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A CULTURAL STUDY OF THE NISITHA CURNI
276 but in place of bhasola, bhramara dance is mentioned there." Bapa refers to the actors in the wild miracle play (arabhatz ) with its passionate circular dances." It seems to represent one of the dances mentioned in the NC., viz, arabhada dance.
Drama or the art of acting (nadaga ) was always accompanied with music. * It was also known as ahiņaya the art of which was to be learnt under a competent teacher. The nadas have been frequently mentioned to be performing in front of the public at different places. Pekkhanagas or dramatic performances were enjoyed by the kings along with their queens. Further information on dance and drama is not available from the NC. However, music, dance and drama may be taken as different component parts of a major art. According to Kautilya also, music in wider sense includes all the four subjects—singing, playing on instruments, dancing and dramatic perfurmance."
1. नृत्तमपि चतुर्विधम्, तद्यथा-अञ्चितं रिभितं आरभडं भसोलं, एते चत्वारोऽपि भेदा
ARNEHT: Bịh. V!:!3, p. 696; Bhagavati (Bechardas ed.), p. 43; see also-LAI., p. 185. 2. Hariacarita, p. 28, text' p. 51. 3. NC. 4, p. 2; Bịh. V 5. 3, p.-697. 4. feuizit qe87 frequ-NC. 4, p. 199; Bqh. Vg. 3, p. 696. 5. MEIE Uszat OET–NC. 2, p. 468. -6. NO. 1, p.15. 7. Arth aśāstra, 2. 27.
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