Shloka 36
Adhyaya 1 — Jaimini’s Questions on the Mahabharata and the Origin of the Wise Birds
गुणरूपविहीनायाः सिद्धिर्नाट्यस्य नास्ति वै ।
चार्वधिष्ठानवन्नृत्यं नृत्यमन्यद्विडम्बनम् ॥
guṇarūpavihīnāyāḥ siddhir nāṭyasya nāsti vai |
cārv-adhiṣṭhāna-van nṛtyaṃ nṛtyam anyad viḍambanam ||
Quả thật, nāṭya (kịch nghệ) không thể thành tựu nếu thiếu phẩm chất và hình thức đúng đắn. Nṛtya (vũ điệu) không có nền tảng duyên dáng thì chẳng phải là múa; chỉ là sự bắt chước, trò nhại mà thôi.
{ "primaryRasa": "shanta", "secondaryRasa": "hasya", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
FAQs
Excellence requires both inner substance (guṇa) and proper expression/structure (rūpa). Without a sound basis (adhiṣṭhāna)—training, rasa-awareness, and disciplined execution—performance becomes empty display. Ethically, the verse discourages superficial imitation and promotes integrity in practice: true art is not mere motion, but meaningful, well-founded expression.
This verse is not primarily a Pancalakṣaṇa element (sarga, pratisarga, vaṃśa, manvantara, vaṃśānucarita). It belongs to ancillary didactic material (upadeśa) within the Purāṇic narrative frame, offering normative guidance rather than cosmological or genealogical enumeration.
On a symbolic level, ‘nāṭya’ can be read as life-performance: without guṇa (inner virtues) and rūpa (right conduct/ordered expression), one’s ‘siddhi’ does not arise. ‘Nṛtya’ without a ‘charming foundation’ suggests spiritual practice without śāstra-grounding and inner refinement—appearing active yet lacking transformative essence—thus becoming viḍambana, a hollow imitation of realization.