Fundamental of Ancient Indian Music and Dance

Author(s): Sureshchandra Benarji
Publisher: L D Indology Ahmedabad

Page 92

Appendix E
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Nyt va is said to be the combination of dhātu and mātrā. Dhatu consists in nāda, which is its essential element. Mātrā consists of a number of letters. The wind, called Prāņa, goes up to Brahmarandhra." Then through the mouth it emanates as nāda.
He is a true singer who sings clearly, with purity in accordance with the Šāstra, with a sweet voice and is free from the eight faults. The faults are : curved throat, swollen throat, closing of the eyes, shutting the mouth, eyes turned up, eyes turned downward, shaking of the head and bending of ihe body
This is followed by the qualifications of the player of the mrdanga, the dancer, the Vidūşaka and the Nāyikā (heroine).
Abhinaya (acting) is defined as the imitation of a condition. It is fourfold : āngika (done with gestures and postures ), vācika (vocal) āhārya (done with costumes) and sättvika. The last o!e is eightfold-sweat, horripilation, hoarseness of voice, trembling body, faded complexion, tears, stupefaction or motionlessness, pralaya (fainting, loss of conciousness).
One, who is not pleased with a charming song, is said to be a human beast.
Samgita consits in gita (song), vādya (instrumental music) and nrtya (dance). The dance of males is called Tāndava, while that of females is designated as lāsya. Instruments are fourfold--(i) Tata--e.g. viņā etc.
(ii) Susira-e.g. vamsi etc. (iii) Anaddha-covered with leather.
(iv) Ghana-bell, cymbal etc. These four classes belong respectively to gods, Gandharvas, Räksasa and human beings. In all kinds of instruments Goddess Sarasvati herself lives of the four classes, murāja (tabour) is į An aperture in the crown of the head through which the soul is
supposed to escape on its leaving the body.