Ashta Nayikas and Dance Forms (study)

by V. Dwaritha | 2013 | 71,711 words

This page relates ‘Examples of Madhya Svadhinapatika’ 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 8 - Examples of Madhyā Svādhīnapatikā

Examples of the Madhyā variety of the Svādhīna-patikā character of woman heroine:

त्वत्प्रियोऽकृत पदाम्बुजयोस्ते दातुमाग्रहमये निशि लाक्षाम् ।
वल्गु सस्मितपटावृतनेत्रा नेति नेति शनकैस्समवादीः ॥

tvatpriyo'kṛta padāmbujayoste dātumāgrahamaye niśi lākṣām |
valgu sasmitapaṭāvṛtanetrā neti neti śanakaissamavādīḥ ||
[1]

Your lord arranged your lotus feet and insisted on applying the Alta; immediately, you opened your eyes and said ‘no’ with a beautiful smile.

यदपि रतिमहोत्सवे नकारो यदपि करेण नीविधारणानि
प्रियसखि पतिरेष पार्श्वदेशं तदपि न मुञ्चति चेत्किमाचरामि ॥

yadapi ratimahotsave nakāro yadapi kareṇa nīvidhāraṇāni
priyasakhi patireṣa pārśvadeśaṃ tadapi na muñcati cetkimācarāmi ||
[2]

O! Sakhi what do I do now? My lover does not leave me, though I discourage his amorous advances and do not surrender to him.

कामक्रीडाप्रसङ्गेयदपि सखि मया वामया वारितोऽसौ
  भूयो भूयोऽपि भूयोऽप्यहह! पतिरसौ नेति नेतीति वाक्यैः ।
पायं पायं यथाऽयं मुहुरपि समुदं सादरं नाधरं मे
  मुञ्चत्यहो तथैवोज्झति न पुनरसौ पार्श्वदेशं किमेतत् ॥

kāmakrīḍāprasaṅgeyadapi sakhi mayā vāmayā vārito'sau
  bhūyo bhūyo'pi bhūyo'pyahaha! patirasau neti netīti vākyaiḥ |
pāyaṃ pāyaṃ yathā'yaṃ muhurapi samudaṃ sādaraṃ nādharaṃ me
  muñcatyaho tathaivojjhati na punarasau pārśvadeśaṃ kimetat ||
 [3]

During the game of love, O! My friend, in a lovely manner, even though melting like water, I refrain and say ‘No’ ‘No’ repeatedly yet my husband happily does not leave my lower lips or my sides. O! What to do? (Here, she is a Madhyamā as she enjoys the love sport yet feels shy.)

पुष्पोद्भेदमवाप्य केलिशयनाद्दूरस्थया चुम्बने
  कान्तेन स्फु रिताधरेण निभृतं भ्रूसंज्ञया याचिते ।
आच्छाद्य स्मितपूर्णगण्डफ लकं चेलाञ्चलेनाननं
  मन्दान्दोलितकुण्डलस्तबकया तन्व्यावधूतं शिरः ॥

puṣpodbhedamavāpya keliśayanāddūrasthayā cumbane
  kāntena sphu ritādhareṇa nibhṛtaṃ bhrūsaṃjñayā yācite |
ācchādya smitapūrṇagaṇḍapha lakaṃ celāñcalenānanaṃ
  mandāndolitakuṇḍalastabakayā tanvyāvadhūtaṃ śiraḥ ||
[4]

Feeling a sudden flux, she got up from the bed of pleasure and started moving away. The husband made a gesture with his eye brow signaling for a kiss with his quivering lips. Then, the nāyikā with a smile filling her cheeks covered her face with the end of the saree and with shaking earings moved her head to the sides and declined his wish.

Footnotes and references:

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[1]:

Śṛṅgāramañjarī, lxxxii. 16.

[2]:

Rasamañjarī, lxxi. 165.

[3]:

Rasikajīvana, xcv. 16.

[4]:

Amaruśataka, cviii. 131.

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