Domaine 8 — dhruvā / gītaka / pūrvaranga (musique théâtrale)
Synthèse 6c.3 du Brihaddesi (Sharma 1992, vols I & II) depuis :
- 27 règles génératives 6b (domain_id=8)
- 45 affirmations sourcées
- 35 concepts du cluster Leiden domain_id=8
Domaine = la couche théâtrale / dramatique du Brihaddesi : ce que Mātaṅga
emprunte au Nāṭyaśāstra de Bharata pour articuler le chant (dhruvā), les
sept gītakas, le pūrvaranga (prélude rituel) et leurs applications
(viniyoga) à des actes dramatiques précis.
Anti-fabrication : chaque type, opération et contrainte cite son evidence
(rule_id 6b ou affirmation_id). Aucune valeur non sourcée n'est introduite.
Python 3.10+. Importable directement, sans dépendance externe.
Operations (8)
Pure functions derived from the rules: given input types, return outputs. Each cites the rule(s) that justify it.
§select_dhruva_for_sceneselection
(is_first_scene: bool, is_exit: bool, is_hero_entry: bool)
→ DhruvaType | None
Sourced by
naiṣkrāmikī dhruvā is associated with exit, used in singing dhruvā of first scene
DEFINE select_dhruva(scene):
IF scene.is_first AND scene.has_exit:
RETURN naiskramiki
ennaiskrāmiki (associated with exit) dhruvā in the first scene (or act).vol_II_p033 Bhinna-ṣaḍja is prescribed for application in prāveśikī dhruvās tied to the hero's entry in specific dramatic situations.
BHINNASHADJA['praveshiki_use'] = 'hero_entry_dhruva'
sktनायकस्य प्रावेशिकीषु अस्य विज?ातीयो निरणानियृत्तस्य (?) विनियोगःvol_II_p057 §jati_for_actlookup
(jati_name: str) → int | None
Sourced by
Specific jātis are prescribed for dhruvā of specific acts: gāndhārī and raktagāndhārī for act 3; kaiśikī for act 5.
prescription(dhruva, act=3) := {gandhari, raktagandhari}; prescription(dhruva, act=5) := kaisiki
enapplication is (prescribed) in the dhruvā pertaining to the third actvol_II_p039 + 1 more verbatim
Gāndhārodīcyavā applied in dhruvā song of fourth act
FUNCTION viniyoga(Gāndhārodīcyavā):
RETURN {context: 'dhruvā_singing', act: 4}
enIts application (viniyoga) is accepted to be in the singing of dhruvā in the fourth act.vol_II_p038 §jati_for_pravesikilookup
() → str
Sourced by
Bhinna-ṣaḍja is prescribed for application in prāveśikī dhruvās tied to the hero's entry in specific dramatic situations.
BHINNASHADJA['praveshiki_use'] = 'hero_entry_dhruva'
sktनायकस्य प्रावेशिकीषु अस्य विज?ातीयो निरणानियृत्तस्य (?) विनियोगःvol_II_p057 §enumerate_gitakasenumeration
Sourced by
Seven gītakas (NS XXXI) prescribed in pūrvaranga: madraka, aparāntaka, ullopyaka, prakarī, oveṇaka, rovindaka, uttara.
ENUMERATE gitakas := [madraka, aparantaka, ullopyaka, prakari, ovenaka, rovindaka, uttara]; PRESCRIBED_IN purvaranga; text_units stretched_by alankaras
enThe seven gitakas... madraka, aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara.vol_I_p102 enAll these forms are prescribed in pūrvaranga... units of text could be stretched by the melody through alankārasvol_I_p102 §enumerate_dhruva_typesenumeration
Sourced by
Dhruvās are of five types: prāveśikī, prāsādikī, ākṣepikī, sāntarā, naiṣkrāmikī.
dhruva_types := {praveśikī, prāsādikī, ākṣepikī, sāntarā, naiṣkrāmikī}
enNaiskrāmikī is one of the five types of dhruvās, the other four being prāveśikī, prāsādikī, ākṣepikī and sāntarā.vol_II_p160 §enumerate_asarita_typesenumeration
Sourced by
Āsārita has three types: jyeṣṭha, madhya, kaniṣṭha
FUNCTION asarita_types():
RETURN ['jyestha', 'madhya', 'kanistha']
enThe plural number in āsāritas refers to the three types of āsārita viz.jyeştha, madhya and kaniştha.vol_II_p159 §ns_chapter_for_deitylookup
(deity: Trideva) → tuple[int, str] | None
Sourced by
Nāṭyaśāstra structural roles: Brahmā(I) creates, Śiva via Taṇḍu(IV) adds dance, Viṣṇu(XX) acts in four vṛttis
MAP Nāṭyaśāstra:
Chapter_I: Brahmā creates Nāṭyaveda
Chapter_IV: Śiva adds dance via Taṇḍu
Chapter_XX: Viṣṇu acts in four_vṛttis (verbally formulated by Brahmā)
enBrahmā creates the Nātyaveda or Nātyaśāstra (Chapter I), Šiva adds dance through Tandu, his gana (Chapter IV)vol_I_p085 §melody_origindefinition
() → dict[str, str]
Sourced by
Melody is a manifestation of the tonal aspect of vāk (speech/voice)
DEFINE melody.ontology:
manifestation_of = 'vak.tonal_aspect'
// vak = speech/utterance
enmelody is a manifestation of the tonal aspect of vākvol_II_p155 Brahmagranthi = seat of energy in the human body from which vital air is propelled, generating sounds (low and high) as it ascends.
DEFINE brahmagranthi := seat_of_energy(body); FUNCTION: propels(vital_air) -> ascends -> touches(locations) -> produces(low_and_high_sounds)
envital air is propelled from the seat of energy in the body known as brahmagranthi... touches various locations, producing low and high sounds.vol_I_p082 Constraints (6)
Validators that raise on configurations forbidden by the rules. Each cites the rule(s) it enforces.
§is_valid_dhruva_alankara_set
no forbidden alaṅkāra is used (syena, bindu, …)
Sourced by
Not all alankāras are desirable in dhruvās due to excessive stretching; syena, bindu and similar should not be used per own measure; ascending svaras should be used.
forbidden_in(dhruva) := {syena, bindu, similar_stretching_alankaras}; prefer(dhruva) := ascending_svaras
enAll of these are not desirable in the dhruvās, because of the excessive 'stretching'vol_I_p062 enthey should not be used (lit. 'done') in the performance of dhruvāsvol_I_p062 + 1 more verbatim
Excessive syllable stretching via alaṅkāras is undesirable in dhruvās because text-meaning comprehension by the listener is primary.
forbid(excessive_stretching(syllable, D)) ; reason := preserve(text_meaning_comprehension)
enexcessive stretching is avowedly undesirable in dhruvās.vol_I_p080 encomprehension of meaning of text by the listener is very important and hence stretching of the syllables of the text is not desirable.vol_I_p102 §is_valid_purvaranga_jati
jāti-class ∈ {śuddhā, śuddhaṣāḍava}
Sourced by
In pūrvaraṅga (preliminary part), śuddhā jātis and śuddhaṣāḍava should be performed
IF section = purvaranga THEN USE suddha_jatis AND USE suddhasadava
sktपूर्वरङ्गे कृते शुद्धा[:] कर्तव्या गीतयोक्तृभिः।vol_II_p026 enśuddhaṣāḍava should be used in the pūrvaraiga.vol_II_p053 + 1 more verbatim
§is_svarantara_admissible
dhruvā is_avakrsta=True
Sourced by
Svarāntara applies only in avakṛṣṭā dhruvās
RULE: applies(svarantara, context) IFF context = avakrshta_dhruva
enthis should be known in avakṛṣṭā dhruvās alonevol_II_p018 §is_canonical_gitaka
name ∈ closed 7-list
Sourced by
Seven gītakas (NS XXXI) prescribed in pūrvaranga: madraka, aparāntaka, ullopyaka, prakarī, oveṇaka, rovindaka, uttara.
ENUMERATE gitakas := [madraka, aparantaka, ullopyaka, prakari, ovenaka, rovindaka, uttara]; PRESCRIBED_IN purvaranga; text_units stretched_by alankaras
enThe seven gitakas... madraka, aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara.vol_I_p102 enAll these forms are prescribed in pūrvaranga... units of text could be stretched by the melody through alankārasvol_I_p102 §is_canonical_dhruva_type
name ∈ closed 5-list
Sourced by
Dhruvās are of five types: prāveśikī, prāsādikī, ākṣepikī, sāntarā, naiṣkrāmikī.
dhruva_types := {praveśikī, prāsādikī, ākṣepikī, sāntarā, naiṣkrāmikī}
enNaiskrāmikī is one of the five types of dhruvās, the other four being prāveśikī, prāsādikī, ākṣepikī and sāntarā.vol_II_p160 §is_consistent_viniyoga
if element in JATI_ACT_VINIYOGA, dramatic_context must match expected act
Sourced by
viniyoga = terme de Pūrva-Mīmāṃsā désignant l'application des mantras védiques dans le yajña; mention d'un rasa dans le viniyoga d'une bhāṣā est phénomène rare
FUNCTION viniyoga_lookup(bhasa):
# term borrowed from Purva-Mimamsa (Vedic mantra application in yajna)
IF bhasa.viniyoga_specifies_rasa:
# rare phenomenon
RETURN {rasa: bhasa.viniyoga.rasa, rarity: TRUE}
RETURN {rasa: None}
enViniyoga is a word occurring in Pūrva-Mīmāmsā, standing for the application of Vedic mantras in yajña.vol_II_p160 enThe mention of a rasa in the viniyoga of a bhāṣā is a rare phenomenon.vol_II_p166 Specific jātis are prescribed for dhruvā of specific acts: gāndhārī and raktagāndhārī for act 3; kaiśikī for act 5.
prescription(dhruva, act=3) := {gandhari, raktagandhari}; prescription(dhruva, act=5) := kaisiki
enapplication is (prescribed) in the dhruvā pertaining to the third actvol_II_p039 + 1 more verbatim
Types (8)
Enums and structures used by operations and constraints. Members are exhaustively those attested in the source.
§Dhruvadataclass(frozen=True)
A dhruvā: metrical text performed in pūrvaranga and within drama,
full module docstring
A dhruvā: metrical text performed in pūrvaranga and within drama,
designed to communicate textual meaning to the listener.
"Dhruvā is a metrical text that is performed in pūrvaranga" (aff#1928);
"dhruvā that is formed in accordance with the (desired) meaning"
(aff#2647); "dhruvā is the sounded one" (aff#2741).
evidence: dhruva_definition_metrical_text (aff#1928, aff#2647, aff#2741),
dhruvas_five_types (aff#1889), dhruva_fourfold_usage (aff#192)Sourced by
Dhruvā is a metrical text performed in pūrvaranga (Sanskrit or non-lexical syllables) and within drama in Prākṛta, communicating desired meaning; called 'the sounded one'.
dhruva := metrical_text(performed_in=purvaranga, language={sanskrit, prescribed_syllables}); within_drama := prakrta; must_communicate_meaning := True; role := sounded_one
enDhruvāis a metrical text that is performed in pūrvarangavol_II_p163 endhruvā that is formed in accordance with the (desired) meaningvol_I_p062 + 1 more verbatim
Dhruvās are of five types: prāveśikī, prāsādikī, ākṣepikī, sāntarā, naiṣkrāmikī.
dhruva_types := {praveśikī, prāsādikī, ākṣepikī, sāntarā, naiṣkrāmikī}
enNaiskrāmikī is one of the five types of dhruvās, the other four being prāveśikī, prāsādikī, ākṣepikī and sāntarā.vol_II_p160 Dhruvā has fourfold usage: complete (full svaras), hexatonic, pentatonic, quadratonic.
varieties(dhruva) := {sampurna, sadava, auduvita, quadratonic}
enfourfold usage of dhruvās (viz. complete, hexatonic, pentatonic, quadratonic)vol_II_p018 §AvakrstaDhruvadataclass(frozen=True)
A sub-form of dhruvā explicitly described in NS V (aff#1861).
full module docstring
A sub-form of dhruvā explicitly described in NS V (aff#1861).
Special because svarāntara applies *only* here (aff#189).
evidence: R_712_svarantara_scope (aff#189),
avakrsta_described_in_NS_V (aff#1861),
dhruva_avakrsta_treatment_reference (aff#190)Sourced by
Svarāntara applies only in avakṛṣṭā dhruvās
RULE: applies(svarantara, context) IFF context = avakrshta_dhruva
enthis should be known in avakṛṣṭā dhruvās alonevol_II_p018 Avakṛṣṭā dhruvās are explained within the treatment of dhruvā in the text.
treatment(avakrsta_dhruva) := chapter(dhruva)
enwe shall explain this within the treatment of dhruvā.vol_II_p018 §Gitakadataclass(frozen=True)
One of the seven gītakas prescribed in pūrvaranga.
full module docstring
One of the seven gītakas prescribed in pūrvaranga.
Each gītaka stretches text-units through alaṅkāras (aff#3138, aff#2649).
evidence: R_2220_gitakas (aff#3137, aff#3138), R_495_gitaka (aff#2649)
Sourced by
Seven gītakas (NS XXXI) prescribed in pūrvaranga: madraka, aparāntaka, ullopyaka, prakarī, oveṇaka, rovindaka, uttara.
ENUMERATE gitakas := [madraka, aparantaka, ullopyaka, prakari, ovenaka, rovindaka, uttara]; PRESCRIBED_IN purvaranga; text_units stretched_by alankaras
enThe seven gitakas... madraka, aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara.vol_I_p102 enAll these forms are prescribed in pūrvaranga... units of text could be stretched by the melody through alankārasvol_I_p102 Alaṅkāras are to be known as subsistent in the seven gītaka forms.
FOR each alankara: subsists_in(seven_gitakas)
enThese alankaras should be known by the wise to be subsistent in the seven (gītaka) forms.vol_I_p062 §Asaritadataclass(frozen=True)
A pūrvaranga form outside the seven gītakas, with three sub-types.
full module docstring
A pūrvaranga form outside the seven gītakas, with three sub-types.
evidence: r_brd_226_asarita_types (aff#1881),
aff#3144 (status: NS-external but important; dance-associated)Sourced by
Āsārita has three types: jyeṣṭha, madhya, kaniṣṭha
FUNCTION asarita_types():
RETURN ['jyestha', 'madhya', 'kanistha']
enThe plural number in āsāritas refers to the three types of āsārita viz.jyeştha, madhya and kaniştha.vol_II_p159 §Vardhamanadataclass(frozen=True)
Pūrvaranga form (also NS-external) where the formation/variation of
full module docstring
Pūrvaranga form (also NS-external) where the formation/variation of
aṁśas of svaras in jātis is to be performed.
evidence: R_227_vardhamana (aff#288), aff#3145 (NS-external importance)
Sourced by
Formation/variation of aṁśas of svaras in jātis should be performed in the text-section of vardhamāna.
AT text_section == vardhamana: PERFORM amsa_kalpana(svaras_of(jati))
§Purvarangadataclass(frozen=True)
The preliminary ritual section before the drama proper: a composite
full module docstring
The preliminary ritual section before the drama proper: a composite
of instrumental rendering, song, dance and dialogue, carrying both
ritualistic and psychological value (aff#1899).
evidence: purvaranga_definition (aff#1899),
R_225_purvaranga_jati_use (aff#286, aff#593, aff#854),
R_2220_gitakas (aff#3138 — seven gītakas prescribed inside)Sourced by
Pūrvaranga incarne le rendu instrumental, chant, danse, dialogue comme préliminaire au drame; valeur rituelle et psychologique.
RECORD purvaranga { components: [instrumental, song, dance, dialogue]; role: preliminary_to_drama; value: [ritualistic, psychological] }
enPūrvaranga has been described in NS IV and V; it embodies instrumental rendering, song, dance, dialogue etc. presented as a preliminary to drama.vol_II_p161 In pūrvaraṅga (preliminary part), śuddhā jātis and śuddhaṣāḍava should be performed
IF section = purvaranga THEN USE suddha_jatis AND USE suddhasadava
sktपूर्वरङ्गे कृते शुद्धा[:] कर्तव्या गीतयोक्तृभिः।vol_II_p026 enśuddhaṣāḍava should be used in the pūrvaraiga.vol_II_p053 + 1 more verbatim
Seven gītakas (NS XXXI) prescribed in pūrvaranga: madraka, aparāntaka, ullopyaka, prakarī, oveṇaka, rovindaka, uttara.
ENUMERATE gitakas := [madraka, aparantaka, ullopyaka, prakari, ovenaka, rovindaka, uttara]; PRESCRIBED_IN purvaranga; text_units stretched_by alankaras
enThe seven gitakas... madraka, aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara.vol_I_p102 enAll these forms are prescribed in pūrvaranga... units of text could be stretched by the melody through alankārasvol_I_p102 §Viniyogadataclass(frozen=True)
A "viniyoga" — the application of a musical element to a dramatic
full module docstring
A "viniyoga" — the application of a musical element to a dramatic
situation. Term borrowed from Pūrva-Mīmāmsā (Vedic mantra application).
"Viniyoga is a term from Pūrva-Mīmāmsā" (aff#1888); "mention of a rasa
in the viniyoga of a bhāṣā is a rare phenomenon" (aff#1965).
evidence: R_c155_viniyoga (aff#1888, aff#1965),
dhruva_jati_act_assignment (aff#419, aff#456, aff#466),
R_782_01 (aff#447)Sourced by
viniyoga = terme de Pūrva-Mīmāṃsā désignant l'application des mantras védiques dans le yajña; mention d'un rasa dans le viniyoga d'une bhāṣā est phénomène rare
FUNCTION viniyoga_lookup(bhasa):
# term borrowed from Purva-Mimamsa (Vedic mantra application in yajna)
IF bhasa.viniyoga_specifies_rasa:
# rare phenomenon
RETURN {rasa: bhasa.viniyoga.rasa, rarity: TRUE}
RETURN {rasa: None}
enViniyoga is a word occurring in Pūrva-Mīmāmsā, standing for the application of Vedic mantras in yajña.vol_II_p160 enThe mention of a rasa in the viniyoga of a bhāṣā is a rare phenomenon.vol_II_p166 Specific jātis are prescribed for dhruvā of specific acts: gāndhārī and raktagāndhārī for act 3; kaiśikī for act 5.
prescription(dhruva, act=3) := {gandhari, raktagandhari}; prescription(dhruva, act=5) := kaisiki
enapplication is (prescribed) in the dhruvā pertaining to the third actvol_II_p039 + 1 more verbatim
Gāndhārodīcyavā applied in dhruvā song of fourth act
FUNCTION viniyoga(Gāndhārodīcyavā):
RETURN {context: 'dhruvā_singing', act: 4}
enIts application (viniyoga) is accepted to be in the singing of dhruvā in the fourth act.vol_II_p038 §BrahmaGranthidataclass(frozen=True)
The brahma-granthi: energy centre situated below the navel, from
full module docstring
The brahma-granthi: energy centre situated below the navel, from
which vital air is propelled to produce the speech-sounds that
underlie melody (vāk).
evidence: R_523_brahma_granthi_def (aff#2112, aff#2917),
R_548_brahmagranthi (aff#2881),
BD_6_1_R021 (aff#1821 — melody ← vāk)Sourced by
brahma-granthi: energy centre / Brahmā's location, situated below the navel
DEFINE brahma_granthi := energy_centre WHERE body_location = 'below_navel'
ALIAS: 'sthana of Brahma', 'Brahma-knot'
sktयदुक्तं ब्रह्मणः स्थानं ब्रह्मग्रन्थिश्च यः स्मृतःvol_I_p012 enBrahma-granthi (lit. the Brahma-knot) is the name of the centre of energy in the human body situated below the navel.vol_I_p085 Brahmagranthi = seat of energy in the human body from which vital air is propelled, generating sounds (low and high) as it ascends.
DEFINE brahmagranthi := seat_of_energy(body); FUNCTION: propels(vital_air) -> ascends -> touches(locations) -> produces(low_and_high_sounds)
envital air is propelled from the seat of energy in the body known as brahmagranthi... touches various locations, producing low and high sounds.vol_I_p082 Melody is a manifestation of the tonal aspect of vāk (speech/voice)
DEFINE melody.ontology:
manifestation_of = 'vak.tonal_aspect'
// vak = speech/utterance
enmelody is a manifestation of the tonal aspect of vākvol_II_p155 Constants (10)
Named values pinned directly to source quotes (numbers, ordered lists, named svaras).
§DHRUVA_SITUATIONdict[DhruvaType, str]
2 values
Sourced by
naiṣkrāmikī dhruvā is associated with exit, used in singing dhruvā of first scene
DEFINE select_dhruva(scene):
IF scene.is_first AND scene.has_exit:
RETURN naiskramiki
ennaiskrāmiki (associated with exit) dhruvā in the first scene (or act).vol_II_p033 Bhinna-ṣaḍja is prescribed for application in prāveśikī dhruvās tied to the hero's entry in specific dramatic situations.
BHINNASHADJA['praveshiki_use'] = 'hero_entry_dhruva'
sktनायकस्य प्रावेशिकीषु अस्य विज?ातीयो निरणानियृत्तस्य (?) विनियोगःvol_II_p057 §JATI_ACT_VINIYOGAdict[str, int]
4 values
Sourced by
Specific jātis are prescribed for dhruvā of specific acts: gāndhārī and raktagāndhārī for act 3; kaiśikī for act 5.
prescription(dhruva, act=3) := {gandhari, raktagandhari}; prescription(dhruva, act=5) := kaisiki
enapplication is (prescribed) in the dhruvā pertaining to the third actvol_II_p039 + 1 more verbatim
Gāndhārodīcyavā applied in dhruvā song of fourth act
FUNCTION viniyoga(Gāndhārodīcyavā):
RETURN {context: 'dhruvā_singing', act: 4}
enIts application (viniyoga) is accepted to be in the singing of dhruvā in the fourth act.vol_II_p038 §PRAVESIKI_JATI_REQUIREDstr
Sourced by
Bhinna-ṣaḍja is prescribed for application in prāveśikī dhruvās tied to the hero's entry in specific dramatic situations.
BHINNASHADJA['praveshiki_use'] = 'hero_entry_dhruva'
sktनायकस्य प्रावेशिकीषु अस्य विज?ातीयो निरणानियृत्तस्य (?) विनियोगःvol_II_p057 §FORBIDDEN_ALANKARAS_IN_DHRUVAfrozenset[str]
2 values
values : syena, bindu
Sourced by
Not all alankāras are desirable in dhruvās due to excessive stretching; syena, bindu and similar should not be used per own measure; ascending svaras should be used.
forbidden_in(dhruva) := {syena, bindu, similar_stretching_alankaras}; prefer(dhruva) := ascending_svaras
enAll of these are not desirable in the dhruvās, because of the excessive 'stretching'vol_I_p062 enthey should not be used (lit. 'done') in the performance of dhruvāsvol_I_p062 + 1 more verbatim
Excessive syllable stretching via alaṅkāras is undesirable in dhruvās because text-meaning comprehension by the listener is primary.
forbid(excessive_stretching(syllable, D)) ; reason := preserve(text_meaning_comprehension)
enexcessive stretching is avowedly undesirable in dhruvās.vol_I_p080 encomprehension of meaning of text by the listener is very important and hence stretching of the syllables of the text is not desirable.vol_I_p102 §DHRUVA_PREFERRED_DIRECTIONstr
Sourced by
Not all alankāras are desirable in dhruvās due to excessive stretching; syena, bindu and similar should not be used per own measure; ascending svaras should be used.
forbidden_in(dhruva) := {syena, bindu, similar_stretching_alankaras}; prefer(dhruva) := ascending_svaras
enAll of these are not desirable in the dhruvās, because of the excessive 'stretching'vol_I_p062 enthey should not be used (lit. 'done') in the performance of dhruvāsvol_I_p062 + 1 more verbatim
§PURVARANGA_COMPONENTStuple[str,...]
4 values
values : instrumental, song, dance, dialogue
Sourced by
Pūrvaranga incarne le rendu instrumental, chant, danse, dialogue comme préliminaire au drame; valeur rituelle et psychologique.
RECORD purvaranga { components: [instrumental, song, dance, dialogue]; role: preliminary_to_drama; value: [ritualistic, psychological] }
enPūrvaranga has been described in NS IV and V; it embodies instrumental rendering, song, dance, dialogue etc. presented as a preliminary to drama.vol_II_p161 §PURVARANGA_VALUE_DIMENSIONStuple[str,...]
2 values
values : ritualistic, psychological
Sourced by
Pūrvaranga incarne le rendu instrumental, chant, danse, dialogue comme préliminaire au drame; valeur rituelle et psychologique.
RECORD purvaranga { components: [instrumental, song, dance, dialogue]; role: preliminary_to_drama; value: [ritualistic, psychological] }
enPūrvaranga has been described in NS IV and V; it embodies instrumental rendering, song, dance, dialogue etc. presented as a preliminary to drama.vol_II_p161 §BRAHMA_GRANTHI_LOCATIONstr
Sourced by
brahma-granthi: energy centre / Brahmā's location, situated below the navel
DEFINE brahma_granthi := energy_centre WHERE body_location = 'below_navel'
ALIAS: 'sthana of Brahma', 'Brahma-knot'
sktयदुक्तं ब्रह्मणः स्थानं ब्रह्मग्रन्थिश्च यः स्मृतःvol_I_p012 enBrahma-granthi (lit. the Brahma-knot) is the name of the centre of energy in the human body situated below the navel.vol_I_p085 §NS_CHAPTER_ATTRIBUTIONdict[int, (Trideva, str)]
3 values
Sourced by
Nāṭyaśāstra structural roles: Brahmā(I) creates, Śiva via Taṇḍu(IV) adds dance, Viṣṇu(XX) acts in four vṛttis
MAP Nāṭyaśāstra:
Chapter_I: Brahmā creates Nāṭyaveda
Chapter_IV: Śiva adds dance via Taṇḍu
Chapter_XX: Viṣṇu acts in four_vṛttis (verbally formulated by Brahmā)
enBrahmā creates the Nātyaveda or Nātyaśāstra (Chapter I), Šiva adds dance through Tandu, his gana (Chapter IV)vol_I_p085 §NATYAVEDA_CONTRIBUTIONdict[str, str]
2 values
Sourced by
In the Nāṭya-Veda, Śiva added dance to theatre; Brahmā is responsible for vāk-based elaboration
DEFINE natyaveda.contributions := {siva: dance_added_to_theatre, brahma: vak_based_elaboration}
enŠiva is said there to have added only dance to theatre. As between Brahmā and Šiva, the former is said to be responsible for all the elaboration based on vākvol_II_p155 Unresolved (6)
Concepts present in the domain but no rule pins their values — listed honestly, never invented.
prāsādikī / ākṣepikī / sāntarā dramatic-situation tagnamed in dhruvas_five_types (aff#1889) but no Brihaddesi 6b rule isolates a specific dramatic situation for these three — only PRAVESIKI (aff#645) and NAISKRAMIKI (aff#365) have sourced situation rules
dhruvā dedicated treatmentaff#1555 (vol_II_p133): 'the treatment of dhruvā is lost in the text, leaving an unfulfilled announcement by the author' — the chapter Mātaṅga promised is missing
viniyoga of jātis in Nāṭyaśāstra itselfR_4p1_496 (aff#1894): the NS does not explicitly discuss viniyoga of jātis — we cannot derive a closed jāti→situation map from NS directly, only the four Brihaddesi-internal entries are kept
rasa in viniyoga of bhāṣāaff#1965 marks this as 'a rare phenomenon' — no closed rasa→bhāṣā table; Viniyoga.rasa is permissive (Optional[str])
Gāndhārodīcyavā jāti categoryaff#447 places its viniyoga in the 4th-act dhruvā song but no rule classifies it among the standard śuddhā jātis — kept as a free-form jāti name in JATI_ACT_VINIYOGA
Mālavī kāku operative roleR_1456_malavi_kaku_definition (aff#1910) defines it as a regional accent of Mālavā but no rule integrates it into dhruvā/gītaka derivation; constant present in docstring only