CHAPTER - YI
The concept of Samanyabhinaya and the Nayikas
We have stated earlier that the broad principles which
govern the structure of Indian drama and its stage presenta­
tion, also govern the technique of Indian dancing.
govern the technique of Indian dance-drama.
So do they
In fact on the
Indian stage today these principles and conventions are observed
• in the presentation of compositions of contemporary classical
dance styles rather than contemporary Indian drama.
more explicitly seen in dance-drama forms.
They are
In NS these principles
have been discussed as a part of dramaturgy and histrionics and
not particularly in the context of dance or drama alone.
As a
matter of fact dance and drama embrace these principles and
naturally in the dance-drama forms we notice these principles in
a pronounced manner.
We have shown in the chart that angikabhinaya is divided
into mukhaja (of the face) and upanga (minor limbs) i.e. how
it is conveyed through these parts of the body like eye-brows,
eyelids, eye-balls, nose, lips, chin and mouth; sarira (of the
body) and anga (major limbs) like head, chest, waist, sides,
hips, thighs, hands and feet.
i.e. how each of these parts express
through movements the meanings and expressions in their uses.
Chapter XXII of the NS deals with the basic representationsamanyabhinaya.
It refers to the aforesaid major limbs.
The basic
240
representation is that which is made simultaneously by the
head, chest, waist, sides, hips, thighs, hand and feet.
We
come across another reference in the form of a definition in
the very first sloka emphasising the importance of temperament.
The basic representation is known to depend on words, gestures
and temperament (sattva).
Among these one should take special
care about temperament, for the dramatic production has this
as its basis. 2
sentation?
Bow what exactly is meant by the basic repre­
In his commentary Abhinavagupta too does not give
very convincing explanation as to why samanyabhinaya was so
called.
He discusses it from several points of views.
Prom
the context of this chapter as well as the definition given
here and in sloka 73, it appears that the expression means
a totality of the four kinds of abhinaya.
4
The topic under samanyabhinaya discusses the graces and histri­
onic representation also.
cation.
As usual there is minute classifi­
These practices are reflected often graphically in the
enactment of abhinaya- the histrionic representation that ulti­
mately leads spectators to taste rasa.
The temperament is defined as something invisible, but it gives
support to the states and the sentiments by means of horripila­
tion, tears and similar other signs displayed in proper places
and in harmony with the sentiments to be produced.
5
However we
must remember that the mode employed being predominently
241
Ji atyadharmi even tears and other aspects are to he shown
in a conventional manner and not with actual realistic repre­
sentation.
Bharata mentions young women’s graces which function
as support of the sentiments in a drama and these consist of
changes in respect of their faces and other limbs. He classifies
the change of limbs (angaja) in to the natural (sahaja) change
of ten kinds, and involuntary layatnaja) change of seven kinds.
While seeing the abhinaya these are noticed easily in dancedrama forms when a nayika in a state of love appears on the
stage.
The physical graces of women are emotion ^.hava), feeling
(bhava) and passion ^hela) arising from one another being diffe­
rent aspects of temperament ^sattva).
These are connected with
r*
the physical nature.
Temperament partakes of the .nature of the body, and feeling
(bhava) arises from temperament., while emotion ihava) from feel­
ing and
VII.
passion (hela) from emotion.
Bhava is defined in chapter
There the bhavas are called the states.
The inner idea
of the playright (kavij is made to pervade the minds of the
spectators, by means of gestures, words, colour of the face and
the representation of the temperament.
bhavas.
They are- called the
leeling is the first touch of emotion in a nature that
was previously unaffected.
Emotion (hava) is here mentioned to
be marked as relating to various conditions.
Bhava temperament
with excessive feeling manifests itself in relation to persons
of the opposite sex.
In^the same connection emotion (hava)
should he known as arising from the mind (citta) and manifesting
itself in changes of eyes and eye-brows and the recakas of the
neck, indicative of the erotic sentiment. 8
Hela is defined as
passion. It is lalitabhinaya. Everyone's emotion which depends
*
on the erotic sentiment and expresses itself as graceful movements
(lalitabhinaya) is called passion (hela).
2he ten natural graces of women are mentioned as follows: sportive
mimicry (lila), amorous gesture (vilas), dishabille (vicchitti),
confusion (vibhrama), hysterical mood (kilkincita), manifesta­
tion of affection (mottayita), pretended anger (kuttamita),
affected coldness (bibboka), lolling (lalita) and
want of
response (vihrta).^
fhese are explained as follows: Ihe sportive imitation of the
movements or words of the beloved one (lila), the swift change
of aspect at his arrival+the amorous glances (vilas), tasteful
arrangement of one's ornaments to increase radiance of appearance;
inversion of various items such as words gestures dresses etc.
due to intoxication, passion and joy is confusion (vibhrama);
studied confusion of ornaments is dishabille (vicchitti), hysteria
in which anger, fear, joy and tears mingle (kilakincita), manife­
stations of affection (mottayita) on hearing the beloved mentioned
243
or seeing his portrait} pretended anger (kuttamita) on thie
lover touching hair or lip} affected indifference (bibboka)
born of excess of pride, a graceful pose (lalita) and the bashful­
ness which forbids speech evenwhen an opportunity presents itself
(vihrta)
Add to these a-yatnaja - involuntary graces like beauty (sobha),
charm (kanti), delicacy (madhurya), radiance (dipti), self-control
(dhairya), courage (pragalbhya), and dignity (audarya).
It is
mentioned that, these graces are tender in connection with perfor­
mance of delicate nature (sukumara), but in other cases, the
graces except amorous gestures (vilas) and lolling (lalita)
are brilliant (dipta).11
Bharata mentions eight aspects of male temperament also.
They
are as follows? brilliant character (sobha), graceful bearing
(vilasa), self-possession (madhurya), steadiness (sthairya),
gravity (gambhirya), sportiveness (lalita), nobility (audarya)
,
.
and spirit (tejas) are the different aspects of • male temperament.
There are two further classifications of samanyabhinaya:
abhyantara and bah.ya.
The acting which is performed by physical
efforts which are not violent, hurried or complex and which rests
on proper tempo (laya), time (tala) and the measurement of kalas
and in which words are distinctly uttered without harshness and
hurry is called regular -abhyantara.
13
In the dance-dramas the abhinaya employed rests on proper tempo
(laya), time (tala) and the measurement of kalas with appropriate
12
244
gestures and expressions with, help of which the delineation
of the sentiments and the states is effected.
If the abhinaya
is of the opposite kind than the one referred to above and
observed free movements and is not in harmony with songs and
instrumental music accompanying it, it is called 'irregular'(bahya).
Of particular interest from our study point of view are
the instructions given in HS to project Smgara in various stages.
Studying these instructions in detail gives us a clue to the
picture emerging in totality incorporating the practice and
concepts that find full expressions in a Bharata latyam Vamam
number.
Or take for instance the Krsna sabdam from the Kuchipudi
repertoire.
Whether one looks at these numbers as a part of the
dance-drama or from the point of solo exposition the concept of
abhinaya is followed faithfully to this day.
She finest example
of this is found in the dance-drama Us an arin&yam in Kuchipudi
and Bhagawata Mela Hataka.
Usa's dream sequence and later on
her meeting with Aniruddha are two instances which suffice to
establish the rasa theory with the dance-drama forms under study.
In Kuravanji natakas, the madanavastha-the love-lorn condition
of the nayika portrays ideally this concept of Srngara.
In ICamya the eyes are charming, tearful, drooping and eyelashes
are throbbing; 14
the glance in which the corner of the eyes are
moving and having sportful expressions is called lalita.
It is
to be used by women in their partial looks. 15 Other signs of love
245
ares one’s voice becomes slightly impassioned, and the face
covered with sweat-drops, and hairs in the body stand on their
end.
Of course these signs would be enacted with gestures and
expressions in the Hatyadharmi mode.
The description of the various signs with which woman not yet
having the experience of love's pleasure (rati) and how she will
express her love, which has ten stages, is reflected vividly in
the amorous sequences in the dance-dramas.
These ten stages are: abhilasa (longing), anxiety (cinta),
recollection (anusmriti), enumeration of the beloved’s merits
(gunakirtana), distress (udvega), lamentation (vilapa), insanity
(unmada), sickness (vyadhi), stupor (jadata) and death (marana).
These are ten stages of love in case of men as well as of women.\
The aforesaid scheme is utilised by the dancer in an item like
Varnam in a Bharata Natyam suite.
is usually not shown.
The last stage marana-death
In order to delineate the Smgara rasa
the dancer would use these stages for the sancaribhavas.
Like
latya, the Irtya and abhinaya portion of dancing employs the
entire human form to speak a language of movement through which
ajsthayi bhava (dominant state) can be presented and a sentiment,
a mood (rasa) evoked.
The dance does away with the vacikabhinaya
(speech acting) of the drama proper and employs music and song
for that purpose, (of course in contemporary practice of dancedramas under study the vacikabhinaya is employed by the dancer-
actor and often the song is rendered by him for expression
and ahhinaya).
She process hy which it builds the sthayibhava
however is exactly that by which the dramatist builds up the
sthayibhava through the representation of the other determina­
nts (vibhava), the consequents (anubhava) and the transitory
states (vyabhicaribhava).
The emphasis in dancing is on the
vyabhicaribhava the transitory states, termed to this day in
all styles of dancing as the sancaribhavasj
the dominant state
(sthayibhava) is represented by portraying through a series of
gestures the transitory states (vyabhicaribhava) of the particular dominant state (sthayibhava). 17
let us see how the various ten stages are employed while
depicting the dominant state (sthayibhava) of rati.
Lateron
1
we will see its application in the dance-drama in Kuchipudi
form viz. Usaparinayam.
Abhilasa longing arises from efforts born of desire and wish
for the beloved one, and leads to the means of meeting him; one
goes out of the place where the beloved one is or enters it or
stays within his sight and shows signs of amour in the first
stage of hie love
;
anxiety (cinta) should be indicated by
speaking to the female messenger (duti) words such as 'By what
means and in what manner will there be an union with the beloved?’
One should look with half closed eyes and touch the valaya
(bangles), the rasana, the nivi, the naval and the thighs
in the second stage 19 $ sighing again and again, thinking
deeply of the beloved person and disliking other engagements
is called recollection (anusmriti); being engrossed 1$ think­
ing of him one does not attain composure in sitting or lying
in bed, and rarains without doing one’s duty. ' Ihe third stage
of love should "be expressed in this manner. 20
,
To express by means of sportful movement of limbs, smiles and
glance and other efforts the idea that ’there is no one else
like him’ is called enumeration of beloved one’s merits; the
representation of love in the fourth stage should be made by
horipillation, wiping off tears, sweats and talking confidentally
to the female messenger to relieve the pangs of separation. 21 ;
that one is not satisfied or pleased with sitting or lying in
bed and is always eagerly expecting the beloved one is the
stage of distress (udvega) in love; by representing anxiety,
sighs lassitude and burning of the heart in an exaggerated
manner, one should express the stage of distress. 22
Lamenta­
tion (vilapa) is represented by speaking sorrowfully words
such as ’he stood here; he sat here, and here he approached
me’ etc; a lamenting woman is distressed by very eagerly expect­
ing the beloved one and out of uneasiness she moves from one
place of grief to another 23 ; when ,a woman is always engaged in
talking about him-the beloved and hates all other males it
is case of insanity (unmada); to represent insanity one should
sometimes look with a steadfast gaze, sometimes be absorbed
within oneself and sometimes weep while walking about
; being
devoid of all pleasures of love and of any expectation about
them one gets sickness (vyadhi); to represent it, the eighth
stage, one is to show that the heart becomes paralysed, the
body is in fever, the head aches badly, and one does not have
any tranquility
;
in stupor (jadata) one does not respond
when questioned, and does not hear or see anything.
It is a
pathetic condition in which one's mind is deranged; to represent
stupor one is to utter response on the wrong occassion, and is
to have one’s limbs relaxed and the mouth given to excessive
breathing26 .
IS however informs in case of the last stage
death (marana) that according to the science of erotics (kamatantra) one should represent for the nayika-heroine all the
stages of love except the last one
27
.
In sequences where the nayaka-hero is separated from the nayikathe heroine,,he will make a manifestation of his love in diverse
y
ways through different states.
In case where women are separated from their beloved ones IS
gives the following instructions for representation of the
histrionics: all the stages of love should be represented in
249
diverse ways "by anxiety, sighs, lassitude, weariness of the body,
and following the beloved or gazing at him or gazing vacantly
at the sky, talking pathetically, touching different ornaments,
twisting some objects or clinging to some support and similar
other conditions and situations arising from an absence of union
(vipralambha). pQ
In order to give relief in sickness the sancaribhavas employed
will be as follows: use of special clothes, ornaments, scents,
rooms and gardens which have a cooling effect,
(hie should send
a female messenger to the beloved to speak of one's conditions
when overpowered with a burning love and affected through its
several stages; the female messenger is to carry a message of
love to the beloved.
She should deliver the same with propriety
and courtesy after saying ’this is her condition'; after the
substance of the message has been communicated one should think
of the means of fulfilling the love.
love is to be practiced secretly.
This is the rule where the
29
One can easily recall the incidents from the Gita-govinda when
the female messenger is entrusted with the message by Radha
and when she describes to Krsna Radha's plight; in Bhama Italapam
in the Kuchipudi dance-drama when Satyabhama requests Madhavi to
deliver message to Krsna; or in a Yarnam where nayika is in
separation and sends the female messenger to the beloved.
In this and the like manner sancaribhavas are employed for the
delineation of the rasa.
Ihe sama technique mentioned by Bharata
for the actors to evoke the Srngara rasa in the minds of the
spectators by enacting drama is used with -an advantage by the
dancer-actors in the dance-dramas.
THE NAYIKAS
The striking feature of the Indian classical dance and dancedrama forms is the depiction of the states of the nayikas which
are described in NS as of eight types.
They form the content
and theme of the most of the padams and lyrics which are interpreted
through dance. It has found great favour with dancers and has
become an invariable part of abhinaya items in all forms of classi­
cal dances and in the dance-drama tradition the nayikas are
portrayed in various hues and colours.
Through their characteri­
sation one is able to see the scheme of Bharata for the rasa
realisation.
The Sanskrit drama and its continuation as well as
the Sanskritic tradition invariably incorporate the concept of
the nayikas.
The finest illustration of the nayika concept is
found in the immortal classic Gita-govinda.
The uparupaka class
of the dance-dramas that rose in wake of Gita-govinda employed
these concepts with advantage.
Heroines-nayikas are known to be of eight kinds such as, one
dressed up for union (vasakasajja), one distressed by separation
(virahotkanthita)j one separated from her lover by a quarrel
(kalahantarita); one having her husband in subjection (svadhinabhartrka); one enraged with her lover (khanditaj; one deceived by
her lover (vipralabdha); one with a sojourning husband (prositabhartrka) and who moves to her lover (abhisarika). 30
2hese eight nayikas are defined as followsi
Vasakasajja- the heroine dressed up for union: a woman who in
eager expectation of love’s pleasure decorates herself joyfully
when the conjugal union (vasaka) is due, is a heroine dressed
for union.
Virahotkanthita- the heroine distressed by separation: a woman
whose beloved one does not turn up on account of his preoccupa­
tion with many other engagements and makes her sad, is a heroine
distressed by separation.
Svadhinabhartrka- the heroine having her husband in subjection:
a woman whose husband captivated by her conduct as well as by
love’s pleasure from her, stays by her side, and who has pleasing
qualities is a heroine having the husband in subjection.
Kalahantarita- the heroine separated by quarrel: a heroine separated
by quarrel is a woman impatient for her lover who has gone away
due to q.uarrel or jealousy and does not return.
Khandita- the enraged heroine: a woman whose beloved one on account
of his attachment for another female does not come for conjugal
union when it is due, is an enraged heroine.
Vipralabdha- the deceived heroine: a woman whose lover does not
come to her for a certain reason even when the female messenger
252
was sent to him and tryst was made, is a deceived heroine.
Prositabhartrka- the heroine with a sojourning husband: a woman
whose husband is living abroad on account of various duties and
who wears her hair hanging loose, is called a heroine with a
sojourning husband.
Abhisarika-
the heroine moving to her lover: a woman who due
to love or infatuation is attracted to her lover and gives up
modesty for going out to meet him, is called a heroine secretaly
moving to her lover.
It is also mentioned that all these should be represented only
30
by songs with a gentle dance.
Bharataspecifically mentions
that heroines in a nataka should be of these conditions as described
above.
Ihe various states of nayika, her behaviour with her
beloved and how the same are to be represented are mentioned by
way of instructions, according to the situations in which a nayika
finds herself.
She study of the solo dance forms and the dance-
drama forms show that these instructions and technique are followed
to a large extent.
lor the outward manifestation of their conditions the nayikas
have to resort to various sanearibhavas to suggest their states.
She enraged (khandita), deceived (vipralabdha), quarreling (kalahantarita) and the heroine with a sojourning husband should be
represented by anxiety, sighs, lassitude, burning of the heart,
conversation with female friends, looking to one’s own condition,
weakness, depression, tears, appearance of anger, giving
up of ornaments ana toilet, sorrow and weeping. 34
In case
of nayika having the husband under subjection (svadhinabhartrka)
she is to be represented with varied coloured (vicitra) and
brilliant dresses, face beaming with pleasure and having an
excess of physical charm.
35
For the nayika awaiting the arrival of her beloved, the instruct­
ions are as follows: she should cleverly finish the decoration
of her body so that nothing contrary to propriety finds expressxon.
36
How the nayikas have to act while awaiting the beloved is
described in the following manner:
She vasakassajjika should sit down and expect every moment the
coming of the beloved while listening to the sound of striking
nadikas; after hearing the sound of the nadika the heroine over­
come with joy on the chance
of the beloved one’s coming should
run to the gate of the house with a trembling body and with her
heart about to stop (i.e. motionless); and holding the door-frame
with her left hand, and a door-blade with the right one, she
should with straight eyes look up for the arrival of the beloved;
overcome with apprehension she should show reasonable signs of
fear when the beloved will fail to appear and should turn sad for
the moment; then after having a deep sigh and lowering her look
she should with a motionless heart drop down herself on a
seat; she should connect and ponder over the delay of the
beloved with causes which may be good or bad; ’Gould the
beloved have been held up by duties to his superiors, by the
friends, or by the ministers engaged in affairs of the state
or could he have been detained by some favourite woman?'
She may think of all these reasons; she should represent
appearances connected with the various good or bad causes
mentioned above by means of personal omens like quivering or
throbbing of a particular limb.
37
It is a convention mentioned in the IS aad followed generally
that personal omens indicating occurance favourable to women
occur to their left side while omens in case of all undesireable
happenings will take place on their right.
38
If the left eye,
eye-brow, forehead, lip, arm, breast or thigh throbs, this
will indicate the coming of the beloved; if this will throb
differently that will Indicate something calamitous.
In case
of perceiving such bad omens the instructions are given to
represent it by fainting.
39
As long as the beloved has not come, her hand will rest on her
cheek, and being careless about her toilet, she should go on
weeping; but afterwards on seeing some good omen indicating his
arrival the heroine should represent that the beloved one has
drawn, near by means of feeling his smell.
On seeing him coming
she should joyfully get up and proceed to receive the beloved
and
look at him with eyes beaming with pleasure. 40
Ihe situations
-where the nayaka- hero has been delayed for reasons like -having
dallied with other women and if he bears the marks of lovesports,
the nayika has to represent her anger through various ways of hist­
rionic representation.
She themes of varaams and padams in solo
exposition of the contemporary dance-forms embrace this aspect
in its themetic content and are quite familiar to the audiences.
In case of the beloved who has come with the signs of meeting
another woman and fresh wounds received from her, she should
point out them after assuming the ayata posture with her hand in
the hands of her female friend; and the beloved one being found
guilty he should be given censure in due order by means of appropria­
te gestures and reproachful words as well as by jealous anger
(mana), insult (avamana), fainting (sammoha), or dissimulation
(avahittha); due to reasons like the application of dissimulation,
the use of hidden words or laughter, curiosity, flurry, calamity,
and acceding to a situation of fun and to his concealing any fault,
the nayika should speak to the beloved even if his guilts require
that he should not be spoken to.
41
It is on account of the beloved*s actions that the nayika will
suffer from jealousy which has four fold causes, viz, depression
(vaimanasya), mixed feeling (vyalika), disgust (vipriya) and
256
anger (manyu).
When the beloved one is seen walking lazily
due to sleepiness and lassitude and the nayika discovers signs
of his union with another woman and fresh wounds received from
the latter, she would suffer from depression (vaimanasya).
It
is to be represented with an intensely jealous face, great
trembling of limbs due to anger, and utterances of words like
’it is good’, ’it is nice', and ’it is beautiful'. 42
Mixed
feeling (vyalika) arises due to jealousy mixed with joy when
one’s beloved stays nearby even after he has been treated with
insult.
It is to be represented by standing firmly on legs with
the left hand on the breasts and the right one violently gesti­
culating.
Yipriya will arise when the beloved one says that
*.I live while you live', 'I am your slave' and 'you are my, love',
but behaves in a different manner; representation of vipriya
should be made by a cold treatment to the female messenger,
disregard for the letters and indifference about giving reply
to any question (made by the beloved) and also shaking the head;
anger (manyu) arises when the beloved one comes to her after his
union with a rival woman and boasts about his good
luck in this
matter, and discloses the signs of such a union; it is to be
represented by giving up the valayas (bangles) and throwing up
the rasana in a loose manner and by timid and tearful eyes. 43
Por treating the nayaka at fault, Bharata gives the following
instructions:
On seeing the beloved one standing much ashamed
and afraid due to his guilt, the nayika should harass him with
rebuke made up of words spoken in jealous indignation, but she
should not utter very cruel words and very angry words also
should be avoided.
to her ownself.
She should speak tearfully things referring
This attitude should be represented by the middle
finger touching the edge of the lower lip and a hand placed on
the breast and by looking with eyes upturned, or by a karana in
which hand is placed on the hip and the fingers are separated,
or by moving the head and bending it to see the nails or by a
look of dissimulation on or by beautiful finger gestures indicating
threat.
44-
After saying 'You are shining’, 'You look well', 'Why are you
tarrying' 'Don't touch me', 'Go to the beloved who is in your
heart', and
'Go away', one should turn back and make jokes with
words whieh do not require any reply.
45
When the beloved in order to pacify the nayika approaches her,
gets hold of her dress forcibly, or her hand or touches her hair,
the nayika is required to get softened even after seeing the guilt
of the beloved; when taken by her hair, hand or dress the woman
should enjoy his touch in such a way that the beloved one does
not preceive it; she should slowly release her hair from the hands
of the beloved by standing first on her toes with limbs bent and
then taking to the aoakranta cari; her hair being not released due
to efforts of the behoved, the woman should perspire on his touch
and say 'hum hum' 'let my hairs go' and 'Go away'.
258
On hearing the angry words like 'go away' the lover should first
go away and then come hack to start talking to her on any pretext;
the woman should make movements of her hand while uttering
'hum hum' and during these movements she should speak to him with
an impercation; in case of her clothes being taken away by the
beloved one the woman should either cover her eyes or turn them
to her back and cover her nivi.4**
The guilty lover at last would fall at her feet.
The nayika
•
should harass her offending lover till he will fall at her feet;
but on his falling at her feet she should look at the female
messenger.
Then the- nayika should embrace the beloved. 47
The concept of samanyabhinaya embraces all the four types of
abhinaya and the instructions given in the NS are found prevelent
in the dance-drama forms under study.
We have dealt with these
details while discussiong the repertoire of Kuchipudi, Bhagawata
Mela Nataka and Kuravanji traditions.
The discussion of samanya­
bhinaya topic ends with the description of the goddesses in human
roles.
Since the'theme of the drama, dance and the dance-dramas
include the gods and the goddesses and the celestial beings, the
NS mentions that when celestial women unite with human beings they
are to assume all the states of a mortal.48
The world of the classical Indian dance-drama is peopled with
mythological characters, gods and goddesses in human form with
human weaknesses and human temperament, celestial beings, apsaras
and gandharvas, kinnaras, yaksas etjal.
.
Therefore these instruc-
s
tions regarding characters from a different world for the dancers
who are to enact them.
The technique of samanyabhinaya is so
geared as to enable a spectator the sahrdaya to relish rasa.
260
g o i 1 Si
1.
IS Ch XXII SI. 73
2.
3.
gS Ch XXII SI. 1
IS Ch XXII Abhinavagupta’s commentary in Abhinavabharati
pp. 146-148 GOS Vol III '
IS Ch. XXV: The concept of citrabhinaya comes within the
hatyadharmi mode. Since the dancer actors use the
4•
language of hand gestures and their various usages are
explained in the viniyogas, several things are shown on
stage with usages of hands to suggest graphic description.
It appears that IS tradition allowed the usage of staff,
umbrellas, th rone s etc.
5.
IS Ch XXII 3
6.
7.
Ibid
IS Ch VII 2
8.5
IS Ch XXII 9-10
9.
Ibid 11-12
10.
Ibid 13-24
.
Ibid 25-31
11
7
Ibid 33
12.
13.
Ibid 75-76
14.
Ibid 161
15.
Ibid 162
16.
Ibid 169-172
Vatsyayan Kapila CIDLA pp
•
CD
17.
NS Oh XXII 173-174
19.
Ibid 175-176
20.
Ibid 177-178
21.
Ibid 179-180
22.
Ibid 181-182
23.
Ibid 183-184
24.
Ibid 185-186
25.
Ibid 187-189
26.
Ibid 190-191
27.
Ibid 192
28.
Ibid 195-197
29.
Ibid 198-201
30.
Ibid 211-212
31.
Ibid 213-220
32.
Ibid 292
33.
Ibid 221
,34.
Ibid 222-224
35.
Ibid 225
36.
Ibid 244
37.
Ibid 245-252
38.
Ibid 253
39.
Ibid 254-255
40.
NS Ob XXII 256-258
41
Ibid 259-263
42
Ibid 266-268
43
Ibid 269-274
44:
Ibid 275-279
45
Ibid 280-281
46
Ibid 282-289
47
Ibid 290-291
48
Ibid 327
See Gupta Rakesh: Studies in nayaka-nayika bheda.
Sarabhai Mrinalini ‘Heroines of the classical dance of
India’ pp 29-49 in Dance Perspectives Ho 24 Hew York.
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