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A CRITICAL STUDY OF PAUMACARIYAM
and Vilasini girls (36. 39). Kings employed girls for entertainment. These girls are called Cāțukāris (46. 78). Dance was performed with musical accompaniment i. e. singing of songs and playing of instruments (36. 39; 3. 89-92; 39. 21-22). The PCV reveals that dancing had reached a developed stage. It refers to various aspects of dancing. Thus Kaikeyi is said to have been trained in the art of dancing with all its characteristics and qualities (salakkhanaguņam 24. 5). There are reference to the clapping of palms (apphodana 3, 89) on the occasion of a dance recital. It indicates that the 'tāla' and 'laya' were regulated by the clapping of the hands. Display of emotions through gestures and movements of the limbs of body have been mentioned (sabhāvahāvattham 3.91). Dancers have been referred to be producing nice expressions through smile, side glances, movement of eyebrows, breasts, waist, hand and feet (37. 50; 39. 22).
Members of the royal family, especially the women, are regularly referred to as trained in the art of music and dance. The PCV reveals that Kaikeyi was trained in the art of music and dance (245). Sítá danced before the monks on the Varsasthalagiri and in her accompaniment Rāma played on Viņā (39.21-22). The daughters of Sugrīva sang songs and performed dances to entertain Rāma (48.1). Lakşmaņa's wives are referred to have played on Vīņā and danced before Lakşmaņa (11.16-18) Rāvaņa played on Vīņā while eulogising the Jinas on the Kailāśa mountain (9.88-89). Simi. larly Candragati played on Viņā and sang in praise of the Jinas in a temple (28.46). Manicūla Gandharva played on Vinā and his wife sang in his accompaniment to entertain the exiled Añjanasundari in the forest (17.85). The reference to the disguising of Rama, Lakşmaņa and the soldiers as dancing girls and then their dancing in accompaniment of musical performances, to capture king Anantavirya deceptively, indicates that males were also trained in dancing (37.45f). The above description indicates that playing on Viņā was very popular in those days. There is a reference to the greeting of a monk by the public with various performances and dances (115.6). It indicates that the general public also cultivated the art of music and dance.
Music and dance were arranged for individual or public entertainment on various occasions. The PCV reveals that social occasions such as birth ceremony (3.70; 7.90; 97.9), marriage ceremony (6.161; 36.39: 106.16), and happy oceasions of reunion (18.54) were made gay with the performances of music and dance. Royal persons enjoyed music even while taking their bath (7156; 77.130). Noble and wellto-do families enjoyed music and dance very luxuriously (31.45,80.21).
