Analysis of technical terms: 狈腻峁瓂补, 狈峁泃迟补, 狈峁泃测补

Gati in Theory and Practice

by Dr. Sujatha Mohan | 2015 | 88,445 words

This page relates 鈥楢nalysis of technical terms: Natya, Nritta, Nritya鈥� of the study on the Theory and Practice of Gati (鈥済ait鈥�) which refers to the 鈥渕ovement of a character on the stage鈥�, commonly employed (as a Sanskrit technical term) in ancient Indian Theatrics and the Dramatic arts, also known as Natya-shastra. This thesis explores the history and evolution of Gati and also investigates how the various Gatis are employed in regional performance traditions.

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Analysis of technical terms: 狈腻峁瓂补, 狈峁泃迟补, 狈峁泃测补

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The technical terms related to 苍腻峁瓂补 are explained contrarily in different centuries. Evolution in practice has been an important reason for this. This is supported by the textual sources also. Some of the terms are 苍腻峁瓂补, 苍峁泃迟补 and 苍峁泃测补; 尘腻谤驳补 and 诲别艣颈; 迟腻峁囜笉补惫补 and 濒腻蝉测补, abhinaya, 蝉补峁単墨迟腻. The 苍腻峁瓂补艣膩stra provides terms such as 苍腻峁瓂补, 苍峁泃迟补, 迟腻峁囜笉补惫补, 濒腻蝉测补峁僩a, 苍腻峁璦办补, abhinaya and terms such as 苍峁泃测补 and 蝉补峁単颈迟补 became popular in post Bharata period. However, some terms had different interpretation in later periods. These interpretations may be due to the popular usages prevalent during that particular period. Generally, whatever is prevailing in their community influences the scholars who write the 艢腻蝉迟谤补蝉.

狈腻峁瓂补 is derived from the root 鈥�苍补峁�鈥� meaning 鈥榯o act鈥�. 狈腻峁瓂补 represents the literature and practices of drama. 狈腻峁瓂补 is performed by the actors who are called 苍补峁璦s. Every actor was required to be a perfect dancer, musician and should be trained in intonation and voice culture. 狈腻峁瓂补 needs a story line and many artistes to take respective roles. It鈥檚 a feast to the eyes and ears and on a higher level to the intellect as well. If dance, vocal and instrumental are all harmoniously blended it is known as 蝉补峁単墨迟补,^[1] 苍腻峁瓂补 or 迟补耻谤测补迟峁沰补.

According to Bharata, 苍腻峁瓂补 is a comprehensive art that consists of the elements drama, dance and music. 狈峁泃迟补 is the dance element in 苍腻峁瓂补. It is an ornamental dance, which enhances the beauty of the drama and gives delight to the audience. 狈峁泃迟补 epitomizes the ideals of grace and beauty in various postures, rhythmic patterns and movements. Its purpose is not to provide the meaning of the song but to supplement the continuous flow of rasa in 苍腻峁瓂补. According to Abhinava 苍峁泃迟补 was instrumental in bringing the mood of the sentence that is the 惫腻办测腻谤迟丑补 abhinaya, and is of seven varieties.^[2] 狈峁泃迟补 is defined in many Post-Bharata works as a non-representational dance, which is just a throw of limbs and devoid of abhinaya, 产丑腻惫补 and rasa. 狈峁泃测补 is the art of dance in which the idea is depicted through gestures and rhythmic movements. Thus expressing various emotions through dance is 苍峁泃测补 while a beautifying element is 苍峁泃迟补. However all the three had the element of gati or movement.

狈腻峁瓂补, its origin, definition and features as in 狈腻峁瓂补艣膩stra

The mythological origin of 狈腻峁瓂补 is expounded by Bharata in his 狈腻峁瓂补艣膩stra.

Once in Tretayuga, Mahendra (Indra) and other gods requested 叠谤补岣腻 to create a pastime entertainment that is visible and audible; as the four vedas were not to be learnt by the out castes.

办谤墨岣峚苍墨测补办补尘颈肠肠丑腻尘辞诲峁浥泍补峁� 艣ravya峁� ca yad bhavet |

Therefore, 叠谤补岣腻 contemplated on the Vedas and promulgated the fifth Veda called 狈腻峁瓂补veda which exemplifies righteousness, brings prosperity, causes fame, contains instructions and comprehends activities forming a guide to the future generations as well.

The recitative aspect (text) was taken from the 峁欢惫别诲补, the music from 厂腻尘补惫别诲补, gestural representation from Yajurveda, and the sentiments from Atharvaveda.

jagr膩ha p膩峁環yam峁沢ved膩t s膩mabhyo 驳墨迟补meva ca |
yajurved膩dabhinay膩n ras膩n膩tharva峁嚹乨api ||

This will entertain and educate the people irrespective of caste and creed. Then 叠谤补岣腻 commanded the Gods to learn the 狈腻峁瓂补veda, but they accepted their inability and so he taught this art to Bharata. Then Bharata taught 苍腻峁瓂补 and its mode of presentation to his hundred sons. He gave appropriate roles suited to them and started practising the 苍腻峁瓂补. The dramatic performance was of the three 惫峁泃迟颈蝉 (styles) namely 产丑腻谤补迟墨, 蝉腻迟迟惫补迟墨 and 腻谤补产丑补峁�.

When 叠谤补岣腻 asked Bharata to add 办补颈艣颈办墨 style also, he replied that he had seen N墨laka峁囜弓a (艢颈惫补) dancing the beautiful 补峁単补丑腻谤补蝉 which is full of beauty, charm and of 艣峁涐箖g膩ra rasa which is impossible for men to perform.

苍峁泃迟补峁単ah膩rasampann膩 rasa产丑腻惫补kriy膩tmik膩 |
诲峁涐梗峁� 尘补测腻 bhagavato n墨laka峁囜弓hasya 苍峁泃测补ta岣� ||

Immediately, 叠谤补岣腻 created Apsaras and they were handed over to Bharata. 叠谤补岣腻 engaged sage 厂惫腻迟颈 along with his disciples to handle the musical instruments. 狈腻谤补诲补 and the other 骋腻苍诲丑补谤惫补蝉 were entrusted with music. All were trained accordingly and the dramatic production was performed in the festival of flag staff (Jarjara) commemorating the victory of Mahendra. First, they performed the 狈腻苍诲墨 and the next was the episode of Devas winning over Asuras.

痴颈谤奴辫腻办峁 and other Asuras who were agitated on seeing this started creating troubles by arresting the speech and the action of actors. After seeing the 厂奴迟谤补诲丑腻谤补 surrounded by vignas (troubles), Indra rose up angrily, uprooted the flagstaff and smashed the Asuras and the vignas occupying the stage. Once all the 顿腻苍补惫补蝉 were destroyed, the gods bowed Indra and told that since the flagstaff had destroyed all the vignas, it may be known as jarjara.

Definition of 苍腻峁瓂补

Bharata says,

鈥淭丑别 nature of the world having pleasure as well as pain which is represented through gesticulations of the body is called 狈腻峁瓂补.鈥�

yo'ya峁� svabh膩vo lokasya sukha du岣ha 蝉补尘补苍惫颈迟补岣� |
so'峁単膩dyabhinayopeto 苍腻峁瓂补mityabhidh墨yate ||^[3]

狈腻峁瓂补 is the representations of the reactions of all the three worlds.

trailoky膩sya sarvasya 苍腻峁瓂补峁� 产丑腻惫腻苍耻办墨谤迟补苍补尘^[4]

狈腻峁瓂补 portrays the different aspects, emotions and situations met with in the world.

濒辞办补惫峁泃迟补苍耻办补谤补峁嘺峁� 苍腻峁瓂补m |^[5]

Abhinava summarises 苍腻峁瓂补 as:

tatra 苍腻峁瓂补峁� 苍腻尘补 laukikapad膩rth膩tirikta峁僼adanuk膩raprativimb膩lekhya s膩d峁浥泍膩rop膩dyavas膩yotprek峁Ｄ� svapnendraj膩l膩divi濒补办峁峁嘺峁� tadgr膩hakasya samyagj帽膩nabhr膩ntisa峁兣沘y膩navadh膩ra峁嚹乶adyavas膩ya vij帽膩nabhinnav峁泃tant膩sv膩dana 谤奴辫补samvedanasamvedyamvastu rasasva产丑腻惫补miti vak峁膩ma岣� ||^[6]

Characteristic features of 苍腻峁瓂补

狈腻峁瓂补 is the art form that will promote virtue, bring fame and longevity, provide benefit, increase the intelligence and contain advice to the world. All the aspects of science and arts are there in 苍腻峁瓂补. It should be educative and entertaining. The stories of Devas, Asuras, Kings, noble men, etc. and the nature of the world having pleasure and pain is depicted in 苍腻峁瓂补 and presented as pastime for the world.

It has almost everything in it.

kvacid 诲丑补谤尘补岣� kvacitkr墨岣嵞� kvacidartha岣� kvacicchama岣� |
kvacid 丑腻蝉测补峁� kvacid 测耻诲诲丑补峁� kvacit 办腻尘补岣� kvacid 惫补诲丑补岣� ||^[7]

Abhinava says 苍腻峁瓂补 is the Dharma of a 狈补峁璦.^[8]

Bharata equates the 谤补峁単补诲别惫补迟补辫奴箩补苍补 of 苍腻峁瓂补 with a 测补箩帽补.^[9] He also adds that 苍腻峁瓂补 acts as a 蝉腻诲丑补苍补 for leading us to 尘辞办峁. Thus, 苍腻峁瓂补 was more a dance drama, due to culmination of the elements of music, dance, dialogues and mime, which represents the pleasure, and the pain of the people. Whatever good or evil happens in society is reflected through the actor on stage and when people see their own feelings represented on the stage the rasa realization arises. Art mirrors reality -This is defined in the 狈腻峁瓂补艣膩stra.

Thus, 苍腻峁瓂补, which was originated by 叠谤补岣腻, was taught to his sons by Bharata, which was practiced in heaven and later introduced on to the earth through his disciples. This enhances the intelligence of human beings. The one who preserves and propogates music and drama in the right spirit obtain the meritorious position as that of 叠谤补岣补峁涐梗颈蝉.

This 苍腻峁瓂补 is the best way to please and propitiate the Gods.

sa 墨艣varaga峁噀艣膩n膩峁� labhate 蝉补诲驳补迟颈峁� par膩m |
eva峁� 苍腻峁瓂补prayoge bahuvidhivihita峁� karma艣膩stra峁� 辫谤补峁嚹玹补峁� ||^[10]

The origin of 苍腻峁瓂补 is also described in many literary works written on dramatics such as 础产丑颈苍补测补诲补谤辫补峁嘺, 厂补峁単墨迟补谤补迟苍腻办补谤补 and many more. However, the mythological story has adopted some changes in these works, which were written in different centuries. 碍腻濒颈诲腻蝉补 mentions in 痴颈办谤补尘辞谤惫补艣墨测补 that the 苍腻峁瓂补 was practiced by 弄谤惫补艣墨. Other famous works like 碍耻峁弓补苍墨尘补峁璦, 狈补峁佱箙办耻艣补, etc. have also mentioned about the divine origin. From this, it is understood that there is a divine antiquity to this art form.

狈峁泃迟补, its Origin, definition and purpose as in 狈腻峁瓂补sastra.

Bharata presented the play called Amrutamanthana of 蝉补尘补惫补办腻谤补 variety and another play called 罢谤颈辫耻谤补诲腻丑补 of 岣宨尘补 variety in the august presence of Lord 艢颈惫补. Lord appreciated the performance and was reminded of his dance comprising of 办补谤补峁嘺蝉 and 补峁単补丑腻谤补蝉, which he used to perform in the evenings. Then 艢颈惫补 ordered 迟补峁囜笉耻 to teach the 补峁単补丑腻谤补蝉 to Bharata. Thus 苍峁泃迟补, which originated from Lord 艢颈惫补, became a subsidiary of 苍腻峁瓂补. It also got the name 迟腻峁囜笉补惫补.

After destroying the sacrifice of 顿补办峁 in the twilight, 惭补丑别艣惫补谤补 performed the dance with different 补峁単补丑腻谤补蝉 with laya and 迟腻濒补. On seeing the Lord dancing the recakas and 补峁単补丑腻谤补蝉 and 笔腻谤惫补迟墨 dancing with delicate movements the attendants sounded various musical instruments. Seeing the combination of 办补谤补峁嘺蝉, 补峁単补丑腻谤补蝉 and recakas, in the dance of 艢颈惫补 and 笔腻谤惫补迟墨, 驳补峁嘺蝉 like 狈补苍诲颈办别艣惫补谤补 named them as 辫颈峁囜笉墨产补苍诲丑补蝉. After evolving the 补峁単补丑腻谤补蝉, recakas and 辫颈峁囜笉墨产补苍诲丑补蝉, 惭补丑别艣惫补谤补 taught them to 罢补峁囜笉耻, who then embellished the dance with music and instrumental accomplishments. Hence, the dance is called 迟腻峁囜笉补惫补. Mostly 迟腻峁囜笉补惫补 dance is used to praise the Gods and its delicate version (蝉耻办耻尘腻谤补 prayoga) is used in the sentiment of love. Abhinava says 苍峁泃迟补 that consists of 补峁僩补丑腻谤补 is 补苍腻诲颈 as it was remembered by 艢颈惫补.

He also adds 补峁単补丑腻谤补 (combination of 办补谤补峁嘺蝉) is that which gives the prayogaphala of 苍峁泃迟补.

sm峁泃amity补苍腻诲颈tvamasya dar艣ayati |
补峁単补丑腻谤补 eva 苍峁泃迟补峁� prayogaphala峁� pras奴te |^[11]

Definition of 苍峁泃迟补

Bharata defines,

鈥�狈峁泃迟补 doesn鈥檛 depend upon any specific meaning but it imparts beauty and splendor鈥�.

atrocyate na khalvartha峁� ka帽cin苍峁泃迟补mapek峁te |
ki峁� tu 艣辞产丑腻峁� prajanayediti 苍峁泃迟补峁� pravartitam ||^[12]

Generally everyone in the world spontaneously love dance and it is also auspicious.

Purpose of 苍峁泃迟补

Dance can be employed as an amusement in occasions like marriage, birth of child, reception of a bridegroom and other events of joy and prosperity. 罢腻峁囜笉补惫补 (苍峁泃迟补) is to be performed before the songs and thus 苍峁泃迟补 became ancilliaries of songs in 苍腻峁瓂补, the dramatic performances. Dance should be employed on the occasion of the success of the hero and to heighten the pleasure of the couple in amorous mood, etc. On such occasion when the lover is near and at the onset of agreeable seasons dance may be initiated.

Bharata says,

鈥淥ne who performs the dance promulgated by 惭补丑别艣惫补谤补 goes to the world of 艢颈惫补 after purifying himself by shedding all his sins.鈥�^[13]

Observations on 苍峁泃迟补

It should be understood that 苍峁泃迟补 doesn鈥檛 necessarily convey any meaning of the words of the songs, that is 辫补诲腻谤迟丑补.

Abhinava says sometimes when 苍峁泃迟补 is used for extension of songs it may convey any mood or 惫腻办测腻谤迟丑补 through 补峁単补丑腻谤补蝉 and 辫颈峁囜笉墨产补苍诲丑补蝉.

tatra 蝉补峁儁辞驳补 vardham膩n膩dikrame峁嘺 tath膩 v膩ky膩rth膩bhinaye yath膩yoga峁� yojyam膩n膩峁単ah膩rapi峁囜笉墨bandhakrame峁嘺 yen膩bhinetu峁� 艣ak峁asi ||^[14]

The 办补谤补峁嘺 conveys an idea only when it is performed along with the hasta abhinaya or mukhaja abhinaya. If we take a 办补谤补峁嘺 called 丑补谤颈峁嘺辫濒耻迟补, it can be performed in the manner where it is only a jump similar to that of a deer, may be along with eye movements, which is 苍峁泃迟补. However, if you have to show a deer jumping in fear it should be enacted along with appropriate 诲峁涐梗峁璱 and 蝉腻迟迟惫颈办补产丑腻惫补 and then only it becomes abhinaya. Similarly, according to Bharata 办补颈艣颈办墨v峁泃ti, which encompasses 苍峁泃迟补办补谤补峁嘺蝉 and 补峁単补丑腻谤补蝉, enhances the rasotpatti (rasa产丑腻惫补 kriy膩tmik膩). Thus 苍峁泃迟补 can be performed without changing the mood in between the abhinaya presentation i.e. 蝉耻办耻尘腻谤补 prayoga can be used to enhance 蝉峁涐箙驳腻谤补, 丑腻蝉测补, 办补谤耻峁嚹� and 产墨产丑补迟蝉补 and uddhata prayoga can be done to enhance the raudra, 惫墨谤补, bhay膩nakha and adbhuta rasas.^[15]

狈腻峁瓂补 and 狈峁泃迟补鈥�Its relationship as in 础产丑颈苍补惫补产丑腻谤补迟颈

According to Abhinavagupta 苍峁泃迟补 is not different from 苍腻峁瓂补.

He says there is no difference in 补峁単补惫颈办峁辫补, 苍峁泃迟补 and 驳墨迟补 which are the aspects seen in both.

补峁単补惫颈办峁辫补苍峁泃迟补驳墨迟补vattven膩vailak峁峁噛膩t |^[16]

The portion of song taken for doing the 辫补诲腻谤迟丑补 and vaky膩rtha abhinaya in 苍腻峁瓂补, is not different from that of 苍峁泃迟补.

A question raised by 惫腻谤迟颈办补办腻谤补 goes thus: Abhinaya goes with the direct meaning of the song (in 苍腻峁瓂补) and the meaning of the song is understood through 驳腻迟谤补惫颈办峁辫补 (in 苍峁泃迟补), then what is the difference between 苍峁泃迟补 and 苍腻峁瓂补?

v膩cy膩nugate'bhinaye pratip膩dye'rthe ca 驳腻迟谤补惫颈办峁辫补i岣� |
ubhayorapi hi sam膩ne kobhedo 苍峁泃迟补苍腻峁瓂补gata岣� ||^[17]

Abhinava views that it is wrong to say that 苍峁泃迟补 is not 苍腻峁瓂补 due to lack of direct perception.

Because, we are able to understand clearly that the girl who praises her lover dances, 办丑补峁囜笉颈迟腻 dances, 办补濒补丑腻苍迟补谤颈迟腻 dances, etc.

s膩k峁Ｄ乨budhyabh膩v膩nna 苍腻峁瓂补峁� tadasat | iya峁� priyatamagu峁嘺k墨rtanapar膩苍峁泃测补ti | 办丑补峁囜笉颈迟腻苍峁泃测补ti | 办补濒补丑腻苍迟补谤颈迟腻苍峁泃测补ti -iti buddhe岣� sambhav膩t |^[18]

He adds that because it is sung and performed we cannot say that it (苍峁泃迟补) is different from 苍腻峁瓂补. He refers to a verse in the chapter of s膩m膩nya abhinaya which mentions 鈥�苍腻峁瓂腻测颈迟补鈥� as the delineation of feelings in the 诲丑谤耻惫腻 songs.^[19]

Finally he concludes that both have the same 濒补办峁峁嘺 and so 苍峁泃迟补 is not different from 苍腻峁瓂补.

tasm膩n苍峁泃迟补峁� n膩峁瓂膩dabhinna峁� tallak峁峁噊petatv膩t |^[20]

搁腻驳补办腻惫测补 is 苍腻峁瓂补 because it has abhinaya. He says that which is devoid of abhinaya but has only valana, 腻惫补谤迟补苍补, 产丑谤奴办峁辫补, etc. is to be known as 苍峁泃迟补.

There the purpose of abhinaya is to take forward the said meaning.

tatr膩bhinay膩n膩mupayoga ukt膩rth膩bhimukhyapr膩pti岣� |^[21]

狈峁泃迟补 doesn鈥檛 have any purpose as to accomplish the meaning of the word. Along with 驳墨迟补 and 惫腻诲测补 its purpose is to give enjoyment (耻辫补谤补帽箩补办补).

Then what is the purpose of 驳墨迟补?

苍峁泃迟补sya t奴kta谤奴辫补sya na ki帽citprayojanam | 耻辫补谤补帽箩补办补tay膩驳墨迟补v膩dy膩divadupayoga iti cet -驳墨迟补sya t膩vat-|

Abhinava quotes Bharata who says that what is not expressed by poetry could be enhanced by music.

yattu k膩vyena noktam sy膩ttadg墨tena pras膩dhayet ||
iti 鈥榶膩ni v膩kyaistu na br奴y膩t鈥� iti 鈥榥a taireva tu 惫腻办测腻谤迟丑补i岣モ€�^[22]

鈥業t is not only the words that expresses the meaning鈥�.

Going by this logic, 苍峁泃迟补 also has role to play in characterization, mental feeling, story, plot, etc. In the same way 惫腻办测腻谤迟丑补 can be expressed and can be the enhanced with 惫腻诲测补 along with 驳墨迟补 and 迟腻濒补. If we say 苍峁泃迟补 is not used in yuddha, niyuddha or gati parikrama, he says that as 肠腻谤墨蝉 and 尘补峁囜笉补濒补蝉 these yuddha etc. can be performed in lokadharmi and with the 苍峁泃迟补 hastas like 肠补迟耻谤补艣谤补 etc. it can be performed as 苍腻峁瓂补dharmi. Thus, 苍峁泃迟补 performed in 苍腻峁瓂补dharmi enhances the 苍腻峁瓂补.^[23]

笔奴谤惫补辫补办峁 refers to the verse 鈥�尘补丑腻驳墨迟别峁鈥� he says if the meaning can be well portrayed by 苍峁泃迟补 through abhinaya, then why 苍峁泃迟补 is not 苍腻峁瓂补.

yadyaya峁� 苍峁泃迟补bhimato'bhinayo vihitastatkasm膩dabhinayatve tulye 苍峁泃迟补metanna 苍腻峁瓂补m |^[24]

When abhinaya is done for 驳墨迟补k膩rtha does 苍峁泃迟补 anyother than hasta and 肠腻谤墨 to depict abhinaya?

Abhinava says main aim of 苍峁泃迟补 is not in giving out the 辫补诲腻谤迟丑补 of song through abhinaya and it does not come under the 补峁単补 of the song. 狈峁泃迟补 is a different element of 驳墨迟补. As svaras occur in between the songs, but they do not give the 产丑腻惫补 of the song, sameway 苍峁泃迟补 is performed in 驳墨迟补.

Abhinava says that even if we say that 苍峁泃迟补, which comprises of recaka and 补峁単补丑腻谤补 does not express any meaning. Like the mantras which gives success, 苍峁泃迟补, also grants success.^[25] The compilation of the 辫奴谤惫补辫补办峁 is stated, as 鈥榯hough the three elements 苍峁泃迟补, 迟腻濒补 and 驳墨迟补 come under 苍腻峁瓂补 it is difficult to tell that these are 苍腻峁瓂补 颈迟蝉别濒蹿.鈥�^[26]

Definitions of 狈峁泃测补:

狈峁泃测补 is also derived from the root 鈥�苍峁泃鈥� (狈峁泃颈+ kyp)鈥搕o dance. Scholars say that the term 苍峁泃测补 is seen in 础尘补谤补办辞艣补 for the first time. This is dated around 4^th century C.E.

惭腻谤办补苍诲别测补辫耻谤腻峁嘺 and V膩yu 辫耻谤腻峁嘺 also has the term 苍峁泃测补^[27]

尘补测腻p墨da峁� sm峁泃a峁� 苍峁泃迟补峁� (苍峁泃测补峁�) sandhy膩k膩le峁 苍峁泃测补t膩 |^[28]

These lines have two readings 苍峁泃迟补 and 苍峁泃测补, which is still debated. Scholars such as K.M. Varma opine that the word 苍峁泃测补 should be a later interpolation.^[29]

The author of 顿补艣补谤奴辫补办补 and 厂补峁単墨迟补谤补迟苍腻办补谤补 points out that 苍峁泃测补 also belongs to the 尘腻谤驳补 variety of dance. This could be because 苍峁泃测补 must have been evolved immediately after Bharata鈥檚 period. However, Abhinavagupta does not include the word 苍峁泃测补 as he follows only Bharata. He says there are varieties of 苍峁泃迟补, which is also imitative and representative.

狈峁泃测补 is dance and it is different from 苍腻峁瓂补, drama. The performer, nartaka, is not a hero, but a dancer. It is story telling, not the story itself enacted by the character taking a role. It is considered as a part in a drama.

狈腻峁瓂补, 狈峁泃迟补, 狈峁泃测补 definition in Post-Bharata works.

The concept of 苍腻峁瓂补 as a complete dramatic art form comprising of 苍峁泃测补 and 苍峁泃迟补 transformed during Post-Bharata period but after the decline of Sanskrit drama, they all were marked as individual dance varieties.

The term nartana was introduced by many authors as the art of dancing and its varieties being 苍腻峁瓂补 (dramatized dancing), 苍峁泃测补 (dance with facial expressions) and 苍峁泃迟补 (pure beautifying dance) became popularized. The terms 蝉补峁単墨迟补, 苍腻峁瓂补 and 迟补耻谤测补迟峁沰补 became synonymns.

The Sanskrit lexicon 础尘补谤补办辞艣补 written by Amarasi峁僪a refers to dance by these terms.

迟腻峁囜笉补惫补峁� 苍补峁璦na峁� 苍腻峁瓂补峁� 濒腻蝉测补峁� 苍峁泃测补峁� ca nartane |^[30]

The combination of the triple symphony of 苍峁泃测补, 驳墨迟补 and 惫腻诲测补 is 苍腻峁瓂补.

迟补耻谤测补迟谤颈办补峁� 苍峁泃测补驳墨迟补惫腻诲测补峁� 苍腻峁瓂补mida峁� 迟谤补测补峁� |^[31]

狈腻峁瓂补, 苍峁泃测补 and 苍峁泃迟补 are the three classifications done by S膩r峁単adeva.

He says,

鈥楾his art of dancing is reputed to be threefold, 苍腻峁瓂补, 苍峁泃测补 and 苍峁泃迟补.鈥欌赌�

苍腻峁瓂补峁� 苍峁泃测补峁� tath膩苍峁泃迟补峁� tredh膩 taditi k墨rtitam ||^[32]

Si峁僪abh奴p膩la says in his commentary 厂耻诲丑腻办补谤补: Nartana is of three types, namely 苍腻峁瓂补, 苍峁泃迟补 and 苍峁泃测补鈥�

苍补谤迟补苍补峁� 迟谤颈辫谤补办腻谤补峁� 苍腻峁瓂补峁� 苍峁泃迟补峁� 苍峁泃测补miti |^[33]

Nandikesvara says,

According to Bharata the dance which has four aspects is of three kinds 苍腻峁瓂补, 苍峁泃迟补 and 苍峁泃测补.

etaccaturvidhopeta峁� 苍补峁璦na峁� 迟谤颈惫颈诲丑补峁� sm峁泃a峁� 苍腻峁瓂补峁� 苍峁泃迟补峁� 苍峁泃测补miti munibhirbharat膩dibhi岣� ||^[34]

Definition and features of 狈腻峁瓂补

-) 狈腻峁瓂补 is the imitating of the situations and is called 谤奴辫补 as it can be seen.

avasthanuk峁泃ir苍腻峁瓂补峁� 谤奴辫补峁� d峁浥泍atayocyate |^[35]

-) Dhanika expands this as the imitation of the states of heroes like 诲丑墨谤辞诲丑诲腻迟迟补 who are connected with the 办腻惫测补蝉 with the four abhinayas, which is 苍腻峁瓂补.

k膩vyopanibaddha dh墨roddh膩ttanuk膩ra艣caturvidh膩bhinayena t膩d膩tmy膩pattir苍腻峁瓂补m ||^[36]

-) 狈腻峁瓂补 comprises of the depiction of a holistic meaning.

苍腻峁瓂补峁�-惫腻办测腻谤迟丑补 abhinay膩tmaka峁� |^[37]

The activity of 苍补峁璦 is called 苍腻峁瓂补鈥�

苍补峁璦karmaiva 苍腻峁瓂补峁� 蝉测腻诲iti 苍腻峁瓂补vid膩峁� matam |^[38]

-) 狈腻峁瓂补 is the imitation of situations鈥�

avasthanuk峁泃ir苍腻峁瓂补miti s膩m膩nya濒补办峁峁嘺m ||^[39]

-) Rasa (sentiment) is an important element in 苍腻峁瓂补. Rasa, which manifests through its implication, consists of the four types of abhinaya.

苍腻峁瓂补艣abdo rase mukhyo ras膩bhivyaktik膩ra峁嘺m |
caturdh膩bhinayopeta峁� lak峁峁嚹乿峁泃tito budhai岣� ||^[40]

-) 狈腻峁瓂补 is the anu办补谤补峁嘺 of the nature of the world, which is a combination of joy and sorrow.

lokasya ca svabh膩vo ya岣� sukhadu岣havimi艣rita岣� |
苍腻峁瓂补峁� tasy膩nu办补谤补峁嘺峁� caturth膩bhinay膩nvitam ||^[41]

-) 狈腻峁瓂补, which is 苍腻峁璦办补, is an adorable art and it has some traditional story for its theme.

苍腻峁瓂补峁� tan苍腻峁璦办补峁� caiva 辫奴箩测补峁� p奴rvakath膩yutam |^[42]

狈腻峁瓂补 is the art of 苍补峁璦s who are either actors or dancers. The major form of drama is known as 谤奴辫补ka, which is based on 苍腻峁瓂补. 笔腻峁环测补 is 苍腻峁瓂补 or 谤奴辫补ka, which has many dialogues. 搁奴辫补办补 places a greater emphasis on 蝉腻迟迟惫颈办补 and other abhinayas, which are 谤补蝉腻迟尘补办补.

Dhanika says 苍补峁璦 means 鈥榯o move gently鈥�. Thus, this word conveys the sense of mostly gentleness. 狈腻峁瓂补 is the imitation of the states of heroes such as 诲丑颈谤辞诲腻迟迟补, who are connected with the context of the 办腻惫测补蝉 with the four kinds of abhinayas and getting oneness with the state it imitates. 狈腻峁瓂补 is called 谤奴辫补 because it can be seen on the stage like the colours blue and red. Because the acting of the actors is attributed to the states of heroes the 苍腻峁瓂补 it is called 谤奴辫补ka, as in the sense of the word mukhacandra, the brightness of the moon, is attributed to the face. The senses conveyed by these three words i.e. 苍腻峁瓂补, 谤奴辫补 and 谤奴辫补ka, are same says Dhanika, the commentator of 顿补艣补谤奴辫补办补.^[43]

Definition and features of 苍峁泃迟补

-) 狈峁泃迟补 is derived from the root 鈥�nrt鈥�. (Nrti + kta)

-) 狈峁泃迟补 is based on rhythm and tempo. 苍峁泃迟补峁� 迟腻濒补 lay膩艣rayam |^[44]

-) 狈峁泃迟补 is the receptacle of 迟腻濒补, which means striking the drum in a particular length of time, and the laya, the time in music, which enriches the music.^[45]

-) The mere dancing which does not require the acting after any particular state of hero and which is according to these 尘腻迟谤补蝉 of measures of music is 苍峁泃迟补.

tanm膩tr膩pek峁'峁単avik峁po abhinaya艣奴nyo 苍峁泃迟补miti ||^[46]

-) 狈峁泃迟补 is defined by the experts, in dance, as that based on 腻峁単颈办补, which consists of only, body movements and is devoid of all abhinayas.

驳腻迟谤补惫颈办峁辫补m膩tra峁� tu sarv膩bhinaya varjitam |
膩峁単ikoktaprak膩re峁嘺苍峁泃迟补峁� 苍峁泃迟补vido vidu岣� ||^[47]

-) 狈峁泃迟补 is that which does not express the 产丑腻惫补 by means of abhinaya.

bh膩v膩bhinaya丑墨苍补ntu 苍峁泃迟补mityabhidh墨yate ||^[48]

-) 狈峁泃迟补 is that which is performed with 办补谤补峁嘺蝉 and 补峁単补丑腻谤补蝉. 办补谤补峁嘺ir补峁単补丑腻谤补i艣ca nirv峁泃ta峁� 苍峁泃迟补mucyate |^[49]

-) 狈峁泃迟补 is devoid of rasa and 产丑腻惫补. rasa 产丑腻惫补惫颈丑墨苍补峁� tu 苍峁泃迟补mityabhidh墨yate |^[50]

-) 狈峁泃迟补 is the movement of the body coping with the conditions of the situation, which has 迟腻濒补, laya and 产丑腻惫补, and it materialises from words, limbs, costumes and sattva. 苍峁泃迟补峁� 蝉测腻诲驳腻迟谤补vik峁po avasthanuk峁泃ir濒补办峁峁嘺岣� | 迟腻濒补产丑腻惫补lay膩yatte v膩ga峁単腻丑腻谤测补sattvaja岣� ||^[51]

-) Nartana which has 迟腻濒补 and laya is 苍峁泃迟补.

yattalalayani峁anna峁� 苍补谤迟补苍补峁� 苍峁泃迟补m墨ritam ||^[52]

Abhinava opines that Bharata has classified 苍峁泃迟补 as seven varieties: 1) 艢uddha 苍峁泃迟补, 2) Gitak膩dyabhinayonmukha 苍峁泃迟补 3) 骋腻苍补惫腻诲测补 t膩l膩nus膩r墨苍峁泃迟补, 4) Uddhata 苍峁泃迟补, 5) Sukum膩ra 苍峁泃迟补, 6) Mi艣roddhata 苍峁泃迟补 7) Mi艣ra蝉耻办耻尘腻谤补苍峁泃迟补.

evamida峁� ca 苍峁泃迟补峁� saptak峁泃i辫谤补办腻谤补irbhagavata eva pras峁泃am | tath膩hi-艣耻诲诲丑补meva 苍峁泃迟补峁� recak膩峁単ah膩r膩tmakam | tato 驳墨迟补k膩dyabhinayonmukham | tato'pi g膩nakriy膩m膩tr膩nus膩ri 惫腻诲测补t膩l膩nus膩ri ca |.......... tato'pyuddhata蝉耻办耻尘腻谤补mi艣r膩tmakabhedacatu峁ａ弓ayabhinnak膩vy膩rth膩nus膩ritay膩 caturvidham |^[53]

He says the first three varieties are based on the movements of the 补峁単补 only.

(产腻丑耻) pre峁卥ha峁噊ra岣ampap膩r艣vanamanonnamanacara峁嘺sara峁嘺sphuritakampitabhr奴t膩r膩parispandaka峁璱cched膩峁単avalanam膩tra谤奴辫补m |^[54]

The next four are to be used in dance in praise of Gods and in p奴rvar补峁単补.

Thus it can be understood that here also Abhinava does not stress that 苍峁泃迟补 brings out the abhinaya. The first four are just movements of the limbs and the other three are to be the 办补谤补峁嘺蝉, 补峁単补丑腻谤补蝉, recakas and pindibandhas, which are of 蝉耻办耻尘腻谤补 and uddhata in nature. 狈峁泃迟补 can be understood in the context of drama and as an independent art of dance connected with music. This was both communicative and just for enhancing the beauty and bringing in joyous mood.^[55]

Definition and features of 苍峁泃测补

-) 狈峁泃测补 is another component (different from 苍腻峁瓂补) which is based on 产丑腻惫补 says 顿丑补苍补帽箩补测补.

anyadbh膩v膩艣raya峁� 苍峁泃测补m |^[56]

-) 狈峁泃测补 is called 尘腻谤驳补; each word is represented through abhinaya.

苍峁泃测补峁� 辫补诲腻谤迟丑补 abhinay膩tmaka峁� 尘腻谤驳补 iti prasiddham ||^[57]

-) 狈峁泃测补 is that which demonstrates moods exclusively through 腻峁単颈办补 abhinaya, and is well known by the term 尘腻谤驳补.

膩峁単ik膩bhinayaireva bh膩v膩neva vyanaktiyat |
tan苍峁泃测补峁� 尘腻谤驳补艣abdena 辫谤补蝉颈诲诲丑补峁� 苍峁泃测补vedin膩m ||^[58]

-) Nartana is that which is endowed with 产丑腻惫补, and it is called 苍峁泃测补.

bh膩v膩艣raya峁� 苍补谤迟补苍补峁� hi 苍峁泃测补mityabhidh墨yate ||^[59]

-) 狈峁泃测补 is the imitative dance that which suggests the rasa and 产丑腻惫补.

rasa产丑腻惫补 vya帽j补苍腻诲颈yukta峁儾葬箾t测补mit墨ryate ||^[60]

-) 狈峁泃测补 is a different component from 苍峁泃迟补. Though the motion of the limbs are common in both 苍峁泃测补 is the imitation of actions of the words and their meaning and 苍峁泃迟补 is the moving about of limbs.

yath膩 ca 驳腻迟谤补vik峁p膩rthatve sam膩ne'pyanuk膩r膩tmakatvena 苍峁泃迟补danyan苍峁泃测补m ||^[61]

-) 狈峁泃测补 is that which is pleasing to the God and which has rhythm and sentiment and which has graceful movements of the limbs.

devarucy膩 prat墨to yas迟腻濒补m膩naras膩艣raya岣� |
savil膩so'峁単avik峁po 苍峁泃测补mityucyate budhai岣� ||^[62]

Dhanika opines 苍腻峁瓂补 is the receptacle of 产丑腻惫补, which is different from 苍峁泃测补, because the former is the receptacle of rasa, while the latter is the receptacle of 产丑腻惫补.

ras膩艣ray膩nn膩峁瓂膩d bh膩v膩艣rayam 苍峁泃测补峁� anyadeva |
tatra bh膩v膩艣rayamiti vi峁yabhed膩t ||^[63]

狈腻峁璦办补 is endowed with rasa because the acting is based on the meaning of the sentences (惫腻办测腻谤迟丑补) got from the vi产丑腻惫补, anu产丑腻惫补 and so on, aroused from the meaning of the word (辫补诲腻谤迟丑补).

rasasya ca pad膩rt墨bh奴ta vibh膩v膩dikasa峁僺arg膩ttmaka惫腻办测腻谤迟丑补hetukatv膩 v膩ky膩rth膩bhinay膩tmakatvam ||^[64]

Observations and findings

The distinction that 苍峁泃测补 is 产丑腻惫补艣raya (endowed with 产丑腻惫补) and 苍腻峁瓂补 is ras膩艣raya (endowed with rasa) is debated by scholars because Bharata himself says that there is no 产丑腻惫补 without rasa and vice versa. This is also felt by the later writers like Kumbhar膩峁嘺 and Viprad膩sa. They say that rasa is manifested by 苍峁泃测补 while 产丑腻惫补 supplements it. In both the cases, the name is 苍峁泃测补. In order to distinguish them, they name the former variety as 苍腻峁瓂补-苍峁泃测补 and the latter as 尘腻谤驳补-苍峁泃测补.^[65]

顿丑补苍补帽箩补测补 says 苍峁泃测补 and 苍峁泃迟补 enrich the acting in the dramas.

The former refines the subordinate acting and the latter adds graced to the acting.

苍峁泃测补sya kvacidav膩ntarapad膩rth膩bhinayena 苍峁泃迟补sya ca 艣辞产丑腻 hetutvena n膩峁璦k膩d膩vupayoga iti ||^[66]

The art that is created and popularized by masters, like Bharata, is called 尘腻谤驳补 and an art that is practiced by different people of various regions, in keeping with their taste, is called 诲别艣颈. Many authors like 顿丑补苍补帽箩补测补, 艢腻谤峁単补诲别惫补 and J膩yasen膩pati have mentioned in their works that what Bharatamuni has given in his 狈腻峁瓂补艣膩stra can be taken as 尘腻谤驳补, and that which has been included by his successors from their own regional point of view as 诲别艣颈. For example, Sa峁叢的俨� 搁补迟苍腻办补谤补 mentions 108 办补谤补峁嘺蝉 given in the 狈腻峁瓂补艣膩stra as 尘腻谤驳补办补谤补峁嘺蝉 and thirty-six more 办补谤补峁嘺蝉 added by the author as 诲别艣颈办补谤补峁嘺蝉. When we look at this subject from this angle, that which was expounded by Bharata, must be called 尘腻谤驳补 and the other types of prevailing dances (苍峁泃迟补) are logically to be called 诲别艣颈.

狈峁泃迟补 is defined as 诲别艣颈 (regional) by 顿丑补苍补帽箩补测补. This means that 苍峁泃迟补 is not accepted as 尘腻谤驳补. May be the 苍峁泃迟补 refers to the dance prevalent in their region during his period, so he says that 苍峁泃迟补 is 诲别艣颈. As he belongs to the 10^th century and during his period, many forms of 诲别艣颈 dance forms had evolved. He says 苍峁泃测补 as 尘腻谤驳补. Therefore, we can conclude that 苍峁泃测补 has been prevalent during his time as a mimetic dance form based on aspects of 狈腻峁瓂补艣膩stra along with 苍峁泃迟补 the abstract form of their region.

狈峁泃迟补 is defined as non-expressive dance (Abhinaya varjita) by 艢腻谤峁単补诲别惫补. Commentator 厂耻诲丑腻办补谤补 opines just movement of limbs without expression is 苍峁泃迟补.

According to Kallin膩tha, this 苍峁泃迟补 is different from the 苍腻峁瓂补苍峁泃迟补. He says,

膩峁単ik膩bhinaye 补峁単补pratya峁単op膩峁単膩n膩峁� ya岣� 辫谤补办腻谤补耻办迟补岣�, tena prak膩re峁嘺驳腻迟谤补惫颈办峁辫补m膩tra峁� tu 苍峁泃迟补vido 苍峁泃迟补峁� vidu岣� | tu 艣abdo 苍峁泃迟补sya 苍腻峁瓂补苍峁泃迟补bhy膩峁� vailak峁峁噛adyotan膩ya ||^[67]

From this, it is understood that 苍峁泃迟补 performed in 苍腻峁瓂补 can be representative. 艢腻谤峁単补诲别惫补 himself has explained the 苍峁泃迟补办补谤补峁嘺蝉 of the 狈腻峁瓂补艣astra and has added the viniyogas or uses as representing the various 蝉迟丑腻测颈 and 惫测补产丑颈肠腻谤颈产丑腻惫补s through 苍峁泃迟补办补谤补峁嘺蝉. This could mean that 苍峁泃迟补 is a graceful body movement, which can be used in 苍峁泃测补, expressive dance that is 产丑腻惫补tmaka or 苍腻峁瓂补 which is 谤补蝉腻迟尘补办补. According to Bharata, 苍峁泃迟补 is to be performed before and after the actual abhinaya or expression of the song. This means that they both are different but can be collectively known as 苍峁泃测补.

According to Abhinava the 苍峁泃迟补办补谤补峁嘺蝉 are used for v膩kyartha abhinaya, representation of the general idea or mood. For instance, 驳补箩补办谤墨岣峣迟补峁� 办补谤补峁嘺 is the sporting elephant and 丑补谤颈峁嘺辫濒耻迟补峁� 办补谤补峁嘺 shows the darting deer. If an actor shows a darting deer with 尘峁沢补艣墨谤峁 abhinaya hasta for a word from the song it is 辫补诲腻谤迟丑补 abhinaya. If it is showed with 丑补谤颈峁嘺辫濒耻迟补峁� 办补谤补峁嘺 for the music, which follows or enhances the lyric it is 苍峁泃迟补 or v膩kyarta abhinaya. The name of these 办补谤补峁嘺蝉 suggests how these movements or jumps should be performed. This obviously means that 苍峁泃迟补 can be representative but it does not bring out the word-to-word meaning of the song.^[68]

狈峁泃迟补, though it is presented for v膩kyartha abhinaya, it enhances the mood. Bharata himself, through the questions asked by the sages, states that 苍峁泃迟补 does not have any connection with the artha of the song but only brings beauty to the performance. This should be taken as 艣耻诲诲丑补苍峁泃迟补, a variety explained by Abhinava.

Abhinava also views that the 苍峁泃迟补办补谤补峁嘺蝉 are used to portray some of the 惫测补产丑颈肠腻谤颈产丑腻惫补s and rasas. The first 办补谤补峁嘺迟补濒补辫耻峁补辫耻峁璦峁� is used in offering flowers (辫耻峁腻帽箩补濒颈) and for the expression of shyness and 惫补谤迟颈迟补峁� 办补谤补峁嘺 for anger. Vyabhic膩ri 产丑腻惫补 like pride or arrogance are portrayed by 惫颈办峁辫迟腻峁� karana, intoxication is portrayed by mattalli 办补谤补峁嘺, respect is depicted by 耻辫补蝉峁泃补办补峁� 办补谤补峁嘺 and flattery is depicted by 蝉补苍苍补迟补峁� 办补谤补峁嘺. These are suggested by angika abhinaya but rasotpatti is attained only through 蝉腻迟迟惫颈办补 abhinaya.

Therefore, it should be understood that 苍峁泃迟补 is of 腻峁単颈办补 and if sattva is added to it then it becomes 产丑腻惫补谤补蝉腻迟尘补办补. Thus, when the 苍峁泃迟补办补谤补峁嘺蝉 exhibit the 产丑腻惫补s they become 苍峁泃测补办补谤补峁嘺蝉. From this, it is known that 苍峁泃迟补 and 苍峁泃测补 were inseperable.

According to Bharata, the rasotpatti of 苍腻峁瓂补 is attained only by witnessing a performance as a whole. He only considers the main rasas as eight in number as he feels the others 产丑腻惫补s cannot be the 蝉迟丑腻测颈 and are not in a position to attain the status of rasa. That is why he says 苍腻峁瓂补 is 谤补蝉腻迟尘补办补 and 苍峁泃测补 is 产丑腻惫补tmaka. This is the reason why the post Bharata scholars started defining 苍峁泃迟补 as 鈥�产丑腻惫补 rasa 惫颈丑颈苍补峁�鈥�, taking it to be the non-representative dance. Moreover, most of the 诲别艣颈苍峁泃迟补s prevailing during their period were abstract dance varieties. Nowadays, 苍峁泃迟补 is considered to be pure decorative rhythmic dance with body movements such as 补岣峚惫耻蝉 of Bharata苍腻峁瓂补.

Actual 苍峁泃迟补 is pure body movements (驳腻迟谤补惫颈办峁辫补) and when it is added with facial expressions and hand gestures it becomes 苍峁泃测补. 膧峁単颈办补 is 苍峁泃迟补 and when 蝉腻迟迟惫颈办补 is added it becomes 苍峁泃测补. Therefore, we can say 苍峁泃迟补 is the raw material added with abhinaya, which makes it 苍峁泃测补. This variety of non-representational 苍峁泃迟补 is known as 艣耻诲诲丑补苍峁泃迟补. Its purpose is to gladden the onlooker. Yet, there is a representational 苍峁泃迟补, which makes the audience, understand the theme. Pad膩rtha abhinaya cannot be represented by 苍峁泃迟补. So, 苍峁泃迟补 cannot be used for expressing the word to word meaning (辫补诲腻谤迟丑补 abhinaya).

Bharata himself uses the term abhinaya in the place of 腻峁単颈办补 abhinaya at times, as he uses the term 苍腻迟补办补 in the place of 谤奴辫补ka. 狈峁泃迟补 can be transformed to abhinaya or 苍峁泃测补. Some medieval writers describe abhinaya as facial expression. However, according to Bharata, abhinaya means histrionic representation and 苍峁泃迟补 comes under angika abhinaya.

Therefore, the researcher feels that at a particular point of time the meaning of word abhinaya has been narrowed to facial expression and 苍峁泃迟补 as pure dance (艣耻诲诲丑补苍峁泃迟补) with body and leg movements without any facial expression. The concept of representing a subject through the whole body was forgotten. This was the reason why the definition of abhinaya 丑墨苍补 had been given.

Though, Bharata states that 苍峁泃迟补 cannot give the meaning of the song directly, it should not be taken that all the 苍峁泃迟补办补谤补峁嘺蝉 are non-representative.

The meaningless 蝉辞濒濒耻办补峁弓耻蝉 and svaras come under 惫腻肠颈办补 abhinaya. They do not mean anything, but they create a mood or feeling. Even at times, silence communicates an emotion or feeling; communication does not always mean that meaning is conversed. Bharata says 鈥減oets should employ three kinds of letters in dramatic compositions namely short, long and prolated vowels so as to suggest the sentiments and emotions.^[69] Short vowels should be profusely used in 惫墨谤补 and raudra, long in 产墨产丑补迟蝉补 and 办补谤耻峁嘺 and also in 惫墨谤补 and raudra to denote pride.^[70] Thus these will enhance the rasa or will not interrupt the flow of rasa in the text.

The seven svaras are to be employed appropriately to the rasas.

tatra 蝉补辫迟补蝉惫补谤腻苍腻尘补 | ta ete rase峁Ｅ玴ap膩dy膩岣�...... |^[71]

The 办腻办耻蝉 (intonations) should relate to the rasas.

eva峁� 产丑腻惫补rasopet膩 k膩kuryojy膩 prayokt峁沚hi岣� |^[72]

Thus when Bharata has said that even the musical notes and 办腻办耻蝉 produce rasa then why not the 艣耻诲诲丑补苍峁泃迟补? Sameway 苍峁泃迟补 should not interrupt the flow of rasa.

Bharata says in the fourth chapter of his 狈腻峁瓂补艣膩stra that the sages asked him if the art of abhinaya was evolved to convey the meaning of the poetic composition and questioned the purpose of 苍峁泃迟补. Bharata replies 苍峁泃迟补, dance, imparts beauty and splendour, and it is auspicious and liked by all. 狈腻峁瓂补 (drama) of those days had all four kinds of abhinayas, 腻峁単颈办补, 惫腻肠颈办补, 腻丑腻谤测补 and 蝉腻迟迟惫颈办补. That was enough for the ideas to be conveyed, so such a question arised among the sages. Even then, according to Bharata, 苍峁泃迟补 is an element of 腻峁単颈办补 abhinaya.

Though, he says 苍峁泃迟补 does not depend on the meaning, it can be taken as an expansion of the meaning. 狈峁泃迟补 travels beyond the meaning. It is an attractive way of conveying the mood or theme. He describes the elements of 苍峁泃迟补 i.e. 苍峁泃迟补办补谤补峁嘺蝉 as units of dance which have specific use in 苍腻峁瓂补. He says 办补谤补峁嘺蝉 can be used for depicting the 惫腻办测腻谤迟丑补 abhinaya, the holistic meaning of the sentence. For example, the abhinaya hasta 尘峁沢补艣墨谤峁 when moved can convey the meaning of a deer jumping, but the existence of the 丑补谤颈峁嘺辫濒耻迟补峁� 办补谤补峁嘺 is questioned. The answer for this is that, the 丑补谤颈峁嘺辫濒耻迟补峁� 办补谤补峁嘺 performed by the whole body is 苍峁泃迟补 (dance) and if it is performed only by an abhinaya hasta and mere walk it is 苍腻峁瓂补 (acting).

Therefore, here naturally 苍峁泃迟补 imparts beauty, which is liked by all, and could be understood in holistic manner, thus 惫腻办测腻谤迟丑补 abhinaya. When we take 苍峁泃迟补 as a beautiful dance movement, it is non-representational, and when it is used to communicate certain ideas, it becomes representational. For instance, the vidyudhbhr膩nta峁� 办补谤补峁嘺 is a beautiful dance movement. Yet when it is performed to illustrate lightning, it becomes representational. Likewise, alapadma hasta communicates a lotus but when used in 苍峁泃迟补 it does not mean anything. Garu岣峚pluta 办补谤补峁嘺 denotes the flight of an eagle, but it does not mean that it should be used only for depicting an eagle, it can be used with other hastas in 苍峁泃迟补 also, as a beautifying movement.

According to Bharata only eight 谤补蝉腻蝉 are considered; bhakti, ananda and so on, are not considered as rasas. If you take 艣耻诲诲丑补苍峁泃迟补, one cannot say that it has no 产丑腻惫补 or cannot produce rasa. The rasa can be produced depending on the mental attitude of the dancer, that is, the 耻迟蝉腻丑补产丑腻惫补 of the performer that is transmitted into the audience. The 惫测补产丑颈肠腻谤颈产丑腻惫补 of 丑补谤峁 can also be present and thus 苍峁泃迟补 can help in evoking the 产丑腻惫补. Even in 谤腻驳补腻濒腻辫补 moods can be created. As Abhinava says, that the 狈腻峁瓂补艣膩stra was written by Bharata with the 蝉迟丑腻测颈 being 耻迟蝉腻丑补. If so, why cannot the 蝉迟丑腻测颈 of suddha 苍峁泃迟补 also be 耻迟蝉腻丑补?^[73]

However, later 补岣峚惫耻蝉 of Bharata苍腻峁瓂补 came under the division of 苍峁泃迟补. These are just body movements, which are always non-representational, which brings out the 蝉迟丑腻测颈 of 耻迟蝉腻丑补 in the performer and the audience. 础岣峚惫耻蝉 are used along with hastas and facial expressions in 苍峁泃测补.

There are some other definitions and terms mentioned by Bharata, which slightly deviates from his own descriptions. Some scholars opine that the 狈腻峁瓂补艣膩stra was not written by a single author. This may be true here because, some verses which give contrary meaning could have been added later. Some are clarified in Abhinava, then again, some are not.

Kallin膩tha says in the commentary of 厂补峁単墨迟补谤补迟苍腻办补谤补 about 苍峁泃迟补 thus.

苍峁泃迟补峁� lak峁yati-办补谤补峁嘺irityadi | nanu lak峁tasy膩pi 苍峁泃迟补sya punar濒补办峁峁嘺峁� kathamiti cet, ucyate | 辫奴谤惫补峁� sarv膩bhinaya艣奴nyam膩峁単ik膩bhinayaprak膩re峁嘺 pra惫补谤迟颈迟补峁儾的宄侔贡咕卑灬梗e辫补m膩tra峁� 苍峁泃迟补mityuktam | id膩n墨 tv膩峁単ik膩bhinayasya 腻峁単颈办补tvena 尘补诲丑测补峁� 辫谤补测辞箩测补峁� kara峁嚹佱箙gah膩ranirv峁泃ta峁� 苍峁泃迟补muktamiti bhedo 诲谤补峁ａ弓补惫测补岣� ||^[74]

If we take 苍峁泃迟补办补谤补峁嘺 spoken as an element of 腻峁単颈办补 abhinaya is different from 苍峁泃迟补 dance, first is representational and the second is non-representational. Kallinatha鈥檚 comentary says 苍峁泃迟补 is different from 苍腻峁瓂补苍峁泃迟补.^[75]