतापिता �
उदाहरणम् -प्रि� प्रवाससमये प्राणा मे रक्षितास्त्वया � इदानी� के� संरक्ष्यस्त्वमपि प्रस्थित� सख� �nāyakaparadeśagamanānantara� svasamādhānakartrī sakhyapi cetkvacita prayāṇa� karoti sā sakhyanutāpitā |
udāharaṇam -priya pravāsasamaye prāṇ� me rakṣitāstvayā | idānī� kena saṃrakṣyastvamapi prasthitā sakhi ||[13]My life was protected by you when my lord left. Now, by whom will it be protected as you are also leaving O friend!
Footnotes and references:
[1]:
śٲ첹, xxxii. 53.
[2]:
ŚṛṅñᲹī, cxcii. 36.
[3]:
鲹ñᲹī, xxxix. 116.
[4]:
鲹Ի, 27.
[5]:
鲹ñᲹī, xl. 117.
[6]:
The Śṛṅgārasārini, cxxv. 45.
[7]:
鲹ñᲹī, xli. 119.
[8]:
鲹Ի, 27.
[9]:
鲹ñᲹī, xlii. 120.
[10]:
ŚṛṅñᲹī, cxcvi. 36.
[11]:
鲹ñᲹī, xliii. 122.
[12]:
The Śṛṅgārasārini, cxxvii. 45.
[13]:
ŚṛṅñᲹī, cxcviii. 37.