~ACIKABHINAYA ACCORDING TO THE

NATYASASTRA RELEVANCE OF VACIKABHINAYA

"Speech is the vocal presentation of words and is the basic

structure for building up a drama. So, it is essential that this branch of

expression should be very carefully exploited. Afigika, Ahfirya and Satvika

ubhinayas interpret the speech. All Sirstras or sciences are given form in

words and are controlled by them. So, all knowledge is gained through

word and speech. Therefore, there is nothing that is superior to speech

and it is the basis of all activity."

Bharata began the explanation of vcicikabhinaya with these

sentences.3s Speech has been described as the main structure of drama

since it affords the canvas for expressing all emotions; the basis for the

instrumental and vocal music itself is an independent branch of historionic

expression. The various branches of vircikdbhinaya are as follows:

I BhQabhedas (Language and its regional variations), 2. Vyakarana

(grammar), 3. Chanda (prosody) 4. Laksanas (poetic embellishments)

5. Alankaras (figures of speech), 6. Gunas (merits) 7. DOsas (demerits)

8. Sambuddhividhana (forms of address) 9. NZimavidhBna (naming of

21 0

characters) 10. Kakusvaravyaiijana (modulation in voice) and 11. Virama

(pause). It is essential that both the authour and the actor should have

clear concepts of the form and nature of the above mentioned branches

of voice.

The language used i n drama is divided into four categories-

Atibhilsg (the language of the superhuman), Aryabhgsl (the language of

the commoner) and Yonyan t a r i bh~~ i (the language of the animals and

birds). The language spoken by a character is specified by regional

variation, accent, intonation and dialect. Bharata has elaborately explained

these aspects.

According to AG, knowledge of grammar is necessary to

understand the beauty of the word and to clearly express its meaning in

its pure form, particularly in the case of drama, where nepnthyu or speech

(the text proper) occupies an important place. The main languages used

in drama are Sanskrit and Prgkyt. Speech, in these two languages

occupies a prominent place in the NS.

The combination of letters results in the creation of words and

knowledge of the identity and value of words is to know about the

following words or parts of speech - Ngma (noun), Akhyita (verb), Nipiita

(adverb), Upasarga (preposition), Pratyaya (terminal syllable, especially

in Indian languages), Taddhita (nominal affix), Vibhakti (case), Linga

(gender), Sandhi (conjunction of words) and Samasa (grouping of words

or compound words)

21 1

All poetry follows prosody. Therefore Bharata has stated that

there is no word that does not fit into prosody and there is no prosody

without words. And it is this union of word and prosody into poetry that .

embellishes drama. Words are of two k inds , nibaddhn and c c r g a ,

pertaining to poetry and prose respectively.

Thirty-six types of laksanas or embellishments are found in

creative works in literature. The embellishments are based on the

emotions, the determinants the consequents and the transitory emotions.

These are considered to be as highly ornate to drama as ornaments to a

woman. Propriety with reference to rasa has to be observed in providing

these embellishments - bhi i~ana (ornament) ak~arasunghdtu (brevity) etc.

- and defined each one of them.

What valour is to a man and beauty is to a woman, so is an

alarikfira (figure of speech) to a kavya. It adorns the kiivya. There are

three main types of figures of speech - those based on sense, those based

on sound and those combining both. While an embellishment is natural

to kavya, a figure of speech is highly aesthetic in function and depends

upon the creative genius of the author. Just as wearing appropriate

ornaments enhances the looks of a beautiful woman, the values of the

embellishments in a ksvyu shine more brilliantly by using appropriate

figures of speech.

212

Bharata has enumerated ten main demerits to be avoided in

kavyn- 1 .GCdhartha (obscurity) 2.Arthantara (digression) 3. ~ r t h a h i n a

(meaninglessness) 4. Bhinnartha (obscenity) 5. Ekartha (tautology) 6.

Abhiplutartha (incoherence), 7 . ~ y a y a ~ i t a (illogicality) 8. Visama

(Anomaly) 9. Visandhi (hiatus) and 10. Sabdacyuta (slang).

It is an acknowledged fact that a kiivyo should be devoid of all

demerits. Bharata has stated that it matters little or nothing if one does

not write poetry, but writing bad poetry is tantamount to homicide; broadly

speaking, all improprieties come under demerits and should be avoided.

It is not enough if a kc~vya is devoid of demerits but should

t

also incorporate merits. The merits enumerated by Bharata are ten-1. Slesa

(double meaning) 2.Prasada (obviousness) 3 .Samata (balance) 4.Sam%dhi

(terseness) 5.Miidhurya (sweetness) 6.0jau (grandeur) 7. Saukurnarya

(delicacy) 8. Arthavyakti (directness) 9.Udarata (exaltedness) and

1 O.KBnti (brilliance).

Surnbuddhividhdna pertains to the forms of address in which

the superior, medium and the inferior characters address each other in a

play. Where it is not etiquette bound to address a character by name,

certain standard forms of addressing have been evolved. Eg. great sages,

saints and other respected persons are to be addressed as Bhaguvun

("Holly one" !).

213

When a story is based on the classics, the names that are given

to the characters should correspond to those pertaining to the respective

classics. There is no necessity in such cases to introduce new names,

where as in cases of original themes, the names that are given to the

respective characters should indicate the nature of such characters. Here,

the author has full liberty to create characters and name them. However,

Bharata has given examples of naming such characters.

VOICE

KAKUSVARAVYA~~JANA (MODULATION IN VOICE)

When the text has been fully learnt, it is absolutely necessary

to render it on the stage with proper kdkusvara (modulation in voice).

Modulation is qualified by six characteristics -

1. Svaras (musical notes), 2. Sthanas (anatomical parts of the origin of

sounds) 3. Varnas (modes of intonation) 4. Kakus (variations in

inflexion) 5. AlBnkaras (modes of enunciation) and 6 . Arigas (modes of

rendering).

1 .Svaras (Musical notes)

There are seven fundamental musical notes that correspond to

the diatonic scale as follows: -

Sa ri ga ma Pa da ni sa

The seven notes, along with the upper c , corresponding to higher

'su' , form the fundamental octave.

In speech, these notes have to be used in consonance with the

rasa that has to be created. In creating i,rngara and hasya rasas, ma and

pa predominate; in creating viru, raudra and adbhuta rasas sa and ri

predominate and in creating karuna rasu gu and ni and in creating

bibhatsa and bhaynnuku rasas, da predominate.

2. Sthinas (The anatomical parts of the origin of sounds): -

There are three main anatomical parts of origin f rom where the

impulse starts to create a particular sound - the chest, the throat and the

head. These three parts are common to both human voice as well as the

classical Indian instrument; the vinfi and the inflexions of voice and speech

originate from these three parts. There are three pitches in which sounds

are produced - Mandra (the low), Madhya (the medium) and Tara (the

high), which may be defined as the lower C, G and upper c respectively.

In the delivery of speech, it is good to start with mandrasvara generating

from the chest, brighten it with tdrasvara generating from the throat.

This ensures an accurate rendering of the text.

3. Varnas (The modes of intonation): -

There are four fundamental variations in intonating speech -

Ud2tta (the bold), Anudatta (the normal), Svarita (the circumflex) and

Kampita (the vibrating). In hasya and srngara rasas, svnrita and uddtta;

in raudra and adbhuta rasas, udatta and kampita; in bibhutsu and

bhayanukn r a s a s , anudi i t ta , and kampi ta modes of intonation

predominate in rendering the text.

4. Kgkus (The variations in inflexion):-

KZiku is of two kinds - Nirakank~a and Sikiii ik~a. A sentence

or a word has an obvious meaning. But, this may be rendered by inflex-

ions in voice to give a completely different or implied meaning. The

former, i.e. obvious meaning is called nirdk~lhk~akaku (the plain inflex-

ion) and the latter is called snknriksakirku (the implied inflexion). In the

snkarikpknku, the modes of intonation and enunciation are incomplete.

It starts with a high pitch and ends in low pitch. The motivating impulses

start in the throat and the chest. The process does not confine itself to the

obvious meaning but gives a completely different or implied meaning. In

nirtikdnksukdku intonation and enunciation are complete starting in the

lower pitch and ending in the higher pitch, the impulses originating from

the head. It renders the fully intended meaning of the text.

5 . Alahkriras (The modes of enunciation): -

The modes of enunciation are of six kinds - Ucca (the high),

Dipta (the bright), Mandra (the base), ~ i c a (the low), and Druta (the

fast) and Vilambita (the dilated). Bharata has described in great detail

the uses of these six kinds of enunciation.

6. Angas (The modes of rendering): -

There are six processes in which speech is rendered - Viccheda

(the punctuated) Arpana (the pleasant), Visraga (the disinterested),

Anubandha ( the continuous), Dipana (the brilliant) and Prabamana

(flowing).

7. Virama (Pause): -

Pauses are very significant accessories in the proper rendering

of speech. Pause, when properly used, conveys the full import of a word

or a group of words in a sentence. In addition, when poetical passages

are being rendered pause occupies a very high place. For, a wrong pause

may completely distort the import . Further, a pause must be very

judiciously used in rendering a textual content.

SVARAS

The svaras may be discussed in detail now. In the ancient texts

on music, the individual svara is characterised in a way which is similar

to how our philosophers often speak of the ultimate: - 821ad seems to

close to FWfi'W(. Even from the new point of practice, a svara is at least

as important as the unit of an aesthetic pace or miitrii.

The single svara can be looked at from the following different

points of view.

1. Its grammatical identity.

2. Its aesthetic 'look'.

3. Its relation to the singer himself.

217

The first two of these are concerned with both the singer and

the rasika.

Now the definition of svaru may be revised - & & that

which reigns (or satisfies or looks beautiful) by itself. The name that we

give to a svaru, or its grammatical identity is based on a relation. A svara

is madhyama, if it is at the right interval from ga and pa; it is k6ma,la as

against iuddha; and vice-versa. So in all such talk we do not really speak

of the svara by itself or alone. And yet where a svara is well sung it

alone may seem to sway the listener's attention. In other words, our ac-

knowledged definition of svuru relates to the note's own (aesthetic) look,

not to the way we identify it for the sake of understanding. It is not its

being a r;ubha or gdndhdra but its appearing or as an accent of intrin-

sic beauty that our definition is about .The aesthetic and the merely gram-

matical approaches to svara are truly indifferent.

Many are the factors on which the 'look' of a single svara

depends. A svura's relation to its setting is however not merely a source

of charm. If we reflect to it, it can also be made to heighten two ways of

looking at a svara, from the viewpoint of grammar and from that of

aesthetic experience. Take the case of a vivddisvava, grammatically its

relation to other notes in a rdga is more or less negative. It is a svara,

which is not ordinarily taken in a particular rzga, though its use here is

not expressly forbidden either. In the singing of maestro, on the other

218

hand, such a note - or even an utter outcaste, so to say - may well come to

find a place without seeming to obtrude on the fabric of the raga to which

it is alien.

A key feature of a raga is the mutual agreement (consonance)

of two svarus. This relation of accord is however aesthetic, like two

colours seeming to complement each other, it is clearly not a relation of

meaning, and so not a matter of theoretical consistency. So, when the

very basis of a raga is what in fact seems agreeable to the ear, one cannot

roundly object to the inclusion of a viviidisvara on the ground that once

we have f ixed and accepted the s c h e m e of a r a g a , it would be

theoretically inconsistent to let in an alien note.

A riiga's svaras however, do not only relate to one another. It

is the musician who puts life into them. The essential function of the

opening svara/svuras in relation to the singer is to take his mind away

from the every day world to that of the rdga he chooses to sing, and to

settle it there. A warm-up or attunement of the voice may also take place.

V&CI~BHINAYA IN 'KERALA THEATRE'

It is well known that vdcikdbhinaya plays an important role i n

Indian classical theatre. In the Kerala theatre, Ktitiyaftorn follows the

tradition of classical theatre and the N S . Vdcikdbhinaya in KDtiyB[tom is

unique. In KiitiyBffom the svaras have different aspect of usage and

dimension. They are following the tradition of Ssmaveda. There are about

twenty-four svaras in Kutiygttom. . - The svuras i n Katiyattom may be

discussed in detail.

The vdcika in Kotiyattorn, be it prose or verse, is presented in a

particular cadence. The characters in KDtiyattorn express their emotions

by imitating the mode of speech in real life. On the other hand, the

musical style in KtQiyBttorn enhances the rasnbhinaya of the actor through

the medium of viicika, with the powerful exploitation of the technique of

suggestion. Several svaras are used to suit different characters, msas,

and the corresponding time. These are also sometimes referred to as rzgas.

The following are the svaras ( ragus) used in KiiliyBjiom.

It is said that KtitiyBttom has only twenty-four mudriis and an

equal number of important ragas. But only twenty-one rngas have been

identified. Since there are slokas to determine the application of the

twenty-one rrigas, they can be understood easily. The names of the riigas

mentioned in the Sldka quoted above, are as follows.

220

1 .Ve!iidhfi!i 2. Varati 3. TBti (Tovtu) 4. ~ u r a n T r u 5 . Andhg!i (Arta)

6. Paurlii 7 . Tana (DBna) 8. Antari 9. Ghattantari . . 10. Name is not clear

(though there are three Antaries (8-10) the definitions of only two of

them are available. The application for the third is not clear) 11. Kgmara

(SGk8mara) 12. Tarka 13 ~ i r a t a r k a (12-13 -&:) 14. Gandhara

(Dukkhaggndhgra ) 15. Kurolkkuri Aji (Korakkuri i i j ) 16.Virna18

(application) not identified) 17. Muddha . 18. Kaisika (Kaisiki) 19. Inda!a

20. che!Tpaficarna 22 . Bhinnapaiicama. 23. Virapaficama (21-23) .

Paiicarnatrayam) 24. krlkanth;.

From the above, the two rdgas Vargti and Vimalii are not clear.

Similarly the name of Antari is also not known. The basis for their

application has not been found. It is not clear whether they can be of use

in items like akki t ta . In the kramad:pikd of AS~ar~aciidZimani, K.P.

Narayana Pisiiroti mentions twenty-three ragas. Mhni Miidhava Cgkyar

in Nityakalpadrumam asserts: "Pat tum pattumatriyi~um" (ten plus ten-

i.e. twenty). One thing is certain - in plays like ~ ~ ~ u f i ~ i n k a , twenty one

riigas are still being used.

The prescriptive rules for the application of the rdgas may

now be examined. The Sldkas containing the definition of each rrigu

(svarcl), along with its explanation, are given below.

For noble heroes (and heroines) in ordinary situations i.e. when

they are not under the spell of emotions like love, anger etc. Inda!a is

used Examples follow: -

( i ) In Nggananda, Act I , ~ i m i i t a v ~ h a n a ' s U8ka beginning wi th

'-*8 m % ~ ~ m : ...'

(ii) In A4caryaciidamaai, Act I: ~ r i Rlma's portion beginning with

the clrnik6

' t F $ * w q m ~ ~ a * m l '

(iii) Aicaryacad~mani , Act 11: Sri Rama's portion beginning with

the c i i r ~ i k d '%$f$b'r@d q* 1'

(iv) For noble heroines, Sita's part in ilrpanakh8rika :

' 3 I l ~~~y ....'

(v) In Biilacarita: For sfitradhdra, and in benedictions,

6 '?Tg$wx:. .. . '

(vi) In A~car~aci idi imani:

bm rn....'

(vii) In Mattavillsa: 'm ...' and

r r ~ ? j ~ w f 3 h f ~ R l

wwmTp2~-*:11

222

On certain occasions, even some middling characters have

Indala. For example:-

(i) In PratimAnataka, Act 11: Bharata's words beginning with suta

(RZimBy anam kramadiPpika 8-45 line-3)

(ii) InMantr~nka:Yaugandhariyana'skldka,beginningwith

'mw* ....'

But middling characters usually have the riiga ~ e ~ i ~ a i i c a r n a

2. ceGpa'lcarna

4 h m R m m f m a & a 1

+ l a m m : r n @ * I l

For evil charac ters and for chi ldren, ~ e i i ~ a i i c a m a is employed in

ordinary situations. For example, for evil characters:

(i) Prat i rnBn2taka, A c t 11, t h e soldier's w o r d s : ' %*

<m .....'

(ii) Abhiseka Act 111: the words of Ranabhiru: ' d P k h . . . '

(iii) Example for children:

h k u n t a ! a , ~ c t VII:

S arvadamana's words:

' ~ r r i w m ............'

3. Korakkuriiij i

~ : ~ q d h Q w m : t

Monkeys in ordinary situations have Koralkuriiiji rdga. On other

occasions, ~ a r k a , ~ i r a t a r a k a , Dana, Dukkhagandhara etc. may be

used. For example:

( i ) In A ~ c a r ~ a c i i d ~ m a n i Act VI:

Han'umBn's c i imikd:

'WlftTRFrgi mdrsR.,..'

And the i l6ka 'hm ...'

(ii) Abhiseka, Act I: sugZva's i l d k a , beginning with 'F*. ..'

(iii) Abhiseka, Act I: HaniimBn's d ldka beginning with 'F.. . ' Instances of rhgas used for monkeys on other occasions,

(i) Abhiseka, Biilivadhanka: Sugriva recites

(a) 'm -5.. . ' in Tarka.

(b) ' w Q ~ . . .' in VelZidhiili

( c ) '-?.. .' in Dukkhagandhara

4. Antari

3 ~ - - M r n & I

While enacting in avasthH Antari raga is used. Here avavthi?

means the enactment of a story where the character deviates from his

real nature. This rirga is usually employed in nirvahana S l ~ k a s . For e.g.

the nirvuhanu il5ku in ~ n ~ u l l ~ i i n k a

is recited in Antari. The earlier Sldka deals with $iirpanakha7s tempting

of Rarna by adopting the disguise of Lalitl. This is done in the bhava

of hirpanakha. This situation is given in the &gaprakara thus: " Then

h rpanakha goes to $6 Rams and salutes him in kamalaparivarrancl and

stands in s t r i b h ~ v u . And then pulling down the edge of her skirt she acts

in this avasthit. s8rpanakha, the sister of RLvaga, goes to $6 RHma

under the spell of love, like a female serpent oppressed by heat reaching

the shade of a Sandal tree. But according to the kramadipikii of

Abhi~ekanltaka, in "Samudraratiiakara", on one occasion Varupa makes

use of this riiga.

5. Ve!sdhii!i

kgfi--*I

Another version is also seen in the NKD of M'api Miidhava

Cilkyar. It is

Therefore i t can be said that Ve!;?dhfi!i rdga is used in

excitement and fright, as well as calling out from a distance.

(i) Example for excitement:

Nfigrinanda, Act 11, When the hero comes to know that the heroine

wants to commit suicide, the Slbka '7 7 54.. . '

(ii) Example for fright: &$caryacfidarnani Act 11, hh RBma on seeing

Siirpanakha discards her disguise, and come to him as a r d k ~ a s i ,

the ilbka

'.iR-M. ..'

(iii) Example for calling out from a distance:

(a) SvapnavBsavadatta, the nirvahana Slbka

' % h e T T . . . ' and

(b) Abhisekani~aka ,BBl ivadh~nkaActI :

~ u g r h a ' s challenge: '3ml~m*. . .'

6 . Shkgmara

~ g ~ : ?fmdair: I

SGklrnara is used in unexpected happiness.

Eg: (i) AScaryaciidimani, ActV: RBvana mistakes the moon for the sun,

and finds to his great joy that it is the moon itself:

'T w*m mwsm'

(ii) Subhadradhanaiijaya, Act I: a) the hero's iliika ' 3 ~ m m

(b) ' W F ~ ~ K T ~ W T 'TT-r.. . . ' m..'. and

226

7 . Arta

? j j m d r T m m m m - a I

On almost all occasions of kmg i i ra , Arta is used. The word

'prnya' indicates other occasion also. That would be discussed later.

Eg. (i) NSgBnanda, Act 11. The i lbka

' wqa *flRFTmq~. . . '

(ii) Dhanaiijaya Act I, the Sldkas '-. . . .' and ' F h d m.. . . '

8. ~ a u r i i l i

' m w m ~ ~ g * l ' aura!; is used at the height of vipralambha

Eg. (i) A b c a r y a c ~ d ~ m a n i , ASdkavanikBnka: When RZvana goes to

meet ~ ; t a i n ASakavanikB, he describes the garden and the

beauty of sit2 and is overcome by the impact of love, the Sl8ka,

'6 ...'

(ii) ~ n g u l i y l n k a : Haniimiin while describing $h RZma's excess

love

'm %7fQm.*.'

(iii) Dhanaiijaya, Act 111 Arjuna's 616kas in viprulamhha:

and '- ...' kf+m-fk'

9 Muddha

~ ~ m $ ~ ' ~ g : (i) A ~ c a r ~ a c n d i i r n a n i , ~ c t III 'WTRA~* w@%TRR...'

Also in sambhijgai~ngiira :

(ii) Riik~asGtpatti nirvahana;

' r n ~ g f F i r n '

m g w m y * m y l I

mk,rasars viprlarnbhaipgdra and 66 Rrirna's sarnbh6gaJpgaua

are in Muralidala. Examples.

( i ) A g c a r y a c ~ d ~ m a n i , Act VI:

I-N w FhaT....'

(ii) AScaryactidamaqi, Act VI:

The ilGka 'm -. ...'

is in because it is vipralambha, while in AScaryacildmaqi, Act TI:

'm~ m ; ~ . . . ' is in ~ u r a l i n d a l a

1 1 . ~ a i k i k ;

d : * m F $ l

In hfisya and bibhatsa rasas, ~ a i k i k ; is used:

Eg: (i) for hhsya: Mattavil:,.asa, Kapali's Sldka

C 4 n l ~ ~ l ~ ~ l l m l ~ l ~ g ~ ~ e l

9 . . .

(ii) for bibhatsa: ~ i i ~ u l i ~ grika, nirvahana:

'v.lxiemmqsq...'

12. Tarka

&d arR azFiav z-cEa: l

In krijdha and raudra rasas, Tarka is used.

Eg: (i) For k r d d h a : A b h i s e k a A c t 111: R a v a n a ' s a n g e r a b o u t

Hanuman: 'WF zfiri T@ m.. .'

228

(ii) . For r a u d r a : Aicaryac i ida rnan i , Ac t l l : k r i RBma seeing

h r p a n a k h a soaked in blood, 'T--q... ' At

the height of krcdha, an extreme level of Tarka is used.

(iii) ~ b c a r ~ a c t i d a m a n i , ~ c t V: Ravana suddenly getting up from his

prostrate position: ' ! % & F ~ s " ~ . . . . ' (This may be seen

from the d!faprakdra of Akokavanikgnka).

13. ~ ira tarka

-G~TFMW+: *$&:I

~ i r a t a r a k a is used in vharasa

Eg (i) A l ~ a r ~ a c i i d ~ m a n i , Act V Riivana's Sl6ka

' * ' i l * ~ i e f ~ . . .'

(ii) AScaryaciidiimaPi Act VI Parnakiilanka 'e T.. . '

(iii) A ~ c a r ~ a c l i d i i m a g i , ~ c t 11: ~ % ~ ~ s ? t i i n k a '&T w.. . '

(iv) I\scaryaciidfimaai, Act 11: $6 R&rna7s Blaka 'f 9- WT.. .'

14 ~ i r a ~ a i i c a r n a (According to the NKD)

arccdkxd-m:~

~Irapaficama is used in highly valiant actions.

Eg: (i) AScaryaciidiimani, ~ l i ~ u l r ~ a l i k a n i r v a h a ~ a - S r i RIma ' s

reply to the challenge of rdksasas: '&- zfiRifiFT~.... '

(ii) A ~ c a r ~ a c t i d a m a n i , Anguliyanka Kapila Vasudeva's i l d k a on

seeing that the sixty thousand sons of Sagara approach to kill

him.

'T r n l ? ? ~ l ~ l * l i * ~ l ~ ~ 9 ...

g : m 4 v g : * i t F T w :I

This rdga is used in dukkha (grief) and karuna (pathos)

Eg. (i) for dukkha

&caryac~damani, Act 11: Rarna's Slaka

(ii) for k a r u ~ a :

Abcaryaciidgmani, Act 111: Laksmana's Slfika

'?FmtSr WgR...'

Diina rdga is used in adbhutarasa, and sometimes in bhaycinaka.

The word 'sometimes' is used in the sloka because usually Ve!Bdhii!i

is used in bhayicnuku.

E.g.s for adbhuta:

(i) A ~ c a r ~ a c ~ d ~ m a n i , Act 111: Rsvana while seeing sit2 for the

first time:

' @ ' a X % ~ y . . ' .

(ii) Dhana'ljaya, Act I: when Arjuna describes the hermitage.

'33 9g;JWTR.. . . . ' . and ' fh%f%~~$.. . '

17. Ghattantari

Ghartantari is used on occasions of reporting the death of evil

persons.

~ . g . :AbcaryacIid~mani, Act 111: Laksmana's i l d k a and ~ 6 ~ ~ 1 ; ~ ~ f i k a ,

n i rvahana:

Though according to the textual practice, this is the sloka for

Ghattantari, . . i n Mantrarika, it is supposed to be used in some instances.

But no evidence for this has been found.

18. Tontu

+mmwmitavf&m%adt

Tontu is used in iiintarasa and bhakti.

E (i) for Siinta: Mattavilgsa nirvahana:

(ii) for bhakti

(a) Abhi~eka Act IV:

' m w w w*m.. .'

(b) Balivadha nirvahana:

'rn~qm.. . 9

19. Bhinnapaficama (According to the NKD)

r n M d - & l

The rEga Bhinnapaficama is used in excessive joy.

Egs: (i) Nagiinanda, Act I1

'&ww 3TbWa-w rn ...'.

(ii) Nag2nanda, Act 111

' r ? s * a ~ s m F & . . , . '

~ u r a n i r u is used in the description of rainy reason, and in the description

of morning.

Eg. (i) For description of rainy season:

'h a fwm ~~. . . '

(ii) for description of morning:

Pratijiiayaugandharayana, nirvhana of Mantranka

' & ? m f h + r r n ~ . . . . '

i r i k a n t h ~ is used at the end of an act, at the killing of evil persons, in the

description of noon and dusk time, and in bhaktibhdva.

E.g. (i) for the end of an act: AScaryactidiirnani Act VI

'&mqmr~m. . . '

(ii) For description of dusk time: Dhanafijaya Act I1

'mRBwrmm ... '

(iii) description of noon: Ab~ar~acTid~rnani , Act I

' m q ~alTyF=m-T....'

(iv) for killing an evil person:

Biilacarita: 'T- v&. . . .'

( v ) for bhakti the invocation beginning with '-d%% ....' in

RgmLyanam Prabandha

THE ROLE OF RAGAS IN THE EXPOSITION OF SENTIMENTS

It is very difficult to identify the rdgas (svaras) in Kfitiyiittom.

The training is not given by teaching the names of the svaras or their

applications. The practice is that each dldka is recited in a particular

manner. When it is tallied with the prescriptive rule of the svara it is

usually found to be correct.

While describing about the svurus in Kutiyattom the NKD says:

4 L ~varanbrnclr ir ia$vayyn pattum pattumuticyifum". But it has already

been found that there are twenty-four ragas in Kt!itiylttom with defini-

tion of twenty-one of them.

In Pan'carnatraya, Mgni MBdhava Ciikyar mentions only two:

~ e t i ~ a f i c a r n a and B hinnapaiicama. In krarnad$kii of i?bcaryaciidamani,

K.P. Niiriiyana PisLroty even raises the question whether there are more

233

than three pabarnas . Whatever is the case, vfrapa6cama cannot be

omitted. This is used in many places in ~ n g u f i ~ a n k a . The rule goes:

L . -

I Eg: In Anguliyanka, when rnksasas like Khara

challenge RZma to fight with them, the situation of Rama is described

in the nivvahanailaka beginning with -'- TFFW: =&lTVTTR@...'

~ n ~ u l i ~ a r i k a , Sagarotpatti- the Slbkas- 'T? m e . . ' and

'&dkwrn ... '

These Slbkus are recited in ~ h a ~ a f i c a r n a . Some deviations from

Niityakalpadruma are mentioned below:

1. The NKD says that in iyngiira (and rati) , Indala is also used. In

Kfifiyiittom, character is supposed to use Indalam for .t,rngiira. But it is

established that this raga is used for heroes in normal situations

(samdvasthii). Now, the example provided for Indala in drngara ' T ~ ; T

@k.. .' is not used in Indala, but in VeladhUJi, on the stage. There is

a reason for this: seeing that the heroine is going to hang herself, the

maid shouts for help and ~ i m f i t a v ~ h a n a rushes to the scene. The kriya is

'Sutvuramupusytya lutdp~Samcik~ipun' . Here the occasion is one of alarm,

and according to rule, Veladhiili is used, There is not even the depiction

of mudrd for this Slbka; the hero just goes and unties the noose around

the heroine's neck. This scene is not Spzgiiru oriented, nor i t is sung in

Indala.

234

2. T h e i l b k a ci ted in the NKD as an example of ~ u r a l j n d a l a begin-

ning with ' ~ ~ ; l l m f % ~ ~ ~ a & e l e - ~ ~ i ~ ...' should be sung in Indala. In

burpanakhZihka, though Rama sets off, accompanied by sk i , the sthdyi is

not irngiira but v ira . The reason is that, in the purappadu, neither

keiadipdda nor pan'cdliga is enacted here. Without the dlambana and

uddipana, Srngriras is nowhere enacted in KfitiyBttom. The conventions

for describing Srngiira are describing paiicanga (description of the five

organs of the heroine) kdmaiara (suffering the effect of the five arrows

of Kgma), swooning and getting revived by the soft breeze. Without these,

k p g d r a cannot be enacted in Kliiyhttom. But in AScaryac~c@maPi, Act

I, on the occasion when Laksmana . p sees Stirpal?akha for the first time,

paiichriga is enacted.

Similarly in BZilivadh2nka when the enraged B B I ~ slowly

changes from raudra and vira to S,rngara, the ildka '&*@. . . ' should

be recited in Arta, followed by palicdfiga and kcmaSara . Earlier, in

anger, the same Slaka is recited in Tarka. This is supreme example to

illustrate the change of ragas according to moods.

3. In kramadl'pikd of Aicaryaciidiimasi in $ri Riima's purappddu it is

clearly stated that Indala is used. ''*. . .' The Sl6kus 'm~.'. etc.

are used for accentuating Indala. According to the NKD, the f ldka from

Ai~ar~acadiimani , Act VI, beginning with 'e.. . .' signifying

separation ( v i raha) should be sung in ~ u r a l i n d a l a , but practice it is

recited in Arta.

235

4. The argument that Mural idala should represent t he height of

vipralambha in riiksasas is also not convincing. No precept has been

established in the NKD to establish this point. Because the rule is 'm ~ ' f f ~ * r n ~ '

This rzga is restricted to the depiction of sambhogaSlngnra in

the case of Rama. Even for Riima, in vipralambha, other riigas like Arta

and ~aur&!l are used.

5. The statement in the NKD that ' # I % I + I < I W & ~ ~ W * '- does

not seem to be correct. The Sldka beginning with '~-&?h..'. cited in

the N K D as an example, is given in ASdkavanikanka Attaprakiira as

rendered i n Muddha. In Rgvana ' s v i p r a l a m b h a , according to

Abokavanikarika Attaprakara the i l d k u '-. . . ' is in aura!;

riiga, bu t i t does not say that there is no rule for Ravaqa to render i t in

Srikarnara. But as said earlier, ' - g ~ m : s f t?hmd~: I ' i t is because

Rsvana felt unexpected joy. The example has been provided earlier.

6 . In the NKD ~hinnapai icma is cited by giving the example of

' m e s i wwmwv:,

-, & m y ,

rn*,awh~F;kmqW

* ~ p w h m m m h y l I ' \ The end of the dlaka has the word citram, but apart from that,

no wonder is depicted here. On the other hand, the subject matter is

sambhdgaSrngdra and the rdga is ~ u r a l i n d a l a . This is highlighted in

RIim3yanam krarnadipikd.

236

7 The Slaka w~T..'. cited in the NKD as example for

raudra is not correct. As in the line 'w: mew.. . ' the emphasis

is on kradha. Aidkavanikanka iit?aprakara prescribes that this ildka is

to be recited in Kaisiki; the bhava as one could gather from the meaning

also corroborates the same,

8. The ~ ~ p a l ; named S a t y a s ~ m a smeared sacred ash all over his body

and wearing only a loin cloth (kuup;na) dances, plays on the drum called

damaru, takes liquor from his kapiila, gives it to his wife, drinks it himself,

shouts loudly and approaches with Devasbma, with faltering, slipping

steps. This verse is ha'syurasa-oriented, the play is in the dramatic

category of Prahasana; the entry is of ~ a ~ a l i , the main character; the

embodiment of humour. In some texts of Mattavilasa q u p r a k d r a there

is a clear record that this dldmaildka is recited by humming and singing

it twice in ~ a i k i k ; . Any way it is clear that the humming and singing of

this Slaka is done only in Kaisiki.

9. In the NKD, the observation that the Slaka'a-&.. '-

which is an example of Indala is also not correct .The first part is recited

in Indala and the second part in Arta. There is a reason for this. When the

curtain is removed, Arjuna examines his bow and arrow, thinks, leaves a

sigh, describes the beauty of Subhadra - the sister of Klsna - and is overcome

by the arrows of Kgma. Then i rngdra is relevant here. In the second part,

' ~ % q ~wzffmy..' - is recited in Arta, while the first part is in

Indala.

237

10. The rule cited in the NKD regarding velidhiic raga does not give

9 the usual version in the lines. A line ' ~ b ~ 4 a l c l 1 . . is added. In none of

existing Kfitiyiittom-plays of today can we find Ve!iidhiiji for hdsya

(redicule) and avujizci (contempt); nor have the gurus passed this on.

Therefore there is no basis for this statement; either in the prescribed

rules or in practical training.

The examples of this given in the NKD are the Sldkas from Prabandhas.

These Sldkas (from Prabandhas) are usually not provided with svaras.

The statement ' & l ~ r m r t ~ d v : . . ' - makes it clear that these rdgas are

used only in KDtiy3ftom, Which is dominated by abhinaya. In Prabandha,

which gives emphasis to oral rendition, each actor recites the gudya

(prose) andpadya (poetry) according to his own style; it can be assumed

that, there is no universal standard for their recitation.

11. The definition given in the NKD ' f w :

'- cannot be taken as a dictum. The krarnadipika of RarnZiya~a-,

which combines the three plays, AS~ar~aci~di imani , Abh i~eka and Pratima

- does not mention anywhere that Sri Rama is instructed to use a svara

like this in his i ldkas .

12. No one is known to have heard the a r a i g u t a ~ i i l 6 k a in rdga. Rather

it is not clear if there is a tradition of rendering it in any specified rdga.

In the discussion on the svnras in KfitiyBttom, nothing can be the last

word. Some are assumptions while others are norms. One assumption

can become a norm through constant practice. Therefore the aforesaid is

only a highlight about the svaras.