1. Abhinaya Darpanam

UNIVERSAL LIBRARY OU 166789 LIBRARY UNIVERSAL

OSMANIA UNIVERSITY LIBRARY

Call 793.31 Accession No. 37206 Author G42N Nam di kes vara . Title Athinaya olar pauamn This book should be returned on of before the date last marked below. 195

NANDIKESVARA'S

ABHINAYADARPANAM

A MANUAL OF GESTURE AND POSTURE USED IN HINDU DANCE AND DRAMA

English Translation, Notes and the Text critically edited for the first time from original manuscripts with Introduction

BY MANOMOHAN GHOSH, M.A., PH.D., KĀVYATĪRTHA.

With Illustrations

SECOND EDITION (Revised)

EPI.KANAIAAA ΜΟΥΚΟΠΑΔΙΑΙΑ

FIRMA K. L. MUKHOPADHYAY

CALCUTTA. 1957

Published by Firma K. L. Mukhopadhyay 6/1A, Banchharam Akrur's Lane, Calcutta.

Price Rs. 10'00

Printed by J. C. Sarkhel, at the Calcutta Oriental Press Private Limited, 9 Panchanan Ghose Lane, Calcutta 9.

PREFACE TO THE SECOND EDITION

The first edition of the Abhinayadarpanam published twentythree years ago was welcomed by all interested persons including the late A. K. Coomaraswamy whose translation of the work named The Mirror of Gesture (Cambridge, Mass. 1917) directed my attention to this Sanskrit text. Still for various reasons I could not think of publishing its second edition even after it was out of print for a long time, and there was some demand for it. One such reason and an important one too, was that I then engaged myself in studying the Natyasastra and was planning a translation of this important work, and thought that this would be of greater use to readers interes- ted in the subject. Coomaraswamy also published in the meantime a revised edition of The Mirror of Gesture (New York, 1936) and utilised my work for the revision. This also relieved me for the time being from the urgency of undertaking a second edition. But, for the last three or four years, even after publication of the first volume of the translation of the Natyasastra, Calcutta, 1951, I have been receiving earnest enquiries from various quarters whether a copy of the Abhinayadarpanam may still be available. Some of the enquirers gave me to understand that they had read the translation of the Natyasastra but still required a copy of the Abhinaya- darpanam. Hence, I could no longer remain indifferent in this regard, and have come gradually to believe that a new edition of this work may remove a real want of a class of readers. It seemed that its very brevity while it dealt with all essential gestures and postures used in Hindu dance and drama, had made it something like a favourite of the student of these arts. My hesitation about publishing a second edition was thus finally overcome. On taking up the prepa- ration of a copy for the press I found that some of the views expressed in the introduction and notes have undergone some change during the last twentythree years, and my idea about the need of readers of the book is also no longer quite the same. So I have slightly modified

iv

the introduction and notes by making necessary emendation and omission here and there. It may be hoped that these changes have added to its usefulness. If some readers may still require additional information on certain topics they are requested to refer very kindly to the translation of the Natyasastra which, treats of all relevant matters in much greater detail.

31st March, 1957. MANOMOHAN GHOSH

CONTENTS

Subjects Page

Preface to the Second Edition ... ...

Notes on Illustrations ... vii ...

Abbreviations and Symbols ... viii ... ..

INTRODUCTION .. ... ... I

(1) PRELIMINARY .. ... I

I. The Present Edition .. ... I

2. The Translation .. ... 2

3. Critical Apparatus .. ... ... 2

4. Reconstruction .. ... 5

(2) ABHINAYA: ITS MEANING 6 ... ...

5. Drama and Hindu Plays ... ... 6

6. Object of Hindu Plays .. ... 7

7. The Technique of Plays ... ... 8

8. Abhinaya 8 ... ... ...

9. Importance of the Study of Abhinaya 14

(3) ABHINAYA: ITS HISTORY ... ... I7

10. The Origin of Abbinaya ... 17

II. The Development of Abhinaya ... ... 20

I2. The Literature on Abhinaya ... ... 22

(4) ABHINAYADARPANA ... ... ... 24

13. Scope of the work ... ... ... 24

14. The Abhinayadarpana and the

Bharata-Nātyaśāstra ... .. 26

15. The Abhinayadarpana and the Bharatainava ... 29

16. The Abhinayadatpana and the

Samgitaratnākara .. ... ... 3I

vi

17. The Style and the Method of Treatment ...

18. The Author of the work ... 32

19. The Place of Nandikesvara ... ... 33

20. The Time of Nandikesvara ... ... 33 21. The Antiquity of the work ... .. 34 TRANSLATION & NOTES ... ... .. 39 ILLUSTRATIONS ... 73 THE SANSKRIT TEXT 8I ... ..

Select Glossary .. ... ... 145 Corrections .. ... ... 148 Index ... ... ... 149

NOTES ON ILLUSTRATIONS

In Page 73-Patāka, Tripatāka, Ardhapatāka, Kartarīmukha, Mayūra, Ardhacandra, Arāla, Šukatunda, Musți. 74-Sikhara, Kapittha, Kațakāmukha, Sūcī, Candrakalā, Padmakośa, Sarpaśīrsa, Mrgaśīrsa, Simhamukha (side). 75-Kāngula (side), Alapadma, Catura (side), Bhramara, Hamsasya, Hamsapaksa, Sandamsa, Mukul, Tamra- cūda. 76- Triśūla, Vyaghra, Ardhasūcī, Kațaka, Palli, Anjali, Kapota, Karkața, Puspapuța. 77-Šivalińga, Kațakāvardhana, Kartarīsvastika, Šakața, Samkha, Cakra, Samputa, Pāśa. 78 - Kūrma, Matsya, Kīlaka, Varāha, Garuda, Bheruņda, Nāgabandha, Khațvā. 79-Kangula (front), Simhamukha (front), Catura (front) and Svastika. N.B .- For Simbamukha see pp. 74 and 79 and for Kangula, Catura and Svastika see pp. 75 and 79.

ABBREVIATIONS AND SYMBOLS

A. = Manuscript of the text in the Adyar Library. AD = Abhinayadarpaņa B. = Manuscript of the Bharatasastra Grantha BhA = Bharatārņava. Ch. ed =Chowktamba Edition. I. = Manuscript known as the Abhinayadarpanam from the India Office Library. Mbh = Mahabharata. MG = The Mirror of Gesture, ed. Coomaraswamy and Duggirala (Cambridge, Mass.) 1917. NŚ = Nātyašāstra. P. = Manuscript of the so-called Bharatarnava from Poona.

R. = Rāmāyaņa. SR == Samgītaratnākara. V. =Manuscript of the text in Visvabharati. Note-Numerals in the Select Glossary refer to the number of ślokas and their translation.

İNTRODUCTION

(1) I. THE PRESENT EDITION. Though the Nataka a typical form Hindu drama, forms, a large section of Sanskrit literature, our knowledge about the way in which the art of producing a play developed in India, is still very inadequate.1 This is due mostly to a lack of sufficient materials. The only work which gives us a clear and comprehensive idea of the Hindu stage is the Natyasastra. Yet for the study of history of the development of ancient Indian thea- trical art, this work, though very important in many respects, is not quite sufficient by itself. We need therefore make no apology in offer- ing for the first time a critical edition of Nandikesvara's Abhinaya- darpana which exclusively treats of gestures in a manner rather different from the NS., which also has these among other things as its subjects of treatment. The Mirror of Gesture published with an illuminating introduction by A. K. Coomaraswamy, claims to be a translation of this work. But on comparing it with our text, it has been found out that the text used in preparing the MG is not exactly identical with the AD, though the former has absorbed a major part of the latter work and supplemented the same by making occasional quotations from other works of the same class (see § 2). And an important feature of our text is its treatment of items like postures and movements etc. dependent on feet, such as Mandala, Sthānaka, Cārī and Gati, which although omitted by the original of the MG, is indispensably necessary for the complete understanding of Hindu histrionic art. The MG, though it does not fully represent the AD, has been a very useful contribution to our knowledge regarding the production of

1 This was written in 1934. Conditions have changed since the publica- tion of the translation of the NS, in 1951 by the Asiatic Society. 2 For the meaning of this term and the following ones, see .Select Glossary' at the end.

2 ABHINAYADARPAŅAM

Hindu plays. The present edited text of the AD will, it may be hoped, supplement such a knowledge; for in it some fresh materials have been brought to light for the first time.

2. THE TRANSLATION. The translation has not been made very literal. Students of Sanskrit will however experience little difficulty about the language of the AD. A few words which have been used in it with special import and may for this reason offer difficulty to readers, have been explained in the Select Glossary.

3. CRITICAL APPARATUS. The present text has been reconstruc- ted from five manuscripts, of which two are complete and the rest fragmentary. The two complete MSS, do not fully agree with each other regarding the order in which various topics have been treated. In this respect the fragmentary MSS, also vary with the complete ones as well as among themselves. The following description of the MSS, will among other things notice this mutual variation. M. A Devanagarī transcript of the only complete MS, (in the Telugu script) of the work (No. 304 of the collection made in 1894) in the possession of the Madras Government Oriental MSS, Library (vide p. xxix of the Report of a Search of the Sanskrit and Tamil MSS for the year 1893-1894 by Sheshagiri Shastri). V. A plam-leaf MS (fairly complete) in the Telugu script, in the possession of the Visvabharati, Santiniketan. It bears the number 3038. Its size is 16'2" x I" and it has 29 leaves. This MS puts the bandhava-hasta-laksanam last of all and omits the navagrahahasta- lakşanam, navarasāh and avasthābhedab (dasāvasthāb). And moreover its treatment of the nrttahastab and pada-bhedab is incomplete. A.1 A palm leaf MS (not complete) in the Telugu script with a Telugu tika from the Adyar Library. It has 53 leaves. It bears the number XXII. C. 25. Its size is 5.8" x I'4". A.2 Another palm-leaf MS (not complete) in the Telugu script from the Adyar Library. It bears the number XXII. C. 38. It size is 8.5" x 1'2".

INTRODUCTION 3

A.3 A incomplete paper MS in Telugu script from the Adyar Library. It bears the number VIII. J. 9. Its size is 9.3" x 6.8" and has 14 pages. Besides these five MSS of the AD the following printed work and MSS have been utilized for the reconstruction of the text: MG. The Mirror of Gesture (Cambridge, Mass., 1917) edited by A. K. Coomaraswamy and Duggirala Gopalakrishnayya. This work is a translation of the Skt. text briefly described before (see § 1). It is based on the second edition (in Telugu character) of the original published under the editorship of Tiruvenkatacari of Nadamangalam (MG. p. 10). With reference to the passages it has in common with the AD, the original of MG in places seems to suffer from textual corruptions. But in spite of such defects this work renders valuable aid in determining the position of the Navagrabahastas which appear only in M (see § 4). It arranges the subject of its treatment in the following order: (Items not occurring in the reconstructed text of the AD have been marked with asterisks.)

Salutations, *Pātrasya bahib-prāņāb, *A dialogue between Indra and *Pātrasya antab-prāņāb, Nandikeśvara, *Nīcanātya, Variety of dances, *Nīca-nātya-darsana-phalam, Eulogy of Nātya, Nātya-kramab, Definition of Natya etc., Āngikābbinaya, Occasion for dances, Nine movements of the Head, Sabbā etc., *Twenty-four movements of the *Seven limbs of the Sabha, Head according to another book, Sabhānāyaka, Eight Glances, Ministers, *Forty-four Glances according to Ranga, another book, Pātralaksana, *Six movements of the Brow Patra's disqualifications, according to another book, Bells, Neck movements, *Nātyalaksaņa, Hasta-prānab,

4 ABHINAYADARPAŅAM

Hasta-bhādab, Hands of planets, Twenty-eight Asamyuta bastas Hands of the Ten Avataras, (with alternative definitions for 24 Hands of the four castes, hands from another book), The following have been taken Twenty-three Samyuta-hastas, from another book: The same from another book, *Hands of famous emperors, famous Twenty-seven Samyuta bastas rivers, seven upper worlds, seven form another book, lower worlds, Eleven hands of relationship, Hands indicating trees, land ani- Hands of gods and goddesses, mals, birds and water animals.

I. From the India Office Library we received two MSS. (nos, 3028 and 3090) named AD. One of them is in the Telugu script and the other is a Devanagari transcript of the same. On examination it appeared to be a work dealing with abhinaya and tala belonging probably to the school of Anjaneya cited as an authority on samgita in various works; for, the end of the abhinaya portion of this work, reads as iti a(a)njaneya-matam. But this abhinaya portion is frangmentary and seems to be a compilation from different sources. Ślokas 90-95,96, 97b-98a, 101-102, 104-105 of the AD occur in it with a few variations worthy of notice. P. This is the MS no. 42 of the Appendix Collection A (1916-18) of the Government MSS Library with the Bhandarkar Oriental Research Institute, Poona. It has been entered in the Catalogue of the Institute published in 1925 as the Bharatārnava. This fact led to an examination of this MS, for the AD, according to a passage in the MG, was an abridgment of the Bharatarnava. The examination of the MS however revealed the fact that the work though it possibly had some connexion with the BhA, was not itself the same. (For details see § 5) In spite of this, the MS which has certain passages in common with AD, was of help in reconstructing our text. B. This is the MS no. 40 of the Appendix Collection A. (1916- 1918) of the Govt. MSS Library placed with the B.O.R. Institute, Poona. It has been named in the Catalogue of MSS published by the

INTRODUCTION 5

Institute as the Bharata-sastra-grantha. This work appears to be a curious complilation of passages from various works including the NS.

Besides quotations from different works which this MS names, it contains passages from unmentioned sources which include Dandin and Nandikesvara. The portions taken from the latter author's AD consist of viniyogas of the Asamyuta-hastas. These offer some variants. The author of this Bharata-sastragrantha appears to have been a com- mentator of the Prasanna-raghava; for he refers to himself as follows: udāttādi-svarūpan-tu asmatkrta-prasanna-rāghava-țīkāyām.

4. RECONSTRUCTION. The present edition of the text of the AD has been based principally on V, but the navagraha-basta- laksana which occurs only in M, has been accepted as belonging to the work. Support in this matter has been available from the MG which does not ascribe it to granthantara though all its borrowings from works other than the AD have been prefixed with such ascrip- tions. The fact that the planet-worship in India was not later than the early centuries of the Christian era3 when the gods of the Puranic pantheon were already eslablished, may also give us additional justi- fication to consider the nava-graha-hasta-laksana as belonging to the original AD. For we do not know why planetary deities should be considered later than other deities who in their Puranic character were not probably very old. And as some of the planets have been men- tioned in the Atharva-veda, planetary deities may in fact be as old as some of the deities of the Vedic pantheon.4 Passages on rasa and avastha which occur only in M. and have no support from MG, have not been included in the edited text. They have been separately shown at the end.

3 Kaye. Hindu Astronomy, Calcutta, 1924, p. 107. 4 lbid., pp. 12-13.

(2)

ABHINAYA: ITS MEANING.

5. DRAMA AND THE HINDU PLAY. To understand pro- perly the meaning of the word abhinaya (roughly speaking, the word for 'histrionic art' in Sanskrit) it is necessary to have a clear notion about the nature and spirit of Hindu plays which are often called 'dramas.' A Hindu play which is called a drsya or preksya kāvya or natya or rupaka in Sanskrit, though it has some superficial resemblance to drama, is not identical with the same thing; rather there is a consi- derable difference between the two. The names such as rupa and drsya kavya which include all kinds of Hindu plays, give us clue to the difference. A play is called rūpa or rūpaka, i. e., 'having-a- form' on account of its visibility (drsyata).1 And the term rupaka is applied to a play on the analogy of a figure of a speech of the same (i.e., rūpaka or metaphor), because in a play we assume a non-distinc- tion between characters (dramatis personae) and the actors representing them .? And drsya (preksya) kavya means a poem which is to be seen i.e., a poetical composition capable of being enjoyed not by its reading, but from its stage representation. In earlier times it was called preksa. The idea of action seems to be missing altogether in these names. And the very nature of a Hindu play discloses its relative neglect of action.3 The word natya, which is also a synonym for a rūpa or drsya kāvya and points to its lyrical nature, throws further light on the point. In accordance with the etymological meaning of this word which is derived from the root nat (= nrt) meaning 'to dance,' Hindu plays are compositions in which rhythm and lyrical elements preponderate, and action is given a very minor scope.s

I Dasarūpa, 1. 8. 2 Rasārnava-sudbākara, Trivandrum (III, 2.) p. 209, also Daśarūpa, I, 9. 3 S. Rice. The Sanskrit Drama in Indian Arts and Letters. Vol. 1, Pp. 96-97. 102, 4 Levi, Le théâtra indian, pp. 29-30. S. Rice, op. cit., p. 89.

INTRODUCTION

All these go to show that realism in the ordinary sense has no place in Hindu plays. And after a closer examination of them, one is sure to discover their suggestive character and the consequent demand on the imagination of the spectators.5 Those who are accustomed to realism in art may call that demand inordinate, but Hindu theorists on the subject believe that the highest aesthetic enjoy- ment is not possible without giving the greatest possible scope to imagination, and are therefore in favour of avoiding realism. For, no amount of making things appear as real to spectators, can be successful unless the latter call imagination to their aid. In this connexion we may quote Sylvain Levi's apt remark in translation.6 "Indian genius produced a new art which the word rasa summarizes and symbolizes, and which condenses it in one brief formula: 'the poet does not express but he suggests". Having regard to these characteristics of Hindu plays, they may perhaps suitably be called 'lyrico-dramatic spectacles,' but not 'dramas' from which their aim and object as well as the attitude of their actors and spectators greatly differ.

6. THE OBJECT OF HINDU PLAYS. To evoke rasa in the spectator is the aim and object of the Hindu play-wright. The term rasa has been translated as 'flavour,' 'Sentiment' or 'poetic sentiment'. These translations, however, are of not much help to anyone, unless an explanation is offered. And the nature and characteristic of rasa will be quite clear when the relative position of spectators and actors, is considered. "We see on the stage, for instance, Rama, and Sita who excites his affection, aided by suitable circumstances of time and place; this affection in intimated by speech and gesture alike, which indicate both dominant emotion of love and its transient shapes in the various stages of love requited. The spectacle evokes in the mind of the spectator impressions of the emotion of love which experience has planted there, and this ideal and generic excitation of the emotion

5 S. Rice, op. cit., p. 102. 6 Le theâtra indien, p. 417.

8 ABHINAYADARPAŅAM

produces in him that sense of joy which is known as Sentiment (rasa). The fullness of the enjoyment depends essentially on the nature and experience of the spectator, to whom it falls to identify himself with the hero or any other character, and thus to experience in ideal form his emotions and feelings. He may even succeed in his effort to the extent that he weeps real tears, but the Sentiment is still one of exquisite joy. We may compare the thrill of pleasure which the most terrifying narration excites in us, and we are all conscious of the sweet- ness of sad tales."7.

7. THE TECHNIQUE OF: PLAYS. Before considering the literary technique as well as the technique of representation (abhinaya), the two means by which plays evoke rasa, attention should be paid to their main guiding principles. It is the doctrine of suggestion that lies at the basis of Hindu plays and indeed of all other arts of India. Hence it is found that a Hindu playwright's method of depicting a character, is different from that of his fellow-artist in the West. Instead of giving prominence to his varied activities, the Hindu play- wright would build up the character by mentioning characteristic emotional complexes suggestive of it as a whole.8 That verses of varied forms are abundantly used in Hindu plays, is simply for the purpose of calling forth emotion by means of the lyrical element present in their musical recitation.

8. ABHINAYA. The Sanskrit word abhinaya is made up of the prefix abhi 'towards' and the root ni 'to carry'. Thus it means 'representing (carrying) a play to (towards) spectators'.9 According to the Sahitya-darpana that representation is called the imitation (or visualisation) of the conditions (physical and mental) of the characters in a drama.10 But the aesthetic significance of the imitation will

7 A. B. Keith, Sanskrit Drama, p. 321, (The italics in the quotation are ours). 8 S. Rice, op. cit., p. 102. 9 NŠ. VIII. 6; 10 bhaved abhinayo' vasthānukarab, ch, VI. 2.

ÍNTRODUCTION 9

hot be clear unless the object of plays, viz., the evoking of rasa in the spectators, is taken into consideration, Hence we see Mallinatha, the famous commentator, defining abbinaya as movements for sugges- ting rasa (Sentiment) and bhava (State)11. For this reason, the word abhinaya may be said to be the means for disclosing to spectators the beauty or manifold pleasurable aspects of the play which cannot be adequately appreciated by simply reading its text. In consideration of all these facts, abhinaya may be termed the 'suggestive imitation' of the various moods and emotional states of characters in a play. Therefore, in spite of an apparent similarity between abhinaya and acting, the latter term, whenever it is used in connection with Hindu plays, does not mean quite the same thing. From the word nata (the Sanskrit word for 'actor' primarily meaning 'a dancer') and such words as natayati (derived from the same root nat meaning 'to dance') it appears that the ancient Hindus had their plays 'danced' and not 'acted'. This is corroborated by the evidence cf the Harivamsa (Visnuparva, ch. 93, śl. 28.) which uses an expression like nātakam nanrtub (danced a play). Rājaśekhara (c. 1oth century A.C.) too, in his prologue to the Karpura-manjari has an expression like 'sattaam naccidavvam' ( a Sattaka is to be danced). Hence in course of the abhinaya of a play which is but a poem to be seen (drsya-kāvya), rhythm in all its possible aspects plays an important part. And its rhythmical character conveyed through abhinaya and dance, made it suitable for the suggestion of the deepest and the most tender emotions which tend to evoke rasa (Sentiment) in spectators. Depicting narratives by meanes of dance and abbinaya, is still to be found in the Saiva ritualistic dances of the Nilapuja found in Bengal.1a The peoples of Indonesia (Java and Bali) which can trace the history of their connection with India to a very remote past, still depict stories from the Mahabharata and Puranas by means of dance.

abhinayo rasabhāvādi-vyanjaka-cestā viseșab on Kirāta, X. 42. 12 A popular testival in honour of Siva (Nilakantha) in the closing week of the Bengali year,

2

i0 ABHİNAYADARPAŅAM

Rabindranath Tagore during his visit to this country noticed such dances. Of this he writes that "in their plays and musical perfor- mances, from beginning to end,-their movements, battle-scenes, love-scenes, even their clowning,-everything is danced. One who knows their peculiar dance-language,13 can follow the story with the help of words. The other day we witnessed a dance in the Rajah's palace which, we are told, represented the story of Salva and Satya- vatĩ, making it clear that not only emotion but also narration, is transmuted into dance by them.14 In that connection Tagore very clearly explains how rhythm and gestures, the two elements of dance may convey the beauty of a narrative to spectators, "The events of human life," he says, "in their outward aspect, are all displayed as movement. So, when any event of outstanding importance has to be portrayed, it is but natural that its movement should be given a corres- ponding dignity by the addition of rhythmic grace. The dance here is just such giving of rhythmic prominence to the events of a story, keeping in the background, or leaving altogether, the words. The Puranic legends, which in poetry, have to make their appeal only through the ear, are here addressed to the eye. Of the words that are the vehicle of poetry, the rhythm is governed by the natural laws of music, but the meaning is artificial, depending on sound-symbols mutually adopted by men. Both are necessary for the poem. In the dance of these people, likewise the rhythm alone is not sufficient for this kind of dance. Their tongue is silent, but the whole body does the talking by signs as well as by movements, Nothing could be more foreign to any actual field of battle than this form they give to their dance-warfare. But if some fairy land had been governed by the rule that fighting must be done rhythmically, a false step entail- ing defeat, then this is the kind of battle that would have been waged there. If anyone is inclined to smile at such lack of realism, he

13 Angika abhinaya or gesture is an essential part of this dance-language.

April, pp, 2-3. 14 Letters from Java. The Visvabharati Quarterly, Vol. 6 No. 1, 1928,

INTRODUCTION 11

needs must also laugh at Shakespeare, whose heroes not only fight in metre, but even die to it."15 In addition to this, Tagore refers to the historical dances of Japan and writes that, "There words are also used, but all the movements and gestures are of the dance type, and they have a wonderful appeal. In dramas where the words are metrical, it is surely incon- sistent to leave the movements realistic." Then regarding Hindu dramas he says that "our very words for dramas or play, nataka, shows that dance was its essential feature.'16 Unless we start with the conception that abhinaya is something allied to dancing, and meant for suggesting ideas and emotions to spectators, we shall never be able to appreciate such merit as Hindu plays might possess. Besides this, one should consider in detail the four different branches into which abhinaya has been divi- ded, viz, āngika, vācika, āhārya, sāttvika.17 (i) Āngika abhinaya is the use of artistic gestures. Its rules regulate the actors' bearing, walk and movements of features and limbs.18 But consistently with the object which Hindu playes have, the forms of gestures and movements prescribed in manuals of abhi- naya (such as the AD) are not quite realistic, and besides they are often made with reference to imaginary objects, For instance, the way of holding a flower by a beau, is not that in which it is ordinari- ly held, while a gesture may show that a bee is wortying a maiden though no actual bee is visible, and a particular movement of the body may show the ascending or descending from a place which may not actually be represented on the stage.1º Abbinaya means not only carrying out occasional directions of the playwright as regards the various special movements and positions which the dramastis personae are to assume, but also suggesting effec- tively to spectators the full aesthetic import of a play by suitably

15 Ibid. 16 Ibid. 17 NŚ. VIII. 9 ; AD. 39 8 NS. VIII. 11-15 ; AD. 40. 19 Jyotrindranath Thakur, Prabandba-mañjari, P. 305.

12 ABHINAYADARPAŅAM

reproducing along with his speech or song, appropriate gestures codi- fied in manuals of abhinaya. Even in carrying out the directions of the playwright the actors are to use gestures etc., as laid down in those manuals. All this will be elear from the following directions of Raghavabhatta given in his commentary of the Sakuntala (ed. Nirnayasagara), for depicting the vrksa-secana (watering plants), bhramara-badba (an attack by a bee) and visada (grief) etc. In these he has used the SR, a work later than the AD. (vide § 18). Rghava- bhatta's words are quoted below in translation. Watering plants (vrksa-secana)-slightly bending the body with the Avadhuta hcad and the Adhomukha face. After holding near the shoulder the Nalini and the Padmakosa hands. Attack by a bee (bhramara-badba)-with the Vidhuta head, the Kampita lips and the turned down Tripataka hand near the mouth. Bashfulness in love-making (srngaralajja)-with the Paravrtta head and the Lajjita eye. Despair (visada)-with the Dhuta head and the Visanna eye. Avoiding an attempt to raise one's chin (mukhonnayana-parihara) with the Paravrtta head and the Viniguhita lips. Plucking of Aowers (puspavacayana)-with the Uttana Arala left hand and the Hamsasya right hand taken side-ways. Making toilet (prasadhana)-putting the Tilaka mark on the fore- head with the ringfinger of the Tripataka hand, wearing rhe garland with the Paranmukha and the Sandamsa (right and left) hands, putt- ing on Tatakas (ornament of upper arms) and ear-rings with the two Bhramara hands, and painting lac-dye on the feet with the Kartari- mukha hand, and wearing a ring with Hamsasya and the Cyuta-san- damśa hands. Obstacle in walking (gatibhanga)-with the Orudhrta Cari. Coming down from a high place (avatarana)-with the Gangavata- raņa. Mounting a chariot (rathadhirohana)-with the Ordhavajanu Carī. The code of gestures and movements prescribed for the different limbs was binding on the nata; so much so, that in the matter of

INTRODUCTION 13

gesticulation the term 'originality' can scarcely be applied to him, for what is required of him, is not his own interpretation of a play, but a representation of the same in accordance with the prescribed rules. The ideal Hindu playwright, as far as the language and the development of the plot are concerned, is to leave no obscurity which would require the interpretation of the nata, but in building up his characters, he (i. e., the playwright) is to touch only those characteris- tic moods which, properly represented, would suggest the full aesthe- tic value he desires to impart to them. To the nata the play is, as it were, a lyrical poem, and the abhinaya manuals, an account of the notes to be used in setting the former to music. As the musician has neither the liberty nor the necessity of inventing new notes or haphazardly applying the existing ones, so the nata has no room for being original by inventing gestures etc .. for that is the business of masters (acarya) of the art who know the theory and practice throughly.20 In consequence of this, the specta- tors were spared the necessity of putting up with fanciful interpreta- tions which individual natas might make at their cost. In spite of this the nata had sufficient scope for free grace and fitting variations on the usual play of limbs. (ii) Vācika abbinaya may roughly be called the use of proper pronunciation, modulation of voice, accent and rhythm.21 According to some Hindu theorists it occupies the first place in a play, because all other branches of abhinaya viz., angika, āhārya and sāttvika, depen- ded more on it than it does on them.22 But the meaning which they have for this vacika abbinaya is more extensive than the modern rules of proper dramatic delivery. The use of different dialects and proper forms of address to persons according to their rank or social status are also included. These rules of the Hindu theorists are

20 A. K. Coomaraswamy, The Mirror of Gesture, pp. 3-4. 21 NS. XVIII-XIX. 22 Ramdas Sen, Aitibasika rahasya (Bengali) Part II, second Edition, Cal. 1885, P. 97.

14 ABHINAYADARPAŅAM

very elaborate and well-adapted to bring out the lyrical qualities of a play. (iii) Aharya abhinaya. The costume and the appearance of the nata help him in his work. They reveal the sex, race, sect or class, social or other position of the character represented. The part which costume and physical decorations etc., play, is called the abārya abhinaya.23 (iv) Sāttvika abhinaya. This is the representation of eight psy- chic conditions arising from the vital principle itself. These eight conditions are: motionlessness, perspiration, horripilation, change of voice, trembling, change of colour, tears and fainting.24 But as these are sometimes to be expressed with the help of suitable gestures or movements of limbs, some modern scholars could, however, discover no distinction between the sāttvika and angika abhinayas.25 But their confusion is due to overlooking the fact that while the angika abhinaya is mostly on external things, and represents ideas conveyed by words, and intellectual changes in a man, the sāttvika abhinaya is a thing expressing the psyche; because the eight conditions enumer- ated above proceed from the inmost recess of the soul and pervade the whole body. Owing to their distinctive and deep-seated nature, they (i. e. the eight conditions) from a separate branch of the abhinaya, But in spite of this possible distinction, it cannot be denied that the sāttvika abhinaya has every chance of degenerating into the āngika abhinaya when the nata lacks the genius as well as proper training in his art.

9. IMPORTANCE OF THE STUDY OF ABHINAYA. It has been rightly observed that no play is more than potentially such till it is acted. Hence in order to understand a play properly, one must see it produced on the stage in the manner in which the author designed it to be done. If this, however, be not possible one should at least know

23 Ramdas Sen op. cit., pP. 97-98, NS. XXIII, 2-3. 24 Ramdas Sen. op. cit., p. 93, NS. XXIV, 1-2. 25 Cf. Keith. op. cit., pP. 367-368,

İNTRODUCTION 15

thoroughly that particular manner, otherwise there is every chance of misunderstanding it, in spite of sympathetic imagination or artistic taste. The Hindu plays, as far as our knowledge goes, cannot be said to have been properly appreciated by modern critics, merely because they were studied without adequate attention to the technique of their representation on the stage. Those who have made any generalisation on their value, depended merely on the treatises on the literary technique of those plays (such as the Dasarupa or the Sahityadarpana), which themselves are not fully intelligible unless they are read along with treatises on abhinaya and other branches of the prayoga-vijnana (art of production). That this latter subject has much to do with the proper appreciation of Hindu plays has been recognized by few scholars and emphasized by none. The few stage-conventions which some of them picked out as grotesque or meaningless, were a hindrance rather than a help to such an appreciation. Hence it is clear that the Hindu art of abhinaya requires to be investigated more carefully. And its practical details as well as the principles underlying them should be subjected to a most exhaustive scrutiny. (i) Abhinaya and Painting. In the Visnu-dharmottara,26 it has been said that the canons of painting are difficult to be understood without an acquaintance with the canons of dancing. This remark is not intelligible to one who is not aware of the fact that dancing includes abhinaya, and was to a great extent responsible for its origin, although in later times it came to be associated more or less exclusively with the performance of natyas. An acquaintance with abhinaya, in fact, gives the student of painting a more or less definite idea about the postures of men according to changes (physical, mental and spirit- ual) to which they are subjected by the different objects surrounding them. The value of a treatise on abhinaya lies in the fact that it presents to us a more or less systematic and elaborate study of the possible artistic gestures which, when reproduced on the stage by natas, may evoke rasa in the spectators. Anyone who has some idea about

26 Ed. Venkatesvara, Bombay, 1912. Part III, ch, 2 §l. 4.

16 ABHINAYADARPAŅAM

the technique of painting will understand how the descriptions of varying gestures by head, hands eyes, lips and feet etc., would help a student of painting to acquire skill in depicting the human form in its endless variety of poses. In fact the canons of painting such as are given in the Visnu-dharamottara and the Abhilasitāratha-cintāmani, give nothing but the anatomy of the human form considered in its motionless condition, while the canons of dancing (which includes abhinaya) consider the human form in its rhythmic movement for the purpose of evoking some rasa, and can thus vivify the knowledge of that anatomy by revealing its artistic possibilities. (ii) Abhinaya and Sculpture, The Visnu-dharmottara27 is also of opinion that one who does not know the canons of painting, cannot be acquainted with the canons of making images. This will be clear to one who has understood the relation between painting and abhinaya given above. And a study of the AD may be expected to remove all doubt in this matter.

27 Part III ch. 2. In connection with rules for making images the Sama- ranganasutradhara (vol. II pp. 301ff. of the GOS Edition) describes the hand gestures etc., almost in the language of the NS (IX. 4ff),

(3) ABHINAYA: ITS HISTORY.

10. THE ORIGIN OF ABHINAYA. (a) 'Abhinaya, though closely connected with rupakas or natyas, is not restricted to them alone in its application. An essential part of nrtya (pantomimic dance) is abhinaya; and gītas (songs) are made perfect when they are accompain- ed by proper angika (physical) gestures to suggest their spirit. Hence it is natural that abhinaya apart from natya should have its own history to which gita (song), nrtta (dance) and nrtya contributed their part. Not only the composite nature of its growth, but also the different social phenomena which influenced the entire history of abhinaya, should be taken into account for its proper comprehension. For instance, rituals, folk-songs, folk-dance and folk-plays contributed to the growth and development of this art as well as of nātya (drama) itself. Different masters of the art of abhinaya who fourshed in course of its long history, did also do their part in this matter; but at this distant date we lack adequate materials to study accurately either the relative priority or the importance of the different forces which in some way or other might have influenced the growth of abhinaya, we shall consider below only a few facts which reveal the characteristics that abbinaya has in common with other social institu- tions, sacred or secular as a means of suggesting the complex nature of its growth. (i) Gita and Abhinaya. It it a well-known fact that at a certain stage of their evolution, gita, (vocal music) nrtta (including nrtya) and vādya (instrumental music) came very rightly to be considered not only homogeneous but also mutually dependent. The word samgita which includes these three arts and which has often been mistranslated as merely 'music' was an invention belonging to this stage. This inclu- sion is of help in understanding the connexion between gita and nrtta (nrtya). And abhinaya, as will be seen later on very clearly, is connect- 3

18 ABHINAYADARPAŅAM

ed with nrtya. Therefore, the relation between gita and abbinaya becomes clear. In practice also, the same relation is to be seen even now; for Indian singers, even when they are not dancers, usually accompany their singing with gesticulation. "This is of two kinds, of which the first, quite distinct from what is spoken of in the present treatise, is a hand movement reflecting the musical form; the reflec- tion of empathy (sadbaranī), is sometimes very impressive or graceful, but not less often grotesque. The second, known as bhāv-batāna or 'shewing of moods' is of the type here described as abhinaya, or 'ges- ture' and differs from (abhinaya applied to) Natya only in the greater relative importance of the music and the words".1 (ii) Nrtya and Abhinaya. The indispensable connection between nrtya and abhinaya can be gathered from Dhananjaya's description of the former. He says nrtya is the representation of concepts conveyed by words (padarthabhinaya).2 The description of Sarngadeva establishes the connexion more elearly. He says 'that which expresses bhavas (States) by means of angika (gesture) is nrtya." But according to Catura-Kallinatha, the commentator of the SR, angika in this place includes vācika as well as sāttvika abhinaya.4 But there are, as will be seen later on, other factors which contributed their share to the development of natya and abhinaya, although the contribution of nrtya is surely the more important. This importance will be better understood when we observe the fact that abbinaya has almost always been discussed in the works on samgita in the chapter devoted to nrtta (nrtya), and works like AD which treat only of abhinaya, look to this as an art concerning solely the nartaki (dancing girl).5 This mode of treatment probably points to the fact that abhinaya first came to be studied and systematized in connexion with nrtya, and hence the sign of that dependence even in works prepared much later when it came to be largely associated with natya.

I MG. p. 8. Words enclosed within square brackets are ours. 2 Dasarūpa 1. 14. 3 SR. V.II. 28. 4 Țīkā, on SR. VII. 28. 5 'AD. śl. 23b-27a

INTRODUCTION 19

The relation of abhinaya to natya (drama) may be said to have become more intimate through the relation of the latter to nrtya, for the NS, the well-known work on natya and the musical arts, clearly lays down that a play should be so written that dance can be added to it.6 It is this prescribed association of nrtya with Hindu plays that entitled the latter to the name natya which means literally a thing to be danced, or performed by a nata (originally a dancer, subsequently the performer of natya). Indeed, it has already been mentioned that an expression like natakam nanrtub (danced a drama) was used in the Harivamśa,7 (iii) Ritual and Abhinaya. (a) Vedic. The part which the Vedic ritual might have played in the origin of Hindu plays has been ably discussed by more than one scholar.8 In spite of there being no unanimity of opinion among them all, it may be said that the ritual of the Vedic age contributed, even if it might be to a small extent, to the origin of abbinaya. The testimony of the NS, in this connection, that natya as a whole has sprung from the four Vedas, and that specially abbinaya can trace its origin from the Yajurveda, may not be lightly dismissed.9. And also the fact that the Vedic hymns, at least Samans, are still chanted mostly with some kind of gesture, should be remembered in this connection. (b) Epic Recitation and Abhinaya. The recitation of epic poems such as the Ramayana, the Mababharata, the Bhagavata and other Puranas, which generally takes place on the occasion of religious festivals, has some kind of abhinaya ascociated with it. For Kathakas10 just like good orators, are required to make a liberal use of gestures for impressing the audience with what they deliver. The theory

6 NS. XVII. 123. 7 Harivamśa, Cal. (1827 Śaka) II. 93-28, p. 314. 8 Keith. op. cit., pp, 23-27. 9 NŚ, 1. 17. 10 Kathakas or those who read before an audience episodes from original epics (Mbh. or R.) or the Puranas, and explain them with the art of a good story-teller interspersing their narration with songs, or musical recitation of original Sanskrit passages,

20 ABHINAYADARPAŅAM

of the origin of Hindu plays from epic recitation which is otherwise justified, receives on additional support from this fact too. (c) Tāntrik Mudrās and Abhinaya. Tāntrik mudrās (ritual ges- tures of the hand) have some resemblance to the manual gestures used in abhinaya. This however, is not sufficient to allow us to suggest any clear connection of Tantrik ritual with the origin of abbinaya. (d) Folk-arts and Abhinaya. Folk-songs, folk dance and folk-plays also contain some elements of abhinaya in them. Popular ballads of ancient times may also be supposed to have been sung with some sort of crude abhinaya, and similarly folk-dances and folk-plays also were probably accompained by this. These folk-arts can be witnessed even now-a-days in the Gambhīra, the Gajan and the Nilapūja (of Bengal)11 and the Ramalila (of the Uttar Pradesh), thus affording some material al for us to arrive at their historical prototypes. The Mahavrata cere- mony of the Vedic times might be a trace of their early existence.12

11. THE DEVELOPMENT OF ABHINAYA. (a) Before the time of Kālidāsa. As the word preksā used in Kauțilya's Arthaśāstra has been taken to mean a dramatic show it may be assumed thar abhinaya was in vogue in the 4th century B. C. At the time of Patañjali (c. 140 B.C.) too, the art seems to have been largely practised.13 In the age that followed, this art made further progress, the first testimony of which is the fragments of Asvaghosa's plays. This great Buddhist poet is placed by Sten Konow in about 150 A C., but Keith is for placing him earlier.14 In the Saptasatakam (Saptasatī or Sattasai) of Hāla alias Sātavāhana nādaa (nātaka) and puvvaramga (purvaranga) are mentioned side by

11 Haridas Palit. The Gambhira belongs to the Malda district and the Nilapūjā to all parts of Bengal. 12 Hillebrandt, Ritual Litteratur p. 147. Sten Konow, Das indische Drama, p. 42, Keith. op. cit., 23-24. 13 Keith, op. cit., p. 31. 14 Sanskrit Drama, p. 70.

INTRODUCTION 21

side.15 The word purvaranga, being a technical word connected with the production of a natya on the stage, shows that the art of abhinaya was at that time in a more advanced stage than in the age of Patanj- ali. As for the date of Hala, Winternitz says that he must have reigned either in Ist or 2nd century A. C., at the earliest.16 The Avadānasataka, a Sanskrit Buddhist work describes the performance of a Buddhist nataka. The description of the nataka in that work, is enough to show that the age which produced the work witnessed con- siderable development of the art of abbinaya, The mention of the word 'natacarya' in the sense of master-nata or the professor who trained the natas (and was consequently the director of a party of natas), gives us good reason to presume that the art of a nata had by that time become important enough in the eyes of the people to accord to its venerable teacher the title of acarya which was generally to given a master of seacred works like the Vedas and the Vedangas etc., This Avadanasataka is a work considered to have been written between 200 A. C. and 253 A.C.13 More copious reference to abhinaya is to be found in the Hari- vamsa.18 The word abbinaya with its derivatives has been used in it nearly a dozen times. This fact together with mention of technical words like nāndī, nepathya, and vidūsaka gives us ample ground for presuming that the work was written at a time when the art of abbinaya reached a high degree of development. The lower limit of the date of the Harivamsa varies between 200 A. C. and 400 A. C.19 There should, however, be no objection to placing the work in the second century, for the Bhāsa-plays including words like cāri, gati used in connexion with abhinaya have been assigned to 300 A. C.

15 Kāvyamālā ed. p. 110; Weber's ed. p. 127. 16 Winternitz. Gescbichte der indischen Litteratur, Vol. 3, p. 103; also Weber's ed. of the Saptasatakam, p. xvii. 17 Lévi, op. cit., p. 320 Avadānasataka (ed. Speyer) Vol. 2, pp. 29-30. 18 II. 92-93. 19 Hopkins, The Great Epic of India, pp. 387, 398. Winternitz., op. cit., Vol. I, p. 401 (Transl. p. 464).

22 ABHINAYADARPAŅAM

(b) In the age of Kālidāsa. The improvement made by Kālidāsa in the exstant drama of his time consisted in assigning a more or less prominent place to song and dance. In this respect he probably made a departure from the style of his predecessors. It seems that in the beginning Kalidasa with this innovation was rather afraid of the admirers of old masters like Bhasa, Saumilla and others; hence, in spite of the firm self-reliance which always characterizes a great genius, he uses song and dance very cautiously in the Malvikagnimitra. The success of this which must have raised him in the estimation of his contemporaries, convinced him of the fitness of his method, which he applied more freely in the Vikramorvasi the proper production of which would enable one to see the best specimen of the art of abhinaya. The value of Kalidasa's innovation from the standpoint of the art of abhinaya is immense. Hindu plays-poems in their conception and lyrical in their character-became after him unique spectacles in which the lyrical element was given the fullest prominance by the more important scope given to song and dance. (c) After Kalidasa. The art of abbinaya does not seem to have made much much advance after Kalidasa. For the plays of post. Kalidasian age are composed more or less after the manner of that great genius. But it is sure that from time to time gestures were studied afresh, new gestures were added to their number, and some- times the old ones also were slightly modified. All these we shall see below under the literature on abhinaya.

12. THE LITERATURE ON ABHINAYA. The treatise on abhinaya which can be called the earliest is, the Natasūtras of Silalin and Krśīśva mentioned by Pānini (c. 600 B.C.). We do not exactly know what these contained, but if any conjecture on the subject is allowable, we may presume in the light of a study of the later works on nytya and abhinaya that Silalin's and Krsasva's work contained among other things a description-probably classified-of gestures and postures etc., and where and how the nata was to use them,

INTRODUCTION 23

The NS which among other things treats of abhinaya, is thus the earliest available work dealing with the subject. It has sometimes been assumed that the NS in its earliest from was a sutra- text-meaning by the term a work consisting of highly compressed prose formulae such as the Astadbyayī of Panini. If such actually existed it might have been earlier than the BhA which, as its abridge- ment shows, was in all probability a versified work. But we are afraid that the above assumption is based on a very weak foundation. Though the NS has often been referred to as the Natyasutra and its author the Bharatamuni of dubious existence, has been called the sutrakara, it is highly doubtful if anything except the present NS written in metres or its prototype of a like nature, ever existed. A careful examination of the word sutra will support this view. It is on the basis of this word and of the word karika occurring in the text of the NS (VI, 11. 31) that one makes the above assumption. As the meaning of the word karika is quite plain, we are to discuss only the meaning of the sutra. It is generally believed, and perhaps very firmly, that this word means a work containing highly compressed prose formulae on any subject such as the Astadhyayi or the Brabmasutra. An authority like Abhinavagupta deals a cruel blow to such a belief. In his comments on NS. VI. 11. 31, he is not for distinguishing between karika and the sutra. In the mangalacarana of the Abhinava-bharati, he has called the very NS the Bharata-sūtra. Together with this fact, one should remember that the Rk-pratisakbya written entirely in verse, has been called the Parsada-sutra. This also is noteworthy that the Southern Buddhists called their scriptures (written in prolix prose) suttas (= sutras) and the Northern Buddhists too call some of their metrical treatises sūtras (e.g., the Madhyānta- vibhagasutra of Maitreya-natha). The sutra (thread) which runs through flowers in a garland seems to have led to a metaphorical use of the word. Hence sutra means merely central principles or essential rules. On taking this view of the meaning of the word sutra we may consider the NS (in metre) to be the earliest available work on abbinaya.

24 ABHINAYADARPAŅAM

Then come the Agnipurana and the Visnudharmottara, which make room for a treatment of abhinaya in their body. The date of the Visnudbarmottara has not been critically discussed by any authority, but it may be that this work belongs to a period not later than 500 A. C.20 And the Agnipurana has been placed in the latter half of the 8th century.21

20 Indian Antiquary, XIX, p. 408. Jolly, Hindu Law and Customs, p. 69. 2t S. K. De, op. cit , p. 103.

(4) ABHINAYADARPAŅA

13. SCOPE OF THE WORK. The AD treats in details the angika abbinaya which inculdes gestures, postures and movements dependent on feet. The exclusive attention paid to the angika abbinaya is due to its importance with reference to the training of the natya and nrtya.1 The same importance may be said to have been recognized by Amarasimha the famous lexicographer, for he mentions in his Kosa only angika abhinaya and the sattvika, primarily dependent on the former.2 (a) Gestures. To understand the proper value of gestures which furnish the basis of the angika abhinaya one should observe their application in other department of social activities. Gestures are first

I Cambodian dancers who owe their art to ancient India still learn this with great pain. See, Gestures in the Cambodian Ballet by J. Cuisinier in Indian Art & Letters, 2nd issue for 1927. 2 See the Amarakosa under 'Abhinaya'.

INTRODUCTION 25

met with in the languages of primitive people. It is sure that they played an important role in the evolution of human speech. A gesture is used by mutes and even by others when they meet persons speaking a language unintelligible to them. And often it so happens that some ideas cannot be adequately expressed or explained without some gesticulation accompanying words spoken. This clearly shows the power of suggestion that is inherent in gesturse. It is no wonder, therefore, that they were combined with dance-the first-born among arts of mankind-and have been endowed with rhythm to call forth rasa in persons witnessing dance. But they have other uses besides this. The ritualistic use of gestures known as mudras is an instance of it. Sadhakas (devotees) of the Tanttik school use them. According to some they are meant to emphasize and intensify their thought, and thus giving them the bliss (mud) of meditation. But gestures used in abhinaya and nrtya differ from mudra. And nrtya and abhinaya also have different principles of utilizing them. For in nrtya gestures are used by themselves, whereas in natya they are used in accompaniment of words, to suggest their meaning.

But whatever might be the differencc of principle regarding the application of gestures in nrtya, abhinaya and mudra they agree in one respect: in all those cases they tend often to be artistic and symbolical, rather than natural and simple. After the introductory matters (1-48), the AD treats the following kinds of gesture: -

i. Nine gestures of the head (49-65). ii. Eight gestures of eyes (66-79). iii. Four gestures of the neck (79-87) iv. Twenty-eight gestures by one hand (87-165) and four additional gestures (166-172) v. Twenty-three gestures by both the hands (172-203) vi. Gestures for representing gods (204-215) vii. Gestures for representing the ten Avataras of Visnu (216-225) viii. Gestures for respresenting different castes etc. (226-231) ix. Gestures for representing various relations (231-244)

4

26 ABHINAYADARPANAM

x. Gestures of hand for dance in general, and the method of moving hands in dance (244-249). xi. Gestures for representing nine planetary deities (250-258) (b). Postures and Gait. After treating gestures, the AD treats of postures and various movements of the body depending principally on feet (259ff.). It is a plain fact that the carriage of the body and its various movements often characterize a person. On assuming this, the theorists of the art of abhinaya have codified postures, and move- ments of the body depending on feet. i. Mandalas and Sthanakas or sixteen modes of standing and resting (260-282). ii. Utplavanas of five kinds or leaping movements (282-289) ili. Bhramaris of seven kinds or flight movements (298-332) iv. Caris, and Gatis or eighteen kinds of gait (298-332) One peculiarity is noticed in the treatment of the above items. Unlike that of gestures definitions of various postures (except in the case of Sthanakas) and feet-movements are not accompanied by their viniyoga (application). An explanation of this fact is available at the end of AD in the following terms :- "Mandalas, Utplavanas, Bhramaris, Caris and Gatis according to their relation to one another, are endless in number and variety. Their uses in dance and drama arc to be learnt from the sastra, tradition of the school and through the favour of good people, and not otherwise (322-324.)" This probably shows that at a very time when no work was compiled, the uses already recorded in case of the above mevements, depended solely on the principles known to teachets. Probably fot this reason we do not get them in writing in the AD which follo:/s a very early tradition.

14. THE ABHINAYADARPANA AND THE NATYSASTRA, Bharata- Sastra (not the Bharata-Natyasatra) has been many times referred to as an authority in the AD, and the extant NS in its chapters VIII-XI, treats of the angika abhinaya (gesture), Hence a comparison of the two works becomes necessary.

INTRODUCTION 27.

(a) Head-gesture. According to the NS. (Ch. VIII) there are thirteen gestures of head while Nandikesvara has only nine. Among them five gestures have common names in both the works; besides this, the names of two gestures agree partially. A comparison of the names, definitions and viniyoga (application) of the head gestures in the two works shows that the gestures named Adhomukha, Ālolita, (=Lolita), Dhuta, Kampita, Parāvrtta and Pari- vahita are defined in each work in a similar manner. As regards their applications also the two works have a considerable agreement; besides this, the definition of the gesture Udvahita in the AD, agrees substan- tially with the Utksipta of the NS. (b) Eye-gestures. According to the NS. (Ch. VIII. 101 ff.), there are three classes of eye-gestures, such as, (i) eyes for expressing eight rasas, (ii) eyes for expressing sthayi-bhāvas, and (iii) eyes for ex- pressing sancari-bhavas. Each of the classes (i) and (ii) in their turn has eight varieties, while the class (iii) has twenty varieties. But the AD (66ff.) is not so eleborate in its classification or division of these gestures. It enumerates only eight kinds of them. The classificstion in the two works has not any common name. (c) Neck-gestures. The NS (Ch. VIII. 164ff), enumerates nine kinds of these gestures while the AD (79ff) gives four kinds of them. The two enumerations possess no common names. (d) Hand-gestures. Though the NS and AD agree in classify- ing the hand-gestures into three classes, and though these three classes possess many common names, they differ as regards the number in each class as well as well as in their definition and application. Let us consider them separately. (1) Single-hand gestures: According to the NS (Ch. IX), there are twenty-four gestures in this class, while in the AD, their number is twenty-eight. In both the works twenty-two gestures have common names Their description and application too in the two works have considerable agreement,

28 ABHINAYADARPAŅAM

The comparison of the two works on this point yields these facts: i. The definition of the following thirteen gestures is similar in both the works: Patāka, Tripatāka, Ardhacandra, Arāla, Šukatuņda, Mușți, Sikhara Padmakośa, Sarpaśiras, Mrgaśīrsa, Catura, Bhramara, Mukula. ii. The following gestures have some points of agreement as regards their application. The number of those points varies in each case, and it has been noted against the name of each gesture mentioned below. Patāka (2), Tripatāka (2), Ardhacandra (1), Musți (1), Kațakāmu- kha (4) Padmakośa (3) Sarpaśıras (5) Mukula (2), iii. Except in the cases mentioned in (ii) above the viniyoga (application) of the gesturas vary in the two works. iv. The definitions of the following gestures vary in both the works: Kartarīmukha, Katakāmukha, Kapittha, Sūcī, Kāngula, Alapadma (Alapallava), Hamsapaksa, Sandamśa, Tāmracūda. v. The following gestures of the NS, are subdivided according to their viniyogas (uses) and special instructions have been given as to how a gesture is to be used in different groups of things: Patāka, Tripatāka, Arāla, Sūcīmukha, Catura, Sandamsa. (2) Combined-hand gestures. The NS (Ch. IX) names thirteen gestures of this class, while the AD gives twenty-three. As a result of the comparison of the combined-hand gestures named similarly in the two works, we have the following facts: i. The following gestures in both the works have substantially the same definitions, and their applications also agree mutu- ally to a great extent: Anjali, Kapota, Karkața and Puspapuța. ii. The gesture named Puspaputa is almost similarly defined in both the works, ili. The remaining three gestures are differently defined and applied in the two works.

INTRODUCTION 29

(3). Nrtta-hastas. According to the NS. (Ch. IX. 173ff.) they are twenty-seven in number and different from the single-hand and combined-hand gestures. But their number in the AD is thirteen, and they are not anything different from the single or combined-hand gestures; for, six of them (Patāka, Tripatāka, Sikhara, Kapittha, Alapadma and Hamsasya) are the same as the single-hand gestures of the same name, and the remaining seven (Anjali, Svastika, Dola, Kațakā-vardhana, Šakața, Pāśa and Kīlaka) are the same as the combined-hand gestures of the same name. Thus, whatever might be the number of gestures in each group, the total number of hand- gestures are sixty-four according to the NS, and fifty-one according to the AD. (e) Cari. According to the NS, Caris3 are thirty-two in number and are divided into two classes; (i) earthly (bhauma) and (ii) heavenly (akasagamī). But the AD, has only eight Carīs and they constitute only one class by themselves. The two works have no name common in their Carīs. (f) Mandala. According to the NS, Mandalas are twenty in number and are divided into two classes: (i) earthly (bhawma) and (ii) heavenly (akasika), but the AD gives only ten of them and does not classify them at all. The two works have no common names in their mandalas.

15. THE ABHINAYADARPANA AND THE BHARATARNAVA: Both these works are ascribed to Nandikeśvara, and the authors of the two works may be indentical. The tradition recorded in the opening verses of the text used for the MG says that the AD (vide notes on sl. 1), is an abridgement of the BhA. But nothing like this is to be found in any of the five manuscripts collated for the present edition. Hence in the beginning we disbelieved it. However, being informed that a manuscript named the BhA, exists in the library of Bhandarkar Oriental Institure, Poona, we procured a loan of it for placing our conclusion on a surer basis. This led to a through

3 See NS. XI. 1ff. 4 See NS. XI. 4.

30 ABHINAYADARPAŅAM

examination of the same work, which treats of abhinaya as well as nrtya. And the following are the results: The Poona MS of the so-called BhA, which we have called P appears, to be a different work or at best a recasting of the old work of the same name. In the body of the work the following passage occurs: alapacārīm vaksye'ham ...... Bharatārnavam-āmanthya ...... This adds to one's doubt as to the so-called BhA., being the original work of Nandikesvara, and shows that it is a compliation which depended on his work as well as that of the so-called Bharata i.e. his Šāstra. At the end of the chapter referred on misellaneous hands it writes bharatārtha-candrikāyām bhūdhara-rāja-duhitrracitāyām, and the coloph- on, which follows this, is (f. 42) iti śri-Nandikesvara-viracita-Pārvati- prayukta-bharatārtha_candrikā-nānārtha-prakaranam samaptam-āsīt. Read together with the superscription (nandibharatokta-samkirna- dhyayab) at the head of this section, the above eolophon offers a puzzle and again adds to our doubt as to the so-called BhA, being identical with Nandikesvara's work of the same name. It may be altogether a different work of the name of the Bharatartha-candrika depending on Nandikesvara as well as the so-called Bharata for its material. This MS however, gives the name of the work as the BhA. The discoverer of the MS, it is sure, depended on this only, for labelling the work as the BhA. These various ways of describing the work probably shows it to be something other than the original work of Nandikeśvara. In its treatment of hand-gestures of the first two kinds (asamyuta and samyutabastas), P resembles to a great extent the AD. The number of asamyuta-hastas (single-hand gestures) is twenty-eight in the AD, whereas their number is twenty-seven in the P. Of these, twenty-six gestures have similar definition and description in both the works. The number of samyuta-hastas (combined-hand gestures) in the AD, is twenty-three while in the P their number is sixteen. Of these, seven have common names in the two works, and the definition and application of six only have a substantial agreement in the both,

INTRODUCTION

But the treatment of nrtta-hastas in the P, is different from that of the AD, Unlike the AD, the P describes a new set of hand- gestures called nrtta-hastas. In this regard, the latter work bears resemblance to the extant NS. The number of nrtta-bastas are sixteen in the P, whereas their numder is no less than twenty-seven in the NS. Of these, twelve common name are found in both the works, but their definitions and applications differ.5

16. THE ABHINAYADARPANA AND THE SAMGITARATNAKARA. The SR being evidently a work posterior in date to the AD, it is not necessary to compare the two. It goes without saying that SR which was compiled from various sources such as the NS and AD, has treated gestures etc., more elaborately (vide SR. 1, 4-12, 14-16, 21-23, 40-43, 75, 55-56, 72, 111, 145, 187, 189-190. Ch. VII). But it should be mentioned that the author of the SR, has from time to time retained the very language of the source-books. Besides the above, the SR, in other cases too bear clcar evidence of an influence of the AD.

17. THE STYLE AND METHOD OF TREAIMENT OF THE AD. The present work is written in a simple style. It is even simpler than the chapters which the NS, devoted to nrtta and abhinaya. There are some grammatical anomalies® and stock phrases like kīrtitab purvasūribbib, wcyate nātyakovidaib, proktab nrtya- karmavisaradaib are very often used for filling up the verse i.e, for pādapūrana. Nandikesvara's method of treatment in the AD, is analytical. He considers the gestures of different limbs separately, though in actual abhinaya, some of the limbs cannot have independent movement'. And moreover the gesture of one single limb is never used, except

5 See the treatment of the nrtta-bastas in the NS. (Ch. IX 173ff.) 6 See notes on ślokas 31 and 34. 7 See śls, 89-93 of the AD.

32 ABHİNAYADARPAŅAM

for a short time, to the exclusion of the rest. In the NS, the synthetic method has been combined with the analytical one. For, in it we find not only the enumeration of the gestures of different limbs, but also their combination in the form of karanas and angaharas8.

18. THE AUTHOR OF THE WORK. It is not easy to say anything with certainty about the life and times of Nandikesvara, the reputed author of the AD. This name has been found not only in connexion with abhinaya, but also in relation to works on various other subjects, such as, Tāla, Rasa, Yoga, Tantra, Kāma-śāstra, Pūrva- Mimamsa and Lingayet Saivism. The three works named Tala- lakşaņa9, Tālādi-laksaņa and Talābhinaya-laksana have been ascribed to N. Rajasekhara in his Kāvya-mīmāmsā cities one N. as a writer on rasa. There is a work named Yoga-taravali10 from the hands of one N. The Nandikesvara.tilaka1l has N. frankly as its eponymous author. The Pancasayaka mentions this name as a writer on the Kāmasāstra, and Vātsyāyana, too, in his sūtra refers to one Nāndī whom Aufrecht is inclined to identify with N. The Prabbakara- vijaya12 a Purva-Mīmamsa work has also one N. as its author. Besides this, the author of the Lingadharana-candrika13 a work on Lingayet Saivism is N. Surely we cannot see a single person in all these Nandikesvaras. But it is probable that N, in connexion with tala, and abhinaya was the same person, and he might have been different from the writers on Yoga, Tantra and Purva-Mimamsa. The testimony of Sarngadeva, the author of the SR which quotes passages from the AD, seems to corroborate the first part of the above view; for, according to him, N was an authority on samgita, that is,

8 See NS. IV. 30-33. 59. 9 Burnell's 'A Classified Index to the Skt. Mss. in the Palace Library, Tanjore, p. 45; S. K. De op. cit., p. 35. 10 Triennial Catalogue of Manuscripts collected for the Govt, Oriental Mss. Library, Madras (TCM.) vol. IV, and (nos. 3308 b and V 4403 c). 1I TCM. vol, III Pt. I pp. (no. 2595) 12 TCM. vol. IV. Pt. I. pp. 4909. 13 TCM. vol. IV Pt. I. (no. 3433).

INTRODUCTION 33

he made some contribution to the art which includes tala and abbinaya. It is difficult to say whether N the writer on ars amatoria was identical with the writer on samgita of the same name. But as the Chapter XXV of the NS dealing with courtezans can be considered an integral part of the original work, one can say that the identity of the two authors is not at all improbable. However, any decision on the point being very uncertain we shall consider here N merely as a writer on samgita, and as such he was a mortal human being and not a god of the same name with whom popular imagination in course of time tended to identify him. He was possibly a follower of Siva. An account of the Lingapurana shows that Nandikesvara the attendant of Siva1s was originally a mortal-the son of a blind woman named Silada who prayed to gods for an immortal son and was given by Siva a son named Nandi. This Nandi came afterward to be known as Nandikeśvara and was immortalized by Siva as the chief of his ganas. Mm. Ramakrishna Kavi identifies Nandin or Nandikesvara with Tandu. According to him N was the author of Nandisvarasambita, the whole of which work is extinct now except a chapter on histrionics15, and this chapter on histrionics is probably the AD. In the absence of sufficient proof in support of this statement, we may consider this as a more plausible suggestion based on similarity of names.

19. THE PLACE OF NANDIKESVARA. The god named Nandikeśvara being pupular in some parts of southern India, our author of the same name seems to have been an inhabitant of that part of the country.

3 TIME NANDIKESVARA, If the suggestion of Mm. Ramakrishna Kavi who identifies N with the author of

14 Gopinath Rao, Elements of Hindu Iconograpby, Vol. II. part II PP. 455-459. 15 The Quarterly Journal of the Andhra Hist. Research Society Vol. III. pp. 25-26. Nandisvara-sambita like the Manu-samhita may have been the work of an author other than Nandikeśvara.

5

34 ABHINAYADARPAŅAM

Nandisvara-sambitā, can be accepted, a guess may be made about the date of our author. For, N is quoted by Matanga, a writer on samgita, and may probably be anterior to the latter by nearly a century. The date of Matanga can be roughly fixed, for, he is mentioned in the Tamil work named Silappadikarana which has been assigned the 5th century A.G. Hence, Matanga who was more or less a century earlier than the writer of the Tamil work, ban be placed in the 4th century. This gives the date of N who was perhaps a century earlier than Matanga, as the third century A.C.

21. THE ANTIQUITY OF THE WORK. The AD is said to be an abridgement of the BhA, of the exact nature of which we practically know nothing. And besides his there is the Nandisvara- sambita which probably claims the AD, as one of its chapter. Hence, the work in the present state of our knowledge cannot be placed as early as the 300 A.C. the probable time for N.

Lack of sufficient materials has made the determination of the date of the AD a very difficult problem. We shall, however, attempt to give below our reasons for a tentative date on the basis of available materials. The lower limit to the date is to be had from the SR, a work written about 1247 A.C.16 There are passages common to the AD and the SR. The fact that the SR mentioned the name of N as one of the authorities on samgita gives one occasion to presume that Sarngadeva the author of the SR, knew works like the AD, Talabhinaya-laksana, Talalaksana and Bharatarnava ascribed to N, and quoted from some of them. Hence, in the present case, SR appears to be the borrower from the AD. The opposite possibility seems to be non-existent on the following grounds: It has been shown above that the treatment of gestures in the NS is partially different from the AD and more elaborate. And the treatment of these in the SR, is more or less in conformity with that

16 Preface (p. 3) of the Anandasrama ed. of the SR.

INTRODUCTION 35

of the NS, though the former has made its classification more elaborate. Thus in their treatment of gestures of AD and SR may be said to have slight agreement. But SR in its treatment of Carīs, Sthanas (or Sthanakas) and Mandalas is quite different from the AD which is less elaborate, or in other words, less developed. In view of these facts it does not appear probable that a work partially compiled from a later treatise like the SR, will be passed off in the name of an ancient master like N whom the author of the SR (Ch. I. 17), had to recognize as one of the authorities.

To ascertain the upper limit to the date of the AD, is however a comparatively difficult task. The only light which we may have in this from the NS which also treats of gestures is its chapters VIII-XII. As we have noticed before, the treatment of the gestures of head and hand in the NS, bears some resemblance to that of the AD. Now, what may be the reason of such a resemblance? An attempt to answer this question suggests the three following alternatives:

I. the AD is indebted to the NS, or 2. the NS is indebted to the AD, or 3. these two works are indebted to a common source.

For convenience' sake, let us discuss the first two of the alterna- tives together. It appears, on the following grounds, that the AD has not borrowed things from the NS.

(a) The classification of the gestures of head and hand in the NS is more developed than that of the AD. (b) Instances in which these gestures can be used are also more numerous in the NS.

One, however, cannot be sure on this point. Thoug h the general tendency of such things are towards development, it will be nothing extraordinary if one assumes that the AD might be the abridgment of an over-elaborated treatise. Indeed there is a story that the AD is an abridgment of the BhA the exact nature of which we do not know. So there may be a chance that the AD might be the borrower in this

36 ABHINAYADARPAŅAM

case. But the BhA has been ascribed to N himself, and besides this, there exists some dissimilarity in the two works as regards the appli- cation of the gestures which have substantially identical definitions. Besides this, the two works at times follow separate traditions of their own. (vide notes on sl. 15 and 35) Thase two facts taken together make one highly sceptic about the existence of such a possibility. This brings us to the second alternative, viz. the possibility of the NS being the borrower. The comparative elaboration of the classification of head and hand gestures probably points to such a direction. The difference in the application of the common gestures may again be cited here to the detriment of this theory. But one may explain away this difficulty by suggesting that the NS being a later work improved upon the things borrowed. This improvement can be noticed not only in increase of the number and variety of gestures, but also in the modification of application of certain gestures which such increase entailed. Instances of such improvement made on things, borrowed from earlier works, are not rare in the later Sanskrlt literature. For example, the SR which is unquestionably a work later than the NS, has closely followed the NS, in its section on gestures, but at the same time it has added to the number of gestures given in the latter work, and has modified the uses of some of them. A study of the develop- ment ot the number and variety of alamkaras will also reveal the same fact. The four alamkaras of the NS, increased in some of the latter-day treatises on Sanskrit poetics to almost four dozen. The increase of the number of nayakas which was four according to the NS to sixteen in the Dasarupa, is also another fact of the same nature.

The above explanation gives us room for presumption that the source ot the AD might be earlier than the extant NS, at least its chapters VIII and IX. And it cannot be said that there is no chance of this NS being a borrower from the work of N. Indeed we have something like an evidence of this borrowing of the NS, (from Nandin's work) in the shape of the colophon at the end of the Kāvya- mala edition of the NS, which reads as samāptascāyam (?) nandibha-

INTRODUCTION 37

ratasamgitapustakam. This colophon which has puzzled more than one scholar17 may be said to record the tradition about the growth of the extant redaction of the NS which possibly incorporated and ampli- fied Nandikesvara's original work as well as some earlier Natyasastra. But as in the present state of our knowledge we do not know anything about either the original work of N or the supposed earlier NS, the probability of AD and the NS borrowing from a common source comes to the foreground. Such being the case we cannot give any precise idea about the upper limit to the date of the AD. But in spite of this, the work does not seem to be quite recent. The treatment of the ten Avataras of Visnu made in the AD, probably points to this direction. In its enu- meration of the Avataras this work omits Buddha and gives Krsna's name in his stead. This ommission may be explained as an anti- Buddhistic bias of the author. But considering the fact that the Hindus raised Buddha to an Avatara (incarnation) and respectfully mentioned him in works belonging to later ages, the theory of an anti- Buddhistic bias becomes weak. That the AD puts the name of Krsna in the place of Buddha in its enumeration of the ten Avataras allows one to presume that the work might have been written in an age when Buddha was still outside the Hindu pantheon. The Matsya-purana (47.247) and the Bhagavata-purana (1.3.24),18 men- tion for the first time Buddha as one of the ten Avataras of Visnu. The lower limit to the date of the Matsyapurana is the sixth century, and the Bhagavatapurana is probably of a later date. Thus one may be tempted to fix the upper limit to the date of the AD as the hfth century of the Christian era. But as we do not have any

17 Some have taken this colophon together with chapters (of the NS) on gita and vadya only and not with the entire work. Probably due to a wrong impression that samgita means only 'music' they did not venture to connect the colophon with the whole of the NS .- a work on samgita which is mades up of the three things: gita, vadya and nrtta. 18 Hemchandra Raychaudhury, Matersals for the Study of the Early History of the Vaishnava Sect, Calcutta, 1920, page, 105.

38 ABHINAYADARPAŅAM

definite knowledge about the evolution of the Avatara theory through different ages, it would not be worth while to make any such statement. Now, to sum up our investigation about the date of the AD, we may say that the work surely existed at the beginning of the thirteenth century, and it may have existed even a few centuries earlier. But its existence (in the present form) before fifth century is doubtful, though the kernel of the work may go back to a more remote period still.

NANDIKEŚVARA'S

ABHINAYADARPANA

I. Saluation. We bow to the sattvika Siva whose angika is the world, vacika is the entire language, and whose aharya is the moon and the stars etc. 2-7. Origin of Natya. In the beginning Brahman gave the Natya-veda to Bharata. Bharata together with groups of Gandharavas

I This floka of the AD has been taken by the author of the SR without any acknowledgement (VII. I). This work however recognizes Nandikeśvara as an authority on samgita which includes nrtya and abhinaya (śl. 17, 21). Besides the first sloka, SR takes from the AD others as well. These have been pointed out in the Introduction § 16. For meanings of sattvika, angika, vacika, and abarya see 11-14. In this śloka Siva has been compared with an actor whose means of expres- sion is gesture and posture as well as voice and costume. One aspect of Hinduism sees in him the Supreme Divinity who reveals himself through the world, the human speech and the starry firmament. The conception of Siva as a cosmic dancer and actor (Nata-raja) is often to be met with in Hindw literature (cf. MG. p. 13). Two very beautiful examples of the same occur in Mudrārak- sasa, I. 2. and the Abhinava-bharati on NS. (GOS) IV. 260. In the MG, mangala-sloka has been followed by a dialogue between Indra and Nandikeśvara (Indra-Nandikesvara-samvada) which does not occur in any ms. of the AD used. for this edition. The substance of this dialogue is as follows: Once Indra met Nandikesvara and said that he intended to gain victory over Natasekhara a Daitya dancer, and needed for this purpose authentic knowledge of the art of dancing. Then Indra was advised to listen to the Bhara- tarnava composed by Nandikeśvara, in four thousand verses, This formidable extent of the work frightened Indra who begged Nandikeśvara to relate to him the entire law of dancing in a more concise from. The latter took pity on his exalted student and revealed to him the AD which was an abridgment of the Bharatarnava. The story is evidently a later creation. (For any possible relation of the AD with the BhA, see Introduction § 15). 2-7 The MG omits this passage. The mythical account given here about

40 ABHINAYADARPAŅAM

and Apsarasas performed natya, nrtta and nrtya before Siva. Then Siva having remembered his own majestic performance (dance), caused Bharata to be instructed in that [art] by his attendants (ganas). And before this, on account of his love [to Bharata] he gave to the latter, instructions in lasya through Parvati. Knowing about tandava from Tandu, sages spoke of it to mortals. Parvati on the other hand instruc- ted Usa, the daughter of Bana in lasya. The latter taught [the art] to milk-maids of Dvaraka, and they taught this to women of Sau- rastra who in their turn taught this to women of other countries. In this nanner this [art] was traditionally handed down, and has come to stay in the world. 7-11. Eulogy of Natya. Brahman collected themes of recitation, abhinaya, vocal music and rasas from the Rk, Yaju, Sama and Atharva Vedas respectively, and made rules for this art (sastra) which grants dutiful life (dharma), wealth (artha) and enjoyment (kāma) as well as liberation (moksa), and which promotes fame, self-confidence, fortune and cleverness, and which gives rise to peace, patience, libera- lity and pleasure, and does away with misery, affliction, sorrow and despondency. This [art] is valued even more than the bliss which persons meditating on Brahman (the Supreme Soul) experience. Other- wise how could it captivate the heart of sages like Narada? 1I-12. Variety of Dances (Natana). Dance which has this four- fold aspect [of abhinaya] is of three kinds: natya, nrtta and nrtya, according to sages like Bharata and others. 12-14. Occasions for Dance. Natya and nrtta should be witnessed particularly at the time of a festival. Those who wish for

the origin and development of natya, nrtta and nrtya agrees substantially with that given in the NS. IV. 5, 17. 7-11 cf. NS. I. 17, 105, 107. 11-12 The MG omits 11b, The four items in 11b, refer to pathya, abhinaya, gita and rasa mentioned in 8. 12-14 Compare the NS. IV. 262-263. The songs of Älha along with dance and abhinaya are still found to be per- formed in U,P. at the birth of children (I owe this information to Prof. Kshiti

NANDIKEŚVARA'S 41

good luck should cause nrtya to be performed on occasions like the coronation celebrations of kings, a festival, a procession with an image of a god, a marriage ceremony, reception of a friend, entry into a [new] town or house, and birth of a son ; for it (nrtya) is auspicious. 15. Natya: Natya or Nataka which has some traditional story for its theme is an adorable [art]. Nrtta: That [dance] which does not express States (bhāva) by means of ahbinaya, is called nrtta. 16. Nrtya: That (dance) which suggests Sentiments (rasa) and States (bhava), is called nrtya. This dance is always fit to find a place in the court of great kings. 17. Characteristics of a President (sabbapati). The President of the audience should be wealthy, intelligent, discriminating, an expert

Mohan Sen of the Visvabharati). Only two generations ago Hindu women in some parts of Bengal celebrated births and marriages by songs and dance which, however, could be witnessed by all. This dance by ladies has now gone out of fashion, though girls may still be found who dance during their vratas, but recently attempts are being made to revive these old dances and introduce new ones. In many parts of Western India, dance is still greatly in vogue-the beautiful Garba dance of Gujarati women is a living art, and is well-known. Dance as a domestic as well as religious institution still lingers over a great part of India. 15 Pujyam means 'adorable' i.e. 'worthy of admiration'. The distinction made by the AD between nrtta and nrtya is not observed by the NS. This probably shows that the two works follow two divergent traditions. From the MG we learn that nrtta 'is that form of dance which is void of Sentiment (rasa) and Stite (bbāva) (p. 4)' 16 In the MG this is followed by a division into lasya and tandava, of which "Lasya dancing is very sweet, and Tandava dancing is violent," 17 Evidently the original of the MG reads this differently, and the read- ing there seems to be corrupt (p. 15). The sabhapati means here the President cf the assembly of spectators. His functions are to make pronouncement of the merit of a performance of a play and to distribute rewards to the sūtradbara or leader of the troupe of dancers and actors. For another definition of sabbapati see SR. VII. 1346-1350. It should be noted in this connexion that this honour of presiding over an assembly of spectators was given to one, on merit only. 6

42 ABHINAYADARPAŅAM

in making awards, versed in the lore of music, versatile, celebrated, having pleasing virtues, well-acquainted with gestures which express desires and States, without envy or malice, well-disposed to people, possessed of rightful conduct, kind, patient, disciplined, well-versed in arts and proficient in abhinaya. 18. Characteristics of an Adviser (mantrin). The Advisers of such a President, who speak in an intelligent and dignified manner, are well-off and have a desire for fame, understand States (bhāva), are able to distinguish beween merit and demerit, know the arts of love, are upright and well-versed in polity, have a kind heart, are good scholars, who are expert in distinguishing between different dialects, and possess a poetic faculty-such Advisers shine [in the assembly]. 19. Character of the Audience (sabba). The audience which is as it were, the Wishing Tree.(kalpa-vrksa) shines with the Vedas as its branches, the Sastras as its flowers and the scholars as the bees adorning it. 20-23. Arrangement of the Audience: A President of the audience as described before should sit joyfully [in the hall] with his

18 The reading of the original of the MG seems to be different here, (see p. 15). The description of the mantrins is not found in any of the principal works on samgita. This again may be said to show that the AD follows a tradition which is different fiom that of the rest (vide notes on 15). The func- tions of the mantrins seem to be assisting the President. The need of an expert for the appreciation of different dialects (i.e. Prakrits) probably points to a time when the difference among them were not easily marked. 19 The MG adds to the character of the audience the following: "where men of truth are found, shining with good qualities, famous for righteous con- duct, honoured by kings, adorned by the Vedas; where the Vedanta is expoun- ded; when distinguished by the sound of voice and lute (vina); possessing heroes of reknown, ornamented by resplendent princes, shining with royal splendour" (p. 15), This gives also the seven limbs of the audience as men of learning, poets, elders, singers, buffons and those who are familar with history and my- thology (p. 15), 20 The srutikara, according to Prof. Kshiti Mohan Sen, is represented in modern times by the instrument called Tan-pura.

NANDIKEŚVARA'S 43

face towards the east. On his two sides should sit poets, advisers and friends. Dance should be performed in front of him. And the place [of dance ] is called ranga (the stage). When the dancing girl will be in the ranga, a very good dancer (nata) should remain near her. On her right side should stay two men with cymbals, and two [persons with] mrdangas (drum) should be on her two sides. A singer should remain between the latter two, and the drone (srutikara) should be near at hand. In this order should a group of players sit at the begin- ing of a natya. 23-25. Characteristics of a Dancing Girl (patra). She should be slender-bodied, beautiful, young, with full round breasts, self-confident, witty, pleasing, knowing well when to begin [a dance] and when to stop, having large eyes, able to perform in accompaniment of vocal and instrumental music, and to observe the proper time-beats (tala), having splendid dresses and possessing a happy countenance. A girl having all these qualifications is called a dancer (pātra). 26-27. Her Disqualifications. The ten kinds of women that should be avoided in the natya are: women with white specks in their eyeballs, or women who have scanty hair, or have thick lips or pendant breasts, or who are either very fat or very thin, or are either very tall or very short, or hunch-backed, or have no voice.

23-25 The word patra for a dancing girl is to be noted: it is found in Medieval India (in Hindt) as patura and paturiya, in the same sense. A dancing giil must be beautiful; for accoiding to SR the true dance relates to a beautiful body, and dances other than this, are caricatures (VII, 1249). Next to her personal beauty, a good make-up is necessary for a dancing girl. The NS. speaks of the qualifications of the patra (XXVII. 97-98). A description of the patra occurs also in the SR (VII, 1241-1244). 26-27 The MG evidently ieads vesya natye vivarjitab (p. 16). This is obviously a misreading. The SR does not give any specific patra-dosa, but says that absence of gunas (qualities) is to be counted as dosa of a patra. (see VII. 1247).

44 ABHINAYADARPAŅAM

27-28. Essentials of a Dancing Girl. Agility, steadiness, rekha, practice in bhramari movement, the glancing eye, endurance, memory. devotion [to her art], [clear] speech, good s nging power, these ten are the essential qualities of a dancing girl. Dance should be performed by a dancing girl possessing these qualifications. 28-30. Qualities of Bells. Tiny bells (kinkini) made of bronze (kamsya) should have pleasant sound, and should be well-shaped, and have stars as their [tutelary] deities, and should remain cne anguli apart from one another. The dancing girl should bind a hundred of them or two hundred in each of her two feet with blue thread in tight knots. 31. Introductory Benediction etc. Praising Ganapati the god of muraja (=drum) and the Sky, one should pray to the Earth. Then

27-28 Rekba in this passage has a technical meaning. A definition of the same occurs in the SR. VII. 1225. This word may be translated as 'harmony of lines in adjusting limbs in dance' or as 'graceful lines of the figuie,' For bhramari see 289ff. The above enumeration of the merit of the patra by the AD has been described by the MG, as patrasya antab pranab (inner lives) which has been supplemented by a quotation from some unknown source which describes patrasyah babib pranab (outer lives). The outer lives of the patra are as follows: "the drums, cymbals of a good tone, the fute, the chorus, the drone, the lute (vina), the bells, and a male singer (gayana) of reknown." The definition of a dancer or actor (nata) given in the MG is as follows: "Wise men say that the dancer (or actor) should be handsome, of sweet speech, learned, capable, eloquent, of good birth, learned in scriptures (sastras) of art and science, of good voice, versed in song, instrumental music, and dancing, self-confident, and of ready wit". Such an enumeration shows the scholastic tendency in the later theorist, for the passage is surely from a late work treating of abbinaya. This does not occur in the AD. 31 The MG omits this section as well as the three following ślokas on stuti and puspanjali, but curiously enough describes in a passage quoted from else- where the Vulgar dance as a dance begun without prayer etc., and opines that those who witness the Vulgar dance will have no children and will be reborn in animals' wombs (p. 17). The parasmai-pada of the 1o0t rabh in this śloka and in śloka 34, is a

NANDIKEŚVARA'S 45

by means of various musical performances one should offer worship [to these gods]. Again after many kinds of charming tunes have been performed, the dancing girl should have the permission of her preceptor for beginning to dress herself suitably. 32. Praise of the Goddess of Ranga. O Goddess of ranga, victory to thee. Thou art the patron of the actor-class, the embodiment of the joy accruing from States (bhavas) and Sentiments (rasas), yours is the kala (art) that only can charm the whole world, victory to thee. 33-34. Offering of Flowers. Then to destroy evils, to protect living creatures, to please gods, to bring edification to spectators, welfare to the leader [of the nata-group], to protect the dancing girl [herself] and to make the teaching of her preceptor fruitful, the dancing girl should begin to offer flowers [to gods]. 35-36. After finishing the purva-ranga in this way, she should perform the nrtya. Her ntya and songs accompained by abhinaya

violation of grammatical rule. This may not be explained as a sign of the antiquity of the work, for writers of technical treatises naturally cared more for the subject than the grammar and the style. And this violation of grammar may also be due to the influence of Prakrit which the author of the work in all likelthood spoke. The MG omits this passage (Prarthanadikam). 32 The MG omits this. It is curious that a goddess is invoked as the pre- siding deity of the stage. The NS simply mentions that gods should be bowed to (IV, 273) and enu- merates them earlier (III. 23ff.) This also may be interpieted as shewing that the AD follows a tradition of its own. 33-34 The MG omits this. Offering of flowers (puspanjalt) has been men- tioned in the NS too (IV. 272). All these formalitics campulsory at the begin- ning of a dance or drama show probably their original religious character. For the root rabh see notes on 31 above. 35 Dhanika in his vrtti on Dhananjaya's Daśarūpa (ed. Hall. p. 111.) defines Pūrvaranga. According to Raghavabhatta 12 only among its 22 limbs are to be called Purvaranga proper. These 12 limbs are Utthapana, four kinds of Parivartana, and the 7 parts of the Nandi such as Apakrsta Dhruva. Suskavarsta Dhruva, Rangadvāra, Cari, Mahācūri, Trigata and Prarocanā (vide. NS. V. 22ff.) Bhava (the expression of States by. means of gesture) as well as well as tala

46 ABHINAYADARPAŅAM

should show States and conform to proper beats of time. She should sing with her mouth, express the meaning [of the song] by [gestures of] her hands, show States by her eyes, and beat time with her feet. Where the hand goes, eyes also should go there. Where the eyes go mind also should go there. Where the mind goes there the State (bbava) should follow, and where there is the State, there the Sentiment (rasa) arises.

Four kinds of Abbinaya 38. It is said that abbinaya is preponderant there i.e., in the nrtya described before. Thete are four kinds of abhinaya: angika (of limbs.) vācika (of speech), āhārya (of dress etc.) and sāttvika.

39. Angika abhinaya is shown by means of limbs. Vācika abhinaya has a place with regard to kavyas (poems) and natakas (dramas) which are made up of speech. 40. Angika abhinaya is the decoration of the body by means of necklaces and armlets etc. 40-41. Sāttvika abhinaya is performed with sāttvika emotions by those who know how to represent them. Motionlessness, perspira- tion, horripilation, change of voice, trembling, change of colour, tears and fainting are the eight sattvika conditions. 42. Angika is named as such because it is expressed in three ways by anga, pratyanga and upanga.

42-43. Anga: The six, such as, head, hands, chest, sides

(beat of time) was essential for the proper performance of dance, drama, and songs in a drama. 36-37 These two slokas sum up one cardinal principle of the Indian dance and abbinaya. 39 In the MG (p. 17) we have an etymology of the word abhinaya (cf, NS. VIII. 5ff.) and after this it is stated that the AD is concerned with the angika abhinaya only. 40-41 MG omits this portion and the first half of 42. 42-43 MG has 'armpits' (kaksa) for 'chest' (vaksa). Perhaps on an analogy

NANDIKEŚVARA'S 47

(flanks), waist (hips) and feet are called angas. Others include neck also among these. 43-45. Pratyanga. The six, such as, shoulder-blades, arms, back, belly, thigh (calves) and shanks are called pratyangas. Others add three more, such as, wrists, elbows and knees to this, and the neck also. 45-49. Upanga. Scholars called shoulder an upanga, and eyes, eyebrows, eyeballs, cheeks, nose, jaw, lips, teeth, tongue, chin and face are also called wpangas. Thus wpangas in the head ate twelve in number. In other limbs there are besides these others, such as heels, ankles, toes and fingers. I speak of these things according to sastras (=rules of the art) which were extant before me. They i.e., angas, pratyangas and upangas are to be used in every dance. Their description will be given in due order. But when an anga (major limb) moves, the pratyanga and upanga also move; hence all of them are not described here in this work.

Head-gestures 49-50. Sama, Udvāhita, Adhomukha, Ālolita, Dhuta, Kampita, Paravtta, Utksipta and Parivahita are the nine head-gestures named by those well-versed in the rules of natya.

of the enumeration of six limbs in connexion with drama and dance, the six accessories the Vedic studies have been called sadanga. For obvious reasons limbs named in the two groups are not identical. The NS agrees with the AD in its enumeration of the sadanga (cf. NS. VIII, 13). 43-45 Apare means 'other authorities' which may be persons as well as books; most probably both are meant here. The NS does not enumerate the pratyangas though it mentions the word once in this connexion (Vide VIII, 12). 45 Upangas mentioned in the NS. VIII, 13. are only six. 48-49 This plea for not defining all the different pratyangas and upangas is good, and is in sharp contrast with the elaborate of wpangas in the NS. (Vide VIII. 37-171). 49-50 After treating of these head gestures the MG quotes a different

48 ABHINAYADARPAŅAM

51. Sama (level): The head when it is motionless but is not bent or raised up is named Sama.

51-52. Uses: Sama head is used at the beginning of nrtya, in sitting for prayers etc., in pride and feigned anger of love, stupefaction and cessation from action.

52. Udvahita (raised-up): When the face is raised up, the head is named Udvāhita.

53. Uses: In denoting a flag, the moon, the sky, a mountain, [bodies] moving in the sky or skywards, and very high objects, the wise people use the Udvahita head.

54. Adbomwkha (down-cast face): When the face is cast down, the head is called Adhomukha.

54-55. Uses: In denoting bashfulness, grief, bowing, anxiety, fainting, things placed below, and a plunge in water, this head is used.

55-56. Alolita (rolling): When the head is moved round it is called Ālolita.

56. Uses: In denoting sleepiness, possession by an evil spirit, intoxication, fainting, travelling, a wild and uncontrolled laughter, this head is used.

treatment of them according to which they are twentyfour in number (p. 19). Though the MG fathers the above upon Bharatacarya, the NS treats the head-gesture differently (cf. VIII. 15-35). 51-52 The MG gives the uses of the Sama head as 'Prayer, authoritative speech, satisfaction, anger, indifference, or inaction' (p. 18). 52 The MG has 'raising the head and keeping it still'. (p. 18), 53 The MG has 'dizziness, hesitation, laughter, etc.,' after 'fainting.' 54-55 The MG has 'regarding anything vile' after 'bowing' (p. 18). 56 The MG has 'dizziness, hesitation, laughter, etc,' after 'faintness.'

NANDIKEŚVARA'S 49

57. Dhuta (shaken sideways): When the head is moved from the left side to the right one and vice-versa, the head is called Dhuta. 57-59. Uses: In denoting 'It does-not-exist,' looking repeatedly to sides, discouraging others, astonishment, sadness, unwillingness, effect of cold and fever, fear, the first stage of drinking liquor, battle effort, forbidding, revenge, glancing at one's own limbs and calling one from sides, this head is used by Bharata and others. 60. Kampita (nodded): When the head is shaken up and down, it is called Kampita. 60-61. Uses: To denote the offence taken, saying 'Do stop', enquiry, hinting, calling from near, inviting the deities, and threaten- ing, this head is used. 61. Paravrtta (turned-round): When the face is turned round, the head is called Paravrtta. 62. Uses: In denoting the command 'That should be done', anger, shame, turning away the face, slighting, hair [or the head], and a quiver, this head is used. 63. Utksipta (thrown-up): When the head is turned aside and then raised up, it is called Utksipta. 64. Uses: To denote the command or request 'Take this' or 'Come', the supporting of [something] and acceptance, this head is used. 65. Parivabita (widely moved): When the head is moved from from side to side like a chauri, the head is called Parivahita. 65. Uses: In denoting infatuation, yearning for the separated

57-59 The MG gives the uses as looking 'repcatedly at thing, condolence with others, astonishment, dismay, indifference' ... preparing for battle, rejection, impatience, ... summoning fiom both sides, ... SR assigns some of the uses to the Vidhuta and some to the Adhuta head. (cf. VII. 65, 57). 62 The MG gives the uses as follows: 'Saying "Do this", aversion, modesty, quiver, relaxing the features, slighting, hair, etc.' Raghavabhatta quotes the AD on the Paravrtta head. (Nirnayasagara ed. P. 40). 7.

50 ABHINAYADARPAŅAM

lover, uttering the praise of deity, satisfaction, approval and cogitation, this head is used.

Glances

66-67. According to ancient masters, glances are eight in number such as, Sama, Alokita, Sācī, Pralokita, Nimīlita, Ullokita, Anuvțtta and Avalokita.

67. Sama (level): The [straight] glance [without moving the eye-lashes], like that of a female divinity, is called Sama.

68. Uses: It is used to denote the beginning of a natya, scale, an effort to guess what another persons is thinking, surprise, and the image of a god.

69. Alokita (keen glance): Gazing quickly with open eyes is called Ālokita.

69-70. Uses: It is used to denote the turning of a potter's wheel, showing all sorts of objects, and begging.

70. Saci (sidelong): Looking out of the corner of the eyes is called Saci according to those versed in the rules of the Natya.

71-72. Uses: It is used to denote hinting, touching moustache, making a mark with an arrow, a parrot, remembering, and beginning of deeds.

72. Pralokita (wide-glance): Looking from side to side, is called Pralokita.

66-67 The NS also describes eight glances, but differently (VIII. 101-105). Evidently a different tradition has been followed there. In addition to the eight glances the MG gives from another source fortyfour kind of glances (pp. 21-22). 68 The expression 'thinking of some other persons' seems to be the trans- lation of a wrong reading for anyacinta-viniscaye in the original of the MG. 69 The MG has this as 'swiftly turning with keen glances' (p. 21). 72 The MG has here 'aiming arrow, hinting and Kulata natya.'

NANDIKEŚVARA'S 51

73. Uses : It is used to denote things situated on both sides, excessive affection, moving, and idiocy. 74-75. Nimilita (closed): Half-closed eyes make the Nimilita glance. 74-75. Uses: It is used to denote a snake, being under another man's power, muttering [prayers etc.,] meditation, salutation, lunacy, and keen observation. 75. Ullokita (looking up): Looking upwards is called Ullokita. 76. Uses: It is used to denote the top of a flag, a tower, the heavenly orbs, previous birth, height and moon-light. 77. Anuvrtta: Glancing quickly up and down is called Anuvrtta. 77. Uses: It is used to denote angry looks, and greeting of friends. 78. Avalokita (looking down): Looking downwards is called Avalokita. 78-79. Uses: It is used to denote looking at a shadow, reflection, excercise, fatigue, study, looking at one's own limbs.

Neck Movements

79-80. Neck Movements: According to those who know of States (bbava) there are four necks: Sundari, Tirascina, Parivartita, Prakampitā. 80. Sundari: When the neck is moved to and fro horizontally it is called Sundarī. 81. Uses: It is used to denote the beginning of affection, effort, in the sense of 'completely,' width, and approval with pleasure. 82. Tirascina: The neck making an upward movement on both sides like the gliding of a snake, is called Tirascina.

73 The MG has 'making signs, moving and discordant mind.' 74-75 The MG has 'the appearance of a sage (rsi)'. Besides these the MG gives six movements of brows as mentioned elsewhere. 81 The MG has "well-done" recollection, badinage, sympathetic pleasure.'

52 ABHINAYADARPAŅAM

83. Uses: It is used to denote excercise with a sword, and the gliding of a snake. 83-84. Parivartita: The neck moving from right to left like a half-moon, is called Parivartita. 84-85. Uses: By those who know the natya-tantra, it is used to denote female dance (lasya), and kissing two cheeks of the beloved. 85-86. Prakampita. The neck when it is moved backward and forward like the movement of a she-pigeon's neck, is called Prakampita. 86-87. Uses: It is used to denote saying 'you and I', folk-dances, swinging and the inarticulate murmurings, and the sound uttered by a woman at the time of conjugal embrace (manita).

Classification of Hands

SINGLE HANDS 87-88. Now the characteristics of hands will be described by me. They are of two kinds: single and combined. 88-92. Single Hands: In the beginning the characteristics of single hands will be told. They are twenty-eight in number: Pataka, Tripataka, Ardhapatāka, Kartarīmukha, Mayura, Ardhacandra, Arāla, Šukatuņda, Musți, Śikhara, Kapittha, Kațakāmukha, Sūcī, Candrakalā, Padmakośa, Sarpasiras, Mrgaśīrsa, Simhamukha, Kāngula, Alapadma, Catura, Bhramara, Hamsasya, Hamsapaksa, Sandamśa, Mukula, Tāmracūda and Triśūla. 88-92. Pataka (flag). The hand in which the thumb is bent to touch the fingers, and the fingers are extended, is called Pataka. 94-100. Uses: It is used in the beginning of a natya and to denote the clouds, a forest, forbidding things, bosom, might, a river, region of gods, the horse, cutting, wind, lying down, attempt

86-87 The MG has 'counting' (=ganite?) for manite. 87-88 The MG puts in after this, twelve lives of hands (bastaprānab).

NANDIKEŚVARA'S 53

at going, prowess, favour, moonlight, strong sunlight, forcing open doors, meaning of seven case-endings, wave, entering a street, equality, anointing the body of one's ownself, taking an oath, silence, palmyra leaf, shield, touching things, benediction, the ideal king, saying 'such and such a place', the sea, succession of good deeds, addressing a person, going forward, holding a sword, a month, a year, a rainy day, and cleaning with broom.

100. Tripataka (a flag with three). When the ring-finger is bent in a Pataka hand, it is called Tripatāka.

101-102. Uses: It is used to denote a crown, a tree, the vajra (thunder bolt of Indra), and the bearer of vajra (Indra), the ketaki Aower, a lamp, raising flames, a pigeon, patterns drawn on the face or breast (patralekba), an arrow, and turning round. 103. Ardhapataka (half-flag): If the little finger of the Tripataka hand is bent down, it is called Ardhapataka. 103-104. Uses: It is used to denote leaves, a board or slab for writing or painting, the bank of a river, saying 'both', a knife, a banner, a tower, and a horn. 105. Kartarimukha: If the fore-finger and the little finger of the same hand (Ardhapataka) are outspread it is called Kartarīmukha. 105-107. Uses: It is used to denote the sparation of a man and a woman, overturning or opposition, plundering, a corner of an eye, death, estrangement, lightning, sleeping alone during separation, falling and weeping. 108. Mayura (peacock): When the ring-finger of the Kartari-

100 It is noteworthy that janantike (=aside) does not occur in the viniyoga of the Tripataka hand, though the Dasarupa refers to it (vide Ed. Hall, 1. 95). 101-102 The MG has 'check' (=kapola) for 'pigeon' (=kapota). The MG gives additional definitions of hands from another work. The author of this work invents the sage (rsi), race (vamsa), colour (varna) and the guardian deity (devata) etc., of the hands (pp. 27ff). We cannot ascertain what led him to give a Vedic colouring to these cvidently extra-Vedic things.

54 ABHINAYADARPAŅAM

mukha hand is joined to the thumb, and other fingers are extended, it is called the Mayura hand.

109-I10. Uses: It is used to denote the peacock's neck, a creeper, a bird, vomiting, removing hair, an ornamental mark on the forehead (tilaka), scattering (agitating) river-water, discussing the Sāstras, and a famous thing. I1I. Ardhacandra (half-moon): If the thumb of the Pataka hand is stretched out, the latter is called Ardhacandra.

112-113. Uses: It is used to denote the phase of the moon on the eighth day of the dark fortnight, a hand seizing the throat, a spear, consecrating an image, a dining plate, origin, waist, musing, one's ownself, meditation, prayers, touching limbs, and greeting by common people. 114. Arala (bent): When the fore.finger of the Pataka hand is curved, the latter is called Arala. 114. Uses: It is used to denote drinking poison, nectar etc., and violent wind. 115. Sukatunda (parrot's head): Arala, when its third finger is bent, is called Sukatunda. 115-116. Uses: It is used to denote the shooting of an arrow, a spear, remembering one's abode, saying of mystic things, and violent mood. 116-117. Musti (fist): When the four fingers are bent into the palm and the thumb is set on them, that hand is called Musti. 117-118. Uses: It is used to denote steadfastness, grasping the hair, holding things, and the fighting mood of wrestlers. 118. Sikhara (peak): If the Musti hand has its thumb, raised up it becomes Sikhara. 119-121. Uses: It is used to denote amour (or god of love), a bow, a pillar, certainty, making offering to manes, the upper lip, some- thing entered, a tooth, questioning, the phallic symbol, saying 'no',

NANDIKEŚVARA'S 55

recollection, near about abbinaya (?), pulling at the girdle, the act of embrace, and sounding a bell. 121-122. Kapittha (elephant-apple): If in the Sikhara hand the fore_finger is bent over the top of the thumb, it is called Kapittha. 122-124. Uses: It is used to denote Laksmi, Sarasvatī, holding cymbals, milking cows, collyrium, holding flowers at the time of dalliance, grasping the end of robes, gathering of cloth and offering incense or light. 124-125. Katakamukha (opening in a bracelet): The Kapittha hand with the fore-finger and the middle finger applied to the thumb, is called Kațakāmukha. 125-127. Uses : It is used to denote picking flowers, holding a pearl necklace or garland of flowers, drawing the middle of the bow, offering betel leaves, preparing the paste of mask and sandal etc. by rubbing them against something, applying perfumes to something, speaking, and glancing. 127-128. Suci: The Katakamukha hand with its fore-finger raised is called Suci. 128-131. Uses: It is used to denote the number one, the Supreme Soul (Para-brabma), one hundred, the sun, a city, the world, saying 'like that' and 'that which', in the sense of crowdless, threaten- ing, growing thin, a rod, body, astonishment, a braid of hair, an umbrella, capability, hairs, beating drum, the potter's wheel, circum- ference of a wheel, consideration, and decline of the day. 132. Candrakala (digit of the moon): The Suci hand after releasing the thumb is called Candrakalā. 132-133. Uses: It is used to denote the moon, the face, the span of the thumb forefinger and objects of that shape, the crown of Siva, Ganga (the Ganges) and a cudgel. 134. Padmakośa (lotus-bud): When the fingers are separated and a little bent and the palm is also a little hollowed, the hand is called Padmakośa.

56 ABHINAYADARPAŅAM

135-137. Uses: It is used to denote fruits, such as the bel and an elephant-apple, round breasts of a woman, a circular movement, ball, cooking pot, taking meals, a flower-bud, mango, scattering flowers, cluster of flowers, japa flowers, bell, an ant-hill, a lotus and an egg. 137. Sarpasirsa (snake-hood): When the tips of fingers in the Patāka hand are bent, it is called Sarpasīrsa. 138-139. Uses: It is used to denote sandal paste, a snake, the middle tone, sprinkling, nourishing, giving water to gods and sages, the moving to and fro of the two kumbhas (the slight protuberances of the head) of an elephant, and arms of wrestlers. 139. Mrgasīrsa (deer-head): When the thumb and the little finger of the Sarpasirsa hand are extended it becomes Mrgasīrsa.

140-142. Uses: It is used to denote women, cheek, a wheel, limit, fear, quarrel, costume or dress, calling, tripundraka mark on the forehead, a deer's head, a lute, massage of the feet, getting of one's all, the female-organ, holding an umbrella, stepping, and calling the beloved. 142-143. Simhamukha (lion-face): When tips of the middle and the third finger are applied to the thumb and the rest of the fingers are extended, the hand is called Simhamukha. 143-144. Uses: It is used to denote homa, a hare, an elephant, waving kuśa-grass, a lotus garland, a lion's facc, preparations of medicine by physicians, and rectification. 144. Kangula: The Padmakośa, when its third finger is curved, becomes Kāngula. 145-146. Uses: It is used to denote lakuca fruit, bells worn by children, any other bell, a partridge, a betelnut tree, a breast of a young girl, a white water-lily, the cataka bird and the cocoanut. 146. Alapadma, When fingers beginning from the little finger are bent and separated from one another, the hand is called Alapadma.

NANDIKEŚVARA'S 57.

147-149. Uses: It is used to denote a full-blown lotus, elephant- apple, circular movement, a breast, separation from the beloved, looking-glass, the full moon, beauty, the hair-knot, a moon-tower, (turret) a village, height, anger, a lake, a cart, a cakravaka, murmuring sound, and praise. 149-150. Catura. When the thumb is placed at the foot of the third finger and the fore-finger and adjoining two fingers are clinging to each other and the little finger is outstretched, the hand is called Catura. 150-152. Uses : It is used to denote musk, a little, gold, copper, iron, wet, sorrow, aesthetic pleasure, an eye, difference of castes, proof, sweetness, slow gait, breaking to pieces, face, oil and ghee. 152-153. Bhramara (bee). When the thumb and the middle finger touch each other and the fore-finger is curved and the remaining fingers are outstretched, the hand is called Bhramara.

153-154. Uses: It is used to denote a bee, a parrot, a wing, a crane, a cuckoo, and similar birds.

154-155. Hamsasya (swan-beak). If the thumb and the fore- finger touch each other and the remaining fingers are outstretched the hand is called Hamsasya. 155-157. Uses: Blessing or festival, the tying with thread, ascertaining instruction, horripilation, pearls, putting forward the wick of a lamp, a touchstone, a jasmine, a painting, the act of paint- ing, and a dyke impeding a current. 157-158. Hamsapaksa (swan-wing). If the little finger of the Sarpasīrsa hand is outstretched, the hand is called a Hamsapaksa. 158-159. Uses: It is used to denote the number six, cons- truction of a bridge, putting nail-marks, and covering or sheath. 159-160. Sandamsa (pincers). If the fingers of Padmakośa are brought close to one another and drawn apart from one another in quick succession, the hand is called Sandamsa. 8

58 ABHINAYADARPAŅAM

160-161. Uses: It is used to denote the belly, presentation of an offering to deities, wound, a worm, great fear, worship, and the number five. 161-162. Mukula (blossom). If the five fingers of a hand meet together, the hand is called Mukula. 162-163. Uses : It is used to denote a water-lily, eating, the god of love [with his five arrows], holding of a signet or seal, the navel and a plantain fower. 163. Tamracūda (cock). If the fore-finger of the Mukula is curved the Tamracuda hand will result. 164. Uses: It is used to denote a cock, a crane, a crow, a camel, a calf and a pen. 165. Trisula (trident). If the thumb and the little finger are curved, the hand is called Trisūla. 165. Uses : It is used to denote a bel-leaf, and the idea of Trinity. 166. Vyaghra (tiger). If the little finger and the thumb are bent in the Mrgasirsa hand, the Vyaghra hand will be the result. 167. Uses. It is used to denote a tiger, a frog, a monkey and a mother of pearl. 167. Ardbasuci. If the thumb is moved above in the Kapittha hand, the result will be the Ardhasuci hand. 168. Uses: It is used to denote a sprout, young ones of a bird, and big worms. 168-169. Kataka. If the middle finger and the third finger are joined together the result is the Kataka hand. 169-170. Uses: It is used to denote calling and moving.

166 This hand and the three following ones (167, 168, 169) have not been enumerated in the list of single hands (59-62). The MG omits this hand, and mentions two more single hands such as Urnanābha and Bāna. 168-170 The lacunae in the text have been suggested by the editor. The mss, do not show them.

NANDIKEŚVARA'S 59

170. Palli. If in the Mayura hand the middle finger is put on the back of the fore-finger, the Palli hand will be the result. 171. Uses: It is used to denote a village or a hut. 171-172. These (single hands) will [also] form combined hands according to exigencies of abhinaya. Their ways (characteristics) with reference to their objects will be shown in due order.

COMBINED HANDS

172-175. According to older teachers including Bharata and others, the combined hands are twenty-three in number. They are : Añjali, Kapota, Karkața, Svastika, Dolā, Puspapuța, Utsanga, Šivalinga, Kațakavardhana, Kartarīsvastika, Sakata, Sankha, Cakra, Sampuța, Pāsa, Kīlaka, Matsya, Kūrma, Varāha Garuda, Nāgabandha, Khațvā and Bherunda. 176. Anjali. If two Pataka hands join the palms it is called Añjali.

176-177. Uses: It is to be held on the head, face and bosom respectively in the salutation of a deity, a preceptor and a Vipra (Brāhmaņa).

172-175 In this connexion the MG gives the following: 'When two single hands are combined that is a combined hand. Even though the origin and meaning remain the same the patron deity always differs'. But the origin end the patron deity have been mentioned only in the case of following hands: Añjali, Kapota, Karkața, Dolā, Puspaputa, Utsanga and Katakāvardhana. In- stead of twenty-three, the MG gives twenty-four Samyuta hands. The one additional hand here is called Avahittha which is two Alapadma hands held on breasts. 'Erotic dance (srngara-natana) holding a playball, and the breasts are its viniyoga (uses)'. The MG gives twenty-seven combined hands from another book. None of these names except Svastika is to be found in the list given in the present text. The MG which is never tired of quoting gives a third list of (twenty.seven) Samyuta hands (p. 43). Names and descriptions of these hands in many cases correspond to those mentioned above.

60 ABHINAYADARPAŅAM

177. Kapota. Añjali becomes Kapota when the two [Patāka] hands meet only at their base, side and end. 178. Uses: It is to be used in salutation, addressing a pre- ceptor, respectful acceptance or agreement. 178.179. Karkata. When the fingers of one hand are run through the opening between fingers of the other, and the fingers re- main either inside (towards the palm) or outside (on the back of the hand) the hand is called Karkata.

179-180. Uses : It is used to denote the coming of a multitude, showing the belly, filling the conch-shell with wind, twisting or stretch- ing of limbs and pulling a branch down.

180-181. Svastika. When two Pataka hands are put across each other at their wrist, they form the Svastika hand.

181. Use: It is used to denote a crocodile (makara).

182. Dola. When the Pataka hands are placed on the thigh the Dola hand is formed.

183. Use: It is used at the beginning of nātya.

184. Puspaputa. When two Sarpasīrsa hands meet on one side they form the Puspaputa hand.

185. Uses: It is used in waving lights before an image of a god, as an act of adoration, taking of water, fruit etc. giving offerings to gods, evening, and a flower invested with magical power. 184. Utsanga. If hands showing Mrgasirsa are placed on the upper arm of opposite hands the Utsanga hand is made. 185. Uses: It is used to denote embrace, displaying armlets and such other ornaments, and coaching of boys.

186. Sivalinga. When Ardhacandra is held by the left hand and Sikhara by the right, the Sivalinga hand is made. 186. Use: It is used in showing the phallic symbol.

NANDIKEŚVARA'S 61

187. Katakavardbana. When a Svastika is made by placing two Katakamukha hands at their wrist, it is called Katakavardhana. 188. Uses: It is used in coronation, worshipping, and marriage etc.

188. Kartarisvastika. When a Svastika is made by two Kartari hands [placed at their wrist] it is called Kartarīsvastika. 189. Uses: It is used to denote branches, hill tops, and trees. 189. Sakata. When the middle finger of the Bhramara hands is stretched it becemes Sakata hand. 190. Use: This hand is often used in playing in the role of a Rāksasa (demon). 190-191. Śankha. When thumb of a Sikhara hand meets the other thumb and is clung round by the fore-finger [close to the latter thumb] the hand is called Sankha. 191. Uses : Itisused to denote conch-shell and such other things. 192. Cakra. When the palms in Ardhacandra hands are put across each other they make Cakra hand. 192. Uses: It is to denote a cakra (wheel). 193. Samputa. When the fingers in Cakra hands are curved, it is called the Samputa hand. 193. Uses: It is used for covering things and in representing a box.

189. Pasa. When the fore-fingers of Suci hands are close to each other [bent inwards], the hand is called Pasa.

190. Uses: It is used to denote a mutual quarrel, a string and a chain.

191. Kilaka. When the little fingers of the Mrgasīrsa hands are bent inwards and close to each other, the hand is called Kīlaka. 195. Uses: It is used to denote affection and a jocose talk.

187 The SR mentions this as the Khatakāvardbamāna.

62 ABHINAYADARPAŅAM

196. Matsya. When one hand is placed on the back of another and the two thumbs are out-stretched, the hand is called Matsya. 197. Use: It is used to denote a fish. 197. Kurma. When the tips of thumbs and little fingers of the Cakra hands are bent, it is called the Kurma hand. 198. Use: It is used to denote a tortoise. 198. Varaba. When one Mrgasirsa is placed above another and the thumb of the one hand meets that of the other and vice versa, the hand is called Varāha. 199. Use: It is used to denote a boar. 200. Garuda. When palms of two Ardhacandra hands are placed horizontally with the two thumbs placed on each other, the hand is called Garuda.

197. Use: It is used to denote Garuda. 201. Nagabandha. The Sarpasīrsa and the Svastika hands placed together will make the Nagabandha hand. 201. Use: It is used to denote the Nagabandha. 202. Khatva. Placing one Catura hand on another Catura hand with the fore-finger and and thumb of each released, will make the Khatvā hand. 202. Uses: It is used to denote a bedstead and a litter. 203. Bherunda. When the two Kapittha hands are joined at their wrists, the Bherunda hand will result. 203. Uses: It is used to denote the Bherunda, and a pair of birds.

Hands for Deities 204. Now the hands which are prescribed for the dramatic re- presentation and the sculptural construction of deities are being described in the following order:

203 A fabulous being named Bherunda is sometimes met with in the Bengali folk-lore.

NANDIKEŚVARA'S 63

205. Brabman: Brahman is to hold Catura with his left hand, Hamsasya with his right one. 205. Siva : Siva is to hold Mrgasirsa with his left hand and Tripataka with the right one. 206. Visnu: Visnu is to hold Tripataka with both his hands.

206-207. Sarasvati: Sarasvati is to hold Suci with her right hand and Kapittha with the left one raised on a level with the shoulders. 207-208. Parvati: Parvati is to hold Ardhacandra with the right hand held up, and Ardhacandra should be held by the left hand also, but it should be held down. The two hands should be in Abhaya (fear-dispelling) and Varada (giving a boon) poses respectively. 208. Laksmi: Laksmī is to hold Kapittha hands near about her shoulders. 209. Gancsa: Ganeśa is to hold Kapittha hands placed on his thighs. 209-210. Kārtikeya: Kārtikeya is to hold Trisula with his left hand and Sikhara with the right one held up. 210-211. Manmatha : Manmatha is to hold Sikhara with his left hand and the Katakamukha with the right one. 211. Indra: Indra is to hold Tripataka and Svastika in his two hands. 212. Agni: Agni is to hold Tripataka with his right hand and Kangula with the left one. 213. Yama: Yama is to hold Pasa with his left hand and Suci with the right one. 213. Nirrti: Nirrti is to hold Khatva and Sakata with her two hands.

205 The MG mentions 'Siva' as 'Sambhu'. 209 The MG mentions 'Ganesa' as Vighnesvara.'

64 ABHINAYADARPAŅAM

214. Varuna : Varuna is to hold Pataka with his left hand and Sikhara with the right one. 214-215. Vayu: Vayu is to hold Arala with his right hand and Ardhapataka with the left one. 215. Kuvera : Kuvera is to hold Padma (lotus) with the left hand and the Gada (mace) with the right one.

Hands for the Ten Avataras

216. Matsya: Show the Matsya hands on the same level with the shoulders. This is called the hands of the Matsya-Avatara. 217. Kurma: Show the Kurma hands on the same level with the shoulders. This is called the hands of the Kurma-Avatara.

217. Varaha: Show the Varaha hands on a level with the waist and keep them on the sides. This is called the hands of the god Ādivarāha. 219. Nrsimba : Hold Simhamukha with the left hand and Tripataka with the right one. This is called the hands of Narasimha. 220. Vamana: If the left hand holds Musti up and the right hand also holds Musti but downwards, the result will be Vāmana's hands. 221. Parasurama: If left hand is placed in the waist and the Ardhapataka is held by the right hand, the result will be Parasurama's hands. 222. Ramacandra: If Kapittha is held by the right hand and Sikhara by the left one, the result will be Ramacandra's hands.

218. Balarama : If Pataka is held by the right hand and the Musti by the left one, the result will be Balarama's hands. 224. Krsna: If the Mrgasirsa hands facing each other are held near the face, the result will be Krsna's hands. 225. Kalki: If Pataka is held by the right hand and the Tripataka by the left one, the result will be Kalki's hands.

NANDIKEŚVARA 65

Miscellaneous Hands 226. Raksasa: If the Sakata hands are held at the mouth the result will be the hands of a Raksasa. 226-227. Brahmana: When Sikhara is held by two hands and the right hand is held horizontally to indicate the sacred thread, the result is the Brahmana hands. 227-228. Ksatriya: If the Sikhara is held horizontally by the left hand and Pataka is held by the right one, the result is the Kşatriya hands. 228-229. Vaisya: If the Hamsasya is held by the left hand and Katakamukha by the right, the result will be the Vaisya hands.

229-230. Sudra: If Sikhara is held by the left hand and the the Mrgasirsa by the right one, the result will be the Sudra hands. 230-231. In a similar manner there will be hands named after the eighteen castes according to their profession. Hands of the inhabitants of different countries are also to be understood by the wise people in a similar manner. 231-232. Husband and Wife: If Sikhara is held by the left hand and the Mrgasirsa by the right one, the result will be the hands of a married couple. 232-233. Mother: If Ardhacandra is held by the left hand and Sandamsa by the right one, and the left hand is turned round over the belly, the result will be the mother hands. 233. Use: It is used to denote a mother and a virgin. 234-235. Father: If the right hand of the mother hands holds Sikhara, the result will be the father hands. 235. Uses: It is used to denote a father and a son-in-law. 236-237. Mother-in-law : If Hamsasya is held by the right hand at the throat, and Sandamsa is held by the right one, and the left hand is afterwards rubbed round the belly, the result will be the mother-in-law hands.

9

66 ABHINAYADARPAŅAM

237-238. Father-in-law: If in the right hand of the mother-in- law hands, Sikhara is held, the result is the father-in-law hands.

238-239. Husband's Brother: If Sikhara is held by the left hand and Kartarīmukha is held by the right one, and the hands are placed on sides, the result is the hands of the husband's brother. 239-240. Husband's Sister: If at the end of the preceding hand the right hand shows the gesture indicating a woman (i.c., the Mrgasīrsa), the result will be the hands of the husband's sister.

240-241. Elder and Younger Brothers: If the Mayura hands are shown in the front and on the two sides, the result will be the hands of the elder and of the younger brother. 241-242. Son: If one holds the Sandamsa on the belly and moves it aftetwards and holds the Sikhara by his left hand, the son's hands result. 242-243. Daughter-in-law: If after showing the son's hands one shows with the right hand the gesture expressing a woman (i. e., Mrga- sirsa), then the result will be the daughter-in-law's hands. 243-244. Co-wife : If one shows the gesture for a woman (i. e., Mrgasīrsa) with both the hands after showing the Pasa hand, then the co-wife's hands are made.

Hands in Nrtta 244-247. The movements of Nrtta-hastas is of five kinds. They are known to be movements upwards, downwards, on the right, on the left and in the front. The moving of hands should be in the manner of that of the feet. The left one (foot or hand) should be on the left and the right one on the right. This is noticed by those who know the rules of nrtta. (For 247 see the translation of the verse 28.) 248-249. The thirteen hands such as Pataka, Svastika, Dola, Añjali, Kațakāvardhana, Sakața, l'āsa, Kīlaka, Kapittha, Šikhara, Kurma, Hamsasya and Alapadma are fit to be used in Nrtta.

NANDIKEŚVARA 67

Hands for Planets 250. The Sun: If Alapadma and Kapittha are shown by two hands near about the throat, the Sun's hands are formed. 251. The Moon: If Alapadma is shown by the left hand and Pataka by the right one, hands produced are called that of the Moon. 252. Mars: If Suci is shown by the left hand and Musti by the right one, Mars's hands are produced. 253. Mercury: If Musti is horizontally held by the left hand and Pataka by the right one, then Mercury's hands are produced. 254. Jupiter: Showing Sikhara to indicate the sacred thread will make the hands of a Rsi or Brahmin as well as that of Jupiter. 255. Venus: To hold Musti with both hands and to keep the left hand high up and the right one down, will make Venus's hands. 256. Saturn: To show Sikhara with the left hand and Trisūla with the right one, is to make Saturn's hands. 257. Rabu: To show Sarpasirsa with the left hand and Sucī with the right, is to make the hands of Rahu. 258. Ketu: To show Suci with the left hand and Patāka with the right, is to make the hands of Ketu.

Feet in Dance 259-260. Feet in different positions and with different move- ments will be described in accordance with the old tradition. These [positions and movements] give rise to Mandala (posture), Utplavana (leaping movement or jumping), Bhramarī (fight movement) and Padacari or Cari (gait). Their definitions are to follow.

Standing Postures (Mandala) 260-261. There are ten standing postures: Sthanka (simple standing), Ayata, Alīdha, Pratyālīdha, Prenkhaņa, Prerita, Svastika, Moțita, Samasūcī, and Pārsvasūcī. 262. Sthanaka: Standing with Samapada feet in the same line and touching the hip with Ardhacandra hands, will be Sthanaka.

68 ABHINAYADARPAŅAM

263. Ayata: Standing with two feet half a cubit apart from each other in a Caturasra posture and at the same time bending knees a little apart and placing one of them upon the other, will give rise to the Ayata posture. 264-265. Alidha: Place the left foot before the right one at a distance of one cubit and a half, make Sikhara with the left hand and Katakamukha with the right one ; this, according to Bharata and others, will give rise to the Alidha posture.

264. Pratyalidba: If hands and feet are interchanged in the Alīdha posture, it will be called Pratyālīdha. 266-267. Prenkhana: Putting one foot by the side of another heel and having Kurma hands, will give rise to the Prenkhana posture.

267-269. Prerita: Putting one foot violently [on the earth] at a distance of one cubit and a half from another and standing with knees bent and one of them put across another and holding the Sikhara hand in the breast and showing the Pataka hand stretched out, will give rise to the Prerita posture.

269-271. Svastika: The right foot should be put across the left foot, and the right hand should be put across the left hand ; thus will be the Svastika posture.

271-272. Motita: Rest on the earth with the forepart (toes) of the teet and touch the earth with each knee alternately and make Tripataka with both the hands ; this will give rise to the Motita posture. 272. Samasuci: A posture in which the earth is touched with toes and knees is called Samasuci. 273. Parsvasuci: A posture in which the earth is touched with toes and by one knee on one side, is called Pārsvasūcī.

Varieties of Resting Postures (Sthanaka) 274-275. Resting postures are of six kinds according to the

NANDIKEŚVARA 69

placing of feet. They are Samapada, Ekapāda, Nāgabandha, Aindra, Garuda and Brahma. 275. Samapada : Standing with two feet alike is called Samapada. 276. Uses: It is used in offering flowers [to gods] and playing in the role of gods. 276. Ekapada: Standing with one foot and laying the other across the knee of that foot will give the Ekapada position. 277. Uses: It is used to denote motionlessness and the practice of penance (tapasyā). 277-278. Nagabandba: Standing like a serpent intertwining two feet and two hands together will give the Nagabandha posture. 278. Use: It is used in showing the Nagabandha. 278-279. Aindra: Standing with one leg bent and the other leg and knee raised and hands hanging naturally, will give rise to Aindra posture. Uses: It is used in suggesting Indra and a king. 280-281. Garuda: If in the Alidha posture one knee is put on the ground and the two hands jointly show the gesture (?) it will be the Garuda posture. Use: It is used to denote Garuda. 281-282. Brabma: Sitting with one foot on one knee and another foot on another knee will give rise to Brahma posture. 282. Uses : It is used to denote japa (repeated muttering of prayers) and similar matters.

Different Kinds of Leaps (Utplavana)

282-283. Now, the definition of various leaps will be given. They are of five kinds: Alaga, Kartari, Asva, Motita and Krpalaga. 284. Alaga: Leaping with both the feet and placing Sikhara hand on the hip, at the same time, will be Alaga. 285-286. Kartari: Leaping on toes with Kartari hands held behind the left foot, and holding on one's waist a downward Sikhara hand at the same time, will be Kartari jump.

70 ABHINAYADARPANAM

286 287. Asva: First, leap on two feet and then place them together, and make Tripataka with both the hands. This will be Asva jump. 287-288. Motita: Leaping on both sides alternately like a Kartarī, will be Motita jump. 288-289. Krpalaga: By heels of both the feet alternately touch the hip and keep Ardhacandra hands between the two. This will make Krpālaga.

Various Fligbts (Bhramari) 289-291. Here, we shall describe various flights [in a dance]. According to persons versed in the Nātyasastra they are seven: Utpluta, Cakra, Garuda, Ekapāda, Kuncita, Ākāśa and Anga. 292. Utpluta: If a person moves round his entire body from a Samapada posture, he is said to perform the Utpluta bhramari. 293. Cakra : If keeping feet on the earth and carrying Tripatāka hands, one moves round rapidly one then performs Cakra bhramari. 294. Garuda: Stretch one foot across another and put the knee on the earth and then move about rapidly with outstretched arms. This will be the Garuda bhramarī. 295. Ekapada: Moving round alternately on one foot will be the Ekapāda bhramarī. 296. Kuncita: Moving round with knees bent will be the Kuncita bhramarī. 296-297. Akasa: If one moves round his entire body after making his fully stretched feet wide apart in a jump, he will make the Ākasa bhramari. 297-298. Anga: If one leaps with feet half a cubit apart and then stops, he performs the Anga bhramari.

Different Gaits 298-300. Now the definition of various Caris will be told by me. According to persons who know Bharata's works well they are eight:

NANDIKESVARA 71

Calana, Cankramaņa, Saraņa, Veginī, Kuttana, Luțhita, Lolita, and Vișama. 301. Calana (walking): Advancing a foot from its natural place will be Calana (walking). 301-302. Cankramana (making a leap): Persons well-versed in natya say that a gait made by two feet carefully raised up and thrown sideways alternately, is called Cankramana (making a leap). 302-303. Sarana (moving): Moving like a leech that is covering ground, by joining one heel with another [at each step] and holding at the same time Pataka hands, is called Sarana (moving). 304-305. Vegini (running) : If a nata walks swiftly on his heels or toes or by his entire sole, and holds Alapadma and Tripataka hands alternately, he is said to go with Vegini (running) gait. 305-306. Kuttana (pounding): The striking of the earth with the heel or the fore-part of a foot or the entire sole, is called Kuttana. 306. Luthita (rolling): Performing Kuttana from the Svastika posture, is called Luthita (rolling). 307. Lolita (trembling): Slowly moving a foot which has not touched the earth after performing Kuttana as described before, is called Lolita (trembling). 308 Visama (rough): Setting the left foot to the right of the right one, and the right foot to the left of the left one alternately at the time of walking, is called Visama (rough) gait.

Different Kinds of Stepping 309-310. The different kinds of stepping with their definitions will be told gradually. These are ten in number: Goose-step, Peacock- step, Deer-step, Elephant-step, Lion-step, Snake-step, Frog-step, Heroic- step and Human-step. 311-312. Goose-step: Placing slowly one foot after another at a distance of half a cubit and bending on two sides alternately and carrying Tripataka with both hands, will be stepping like a goose.

72 ABHINAYADARPAŅAM

312-313. Peacock-step: To stand on toes and to carry Kapittha in both the hands and to move both the knees alternately will be making Peacock-steps. 313-314. Deer-step: Running forward or sideways like a deer with Tripataka on both the hands will be called Deer-step. 314-315. Elephant-step: To walk slowly with Samapada feet with hands holding Pataka on both sides is to have Elephant-step.

315-316. Horse-step: To raise the right foot and jump in quick succession and to hold Sikhara with the left hand and Pataka with the right [hand] will be the Horse-step. 317. Lion-step : First stand on toes and then jump forward swiftly and proceed in this manner with Sikhara held in both the hands. This will be the Lion-step. 318. Snake.step: If one holds Tripataka with both hands and on both sides and walks as before, he is said to move like a snake.

319. Frog-step: If one holds Sikhara with both hands and steps almost like a lion, he is said to go with Frog-steps.

320. Heroic step: Coming from a distance holding Sikhara with the left hand and Pataka with the right one, will be called the Heroic step. 321-322. Human step : When one goes round in quick suc- cession and puts the left hand on the waist, holds Katakāmukha with the right one, he is said to move with Human steps. 323-324. Mandalas, Utplavanas, Bhramaris, Carīs, Gatis accord- ing to their relation to one another are endless in number and variety. Uses of these in dance and drama are to be learnt from the Sastras, tradition, and through the favour of wise people.

THE END

ILLUSTRATIONS

PATĀKA TRIPATĀKA ARDHA PATĀKA

पनाक · त्रिपताक अद्पनाक

ARDHACANDRA KAR TARĪMUKHA MAYŪRA कनरीमुख मयूर अ्धचन्द्र

ARĀLA ŚUKATUŅDA MUSȚI अराल शुकतुंड मुष्टि

74 ABHINAYADARPANAM

ŚIKHARA KAPITTHA KA ȚAKĀMUKHA

शिखर कपित्थ कठकामुख

SŪci CANDRAKALĀ PADMAKOSA

सूची चन्ट्रकला पद्मकोश

SAR PAŚĪRȘA SIMHAMUKHA सपगीष MRIGAŚİRȘA (SIDE) मृगभीरषं सिहमुख (पार्ई)

II.LUSTRATIONS 75

KÂŃGULA (SIDE) ALAPADMA CATURA (SIDE) काङगुल (पार्) अलपम चनुर (पार्ष)

BHRAMARA भ्रमर HAMSA PAKŞA HAMSĀSyA हंसाक्य हंसपक्ट

SANDAMSA MUKULA TĀMRACUŅA सन्दंभ मुकुल नामचूड

76 ABHINAYADARPANAM

TRIŚULA VYĀGHRA ARDHA SÚCİ

न्रिमुल व्याध अधसूची

KATAKA कठक PALLI AÑJALI अजंलि पल्ली

KAPOTA KARKATA PUȘPAPUȚA कपोन कर्कट पुष्पपुट

ILLUSTRATIONS 77

ŚIVALIŃGA श्िवलिंग KATAKĀVARDHANA कढकावर्धन KARTARĪSVASTIKA कर्नवीसस्तिक

ŚAKAȚA शकट ŚAŅKHA CAKRA शंख चक्र

SAMPUȚA PĀŚA

सम्पुर

78 ABHINAYADARPANAM

KŪRMA KĪLAKA

कर्म MATSYA कोलक मन्स्य

BHERUNDA VARĀHA GARUDA मरडं

बराह गक्ड

NĀGABANDHA KHAȚVĀ नागवन्ध खट्टा

ILLUSTRATIONS 79

KANGULA CATURA (FRONT) (FRONT) कांगुल (सम्मुस' SIMHAMUKHA (FRONT) सिहमुख (समुस) चतुट (सम्मुख)

SVASTIKA सस्तिक

नन्दिकेश्वर-विरचितम् अभिनयदर्पणम्

[ नमस्क्रिया ] आङ्िकं भुवनं यस्य वाचिकं सर्वेवाङ्न्मयम्। आहार्य चन्द्रतारादि तं नुमः सात्त्विकं शिवम् ॥१॥ [नाट्योत्पत्ति: ] नाट्यवेदं ददौ पूर्व भरताय चतुर्मुखः । ततश्र भरतः सार्ध गन्धर्वाप्सरसां गणैः ॥२॥ नाट्य नृत्तं तथा नृत्यमग्र शम्भो: प्रयुक्तवान्। प्रयोगमुद्धतं स्मृत्वा सप्रयुक्तं ततो हरः ॥३॥ तण्डुना सवगणाग्रण्या भरताय न्यदीदिशत्। लास्यमस्याग्रतः प्रीत्या पार्वत्या समदीदिशत् ॥४॥ बुद्ध्वाऽथ तण्डवं ताण्डोर्मर्त्येम्यो मुनयोऽवदन। पार्वती त्वनुशास्ति स्म लास्य बाणात्मजामुषाम् ॥५॥ तया द्वारवतीगोप्यस्ताभिः सौराष्ट्रयोषितः । ताभिस्तु तत्तद्देशीयास्तदशिष्यन्त योषितः ॥६॥ एवं परम्पराप्राप्तमेत्तल्लोके प्रतिष्ठितम्। [नाव्यप्रशंसा ] ऋगयजुः सामवेदेम्यो वेदाच्चाथर्वणः क्रमात् ॥७॥ II

82 अभिनयदर्पराम् पाठ्य चाभिनय गीतं रसान् संगृह्य पद्मजः। व्यरीर चच्छास्त्रमिदं धर्मकामार्थमोक्षदम् ।।८।। कीर्तिप्रागल्म्यसौभाग्यवैदगध्यानां प्रवर्धनम्। औदार्यस्थेर्यधैर्याणां विलासस्य च कारणम् ॥९॥ दुःखार्तिशोकनिर्वेदखेदविच्छेदकारणम्। अपि ब्रह्मपरानन्दादिदमभ्यधिक मतम् ॥१०॥ जहार नारदादीनां चित्तानि कथमन्यथा।

[नटनभेदा: ] एतच्चतुविधोपेत नटन त्रिविध स्मृतम् ॥११॥ नाट्य नृत्तं नृत्यमिति मुनिभिर्भरतादिभिः।

[ नटनप्रयोगकाल: ] द्रष्टव्ये नाट्यनृत्ये च पर्वकाले विशेषतः ॥१२। नृत्तं तल नरेन्द्रानामभिषेके महोत्सवे। यात्रायां देवयालायां विवाहे प्रियसङ्गमे ॥१ ३। नगराणामगाराणां प्रवेशे पुत्जन्मनि। शुभार्थिभि: प्रयोक्तव्यं माङ्गल्य सर्वकर्मभिः ॥१४॥

[नाव्यम् ] नाट्य' तन्नाटक चैव पूज्य पूर्वकथायुतम्।

[नृत्तम् ] भावाभिनयहीन तु नृत्तमित्यभिधीयते ॥१५॥

अभिनयदर्पराम् 83 [नृत्यम् ] रसभावव्यञ्जनादियुक्त नृत्यमितीर्यते। एतन्नृत्यं महाराजसभायां कल्पयेत् सदा ॥१६।

सभापतिलक्षणाम् श्रीमान् धीमान् विवेकी वितरणनिपुणो गानविद्याप्रवीणः सर्वज्ञः कीर्तिशाली सरसगुणयुतो हावभावेष्वभिज्ञः। मात्सर्यद्वेषहीन: प्रकृतिहितसदाचारशीलो दयालु- र्धीरो दान्तः कलावानभिनयचतुरोऽसौ सभानायकः स्यात् ॥१७॥

मन्त्रिलक्षणाम् मेधासुस्थिरभाषणगुणपरा: श्रीमद्यशोलम्पटा भावज्ञा गुणदोषभेदनिपुणाः शृङ्गारलीलायुताः । मध्यस्था नयकोविदाः सहृदयाः सत्पण्डिता भान्ति ते भाषाभेदविचक्षणाः सुकवयो अस्य प्रभोर्मन्त्रिणः ॥१८।।

सभालत्तणम् सभाकल्पतरुर्भाति वेदशाखोपजीवितः । शास्त्रपुष्पसमाकीर्णो विद्वद्भ्रमरशोभितः ।१९।।

[सभारचना ] एवंविधः सभानाथः प्राङमुखो निविशेन् मुदा। वर्तेरन् पार्श्वयोस्तस्य कविमन्त्रिसुहज्जनाः॥२०॥ तदग्रे नटन कुर्यात् तत् स्थलं रङ्ग उच्यते। रङ्गमध्ये स्थिते पाले तत्समीपे नटोत्तमः ॥२१॥

84 अभिनयदर्पराम् दक्षिणे तालधारी च पार्श्वद्वन्द्वे मृदङ़गकौ। तयोर्मध्ये गीतकारी श्रुतिकारस्तदन्तिके ॥२२। एवं तिष्ठेत् क्रमेणैव नाट्यादौ रङ्गमण्डली।

पात्रलत्तणम् तन्वी रूपवती श्यामा पीनोन्नतपयोधरा ॥२३॥ प्रगल्भा सरसा कान्ता कुशला ग्रहमोक्षयोः। विशाललोचना गीतवाद्यतालानुवर्तिनी॥२४॥ परार्ध्यभूषासम्पन्ना प्रसन्नमुखपङ्कजा। एवंविधगुणोपेता नर्तकी समुदीरिता ॥२५॥

वर्जनीयपाताणि पुष्पाक्षी केशहीना च स्थूलोष्ठी लम्बितस्तनी। अतिस्थूलाप्यतिकृशा अत्युच्चाप्यतिवामना ॥२६। कुब्जा च स्वरहीना च दशैता नाट्यवर्जिताः ।

पालस्य प्राणा: जव: स्थिरत्वं रेखा च भ्रमरी दृष्टिरश्रमः ॥२७॥ मेधा श्रद्धा वचो गीतं पात्रप्राणा दश स्मृताः। एवंविधेन पात्रेण नृत्यं कार्य विधानतः ॥२८।

सुखराश्र सुरूपाश्च सूक्ष्मा नक्षत्रदेवताः । किङ्किण्यः कांस्यरचिता एकैकाङ्गुलिकान्तरम् ॥२९॥

अभिनयदर्पएाम् 85 बन्नीयान्नीलसूतेण ग्रन्थिभिश्च दृढं पुनः। शतद्वूयं शतं वापि पादयोर्नाट्यकारिणी॥३०॥ प्रार्थनादिकम् विघ्नेशं मुरजाधिपं च गगनं स्तुत्वा मही प्रार्थयेत् तत्तद्वाद्यकदम्बकस्य विधिना पूजाविधामानयेत्। आलप्यातिमनोहरान् बहुविधीन् संपाद्य भूयस्तथा गुर्वाज्ञामवलम्ब्य पात्रमुचितं शृङ्गारमेवारभेत् ॥३१॥

भरतकुलभाग्यकलिके भावरसानन्दपरिणताकारे। जगदेकमोहनकले जय जय रङ्गाधिदेवते देवि॥३२॥ [ पुष्पाज्जलिः ] विन्नानां नाशनं कर्तु भूतानां रक्षणाय च। देवानां तुष्टये चापि प्रेक्षकाणां विभूतये ।।३ ३।। श्रेयसे नायकस्यात्र पात्रसंरक्षणाय च। आचार्यशिक्षासिद्धर्थ पुष्पाञ्जलिमथारभेत् ॥३४॥ [नाट्यक्रम: ] एवं कृत्वा पूर्वरङ्गं नृत्यं कार्यं ततः परम्। नृत्यं गीताभिनयनं भावतालयुतं भवेत् ॥३५॥ आस्येनालम्बयेद् गीतं हस्तेनार्थ' प्रदर्शयेत्। चक्षुर्म्या दर्शयेद् भावं पादाभ्यां तालमाचरेत् ॥३६॥ यतो हस्तस्ततो दृष्टिर्यतो दृष्टिस्ततो मनः यतो मनस्ततो भावो यतो भावस्ततो रसः॥३७।।

86 अ्रभिनयदर्पराम्

[अरभिनय: ] तत् त्वभिनयस्यैव प्राधान्यमिति कथ्यते। आङ्गिको वाचिकस्तद्वदाहार्यः सात्विकोऽपरः ॥३८॥ चतुर्धाभिनयस- [आरङ्िकाभिनयः ] तत् आङ्िकोऽड्गैरनिद्शितः।

[ वाचिकाभिनय: ] वाचा विरचितः काव्यनाटकादि तु वाचिक: ॥३९॥ [आरहार्याभिनयः ] आहार्यो हारकेयूरवेषादिभिरलंकृतः । [सात्त्विकाभिनय: ] सात्त्विक: सात्त्विकैर्भावैर्भावज्ञे न विभावितः ॥४०।। स्तम्भ: स्वेदाम्बु रोमाञ्चः सरभङ्गोऽथ वेपथुः वैवर्ण्यमश्रु प्रलय इत्यष्टौ सात्त्विकाः स्मृताः ॥४ १॥

[अक्कानि ] अङ्गान्यत्न शिरो हस्तौ वक्षः पार्श्वौ कटीतटौ ॥४ २।। पादाविति षडुक्तानि ग्रीवामप्यपरे जगुः ।

[प्रत्यक्ञानि ] प्रत्यङ्गान्यथ च स्कन्धौ बाहू पृष्ठ तथोदरम् ॥४ ३।।

अभिनयदर्पराम् 87 ऊरू जङ्मे षडित्याहुरपरे मणिबन्धकौ। जानुनी कूर्परावेतत् त्यमप्यधिकं जगुः ॥४४।। ग्रीवा स्यादप्य [ उपाङ्गानि ] उपाङ्गन्तु स्कन्ध एव जगुबुंधाः । दृष्टिभ्रपुटताराश्र कपोलौ नासिका हनू॥४५॥ अधरो दशना जिह्वा चुबुकं वदनं तथा। उपाङ्गानि द्वादशैव शिरस्यङ्गान्तरेषु च ॥४६ ।। पा्ष्णिगुल्फौ तथाङ्गुल्यः करयोः पादयोस्तले। एतानि पूर्वशास्त्रानुसारेणोक्तानि वै मया ॥४७॥ नृत्यमाल्ोपयोगीनि कथ्यन्ते लक्षणैः क्रमात्। अङ्गानां चलनादेव प्रत्यङ्गोपाङ्गयोरपि ॥४८॥ चलनं प्रभवेत्तस्मात् सर्वेषां नात लक्षणम्। शिरोभेदाः सममुद्वाहितमधोमुखमालोलित धुतम्॥४ ९॥ कम्पित च परावृत्तमुतक्षिप्त परिवाहितम्। नवधा कथित शीर्ष नाट्यशास्त्रविशारदैः ॥५॥

समशिर: निश्चल सममाख्यात यन्नत्युन्नतिवर्जितम्।

विनियोग: नृत्यारम्भे जपादौ च गर्वे प्रणयकोपयोः ॥५१॥

88 अरभिनयदर्पराम् स्तम्भने निष्क्रियत्वे च समशीर्षमुदाहृतम्। उद्वाहितशिर: उद्वाहितशिरो ज्ञेयमूर्ध्वभागोन्नताननम् ॥५२॥ विनियोग: ध्वजे चन्द्रे च गगने पर्वते व्योमगामिषु। तुङ्गवस्तुनि संयोज्यमुद्वाहितशिरो बुधैः ॥५३॥ अधोमुखशिर: अधस्तान्नमित वक्तमधोमुखमितीरितम्। विनियोग: लज्जाखेदप्रणामेषु दुश्चिन्तामूर्छयोस्तथा॥५४॥ अधःस्थितार्थनिर्देशे युज्यतेऽम्बुनि मज्जने। आलोलितशिरः मण्डलाकारमुद्भ्रान्तमालोलित शिरो भवेत ॥५५॥ विनियोग: निद्रोद्वेगग्रहावेशमदमूर्छासु तन्मतम्। भ्रमणे विकटोद्दामहास्ये चालोलितं शिरः ॥५६॥ धुतशिर: वामदक्षिणभागेषु चलित तडुत शिरः। विनियोग: नास्तीति वचने भूयः पार्श्वदेशावलोकने॥५७॥ जनाश्वासे विस्मये च विषादेऽनीप्सिते तथा। शीतार्ते ज्वरिते भीते सद:पीतासवे तथा ॥५८॥

अभिनयदर्पयाम् 89 युद्धे यत्न निषेधादावमर्षे खाङ्वीक्षणे। पार्श्वाह्वाने च तस्योक्तः प्रयोगो भरतादिभिः ॥५९॥

कम्पितशिर: ऊर्ध्वाधोभागचलित तच्छिरः कम्पित भवेत।

विनियोग: रोषे तिष्ठेति वचने प्रश्न संख्योपहतयोः ॥६०॥ आवाहने तर्जने च कम्पित विनियुज्यते।

परावृत्तशिर: पराङमुखीकृतं शीर्ष परावृत्तमितीरितम् ॥।६१।। विनियोग: तत् कार्यं कोपलज्जादिकृते बक्तापसरणे। अनादरे कचे तूण्यां परावृत्तशिरो भवेत् ॥।६ २।। उत्च्िप्तशिरः पार्श्वोर्ध्वभागचलितमुतक्षिप्त कथ्यते शिरः। विनियोग: गृहाणागच्छेत्याद्यर्थसूचने परिपोषणे ॥।६ ३ ।। अङ्गीकारे प्रयोक्तव्यमुत्क्षिप्त नाम शीर्षकम्। परिवाहितशिरः पार्श्वयोश्चामरमिव ततं चेत् परिवाहितम् ॥६४।।

विनियोग: मोहे च विरहे स्तोते सन्तोषे चानुमोदने। विचारे च प्रयोक्तव्यं परिवाहितशीर्षकम् ॥६५॥ I2

90 अभिनयदर्पणाम्

दृष्टिमेदाः सममालोकितं साची 5ालोकितनिमीलिते। उल्लोकितानुवृत्ते च तथा चैवावलोकितम् ॥६६॥ इत्यष्टौ दृष्टिभेदाः स्युः कीर्तिताः पूर्वसूरिभिः। समदृष्टिः वीक्षणं सुरनारीवत सानन्द समवीक्षणम् ॥६७॥

विनियोग: नाट्यारम्भे तुलायां चाप्यन्यचिन्ताविनिश्चये। आश्चर्ये देवतारूपे समदृष्टिरुदाहता ॥६८॥ आलोकितदृष्टिः आलोकित भवेदाशुभ्रमणं स्फुटवीक्षणम्। विनियोग: कुलामचकभ्रमणे सर्ववस्तुप्रदर्शने ॥६९।। याञ्चायां च प्रयोक्तव्यमालोकितनिरीक्षणम्। साचीदृष्टिः स्वस्थाने तिर्यगाकारमपाङ्गवलन क्रमात् ॥७०॥ साचीदृष्टिरिति ज्ञेया नाव्यशास्त्रविशारदैः।

विनियोग: इङ्रिते शमश्रुसंस्पर्शे शरलक्ष्ये शुके स्मृतौ॥७१॥ सूचनायां च कार्याणां नाट्ये साचीनिरीक्षणम्।

प्रलोकितदृष्टिः प्रलोकित परिज्ञय चलन पार्श्वभागयोः ॥७२॥

अभिनयदर्परम् 91

विनियोग: उभयो: पारश्वयोर्वस्तु निर्देशे च प्रसंजिते। चलने बुद्धिजाडेय च प्रलोकितनिरीक्षणम्॥७३।।

मोलितदृष्टिः दृष्ट रर्धविकाशेन मीलिता दृष्टिरीरिता।

विनियोग: आशीविषे पारवश्ये जपे ध्याने नमस्कृतौ।।७४॥ उन्मादे सूक्ष्मदृष्टौ च मीलिता दृष्टिरीरिता।

उल्लोकितदृष्टिः उल्लोकितमिति ज्ञेयमृर्ध्वभागे विलोकनम् ॥७५॥

विनियोग: ध्वजाग्रे गोपुरे देवमण्डले पूर्वजन्मनि। औन्नत्ये चन्द्रिकादावप्युल्लोकितनिरीक्षणम् ॥७६॥

अनुवृत्तदृष्टिः ऊर्ध्वाधो वीक्षणं वेगादनुवृत्तमितीरितम्।

विनियोग: कोपदृष्टौ प्रियामन्त्र अनुवृत्तनिरीक्षणम्॥७७॥

अवलोकितदृष्टिः अधस्ताद्दर्शनं यत्तदवलोकितमुच्यते।

विनियोग: छायालोके विचारे च चर्यायां पठनश्रमे।७८।।

92 अभिनयदर्पराम् खाङ्गावलोकने यानेऽप्यवेलोकितमुच्यते।

प्रीवामेदाः सुन्दरी च तिरश्चीना तथैव परिवर्तिता॥७९॥ प्रकम्पिता च भावज्ञर्जैया ग्रीवा चतुविधा।

सुन्दरी ग्रीवा तिर्यक् चञ्चलिता ग्रीवा सुन्दरीति निगद्यते॥८॥ विनियोग: स्नेहारम्भे तथा यत्ने सम्यगर्थे च विस्तृते। सरसत्वानुमोदे च सा ग्रीवा सुन्दरी मता ॥८१॥

तिरश्चीना ग्रीवा पाश्वयोरुर्ध्वभागे तु चलिता सर्पयानवत्। सा ग्रीवा तु तिरश्रीनेत्युच्यते नाट्यकोविदैः ॥८२।।

विनियोग: खड्गश्रमे सर्पंगत्यां तिरश्चीना प्रयुज्यते। परिवर्तिता ग्रीवा सव्यापसव्यचलिता ग्रीवा यत्रार्धचन्द्रवत् ॥८३॥ सा हि नाट्यकलाभिज्ञ विज्ञया परिवर्तिता।

विनियोग: शृङ्गारनटने कान्तकपोलद्वयचुम्बने।।८४।। नाट्यतन्त्रविचारज्ञ: प्रयोज्या परिवर्तिता ।

प्रकम्पिता श्रीवा पुरः पश्चात् प्रचलनात् कपोतीकण्ठकम्पवत्॥।८५।।

अरभिनयदर्पराम् 93 प्रकम्पितेति सा ग्रीवा नाट्यशास्त्रे प्रशस्यते।

विनियोग: युष्मदस्मदिति प्रोक्ते देशीनाट्ये विशेषतः ॥८६॥ दोलायां मणिते चैव प्रयोक्तव्या प्रकम्पिता ।

हस्तभेदाः अथेदानीन्तु हस्तानां लक्षणं प्रोच्यते मया ॥८७॥ असंयुता: संयुताश्च हस्तद्वेधा निरूपिता। तत्ासंयुतहस्तानामादौ लक्षणमुच्यते।८८।

असंयुतहस्ता: पताकस्त्रिपताकोऽर्धपताकः कर्तरीमुखः। मयूराख्योऽर्धचन्द्रश्च अरालः शुकतुण्डकः ॥८९॥ मुष्टश्र शिखराख्यश्च कपित्थः कटकामुखः। सूची चन्द्रकला पद्मकोशः सर्पशिरस्तथा॥९०॥ मृगशीर्ष: सिंहमुखः कांगुलश्चालपद्मकः । चतुरो भ्रमरश्चैव हंसास्यो हंसपक्षकः ॥९१॥ शन्दंशो मुकुलश्रेव ताम्रचूडस्त्रिशूलकः। इत्यसंयुतहस्तानामष्टाविशतिरीरिता॥९२॥

पताकहस्तः अद्गल्यः कुश्विताङ्ष्टः संश्लिष्टाः प्रसृता यदि। स पताककरः प्रोक्तो नृत्यकर्मविशारदैः ॥९३॥

94 अभिनयदर्पराम्

विनियोग: नाटपारम्भे वारिवाहे वने वस्तुनिषेधने। कुचस्थले निशायां च नद्यामरमण्डले ॥९४॥ तुरङ्गे खण्डने वायौ शयने गमनोद्यमे। प्रतापे च प्रसादे च चन्द्रिकायां घनातपे।।९५॥ कवाटपाटने संप्तविभक्तर्थे तरङ्गके। वीथिप्रवेशभावेऽपि समत्वे चाङ्गरागके॥९६॥ आत्मार्थे शपथे चापि तूष्णींभावनिदर्शने। तालपल्े च खेटे च द्रव्यादिस्पर्शने तथा॥९७॥ आशीर्वादक्रियायां च नृपश्रेष्ठस्य भावने। तत्र तत्रेति वचने सिन्धौ च सुकृतिकमे।।९८।। सम्बोधने पुरोगेपि खड्गरूपस्य धारणे। मासे संवत्सरे वर्षदिने सम्मार्जने तथा॥९९॥ एवमर्थेषु युज्यन्ते पताकहस्तभावनाः।

त्निपताकहस्तः स एव त्रिपताकः स्याद्वक्रितानामिकाङ्डुलिः॥१००॥

विनियोग: मकुटे वृक्षभावेषु वज्रे तद्धरवासवे। केत कीकुसुमे दीपे वह्निज्वाला विजुम्भने ॥१० १॥ कपोते पत्रलेखायां बाणार्थे परिवर्तने। युज्यते त्रिपताकोऽयं कथितो भरतोत्तमैः ॥१०२॥

अभिनयदर्पराम् 95 अर्धपताकहस्तः त्रिपताके कनिष्टा चेद् वक्िताऽर्घपताकिका। विनियोग: पल्लवे फलके तीरे उभयोरिति वाचके ॥१०३॥ ककचे छुरिकायां च ध्वजे गोपुरशृङ्गयोः। युज्यतेऽर्धपताकोऽयं तत्तत्कर्मप्रयोगके ॥१०४। कत्तरीमुखहस्तः अस्यैव चापि हस्तस्य तर्जनी च कनिष्ठिका। बहिः प्रसारिते द्वे च स करः कर्तरीमुखः ॥१०५॥ विनियोग: स्त्रीपुंसयोस्तु विश्लेषे विपर्यासपदेऽपि वा। लुण्ठने नयनान्ते च मरणे भेदभावने॥१०६॥ विद्युदर्थेडप्येकशय्याविरहे पतने तथा। लतायां युज्यते यस्तु स कर: कर्तरीमुखः ॥१०७॥

मयूरहस्तः अस्मिन्नामिकाङ्गुष्ठौ ल्लिष्टौ चान्याः प्रसारिताः। मयूरहस्तः कथितः करटीकाविचक्षणैः ॥१०८॥ विनियोग: मयूरास्ये लतायां च शकुने वमने तथा। अलकस्यापनयने ललाटतिलकेषु च ॥१०९॥ नदुदकस्य निक्षेपे शास्त्रवादे प्रसिद्धके। एवमर्थेषु युज्यन्ते मयूरकरभावनाः ११०॥

96 अभिनयदर्पराम् अर्धचन्द्रहस्तः अर्धचन्द्रकरः सोऽयं पताकेऽङ्गष्ठसारणातू। विनियोग: चन्द्रे कृष्णाष्टमीभाजि गलहस्तार्थकेऽपि च ॥१११॥ भल्लायुधे देवतानामभिषेचनकर्मणि। भुकपाले चोद्धवे कटनां चिन्तायामात्मवाचके ॥११२।। ध्याने च प्रार्थने चापि अङ्गानां स्पर्शने तथा। प्राकृतानां नमस्कारे अर्धचन्द्रो नियुज्यते ॥११३॥

अरालहस्तः पताके तर्जनी वक्रा नाम्ना सोऽयमरालकः।

विनियोग: विषाद्यमृतपानेषु प्रचण्डपवनेऽपि च ॥११४॥

शुक्तुराडहस्त: अस्मिन्ननामिका वक्रा शुकतुण्डकरो भवेत।

विनियोग: बाणप्रयोगे कुन्तार्थे वाऽऽलयस्य स्मृतिक्रमे ॥११५॥ मर्मोत्यामुग्रभावेषु शुकतुण्डो नियुज्यते। मुष्टिहस्तः मेलनादङ्गुलीनाञ्च कुश्चितानां तलान्तरे ॥११६॥ अङ्गुष्वश्रोपरियुतो मुष्टिहस्तोऽयमीर्यते। विनियोग: स्थिरे कचग्रहे दाढ्यें वरत्वादीनां च धारणे ॥११७॥

अभिनयदर्पराम् 97 मल्लानां युद्धभावेऽपि मुष्टिहस्तोऽयमिष्यते। शिखर हस्तः चेन्मुष्टिरुन्नताङ्ुष्ठः स एव शिखरः करः ॥११८॥ विनियोग: मदने कार्मुके स्तम्भे निश्चये पितृकर्मणि। ओष्ठ प्रविष्टरूपे च रदने प्रश्नभावने ॥११९॥ लिङ्गे नास्तीति वचने स्मरणेडभिनयान्तिके। कटिबन्धाकर्षणे च परिरम्भविधिक्रमे ॥१२०॥ घण्टानिनादे शिखरो युज्यते भरतादिभिः । कपित्थहस्तः अङ्गुष्ठमूर्न्निशिखरे वक्िता यदि तर्जनी ॥१२१॥ कपित्थाख्यः करः सोऽयं कीर्तितो नृत्तकोविदैः। विनियोग: लक्ष्म्यां चैव सरख्वत्यां नटानां तालधारणे ॥१२२॥ गोदोहनेडप्यञ्जने च लीलाकुसुमधारणे। चेलाञ्ञलादिग्रहणे पटस्यैवावगुण्ठने ॥१२३। धूपदीपार्चने चापि कपित्थः संप्रयुज्यते। कटकामुखहस्तः कपित्थे तर्जनी चोर्ध्वमुछ्रिताङ्गष्ठमध्यमा ॥१२४।। कटकामुखहस्तोऽयं कीर्तितो भरतागमैः । विनियोग: कुसुमावचये मुक्तास्रग्दाम्नां धारणे तथा ॥१२५॥ 13

98 अरभिनयदर्पराम् शरमध्याकर्षणे च नागल्लीप्रदानके। कस्तूरिकादिवस्तूनां पेषणे गन्धवासने ॥१२६॥ वचने दृष्टिभावेऽपि कटकामुख इष्यते।

सूचीहस्तः ऊर्ध्वप्रसारिता यत्र कटकामुखतर्जनी ॥१२७॥ सूचीहस्तः स विज्ञेयो भरतागमकोविदैः।

विनियोग: एकार्थेऽपि परब्रह्मभावनायां शतेऽपि च ॥१२८॥ रवौ नगयीं लोकार्थे तथेति वचनेडपि च। यच्छब्देऽपि तच्छब्दे विजनार्थेऽपि तर्जने ॥१२९॥ काश्ये शलाके वपुषि आश्चर्ये वेणिभावने। छले समर्थे पाणौ च रोमाल्यां भेरीवादने ॥१३०॥ कुलालचक्रभ्रमणे रथाङ्गमण्डले तथा। विवेचने दिनान्ते च सूचीहस्तः प्रकीर्तितः ॥१३१।

चन्द्रकलाहस्त: सुच्यामङ्गष्ठमोक्षे तु करश्रन्द्रकला भवेत।

विनियोग: चन्द्रे मुखे च प्रादेशे तन्मात्राकारवस्तुनि ॥१३२॥ शिवस्य मुकुटे गङ्गानद्यां च लगुडेडपि च। एषां चन्द्रकला चैव विनियोज्या विधीयते ॥१३३॥

अभिनयदर्पएाम् 99

पद्मकोशहस्तः अङ्गुल्यो विरला किश्चित कुश्चितास्तलनिम्नगाः। पद्मकोशाभिधो हस्तस्तन्निरूपणमुच्यते ॥१३४॥

विनियोग: फले बिल्वकपित्थादौ स्त्रीणां च कुचकुम्भयोः। आवर्ते कन्दुके स्थाल्यां भोजने पुष्पकोरके ॥१३५॥ सहकारफले पुष्पवर्षे मञ्जरिकादिषु। जपाकुसुमभावे च घण्टारूपे विधानके ॥१३६।। वल्मीके कमलेऽप्यण्डे पद्मकोशो विधीयते।

सर्पशीर्षहस्तः पताका नमिताग्रा चेत् सर्पशीर्षकरो भवेत ॥१३७॥। विनियोग: चन्दने भुजगे मन्द्रे प्रोक्षणे पोषणादिषु। देवस्योदकदानेषु आस्फाले गजकुम्भयोः ॥१३८॥ भुजस्थाने मल्लानां तु युज्यते सर्पशीर्षकः। मृगशीर्षहस्तः अस्मिन् कनिष्ठिकाङ्गुष्ठे प्रसृते मृगशीर्षकः ॥१३ ९॥। विनियोग: स्त्रीणामर्थे कपोले च चक्रमर्यादयोरपि। भीत्यां विवादे नेपथ्ये आह्वाने च त्रिपुण्ड्रके ॥१४०॥ मृगमुखे रङ्गमल्लां पादसंवाहने तथा। सर्वस्वे मिलने काममन्दिरे छलधारणे॥१४१॥

J00 अभिनयदर्पएाम् सञ्चारे च प्रियाह्वाने युज्यते मृगशीर्षकः ।

सिंहमुखहस्तः मध्यमानामिकाग्राभ्यामङ्गष्ठो मिश्रितो यदि ॥१४२॥ शेषौ प्रसारितौ यत्र स सिंहास्यकरो भवेत।

विनियोग: होमे शशे गजे दर्भचलने पझमदामनि ॥१४३॥ सिंहानने वैद्यपाके शोधने संप्रयुज्यते।

काङ्गुलहस्त: पद्मकोशेऽनामिका चेन्नम्रा काङ्गुलहस्तकः ॥१४४।

धुतशिर: लकुचस्य फले बालकिङ्किण्यां घण्टिकार्थेके। चकोरे क्रमुके बालकुचे कह्ारके तथा ॥१४५॥ चातके नालिकेरे च काङ्गुलो युज्यते करः।

अलपद्महस्तः कनिष्ठाद्या वक्रिताश्र विरलाश्रालपझ्मकः ॥१४६॥

विनियोग: विकचाब्जे कपित्थादिफले चावर्तके कुचे। विरहे मुकुरे पूर्णचन्द्रे सौन्दर्यभावने ॥१४७॥ धम्मिल्ठ चन्द्रशालायां ग्रामे चोद्ृतकोपयोः। तटाके शकटे चकवाके कलकलारवे॥१४८॥

अभिनयदर्पणम् I0I श्लाघने सोऽलपद्मश्च कोर्तितो भरतागमे। चतुरहस्तः तर्जन्याद्यास्तत् ्लिष्टाः कनिष्ठा प्रसृता यदि ॥१४९॥ अङ्गुप्ठोऽनामिकामूले तिर्यक चेच्चतुरः करः। विनियोग: कस्तूयीं किश्चिदर्थे च स्वर्णे ताम्र च लोहके ॥१५०॥ आर्द्रे खेदे रसाख्वादे लोचने वर्णभेदने। प्रमाणे सरसे मन्दगमने शकलीकृते ॥१५१॥ आनने घृततैलादौ युज्यते चतुरः करः। भ्रमरहस्तः मध्यमाङ्गुष्ठसंयोगे तर्जनी वक्रिताकृतिः ॥१५२। शेषा: प्रसारिताश्चासौ भ्रमराभिघहस्तकः । विनियोग: भ्रमरे च शुके पक्षे सारसे कोकिलादिषु ॥१५३॥ भ्रमराख्यश्र हस्तोऽयं कीर्तितो भरतागमे। हंसास्यहस्तः भध्यमाद्यास्त्रयोङ्गल्यः प्रसृता विरला यदि ॥१५४॥ तजन्यद्गुष्ठसंश्लेषात् करो हंसास्यको भवेत्। विनियोग: माङ्गल्ये सृत्बन्धे च उपदेशविनिश्चये॥१५५॥ रोमाञ्चे मौक्तिकादौ च दीपवर्तिप्रसारणे। निकषे मल्लिकादौ च चिले तल्लेखने तथा ॥१५६॥

102 अभिनयदर्परम् दंशे च जलबन्धे च हंसास्यो युज्यते करः।

हंसपत्हस्तः सर्पशीर्षकरे सम्यक् कनिष्ठा प्रसृता यदि ॥१५७॥ हंसपक्षः कर: सोऽय तन्निरूपणमुच्यते।

विनियोग: षट्संख्यायां सेतुबन्धे नखरेखाङ्कणे तथा ॥१५८। पिधाने हंसपक्षोऽयं कथितो भरतागमे।

सन्दंशहस्तः पुनः पुनः पद्मकोशः संश्लिष्टो विरलो यदि॥१५९॥ सन्दंशाभिधहस्तोऽयं कीर्तितो नृत्यकोविदैः।

विनियोग: उदरे वलिदाने च व्रणे कीटे महाभये ॥१६०॥ अर्चने पञ्चसंख्यायां सन्दंशाख्यो नियुज्यते।

मुकुलहस्त: अङ्गलोपञ्चकं चैव मेलयित्वा प्रदर्शने ॥१६१॥ मुकुलाभिधहस्तोऽयं कीर्त्यते भरतागमे। कुमुदे भोजने पञ्चबाणे मुद्रादिधारणे॥१६२॥ नाभौ च कदलीपुष्पे युज्यते मुकुलः करः।

ताम्रचूडहस्त: मुकुले ताम्रचूड: स्यात्तज नी वक्रिता यदि॥१६३।।

अभिनयदर्परम् 103

विनियोग: कुक्क टादौ वके काके उष्ट्र वत्से च लेखने। युज्यते ताम्रचूडाख्यः करो भरतवेदिभिः ॥१६४॥

व्रिशूलहस्तः

विनियोग: विल्वपले त्रित्वयुक्ते त्रिशूलकर ईरितः ॥१६५॥

व्याघरहस्त: कनिष्ठाङ्गष्ठनमने मृगशीर्षकरे तथा। व्याघ्रहस्तः स विज्ञेयो भरतागमकोविदैः ॥१६६॥

विनियोग: व्याघ्रे भेके मर्कटे च शुक्तौ संयुज्यते करः।

अर्धसूचीहस्तः कपित्थे तर्जनी ऊर्ध्वसारणे त्वर्धसृचिक: ॥१६७॥

विनियोग: अङ्करे पक्षिशावादौ बृहत्कीटे नियुज्यते।

कटकहस्तः सन्दंशेऽप्युर्ध्वभागे तु मध्यमानामिकान्वया॥१६८॥ कटको हस्त उच्यते। .... ....

विनियोग: एतस्य विनियोगस्तु .... .... दर्शने ॥१६९॥

J04 अर भिनयदर्पएाम् आह्वानभावचलने .... ....

पल्लिहस्तः मयूरे तर्जनीपृष्ठो मध्यमेन युतो यदि॥१७०॥ पल्लिहस्तः स विज्ञेय: पल्मर्थे विनियुज्यते। अभिनयवशादेषां संयुतत्वं प्रकीर्तितम् ॥१७१।। मार्गप्रदर्शनं तेषां क्रमाल्लक्ष्यानुसारतः।

संयुतहस्ता: अञ्जलिश्र कपोतश्र कर्केट: खवस्तिकस्तथा॥१७२॥ डोलाहस्त: पुष्पपुट उत्सङ्ग: शिवलिङ्गकः। कटकावर्धनश्रैव कर्तरीखस्तिकस्तथा॥१७३॥ शकटं शङ्चके च सम्पुटः पाशकीलकौ। मत्स्यः कूर्मो वराहश्व गरुडो नागबन्धकः ॥१७४॥ खट्टा भेरुण्ड इत्येते संख्याता संयुताः कराः। त्योविंशतिरित्युक्ता: पूर्वगैर्भरतादिभिः ॥१७५॥

अञ्ञलिहस्तः पताकातलयोर्योगादञ्जलि: कर ईरितः।

विनियोग: देवतागुरुविप्राणां नमस्कारेष्वनुकरमात्॥१७६॥ कार्य: शिरोमुखोरस्थो विनियोगेऽञ्जलिबुधै।।

कपोतहस्तः कपोतोऽसौ करो यल ्लिष्टाऽSमूलाग्रपाश्वकः॥१७७।।

अभिनयदर्पणाम् 105

विनियोग: प्रणामे गुरुसम्भाषे विनयाङ्गीकृतेष्वयम्। कर्कटहस्तः अन्योन्यस्यान्तरे यत्राङ्गुल्यो निःसृत्य हस्तयोः ॥१७८॥ अन्तर्बहिर्वा वतेन्ते कर्कटः सोऽभिधीयते। विनियोग: समूहागमने तुन्ददर्शने शङ्कपूरणे ॥१७९॥ अङ्गानां मोटने शाखोन्नमने च नियुज्यते। खस्तिकहस्तः पताकयोः सन्नियुक्त: करयोर्मणिबन्धयोः ॥१८०॥ संयोगेन सवस्तिकाख्यो मकरे विनियुज्यते। डोलाहस्त: पताक ऊरूदेशस्थे डोलाहस्तोऽयमिष्यते ॥१८१॥ विनियोग: नाट्यारम्भे प्रयोक्तव्य इति नाट्यविदो विदुः।

पुष्पपुटहस्तः संश्लिष्टकरयोः सर्पशीर्षः पुष्पपुटः करः ॥१८२॥ विनियोग: नीराजनाविधौ वारिफलादिग्रहणेऽपि च। सन्धनायामर्ध्यदाने च मन्त्रपुष्पे च युज्यते ॥१८३॥

उत्सज्गहस्त: आन्योन्यबाहुदेशस्थौ मृगशीर्षकरौ यदि। उत्सङ्गहस्तः स ज्ञेयो भरतागमवेदिभिः ॥१८४।। 14

106 अभिनयदर्पयाम्

विनियोग: आलिङ्गने च लज्जायामङ्गदादिप्रदर्शने। बालानां शिक्षणे चायमुत्सङ्गो युज्यते करः॥१८५॥

शिवलिङ्गहस्तः वामेऽर्धचन्द्रो विन्यस्तः शिखरः शिवलिङ्गकः।

विनियोग: विनियोगस्तु तस्यैव शिवलिङ्गस्य दर्शने ॥१८६॥

कटकावर्धनहस्तः कटकामुखयोः पाण्योः खस्तिको मणिबन्धयोः। कटकावर्धनाख्यः स्यादिति नाट्यविदो विदुः॥१८७

विनियोग: पट्टाभिषेके पूजायां विवाहादिषु युज्यते। कर्त रीखस्तिकहस्तः कर्तरीखस्तिकाकारा कर्तरीस्वस्तिको भवेत् ॥१८८॥

विनियोग: शाखासु चाद्रिशिखरे वृक्षेषु च नियुज्यते।

शकटहस्त: भ्रमरे मध्यमाङ्गुष्ठप्रसाराच्छकटो भवेत् ॥१८९॥

विनियोग: राक्षसाभिनये प्रायः शकटो विनियुज्यते।

राङ्सहख: शिखरान्तर्गताङ्गुष्ठ इतराङगुष्ठसङ्गत:॥१९०॥

अभिनयदर्पराम् 107 तर्जन्या युत अश्लिष्टः शङ्कहस्तः प्रकीर्तितः । विनियोग: शङखादिषु प्रयोज्योऽयमित्याहुर्भरतादयः ॥१९१॥

चक्रहस्त: यत्रार्धचन्द्रौ तिर्यश्ावन्योन्यतलसंस्पृशौ। चक्रहस्तः स विज्ञ यश्चकार्थे विनियुय्यते ॥१९२॥

सम्पुटहसत: कुश्चिताङ्गलयश्चके प्रोक्त: सम्पुटहस्तकः । विनियोग: वस्ताच्छादे सम्पुटे च सम्पुटः कर ईरित: ।१९३।।

पाश हस्त: सूच्यां निकुश्चिते श्लिष्ट तर्जन्यौ पाश ईरितः।

विनियोग: अन्योन्यकलहे पाशे शृङ्खलायां नियुज्यते ॥१९४॥

कीलकहस्तः कनिष्ठे कुश्चिते श्िष्टे मृगशीर्षस्तु कीलकः। विनियोग: स्नेहे नर्मानुलापे च कीलको विनियुज्यते ॥१९५॥

मत्स्यहस्तः करपृष्टोपरि न्यस्तो यल् हस्तरत्वघोमुखः। किश्चित्पसारिताङ्गुष्ठकनिष्ठो मत्स्यनामक: ॥१९६॥।

108 अभिनयदर्पराम्

विनियोग:

एतस्य विनियोगस्तु सम्मतो मत्स्यदर्शने। कूर्महस्तः कुश्िताग्राङ्गुलिश्वक त्यक्ताङ्गुष्ठकनिष्ठक: ॥१९७॥ कूर्महस्तः स विज्ञेयः कूर्मार्थे विनियुज्यते।

वराहहस्त: मृगशीर्षे त्वन्यतरे स्वोपर्येकः स्थिते यदि ॥१९८॥ कनिष्ठाङ्कष्ठयोर्योगाद्वराहकर ईरितः। विनियोग: एतस्य विवियोगः स्याद्वराहार्थप्रदर्शने ॥१९९॥

गरुडहस्त:

गरुडहस्त हस्त इत्याहुर्गरुडार्थे नियुज्यते॥२००॥

नागबन्धहस्त: सर्पशीर्षसस्तिकञ्च नागबन्ध इतीरितः । विनियोग: एतस्य विनियोगस्तु नागबन्धे हि सम्मतः ॥२०१॥

खट्राहस्त: चतुरे चतुर' न्यस्य तर्जन्यद्गुष्ठमोक्षतः । खटाहस्तो भवेदेष खट्टाशिविकयो: स्मृतः ॥२०२॥

अभिनयदर्पराम् 109

मेरुराडहस्त: मणिबन्धे कपित्थाभ्यां भेरुण्डकर इष्यते।

विनियोग: भेरुण्डे पक्षिदम्पत्योर्भेरुण्डो युज्यते करः ॥२०३॥

देवहस्ताः अथात ब्रह्मरुद्रादिदेवताभिनयक्रमात्। मूर्तिभेदेन ये हस्तास्तेषां लक्षणमुच्यते॥२०४॥

ब्रह्महस्त: ब्रह्मणश्चतुरो वामे हंसास्यो दक्षिणे करः ।

ईश्वरहस्तः शम्भोर्वामे मृगशीर्षस्त्रिपताकस्तु दक्षिणे॥२०५॥ विष्णुहस्तः हस्ताभ्यां त्रिपताकस्तु विष्णुहस्तः स कीतितः।

सरखतीहस्त: सूचीकृते दक्षिणे च वामे चांससमकृतौ॥२०६॥

कपित्थकेऽपि भारत्या: कर स्यादिति सम्मतः ।

पार्वतीहस्तः ऊर्ध्वाधः प्रसृतावर्धचन्द्राख्यौ वामदक्षिणौ॥२०७॥ अभयो वरदश्वैव पार्वत्या कर ईरितः । लक्ष्मीहस्त: अंसोपकण्ठे हस्ताभ्यां कपित्थस्तु श्रियः करः ॥२०८॥

110 अभिनयदर्पगाम

विनायकहस्तः उरोगताभ्यां हस्ताभ्यां कपित्थो विन्नराट् करः। षरामुखहस्त: वामे करे त्रिशूलञ्व शिखरो दक्षिणे करे ॥२०९॥ ऊर्ध्व गते षण्मुखस्य हस्तः स्यादिति कीर्तितः। मन्मथहस्तः वामे करे तु शिखरो दक्षिणे कटकामुखः॥२१०॥ मन्मथस्य करः प्रोक्तो नाट्यशास्त्रार्थकोविदैः। इन्द्रहस्त: त्रिपताक: सवस्तिकश्र शकहस्तः प्रकीर्तितः ॥२११।। अग्निहस्तः त्रिपताको दक्षिणे तु वामे काङ्गुलहस्तकः । अगिहस्तः स विज्ञेयो नाट्यशास्त्रविशारदैः ॥२१२॥ यमहस्तः वामे पाश दक्षिणे तु सूची यमकरः स्मृतः। निनर्ट तिहस्तः खट्टा च शकटश्चैव कीर्तितो निरशर् ते: करः ॥२१३॥ वरुयाहस्तः पताको दक्षिणे वामे शिखरो वारुणः करः। बायुहस्तः अरालो दक्षिणे हस्ते वामे चार्धपताकिका॥२१४॥ धृता चेद्वायुदेवस्य कर इत्यमिधीयते। कुवेरहस्स: वामे पझ्मं दक्षिणे तु गदा यक्षपतेः करः॥२१५॥

अभिनयदर्पणाम्

दशावतारहस्ता:

मत्स्यावतारहस्तः मत्स्यहस्तं दर्शयित्वा ततः स्कन्घसमौ करौ। धृतो मत्स्यावतारस्य हस्त इत्यभिधीयते ॥२१६॥ कूर्माघतारहस्त: कूर्महस्तं दर्शयित्वा ततः स्कन्घसमौ करौ। धृतौ कूर्मावतारस्य हस्त इत्यभिधीयते ॥२१७॥

वराहावतारहस्त: दर्शयित्वा वराहं तु कटिपा्श्वसमौ करौ। धृता वराहावतारस्य देवस्य कर इष्यते ॥२१८॥ नृसिहावतारहस्तः वामे सिंहमुखं धृत्वा दक्षिणे स्निपताकिका। नरसिंहावतारस्य हस्त इत्युच्यते बुधैः ॥२१९॥ वामनावतारहस्त: ऊर्ध्वाधो धृतमुष्टिभ्यां सव्यान्याभ्यां यदि स्थितः । स वामनावतारस्य हस्त इत्यभिधीयते ॥२२०॥

परशुरामावातारहस्तः वाम कटितटे न्यस्य दक्षिणेऽर्धपताधिका। धृता परशुरामस्य हस्त इत्यभिधीयते ॥२२१॥ रामचन्द्रावतारह्स्त: कपित्थो दक्षिणे हस्ते वामे तु शिखरः करः। ऊध्वें धृतो रामचन्द्रहस्त इत्युच्यते बुधैः ॥२२२॥

112 अभिनयदर्पगाम्

वलरामावतारहस्त: पताको दक्षिणे हस्ते मुष्टिर्वामकरे तथा। बलरामावतारस्य हस्त इत्युच्यते बुधैः ॥२२३॥ कृष्णावतारहस्त: मृगशीर्षे तु हस्ताभ्यामन्योन्याभिमुखे कृते। आस्योपकण्ठे कृष्णस्य हस्त इत्युच्यते बुधैः ॥२२४॥ कल्क्यवतारहस्त: पताको दक्षिणे वामे त्रिपताकः करो धृतः। कल्क्याख्यस्यावतारस्य हस्त इत्यभिधीयते ॥२२५॥ अथ तत्तजातीयहस्ताः

राजसहस्त: मुखे कराभ्यां शकटौ राक्षसानां कर: स्मृतः। ब्राह्मणाहस्तः कराभ्यां शिखर' धृत्वा यज्ञसूत्रस्य सूचने ॥२२६॥ दक्षिणेन कृते तिर्यग ब्राह्मणानां कर: स्मृतः। क्ष त्रियहस्तः वामेन शिखर तिर्यग धृत्वान्येन पताकिका ॥२२७॥ धृता यदि क्षत्रियाणां हस्त इत्यभिधीयते। वैश्यहस्तः करे वामे तु हंसास्यो दक्षिणे कटकामुखः ॥२२८॥ वश्यहस्तोऽयमाख्यातो मुनिभिर्भरतादिभिः। शूद्रहसत: वामे तु शिखर' धृत्वा दक्षिणे मृगशीर्षकः ॥२२९॥

अ्रभिनयदर्पणम् 11-3 शूद्रहस्तः स विज्ञेयो मुनिभिर्भरतादिभिः। यदष्टादशजातीनां कर्म तेन करा: स्मृताः ॥२३०॥ तत्तदेशजानामपि एवमुह्य बुधोत्तमैः ।

बान्धवहस्ता: दम्पतिहस्तः वामे तु शिखर धृत्वा दक्षिणे मृगशीर्षकः ॥२३१॥ धृतः स्त्रीपु सयोर्हस्तः ख्यातो भरतकोविदैः।

मातृहस्तः वामे हस्तेऽर्धचन्द्रश्च सन्दंशो दक्षिणे करे ॥२३२॥ आवर्तयित्वा जठरे वामहस्त ततः परम्। स्त्रियाः करो धृतो मातृहस्त इत्युच्यते बुघैः ॥२३३॥

विनियोग: जनन्यां च कुमायीं च मातृहस्तो नियुज्यते।

पितृहस्तः एतस्मिन् मातृहस्ते तु शिखरे दक्षिणेन तु ॥२३४॥ धृते सति पितृहस्त इत्याख्यातो मनीषिभिः ।

विनियोग: अयं हस्तस्तु जनके जामातरि च युज्यते ॥२३५॥

श्वश्रहस्तः विन्यस्य कण्ठे हंसास्यं सन्दंशं दक्षिणे करे। उदरे च परामृश्य वामहस्तं ततः परम् ॥२३६॥ 15

114 अरभिनयदर्पएम् स्त्रियाः करो धृतः श्वश्रुहस्तस्तस्यां नियुज्यते। श्वशुरहस्तः एतस्यान्ते तु हस्तस्य शिखरो दक्षिणे यदि॥२३७॥ धृतश्र श्रशुरस्यायं हस्त इत्युच्यते बुधैः।

भर्तृ भ्रातृहस्तः वामे तु शिखर धृत्वा पाश्वयो: कर्तरीमुखः ॥२३८। धृतो दक्षिणहरतेन भर्तृ भ्रातृकरः स्मृतः ।

ननान्दहस्त: अन्ते त्वेतस्य हस्तस्य स्त्रीहस्तो दक्षिणे करे॥२३९॥ धृतो ननान्दहस्तः स्यादिति नाट्यविदां मतम्।

ज्येष्टकनिष्ठभ्रातृहस्तः मयूरहस्तः पुरतः पाश्वभागे च दर्शितः ॥२४०॥ ज्येष्ठभ्रातुः कनिष्ठस्याप्ययं हस्त इति स्मृतः ।

पुत्रहस्तः सन्दंशमुदरे न्यस्य भ्रामयित्वा ततः परम् ॥२४१॥ धृतो वामेन शिखर पुत्रहस्तः प्रकीर्तितः।

सुषाहस्त: एतदन्ते दक्षिणेन स्त्रीहस्तश्र धृतो यदि ॥२४२॥ स्नुषाहस्त इति ख्यातो भरतागमकोविदैः। सपत्नीहस्तः दर्शयित्वा पाशहस्तं कराभ्यां स्ल्रीकरावभौ ॥२४ ३॥।

अभिनयदर्पएाम् IF5 धृतौ सपत्नीहस्तः स्यादिति भावविदो विदुः।

नृत्तहस्तानां गतयः भवन्ति नृत्तहस्तानां गतयः पञ्चधा भुवि ॥२४४॥ ऊर्ध्वाऽधरोत्तरा प्राची दक्षिणा चेति विश्रुता। यथा स्यात् पादविन्यास्तथैव करयोरपि ॥२४५॥ वामाङ्गभागे वामस्य दक्षिणे दक्षिणस्य च। कुर्यात् प्रचलन ह्येतन्नृत्तसिद्धान्तलक्षणम् ॥२४६॥ यतो हस्तस्ततो दृष्टिर्यतो दृष्टिस्ततो मनः। यतो मनस्ततो भावो यतो भावस्ततो रसः ॥२४७॥

नृत्तहस्तः पताकास्वस्तिकाख्यश्च डोलाहस्तस्तथाञ्जलिः। कटकावर्धनश्रैव शकटः पाशकीलकौ ॥२४८॥ कपित्थः शिखरः कूर्मो हंसास्यश्चालपद्मकः। त्रयोदशैते हस्ताः स्युर्नृ त्तस्याप्युपयोगिनः ॥२४९॥

नवग्रहहस्ता: सूर्यहस्तः अंसोपकण्ठे हस्ताभ्यामलपद्मकपित्थकः । धृतो यदि करो ह्येष दिवाकरकर: स्मृतः ॥२५०॥

चन्द्रहस्त: अलपझ्मो वामहस्ते दक्षिणे च पतातिका। निशाकरकरः प्रोक्तो भरतागमदर्शिभिः ॥२५१॥

116 अभिनयदर्पणाम्

कुजहस्त: वामे करे तु सूची स्यान्मुष्टिहस्तस्तु दक्षिणे। धृतश्रेन्नाट्यशास्त्रज्ञैरङ्गारककर: स्मृतः ॥२५२॥ बुधहस्तः तिर्यग्वामे च मुष्टिः स्याद्दक्षिणे च पताकिका। बुधग्रहकरः प्रोक्तो भरतागमवेदिभिः ॥२५३॥

गुरुहस्तः हस्ताभ्यां शिखर धृत्वा यज्ञसूतस्य दर्शनम्। ऋषिव्राह्मणहस्तोऽयं गुरोश्चापि[प्रकीर्तितः]॥२५४॥

शुक्रहस्तः वामोच्चभागे मुष्टिः स्यादधस्ताद्दक्षिणे तथा। शुक्रग्रहकर: प्रोक्तो भरतागमवेदिभिः ॥२५५॥

शनिहस्तः वामे करे तु शिखरस्त्रिश्लो दक्षिणे करे। शनैश्वरकरः प्रोक्तो भरतागमकोविदैः ॥२५६॥

राहुहस्तः सर्पशीर्षो वामकरे सूची स्याद्दक्षिणे करे। राहुग्रहकरः प्रोक्तो नाट्यविद्याधिपैर्जनैः ॥२५७॥

केतुहस्तः वामे करे तु सूची स्याद्दक्षिणे तु पताकिका। केतुग्रहकरः प्रोक्तो भरतागमदर्शिभिः ॥२५८॥

अरभिनयदर्पाम् 117 पादभेदा: वक्ष्यते पादभेदानां लक्षणं पूर्वसम्मतम्। मण्डलोत्लवने चैव भ्रमरी पादचारिका ॥२५९॥ चतुर्धा पादभेदाः स्युस्तेषां लक्षणमुच्यते। मरडलभेदाः स्थानकं चायतालीढं प्रेङ्मणप्ररितानि च ॥२६०॥ प्रत्यालीढं सवस्तिकं च मोटितं समसचिका। पार्श्वसचीति च दश मण्डलानीरितानीह ॥२६१॥ स्थानकमरडलम् कटिं स्पृष्ट्वार्धचन्द्राख्यपाणिभ्यां समपादतः । समरेखतया तिष्ठेत तत् स्यात स्थानकमण्डलम् ॥२६२॥ आयतमएडलम् वितस्त्यन्तरितौ पादौ कृत्वा तु चतुरस्रकौ । तिर्यक् कुश्चितजानुम्यां स्थितिरायतमण्डलम् ॥२३३। आलीढमरडलम् दक्षिणाङघ्रेश्च पुरतः वितस्तित्ितयान्तरम्। विन्यसेद् वामपादं च शिखरं वामपाणिना ॥२६४॥ कटकामुखहस्तश्र दक्षिणेन धृतो यदि। आलीढमण्डलमिति विख्यातं भरतादिभिः ॥२६५॥ प्रत्यालीढमराडलम् आलीढस्य विपर्यासात् प्रत्यालीढाख्यमण्डलम्। प्रेड्खरामराडलम् प्रसृत्यैकपदं पार्श्वे पा्ष्णिदेशस्य पादतः ॥२६६॥

II8 अभिनयदर्पराम् स्थित्वाऽन्ते कूर्महस्तेन स्थितिः प्रेङ्मणमण्डलम्। प्रेरितमराडलम् सन्ताडन कं पदं पाश्वे वितस्तित्ितयान्तरम् ॥२६॥ तिर्यक् कुश्चितजानुभ्यां स्थित्वाऽथ शिखरं करम्। विधाय वक्ष्यस्यन्येन प्रसृता च पताकिका ॥२६८॥ प्रदर्शयेदिदं तजज्ञाः प्रेरित मण्डलं जगुः। स्वस्तिकमरडलम् दक्षिणोत्तरतः कुर्यात पादे पादं करे करम्॥२६९॥। व्यात्यासेन तदा प्रोक्तं खवस्तिकं नाम मण्डलम्। मोटितमरडलम् प्रपदाभ्यां भुवि स्थित्वा जानुयुग्मेन संस्पृशेत ॥२७०॥ क्रमाद् भृतलमेकैकं त्रिपताककरद्वयम्। कृत्वा तन्मोटितं नाम मण्डलं कथितं बुधैः ॥२७१॥ समसूचीमरडलम् पादाग्राम्यां च जानुम्यां भूतलं संस्पृशेद्यदि। मण्डलं समस्चीति कथितं पूर्वेसूरिभिः ॥२७२॥ पार्श्वसूचीमराडलम् स्थित्वा पादाग्रयुग्मेण जानुनैकेन पार्श्वतः । संस्पृशेद् भृतलं पार्व सूचीमण्डलमीरितम् ॥२७३॥ स्थानकभेदाः पादविन्यासभेदेन स्थानकं षडिधं भवेत। समपादं चैकपादं नागबन्धस्ततः परम् ॥२७४॥

अरभिनयदर्पणम् 119 ऐन्द्र च गारुडं चैव ब्रह्मस्थानमिति क्रमात्। समपादस्थानम् स्थितिः समाभ्यां पादाभ्यां समपादमिति स्मृतम्॥२७५॥ विनियोग: पुष्पाञ्जलौ देवरूपे समपादं नियुज्यते।

एकपादस्थानम् जान्वाश्रित्य पदैकेन स्थितिः स्यादेकपादकम् ॥२७६॥

विनियोग: एकपादं त्विदं स्थानं निश्चले तपसि स्थितम्। नागबन्धस्थानम् पादं पादेन संवेष्ट्य तथा पाणिं च पाणिना ॥२७७।। स्थितिः स्यान्नागबन्धाख्या नागबन्धे प्रयुज्यते। ऐन्द्रकस्थानम् पादमेकं समाकुञ्चा स्थित्वाऽन्यपदजानुनी ॥२७८॥ उत्तानिते कर न्यस्य स्थितिरैन्द्रमितीरितम्। विनियोग: वासवे राजभावे च स्थानमैन्द्रं नियुज्यते ॥२७९॥ गरुडस्थानकम् आलीढमण्डले पश्चादथ जानुतलं भुवि। संस्थाप्य पाणियुग्मेन वहन विरलमण्डलम् (?)॥२८०॥ स्थितिस्तु गरुडस्थानं गरुडे विनियुञ्यते। ब्रह्मस्थानम् जानुपरि पदं न्यस्य पदस्योपरि जानु च ॥२८१॥

120 अरभिनयदर्पणम् स्थितं यदि भवेद् ब्राह्म जपादिषु नियुज्यते। उत्प्तवनभेदा: अथोत्ल्वनभेदानां लक्षणं परिकथ्यते ॥२८२॥ अलगं कर्तरी वाऽश्वोऽत्लवनं मोटितं तथा। कृपालगमिति ख्यातं पञ्चघोत्पवनं बुधैः ॥२८३॥ अलगोत्पवनम् उत्ल त्य पारश्वयुगलं कटिदेशे तु विन्यसेत्। बध्वा कराभ्यां शिखरौ अलगोत्लवनं भवेत् ॥२८४।। उत्प्नवनकर्तरी उत्ल त्य प्रपदैः सव्यपादस्यैकस्य पृष्ठतः। कर्तरी विन्यसेदेषा स्यादुत्लु वनकर्तरी॥२८५॥ अधोमुखं च शिखर कटौ हस्तं न्यसेदिह। अश्र्वोत्प्वनम् पुरः पादं समुत्ल त्य पश्चात्पादं नियोजयेत् ॥२८६॥ करौ तु त्िपताख्यौ कृत्वाऽश्वोत्प्तवनं भवेत्। मोटितोत्पवनम् पर्यायपार्रोत्ल्वनं कर्तरीव तु मोटिता ॥२८७। त्रिपताके च करयोः कृत्वा शश्चत्प्रकाशनात्। कृपालगोत्पवनम् पार्ष्णिमेकैकपादस्य कटौ पर्यायतो न्यसेत् ॥२८८।। अर्धचन्द्रकलामध्ये न्यस्तमन्यत् कृपालगम्। भ्रमरीलक्षणम् भ्रमया लक्षणान्यत्र वक्ष्ये लक्षणभेदतः ॥२८९॥

अभिनयदर्पराम् I21

उत्ल तभ्रमरी चक्रभ्रमरी गरुडाभिधा। तथैकपादभ्रमरी कुञ्चितभ्रमरी तथा ॥२९०॥ आकाशभ्रमरी चैव तथाङ्गभ्रमरीति च। भ्रमर्यः सप्त विज्ञया नाट्यशास्त्रविशारदैः ॥२९१॥ उत्प्व इभ्रमरी स्थित्वा समाभ्यां पादाभ्यामुत्लु त्य भ्रामयेद्यदि। सर्वाङ्गमन्तराले स्यादुत्ल तम्रमरी त्वसौ ॥२९२। चक्रभ्रमरी भुवि पादौ मुहुः कषें स्त्रिपताकौ करौ वहन। चक्रवद् भ्रमते यत्र सा चक्रभ्रमरी भवेत् ॥२९३॥ गरुडभ्रमरी तिर्यक प्रसार्यैकपादं पश्चाज्जानु भुवि क्षिपेत। सम्यक् प्रसार्य बाहू द्वौ भ्रामयेद् गरुडो भवेत् ॥२९४।। एकपादभ्रमरी भ्रामयेदेकमेकेन पादं पादेन सत्वरम्। सा त्वेकपाद्भ्रमरी भवेदिति विनिश्चिता ॥२९५॥ कुश्वितत्रमरी निकुश्चन जानुभ्रमणं कुञ्ितभ्रमरी भवेत्। आरकाशभ्रमरी उत्प्लुत्य पादौ विरलौ कृत्वा पादौ प्रसार्य च ॥।२९६। भ्रामयेत् सकलं गात्रमाकाशभ्रमरी भवेत्। अङ्गभ्रमरी वितस्त्यन्तरितौ पादौ कृत्वाङ्गभ्रमण तथा ॥२९७॥ 16

122 अभिनयदर्पगम तिष्ठेद् यदि भवेदङ्गभ्रमरी भरतोदिता। चारिमेदाः अथात चारिभेदानां लक्षणं कथ्यते मया॥२९८॥ आदौ तु चलनं प्रोक्तं पश्चाच्चंक्रमणं तथा। सरण वेगिनी चैव कुट्टन च ततः परम् ॥२९९॥ लुठितं लोलित चैव ततो विषमसञ्चरः। चारिभेदा अमी अष्टौ प्रोक्ता भरतवेदिभिः ॥३०॥ चलनचारि स्वस्थानात् स्वस्य पादस्य चलनाच्चलन भवेत।

चंक्रमराम् पादयोर्बाह्यपार्श्वाभ्यामुत्क्षिप्योत्क्षिप्य यत्नतः ॥३०१। गतिर्भवेच्च क्रमणं वर्णितं नाट्यकोविदैः।

सरणम् चलनं तु जलूकावदेकेनान्यस्य पार्ष्णिना ॥३० २।। तिर्यंगाकर्षयेद् भूमि कराभ्यां तु पताकिके। धृत्वा च गमनं यत्तु सरणं तदुदीरितम् ॥३० ३। वेगिनी पार्ष्णिणा वा पदाग्रेण द्रुत गत्या तु चालनम्। कराभ्यां चालपद्मे च त्रिपताके यथाक्रमम्॥३०४।। धृत्वा नटेद् यदि भवेद् वेगवत्त्वेन वेगिनी। कुट्टनम् पाष्णिना वा पदाग्रेण समस्तेन तलेन वा ॥३०५॥

अभिनयदर्पराम् 123 यत्ताडनं भूतलस्य कुट्टनं तदुदीरितम्। लुठितम् स्वस्तिकस्थितिपादाग्र कुट्टनाल्ल ठित भवेत ॥३०६॥ लोलितम पूर्ववत् कुट्टन कृत्वा मन्द मन्दमतः परम्। अस्पृष्टभूमे: पादस्य चालनं लोलित भवेत ॥३०७॥ विषमसश्चरः वेष्टयित्वा दक्षिणेन वामं वामेन दक्षिणम्। क्रमेण पादं विन्यस्य भवेद् विषमसञ्चरः ॥३०८॥ गतिमेदाः अथात्र गतिभेदानां लक्षणं वक्ष्यते क्रमात्। हंसी मयूरी च मृगी गजलीला तुरङ्गिणी॥३० ९॥ सिंही भुजङ्गी मण्डूकी गतिर्वीरा च मानवी। दशैता गतयो ज्ञेया नाट्यशास्त्रविशारदैः ॥३१०॥ हंसीगतिः परिवर्त्य तनु पाश्वं वितस्त्यन्तरित शनैः। एकैकं तत् पदं न्यस्य कपित्थं करयोर्वहन् ॥३११॥ हंसवद्गमन यत्तु सा हंसी गतिरीरिता। मयूरीगति: प्रपदाभ्यां भूवि स्थित्वा कपित्थं करयोर्वेहन् ॥३१२।। एकैकजानुचलनान्मयूरी गतिरीरिता। मृगीगतिः मृगवद् गमनं वेगात् त्रिपताककरौ वहन् ॥३१ ३ ।।

124 अभिनयदर्पराम् पुरतः पाश्वयोश्चैव यानं मृगगतिर्भवेत। गजलीलागतिः पार्श्वयोस्तु पताकाभ्यां कराम्यां विचर स्ततः ॥३१४। समपादगतिर्मन्द गजलीलेति विश्रुता।

उत्क्षिप्य दक्षिण पादमुल्लङध्य च मुहुर्मुहुः ॥३१५॥ वामेण शिखर' धृत्वा दक्षिणेन पताकिकाम्। तुरङ्गिणी गतिः प्रोक्ता नृत्तशास्त्रविशारदैः ॥३१६॥ सिंहीगतिः पादाग्राभ्यां भुवि स्थित्वा पुर उत्प्लुत्य वेगतः। कराभ्यां शिखर' धृत्वा यान सिंहगतिर्भवेत॥३१७॥ भुजङ्गीगतिः त्रिपताककरौ धृत्वा पार्श्वयोरुभयोरपि। पूर्ववद्गमन यत्तु सा भुजङ्गी गतिर्भवेत् ॥३१८।। मराड्ूकीगतिः कराभ्यां शिखर' धृत्वा किञ्चित् सिंहीसमा गतिः। मण्डूकी गतिरित्येषा प्रसिद्धा भरतागमे ॥३१९॥ वीरागतिः वामे तु शिखर' धृत्वा दक्षिणेन पताकिका। दूरादागमन यत्तु वीरा गतिरुदीरिता ॥३२०॥ मानवीगतिः मण्डलाकारवद् भ्रान्त्या समागत्य मुहुमु हुः। वाम कर न्यस्य कटौ दक्षिणे कटकामुखम्॥३२१॥

अभिनयदर्परम् 125

मानवी गतिरित्येषा प्रसिद्धा पूर्वसूरिभिः। मण्डलानि प्रयुक्तानि तवैवोत्लवनानि च ॥३२२।। भ्रमर्यश्चैव चार्यश्र गतयश्च परस्परम्। एकैकभेदसम्बन्धादनन्तानि भवन्ति हि ॥३२६॥ एताश्च नर्तनविधौ शास्त्रतः सम्प्रदायतः।8 सतामनुग्रहेणैव विज्ञेयौ नान्यथा भुवि ॥३२४॥

उपरिष्टादुद्गृतांश: केवलम् एम्-आख्यातपुस्तके मराडलभेदेभ्यः प्राग अधिको दृश्यते।

अ्रथ तष्टरसाः

बीभत्सरौद्रो च रसा (श्रङ्गारः शुचिरुज्ज्वलः) ॥

अवस्थाभेदाः श्रृत्यत्तिप्रीतिहृत्सज्ञा: संकल्पो जागरस्तथा। तनुता चापि विषयनिवृत्तिश्वात्पा तथा॥ मोहो मूर्छा च मरणमित्यवस्थाः प्रपश्चिताः । चत्तुःप्रीतिश्व चिन्ता च संकल्पो गुणकीर्तनम् ॥ करियाद्वेषश्च तापश्च लज्जात्यागस्ततः परम्। उन्मादमूर्छामृतय इत्यवस्था स्मृताः परैः॥ नयनैर्जनयेद् भावं भावात् स्पर्श समाचरेत्। स्पर्शन द्रवमुत्पाद्य रतिं पश्चात् समाचरेत्।

चिन्ता कि करिष्यति कि ध्ययेत् क्वास्ते किं वक्कि भामिनी। इतीव मानसोत्कराठा सा चिन्ता परिकीतिता॥

संकल्प: यामि तामरविन्दाक्ी पिवाम्यधरप्जवम्। रमामि नितरां सार्ध तयेति सुदृढं पुनः।।

126 अभिनयदर्पराम्

तां विना न हि जीवामि सैव मे परमं धनम्। इतः पर सा शरणमिति संकल्प ईरितः ॥

गुणाकीतनम्

एषा मौलिविभूषएं मृगदृशामेषा पर जीवनम् तां त्यक्का न हि किश्चिदस्ति शरणं यूनां रसोल्लासिनी। सा भूषा भुवनस्य किम्पुनरियं वाचा पर जीवन- मित्येवं प्रतिभाति या गुणनुतिः स्त्रीपुंप्रभेदेऽपि सा।।

क्रियाद्वषः

गच्छ गच्छसि चेतां तो नाहं कान्ता न मे पतिः। त्वं चेति कथनं यत्र कथनं द्वेष उच्यते।

ताप:

किं करोति सुमास्त्रो मां पश्चभिबाणसश्चयैः । तपत्यनन्तर' गात्रं तापोऽसौ परिकीर्तितः ॥

लज्जात्याग: दोभ्यीं समाश्िष्य पयोधरौ तौ प्रचुम्ब्य बिम्बाधरमायताच्याः। सुखेन सुप्तः शयने निशायामुद्वोधितोऽहं चरणायुधेन॥

उन्माद:

चित्ने लिखितमालोक्य नायकं कश्वनाजना। परिरम्य दृद दोभ्यी चुचुम्बे गराडयोरमुम।। मूर्छा यत्राज्गनाया वैकल्यं पश्चप्राणनिरोघनम्। असंज्ञा याममातं सा मूर्छा वान्या मृतिर्न हि।

अभिनयदर्पणं समाप्तम्।

अभिनयदर्पगम् 127

पाठान्तराणि

N. B. Numerals refer to the serial numbers of the slokas in the Text; and (i) and (ii) indicate respectively the Ist and the 2nd halves of the ślokās.

I V. यस्य for सर्व ; M. तन्नमस for तं नुमः 2 M. सार्थ for सार्ध; V. गन्धर्वापुसरसो गएें:, M. वदत् for गणौः 3 V. तथा नृत्यं शम्भोरप्र प्रयुक्कवान्; VM. प्रयोगमुद्धतं श्रुत्वा ; M. स- प्रयुक्तस्वतो हरः. V. प्रयुक्तं च ततो हर:

4 M. तराडुना च गणाप्रएया

5 VM. बुद्धा तु ताराडवं 6 For 6(ii) S. reads ताभिम्तु शिच्िता नार्यो नानाजनपदास्पदाः 7 VM. ततः परम्परा for एवं परम्परा 8 V. पायं चाभिनयं M. वादं चाभिनयं ; S. अभिनयान् गीतं, V. गीतं सर्व संगृह्य, M. गीतं खरान् संगृह् ; S. पद्मभू: for पद्मजः; S. व्यरीरचत्तय- मिदं and M. पर्यक्षयत् शात्त्रमिदं for व्यरीरचच्छास्त्रमिदं

9 V. प्रागल्भ्यसौख्यं च, M. प्रागल्भ्यसौगुरयसौभाग्यानां IO M. दुःखादि शोकनिर्वेद ; S. ध्र वम् for मतम्

II V. नृत्य' चतुविधो ..... नं for एतच्चतुविधोपेतं नटनं

13 VM. तत्र for त्वत ; VM. दैवयात्रायां

14 S. ब्रह्मणोक्कं for शुभार्थिभिः; S. मङ्गल्यं for माङ्गल्यं

15 M. तत् नृत्तम् for तु नृत्तम् 16 VM. एतन्तृत्तमिह राजसभायां

17 A1 भावो for हाव ; M. धीरोदात्तः कलावान्; V. कलावान्नटनयचतुरो; A2 चतुरः स महाराजधुर्यः एवं सभानायक लक्षणं 18 M. सकनका for सुकवयो 19 A'A' सभाकल्पतरु वन्दे वेद; A1 जीवितम्, A2 शोभितं for जीवितः 20 M. प्राड्मुखादडबसेन्मुदा ; VA2 वसेयुः for वर्तेरन् 21 Mss. रज्नमुच्यते for रत् उच्यते ; M. रज्रमध्यस्थिते

I28 अभिनयदर्पयाम्

22 A2 पार्श्वद्वन्द्वे तालधारी दक्षिये च मृदन्नकः। तयो*धे गीतकारः श्रुतिकारस्तदन्तिके॥ V. ... र्मध्ये गीतधारी 23 A2 नादकौ रङ्गमराडली

24 A2 गीतवाद्यानुसारिणो

25 M. परार्थ्यभूषा; VM. प्रहसन्मुखपड्टजा ; A2 समुदीदिशेत् for समुदीरिता 27 VA2 वेश्या नाव्य विवर्जिताः for द्शेताः नाव्य वर्जिताः; Mss. जीवः त्यिरत्वं 28 Mss. वचो गोतः for वचो गीतं ; M. नृतं कार्य for नृत्तं कार्यः

29 Mss. सूक्म नक्षत्र for सूक्ष्मा नक्षत्र ; M. किड्टिणी कांस्य

31 Mss बहुबिधान् for बहुबिधोन् ; V. पात्रमुतं श्रीरामेवाचरेत्

32 V. जय जय हे रङ्गाधिदेवते

33 V. तुष्टये वापि रक्षकाणाम् ; M- तुष्टये चापि दृष्टानां च विभूतये

34 V. नायकस्याथ ; M. पुष्पाञ्जलिमथाचरेतू

35 M. नृतं कार्य ; Mss. नृत्तं गीता 36 MA' अप्ेनालम्बयेद् गीतं ; A3 हस्तेनार्थनिदर्शनम् ; A' वीत्षद्भ्यां for चतुभ्यी, A2 तालमादृशेत ; A1 तालमाचतेत् and A3 तालनिर्यायम् for तालमादिशेत्

37 A' यतो हस्तास्ततो ; A1 ततः भावाः for ततो भावा 38 M. सात्तिवको पर 39 M. चतुर्थाभिनयाः; S. तत्नाञ्निकोऽजैर्दर्शितो मतः, M. adds to this the following बान्धव्यश्च सुरादीनां वाचिकेनेव कीतयेत् ; S. भावुकेन for भावजेन ; VM, विधापित for विभावित

42 Mss. श्रद्धा for स्त्नेधा ; S. पार्श्व for पाश्वौ

43 P. षढज्ञानि for षडक्वानि ; SP. स्कन्धावप्यपरे for श्रीवामप्यपरे ; SP. प्रत्यङ्गानि त्विह प्रीवा बाहू 44 P. षडित्याहुरपरी; P. भूषणानीति for कूर्परावेत; P. मतम् for जन्तुः 45 V श्रीवा चाप्योपाज्न्तु; M. श्रीवास्थायिन्योपाज्जन्तु, V. दृष्टि भूकुटी ; P. कपोलो नासिकोऽनिल: 51 Mss. यन्रत्युन्नतिवर्जितम्

अ्रभिनयदर्पणाम् 129

52 M. स्तम्भवन्निष्क्रियत्वे ; MV. ज्ञेयमूर्ध्वभागे नताननम् 54 V. प्रमाशेषु, for प्रणामेषु 56 M. तन्मदम् for तन्मतम् 58 VM. जनाश्वासे, M. वा विषादे for च विषादे 59 M. रत्ने for यत्ने ; M. निषेधे वावमर्षे 60 V. संज्ञोपयुतयोः for संख्योपहूतयोः 61 S. परावृत्तमुदीरितम 62 V तत्तुर्यकारलज्जादि ; M. वक्रोपसारणे, for वक्कापसाररे 66 A1 आलोकित for प्रालोकित 67 V. वोकितं सुरनारीचत्, M. वीच्ितैः सुरनारीणां; A1M, समानं for सानन्दं 68 M. चाप्यनुचिन्ता विनिश्चये 69 M. भवेदास्यभ्रमणं

70 MV. इच्छायां for याचजारयां ; VM. वलनक्रमात् ; A'A2 चलनं for वलनं 72 V. कलयो foर कार्यानां ; A'A2 साची दृष्टि नियुज्यते for नाट्य साची निरीक्षणम् ALA चलनात् for चलनं 73 M. दर्शने for निर्देशे ; A1 च प्रसंशिते and M. समसंज्ञकम् for प्रसंजिते 74 M. दृष्ठ्योरर्ध ; for दृष्टेरर्ध ; M. परवशे, A1 पारवशे for पारवश्ये ; MA'A2 जपध्याने ; V. नमस्कृते for नमस्कृतौ 75 M. ज्ञयमूर्ध्वभागेवलोकनम् A' ज्ञयमूर्ध्वभावावलोकनम्, VM1 विलोकितम् for विलोकनम्

77 M. अनुवृत्तिनिरीक्षणम् for अनुवृत्तनिरीक्षणम् 78 VA'A2 विचारे च शौर्ये च पठन

79 V. साङ्ञलोकने पाने, V. तथा च परिवर्तिनी for तथैव परिवर्तिता 8I MA' तथायत्ते for तथा यत्ने, V. विश्वते, A1 विस्यते for विस्तृते 82 M. पार्श्वद्वयेऽप्यूर्ध्वभागे च चलिता ; V. चलनात् for चलिता 83 A2 खड़गे श्रमे 84 V. परिचुम्वने for द्वयचुम्बने

'7

130 अरभिनयदर्पयाम्

85 M. नाव्यतन्त्रि for नाव्यतन्त्र ; A2 विज्ञ या for प्रयोज्या 86 M. युष्मदष्मन्मुखे वाक्ये देशी नाव्य विशेषतः for 86(ii) 87 A2 उच्यते; A2 चोच्यते for प्रोच्यते 88 V. असंयुक्कश्व युक्कश्र ; A'A' प्रकीतिताः for निरूपिता; A9 हस्तानां नामलक्षणामुच्यते 89 1. पताकोऽर्थपताक: I. मयूरश्रार्धचन्द्रश्र, M. चन्द्राख्यौ पुराल, V. चन्द्रश्राप्यराल, A3 चन्द्रश्च मरालः 90 1. मुष्टिकशशिखरश्ैव ; A2 कपित्थः खटकामुखः ; ASP. सूच्यास्य पद्मकोशश्च बाणः सर्प, I. सूचीमुख पद्मकोशो बाण: 91 A1 कांगुलश्चालपद्मकः, MV. कांगुलस्सोलपद्मकः, A8 लांगुलस्योलपद्मकः, I. लांगुलश्चालपद्मकः, AS गांगलश्चालपद्मकः, P. कांगोलश्चालपल्लवः, A3 चतुरो भ्रमरी चैव, MA6A हंस्यास्य for हंसास्यो 92 I. ताम्रचूडस्ततः परम्, I. ताम्रचूडोर्णनाम (भ)कौ; A3 हस्तानां नामलक्षणमीरितम् P. हस्तानां नामलक्षणमीच्यते ; I. विंशतिसंख्यया ; I. adds to this couplet the following : नामान्युक्कानि कविभिर्भरतार्यवपारैः। चतुरो चतुविधः शुद्धचतुरः खराडचतुर॥ सर्पचतुरः चलसर्पनिशिरः ......

93 PA3 has for this the following: प्रसारणादङ्ुलीनामन्जषठस्य च कुश्चनात्। पताकाख्यकरः प्रोक्तः करटीकाविचक्षरोः॥ I. also has the same with v. 1. प्रोक्तो भरतार्णवपारगैः 94 VPA'A' निषेधके for B. निषेदके 95 VPA2B तुरगे खराडने ; P, वायोः शयने ; B. वयुचयने; ABP गमनोदिते, I. गमनोचिते ; B प्रसादे च प्रतापे च ; A1 घनलेपे for घनातपे 96 P. कवाटे बन्धने ; BI. कवाटबन्धने, B. तरझ्गिरो, M. तुरक्रके ; I. puts between 96(i) and 96(ii) the following: स्पर्शे देहीति वचने निषज्जे च न दर्शने B.

अभिनयदर्पराम् 131

97 I. तुष्णी भावस्य दर्शने B. omits 97-99. Yhis couplet (97) is continwed in I. as follows: नृपश्रेष्ठस्य भावे च गाढालिङ्गनभावने। प्रलापे खड् गरूपे च पलायनविधिक्रमे।। मश्चार्थे सलिले सिन्धौ क्षीरेणादरकुश्चितः। तत्नतत्नेति वचने तारल्ये सीकृतिक्रमे॥। नाभिस्पर्शे च नारीणां शूराणां वीरवादने। वामने पुरुषरूपे पताकहस्त भावनात्॥ 98 M. सिद्धौ, V. सन्धौ for सिन्धौ 99 M. सन्बद्धौ च V. सम्बुधौ च M. पुरज पि for पुरोगेऽपि 100 A2 एवमादिषु for एवमर्थेषु; A1 पताककरभावनाः, A3 पताकाकरभावनाः, 1. पताकाहस्तभावनात्, B. पताकाहस्त मेदनात ; P. reads for 100 (ii) the following: पताकेऽनामिका वकरा यद्यसौ त्रिपताकका: and I. has the same as अस्मित्रनामिका वक्रा यद्यासौ त्रिपताककः, M. contiuing this by त्रिपताक इति ख्यातो नृत्यकर्माविशारदैः I01 A' वज्रधरेऽपि वासवे ; A9 हृादिन्यामपि वासवे; A3 दीपे त्वभिज्वालाविजम्भरो 102 V. भरतादिभि: for भरतोत्तमैः for the whole couplet A'As read स्त्रीपुसयो: समायोगे युज्यन्ते त्रिपताकिक: and A2 reads बाणार्थे त्वित्तुदराडे च माङल्ये त्रिपताकिक: and PIB read बाणणार्थे युज्यते सोऽयं त्रिपता- काभिधः करः 103 I. तार्धपताककः ; P. ह्युभयोरपि वाचके, A1M. उभयोरिति दर्शने 104 B. काकच क्षुरिकायां च द्विजगोपुरशङ्गयोः for 104(i), for प्रयोगके, M. प्रयोगतः, P. प्रयोगकैः B. विधीयते ; I. भरतार्णवपारगैः 105 A' बहिः प्रसारी भजते स करः ; A2V. कुश्चितान्जष्ठसदितः स करः, for the whole couplet AS reads तर्जनी मध्यमे चात बहिस्तिर्यक् मुखे यदि। कर्तरी कम्वेव **** and P. तर्जनी मध्यमे चत्र बहिस्तिर्यक मुखे यदि। कर्तरीहस्त एवायं तस्य रूपणामुच्यते॥

132 अभिनयदर्पणम्

106, P. विपर्यासपदेपि च, AS विपर्यासमृतेऽपि वा B. omits 106(ii) 107 M. विरही पतने तथा, BA3 विरहे कर्तरी भवेत्, B. omits 107(ii) and reads 107(i) as विद्यु दर्थेऽपि कलशे विरहे कर्तरीभुखः; M. युज्यते, प्यर्थे for युज्यते यस्तु 108 A1 श्िष्टौ च संप्रसारिता ; A2. चाग्रे संप्रसारिताः, P. श्िष्टौ चास्या प्रसारिताः ; A3P कथितः तस्य भावनमुच्यते 109 A'BP हाराणं धारणकमे for शकुने वमने तथा; BP. मयूरो युज्यते तत्र (तत्तद् P.) उचितार्थविशारदैः for 109(ii) ; Mss. अलकस्यापि नयने 1I0 M. नद्योदकस्य, A2 नतृन्येतेकस्य, V. नेवृद्याकस्य ; Mss. प्रसिद्धकः for प्रसिद्धके ; A2 हस्तभावनः for करभावना ; B. omits 110 11I A' अर्धचन्द्रकरस्त्वयं पताके 112 B. कृष्णाष्टमी भाति गलहस्तेर्धकेऽपि च ; A1 मल्लायुधे and B. बलायुधे, A2 मल्लयुद्ध for भल्लाउधे, B. omits I12(ii) 113 A1 चापि त्वंगस्य स्पर्शने, V. चापि अरंगसंस्पर्शने, B omits I13(ii) and has प्राकृतानां नमस्कारैरर्चन्द्रः प्रयुज्यते for I I3(ii) 114 Mss. तर्जनी वक्र; A3 विषेष्वमृतपानेषु, B. तीर्थामृतादिपानेषु; M. प्रचराडपवनेषु च; B. continues 114 with अरालहस्तः कथिता सा तु नृत्यविशेषिता 115 B. omits 115(ii), A3 कुन्ताम्र and A1M. कान्तार्थे for कुन्तार्थे 116 M. मर्मोक्कामुस्भवने; A3 भावेऽपि शुकतुएडो ; BV. omits I I6(i) 117 A' अंगुष्ठस्योपरियुत, M. अंगुष्ठेनोपरियुत ; A1A2A9 हस्तोऽयमिष्यते ; for 117(ii) and 118(i) P. and B. have the following: P. स्थिरे कचग्रहर्थे च् मल्लानां युद्धभावने। तारडालिकादि नाठ्येषु मुष्टिहस्तः प्रयुज्यते॥ B. स्थिरे कचप्रहणार्थेऽपि घूर्णनं युद्धभेदने। तां वाशिर्ना विनृत्येषु मृष्ठिभि: साभिधीयते। 118 See v. l. of 117 for 118(i) ; A3 reads 118(ii) as तस्मिनूर्ध्वकृतोऽमुष्ठ- मुक्को तु शिखरः करः and P. as अस्मिन्तुपरिचान्नुष्ठः शिखरः संप्रकीर्तितः

अभिनयदर्पराम् 133

119 As gives the entire viniyoga for 119-121(i) as मदने कार्मुके स्तम्भे साम दन्ते धशेऽपि च। तर्परो शिवलिंक्के च युज्यते शिखरः करः, and B. has it as अहं ... ... शिनास्त्यर्थ मद ... ... । निश्चयोरुभावे च शिखरेभनिषे

.. अभिनयेऽङ्किते while P. has it as मदने कार्मुके स्तम्भे स्थायित्वे शिखरः स्मृतः 120 See notes on 119, V. अभिनयांकिते for अभिनयान्तिके A1परिरम्भादिविक्रमे, M. परिभावे विधिकमे 121 See nots on 119, A2 शिखरे तर्जनो वक्रिता यदि For 121(il) and 122(i) A3 reads अंशुल्यः कुश्चिता पृष्ठे तर्जन्याः क्रमशस्तथा। अंगुष्टस्तर्जनी मध्यमाश्ता स्तात् कपित्थकः ॥ And P. reads

अंगुल्यः कुश्चिता पुष्टिदर्शिल्यः क्रमशस्तथा। अंशुष्ठः तर्जनीमूलमाश्रितश्चेत् कपित्थकः ॥ 122 For 122(1) see notes on 121, A3 करः सोऽयं कथितो भरतागमैः, A3 नटेन तालताडने, MVA1A2 वेष्टने तालधारणे B. has I22(i1) as लक्षमीदेव्याः सरसत्या नटनो तालधारणो 123 B. omits 123. Mss. पटस्यैवावकुराठने 124 B. कपित्थः परिकीर्तितः ; A3 कपित्थे तर्जनीचैव वक्रितांगुष्ठमध्यमा, M. तर्जनो चोर्ध्वमिश्रितांगुष्ठमध्यमा, V. चोर्ध्वमिश्रितांगुष्ठमध्यमः, A1 तर्जनी चोर्धमिश्रितांगुष्ठ- मध्यगौ 125 A'A3M भरतागमैः, Mss. कुसुमापचये. The entire viniyoga of कटकामुखहस्त or 125(ii) and 126(i) has been given PB. as follows: खलीन वाहनार्थेऽपि पादचारे तु (स्तु B) लक्षणे। चामरे पुष्पमाल्ये च दर्परास्य च धाररे। बाणवकर्षणो चैव कस्तूर्या घर्षोऽपि च। वणायन् विप्रयोगेषु उच्यते (मुक्तारङ् B) कटकामुखः ।

134 अभिनयदर्पणाम्

126 MV. पोषसो for पेषणो See v. l. of 125 127 V. दृष्टिभावे च कटका. See v. I. of 125 and I28(ii) 128 V. हस्त: सूचीमुखः प्रोक्कः नाव्यविद्याविवक्षणौः, M. हस्तसूचीमुखस्तस्य विज्ञयो भरतागमैः For 127(ii) and 128(i). As has- तिस्नोऽङ्गुल्य मध्यमार्द्याः शिरस्यङ्गष्ठपीडिताः। तर्जनी प्रसटता सोऽयं सूंचीहस्तः प्रकीतितः ॥

तर्जनीप्रसता सोडयं सूचीहस्तः प्रकीर्तितः । A1A-MV शतेष्षपि for शतेऽपि 129 A'A2 रोमाल्यां for लोकार्थे; PB. लोकाथेवेत्धा(रीर)ए भावेन for 129(ii) PB. have तच्छन्दे (व्य)जनार्थे च तर्जने 130 MV. काश्यें शलाकावपुषि, A'A2 काश्ये श्यालके वपुषि वेरायामार्श्र्रके तथा ; B. काश्यें शलाटिकयाश्च नालके नालभवने ; P. काश्यें कलाटियाश्च नलिनीलालभावने ; A2 पाणौ च लोकदुन्दुभिवादने, A1 घोणायां लोकदुन्दुभिवादने ; PB. omit 130(ii) 131 B. omits this, A3 has I31(ii) as वीक्षणे विनियुज्यन्ते दिनान्ते सूचीहस्तकः and P. has वीक्षणोपि नियुज्यन्ते सूचीहस्तः पुरातनैः 133 For 133(i) A' has गङ्गानद्यां तीरे तस्स शिवस्य मुकुटेऽपि च Mss. विनियोज्ये विधोयते ; PB. omit this couplet and P. gives बाणाहस्तः 134 M. अ'गुल्या विरलाः ; A'A2 कुश्चित पद्मकोरकः ; A'A2 omit the seond half of 134. 135 M. कन्तुकेऽप्यल्पभोजने ; V, कन्तके for कन्दुके, PBA3 read the whole as follows :1 कमलेऽपि च वल्मीके घराटायां (B. खट्रायां) कन्धकेऽपि च। वर्तुले दर्पणो (A3 घधरो) चूतफलादे (B. भज्जाद:) पुष्प कोरके॥ 136 A2 घराटरूपे PBA9 this and 137(i) as follows: कर्शिकारपुष्पवर्षें शाखायां नमनेऽपि च। आराडेऽपि पद्मकोशस्य विनियोगो नियुज्यते (भिधीयते B.) ।।

अरभिनयदर्पगाम् 135

137 See v. I. for 136. V. कमले चन्द्र पद्मकोश इतीरितः। PV. पताके तल- निम्नत्वात सर्पशीर्ष, A3 पताकाहस्तनिम्रत्वात् सर्प, M. पताका नमिताश्रा चेत् 138 MA'A* देवयौं दकदानेषु, MV. दानेषु व्यास्फालिक्गज कुम्भयो,: see notes on 139. 139 For 138(ii) and 139(i) BA3P have the following : भुजगे चन्दनार्थे च प्रशाम्यति वचो भवेत् (A3 देवतानां प्रणामके)। वाहने (वामने B) पुरुषे सर्पशीर्षहस्त नियुज्यते (PA3. शीर्षो च युज्यते)॥ A A2 कनिष्ठिकांगुष्ठः प्रसृतमृन; V. कनिष्ठिकांगुष्ठ प्रस्ते; A3 कनिष्ठांगुष्ठ प्रसटते, M. कनिर्ष्ठागुष्ठेन प्रसतौ 140 For 140(i) B. has स्त्रीणां मध्ये क्मेरोति वचने छत्धारणो ; V. चक्रे सर्पादयो- रपि; A2 भीतौ विवादे, A1 चित्तबिवादे, M. विनोदे for विवादे, V. नेपथ्य- डप्याह्वाने त्रिपुराड के, A2 आवापे for आह्वाने for 140(ii) See v. l. on 141 141 For 140(ii) and 141 PBA3 have the following: आवासेऽपि च नेपथ्ये (नैवेद A3) वसने मन्दवाचके। भितौ विवादे समरे (शमने A3) समये च त्रिपुराडके॥ देहे दूरस्थिताह्वाने र गवल्लयां मृगानने। तिर्य्यगर्थे 5पि सश्वारे युज्यते मृगशीर्षकः ॥ M. कार्ये मन्दिरे for काममन्दिरे, A'A2 omit 141(ii) 142 A1 सोपाने पदविन्यासे युज्यते मृगशीर्षकः A1 omits 142(i) 143 For 143(i) A9 has करः सिंहामुखाभिधकराभिनयनेदिनः, M. सिंहाख्यमुखो भवेत् MV. गन्धे चलने for दर्भचलाने A. पद्महारयोः A1 पद्मदामयोः ; for 143(ii) see notes on 144 below. 144 For 143(ii) and 44(i) P. has होमार्थे दर्भचलने पद्ममालामृतौ स्मिते। सिंहासने वैद्यपाके शोधनीयाश्च मध्यमे॥ युज्यते सिंहवक्काख्यो हस्तोऽयं करवेदिभिः। M. वैद्यपाके शोभने संप्रयुज्यते; V. काङ्गुलिके भवेत्, P. काङ्गोलको भवेत्, A2 गाहुगेलको भवेत्

I36 अभिनयदर्पराम्

145 B लिकुचस्य for लकुचस्य, A3 बालकन्यायां for बालकिक्किरायां ; for घरिटकार्थेके, A2 घटिकार्तके and A1 घटिकर्तके, PB घुटिकार्थके For 145 (ii) See v. 1. on 146 146 For 145 ii and 146 (i) A3 BP read चातके चकोरे च गुढेऽपि च विशेषतः । लाङ्कुलहस्तविज्ञ यः कराभिनयवेदिभिः ॥ (लाङ्गुलहस्तः कथितः भरतार्णवकोविदेः । B) । V. reads 146(i) as चातके युज्यते चेदं काड्गुलकरलक्षणाम् AS कनिष्ठावर्तिता च for कनिष्ठाय्या वक्रिताश्च A9 विरलास्सोलपद्मकः P विरलाश्चालपल्लवः 147 V. आवर्तकेऽपि च for आवर्तके कुचे for 147 See v.l. on 148 below 148 For 147, 148 and 149(i) P reads श्रलाघायां प्रान्तनृत्ये च सौन्दर्ये कुचमराडले। चालये तु नियुज्यते हस्तोऽयमलपल्लवः ॥ and B reads

शाखायां प्राणिनृत्य च सौन्दर्ये च विचारणे। चालयेति नियुज्यते हस्तोऽयमलपल्लवः ॥ and A3 reads * * प्रनृत्ये च सौन्दर्ये च विकारके। बालनाव्ये नियुज्यते हस्तोऽयमलपद्मकः ॥ 149 M शलाघने च रथे चालपद्महस्तो विधीयते ; see 148 also for 149(i). V तर्जन्यायास्त्रय: श्िलिष्टा: see v. l. of 150 150 For 149(ii) and 150(i) A3 and P read ऊर्ध्वा कनिष्ठिका यस्मिन् शेषा: स्युः प्रसृता यदि। अङ्ठष्ठमध्यमाभूले स करश्चतुरो भवेत् (P श भवेचचतुरः करः )॥ M सूले तिरश्चेच्चतुरः करः, A2 मूले युक्कश्रेचचतुरः करः, PB किश्विदर्थे च (पि B) कनके ताम्रलोहयोः, M लोहने for लोहके 151 B omits this, M द्रव्ये for आर्दे, A2 वर्गाभेदे च लोचने for लोचने वर्गभेदने, A1 शकलातने for शकलीकृते

अभिनयदर्पयाम् 137 153 For 152(ii) and 153(i) A3 reads मध्यमानामिकाडल्यौ निकुञ्च्य तलमाश्रिते। शेषाः प्रसारिताश्चादौ ज्ञयः स भ्रमरो करः॥ and P reads

मध्यमानामिके मम्यक कुश्चिते तलमाश्रिते। शैषाः प्रसारिता सोडयं भ्रमराभिध हस्तकः ॥ M योगे for पक्ते, ror 153(i1) see v. I. of 154 154 A2 भ्रमराख्यः करो ज्ञयः कीतितो भरतागमैः, M कीर्तितो भरतोत्तमैः, A' A2 त्याङ्गुल्य मध्यमाद्या प्रसता ; for 153(ii) and 154(i) B reads योगे मौने व्रते भृङ्गे गजानां दन्तखातने। युज्यते भ्रमरस्योऽयं हस्तचारादिचक्षणो। For 155(ii) see v. l. of 157 156 M मृत्तिकादी for यौक्किकादौ, V निष्कके मल्निकादौ see v. I. of 157 157 For 155(ii), 156 and 157(i) PB. read चित्रस्य लेखने शोभनार्थे रेखा विवेचने। मालानां वहने सोऽहं भावनार्थऽपिरूपके (B. निरूपणे)। दासीति वाचके (शून्येति वचते B) चापि निकषाणं विभावने। कृत्यमित्यर्थवचने हंसास्योऽय- मुदीरितः। V. दंशे तु जलबन्धे च करो हंसास्य ईरितः । 158 P. तन्निरूपणामिहोच्यते, see vl. of 159 159 For 158(ii) and 159(1) PB read मर्यादायां सेतुबन्धे बिधाने दूरगाहतौ (B .- गावृते) शुद्धनाव्य बिधानेऽपि हंसक्षो नियुज्यते॥ A'A2 पत्तोऽयं युज्यते भरतागमे; A'A2M भरतागमे: for 159(ii) see v. l. of 160

160 For 159(ii) and 160(i) P reads कमात् प्रदेशिनी मध्यमाङगुष्ठपरियोजनात्। शीर्षे प्रसारिते सोऽयं संदंशो विकचाननः ॥ M. कीर्तितो नाव्यकोविदैः; 160(ii) see v.l. of 16I 18

I38 अभिनयदर्पराम्

161 For 160(ii) and 161(i) BP. read मौक्किके पुलके वापिचिन्दौ (B. वारिविन्दौ) रुद्राक्षरुक्षके (B. वृक्षयोः) गुलिकायां च विकच (B लिकुच) मल्निकायां च विद्र मे। तिलाहूतौ च (B. हूतस्य) संख्यायां संदंश परियुज्ते (B. नियुज्यते)॥ MV. अर्चनेऽपि च वक्कव्ये सन्दंशास्यो बिधीयते, A'A2 अड्गुलिपश्चकं सम्यक् मिलिताग्रां.

162 A'A* हस्तोऽयं कीर्तितो शास्त्रकोविदैः, VM. भरतागमैः ; for 162(ii) P reads सर्वोङ्गल्यग्रसंयोगान्मुकुलाभिधहस्तकः, M. कुमुदेऽभिजने ; for 162(ii) see v. 1. of 163 163 For 162(ii) and 163(i) P reads दाने दैन्योक्किघटने पश्चसंख्येतिभाषरो। मुकुलीकृतपद्मपु भोजनार्थे जपेऽपि। एतादृशार्थभावेषु मुकुलाख्यः करो भवेत्।

and B reads दाने दैन्योक्किघटने पश्चसंख्येति भाषरो। जपे च भोजने चैव कमले पठितस्तथा॥ मुकुलाभिधहस्तश् युज्यते योगपसिडतैः ॥ M. नाभौ करटीपुष्पे ; for 163(ii) P. reads

त्जन्याद्या: प्रस्टता स्युः तिस्रोऽड्गुष्ठः परम्। कनिष्ठामूलगामी चेत्ताम्रचूडकरो भवेत्।। 164 For the entire 164 B reads वेदतयं त्िलोकार्थे तयसंख्ये विनिर्देशेत्। ताम्रचड़स्य विज्ञयं युज्यते नृत्यकोविदेः॥ for कुक्कुटादौ बके काके A1 reads भके कुक्कुटकाकादौ, AS reads अयं कुक्कुट- काकादौ ; A1 हयश्च ताम्रचडाख्यः करो भरतकोविदैः for 162(ii) 165 M. कनिष्ठे तु त्रिशूलक., A2 बिल्वे शैलेर्त्ययुक्क: A1 त्वर्धयुक्के for त्रित्वयुक्के

166 Mss समने for नमने A1 कनिष्ठाङ्गुष्ठस्य समने मृगशीर्षके तथा सुक्का स युज्यते करः, A1 कपित्थहस्ततर्जनी; MA1 चोर्धसारये, A6 उध्वसारणं त्धकि:

अरभिनयदर्पणम् 139

169 For 169 and 170 Mss read आरह्वानभाववलने कटको हस्त युज्यते।

एतस्य विनियोगस्तु कटकहस्तदर्शने ॥

It is highly probable that these lines have been mutilated and confounded. I have therefore suggested the reading as shown in the text.

171 Mss प्रकीर्नितः 175 A2 खट्वा च गराडमेरुरड इत्येते संख्याता कराः ; M. खट्वांगरूढ़ इत्येते संख्याताः V. चतुर्वि शतिः A2 त्रयोविशतिरुप्येते पूर्वज्ञर्भरतादिभिः; M. त्रयोविंशतिधा- प्रोक्ला सूरिभिः संयुता करा: 176 A2 नमस्कारे त्वनुक्रमात् 177 A1 मूलाग्रपाश्वकाः 178 MVA1प्रमाणगुरु, A2 प्रमारो गुरु, A3 सम्भाषे प्रमाणोङ्गीकृत, A3 यत्राङ्गुल्यकरयो यत्र निसृताः; A2 नृत्यहस्तयोः for निःसृय हस्तयोः 179 M. अन्तर्बहिर्हि वर्तन्ते; M. कटक सोऽभिधीयते 180 A2 अंगामोटने शोखानां नमनेऽपि च, A3 अङ्गभङ्ग च शाखायां नमनेपि च। 181 M. संयोगिनो सवस्तिकाख्यः; A3 पाताकाबुरु, MVA पताके उरु 182 A' नाट्यारम्भे च डोलायां विनियोगो बिधीयते; VMA'A2 प्रयोक्कव्य मिति 183 Mss बालफलादि for वारिफलादि च. cf अपां्गं in S. VII 198. A1 फलानि ग्रहंरो V. ग्रहसो तथा V. सन्ध्ययोरर्ध्यदाने च, A1 रर्घदानेन मन्त्र 184 A1 उत्सङ्गनाम हस्तोहयं विज्ञयो भरतादिभि: V. उत्सङ्गनाम हस्तोऽयं इयो भारतवेदिभिः, A3 उत्सङ्गनाम हस्तोऽयं विज्ञयो भारतागमे 185 VA3 कर ईरितः for युज्यते करः 186 A2 विन्यम्य शिखरः ; A1 शिवलिङ्गप्रदर्शने 187 Mss सवस्तिकामणि, M. नाव्यविदां मतम् 188 M. विवाहायुषि युज्यते 190 M. शिशिरान्त for शिखरान्त, for 190(ii) see v. I. of 191

140 अरभिनयदर्पणाम्

191 A' तर्जन्यां यदि, A2 तर्जन्या युतमा, V. तर्जन्यौ तु तथा आश्िष्ट for 190(ii) and 191 A3 reads

धृत्वा कराभ्यां शिखरौ वामान्ुष्ठ प्रवेशयेत्। दक्िरोन तु तदङ्गुष्स्तर्जन्या वामयोयुतः ॥ उक्कः शङ्काभिधो हस्तः कराभिनयवेदिभिः। विनियोगस्तु तत्नव कीर्तिर्तो भरतागमैः ॥ 192 For the entire couplet A3 reads

चक्रहस्तो भवेदेष सोडयं चक्रो नियुच्यते॥ 193 For 103(i) A2 चक्र काड्गुलिकायुक्क पृष्ठो भवत सम्पुटः; for 193(ii) V. सोऽपि वस्तेति वोधाने सम्पुटो विनियुज्यते 194 A' तर्जन्यै पाश, A2 तर्जन्या पाश, for 194(ii) A2 reads पाशे च लम- कीड़ायां श्रड्खलायां ; for the entire couplet A3 reads

सूचीहस्तेन तार्जन्ययुतार्थनिका यदि। सोऽयं पाशकरो नाम भरताचार्यसम्मतः ॥

A2 reads रणो द्वेषे च पाशे च शरडुखले विनियुज्यते। 195 For the 195(i) स्नेहे सुखे च यद्युज्यते कीलकः करः सम्मतः A' नर्मानुलोपे, M. नर्मानुलेपे, M. विनियोगस्य सम्मतः for कोलको विनियुज्यते for the entire couplet A3 reads

सृगशीर्षाभिधो हस्तोऽयं यदि गुध्य कनिष्ठिका। कीलकः स करो बध्य संकेते विनियुज्यते॥ 196 For the entire couplet A3 reads

करपृष्ठे कर' न्यस्य कनिष्ठाङ्ुष्ठ विस्तारात्।

मतूस्यहस्तो भवेत् सोयं मत्स्येऽपि विनियुज्यते।।

197 A2 कनिष्ठकेः ; for 197(ii) See v.l. for 198

अरभिनयदर्पणाम् 141

198 For 197(ti) and 198(i) A3 reads हस्तसम्पुटकेश्ुष्ठ कनिष्ठा निस्तृता यदि। कूर्महस्त भवेत् सोपि कूर्मेऽपि विनियुज्यते ।। M. मृगशीर्षे त्वन्यकरस्योपर्येकस्थिते, A1 मृगशोर्षे त्वन्यकरसोपर्येकस्थिते, A2 मृगशोर्षे त्वन्यतारस्योपरियुकस्थिते ; for 198(ii) see v. I. of 199 199 M. उच्यते for ईरित, M. स्याद वराहस्य च दशने ; for 198(ii) and 199 Ae reads मृगशीर्षे मृगशोरो न्यस्याङ्गुष्ठकनिष्ठयोः । संबन्धः स वराहाख्यकरस्तस्मिन् प्रयोज्यते ।। 200 A'A2 चन्द्रादङुष for गरुड़हस्त इत्याहुर V. has ज्ञेयः स गरुड़ो हस्तो and A3 has विज्ञ यो गरुड़ो हस्तः 201 For the entire couplet A3 reads सर्पशीर्ष समा हस्ता न्यस्ता चेन्मणिबन्धयोः। स नागबन्ध हस्त स्यान्नागबन्धे स युज्यते।। 202 For the entire couplet A3 reads चतुरे चतुर न्यस्य यद्यङ्गुष्ठप्रसारितौ। खट्ादोलकयोरर्थ खटाहस्त बुधेरितः ॥ 203 M. continues the couplet by अस्पष्टार्थेप्यनुक्के च युज्यते हिलपद्मकैः 205 M. हंसस्तु करदात्षिरो, A1 हंसास्य करदच्िणो, A3 हंसास्यो दक्षिणो करे MA6 मृर्गशिरस्तिपताक 206 A' त्रिपताके स्तु, A2 त्रिपताकाभ्यां विष्णु, A3 त्रिपताकी स्तु, ALA2MV साचीकृते ; A2 कृतेऽर्धचन्द्रे च; A2 वामे नान्येन चाहते, for 206(ii) see v. 1, of 207 207 For 206(11) and 207(1) A3 reads कपित्थं दक्षिरो नाभिदेशे चांससमाकृतो। वामेन च कपित्थः स भारत्या: कर ईरित ॥ Mss कपित्थ कोऽपि for कपित्थकेऽपि V. ऊर्ध्वाधः प्रतितावर्धचन्द्राख्यौ, A'A2 V. वामदक्षिऐे

142 अभिनयदर्पएाम्

208 M. वरदश्चेतौ for वरदश्चैव 209 V. शिखरंदच्िरो 210 A3 गतौ षरामुखस्य; V. शिखर दक्षिणो, A3 शिखरौ दक्षिणो 2II Mss स्वस्तिकश्व शक्रहस्तः 212 V. नाट्यशास्त्रविचक्षणौ: 218 M.नन तेः करः 216 A3 मतूस्यावतारस्य हस्तोऽयं प्रोच्यते बुधैः 217 A3 तत्कूर्मा० for धृतौ कूर्मा A2V कूर्मावतारस्य कर इत्युच्यते बुधैः, for the entire couplet A3 reads : वराहं दर्शयित्वा तु ततो स्कन्धसमौ करौ। वृतौ वराहरूपस्य हस्तोऽयं कीर्तितो बुधै॥ 219 For 219(ii) M. धृत्वा चेन्नर सिंहाख्योवतारस्य करो भवेत् 220 For the entire couplet A3 reads उध्धाधो धृतमुष्टौ तु वामे दक्षिाके यदि। स वामनः करः प्रोक्को नृत्यवित्याविशारदैः ॥ 222 M. रामचन्द्र हस्त इभिधीयते 223 M. वलरामस्य हस्तः स्यदिति नाव्यविदो विदुः 225 A'V हस्त स्यादिति नाट्यविदो विदुः 227 Mss धृतान्येन ; for 227(ii) see v. l. of 228 228 For 227(ii) and 228(i) A3 reads

करे वामे तु शिखर' दक्िरोन पताककः ।

धृतौ यदि क्षत्रियस्य कर इत्युच्यते बुधैः ॥

A' करवामे ; Mss हंसाख्यः दक्षिणो, for 228(ii) see the v. I. for 229 229 For 228(ii) and 229(1) A3 reads

हंसास्यं दक्िो हस्ते वामे तु कटकामुखः। धृतौ यदि तु वैश्यख कर इत्यभिधीयते॥ 231 V. दत्षिणो मृगशीर्षकम्

अरभिनयदर्पराम् 143

232 V. धृतं खीपुंसयोर्हस्तः V. स्त्रीपुंसयोर्हस्ते व्याख्यातो भरतादिभि:, V. बध्वा वामेरधचन्द्रश्व, M. पक्ते वामेऽर्धचन्द्रश्रंदंशो, A1A2 वामेऽर्धचन्द्रस्यात् सन्दंशो ; V. करे दक्षिशों for दक्षिणो करे 233 A2 व्यावर्तयित्वा for आवर्तयित्वा M. हस्ते ततः V. हस्त ततः M. करे धृते मातृहस्तः 234 A'A2V शिखरं दक्तिणोन 235 For 235(i) A'AaV reads धृतं च नाट्यशास्त्रज्ञ: पितृहस्त इतीष्यते 236 Mss वामहस्त ततः परम् 237 MSs स्तियः करे धृताः मातृहस्त 238 V. इत्यभिधीयते for इत्युच्यते बुधै: 240 V. नाट्यविदो विदु: for नाट्यविदां मतम् 241 VA'A2 हस्तः प्रकीर्तित for हस्त इति स्मृतः 246 V. दक्षिएं दक्तिणास्य तु 247 This is repeated ; see 37 248 V. खस्तिकाख्यक्व, Mss शकट पाश कीलके, Mss कपित्थ V. शिखरम् 250 M. हंसोपकराठे for अ'सोपकराठे 254 Mss पताकिका for प्रकीतितः 256 .Mss शिखर त्रिशूलो 263 V. स्थितिरताय मराडलम् 265 M. कतो for धृतो ; V. भरतागमे 278 V. स्थित्वान्यत्पद, M. स्थित्वान्ये पद 280 Mss पश्चाच्चाथ for पश्चादथ 282 M. मोडितं for मोटितं 285 For विन्यसेदेषा M. विन्यसेदेषां V. विन्यसेद् ह 286 M. पुरः पार्श्व समु 287 M. मोडिता for मोटिता 288 V. प्ररणात् for प्रकाशनात् 291 V. विज्ञेया नृत्य शास्त्रविशारदैः

144 अरभिनयदर्पराम्

295 V. सत्वरे for सत्वरम् 301 V. स्थानस्य स्वस्य पादस्य, पादयोर्बाहुपार्श्वा 306 Mss भूतलस्तु कुट्टनं 309 V. वच्यते लक्षणं क्रभात् 312 V. हंसी गतिरीष्यते M. कपित्थहस्तयोर्वहन् 313 V. गतिरीष्यत 314 V. मृगगतिः स्मृतः Mss विजयं ततः for विचर स्ततः 319 Mss भरतागमैः 322 M. दशैकं च for प्रयुक्कानि 323 M. भवान्यश्चेव for भ्रमर्यश्रैव 324 M. शास्त्रतत् यत, V. सम्प्रदायिक: V. सतामनुग्रहेगौतद

SELECT GLOSSARY

Abbreviations : u .= utplavana; g .= gati; h,=hasta; gr. = grīvā; c. = carī; dr. = drsti; bhr. = bhramarī; m. = mandala; s. =siras; sth .= sthana; u. = utplavana. Numerals refer to the number of ślokas. anga 42-43. utpluta bhr. 292 anga bhr. 297-298. udvāhita s. 52-53 agni h. 212, utsanga h. 184-185. añjali h. 176-177 ullokita dr. 75-76. adhomukha s. 54-55. ekapāda bhr. 295. anuvrtta dr. 77. ekapāda sth. 276-277. arāla h. 114. aindraka sth. 278-279. ardhacandra h. 111-113. kataka h. 168-170. ardhapatāka h. 103-104. kațamāmukha h. 124-127. ardhasūci h. 167-168. katakavardhana h. 187-188. alaga u. 284. kapittha h. 121-124. alapadma h. 146-149. kapota h. 177-178. avalokita dr. 78-79. kampita s. 60-61. aśva u. 286-287. karkata h. 178-179, asamyuta h. = gesture by one hand kartarī u. 285-286. ākāśa bhr. 296-297. kartarīmukha h. 105-107 angika=gestures and postures in kartarī-svastika h. 188-189. drama and dance 39. Kalki h. 225. āyata m. 263. kāngula h. 144-146. alidha m. 264-265. Kārtikeya h. 209-210. ālokita dr. 69-70. kīlaka h. 195. alolita s. 55-56. kuncita bhr. 296. āharya = dress and decoration of kuttana c. 305-306. the body. 40. Kuvera h. 215. Isvara (=Siva) h. 205 kūrma h. 197-198. utksipta s. 63-64 kūrmāvatara h. 217. utplavana=jumping movements Krsna h. 224. in dance and drama. krpalaga u. 288-289.

19

146 ABHINAYADARPAŅAM

Ketu h. 258. natana = a general term for nātya, Kşatriya h. 227-228. nrtya and nrtta. khațvā h. 202. nanandr h. 239-240. gajalīla g. 314-315, nāgabandha h. 201. gati = mode of walking or setting nāgabandha sth. 277-278. foot. nātya = stage representation of a Ganeśa h. 200. story or the part of a story Garuda bhr. 294. with recitation, costume, songs Garuda sth. 280-281. and dance. graha = the right manner of begin- nayaka = one who pays for a dance ning a tune, song or dance. or dramatic performance cakra bhr. 293. Nirrti h. 213. cakra h. 191-192. nrtta = merely symmetrical and cankramana c. 301-302. rhythmic movement of limbs. Candra h. 251. nrtta h .= gestures used in dance candrakalā h. 132-133. and abhinaya catura h. 149-152. nrtya = pantomimic dance, a dance calana c. 301. which represents feelings and cari = dancing movement in which moods through gestures the action of feet if promi- Nrsimba h. 219. nent. patāka h. 93-100 țīkā= indication, expression, ges- padmakośa h. 134-137 ture, cf. āțikyā saha jāyayā- parāvrtta s. 61-62. Cha. Upanisad. Paraśurāma h. 221. dolā h. 181-182. parivahita s. 64-65. tāmracūda h. 163-164. parivatita gr. 83-84. tiraścīnā gr. 82-83. palli h. 170-171 turangini g. 315-316. pāda-cārī = cārī. tripatāka h. 100-102 Parvatī h. 207-208. triśula h. 165-166. pārsvasūcī m. 273. dampatī h. 231-232. pasa h. 194. devara h. 238-239. pitr h. 234-235. dhuta s. 57-59. putra h. 241-242. nartana = dance and drama. puspapuța h, 182-183.

SELECT GLOSSAY 147

prakampitā gr. 85-86. māyūrī g. 312. pratyanga 43. mātr h. 232-234. pratyālīdha m. 266. mānavī g. 321. pralokita dr. 72-73. mīlita dr. 74-75. prasanjita = excessive affection. mușți h. 116-118. prenkhana m. 266-267. mukula h. 161-163. prerita m. 267-269. moksa = the right manner of releas- Balarāma h. 223. ing or bringing to a close a Budha h. 253. tune, song or dance. Brhaspati h. 354. moțita m. 270.271. Brahma sth. 281-282. motita u. 287. Brahma h. 205. mrgaśīrsa h. 139-142. Brahmana h. 226-227. mrgi g. 313-314. bhava= State Yama h. 213. bhavana = representation (lit, that rasa = sentiment which affects an idea to be rāksasa h. 226. represented), 98, 106 etc. Ramacandra h. 222. bhavana = see bhavana, Rāhu h. 257. bhavita = represented. rekha=see notes on 27. bhujangī g. 318. Laksmī h. 208. bherunda h. 203. lasya = female dance. bhramara h. 152-154. luthita c. 306 bhramari= fight movement of the lolita c. 307. body in dance Vaiśya h. 228-229 bhratr (kanistha) h. 142-143. Varāha h. 198-199. (jyestha) h. 142-143. Varahāvatāra h. 218. Mangala (Mars) h. 252. Varuņa h. 214. mandala= posture in general in vācika= oral expression, proper dance and drama. delivery 39. māndūki g. 319. Vāmanāvatāra h. 220. matsya h. 196-197. vāyu h. 214-215. matsyavatara h. 216. vīra g. 320. manmatha h. 210-211. Vināyaka h. 209. mayūra h. 108-110. visama-sancara c. 308.

148 ABHINAYADARPAŅAM

Visņu h. 206. samyuta h .= gesture by both the vegini c, 304-305. hands. vyaghra h. 166-167. sarana c. 302-303. śakata h. 189-190. Sarasvatī h. 206-207. śańkha h. 190-191. sarpaśiras h. 137-139. Śanaiścara h. 256. sācī dr. 70-72. śikhara h. 118 121. sāttvika 40-42. sivaliņga h. 186. simhī g. 317. sukatunda h. 115-116. simhamukha h. 142-144. Śukra h. 255. sundarī gr. 80-81. Sūdra h. 229-230. sūcī h. 127-131. śrutikāra = drone. sūrya h. 250. śvaśura h. ) sthanaka = standing or sitting śvaśru h. $ 236-237. posture 262. Şaņmukha h. 209-210. snuşā h. 242-243. sapatnī h. 242-243. svastika m. 269-270. sama dr. 67-68. svastika h. 180-181. samapāda sth. 275-276. hamsi g. 311-312. sama samasūcī m. 272. 51-52. hamsa-paksa h. 157-159. samputa h. 193. hamsāsya h. 154-157.

CORRECTIONS

Page 4 line I Read Hasta-bhedāķ 6 last Le théâtre indien

7 Ditto

71 Kapittha for Tripatāka ,,

INDEX

abhaya pose, 63 audience (of a play), 42 Abhilasitārtha-cintāmaņi, 16 audience arrangement of, 42-43 Abhinavabhāratī, 23, 39 Avadānaśataka, 21 Abhinavagupta, 23 āhāryābhinaya, (costumes etc.), 14 Abhinaya, 17ff; and painting, 15; ākāśagāmi cāri, 29 and ritual, 19 ; and sculpture, 16; and song, 17; and alāpacāri, 30

Tāntrik mudrās, 19 ; develop- āngikābhinaya, I ment of, 20ff; four kinds of, angika, agents in, 46 46; importance of the study ballads, ancient Indian, 20 of, 14ff; in Kālidāsa's age, 22; literature of, 22 ; meaning of, Bengali folklore, 62

8; origin of, 17. Bharataśastra, 26

Abhinayadarpana, 24ff; a n d Bharatasastragrantha, 5 Bharata-natysastra, 26ff; and Bharatasūtra, 23 Bharatārnava, 29ff; and Sargit- Bharatācarya, 48 ratnākara author of, 31; Bharatārņava, 4 accent in the stage-speech, 13 bhauma c., 29 action in Hindu plays, 6 bhauma m, 29 adviser to Sabhāpati, 42 Bhagavata-purāna, 37 Agnipurāna, 24 bhāva (state), 46 Aitihāsikarahasya, 13 bhav-batāna, 18 alamkāras, growth of, 36 bhramari, 44 Ālhā, songs of, 40 Brahman, 40 Andhra Hist. Research Society, 33 Brahmasūtra, 23 anga, 46 brows, movements of, 51 angahāra, 32 Burnell, 32 Apakrstā Dhruvā, 45 cakravāka, 57 Apsarasas, 40 Cambodian dancers and abhinaya, art of producing plays, 15 24 artha (wealth), 40 castes, to show eighteen, 65 Aśvaghosa, 20 Catura Kallinātha, 48 Atharvaveda, 6, 40 Caturasra posture, 68

150 ABHINAYADARPANAM

cāri, akāśagāmī, 29; Hillebrandt, A, 20 bhauma, 29 Hindu Astronomy, 5 cātaka, 23 Hindu dance, principles of, 46 Coomaraswamy, A. K. 1, 3 Hindu iconography Elements of, Costumes in the stage, 14 33 dance in Hindu drama, 9, 10 Hinduism and Siva, 39

dance language, 10 Hindu plays, action in, 6, lyrical

dance, occasion for, 40-41 variety nature of, 6; objects of, 6

of, 40 occasion for, 9-10; suggestive

dancing girl, 43; beauty of, 43; character of, 7; technique of, 8

disqualification of, 43; make- Hindu playwright's playbuilding IO-II. up of, 44 Dandin, 5 Hindu women of Bengal and dance, 41 Daśarūpaka 6, 18, 45, 53 Indian dance, principles, 46 Dhananjaya, 18(?) Indonesian dance and drama, 9-10 Dhanika, 45 Indra and Nandikeśvara, 39 dharma (dutiful life), 40 Japā flower, 56 dialects in the stage, 42 Janāntika, 50 dramatic delivery, 13 Kalpavṛksa, 42 drone, 42 Karaņa, 32 Dvārakā, milk maids of, 40 Karpūramańjarī, 9 Earth-goddess pūjas to, 44 Kathakas, 20 folk-arts and abhinaya, 20 Kavi, Ramakrishna 33 folk dance, 17 Kāma (enjoyment) 40 folk plays, 17 Kāvyamīmāņsā, 32 folk song, 17 Kāvyaprakāśa, 5 Gambhīrā, 20 Krśāśva, 22 Gandharvas, 39 Laksmī, 55 Ganapati, 44 Lévi, Silvain, 6, 7 Gangā, 55 Lingadhāraņa-candrikā, 32 Garbā dance, 41 Lingapurāna, 33 goddess of ramga, praise of, 45 Lingāyet Saivism, 32 Harīvamsa, 9 lyrical nature of Hindu plays, 6 Hāla, 20 Madhyānta-vibhāga-sūtra, 23

INDEX 151

Mahābhārata, 9 nātya, etymology of origin of, 40 Mahavrata, 20 Nātyaveda, I Maitrayanatha, 23 nāyaka, 41, 42 makara, 60 nepathya, 21 make-up of a dancing girl, 43 nine planetary deities, 5 Mallinātha, 9 Nilapāja, 9, 20 mandala, 29; bhauma, 29; and nrtta, 40 akaśiki, 29 nrtya, 40 mantrin (adviser to President), 42 nrtya and abhinaya, 18 Manusamhitā, 33 offering flowers in the stage 45 Matanga, 39 padma (lotus), 64 Matsyapurāna 37 painting and abhinaya 15, 16 Mālavikāgnīmitra 22 parabrahma, 55 Mirror of Gesture I patralekhā, 53 modulation of voice 13 Patañjali, 20 moksa (liberation) 40 Palit, 11, 20 mudra, meaning of 25 Pārșadasūtra 23 Mudrārāksasa, 39 patra (dancing girl), 44 muraja, 44 pātur, pāturiyā, 44 music, vocal, 40 puspāksī, 43 Nandibharata, 29 puspānjali, 45 Nandikeśvara, place of 33; Prabandhamañjarī, I I time of, 34 Prabhākaravijaya, 32 Nāndikeśvaratilaka, 32 Prasanna-rāghava-tikā, 5 Nandi, 32 Prakrits, 42 Nandīśvarasamhitā, 33-34 President of the audience, 41, 42 nartakī, 43-44 pronunciation, 13 nața, def. of, 44 Puranic gods, evolution of, 5 Națarāja, 39 Rabindranath Tagore, 10 Națasekhara, 39 Rao. Gopinath 33 națācārya, 21 Rāghavabhațta, 12 nālikera, 56 Rājaśekhara 9, 32 Nāndī, 21 realism in Hindu plays, I I Nārada, 40 recitation in a play, 40

152 ABHINAYADARPANAM

Rgveda, 40 Sāhityadarpaņa, 8 Rkprātisākhya 23 Sāmaveda, 19 rekhā, 44 sculpture and abhinaya, 16 rhythm, 13 Sen, Kshitimohan, 42 Rice, S., 6, 7 Sen, Ramdas, 13 ritual and abhinaya, 19 Shakespeare and realism 10, 11 ritualistic dance, 9 Sılappadıkaraņa, 34 ritual, Vedic, 19 song and abhinaya, 8 Saiva ritualistic dance, 9, 20 Sten Konow, 20 Śakuntalā 12, 22 sthānaka, I Śambhu, 63 sūtradhāra, 42 Sālva and Satyavatī story, drama sütra, meaning of, 23 of, 10 Tagore Rabindranath, 1I Sārngadeva, 33 Tandu, 40 Silāda, 33 tāla (time beat), 46 Silālin, 22 Talābhinayalaksana, 32 Siva, 33 Tālalaksana, 32 Siva's dance, 39 Tālādılaksana, 32 śrgāra-natana, 59 tāņdava, 40 śrutīkāra (drone), 43 Tānpurā, 43 sadańga in nātya, 47; Tantrik mudras and abhinaya, 20 in Vedic studies, 47 tradition, use of, 79 sabhā (andience), 42 tripundraka, 56 sabhāpati, 42 upānga, 48 sabhapati's adviser, 42 Ușā, 40 salutation, 39 Vācika abhinaya, 13 Samarāngaņa-sūtradhāra, 16 varada pose, 31 Samgītaratnākara, 39 Vātsyayana, 32 Sanskrit Drama, 9 Vedic colouring of the Natyasastra, 53 Saptasatī (Gāthā), 21 Vighneśvara, 63 Saptaśataka, 21 Vipra (Brahmin), 59 Sarasvatī, 55 Visnudharmottara, 16 Sattasai, 2 1 Western Drama and Hindu plays, 6 Saumilla, 22 Woodroffe, Sir John, 25 Saurāstra, women of, 40 Yajurveda, 40 sādhāraņī, 18 Yogatārāvalī, 32