ashtaNayika
“The embodiment of beauty, youth, intelligence, grace, love, brilliance. Thus is the Nayika, described by all!�
“The embodiment of beauty, youth, intelligence, grace, love, brilliance. Thus is the Nayika, described by all!�
Glossary
Nayika
Heroine
Nayak
Hero
Ashtanayika
Eight heroines
Bhava
Emotion or mood
Rasa
Emotional or aesthetic experience
Natya
Drama
Shastra
Scripture
Shringar
Romance
Glossary
Nayika
Heroine
Nayak
Hero
Ashtanayika
Eight heroines
Bhava
Emotion or mood
Rasa
Emotional or aesthetic experience
Natya
Drama
Shastra
Scripture
Shringar
Romance
Contents
Introduction
1
Khandita
21
Origin
5
Kalahantarita
25
Vasakasajja
9
Vipralabdha
29
Svadhinabhartruka
13
Proshitapatika
33
Abhisarika
17
Virahotkanthita
37
Epilogue
43
Contents
Introduction
1
Khandita
21
Origin
5
Kalahantarita
25
Vasakasajja
9
Vipralabdha
29
Svadhinabhartruka
13
Proshitapatika
33
Abhisarika
17
Virahotkanthita
37
Epilogue
43
Introduction Woman, God’s most unique creation, is an exquisite combination of contradictions. With beautiful charm and grace, she does not hesitate to entice or enamour her lover; on the other hand, a woman scorned can be unpredictable and destructive. This enigmatic (split) persona has found a beautiful expression through dance. Dance - though often dramatic and exaggerative in nature and narrative - has portrayed well the beauty and darkness of a woman, as well as her strength and frailty. Through her dance a woman can express multiple emotions - of coyness, joy, love, despair, anger, hate in both overt and covert terms. A woman dancer can raise many a man to ecstasy, and knock him down with similar ease. 1
2
Introduction Woman, God’s most unique creation, is an exquisite combination of contradictions. With beautiful charm and grace, she does not hesitate to entice or enamour her lover; on the other hand, a woman scorned can be unpredictable and destructive. This enigmatic (split) persona has found a beautiful expression through dance. Dance - though often dramatic and exaggerative in nature and narrative - has portrayed well the beauty and darkness of a woman, as well as her strength and frailty. Through her dance a woman can express multiple emotions - of coyness, joy, love, despair, anger, hate in both overt and covert terms. A woman dancer can raise many a man to ecstasy, and knock him down with similar ease. 1
2
The Indian art tradition visualizes
Nayikas are illustrated with
a woman as the flaming torches of
veneration in the Indian arts of
love and companionship. Of
paintings rendered with beautiful
unparalleled splendor and
sharp facial features, almond shaped
sensuousness. Her attribute is not
eyes, transparent bulging out veil,
just bodily or substantial but pious
warm sensuous face, slim deer like
too, not selfish but meant as an
waist, a sensuous walking stance with
offering or giving herself
a delicate figure.
completely. It will not be incorrect to say that she holds a grand
Nayika is a long cherished subject in
suggestion of Hindu expression, as
poetry and music. Totally 384 types of
well as the concept of beauty.
Nayikas have been described by Bharatmuni in his treatise
Thus, diverse are her manifestations
‘Natyashastra’, (around 200 BC), the
and names that every scripture,
earliest reference of Nayika found in
every art and artist felt and created
India.
in their own imaginary manner. While sometimes she is discussed or portrayed as an accompanying person, at other times she is a representation of fertility; at times she is a compassionate figure who is lovable and desirable yet at others she is intolerable.
4
The Indian art tradition visualizes
Nayikas are illustrated with
a woman as the flaming torches of
veneration in the Indian arts of
love and companionship. Of
paintings rendered with beautiful
unparalleled splendor and
sharp facial features, almond shaped
sensuousness. Her attribute is not
eyes, transparent bulging out veil,
just bodily or substantial but pious
warm sensuous face, slim deer like
too, not selfish but meant as an
waist, a sensuous walking stance with
offering or giving herself
a delicate figure.
completely. It will not be incorrect to say that she holds a grand
Nayika is a long cherished subject in
suggestion of Hindu expression, as
poetry and music. Totally 384 types of
well as the concept of beauty.
Nayikas have been described by Bharatmuni in his treatise
Thus, diverse are her manifestations
‘Natyashastra’, (around 200 BC), the
and names that every scripture,
earliest reference of Nayika found in
every art and artist felt and created
India.
in their own imaginary manner. While sometimes she is discussed or portrayed as an accompanying person, at other times she is a representation of fertility; at times she is a compassionate figure who is lovable and desirable yet at others she is intolerable.
4
Indian classical dance has extensively
In painting, the medieval raga-maala
made use of the Ashtanayika
paintings from the Bundischool
concept in most of its dance forms
of painting, the Chambaroomal
like Bharatnatyam, Kathak, Odissi,
with Pahadi embroidery as well as
Mohiniattam and Folk Dance.
contemporary paintings are found. The Kangra school of art also
Origin The origin of the Ashtanayika theme finds itself in the field of drama. The most initial references to Ashtanayika point towards it being a subject of drama. Since then the Ashtanayika has been presented in practically all art forms. Bharat Muni‘s Natya Shastra gives a detailed description of all
In poetry, we find lyrical texts like
represents the Ashtanayika in all its
GeetGovinda by Jayadev, Rasikpriya
glory. A mention of these would help to
by Keshavdas, Hindu saint poets
establish that all art forms are
and Sufi saints which clearly create
interconnected.
pictures of the Nayikas with respect to emotions and spirituality. Some modern and contemporary poets of Hindi poetry which will be referenced to trace the changing trends of poetry along with the evolution of the Nayika with changing times. Even film music is a part of the poetic representation of the Ashtanayika theme set to music.
performing arts.
5
6
Indian classical dance has extensively
In painting, the medieval raga-maala
made use of the Ashtanayika
paintings from the Bundischool
concept in most of its dance forms
of painting, the Chambaroomal
like Bharatnatyam, Kathak, Odissi,
with Pahadi embroidery as well as
Mohiniattam and Folk Dance.
contemporary paintings are found. The Kangra school of art also
Origin The origin of the Ashtanayika theme finds itself in the field of drama. The most initial references to Ashtanayika point towards it being a subject of drama. Since then the Ashtanayika has been presented in practically all art forms. Bharat Muni‘s Natya Shastra gives a detailed description of all
In poetry, we find lyrical texts like
represents the Ashtanayika in all its
GeetGovinda by Jayadev, Rasikpriya
glory. A mention of these would help to
by Keshavdas, Hindu saint poets
establish that all art forms are
and Sufi saints which clearly create
interconnected.
pictures of the Nayikas with respect to emotions and spirituality. Some modern and contemporary poets of Hindi poetry which will be referenced to trace the changing trends of poetry along with the evolution of the Nayika with changing times. Even film music is a part of the poetic representation of the Ashtanayika theme set to music.
performing arts.
5
6
The Natyashastra by Bharatmuni, which carries the first references of Nayikabhed is called the Natya Veda, or Pancham Veda, or Gandharva Veda. It is believed to be celestial in origin. Legend has it that the four vedas were created by Brahma, but the lower caste and ladies were not allowed to study them. So, the myth says, Brahma created the fifth veda called Natyaveda, i.e. the art of drama, which can be studied and practiced by everybody. While creating this Natyaveda, Brahma adopted its constituents from four vedas. The story goes that this Natyaveda was handed over to Indra and Indra handed it over to Bharata. A lot of importance is given to music in Natyashastra, wherein about nine chapters have been dedicated to music. In vocal and instrumental music, he describes swara (a musical note) and its use in expressing particular aesthetic sense i.e. Rasa.
8
The Natyashastra by Bharatmuni, which carries the first references of Nayikabhed is called the Natya Veda, or Pancham Veda, or Gandharva Veda. It is believed to be celestial in origin. Legend has it that the four vedas were created by Brahma, but the lower caste and ladies were not allowed to study them. So, the myth says, Brahma created the fifth veda called Natyaveda, i.e. the art of drama, which can be studied and practiced by everybody. While creating this Natyaveda, Brahma adopted its constituents from four vedas. The story goes that this Natyaveda was handed over to Indra and Indra handed it over to Bharata. A lot of importance is given to music in Natyashastra, wherein about nine chapters have been dedicated to music. In vocal and instrumental music, he describes swara (a musical note) and its use in expressing particular aesthetic sense i.e. Rasa.
8
Vasakasajja “One Dressed Up for Union”
Bharatamuni explains the
or Vasakasajjika is waiting for her
Vasakasajja nayika as:
lover returning from a long journey.
“uchite vaasake yaa tu rati
She is depicted in her bed-chamber
sambhoga lalasaa mandanam
filled with lotus leaves and garlands.
kurute hrishta saa vai
She is dressing herself for the union
vaasakasajjitaa” (24:212)
with her lover and “eager with
(Chaturvedi)
expectation of love’s pleasure”. Her beauty is compared by
Meaning:
Kesavadasa to Rati - the Hindu love
“The lady who embellishes
goddess, waiting for her husband,
herself with various jewels
the love god Kamadeva.
and adornments and eagerly
She joyfully adorns herself with
waits for her beloved’s arrival
ornaments and makeup and
with happiness is known as a
decorates the place where she is
vaasakasajjita nayika.”
going to meet her nayaka and keeps those things which are liked by the nayaka in the room.
9
10
Vasakasajja “One Dressed Up for Union”
Bharatamuni explains the
or Vasakasajjika is waiting for her
Vasakasajja nayika as:
lover returning from a long journey.
“uchite vaasake yaa tu rati
She is depicted in her bed-chamber
sambhoga lalasaa mandanam
filled with lotus leaves and garlands.
kurute hrishta saa vai
She is dressing herself for the union
vaasakasajjitaa” (24:212)
with her lover and “eager with
(Chaturvedi)
expectation of love’s pleasure”. Her beauty is compared by
Meaning:
Kesavadasa to Rati - the Hindu love
“The lady who embellishes
goddess, waiting for her husband,
herself with various jewels
the love god Kamadeva.
and adornments and eagerly
She joyfully adorns herself with
waits for her beloved’s arrival
ornaments and makeup and
with happiness is known as a
decorates the place where she is
vaasakasajjita nayika.”
going to meet her nayaka and keeps those things which are liked by the nayaka in the room.
9
10
She is represented getting herself
The Ragavibodha associates the
ready delightfully, admiring her
raginis Bhupali and Todi with
beauty looking into the mirror,
Vasakasajja.
beautifying the bed with flowers, lost in looking at certain point waiting for
In Rasikapriya, Keshavadasa
her lover contentedly and eagerly.
describes Vasakasajja as:
The wait rouses her desires and
“O Sakhi, the Nayika, resembling
passion glows on her cheeks. She
the flame of a lamp, ran to hide
is also known as Vasakasajjika and
herself in the grove of sandal trees
Sajjita.
entwined by lovely clove creepers of undimmed leaves where she conceals the luster of her limbs in her blue garment. Startled on hearing the sound of wind, water, birds and animals, she looks around with eagerness for union with her beloved. Waiting for Krishna in the bower she looks like a caged bird.�
11
She is represented getting herself
The Ragavibodha associates the
ready delightfully, admiring her
raginis Bhupali and Todi with
beauty looking into the mirror,
Vasakasajja.
beautifying the bed with flowers, lost in looking at certain point waiting for
In Rasikapriya, Keshavadasa
her lover contentedly and eagerly.
describes Vasakasajja as:
The wait rouses her desires and
“O Sakhi, the Nayika, resembling
passion glows on her cheeks. She
the flame of a lamp, ran to hide
is also known as Vasakasajjika and
herself in the grove of sandal trees
Sajjita.
entwined by lovely clove creepers of undimmed leaves where she conceals the luster of her limbs in her blue garment. Startled on hearing the sound of wind, water, birds and animals, she looks around with eagerness for union with her beloved. Waiting for Krishna in the bower she looks like a caged bird.�
11
Svadhinabhartruka “One Having Her Husband in Subjection”
The Natyashastra explains the Svadhinapatika nayika as:
or Svadhinabhartruka, is the woman
“surataatirasair baddho yasyaa
who is loved by her husband and
parshve tu nayakaah
controls him. He is subjugated by her
saandraa moda guna prapta bhavet
intense love and pleasing qualities.
swadheena bhartrikaa” (24:214)
He is devoted and faithful to her.
(Chaturvedi)
In paintings, this nayika is depicted
Meaning:
with a nayaka, who applies mahawar
“Through her love and other
on her feet or a vermilion tilak (mark)
characters, she who has attracted
on her forehead. In Jayadeva’s Gita
her beloved to be by her side at
Govinda as well as in the poem Kuru
all times is known as swadheena
Yadunandana, Radha is portrayed as
bhartrika nayika.”
a Svadhinabhartruka. In the latter, Radha commands her lover, the god Krishna, to rearrange her makeup which is in disarray due to their fierce coitus.
13
14
Svadhinabhartruka “One Having Her Husband in Subjection”
The Natyashastra explains the Svadhinapatika nayika as:
or Svadhinabhartruka, is the woman
“surataatirasair baddho yasyaa
who is loved by her husband and
parshve tu nayakaah
controls him. He is subjugated by her
saandraa moda guna prapta bhavet
intense love and pleasing qualities.
swadheena bhartrikaa” (24:214)
He is devoted and faithful to her.
(Chaturvedi)
In paintings, this nayika is depicted
Meaning:
with a nayaka, who applies mahawar
“Through her love and other
on her feet or a vermilion tilak (mark)
characters, she who has attracted
on her forehead. In Jayadeva’s Gita
her beloved to be by her side at
Govinda as well as in the poem Kuru
all times is known as swadheena
Yadunandana, Radha is portrayed as
bhartrika nayika.”
a Svadhinabhartruka. In the latter, Radha commands her lover, the god Krishna, to rearrange her makeup which is in disarray due to their fierce coitus.
13
14
Svadhinabhartruka is the nayika who is proud of her husband or beloved’s love and loyalty. Her lover is overpowered by her devotional love and she is pleased with the nayaka’s dedication and commitment for her. She feels proud on thinking that her nayaka has fulfilled her expectations in love; he is loyal and always takes her favour. Of the eight nayikas, Svadhinabhartruka is the only one whose hero clings to her like a shadow and she is the fortunate one whose lover remains with her all the time. Under the other categories, nayaka is separated from the nayika, either by circumstance or will; only she is indulged by her lover and is confident of his love for her. Many raginis like Malashri, Travanika, Ramakriti, Jaitashri and Purvi are associated with Svadhinabhartruka. 15
Soordas writes: gopi praises Sri Radhika: ‘This lady of Vraj says again and again, Glories to you Radha! You are indeed very lucky as Giridhari himself is under your control. He becomes restless if he misses your glance even for a second! When he sounds his flute, only your name appears in its melody. You are very intelligent to have known him well. The lord of Soordas is forever won through love.’
Svadhinabhartruka is the nayika who is proud of her husband or beloved’s love and loyalty. Her lover is overpowered by her devotional love and she is pleased with the nayaka’s dedication and commitment for her. She feels proud on thinking that her nayaka has fulfilled her expectations in love; he is loyal and always takes her favour. Of the eight nayikas, Svadhinabhartruka is the only one whose hero clings to her like a shadow and she is the fortunate one whose lover remains with her all the time. Under the other categories, nayaka is separated from the nayika, either by circumstance or will; only she is indulged by her lover and is confident of his love for her. Many raginis like Malashri, Travanika, Ramakriti, Jaitashri and Purvi are associated with Svadhinabhartruka. 15
Soordas writes: gopi praises Sri Radhika: ‘This lady of Vraj says again and again, Glories to you Radha! You are indeed very lucky as Giridhari himself is under your control. He becomes restless if he misses your glance even for a second! When he sounds his flute, only your name appears in its melody. You are very intelligent to have known him well. The lord of Soordas is forever won through love.’
Abhisarika “One Who Moves”
Bharata in his Natyashastra explains
is a heroine, who sets aside her
the Abhisarika Nayika as follows:
modesty and moves out of her home
“hitvaa lajjaantu yaa shlishtthaa
to secretly meet her lover.
madena madanena vaa
She is depicted at the door of her
abhisaarayate kaantam saa
house and on her way to the tryst,
bhavedabhisarika” (24:219)
defying all kinds of difficulties like
(Chaturvedi)
the storm, snakes and dangers of the Meaning:
forest.
“Overwhelmed with love, she The Abhisarika is the forward nayika
who leaves behind her family
who is adamant in her determination
and shame to go and meet her
to meet the nayaka and goes out into
beloved is to be considered as an
a stormy night to meet him. She too
abhisarika.”
spends very much time adorning her and boldly makes special attempt to go out for the meeting. Snakes, wicked spirits, heavy rain and flashes of lightning, evil creatures are unable to stop her.
17
18
Abhisarika “One Who Moves”
Bharata in his Natyashastra explains
is a heroine, who sets aside her
the Abhisarika Nayika as follows:
modesty and moves out of her home
“hitvaa lajjaantu yaa shlishtthaa
to secretly meet her lover.
madena madanena vaa
She is depicted at the door of her
abhisaarayate kaantam saa
house and on her way to the tryst,
bhavedabhisarika” (24:219)
defying all kinds of difficulties like
(Chaturvedi)
the storm, snakes and dangers of the Meaning:
forest.
“Overwhelmed with love, she The Abhisarika is the forward nayika
who leaves behind her family
who is adamant in her determination
and shame to go and meet her
to meet the nayaka and goes out into
beloved is to be considered as an
a stormy night to meet him. She too
abhisarika.”
spends very much time adorning her and boldly makes special attempt to go out for the meeting. Snakes, wicked spirits, heavy rain and flashes of lightning, evil creatures are unable to stop her.
17
18
The Abhisarika terrifically
In the song Shyama, Radha, the
dressed and ornamented,
Nayika, wants to go out and play
amazes the nayaka by her daring
holi with Krishna but couldn’t make
hazardous journey during the dreary
because her duties at home stops her.
day or night times. She could be
Yet she tries to give
married too who loves someone other
excuses by saying that:
than her husband and thus shown
“Please, enjoy (yourself) playing
going out of the household, ignoring
playing Holi with me (O, Syama)”
the words and suggestions of their
Syama implores with folded hands.
family members, breaking all the
I (have to) go out to tend the little
associations and relations with them.
cows, Leaving behind my mother-in-
Or very cleverly hides her feelings
law and my sister-in-law”
towards another man and plans the meeting at the time when everybody sleeps and returns back before they awake. The raginis Bahuli and Saurashtri are described having the traits of the daring Abhisarika.
19
The Abhisarika terrifically
In the song Shyama, Radha, the
dressed and ornamented,
Nayika, wants to go out and play
amazes the nayaka by her daring
holi with Krishna but couldn’t make
hazardous journey during the dreary
because her duties at home stops her.
day or night times. She could be
Yet she tries to give
married too who loves someone other
excuses by saying that:
than her husband and thus shown
“Please, enjoy (yourself) playing
going out of the household, ignoring
playing Holi with me (O, Syama)”
the words and suggestions of their
Syama implores with folded hands.
family members, breaking all the
I (have to) go out to tend the little
associations and relations with them.
cows, Leaving behind my mother-in-
Or very cleverly hides her feelings
law and my sister-in-law”
towards another man and plans the meeting at the time when everybody sleeps and returns back before they awake. The raginis Bahuli and Saurashtri are described having the traits of the daring Abhisarika.
19
Khandita “One Enraged with Her Lover”
Bharata in his Natyashastra explains the Khandita Nayika as follows:
This Nayika is enraged and burning
“vyaasangaaduchite yasyaa vaasake
in anger, as her lover, who has
naagatah priyah
promised to have a union with her,
tadanaagama dukhaartaa
does not turn up. The beautiful
Khanditaa saa prakeertitaah”
Nayika waits all night only to
(24:216)(Chaturvedi)
discover that he has spent the night Meaning:
with another woman.
“One whose beloved has not come She is deeply offended and
to her and enjoys with another
reprimands her lover, accusing him
woman is known as a khandita. She
of infidelity.
is distressful and angry.”
She is slighted, hurt, angry and distressed and thus looks as if heartbroken, impatient, and agitated, takes deep breaths, replies angrily to her lover, responding indifferently to his words. She does not let him come close or speak anything in front of her. 21
22
Khandita “One Enraged with Her Lover”
Bharata in his Natyashastra explains the Khandita Nayika as follows:
This Nayika is enraged and burning
“vyaasangaaduchite yasyaa vaasake
in anger, as her lover, who has
naagatah priyah
promised to have a union with her,
tadanaagama dukhaartaa
does not turn up. The beautiful
Khanditaa saa prakeertitaah”
Nayika waits all night only to
(24:216)(Chaturvedi)
discover that he has spent the night Meaning:
with another woman.
“One whose beloved has not come She is deeply offended and
to her and enjoys with another
reprimands her lover, accusing him
woman is known as a khandita. She
of infidelity.
is distressful and angry.”
She is slighted, hurt, angry and distressed and thus looks as if heartbroken, impatient, and agitated, takes deep breaths, replies angrily to her lover, responding indifferently to his words. She does not let him come close or speak anything in front of her. 21
22
The grammatical meaning
Chota Khayal in Rag Deshkar, Tintal
of the term ‘Khandita’ itself is to get
has explained Khandita Nayika’s
cut or shattered. So in this case also,
condition as:
nayika is shattered by anger and uses
“Hau to tore Kaarana Jaagee
hatred and strangeness as her
Pyare balmaa aaye ho, bhaee bhor
weapons.
Anjan adhar piya palakan pe Raina Ganwaaee hai, ati shor.”
Both Kalahantarita and Khandita
Here, the nayika says that,
nayika are enraged at their lovers,
“I stayed awake all night for you, my
Khandita however has her lover close
love, and you are coming now in the
by, but she rejects him for his fault.
morning. It seems that you spent the night somewhere else as your silence is speaking out loudly and her kaajal mark is left on your lips’. In the Sangitadarpana, the ragini Varati represents the Khandita Nayika.
23
The grammatical meaning
Chota Khayal in Rag Deshkar, Tintal
of the term ‘Khandita’ itself is to get
has explained Khandita Nayika’s
cut or shattered. So in this case also,
condition as:
nayika is shattered by anger and uses
“Hau to tore Kaarana Jaagee
hatred and strangeness as her
Pyare balmaa aaye ho, bhaee bhor
weapons.
Anjan adhar piya palakan pe Raina Ganwaaee hai, ati shor.”
Both Kalahantarita and Khandita
Here, the nayika says that,
nayika are enraged at their lovers,
“I stayed awake all night for you, my
Khandita however has her lover close
love, and you are coming now in the
by, but she rejects him for his fault.
morning. It seems that you spent the night somewhere else as your silence is speaking out loudly and her kaajal mark is left on your lips’. In the Sangitadarpana, the ragini Varati represents the Khandita Nayika.
23
Kalahantarita Kalahantarita Nayika has been
“One Separated by Quarrel”
described in the Natyashastra as
She is a lover separated from her
follows:
beloved, due to a silly quarrel that
“irshya kalaha nishkraanto yasyaa
occurs out of her meaningless
naagachhati priyah
jealousy.
saamarshavasha sampraaptaa
As the hero tries to woo her, she
kalahantaarita bhavet” (24:215)
refuses to accept his explanations
(Chaturvedi)
and turns him away. However, after the man leaves her bed chamber
Meaning:
in despair, she begins to repent.
“She, whose lover is separated from
Her heart is thus pained by the separation caused by her folly.
her due to jealousy and quarrel, is
In paintings, she is usually depicted
She is sorrowful at her situation.”
known as kalahantarita nayika.
as the one who leaves the nayaka disheartened after the quarrel. The name Kalahantarita itself expresses the character of the heroine in this category, i.e. “Kala is anger while anta means end, and aritha is to repent or apologize. 25
26
Kalahantarita Kalahantarita Nayika has been
“One Separated by Quarrel”
described in the Natyashastra as
She is a lover separated from her
follows:
beloved, due to a silly quarrel that
“irshya kalaha nishkraanto yasyaa
occurs out of her meaningless
naagachhati priyah
jealousy.
saamarshavasha sampraaptaa
As the hero tries to woo her, she
kalahantaarita bhavet” (24:215)
refuses to accept his explanations
(Chaturvedi)
and turns him away. However, after the man leaves her bed chamber
Meaning:
in despair, she begins to repent.
“She, whose lover is separated from
Her heart is thus pained by the separation caused by her folly.
her due to jealousy and quarrel, is
In paintings, she is usually depicted
She is sorrowful at her situation.”
known as kalahantarita nayika.
as the one who leaves the nayaka disheartened after the quarrel. The name Kalahantarita itself expresses the character of the heroine in this category, i.e. “Kala is anger while anta means end, and aritha is to repent or apologize. 25
26
This particular situation has been beautifully described by a Hindi poet Chiranjeeva: “Aik Lala kahunte grihame, jnike mau umangame man dikhaye, Erne par ruthi-bhayi, na une kar thambi baithaye. Ka kahun apna motiko Chiranjeeva-ju pratimako na manaye Lajke kaaj, aru sajani apna Kalahantarita is described in texts as of abusing her lover in front of her sakhis and then lamenting for her actions and reactions. She turns her hero away in anger either because of his relationship with another woman or because he fails to stay to her commands. The hero is generally shown walking away from her apartment in a dejected mood. After that she becomes despondent without him. She later on repents for her misdeed and is filled with remorse. She exhales noisily deeply, restlessly, mournfully and discontentedly. 27
anuraag ma daag lagaaye.” Here, nayika addressing her nayaka as Lala (Krishna) says that he came to meet her in the room but she greeted him with terrible bitterness. Due to rage and irritation he stood up and went away. But she didn’t try to hold his hand or convince him to sit back. She also realizes that because of her arrogant and offensive behavior, she had put a stain on their pure passion.”
This particular situation has been beautifully described by a Hindi poet Chiranjeeva: “Aik Lala kahunte grihame, jnike mau umangame man dikhaye, Erne par ruthi-bhayi, na une kar thambi baithaye. Ka kahun apna motiko Chiranjeeva-ju pratimako na manaye Lajke kaaj, aru sajani apna Kalahantarita is described in texts as of abusing her lover in front of her sakhis and then lamenting for her actions and reactions. She turns her hero away in anger either because of his relationship with another woman or because he fails to stay to her commands. The hero is generally shown walking away from her apartment in a dejected mood. After that she becomes despondent without him. She later on repents for her misdeed and is filled with remorse. She exhales noisily deeply, restlessly, mournfully and discontentedly. 27
anuraag ma daag lagaaye.” Here, nayika addressing her nayaka as Lala (Krishna) says that he came to meet her in the room but she greeted him with terrible bitterness. Due to rage and irritation he stood up and went away. But she didn’t try to hold his hand or convince him to sit back. She also realizes that because of her arrogant and offensive behavior, she had put a stain on their pure passion.”
Vipralabdha “One Deceived by Her Lover”
The Natyashastra explains the Vipralabdha Nayika as follows:
Similar to the situation that the
“yasyaa doorim priyah preshya
Khandita Nayika faces, this Nayika’s
dattaa sanketameva vaa naagata
lover also cheats on her. She is in
kaaraneneha vipralabdhaa tu saa
deep agony while waiting for him
bhavet” (24:217) (Chaturvedi)
in her chamber the whole night. In despair she finally removes her
Meaning:
clothes, throws away her ornaments
“Even after sending messages, she
and rubs off her make-up.
whose beloved does not show up is known as vipralabdha. She feels sad and humiliated.”
Radha imagined as Vipralabdha Nayika who, in an emotional soliloquy, expresses her deep anguish as Krishna fails to appear at the appointed place on time and starts feeling that her youth and beauty are of no use. She is aware of his betrayal but now is upset as he broke his promise, so she feels mislead, unhappy, distraught, dejected, teary and inconsolable. 29
30
Vipralabdha “One Deceived by Her Lover”
The Natyashastra explains the Vipralabdha Nayika as follows:
Similar to the situation that the
“yasyaa doorim priyah preshya
Khandita Nayika faces, this Nayika’s
dattaa sanketameva vaa naagata
lover also cheats on her. She is in
kaaraneneha vipralabdhaa tu saa
deep agony while waiting for him
bhavet” (24:217) (Chaturvedi)
in her chamber the whole night. In despair she finally removes her
Meaning:
clothes, throws away her ornaments
“Even after sending messages, she
and rubs off her make-up.
whose beloved does not show up is known as vipralabdha. She feels sad and humiliated.”
Radha imagined as Vipralabdha Nayika who, in an emotional soliloquy, expresses her deep anguish as Krishna fails to appear at the appointed place on time and starts feeling that her youth and beauty are of no use. She is aware of his betrayal but now is upset as he broke his promise, so she feels mislead, unhappy, distraught, dejected, teary and inconsolable. 29
30
These are the excellent lines that describe Vipralabdha’s feelings when she having completed her bath decorated herself with ornaments, reaches the meeting place in moonlight to meet her nayaka, gets disappointed of waiting so long and suffered the pangs of separation. Keshava says that the beautiful flowers become odorless and garden looks like untamed forest to her. The For Vipralabdha, “Flowers are like arrows, fragrance becomes ill-odor, Pleasant bowers like fiery furnaces, Gardens are like the wild woods, O Kesava, the moon rays burn her body as though with fever, Love like a tiger holds her heart, no watch of the night brings any gladness, Songs have the sound of abuse, paan has the taste of poison, every jewel burns like a firebrand”Rasikapriya of Keshavadasa.
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moonlight started to burn her like the sun as if she is having severe fever. She addressing Keshava asks that, ‘these jewelleries are torturous now, burning my body parts, and of what use are these ornaments when he had not come to see me. Any kind of song appears abusing and eatables became poisonous to me’.
These are the excellent lines that describe Vipralabdha’s feelings when she having completed her bath decorated herself with ornaments, reaches the meeting place in moonlight to meet her nayaka, gets disappointed of waiting so long and suffered the pangs of separation. Keshava says that the beautiful flowers become odorless and garden looks like untamed forest to her. The For Vipralabdha, “Flowers are like arrows, fragrance becomes ill-odor, Pleasant bowers like fiery furnaces, Gardens are like the wild woods, O Kesava, the moon rays burn her body as though with fever, Love like a tiger holds her heart, no watch of the night brings any gladness, Songs have the sound of abuse, paan has the taste of poison, every jewel burns like a firebrand”Rasikapriya of Keshavadasa.
31
moonlight started to burn her like the sun as if she is having severe fever. She addressing Keshava asks that, ‘these jewelleries are torturous now, burning my body parts, and of what use are these ornaments when he had not come to see me. Any kind of song appears abusing and eatables became poisonous to me’.
Proshitapatika “One with a Sojourning Husband”
The Natyashastra explains this nayika as follows:
She is the woman whose husband
“gurukaaryaantara vashaad yasyaa
has gone away from her for some
vai proshita priyah
business and does not return on the
praroodhaalakakeshaantaa
appointed day. She is depicted seated
bhavet proshita bhartrika” (24:218)
mourning, surrounded by her maids,
(Chaturvedi)
but refuses any consolation. she loses interest in dressing
Meaning:
and grooming herself. She is restless,
“One whose husband has left to
shattered, and thus becomes careless
another place for an important
towards her appearance. She is
business is known as proshita
described in desperate conditions
bhartrika. She is depicted as a lady
like hair left messy and uncombed,
who has abandoned her ornaments
counting the days of his return and
and left her hair loose.”
feeling discontented without him. The separation is due to pertinent circumstance, like some mission, livelihood or education of the hero. Hence, the separation is justified but awful. Unlike the Vasakasajjika, she knows the duration of separation. 33
34
Proshitapatika “One with a Sojourning Husband”
The Natyashastra explains this nayika as follows:
She is the woman whose husband
“gurukaaryaantara vashaad yasyaa
has gone away from her for some
vai proshita priyah
business and does not return on the
praroodhaalakakeshaantaa
appointed day. She is depicted seated
bhavet proshita bhartrika” (24:218)
mourning, surrounded by her maids,
(Chaturvedi)
but refuses any consolation. she loses interest in dressing
Meaning:
and grooming herself. She is restless,
“One whose husband has left to
shattered, and thus becomes careless
another place for an important
towards her appearance. She is
business is known as proshita
described in desperate conditions
bhartrika. She is depicted as a lady
like hair left messy and uncombed,
who has abandoned her ornaments
counting the days of his return and
and left her hair loose.”
feeling discontented without him. The separation is due to pertinent circumstance, like some mission, livelihood or education of the hero. Hence, the separation is justified but awful. Unlike the Vasakasajjika, she knows the duration of separation. 33
34
Soordasa’s few lines are suitable to
Soordasa says that her eyes are thirsty
this nayika:
for the view of Hari (Krishna, the
“akhiyaan hari darasan ki pyaasi
nayaka). She remains sorrowful all the
dekho chaahat kamala nainani ko
time as her eyes want to see into his
nis din rahati udaasi
lotus eyes. She is lost into Krishna’s
kesar tilaka motin ki maalaa
looks with Kesar tilak on his forehead
brindaavan ke vaasi
and a pearl necklace on chest.
aaye udho phiri gaye aangan daari
He assured that he would come but
gaye gal phaasi
didn’t turn up. For her, the situation
soordas prabhu tumhare daras ko
had become like hell. She becomes
laihe karavat kaasi” (Chaturvedi)
impassive and abandons her colourful dresses, ornaments and moreover she is no more interested in combing or styling her hair.
35
Soordasa’s few lines are suitable to
Soordasa says that her eyes are thirsty
this nayika:
for the view of Hari (Krishna, the
“akhiyaan hari darasan ki pyaasi
nayaka). She remains sorrowful all the
dekho chaahat kamala nainani ko
time as her eyes want to see into his
nis din rahati udaasi
lotus eyes. She is lost into Krishna’s
kesar tilaka motin ki maalaa
looks with Kesar tilak on his forehead
brindaavan ke vaasi
and a pearl necklace on chest.
aaye udho phiri gaye aangan daari
He assured that he would come but
gaye gal phaasi
didn’t turn up. For her, the situation
soordas prabhu tumhare daras ko
had become like hell. She becomes
laihe karavat kaasi” (Chaturvedi)
impassive and abandons her colourful dresses, ornaments and moreover she is no more interested in combing or styling her hair.
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Virahotkanthita “One Distressed by Separation”
In the Natyashastra, Virahotkanthita Nayika is explained as follows:
This nayika is also waiting, but
“aneka kaarya vyaasangaad yasyaa
not happily like Vasakasajja.
naagachhati priyah
The Virahotkanthita Nayika is
tadanaagata dukhaartaa
distressed by the separation. This
Virahotkanthitaa tu saa” (24:213)
beautiful heroine is pining for the
(Chaturvedi)
return of her lover and standing in anticipation in the balcony or in her
Meaning:
bed chamber – but is disappointed
“A virahotkanthita nayika is at
as her beloved does not turn up
utmost sorrow, lamenting the un-
due to his preoccupation. she
arrival of her beloved who could not
openly demonstrates her distress,
come due to being engaged in other
exhaustion and discontent. She is
activities.”
usually described as lady expressing her anxiety to her servants, weeping, disheartened, restless, and exhausted, showing no interest in her. However, she does not doubt her hero and usually thinks of various reasons he may have been unduly delayed, such as being detained by duty or business. 37
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Virahotkanthita “One Distressed by Separation”
In the Natyashastra, Virahotkanthita Nayika is explained as follows:
This nayika is also waiting, but
“aneka kaarya vyaasangaad yasyaa
not happily like Vasakasajja.
naagachhati priyah
The Virahotkanthita Nayika is
tadanaagata dukhaartaa
distressed by the separation. This
Virahotkanthitaa tu saa” (24:213)
beautiful heroine is pining for the
(Chaturvedi)
return of her lover and standing in anticipation in the balcony or in her
Meaning:
bed chamber – but is disappointed
“A virahotkanthita nayika is at
as her beloved does not turn up
utmost sorrow, lamenting the un-
due to his preoccupation. she
arrival of her beloved who could not
openly demonstrates her distress,
come due to being engaged in other
exhaustion and discontent. She is
activities.”
usually described as lady expressing her anxiety to her servants, weeping, disheartened, restless, and exhausted, showing no interest in her. However, she does not doubt her hero and usually thinks of various reasons he may have been unduly delayed, such as being detained by duty or business. 37
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Keshavadasa enhances the lover’s keen desire to meet in this beautiful piece: “The creepers enchant the eye, embracing young trees lovingly. The lightning flashes restlessly as she sports with rolling clouds. The peacocks with their shrill cries announce the mating of the earth and sky. All lovers meet in the month of sawan” (Pande, Shringara 22) The Ragavibodha identifies the raginis Mukhari, Pauravi and Turushkatodi with the Virahotkanthita, while the Sangitadarpana names
39
Keshavadasa enhances the lover’s keen desire to meet in this beautiful piece: “The creepers enchant the eye, embracing young trees lovingly. The lightning flashes restlessly as she sports with rolling clouds. The peacocks with their shrill cries announce the mating of the earth and sky. All lovers meet in the month of sawan” (Pande, Shringara 22) The Ragavibodha identifies the raginis Mukhari, Pauravi and Turushkatodi with the Virahotkanthita, while the Sangitadarpana names
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Epilogue The importance of the Nayaka (the
of the union of the Nayak and Nayika,
invisible Hero), in the dancing
and Indian dance has picked up these
portrayal of a Nayika, cannot be
threads and subtly woven
undermined. A Nayaka’s role can
the gamut of feelings (especially of love)
change the scope of the portrayal
into an expressive fabric.
of a Nayika in dance. The moods and emotions of the Nayika are
Nayika, a unique concept that is etched in
dependent on the character of her
Indian classical culture
hero.
through literature, sculpture and
A Nayaka like Lord Vishnu could
paintings, is incomplete without the
take up the role of ‘Anukoola’, who
exaggerative-yet-subtle and abstract
is faithful to one woman (like Lord
depictions of love through
Rama) or ‘Shatha’, the deceitful lover
Classical dance.
who manipulates the emotions of his beloved (like Lord Krishna). The Dakshina Nayaka loves all his wives, like a Mahabharata prince (like Arjuna) and the Drishta Nayaka pleads and begs before his wife (like Vaali). Indian ‘shastras’ (scriptures) have gloriously depicted the beauty
43
44
Epilogue The importance of the Nayaka (the
of the union of the Nayak and Nayika,
invisible Hero), in the dancing
and Indian dance has picked up these
portrayal of a Nayika, cannot be
threads and subtly woven
undermined. A Nayaka’s role can
the gamut of feelings (especially of love)
change the scope of the portrayal
into an expressive fabric.
of a Nayika in dance. The moods and emotions of the Nayika are
Nayika, a unique concept that is etched in
dependent on the character of her
Indian classical culture
hero.
through literature, sculpture and
A Nayaka like Lord Vishnu could
paintings, is incomplete without the
take up the role of ‘Anukoola’, who
exaggerative-yet-subtle and abstract
is faithful to one woman (like Lord
depictions of love through
Rama) or ‘Shatha’, the deceitful lover
Classical dance.
who manipulates the emotions of his beloved (like Lord Krishna). The Dakshina Nayaka loves all his wives, like a Mahabharata prince (like Arjuna) and the Drishta Nayaka pleads and begs before his wife (like Vaali). Indian ‘shastras’ (scriptures) have gloriously depicted the beauty
43
44
The Nayika occupies a very important
The Nayika goes through different
place in Indian art and literature.
moods in her lifetime as per the
She is seen in different moods. A
situation prevailing then. Various
translation of the word nayika
poets and authors have described the
is heroine. The depictions in art have
feelings through their works in
captured her description in different
literature.
hues and settings. The Kangra nayika is fluid in movement surrounded by nature. The elements of nature are captured in strong colours. The nayika could also be forlorn, sitting in a forest with the background in slightly softer shades. There is a nayika in every woman. Bharata first captured the various nayikas , eight in number or the ashta nayika in his Natyashastra. Human feelings of eagerness, anger,separation, dejection etc. are all expressed through these paintings.
45
The Nayika occupies a very important
The Nayika goes through different
place in Indian art and literature.
moods in her lifetime as per the
She is seen in different moods. A
situation prevailing then. Various
translation of the word nayika
poets and authors have described the
is heroine. The depictions in art have
feelings through their works in
captured her description in different
literature.
hues and settings. The Kangra nayika is fluid in movement surrounded by nature. The elements of nature are captured in strong colours. The nayika could also be forlorn, sitting in a forest with the background in slightly softer shades. There is a nayika in every woman. Bharata first captured the various nayikas , eight in number or the ashta nayika in his Natyashastra. Human feelings of eagerness, anger,separation, dejection etc. are all expressed through these paintings.
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