Sporadic Notes On Some Terms From The Nrttaratnavali

Here's a comprehensive summary of H.C. Bhayani's "Sporadic Notes on Some Terms from the Nṛttaratnāvalī" based on the provided pages:

This paper by H.C. Bhayani focuses on the linguistic origins of technical terms related to drama, dance, and music found in the Nṛttaratnāvalī (NR.), a significant text on Indian performing arts. Bhayani argues that many of these terms are not of Sanskrit origin but rather derive from Prakrit, Apabhraṁśa, or regional languages, and highlights the lack of prior scholarly work on their linguistic aspects.

The author then delves into specific terms, proposing their etymologies:

• Aṅgamotana: Found in the description of Āṅgika Abhinaya (gestural expression), this term signifies "turning the body aside and/or stretching limbs" (as in yawning or stretching). Bhayani connects it to Prakrit forms like hes and hisai, and Apabhraṁśa usage. He also draws a parallel with the Marathi term tanatana meaning "yawning and stretching the limbs."

• Kāṁsyatāla: Mentioned as a musical instrument, Kāṁsyatāla or Kāṁsya refers to cymbals made of bell-metal. Bhayani discusses a textual ambiguity in the manuscript reading (piliin vs. kaṁsyataala), suggesting that the latter is a Sanskritization of a Prakrit term for cymbals.

• Choṭikā: In the context of Desi Nṛtta (regional dance), this term likely refers to rhythmic clapping. Bhayani suggests it's equivalent to the Hindi word chuṭkī, which means "clapping one's fingers."

• Tambāṭṭa: This musical instrument is identified as a copper drum, with a potential connection to Prakrit and Gujarati terms for similar instruments.

• Paisāra: Described as a dance movement in Peraṇī and Deśī Nṛttas, Bhayani proposes that this is an Apabhraṁśa word meaning "entrance." He bases this on its usage in the NR. where the dancer is said to "enter" (praviś) while performing the paisāra. He notes that the verb pesār and the noun pesār are still current in Modern Gujarati.

• Riṅgavaṇī / Riṅghoṇī: Also a dance movement in Peraṇī and Deśī Nṛttas, Bhayani traces these terms to Prakrit words like hiṁra, hiṁrai, hiṁraṅga, and hiṁraṁga meaning "to crawl." He suggests that these could be derived from causal bases or verbal nouns, and that the feminine verbal nouns ending in "-i" are characteristic of the New Indo-Aryan (NIA) stage of languages. He interprets riṅgavaṇī and riṅghoṇī as referring to a "crawling movement."

Finally, Bhayani briefly notes that the correct form for the Desi Nṛtta described after the Deśī Nṛtta is Pekkhana (from Prakrit pekkhaṇa < Sanskrit prekṣaṇa), implying a potential error or alternative spelling in the text.

In essence, Bhayani's paper is a philological examination of specific dance and music terminology from the Nṛttaratnāvalī, demonstrating their non-Sanskritic roots and tracing their evolution through Prakrit, Apabhraṁśa, and into modern regional languages.