1. BkE-KrishnamurtiNS-Andhra Dance Sculpture-0040

ANDHRA DANCE SCULPTURE

N. S. Kṛṣṇamūrti

Published jointly

by

Andhra Pradesh Sangeeta Nataka Akademi

and

Andhra Pradesh Lalit Kala Akademi

1975

Copyright Reserved.

Year of Publication - 1975

Published by :

A. P. Sangeeta Nataka Akademi

and

A. P. Lalit Kala Akademi

Price : Rs. 50/-

Printed at :

The Osmania University Press,

Hyderabad - 500007, A. P.

Gesture expression is nāṭya,

Verbal expression is Language,

Both the expressions go together

To make simulation Graceful and Sublime.

83—B.

P R E F A C E :

The 'ANDHRA DANCE SCULPTURE', which entwines the twin subjects of Dance and Sculpture, is a joint publication of the Andhra Pradesh Sangeetu Nataka Akademi and the Andhra Pradesh Lalit Kala Akademi. The illustrations reproduced in this publication constitute the dance sculptures from ancient temples and monuments which rank as the contributions of Andhras to Art. Hence, this publication 'Andhra Dance Sculpture'. Sri N. S. Kṛṣṇamūrti the author has made considerable research and study of the books on Indian Dance. This publication is a significant addition to the books on Indian art and useful not only to the artists and dancers but olso to research scholars and art lovers as well.

The Andhra Pradesh Lalit Kala Akademi expresses its grateful thanks to Andhra Pradesh Sangeeta Nataka Akademi for their help in bringing out this publication as a joint venture. We acknowledge the courtesy of the Archaeological Survey of India and the Department of Archaeology and Museums, Andhra Pradesh for the supply of photographs of Sculptures reproduced in this publication.

N. NAROTHAM REDDY President A. P. Lalit Kala Akademi

Dated : 18-8-1975 HYDERABAD.

FOREWORD:

res ipsa loquitur

The twin Institutions of Lalit Kala Akademi and Sangeeta Nataka Akademi of Andhra Pradesh have patronised the publication of this book, dealing with the twin arts of Dance and Sculpture. I remain grateful to them. One is motivated by the theory of the other. Dance besides everything else, is a system of attitudes, a Language of Gestures communicating ideas, feelings, emotions and sentiments, having for its aim the production of rasa in the elite audience. This theory served as a chief motive force for the sculptor to carve out icons and figures in various graceful attitudes. They are given a poetic grace and aesthetic form. Every lithic figure is carved out into an aesthetic finish and the theory behind it is the system adumbrated in the Nāṭya Sāstra. Though the figure is still, the connoisseur finds dynamic movement in the composite form of attitudes. For example Fig: 45 is typical of an attitude which is akin to a dance gestural mould. The approaching monkey is warded off. The lady gracefully lifts her right hind to arrest the approach of the little ape. This is not a realistic figuration but a poetic expression translated into graceful movement of the limbs. This pose is named as ‘Jyassi Pose’ after the great Terpsichorean writer, Jyassenani, the Commander of the elephant hordes of Kākatī Gaṇapati Dēva (1250 A. D.).

Any pose of any sculpture, any attitude of dance of any tradition can be explained by the theories of Gestures of Indian Tradition. This book is an outcome of the author’s study of the several books on Indian Dance under the able guidance of his mentor late Sri Ongole Venkatarangiaya.

Drs. N. Ramesan and R. Subrahmanyam have encouraged me in editing this book and I remain grateful to them. Dr. Subrahmanyam was kind enough to secure for me the pictures which serve as good illustrations in this volume.

My grateful thanks are due to the office bearers of the twin Akademies and chiefly to Sri N. Narotham Reddy garu, who evinced continued interest in the publication of this work.

The shortcomings of this book may be many, but the author remains grateful to the discerning critics who will offer constructive criticism on this work. It is the earnest request of the author to the readers, to be indulgent and know what is presented in the pages of this work.

August, 1975

N. S. Kṛṣṇamūrti

ANDHRA DANCE SCULPTURE

CONTENTS:

Chapter I. Cavalcade of Exposition on Nāṭya

.. 49

„ II. Terrestrial Descent of Nāṭya:

Nāṭya Karma, Nāṭya — Art

.. 49

„ III. The Play House

.. 57

„ IV. Raṅga Pūja

.. 61

„ V. Tāṇḍava Lakṣaṇam

.. 63

„ VI. Pūrva Raṅga Ritual

.. 73

„ VII. Rasa-Gustibus—Taste

.. 77

„ VIII. Rasa—Gustibus

.. 83

„ IX. Rasa: Srṅgāra

.. 87

„ X. Bhāva—Feelings and Emotions

.. 97

„ XI. Gesticulations

.. 123

„ XII. Glances, Looks, Dṛṣṭis

.. 129

„ XIII. Actions of Hand, Chest. Sides, Belly,

Waist, Knee, Hip, Thigh and Feet

.. 145

„ XIV. Cāri, Movement

.. 177

„ XV. Maṇḍalas, Circuits cf Movements

.. 187

„ XVI. Gati - Gait

.. 193

„ XVII. (A) Stage—Raṅga

.. 211

(B) Pravrttis—Schools of Behaviour

.. 215

(C) Dharmi, Conventions

.. 219

„ XVIII. Āhārya Abhinayā,

Costuming and Make up

.. 223

„ XIX. Sāmānya—Natural Acting

.. 231

„ XX. Citrābhinaya

(Restduara Gesticulations)

List of Illustrations—(97)

Description of Plates,

(Choreographic Notes)

.. 260

Appendix I

.. 257

Appendix II

.. 293

Appendix III

.. 302

LIST OF ILLUSTRATIONS

1. Three in Sthānaka Poses

2. Trio in Terpsichoraan Regalia

3. Gandharvas in Dance Concert

4. Dance Concert

5. Gajantaka

6. Siva with the Corpse of Sati

7. Samudra Mathana

8. Sri Rama

9. Two in round

10. Danseuse at Toilette

11. One as Three

12. Siva-Parvati Kalyanam

13. Gesture in Rhythm

14. Two Dance Poses in Symmetry

15. Three Dancers in Action

16. A Troupe of Three in Different Poses

17. Twin Dancers in Different Poses

18. Two in identical Poses.

19. Music in Alignment

20. Danda rāsaka or Kolattam

21. A Concert

22. A Ballet Story in Sculpture

23. The Paramount Lover and the Brides

24. Dressing a Thornprick

25. A Dance Figure, Broken

26. The Danseuse in a Virile Attitude

27. Maid of Honour-1

28. Maid of Honour-2

29. Two Figures in Different Attitudes

to

} Dance Poses

39. The Young Danseuse.

40. Six in Vigorous Dance Movement

41. Nadanta Dance of Siva

42. Gandharva

43. Nagini and other Danseuses

44. One as Three

45. Jayasi Pose.

46. Dance in Group.Movement

47. A Dance Pose

48. Sarasvati on Hamsa

49. A Dance Troupe

50. Visnu

51. Vaisnavi

52. Kolattam

53. Soustava

54. Niche Figure-1

55. Niche Figure-2

56. Desi Dancers in Different Poses

57. A Dance Attitude

58. Kolattam Group

59. Dancers and Musicians

60. Vriksaki

61. Mardangaki

62. A Danseuse

63. Apsaras at Toilette-1

64. Apsara at Toilette-2

65. A Celestial Danseuse

66. Danseuse-1

67. Danseuse-2

68. )

69. Music in Alignment

70. )

71. Niches Figurine-1

72. Niches Figurine-2

73. Siva the Celestial Dancer

74. Ganapati

75. A Devotee in Theopathatic Mood of Ecstacy

76. Vidusaka, A Court Fool

77. Gesture in Alignment

xii

78. A Danseuse Accompanied by a Female Drummer.

79. Danseuse

80. Dishabille Pose

81. The Dancer apparently in an Extravaganza Pose

82. Figures in Different Attitudes

83. The Drummer

84. Nandi

85. Bow Women

86. The Drummer

87. Krsna Deva Raya witnessing a Dance Concert

88. Purna Kumbha Dance

89. Pancala Purusa

90. Padmini

91. Trvikrama

CHAPTER I

CAVALCADE OF EXPOSITIONS ON NĀṬYA

Āndhra Pradesh Lalita Kalā Akādemī and Āndhra Pradesh Sangeeta Nātaka Akādemī have designed to publish this Book, wherein are harmonised, the basic Text of NĀṬYA and the motif that enthused the sculptors to carve out figures and figurines in varying attitudes with poetic zeal. The author remains grateful to these august institutions.

The genius of India (Bhārat) is manifest in an exalted manner in its Dance repertoire. Curt Sachs in his ‘ World History of Dance ’ says that dance as an Artform is a work of art conscious of and intended for observation.’ (p. 218). Anthropologists have noticed and indited in their classic works on the subject, that birds and apes do perform dance-like movements, in a regulated manner attuned to rhythm. Their instincts are surcharged with an exhilarated toning up of feelings. This motor activity of the movements descended to the early homo sapiens. Later too, in the primitive societies, these gestural activities were continued to exuberance in social rituals. The birth of a child, the attaining of age by a girl, marriage, social festivity and the funerary ceremonies needed this terpsichorean parading of activity. These developments are mere outbursts of ecstatic feelings, but they do not seem to infold the trends of the evolution of the conscious Art of Dance.

India, several millenia before the present day, developed the ARTFORM in the sphere of dance. the several dances catalogued and described by the Anthropologists have been explicitly and implicitly grouped as NRṬTA. The conscious dance is NRṬYA and coeval with it evolved the drama, NĀṬYA.

All the three are also compendiously known as NĀṬYA. The extant and revered work of the earliest times is Bharata Nāṭya Śāstra, a codex compiled in a comprehensive and synthetic manner on a panoramic magnitude.

83-1

Bharata Nāṭya Śāstra is an ancient text. Scores of books were written thereafter. In ‘NĀṬYA’ (Journal of Theatre Arts) Vol. V. No.3. Autum 1961, page 63; we find:

" The original text of the Nāṭya Śāstra ascribed to Ādi Bharata and said to have contained 12,000 verses, is no longer available. The existing text contains 6,000 verses, and seems to be a reduction or a digest of the original. Even this digest became extremely rare during the Muslim period.

Ibrahim of Jaunpur defeated the ruler of KADA near Allaha-bad and installed on the throne the vanquished ruler’s son. This son, who embraced Islam and assumed the title of Bahadur Malik, was greatly interested in music and dance. He called a conference of musicologists to settle the controversial points relating to rāga, tāla, etc. A search for Bharata’s Nāṭya Śāstra was made, and a copy discovered in the South. This was the position in the 14th Century A.D.

The text was published for the first time by the Nirṇaya-sāgara Press, Bombay, in 1894, but it was not wholly intelligible. A search for the well known commentary on the book, Abhinavabhārati, was made and a copy found in Malabar in the Malayālam script. The text obtained in Malabar contains commentary only up to the 31st chapter of the Nāṭya Śāstra.

The commentary on the 7th and 8th Chapters is also missing. Whether Abhinava Gupta wrote on these Chapters at all is not clear."

Then came the Chowkamba Edition. Gaekwad of Baroda Oriental Samskṛit Series, have now completely published the whole of the Śāstra with the available commentary of Abhinava Gupta in four tomes. Dr. Manmohan Gosh, who first translated the Bharata Nāṭya Śāstra into English (Ch. 1 to 27) has in recent times completed the

2

remaining chapters (28 to 36). While doing this he has also edited

the Samskṛit text of these later chapters.

The science as treated in Bharata Nāṭya Śāstra did not stagnate.

It grew and the several works that appeared during the three mille-

niums, go to stress the vital ingredients of the Art. It is alive to-day.

The Nāṭya Science in its applied form requires a Ṣahrdaya, the

elite. The aesthetic appeal which is universal in its content, trans-

mutes the empathetic responses to the ultimate joy, which is likened

to Ānanda. The caterer is the actor, who is the expert in Music and

Dance.

Ṣahrdaya, the elite intellectual is one who has a receptive mind,

like that of the clear mirror, has digested the essence of poetry and who

easily identifies himself with the emotion displayed (by the players

on the stage).1

Kuśalah is originally a rhapsodist and a raconteur and later known

as player or actor. He is the expert in playing and directing the

play of musical instruments. He is so called because, he is an adept

of high merit and remains unexcelled in the refined communication

of the artform.2

Regarding rasa Ṣārṅgadeva in his Sangīta Ratnākara while

justifying the inclusion of śānta into the rasa status, says that the actor

is only like a conduit pipe, a vessel through the medium of which the

concepts and ideas of the poet are conveyed by his playing the role,

to the witnessing audience, who enjoy the rasa—a state of empathetic

1. From Ṣṛngāra Prakāśa ed. by Dr. V. Raghavan, p. 79 (1965) :

yesā kāvyānusīlanābhyāsavasād viśadībhuṭe manomukure varnnanī-

yatanmayī bhavanayogyatā te hṛdayasmvāda bhājah ṣahrdayāḥ.

(locana. A. p. II).

2. From Bharata Nāṭya Śāstra, Ch. 35. Vs. 106 and 107–Asiatic Society Edn.

nānātodyavidhāne prayogayuktāḥ pravadane kuśalaḥ

kusalāvadatavyathitam yasmāttasmat kuśīlavaḥ syāt (v. 106)

yad yat samāśrayate silpam vā karma vā prayogam vā

tattenaivopagataguno vigñeyo nāmatāḥ puruṣaḥ (v. 107).

3

response and a transcending identity. The aesthetic effect or experience is the culmination of a successful dramatic or dance-performance–siddhi. The pellucid receptivity of the avid and elite spectator is always the condition precedent for a rasaite siddhi—a fait accompli. In a fine simile, the purposes of a playwright, player and playgoer are clearly stated. Bharatācārya says that the seed gives birth and growth to the tree, the tree to flowers and fruit; so too the rasas are the roots for all the bhāvās.3 To this pithy and recondite text, Abhinava Guptācārya gives an elucidating meaning in his commentary Abhinavabhārati. The poetic piece is born in the heart of the poet, it flowers, as it were in the player and bears fruit in the spectator who enjoys the taste. Rasa immanently pervades the elite world.4 This is the canonised theory that is universally applicable to all artforms. But in sculpture the player’s role is dormantally merged in the poet-sculptor. The artefact is the ‘abhinayādi naṭa vyāpāra,’ the display by the player.

ABHINAVA BHĀRATI

The versatile genius of Abhinava Guptācārya gave to the nāṭya kovidās an exposition with emphasis and clarity on the brevity-ridden recondite text of Bharata Nāṭya Śāstra. This made-easy-go-through appeared a millennium after that basic text on the Indian Theatrics. Thus the thesis of Abhinava is a helpful handout to all interested in the Terpsichorean Science. Moreover it marks the historical development of the Science.

ŚĀRÑGADEVA'S ‘SANGĪTARATNĀKARA’

Śārañgadeva, son of Soḍhala, was a great scholar of estcem next to Abhinava Guptā. His thesis Sangīta Ratnākara is a guidance for

3. Bharata Nāṭya Śāstra, Ch. VI, V. 42. Baroda Edn. yātha bijādbhāvedvṛkṣō vrksātpuspam phalam yathā tathā mūlam rasāh sarve te’bhyobhāva vyavashitah.

4. From Abhinavabharati of Abhinava Gupta. tato vrksasthāniyam kāvyam / tatra puspādi sthāniyām abhinayādi naṭa vyāparah / tatra phalasthāniyah sāṃājika rasāsvādah / tena rasamayameva visvam.

the moderners in the Siamese twin-spheres of Sangīta and Nāṭya.

The great scholar's modesty is ideal:

" O sudhih, it is hardly necessary to request you to accept

the virtues in my work; (because as you are the elite);

even an atom of good in others is like a mountain to your

fair selves." 1673.5

" In the universe of the three worlds, there is nothing that is

beyond your grasp. (even a little merit is adequate to

please you). So out of your benign grace towards me,

pay heed to my (humble) work." 1675.

" I followed scrupulously the high paths of the great and

revered Munis and as such your affection be bestowed

on me, a follower of the good path." 1676.

" My purpose is to worship the elite; no other scholarship

tempts me. Have not the sub-human monkey hordes

pleased Śrīrāma by offering their humble services.?" 1677.

5. Sangīta Ratnākara. The Adyar Library Edn., Vol. IV. Ch. 7.

granthe madiye yadi kascidasti gunastatastasya parigarhāya /

nabhyarthayevah sudhiyah pareṣām guṇo nurapyadrisamo bhavatsu / /

1673

yusmatkṣodakasamam vastu kimatrastijagatraye /

kim tu matprematah santah puraskuruta me kritam / / 1675

yadvā purāṇam panthānam munīnāmahamanvagām /

snihyanti ca nisargeṇa santah sanmārgagāgāmini /

1676

ārirādhayiṣohusādhuṅ kim pragñyā vibhavena me /

rāmaṁmānandayanti smā tiryanco'pi kapīsvarāḥ /

1677

na vidyādarpato granthapravrttirmama kim tvidam /

vidvanmanasavasaya gantum pateyamashhitam /

1678

sūrisriśāraṅgadevena nāṭyavedāmbudheridam /

samastamuddhṛtam sāram dhīrairā trpti sevyatām /

1672

5

" My work is not an outcome of scholarly pride, but is only like

carrying victuals during travel to live with the minds of

the elite. 1678."

Finally he says:

" May the elite taste this essence of the nāṭya vedambudhi

prepared by the learned Śārñgadeva." 1672

The schematic presentation of the text deals firstly with añga

abhinaya, gestural attitudes of the limbs and sublimbs, including the

nṛtta patterned composite poses of karaṇās, angahārās and recakas.

His knowledge of the contemporary times and the regionally extant

desi nṛtta patterns are described under the title of utplutikaraṇās.

This addition marks the step of progress the art made in its applied

form. He modestly submits that he could only describe about thirty

six, but he was aware of many more. He hesitated to narrate these

deśi types in full, because of the fear of prolixity in writing.

Cāris, Sthānakās and Maṇḍalās are described and these yield

grace to the movements and the circuits of jumps. These belong to

the Classic—mārga type of dance. Lāsyāñgās, general movements

of the dancer, in nṛtta are described. The rekha, aligned line, is des-

cribed. 'This is virtuosity of form, figure, cadence and general grace.

The mind, the cyes (looks), alignment of the body with its limbs and

sublimbs attuned in an aesthetic attitude of a harmonious complex is

the composite and unified description of rekhā.

Then the text ends with the description of the discipline, practice,

the qualifications of a danseuse and danseur, the dance master, the

troupe and some of the deśi types of ballets known as Gundalini,

Vidhi, Perani padhati, Kolhaṭaka, and finally the audience, the

president and their seats, in the prekṣagrha, auditorium. The book

on nāṭya ends with the most vital subject of this dance—rasa and

bhava. Like the creator's work of creating the biological frame

work and then inhaling into it the vital breaths, the description of

the añgābhinaya is infused with the vitality of breaths which consists

of rasa and bhāva, treated in the classic style.

6

NANDI'S ABHINAYA DARPANA

Most of the MSS —about half a dozen, were discovered,

all dealing with abhinaya, attributed to Nandikesvara, the Divine

Bull and Vehicle of Lord Siva. The author must be a legend-

ary figure and the theme dealt with is of the hoary past. The place

it can secure is after the Bharata Nāṭya Sāstra. Dr. Manmohan

Gosh has edited in a scholarly manner ABHINAYA DARPANA6

(A.D.). The text was critically brought out by him. His raw

material was about six MSS most of them being in Telugu script and

only one of them secured from London was in Devanāgari. It holds

to reason to accurately presume that this ancient work was revered

and held in high esteem in the Telugu Country. The Kūchipūḍi

dancers, who are the interpreters of this ancient dance in its applied

form, swear by this work of NANDI.7 (A.D.)

The text has been printed by a very erudite scholar Nidāman-

galam Tiruvenkatāchāri who traditionally belonged to an ancestral

family of nātya ācāryas. Its first edition appeared in 1874 A.D.

Its second edition published by its redactor in 1887, attracted the

scholarly attention of Dr. A. K. Coomaraswamy and Duggirāla

Gopālakrishnaiah. Their English Translation titled MIRROR OF

GESTURE (M.G.) was published by the Harvard University in

1917. This MIRROR OF GESTURE has inspired several danseuses

and danseurs of the west. Gordon Craig, the great regisseur avidly

looked for such a work in English for getting initiated into the ancient

lore of the Āryan System of Dance. His letter to late lamented

Dr. A. K. Coomaraswamy contains:

" If there are any books of technical instruction tell them

to me I pray you….You know how I reverence and love

6. Dr. M. Gosh has critically edited the samskṛt text with an English Transla-

tion.

7. (i) There are three publications in Telugu script, first, second and third

editions, with tātparya in Telugu.

(ii) There is another English Translation by Dr. A. K. Coomarswamy

and Duggirala Gopalakrishniah.

7

with all my best the miracles of your land (India), but I

dread for my men (English or Westerner) lest they go

blind suddenly attempting to see God's face, you know well

what I meant, I think. So I want to cautiously open this

precious and dangerous (only to us queer folk) book of

technical instruction...."

This English Translation has missed a tiny point, due to the equivocal

connotation of a word—SUMATI. It may ostensibly mean, a wise

man. In the English translation it is taken in this sense as an attri-

bute to Lord Indra. At the commencement of the work (MIRROR

OF GESTURE) Indra went to Nandi to pray for instruction in nāṭya.

Nandi consented to re-narrate his BHARATĀRNAVA, a great work

of four thousand verses to Indra, the suppliant. But the Lord of the

celestials prayed for a concise form of instruction. Thereupon Nandi

gave it in the form of the MIRROR OF GESTURE. The original

contains these ślokas in Telugu script.

Indra said:

(O Nandikeśvara) Under your grace a theatre was built,

the actor, thy servant, belonging to that theatre has now

come to you as a suppliant.8

In the English translation ‘tvadīya nartaka’ was understood to

apply to Indra himself, who went to Nandi as a humble suppliant.

(In such contexts third person singular is used out of modesty and

humility). Even in the Telugu Edition which contains the above

śloka, tātparya avers similarly. Indra prayed for initiation into the

study of Bharatārnava expounded by Nandi. To this Nandi replied.

“I shall impart to you the work of four thousand verses called

bharatārnava, please listen with attention.”9

8. tvadīya kṛpayā pūrvam nāṭya śālāmalamkṛtām /

tvadīya nartakah soyam tvat kṛpamabhiānchati / / (A.D. Telugu V. 4)

9. catussahasra sankhyāt granthaisca paripūritam /

bharatārnava śāstrantu sumate sruṇu sādarám / / (A.D. Telugu V. 7)

vadāmi sumate deva samkṣipya bharatāṛnavam /

darpanākhyamidam sūkṣmaṁavadharaya sādarám / (A.D. Telugu V. 9)

8

This has been translated into English in MIRROR OF GESTURE thus:

"Hear then with attention the Bharatārnava lore complete in four thousand"

The word sumati has been taken to mean an address in the nominative case to Indra. To this Indra asked for instruction in a concise form of Bharatārnava—a work complete in four thousand verses.

To this Nandi said: (English Translation from Mirror of Gesture):

"I reveal accordingly an abridgement of the Bharatārnava. Receive this simple ‘Mirror’ attentively."

This English Translation meant for the term Sumate, Deva as O wise of heart and Deva.

So Nandi undertook to initiate Sumati into the study of Bhāratarnava, not into its elaborate details but into its reflected conciseness. Thenceforth, the work is known as “Darpana” Mirror, and later as Abhinaya Darpana, Mirror of Gesture.

A plausible meaning of the word “Sumati” is suggested. Indra in order to rival the performances of Naṭaśekhara of the Daitya hordes, took one of his own actors, named Sumati, (also son of Bharata Muni, (see Monier Williams Dict.) to secure for him instruction from Nandi in this Nāṭya Art.

Is one Sumati, the name of a separate personality that sought to become the acolyte under Nandi, at the instance of the Lord of the Celestials? Yes.

The scholarly Editor of A.D. has examined a MS entitled Bharatārnava, which was No. 42 of the Appendix Collection (1916-1918) of the Government of India which was later deposited with the Bhandarkar Oriental Research Institute, Poona. No doubt this Bh.A. is not a complete one with four thousand granthas, but it did contain some slokas found in the Mirror of Gesture and its original.

9

That Sumati is a separate person is strengı hened when the publi-

cation of the Tanjāvuru Library appeared, entitled Bharatarṇava

attributed to Nandi, is examined. (See Bharatarṇava of Nandi-

kesvara 1957 sponsored by Sangeet Nātak Akādemı, Delhi). Sec

Bh.A. Int. P. vı.

The discourse in Bharatarṇava is the teaching of Nandikeśvara

to Sumati, the ardent student. The work bears a sub-title Sumati

Bodhaka, Instruction secured by Sumati. So Abhinaya Darpana is a

concise form of Bharatarṇava; the putative author is Nandikeśvara.

NANDIKEŚVARA'S BHARATĀRNAVA

This is a very important compilation and the text has been well

edited with English notes and tātparya in Tamil by the Sarasvati

Mahal Library, Tanjavuru in 1957. The presentation of the subject

matter is in the ‘Purānic’ style of Question by the pupil and Answer

by the mentor. Here the disciple is Sumati. While delineating the

subject, Nandi quotes several previous authors and works. This

gives the rcader an impression that the science has a tradition, develop-

ment and sanctity. The exposition is in simple Samskṛit and the topics

seem to be a compilation. The previous authors mentioned in Bhara-

tārṇava are Yāgnavalkya, Bṛhaspati, Pārvati and Guheśa. It is also

evident that Sumati had previous training under his Lord Indra and

that he came to Nandi for advanced studics in this sciencc of Nāṭya.

It is not only the reference to the authors but there arc rcferences to

several works of those Acāryas. Yāgnavalkya wrote Bharatarṇ-

ava Lakṣana, Pārvati, Bharatacandrika, Guheśa Bharata Lakṣana

and Bṛhaspati’s additional descriptions of handposcs arc given. Even

the published Bharatarṇava does not contain four thousand verses as

vouchsafed by Nandikeśvara. But the division of the topics contained

in the present available publication is a superior guide to choreo-

graphers and dancers. Chapters I to VI, and VI and X deal with

single handposes, double handposes, Nṛtta hastas, Bṛhaspati’s addi-

tional uses for some of the handposes, the harmonious blending of the

handposcs with the standing attitudes, and finally in the tenth chapter

multi and variegated uses for the handposes are given. In the fourth

chapter after dealing with the additional uses of Hastas according to

10

Brhaspati, actions of head, eyes, looks and feet are enumerated. Ch. V entirely deals with the standing poses. Ch. VII gives a list of 112 Tālas though the title mentions about 108 only. Angahāras, not mentioned in Bharata Nātya Śāstra are given. These descriptions seem to be registered as per the regional patterns. Only twenty four are mentioned. Ch. XI and XII deal with a topic sṛnga nṛtya and its secret and vital implications. Ch. VIII deals with the two types of Cāris, on the ground and above the ground. Similarly Ch. XIII deals with lāsya, wherein some deśi types are mentioned. Ch. XIV describes in detail the stampings during dance movements which always align with the musical beats of time markings. These are known as adavus. They are known as cāraṇa and its guide is also known by that name and the great Jaya Deva styled himself as carana-cakravarti. In this chapter are described the regional varieties of deśi-ballets, like Peruṇi, Prenkhaṇi, Kuṇḍali, Daṇḍika and Kalasa. The living patterns as presented in the applied form are indited to give the ART a perpetuity. The last chapter and the appendix contain several practically useful descriptions, like Puṣpān-jali, attitudes to represent the pantheon of Gods and Godesses and special uses for Mudras. In Ch. X under section 20, descriptions are given to represent in gestural poses, parts of speech like Active and Passive voices, prepositions, certain verbal roots, numbers, the verb Kr and other grammatical forms. This is very useful for choreography, when abhinaya is to be notated for the communication of a given song in gestures. Bharatāṛṇava is a very important work for the dance practioners.

CHOREOGRAPHY

No dance performance can be ventured without previously designing in detail the whole scheme of gestural representation. It is a composition of the song and dance attitudes attuned to time beats and music. All this theoretical and theatrical designing is—choreography. It also includes scenic background and costuming. Even the arrangement of the stage properties is not left out. This is Abhinaya-lekhana. The scenario, costuming and lighting are complementary features. Indian regisseurs, who are experts in all branches of stagecraft are the ācāryas that train the dancers and guide them at every step and also guide every step of the performance.

The famous regisseur was JAYA DEVA, the great poet that gave to the world the grand musical epic poem Gītagovinda. He styled himself as Padmāvatī-caraṇa-cāraṇa-cakravarti. He remained the king of kings, who directed the dancing feet of the danseuse Padmā-vatī. Mystical and devotional connotation is also given to this choral line of the songs which are eight lined compositions, Aṣṭapadis. Sri Padmāvatī is the Mother Goddess and the worship to HER was offered by the songs of Jaya Deva and the dance attitudes of Padmāvatī, his fiance. An illustration of the choreography is excerpted from the book published by the Sarasvati Mahal Library, Tanjavuru (1st Edn. 1950 and 2nd Edn. 1963). Unfortunately this remains an anonymous work dealing with only sixteen of the songs in full, the seventeenth ending abruptly. Herein one finds how Abhinaya annotation (Abhinaya-lekhana) was being done for equipping the dancer. This is a song in praise of Viṣṇu (Lord Kṛṣṇa) who appeared in several previous cycles in theophanic advents. The first of such ‘ advent ‘ known as ‘ Avatāra ‘ is of the Mighty Fish.

The chorus lines of the song are:

Pralaya payodhi jaledhṛtavnasi vedam vihita vahitra caritra-makhedam //

Kesava dhṛta mina śarīra jaya jagadīsa hare //

Edwin Arnold put it thuswise in English Verse. (Taken from Jaico Publications) :

“ O thou had'st the blessed VEDA dry

When all things else beneath the floods were hurled;

Strong FISH GOD, ARK OF MEN ! Jai Hare

Hail Keshav, hail thou Master of all the World.”

In dance progression, the text of the song is entuned to a melody (rāga) well attuned to the beats of time. The dancer may sing, but generally the text is vocally rendered by musicians. The dancer begins to convey the purport of the words of the text in their written sequence by gestures. In the Tanjavuru Text of Gītagovinda (with Abhinaya) the following gestures are indicated:

12

Pralaya

(In) deluge

One hand in Patāka is clapped over another patāka and raised overhead onwards to the sky.

payodhi jale

(of) ocean waters

The hands are crossed (svastika) and lowered down while shaking them and then lifted up in patāka.

dhrtavānasi

thou carried

The hand in fist (Muṣṭi) is lowered and then moved upward to show lifting up.

vedam

The Wisdom Con-tainers

The hands are stretched to the front.

vihita

(in the) act of lifting

Slowly the hands in Patāka are lowered down and moved upwards.

vahitra

you lifted and carried

The hands are slightly shaken keeping the palm in bud-blossoming fashion—puspa-puṭa.

caritam

in a classic manner

The hand in Patāka is raised above fully stretched out.

akhedam

lightly

The hand in Patāka is placed at the chest and shown again in bud fashion-mukula.

Kesava

thou, a combined manifestation of the Creator (Brahma), and the Destroyer (Siva)

Pass the hands over the head.

dhṛta

steady

The hands in fist position (Muṣṭi) are waved round.

mīna śarīra

in the manifestation of a Fish

Hold the palms in the fashion of an alligator (Makara).

13

jaya

...

The

hands

raised

over

the

head.

victory

jagadīsa

...

The

hands

in

Anjali

pose

are

placed

at

the

forehead.

Lord

of

the

Worlds

hare

...

Move

in

the

gait

of

vaiṣṇava

Sthānaka

place-

ment.

O

Hari

Here

when

God's

name

is

uttered,

utmost

reverence

is

conveyed

by

raising

both

the

hands

in

humility

and

devotion

and

stationing

them

at

the

forehead.

The

attitude

for

this

word

'jagadīsa'

in

this

context

is

only

to

convey

worshipful

obcisance,

but

not

to

communicate

the

etymological

meaning,

Lord

of

the

manifest

world.

Thus

for

all

the

sixteen

songs

of

Jaya

Deva

'abhinaya'

notes

are

recorded.

The

book

seems

to

be

the

choreographic

notes

of

a

nāṭya

ācārya.

A

DANCE

CONCERT

The

following

excerpt

in

verse

is

from

a

classic

in

balladry

of

the

Telugus.

The

ballad,

a

folklore

song

is

titled

"palnāḍu

vīra

carita"

(Chronicle

of

the

heroes

of

Palnād).

An

internecine

war

took

place

in

the

early

decades

of

the

13th

Century

just

on

the

southern

banks

of

river

Krṣṇa

in

the

Andhra

Country.

The

heroes,

the

memories

of

them,

and

their

martial

qualities

live

in

the

hearts

of

the

posterity.

The

subject

of

that

war

was

the

motif

for

the

composition

of

a

ballad

pocm.

The

poem

was

written

by

the

great

poct

SRĪNĀTHA

and

two

others.

In

this

narration

is

sandwiched

a

description

of

a

Dance

Concert10

in

seventy

two

lines.

The

following

featurcs

are

gathered,

which

mostly

accord

with

the

text

published

in

this

book.

The

Text

in

Roman

Script.

vintagā

gāyakul

viṇela

būni

tantrulu

bigiinci

taga

sruti

cesi,

sariga

melana

maina

sapta

svaramulu,

14

arohanāvarohaṇa bhēdamulanu,

bahu rāga samsphūrti paṭṭuga cesi

sancāri samasthāyi sarasa bhāvamula

mrdutara sādbhārtha milita mainaṭṭi

ghanatarālamkāra gati paramparalu

murchanal modalaina mukhya dharmamulu

jantragātrambula janṭa kāvinci

enḍina mrākulu igirincinaṭlu

pāḍiri tama tama prauḍhi mīraga

celagi nāṭaka janul cerī johāru

gāvinci nilacina kāma bhūvibhudu

navvucu selavicce nāṭyambu ceya

vara mrḍangamulessa vāyincu meṭi

kuḍibhāgamanduna kudrugā nilace

tala managyundụu taga neḍama disanu

nilace nutsāhambu nemmadi nindạ

mukha vīṇa vāyincu mukhyu ḍokandụ

rāga jālamu bāḍu ramanu liddarunu

nindu veḍuka toḍa nilaciri venuka

kanjalocana yanu ghanamaina pātra

madanu paṭṭapu danti manjula vāni

bharataśāstrocita prāṇamul pāḍiyu

galigina yakkānta kāntu bāṇambu

vale vacci sabhavāru varninci cūḍa

nilaci nāṭyamunaku nerpari yaina

veṭra pāniki taga vinayambu cūpi

ataḍosangina gajjalati bhakti'tōḍa

pādamula gaṭṭuka panca vanniyala

kāse gaṭṭiga gaṭṭi kaḍujavambamara

maddela tālambụ madhya nilucundị

ōra cūpula prabhu noyya na cūci

sama pāda yutamaina sthānaka sthitinī

akhila devalakụ alarula toda

puspānjali yosangī pūni nāṭyambu

avenuka samakaṭṭi nativalu pāḍu

sangīta nāḍambu sabha yella kramma

kaimudi katnamul kanupimpa cesi

velayanga tommiḍi vidhamulainatṭi

bhu cāri nāṭyambu ponduga salpi

padaharu vidhamula paragina yaṭṭi

ākāsa cāriyu namaranga nāḍi

angaharakhya ce namaru nāṭyambu

viditamau tommiḍi vidhamula nāḍi

45

I5

1. The orchestral prelude

lines

1 to 12

2. The entry of the Players

line

13

3. The King presided

lines

14, 15

4. The time-beat keepers

lines

16 to 22

5. The entry of the danseuse Kanja-locana

lines

23 to 40

6. Gesture actions: Angābhinaya, Nṛtta, Angahāra, gait and Bhramara

lines

41 to 50

7. Regional varieties of ballet, nṛtya, nāṭikas, pravṛtta

lines

51, 52

8. Tāṇḍava

lines

53, 54

gati cari bhedamul ganupaḍu naṭlu bramaṇa samyuta dīpti paṭima mīraṇga pāni bhedambulu pāda bhedamulu nu sthānaka sancaaya samyoga mamāra peraṇi, deśini, prenkhaṇa suddha daṇḍika kundali tagu bāhu cāri sapta tāṇḍavamulu saravi prakaṭimpa sabhavāralāsarya samyuktulairi taruvāta niru mela tagu celulamara samyukta samyutā samyuṭa hasta nānārtha karamulu nāṭya hastamulu siramunu, cūpulu, cekkiḷḷu bomalu dantoṣṭa kanṭhamul taga cubukambu mukhamunu vakṣambu modaluga nenna angambu lāru upangambu lāṛu pratyangasamudayambārunu kūḍa enimidi pāḍiyāgu nesaga naṅgambu lamaranganabhinayambāscaryamuganu macerla cennuni mahimambu telupu āndhra samskṛtabhāṣālamaru gītamula bhāvambu lesaga prakaṭana ceya cūci rambhādulu codyambu nondi sirasulu vanciyu siggunu cendi-rappuḍu bhumisudādaram boppa vastra bhuṣaṇamulu vārala kicci bhaṭṭunu rammani pampince nanta.

16

9. Handposes, Hasta-abhinaya

.. lines 55 to 57

10. Other actions: Head etc.

.. lines 58 to 63

11. Vācika abhinaya:

singing of paeans to the Deity Cennakesava

.. lines 64 to 67

12. The accomplishment:

Siddhi attained; poetically it is described that even the celestials felt humiliated

.. .. lines 67 to 69

13. The King is pleased

.. .. line 70

14. The Awards

.. .. lines 71 and 72

The text is in Telugu which is translated into English and the text is given in Roman and Telugu Scripts in the Footnote and the appendix respectively:

"Harp-players held the vīṇas

The strings were tuned up for the concert singing,

They were pitched for the staff notations.

Ready for the crescendo and decrescendo,

For playing the several melodies and tunes,

Soft orchestral sounds were harmonised,

To exhibit feelings and emotions.

Tuned were all the instruments, to follow up the singer's voice,

Which could even blossom the branches, drought-ridden.

Musicians sang surpassingly in manner expert,

The Players entered making obeisance,

To the king, Lord Kāma,

Who waved smilingly to commence the show,

The drummer, expert he was,

Took his place to the right of the stage,

To the left moved the player keeping time-beats.

Then stood there, pleasingly, the player of Mukha-vīṇa.

Two accompanying songstresses stood there at the rear;

And this was, thus a wholesome sight.

83—2

17

Kanjalocana, the prima donna entered as the Queen of

Cupid, majestically,

She had a sweet voice, expert in Bharata's Science,

(She) Pierced herself on to the stage like an arrow shot,

And stood before the eager audience,

She approached the Master, who had a cane in hand—mark

of authority.

Took the anklet-bells from him.

She wore them tight and comfortably at the ankles,

Dressed she was in colourful costume, in her blossomy youth.

Timing tuned to the beat of the drum,

She shyly glanced at the Lord presiding—sabhāpati.

She stood in Sama pada sthānaka (firm foot placement),

She prayed to the Gods and with flowers offered obeisance.

Then the chorus girls sang from behind.

The auditorium was filled with Music agalore.

The troupe offered obeisance to the elite and the august

audience,

Then commenced the Movements nine of the Bhū-cāri

(ground moves).

Then followed the sixteen Ākāśa cāris (moves above ground),

In succession, the dance sequences, angahāras were played

covering several gaits in a variety.

Bhramara rounds were pirouetted brightly,

Attitudes in cadences of hands and feet flowed out.

Dance varieties of peraṇi, deśi, prenkhana, Suddha daṇḍaka

and kuṇḍalini were played,

The seven species of vigorous Tāṇḍava were exhibited to the

amazement and surprise of the onlookers of the assembly.

Two danseuses were stationed on either side;

She posed the patterned single and double hands, communi-

cating a variety of meanings, combined with the actions of

the head, glances, cheeks, eyebrows, teeth, neck, chin, face

and the chest.

Six actions of the limbs, six of the sub-limbs and other sub-

sidiary limbs were cogently practised to heighten the

excellence of the dance play.

18

All this in praise of the presiding Deity Cennakeśava of Mā-cerla.

The paeans extolling the Graces of the Lord,

Composed in Telugu and Samskṛt, were sung and danced to rouse envy in the hearts of the Celestial Danseuses, Rambha and others,

Who felt humiliated and hung down their heads in shame.

The Lord and King felt over-joyed.

The personnel of the troupe were awarded presents, good clothing and precious ornaments.

(The king passed on to other engagements of the day).

Śrinātha, the great poet in his scholarly work kasikhandha descri-bed the talented performance of hetaera Karpūratilaka. The dance forms that were in vogue in his time were mentioned. (p. 373).

Further at p. 229, he described the Cosmic Dance Concert of Lord Śiva.

In Telugu, several poets, rather Men of Letters were scholars in different branches of study. During the periods of Royal Patronage extended by Naik Kings of Tanjāvūru, -encouragement was given to writing in Telugu on the Science of Dance. Besides separate books on dance, several samskṛt books on that subject were rewritten with commentaries and copious notes in Telugu. Pāłkuriki Somanā-tha, the great śaivaite devotee and writer has included in his lofty work PANDITĀRĀDHYACARITRA, a description of the prevail-ing dance patterns, probably that were in vogue during his time.

The knowledge about dance seems to be in the repertoire of the great literary learning of the writers.

BHARATASĀRAM

In 1955 Sri Lanka Suryanārāyana Śāstry has published from Tenali (Guntur District) a book entitled Bharata Sāramu, attributed to one Candrasekhara. The whole text is in Telugu script and Sri Śāstry has given his own tātparya in Teluğu. He says in his preface that the first chapter entitled ‘ pūrva-ranga-prakarana ’ and the last

called, ‘sthānakalakṣaṇa’ were missing and that he was behested by hiṣ

nāṭyācārya Siddabattuni Virarāghavaiah to complete those missing

chapters, by compiling texts from other extant works. Curiously

Sri Śāstry has not given any information regarding the putative author,

Candraśekhara. No colophon of any chapter of the original Samskṛt

Text is given. Further the original chapters on Hasta, handposes,

contain the usual descriptions and uses. Further a reference is made

to a Telugu work named Bharatasārasangrahamu by Cillakūri

Divākara Kavi. Sri Śāstry presumed that this Telugu work is a trans-

lation of Chandrasekhara's work. Divākara Kavi's book was

published in 1956 by Government Oriental MSS Library, Madras.

This Divākara frankly mentions about his sources which he numbers

as sixteen but gives a list of ten only viz., Kohala, Nandikesvara

Vāyunandana, Nārada, Phalguna, Sukra, Yajñyavalkya, Guru, Bha-

rata Ācarya and the work Sangīta-Ratnākara. Candrasekhara's

Bharatasāram is not mentioned in this printed book of Divākara Kavi.

In Bharatasāra Sangrahamu, Divākara Kavi gives succinctly several

definitions and descriptions in simple Telugu verses. From these

one can guess the profound knowledge he had of several previous

works. He gives a list of the deśi patterns of dance plays. The need

for a work on this science in Telugu, must have been catered to,

to satisfy a demand of the artistes of the 16th and 17th centuries.

This book is dedicated to Lord Viṣṇu.

Abhinaya Darpanam by Mātrubhutesvara is another work in

Telugu dealing with nāṭya. It was published in 1951 by the Govern-

ment Oriental MSS Library, Madras. He was the disciple of one

Yajñyavalkya. Evidently some nāṭya work was fathered on a Yajñya-

valkya and the same has been referred to in Nandikcsvara's Bharatār-

ṇava and Divākara's Bharatasārasamgraha. This work is not a

translation of Nandi's famous work of the same name. But many

of the Telugu verses contained herein bear close resemblance to the

descriptive slokas of Bharatārnava. Besides the classification of

handposes into single, double and nrtta hastas, some specific palm-

poses are prescribed to denote certain concepts. Even these are

called generally hastas. For clear understanding these can be called

Specific Handposes. A need for a treatise on this subject must have

necessitated the compilation of a work on nāṭya in Telugu.

20

In the Tanjāvūru, Sarasvati Mahal Library MS. No. 11537 relates to a work in Telugu with the title of Abhinaya darpana. The author is Darbha Kavigiri who bore the title VIICITRA RĀYA VA-TAMSA. Khaṇḍoji, a scion of the Maharāṣṭra kings of Tanjāvūru encouraged his court poet Vicitrarāyavatamsa, to write a treatise on nāṭya, entitled Abhinayadarpana. The poet undertook it. The book is still in MS stage. It was written in Telugu. This poet was the younger brother of Girirāja Kavi, the maternal grandfather of the Great saint musician Sadguru Sri Tyāgarāja Swāmi. His treatment of the subject is unique and innovative.

This MS of Abhinayadarpana in Telugu was composed at the royal behest of Khaṇḍoji and was also dedicated to him. It begins rather romantically; the first verse, a paean in honour of Lord Viṣṇu, praying for the well-being of the patron of the work Khaṇḍoji.

The third verse contains an idea taken from Bhānu Misra's Rasamanjari. In accordance with the royal request Kavigiri went ahead with the work. The work is divided into three Bimbas. The last one is not colophoned. The first begins with the description of the joy of the Ancient Original Spouses, Śiva and Pārvati, at seeing the landscape; they being stationed over the ravines of the Kailāsa Mountain Ranges. The simple question of UMA is, what is the most vital ingredient of nāṭya. The Lord's answer is that it is abhinaya that–vitalises and pervades the whole sphere of nāṭya. Then rolls on the narration of the topics of handposes. The first Bimba ends with the narration of the single palmposes.

The second Bimba contains the double handposes and the definitions of both the patterns. The third Bimba begins with a list of topics which have to be represented through the medium of handposes. The list begins with the names of Gods and Goddesses. One hundred and twenty topics have been enumerated. Later the handpose for each of the concepts is prescribed. This can be said to be an innovative feature, seldom adverted to by writers on nāṭya. A similar pattern of presentation of the topics is adverted to by Rāya Rāghava in his Hastaratnāvali, a single MS available in the Bodleian Library.11

11. Wilson Collection No. 234.

Such a treatment is an aid to the practitioners of this applied Science.

Regisseurs of dance concerts may find such a presentation useful for

Choreography. The Library authorities of Tanjāvūru Sarasvati

Mahal are likely to publish the Telugu work of Kavi Giri in the

near future.

Catura Dāmodara, son of Laksmidhara (probably the commentator of JayaDeva’s Gīta Govinda) and the Court Poet of Tirumalarāyā (1570-1573) of the post Tallikota Vijanagara Dynasty, was related to Kallinātha, a commentator of Śārñgadeva's work. Dāmodara (1605-1627) was a native of Cherukur, Guntur District. He rose up to eminence as an all-round scholar. His confidence in his intellectual acquisition stirred him on to visit the court of the Moghul Emperor Jehangir. The Moghul Emperor bestowed on this Andhra Scholar the title of Catura. Dāmodara and his father were scholars in the study of nāṭya Science. Both were authors of works on nāṭya. The son Dāmodara wrote Sangītadarpana and the same was published by the Sarasvati Mahal Library authorities in 1952. Before this publication, an English Translation of this text was published in Paris (1930) with notes and introduction. The translation was made by Arnold A Baker. This seems to be a rare book now. The publishers of the Text in 1952 did not make mention of the previously published English Translation.

Sangītadarpana earmarks the last chapter for nāṭya. In the preliminary verses, he gives a list of various desi types of dances. This treatment conveys to the reader the knowledge, the writer had, of these regional patterns of dances, that were in vogue during his times. Moreover he draws many features from Śārñgadeva's monumental work. (S.R.).

Verse 38 is a praise of the Goddess Bhavani.

O, the sacred spouse of Lord Siva, Bhavani, thou art pleased with the Science of Music and Dance, may you bestow on us GRACE.12

12. Sangītadarpana, Ch. VII, V. 38, page 187.

"bhavatām bhūtaye bhūyadbhavāni bhava vallabha / angikṛta susamgita bhangī mudita mānasa / /"

22

How a dancer should represent the text of this verse, which is being sung, in presentable forms of limb attitudes is described in a prescriptive manner. The text and the attitude prescription is given hereunder:

bhavatām ... hold the handpose of Patāka in front,

bhūtaye ... handpose of Alapallava is placed above the head,

bhūyāt ... lift up the handpose in Patāka and lower it with palm downwards,

bhavāni ... place the double handpose in Anjali over the head.

bhava ... the handpose of Suci is placed at the head,

vallabha ... the handpose of Catura is placed near the region of the heart.

angikṛta ... hold the double handpose in Kapota and place it near the face,

su samgata ... the handpose of Hamsāsya is raised towards the face,

bhangi ... the handpose of Tripatāka is moved in front, shaking all the while,

mudita ... handpose of Alapallava.

mānasa ... the handpose of Samdamsa is placed near the region of the heart and Vyāvṛtta and Pari-vṛtta are performed, i.e., closing in and opening out.

Thus Dāmodara who is aware of the applied form of this science gives choreographic notes in his work. His thesis is a guidance and hand-book to the dancers, a preceptorial handout.

23

He lists out the TEN vital features of dance, nāṭya. Javatvam (agility), sthirata (stability), Rekha (robustness in contours), Bhramaṇa (pirouette in whirls), Dr̥ṣṭi (elegant and meaningful looks), (r)asrama (fatiguelessness), Prīti (sweet exposition), medhavaca (superb exposition), gīti (melodious singing), pātra (apposite role),—prāṇā daśā smṛtāh.

In a sub-chapter entitled “ Sapta Gātiś ” (Atha sapta Gāthyāh) seven gaited movements are described. They are interesting, as such movements do yield grace and grandeur. They are:

(i) bhānavi .. we do not see the sun actually moving, but he does rise, pass over the meridian and sink into the western horizon even though all this is an optical illusion. So too the actress moves on the stage, but the movement is not perceptible. Apparently she stands still, but she moves.

(ii) mynavi .. In a limited space of a well, a fish restlessly and ceaselessly swims about. So too the dancer on the stage.

(iii) gaja lila .. Dignified elephantine gait.

(iv) turangāni Majestic moves of the horse. The speed is such that overtakes the time taken to reply to a question.

(v) hamsi .. The tripping gait of a swan, (cygninae).

(vi) mṛgi .. Affrighted gait of a deer.

(vii) khanjarita .. mota cillidae; Wagtail genus seiurus. a bird with a tender body with a long narrow tail which is habitually wagged up and down. Gait simulating the above movement. In Telugu this bird is known as kāṭuka piṭṭa.

24

The above gaits, when made in apposite contexts by dancers do impress gaiety, grace, grandeur and gleefulness on the dance movement.

This book curiously mentions about jakkini, a dance pattern performed by yavanas, accompanied by singing in their language and also in pārasīka.

Dāmodara has proved by his descriptions of several varieties of regional dance forms, that these can be defined through the Bharata Nāṭya Śāstra terminology. The Indian classification of Angābhinaya coupled with a variety of time-beats attuned to melodies, is so universal and comprehensively dealt with, that any dance form can be categorised to fit into these descriptions. Sangītadarpana of Dāmodara is a tiny but important work on song and dance containing variegated descriptions. His knowledge is profound and his narration has a historic value when the evolution of dance and dance forms are considered.

SRI SAMGĪTA DĀMODARA AND SRI HASTA MUKTĀVALI:

The wise have declared nṛtya, as those graceful cadences of attitudes of the several limbs which are attuned to time beats and music and which are catered to the tasteful needs of a region.13

Śubhankara, the author of the twin works of Sri Hastamuktāvali and Sri Samgītamuktāvali alias Sri Samgītadāmodara gives the above definition of Nṛtya. Śubhankara, belonging to the Lahaḍi family of Bengal, is well versed in the literature of Nāṭya. His earlier work is Sri Hastamuktāvali, a treatise exclusively dealing with handposes, single and double. His definitions are in the main identical with those given in the classic texts. The uses of these handposes are copiously given showing that the communication of subjects and concepts through hand attitudes, has grown from the time of Bharata Nāṭya Śāstra. His date is wildly fixed up to be between 14th Century A.D. to 16th Century A.D. Sri Hastamuktāvali has been collected and published with illustrations in the Music Academy Journal 1955,

13. desirucya pratīto yastāla mānarasāsrayah / savilaso'nga vikṣepo nṛtya mityucyate budhaih /

25

(Madras) with a scholarly introduction by Dr. Maheswar Neog of Gauhati University. The same was published in instalments in that reputed Journal run under the scholarly and able guidance of Dr. V. Rāghavan of Madras.

Sri Samgītadāmodara is the other work of Śubhankara and it deals with samgīta cum Nāṭya cum Nāṭaka. Curiously the scholarly editors of Sri Samgītadāmodara do not refer to the above publication of Sri Hastamuktāvali. The editors of S.D. are Professors Gourī-nātha Śāstri and Govinda Gopāl Mukhopādhyāya of the Samskṛt College, Calcutta (1960). Their introduction to the work is found deficient in so far as it missed a reference to the valuable introduction of Dr. Maheswar Neog, regarding Sri Hastamuktāvali. Śubhankara seems to be very punctilious to prefix reverentially 'SRI' to the titles of his works. His ordinarice is found in the early verses of Sri Hasta-muktāvali.14

If any one omits by inadvertence to prefix Sri to the name of my work, presuming that it will make for prolixity, beware that Sri, the Goddess of Wealth will desert him because of the discourtesy shown by such deliberate omission.

Śubhankara attached such sanctity to his twin works dealing with Samgīta and Nāṭya. He had a son Dāmodara and the second work was so appellated to commemorate his son (whom probably Śubhankara survived).

Samgītadāmodara is compiled into five stabakas i.e., five bouquets. The later part of the fourth boquet deals with Nāṭya. Śubhankara's contribution is a compilation which takes an important place in the history of the writings on Nāṭya.

RĀYA RĀGHAVA'S HASTARATNĀVALI

Closely following the scheme of Sri Hastamuktāvali of Śubhan-kara, Sri Rāya Rāglava wrote a work, Hastaratnāvali. The work

14. ālasyād granthabāhulyāt sri sabdo yairnalik hyate / srī sabdastāmstyaje devamaryādalanghanodya tān / /

26

is in MS form and awaits publication. A photostat copy obtained

by the author, was found to be in Assamese-Bengali script. The

text was deciphered with the assistance of a scholar friend Srimān

N. Satakopan. A copy was made by the author transcribing the

text into Telugu and Devanāgari scripts. The photostat copy

was secured from the Bodleian Library (H. H. Wilson's Collection)

was handed over to the Music Academy, Madras through Dr. V. Rāgha-

van for safe preservation, and further work. The author's enquiries

reveal that there is only a single MS of this work available at the

Bodleian Library. The author's attention was drawn to this MS

by Prof. Myles Dillon of the Dublin University. After giving the

definitions of the handposes, Rāya Rāghava enumerates several

subjects on the model of Amarakośa. Then he begins to equate the

several patterned handposes to represent each of the subjects listed

out by him. But the MS ends abruptly. This innovative treatment

is helpful to choreographers. In the Telugu work Abhinayadar-

pañamu (MS) by Kavi Giri, a similar scheme of narration useful to

the dance practitioners is followed (see ante).

AUMĀPATAM

Aumāpatam, is another samskṛt work, ostensibly by one Umāpati.

But a dialectical scrutiny may reveal that the subject matter is covered

by a dialogue between Uma and Her Lord Śiva. It is a Samgīta-

nāṭya work. This work was published by Madras Government

Oriental Series in 1957. This work ends with two excellent verses

(i) vaguely suggesting a royal patron of the work and (ii) proclaim-

ing the ultimate abstraction of sound and symbol.

This verse eulogises the martial and valorous conquests and

philanthropic deeds of a king who bore the title of Bhuvanaikavīra.

15. ekāsvanga nikṛta vairi rudhirairanyā tadīyānganā,

baṣpāsāra parañparābhirāparā satpātradānāmbhubhih /

ekameva bhagīratho bhuvi nadim gangā mavatitarat,

lokesminbhuvaikavīra bhavatā nadyascatasraḥ kṛtāh /

(Aumāpatam, page 76)

27

' O Bhuvanaikavīra ' King Bhagīratha brought only one celestial river (Ganga) down to the terrestrial regions, but you strove for three more, the blood of your foes flowed as a sanguinary river; the tears of the surviving widows of those enemies flowea as a river and thirdly the water let down by you while gifting away your wealth to donees flowed as a river.'

The other and the last verse in the book is a mnemonic one to enumerate the Cakras (plexus) in the human body wherein dwell the 'petals' and on which are inscribed the whole of the samskṛt alphabet, each letter with mystic purport and significance.

Adhra16 is mūlādhāra with four petals and the letters are four va to sa, i.e. va, śa ṣa, and sa; Linga is svādhisthāna with six petals and the letters are ba, bha, ma, ya, ra, and la; nābhi is manipūraka, has ten petals and the letters are da, dha, na, ta, tha, ḍa, ḍha, ṇa, pa, and pha; hṛdaya is anāhata with twelve petals with the letters ka, kha, ga, gha, gñyā, ca, cha, ja, jha, ñi, ṭa, and ṭha; then is tālumula i.e. throat, kanṭah viśuddha, with sixteen petals and the letters are a, ā, i, ī, u, ū, ṛ, ṝ, ḷ, ḹ, o, ai, o, ō, ou, am, aha; finally is lalāṭa i.e. the centre point between the eyebrow and above the nose, is āñgya cakra with two petals and the letters are ha, kṣa.

This well known verse is quoted at the end of the work to show the potentialities of mystic sublimation of the fundamental sounds and how they are manifested in music when rendered scientifically according to Yogic practice.

The previous verse mentions about a Bhuvanaikavīra which apparently is a title of a great king or an Emperor; but it is an oft repeated title of kings. This verse is a rough guide to fix the date of the work, the author and his royal patron. Further while giving a list of rāgas, melodies, the author mentions a rāga, revaguptakam.

16. adhāre linganā dau(i)hṛdaya sarasi jeṭalā(2)mule lalāṭe / dvepatreṣodasāire dvidaṣadasadale dvādasārthe catuske / vāsānte(3) phalamadhye(4)datha svarasahitesarage kṣāhan te / madhye hamsahsusūkṣmam sakala dalayutam varṇa rūpam namāmi / /

28

O. C. Ganguly in his Rāgas and Rāginis mentions that the rāga revagupta was quoted by Nānyadeva (1097-1133) in his Sarasvatī-hṛdayālankāra as having been for the first time invented and created by one Sangrāma Gupta, a maestro. Since Aumāpatam quotes this rāga in particular, it indicates that this work must have been composed during the 11th Century or thereafter.

Aumāpatam narrates the gestures in a new manner and gives practical suggestions for the presentation of gestures, which are aids for the aesthetic elevation of a performance.

BALARĀMA BHARATA AND THE BIRTH OF KATHAKALI

Balarāma, the King of Trāvancore (1724-1798) is also known as Kārtika Tiruṇāl. He had ample opportunities to gain and acquire knowledge about nāṭya. He developed very great interest for it. He approached it from a practical point of view. He indited all his wisdom in a book and named it Balarāma Bharata, wherein he dealt copiously about Angābhinaya, when narrating the viniyogas, uses of the handposes. He gave an elaborate treatment of the same. Though his work belonged to the 18th Century he did not mention about the Kathakali form of the dance. His work always remains a good text book of utmost importance. The same marks a penultimate stage of writing in a classic manner such descriptive works on nāṭya. 20th Century did not produce such a work, except some by foreigners and others who have taken to the applied form of the Art.

Kathakali of the Bhārgavakṣetra (Kerala) remains a famous artform of Nāṭya. Its origin is very interesting. Koṭṭarakkāra Tampura, a prince, patronised and perfected the art of Ramanāṭṭam, a repertoire of dance plays circled round the stories of the Epic Rāmā-yana. The neighbouring Prince of Zamorin, who was responsible for the presentation of Kṛṣnāṭṭam sent an insulting reply to Rajah Koṭṭarakkara, when the later requisitioned for a troupe. Then the misunderstanding intensified. Rāmanāṭṭam developed the Katha-kali to perfection. This was in the 17th Century A.D. The chief ingredients of Kathakali are the make up and Abhinaya. The make-up—āhārya—is elaborate, in colouring, dressing, costuming and

29

wearing crowns. A transcending stature is suggested by the character. The role assumes a loftier mien and suggests something of ethereal existence. The colours are communicative of the mood, sentiment and the general nature of the character. Next is the Angābhinaya. This is the metier of the Kathakali dancer. Details, subtleties, verve in representation and superb movements mark the profundity of the artform. Every slight change in action, be it a wink of the eyelash, a vibration of the cheek bone, a move of the finger, a whirl of the body and a jump of the limbs, indicates a gamut of meaning. Angā-bhinaya-from the daintiest and subtlest moves of the facial expression to the vigorous and violent whirls of the body, convey the finest as well as the most ferocious of feelings and emotions. Its elaboration is the forté of the Kathakali dancer. To aid the above two features, the song rendered in the background, completes and crowns the art-performance. We see an epic in action. And all these are the developments of the canonical descriptions contained in Bharata Nāṭya Sāstra superbly rendered with an innovative distinction. The first impression one gets on seeing a Kathakali performance is a blast of attitudes, a typhoon of movements and a whirlwind of bodily jumps. But to the well informed this multiplicity of complex actions does convey emotions, subtle human feelings, and a vista of epic contents. Hasta Lakṣaṇa Dīpika is the text followed by Kathakali dancers for the palmposes.

A HISTORIC INCIDENT

How a dance concert could include in its performance a topical incident and by producing it, achieve a political revolution and a social reform is inferred from a kaifiat (Local Records No. 56 ff. 66) known as Mācupalli Kaifiat. The incident happened during the reign of Vīra Narasimhāya of Vijayanagar. A Kūcipūḍi Dance troupe in their itinerary visited once Sidhout, which was then under a tyrannical rule of an inhuman type, known to History as Sambeta Guruvā Rāju. For collecting the taxes he levied, he arrested the family ladies of the defaulters and brought them to his court. He cruelly ordered that pincers be applied to the breasts of the un-fortunate ladies. Under such inhuman, sadistic and acrimonious treatment, people suffered. Coercion to collect taxes took

30

this hideous form. The Kūcipūdi troupe took the cue from such

real incidents of life and prepared a dramatic dance interlude. When

they visited Vidyānagara (Capital of the Vijayanagara Empire,

Modern Hampi) they produced this dance piece before His Highness

Vīra Narasimharāya. The Emperor got enraged and on the next

day sent his military chief Peshkhan to subdue the Chief at Sidhout.

Later Guruva Rāju was beheaded. Peace and safety were restored

in that region.

In mythology too we have incidents wherein spies enter an alien

kingdom in the guise of actors and accomplish the desired objects.

We have the report of such an incident in Harivamsa, the sequel of

the Mahābhārata Epic. Therein some romantic purpose was achieved

by Pradyumna, son of Sri KṚṢNA. Thus the production of plays,

rather dances, was not only useful for its own sake in the pursuit

of a cultural activity, an artform, but could be vehicled for accom-

plishing political and social purposes, of immense value. So also

is the story of Rajah Kalingagangu and the Poet Vemulavāda Bhīma

Kavi.

FROM THE TWO VERSIONS OF TELUGU MAHĀBHĀRATA

The Mahābhārata Epic narrates an incident, where the archer-

hero Arjuna taught dancing to Uttara. The original mentions no

details of the lessons, as to what he intended to teach and what he

actually imparted to his princess-pupil. But in the two Telugu

versions of the same work some details are given by the authors.

Kavibrahma Tikkana when introducing Arjuna makes him say to the

Royal Employer, King Virāta thus: (Vide Telugu Mahābhārata:

Virāṭaparva) :

Having no other serious work to perform, I have since my

childhood practised (to dance) dandalāsaka Guṇḍalini,

Prekkaṇa Peranambu. Further I have learnt to play the

different musical instruments after tuning them to a beauti-

ful and melodious pitch and also to sing several songs. I

also know the different Rasas together with the Bhāvas

31

that attend on them. I know dancing comprised of the

above features and factors.17

Moreover Arjuna assured the King that:

I can initiate and teach all these disciplines and make an

expert of a person even if that pupil is inept. I shall prove a

good dance master for the princesses of the palace. O

Lord of the earth18 I can teach also the make up and costu-

ming.

This speech includes certain deśi types of dance forms that were

in vogue in the 13th Century A.D. We find them recorded in Jaya-

senāni’s Nṛtyaratnāvali. Tikkana and Jayasenani were contem-

poraries. Jayadesenani was in command of the Elephant hordes of

Emperor Gañapati Deva and Poet Tikkana visited Gañapati’s court

as an ambassador of King Manumasiddhi of Nellore alias Vikrama

Simhapuri. (In Vyāsa’s Mahābhārata, Arjuna mentioned about his

expertise in coiffeuring).

In the 16th Century Timmayya of Battepādu, Atmakūr Taluq,

Nellore District, wrote in dvipada metre, the Mahābhārata. The

same context is described thus;

Arjuna said19

17. ondu panulaku selavulekuniki cesi

yabhyasinciti śaisava mādi gāga

dandalasaka vidhamuna gundaliyunu

prekkanamu terangunu peranambu

visruta vādyambulu mam

jutruti sambhavya gīta sugatulu sabda

vāsrayamulu dajjanya ra

sāśrayamulu naina yabhinayambu lerugudu /

18. inniteragula sramamu seyintu caturatā

vihinamulaina patramula naina

nattu vojjanai melagudu nagalulandu

nūpuna naipathya vidhulaku nertu nadhipa.

19. From the Āndhra University Publication of the dvipada

Bhāratha. Virāta-parva.

32

Oh, King I come to serve under you. I can teach to your princesses the art of dancing. My name is Bṛhannala and God willed that I should neither be a male nor a female. I am an expert in the dance playlets of Daṇḍa lāsaka, prekhaṇa, Daṇḍatāla, Prekkaṇa, Guṇḍali, and Peraṇi. I know the fortyfour hastas (Handposes). I can sing and attune music to the dance movements. I can guide the footsteps, to align with the tune in progress.

I can teach the presentation of ideas through the medium of gestures and attitudes. I am proficient in all the above branches of this Terpsichorean science. May I be serviceable to you?"

The remarkable feature in these two versions of the epic story and their passages is the mention of the deśi types of dance forms which were in vogue in the 13th and 16th Centuries A.D., the periods when the poets adapted the Samskṛt Mahābhārata Epic into Telugu.

Late lamented Mānavalli Rāmakrishna Kavi handed over several manuscripts, his notes and other papers to Srimān Archakam Udaya­giri Srinivāsācāri of Tirupāti. The above dossier contained two works on Nāṭya—(i) Bharatārnava by Vināyaka and (ii) Bharatārṇava­sārasangraha, anonymous. The above were handed over to the

ninnu veduka golici nrpacandra yenu ganniyalaku māṭa garapa vaccitini molice daivādhinamuna bedi tanamu daṇḍalāsakamunu daguprekkanambu, daṇḍatalambunu, dagina prenkhanambu dagina jakkaniyu guṇḍaliniyu nerumgudu preraniyu naṭanato (nayiruvadi) naruyadi nālugū hastamula batuvu cupaga nortu prati tālamunaku kela gītarthambu gīlincī yodalu. Nalola gati (magu) gīti nabhinayincedanu, tanara padambula tāla niranayamu ganugava bhāvambu (ganupattu) ganpimpa nertu bhāvasrayambulu parikimpa nertu bhāvinci nannelu bharata vidyalaku.

For the above excerpt in Telugu Script, see Appendix I.

83—3 33

author for study. Bharatārnava, the familiar name for a work on

Nāṭya (of Nandi's was dealt with in this essay ante) seems to have

been composed by Vināyaka. The colophon reads:

iti bharatārṇave vināyaka prokta hastādi viśeṣa samāptah.

But Vināyaka must either be the name of a mortal or a pseudo-

nym chosen to demand sanctity to the work by invoking a God's

name. (The author of Nṛtyaratnāvali is one Jayasenani, a real

name, of the 13th Century A.D.) This name means Vināyaka, the

first born of the Primeval God-parents, whose birth is anterior to

Senāni, Kumāraswāmy. The work begins with the heading ‘Gaj-

jala Lakṣaṇmu, i.e. regarding the anklet bells. Next nine varieties

of Head Actions and their uses are given. The eight Looks, their uses

four actions of the Neck with their uses are narrated. Before beginning,

the descriptions of the single and double handposes, this text gives the

ten vital virtues of the hadposes. The handpose, hasta is defined as

the combination of the thumb, pointer, middle, ring and little fingers

in a variety of ways. These attitudes are known as hasta20

Ten movements of these poses are given. These are not the

patterned poses, but these movements fix up a placement for the

stylised and patterned poses that will be described later. Handposes

are symbols. They convey ideas, things that could be perceived

directly or inferred, the presentation aids to the direct understanding

through the palm attitude shown. Then the handposes, their place-

ments near to or near about one’s own body, in a fixture, convey the

different ideas intended to be shown in abhinaya. Then a list of

fortyeight single handposes with their various uses are narrated.

Sixtynine double handposes with their uses are described. All the

headings of topics given are in Telugu. Further fourtyseven handposes

to convey different specific ideas are prescribed. Then eight hand

poses for sātvika bhāvas are given. The thirty three vyabhicāri

bhāvas are equated to different combinations of the single or double

handposes.

20. angusta tarjani madhyamanāmika kaniṣṭikā /

yetadanjali samyogo hasta ityabhidhīyate //

34

Under the heading ‘atha rasanirūpyante’ ‘rasas’ and their presentation through handposes are given. Herein a note in Telugu is added indicating that the reader may also refer to Singabhūpālīya and Rasamanjari. Singabhūpālīya is a book known as Rasārṇava-sudhākara by the King Singabhūpāla. This work deals with Nāṭaka proper and other allied subjects. The same author Singabhūpāla wrote a commentary, Sudhākara, to the great work Sangīta Ratnā kara of Śarṅgadeva. This commentary may also be called Singa bhūpālīya? Rasamanjari is a work by Bhānumiśra. This deals with the different states of the Nāyikas and Nāyakas.

In addition to the above, another set of handposes is prescribed for the thirty three sāñcāri Bhāvas. These are different. While giving the suitable handposes, some poses of other limbs are also given.

Some specific handposes are given to indicate a variety of subjects. This accords with the usual manner of narration in most of the text books on Naṭya. In the end is added as an annexure, another set of handposes to signify the Sancāri Bhāvas. This section is titled as gran-thāntara bhedah.

Thus in this manuscript we have curiously three sets of descriptions of handposes prescribed for the thirtythree Sancāri Bhāvas. All the contents of this Bharatarṇava are very useful. They are of a specialised nature.

The other work (MS) Bharatarṇava Sārasangraha is a small work of 133 granthas. Its ending is abrupt. There are no colo-phons. The varieties of Nrtya and the occasion for the display of dance programmes are indicated. The auditorium and the president of the assembly are described and several other descriptions of the stage are given. The place of the curtain, and the presiding Deities to be propitiated not only at the different parts of the stage, but also at the various important plexus of the human body are signified. This scanty MS ends with the praises of different gods.

SANGĪTA NĀRĀYAṆA

Sangīta Narāyana is a Samskṛt work on Music and Dance. The section dealing with dance is contained in a palm leaf MS.

35

The writing is in Oriya script. The MS was lent to the author by Srimān N. Satakopan of KUKKULUNDA in Orissa. He was also kind enough to read it out to the author and transcribe the same in Devanāgari and Telugu scripts. It is a wholesome work on Nāṭya. The work begins with a colophon of the previous chapter entitled VĀDYANIRṆAYA.

' iti srimannikhilānvaya vavottunga coḍa ganga vamsa vatamsa śeṣa gunasadma padmanābhatanu janmano maharājādhi-rājāsya sāhitya sangītārṇava karnadhārasya kamaneh gaja-pati vīrasrī narāyaṇa devasya kr̥tau sangītanārāyaṇo vādyanirṇayam nāma dvitīya pariccheda.'

Then commences the relevant work thus:

' atha krama prāptam nṛtyamāha tatrādau nāṭya vedotpatti-māha / '

This third pariccheda ends with a similar colophon. Though the ostensible or de jure author is King Nārāyaṇa of Parlākimidi Estate, within the Orissa State, the real and de facto author is one Purushottama Miśra, the court poet. The last but one verse of the fourth chapter entitled 'suddha prabandho udāharaṇa nāma' is the following.21 The meaning is " I learnt the contents of the work from the great scholar Kaviratna Purushottama Miśra.'

This MS Sangīta Nārāyaṇa is a full treatise on Nāṭya. The following authors are referred to in it. Kohala, Dattila, Dāmodara, Sārṅgadeva, Simhana, Pakṣadhara, Mātanga, Harapriya. Besides, the following works are also referred to. Kaumudi Sāra, Nārada Samhita, Subhankara's Sri Sangīta Dāmodara, Sangīta Kalpataru, Parasurāma Samhita (Sarabhyāsa Prakaraṇa) and Ratnākara (San-gīta).

The book begins with the definition of Nāṭya and gives also the various nṛtya types and uparūpakas wherein dance is blended for

21. yadadhitam kaviratnāt purushottama misrato maya sudhi ya / tatprakatikrta masmin sudhīyah / / parisodhayantu bhr̥samtram.

36

production. The auditorium is described. It lays down that when

the presiding Sabhāpati enters, the audience should pay its homage

by standing till the chief (Preksaka nāyaka) is seated. Selection and

elimination of players, qualities of players, discipline for the players,

the practising at the gymnasium, the Master's qualities and such

other allied topics are dealt with. Then the description of the make up

is included, comprising of mixing of colours, manufacture of wigs,

improvisation of jewellery and various types of armour. The langu-

age to be adopted in dialogues and the several addresses of the roles

are given. The time limit for production is also fixed.

Then the actions of various limbs and sublimbs are described;

Head (Śira), Trunk (Skandha), Chest (Urah), Sides (Pārśva), Single,

Double and Nṛtta Hastas. The placements of the various handposes

relative to the player's body are also specified.

Then Kati (Waist), Grīva (neck), Bāhu (full hands), Maṇi-

bandha (wrists), Jaṭhara (belly), Ūru (thighs), Jangha (knees), Jānu

(forelegs), Drṣṭayah (looks), Rasa drṣṭi (Rasaite looks), Vyabhicāri

Drṣṭi (looks conveying transient feelings), tāra (pupils), Bhru (eye-

brows), Puṭa (eye sockets), Cibuka (Chin), Jihva (tongue), Gandaụ

(cheeks), Danta (teeth), Adhara (Lower lip), Mukha rāga (change of

colouration of the face), Pāda (feet), Cāri (gaits), and a list of karaṇas,

the usual actions of classified limbs are described.

Under the heading Deśi Karaṇa, some unique movements are

listed out. Their clear descriptions are not given. Then Mandalās,

circuits of movements, and Angahāras and Recakas (whirls) are listed

out. This third chapter ends with the mention of some rules of disci-

pline. (There cannot be a synonym for the word Angahāra; but it

can be said to be 'synthesised composite limb actions' in specified

patterns.'

The fourth Paricheda is the second and last chapter contained in

this MS (Private Collection). The contents are some tunes and some

texts of the songs. The language is Samskṛt.

It is surprising to note, why this MS, the copies of which are

available in many MS Libraries has not been published. But the

Orissa Sāhitya Akādemī has published in 1959, a small book under

37

the title Nāṭya Manorama. The internal evidence of this work declares that the author, rather the compiler, is one Raghunātha Ratha,

a poet of Orissa and that he undertook this writing under the patron-age of the King Nilakanṭah of Kerala to whom it was dedicated.

As the MS was discovered at Pūri it can fairly be inferred that when the Mahārājah of Bhārgavakṣetra (Kerala) was on a pilgrimage to that

sacred Temple, the local poet, Raghunātha Ratha must have earned the patronage of the visiting Maharajah. Raghunātha belonged

to the period 1663-1720. The author mentions about a bigger work Sangītārṇava Candrika by Nilakanṭah, his Royal Patron and that

Nāṭya Manorama is a shortened version of it. The bigger matrix work is neither discovered nor published. But the verses in Nāṭya

Manorama bear very close resemblance to the verses in Sangīta Nārāyaṇa. (See ante). The Orissa Sāhitya Akādemī is publishing

a work entitled Gīta Prakāsa, the author being one Kṛṣṇa Dās Badajena Mahāpātra (1559-1568) This book contains a chapter on Dance

Nāṭya Manorama has nothing unique in its contents.

HASTA ADHYĀYA

Photostat copies of six pages of the chapter on Nāṭya entitled Hasta Adhyāya (from a MS) have been obtained from the Bodleian

Library, London. The work is in Samṣṛt written in Bengālī-Assā-mese script. This is a chapter in a bigger cyclopaedic work called

Purāṇa Sarvasva. (MS Wilson 358). The author is one Halāyudha, son of Purushottama and the date of the same is 1474 A.D. The

treatment is only about single and double handposes, their definitions and uses. The Photostat copies are sent to the Music Academy,

Madras through Dr. V. Rāghavan. The text has been transcribed into Telugu and Devanāgari and its translations in Telugu and

English made by the author have been handed over to the Āndhra Pradesha Sangīta Nāṭaka Akādemī. It is published serially in Nāṭya

Kala, Journal of the Akādemī.

NĀṬYA ŚĀSTRA SAMGRAHA

Sarasvati Mahal Library, Tanjāvūru has published in Two Volumes ‘Nāṭya Śāstra Samgraha’ in 1953. The text which is in

Samṣṛt is followed by Marāṭhī Commentary attributed to Utke

38

Govindācārya. The publishers have added short commentaries in Tamil and in English. This work, besides with the origin of dealing Nāṭya and the actions of limbs etc. and their uses, gives specific handposes equated to various Rāgas, Rāginis. The list of Rāgas (melodies) is divided into (i) Rāgas, masculine, (ii) Rāginis, feminine and (iii) uparāgas. There is a general prescription given about how the several melodies have to be represented by handposes. These hand-

pose equations of melodies are innovative additions to the contents of a Nāṭya Text. Moreover this book contains also Anga Abhinaya for the four different types of heroines like, Padmini, Citrini, Sankhini and Hastini. Several types of handmoves are also indicated for general application. Some prohibitive injunctions are given for avoiding the handpose to communicate feelings and emotions, like sorrow, excitment, unconscious state, languer etc. Such feelings could only be represented by the actions of other limbs.

After reading and practising all the actions of the several limbs prescribed in this text, one can begin to communicate through gesture any idea. Semantic attitudinisation can be standardised and the art of abhinaya-avadhāna can be developed, like netra avadhāna or extempore (oral) avadhāna. This may be the full blooming of the Artform.

BHĀMĀ KALĀPA

The author chanced to see on 13-5-65 at Nellore the Kūcipūḍi dance troupe headed by the chief talented dancer Sri Vedāntam Satyanārāyana Sarma. This troupe produced Bhāmā Kalāpam. This nrtya nāṭika, a Ballet, is based on the chief role, Satyabhāma, the assertive, egoistic and a little vain queen of Lord Srī Krṣṇa and her longing for the encore of a visit of her Lord. She is depicted as the ‘bibboka’ type of Heroine. Sṛngārarasa the most presentable and pleasing and also praised in its two aspects, sambhoga and vipralambha is displayed. The nāyika passionately longs for the arrival of her Lord. She sends a messenger Mādhavi with a letter. The dictation of the letter is a type of specialised nrtyā display. The messenger returns followed by Srī Krṣṇa.

The genius of the Kūcipūdi danseurs lies in producing Nrtya Nāṭikas i.e., Ballet in a sense, wherein a congerie of feelings and emo-

39

tions are depicted through dance artforms. The play is always a

story called out from the Epics, which are reverentially regarded as

the National Literary Emporiums of Culture of Bharat (India).

The subtle shades in a variety of the characteristics of roles are harmo-

niously blended in Choreography. The Nrtta items (Pure Dance

mechanics) which are singled out by other performers of Bharata

Nāṭya Programmes are also blended in the Kūcipūdi repertoire.

The dance play is broad based, wherein great scope is afforded for the

play, interplay and counterplay of variegated emotions. This type of

Nrtya is unique in its traditional setting. In the Modern Bharata

Nāṭya programmes, some bits of the traditional lore are singled out

and the best performer plays only these truncated forms, of course,

in a deft and unexcelled manner and also in a variety with great ex-

pertise. Changes of situation are not there, regimentation of the

patterns is an hindrance for the full blooming and flowering of the

performer's genius. This is so for the items of Alarippu, Jati, Varnam,

Sabdam and Tillāna. It is only in the last or penultimate item of a

programme ‘Abhinaya’ that the performer gets the scope for the

complete display of the player's genius. The rest are all nice because

of the industry, the discipline and the mechanically repeated practice.

These items suggest a mastery over the mechanics with little of the

play of Manodharma, which involves genius, imagination and high

level understanding. But in Kūcipūdi, so too in Kathakali, a sumptu-

ousness on a higher plane is achieved. The aesthetics flower and the

spectator gains the rasa-effect. And all these are based on the canons

of the ancient Texts and the great tradition. If once misses seeing and

knowing about Kūcipūdi dance, one also misses a great deal of the

living dance forms of the ancient science of Theatrics in their fullness.

Kūcipūdi dance tradition was initiated and built up by a Saint

worshipper of Lord Kṛṣṇa, Siddhendra Yogi. The dance display is

considered as a form of worship. The actor forgets his little self, the

deep rooted ego, and steps out of the upādhi, the caged existence of

himself, and identifies himself with the spirit and essence of the

‘OTHER MIND,’ a transcendental experience that could be achieved

only by expertise, training, discipline and high cultural attainment.

Dance story is the seed, the tree is the production, the flowering and

40

bearing of fruit are the display of the danceplay and the resultant juicy

edible is tasted by the spectators. The accomplishment on a higher

plane is achieved. Such is the Kūcipudi dance performance. Its

art is alive in all its aesthetic, artistic and traditional equipment.

JAYASENĀNI'S NṚTYA RĀTNĀVALI

Nṛtya Ratnāvali of Jayasenāni, a unique MS of the 13th Century

A.D. is a Text Book on Nṛtya, carefully indited, including among its

revelations many Desi types of Dance patterns. The author seems to

be a widely experienced connoisseur, who with verve recorded the

contemporary regional types of dances, to give them permanence by

bequeathing to the posterity this ancient traditional Science. (See

authors' articles; (i) Bharatiya Vidya 1963, Vol. 23, Nos. 1 to 4,

(ii) Bhārati, Telugu Monthly, March and April 1962). Dr. V. Rāgh-

avan of the Madras University had edited the text of this work.

An inscription im Telugu dated 1248 A.D. found in the Temple

at Uppukondūru, Guntur, District refers to this author who was the

chieftain in charge of the elephant hordes of Kākati Ganapati Deva,

(This inscription was published in Nellore Inscriptions wherein the

name is misread as Jāmula nayaka. The error is apparent).

Bharata Sarvārtha Sangraha by Mudumbi Narasimhācāri is an

intercsting MS (R. No. 1668, Madras Oriental MSS Library). The

trcatment of the handposes is uniquely described. The author dec-

lares in the colophon that he has compiled this work from out of the

writings of Sārasvata Bharata, Nandi, Bṛhaspati and Nārada. Of

these Nandi is the most familiar name, as a work under his name is

available. The other authors are rarely referred to. Their works

also are not extant. Single and double handposes are dealt with in a

copious manner only with regard to their uses. The particular

patterned handpose when placed over the head, at the forehead, at

the chest, at the side, in front, near the thighs, signifies different

concepts and things. These placements of each patterned handpose

is detailed in Ārya metre verses. The work and its contents are

splendid guides to the practising actors. While giving the uses of certain

handposes, he has included certain modern ideas. For signifying a

41

Mlecchālaya, a handpose is prescribed. As the society gains experience and the need for representing the new ideas grows, the choreographers could elastically multiply the uses for the same standardised handposes. This work is the last in the series of classical texts on Nāṭya, written in classic style. The author belongs to the later part of the 19th Century. He was the highly honoured court poet at the Vijanagaram Samsthānam. He has to his credit several Kāvyas, plays and religious works. The work invites a publication.

In recent years foreigners, mostly of the West have visited India, attended the Dance performances of various regions, studied the Science of Indian Theatrics and learnt the intricacies of the Art. Their contact has manifested itself in good works in English. Three of such works are found to be important and interesting:

(i) The Other Mind by Beryl De Zeote; A Study of Dance in South India 1953, Victor Gollancz Ltd., London.

(ii) The Dance in India by Faubion Bowers, New York 1953, Columbia University Press.

(iii) Classical Dances and Costumes of India by Kay Ambrose 1950. Adam and Charles Black, London.

Beryl De Zeote’s first work seems to be ‘Dance Drama of Bāli’ (1938). Then her interest grew and she toured widely in South India and studied the prevailing dance traditions. She found out that these South Indian Dances were the forbearers of the Dances prevalent in the Far East. Later in 1957 she published ‘Dance and Magic Drama in Ceylon’ (Faber and Faber). Her preface to the third enchiridion contains her motif in writing ‘The Other Mind!’ Her reverence, apititude for study, genuineness of approach and highly civilised manner of expression can be noted in the following excerpt: (Page 13 and 14):

I cannot agree with the learned Dr. Rāghavan, Professor of Samskṛt in Madras University, who was kind enough to review ‘The Other Mind’ in the Journal of the Folk Dance and Song Society, that it is necessary to display all

the learning one cannot help acquiring in the course of

one’s travels on the written page. But I prefer the rebuke

of so learned and kind a man to the praise of an American

Journalist, who by emphasising certain inconveniences

during one of my most fruitful visits in South India seemed

to me to insult the hosts who so wonderfully entertained

me at AMBALPUZA, where are some of the finest dancers

and Musicians and the greatest living teacher of KATHA-

KALI—Kunju Kurup.

To return to Dr. Raghavan’s criticism of levity, I fear he will

find the present volume even more informal than the

preceding one. It is not my aim to instruct people in the

intricacies of classical dancing in India or anywhere else

in the world. There are far more scholars than poets and

I must leave it to the scholar to instruct, while I go ahead

with my poetry. One critic was of opinion that ‘The

Other Mind ’ was full of chaotic irrelevancies, but admitted

that by degrees one might discover a clue to the labyrinth.

There certainly is one, and if by my seeming irrelevancies

I have helped a few aficionados to find their way, and also

entertained them, my labour will not have been in vain.

I am not at all good at being learned, but everything I speak

or I have seen with my own eyes and felt with my own

heart, and so I have set it down, like other informal tra-

vellers of the past who with varying success recorded their

travels.”

‘ The Other Mind ’ contains genuine impressions. They are

outpourings of the heart. It is poetry in its narrative substance. A

reader must read in it and not read into it. The latter approach

drives off at a tangent. The work has not been provided with an

index, but still the contents are informative, to those, who are not yet

aware of the Nāṭya Science. Registering of impressions by a foreigner

about Indian Dance, favours the correct appreciation of the technique.

A foreigner’s approach has several hurdles to overcome, but genuine

attempts, do add to the treasures of Literature on the Science.

43

The second book by F. Bowers which appeared about the same

time can be said to be an American’s approach, not withstanding his

affiliations to this country by study, observation and love for the

finest. The book contains an analytical understanding of the pano-

rama of the dancing world of this country.

At page 11, his denouncement of Tagore’s observation and his

justificat:on of the modern renaissance are noteworthy. The book

helps the new generation of dance enthusiasts to realise the spiritual

values of this ancient Science of Theatrics.

The Monograph of Kay Ambrose is a delightful thesis on the

varied topics about the Dances of India, their ancient and modern

trends. Her purpose is to instruct the avid seekers of the knowledge

about dance. In a letter to the author which was written on 17-9-1949

from Bangalore, the artist-writer wrote:

“ I am at present studying the Indian dance forms from the

only person whom I find, has a deep knowledge of them

combined with an excellent and logical understanding of

the present day theatre, and that is not less a person that

Sri Ram Gopal who has introduced the Indian Classical

Dance, not only to the Western Civilizations, but to many

Indians also, so they tell me. It is my privelege to study

that dance which Dr. Ananda Coomaraswamy calls ‘ the

corner stone of universal life,’ from Ram Gopal, and my

purpose is to gain his assistance to write an illustrated book

to help the many lovers of the Hindu Dance in the West.”

She chose a Guru and she studied in all earnestness and with the

flair of genius for writing and drawing sketches she gave an excellent

work. Such a book is a feature in Dance Literaturc. An Indian

reader always admires a book which is the result of the Tcachings of a

Guru. While going through the book, interspersed with her fine

sketches, which are of vital importance, one can easily visualise the

concert being conducted on the stage The sketches are so studiedly

and finely drawn so as to instruct any layman about the intricacies

and aesthetic cadences and fine movements of the art. The contents

44

of the book are real poetry of revelations of the ancient science of dance.

For the student of the applied science, the injunctions of ‘ don’t ’

and the incorrect forms included in the scheme of presentation of the

subject are worth the study. The book is a companion to be reveren-

tially carried and conformed to.

It is curious and intriguing how these three writers have missed

observing the KŪCIPŪḌI Tradition and attempting to under-

stand it. It is true, tourists, whose itinerary is fixed by the hosts miss

several important things.

Several scholarly essays appeared in various journals from the

pen of the learned professor of Samskrt of the Madras University,

Dr. V. Rāghavan. His approach is varied and his output is of such a

magnitude, that a reference to his writings is a ‘ must ’ for every

student of Dance Study. His research work is immense and out of

his guidance, several erudite articles were published in the high level

journal of the Music Academy, Madras.

Devendra Chandra Dāsgupta has made a special study of ‘ Kara-

nās ’ and ‘ Angahāras ’ the contents of the fourth chapter of the

Bharata Nāṭya Śāstra and wrote three articles in succession entitled

Psycho-analysis of Dancing based upon Bharata’s Nāṭya Śāstram.

The same were published in the Journal of the University of Gauhaṭi,

Vols. 6, 9 and 10; 1957, 58, 59. This dissertation proves that these

Nrtta stylised suite of actions do convey and communicate the several

varied emotional states. It is a laborious work of a basic nature and

the same has to be continued making a relative study of the same

semantic attitudinisation (Angābhinaya) as dealt with in other texts

like Sangīta Ratnākara and Nṛtya Rathnāvali, where in Karanās and

Angahārās are described.

Study of Karanās and Angahārās and practice of them belongs to

the highly technical aspect of dance. Doyens in the field attempt

only a few of them. The secrets involved in their performace seem to

cover an esoteric teaching and learning. They were performed in

Kailasa by the Divine Dancer, NATARĀJA before the heirarchy

of celestials. Bharata Muni enjoyed the vision and indited the same

for the benefit of the posterity. Thus the transcendental glory of the

Divine Dancer could be accomplished only if the Karanas and Angahā-

ras are correctly and faultlessly performed. It is an ultimate achieve-

ment, a state of biunity with the Lord, just like the attainment of the

Highest State by she Yogi in the State Transcendent. Performance

of Karanas and Angahāras is Yoga, skilled action:

Yoga Karmasu Kausalam.

Mulkraj Anand, the Editor of MĀRG directed the publication

of a symposium of essays on the varied dance styles of India, which are

immanently spread over this sub-continent. They were published

in:

(i) MARG, Vol. X, No. 4, September 1957.

(ii) MARG, Vol. XI, No. 1, December 1957.

(iii) MARG, Vol. XII, No. 4, September 1959.

(iv) MARG, Vol. XIII, No. 2, March 1961.

These publications belong to a very high order of presentation of

the ancient technical art which is alive today. Copious Illustrations

in sequential orderliness, juxtaposed against definitions and uses

culled out from authoritative texts, have the elegance of a banquet

service. The contributors have put forth their enormous study and

the journal has attained the status of a refined and reoriented authorita-

tive Almagest on the Dances of India. The Dance of India lived,

lives and shall live in all its picturesqueness and highlighted pageantry

in the aesthetic world of all time. Those numbers of MĀRG have be-

come rare and their republication in a codified book form has be-

come a desideratum.

Several Indian danseurs, danseuses, patrons and connoisseurs

of dance art have also written books in modern times. They per-

formed the sacred task of paying homage to the Eternal Art of India's

Dance. Bharata Nāṭya Śāstra proclaims authoritatively (I, v. 115)

"There is no other traditional wisdom, no other art, no other

learning, no workmanship, no yoga, no action in general not included

46

and touched upon in this masterly nāṭya work." No wonder the

modern writings could only be deficient in one aspects or another,

when such is the all comprehensive nature of the Bharata Nāṭya

Śāstra, compiled in the remotest antiquity. No modern work can

ever view with it. "They are all informative in their own way, com-

municating something fine and useful.

The soul of the Indian Dance has been beautifully encased in a

genuine homage by Kay Ambrose.94

" India herself is a store house of magic, with colours that

injure the eyes, a climate ranging from snow to unbearable

heat, tiny deadly insects and huge kind elephants; and an

ideal all-healing philosophy which soothes the soul of the

restless, pities the wicked, tolerates the ignorant, smiles at

modern science as a mother smiles on a self-opinionated

child. India has her own miracles which she disdains

to advertise. She venerates her wise oldmen whose sweet-

ness and wisdom combined have the cleanliness of an

English Hayfield. AND as she absorbs everything in her

philosophy, so she can show everything in her dances."

In this colophon-like tribute Kay Ambrose has said all about

India's dance heritage and one can find no residue left out or neglected.

To conclude, an epigramatic line from KṚSṆAKARĀNA-

MRTA (by Līlāśuka) is invoked and its meaningful potentialities are

attempted to be explained. This pertains to the rāsa dance of the

Eternal Bridegroom and Paramount Lover of Beings, Lord Śrīkṛṣṇa.

anganā manganā mantare madhavo

mādhavam mādhavam cantarenangana / / II. 35/I.

Three words are intriguingly set in such a sequence of versifica-

tion that a gamut of profound philsophic thought is proclaimed.

ANGANA—the milkmaids of Bṛndāvan; ANTARE—in between;

and MĀDHAVA—Lord KṚṢNA.

The accepted philosophical theory is that all creation is feminine

to God. The creatures of the manifest world are the eternal brides

47

seeking the Handout of the Lord, the Paramount Lover. Even the

recesses of space antare are immanently occupied by the Lord. This

half verse visualises the Lord in the centre, and encircling HIM in

the round are the Gopis, with LORD KRSNA stationed in between

them. While they dance the rounds in quick whirls, representing

symbolically the basic and cosmic vibrations of the universe, the

dance proclaims the Ultimate Truth—All is the Lord. The distinctions

pale away into insignificance, when the Lord is identified with the

apparently divided selves (Gopis) and the notional space intervening

them. The three words represent a trinity. The Lord, the Crea-

tures and the interim Space between the two, as seen from the manifest

world. This is highlighted in rāsa dance. Vyāsa Bhagavān's wholc

thesis of Bhāgavata is fundamentally based on this concept of the Ulti-

mate. Dance born and thriving in India retains the elevated and

spiritual significance and remains in an exalted position. To know

India's dance is to know ALL.

48

CHAPTER II

TERRESTRIAL DESCENT OF NĀTYA

(NĀTYA KARMA, NĀTYA-ART)

Unique and marvellous is the treatise attributed to BHARATA. It

is a compendium comprising in its range everything about theatrics.

The several laws that guide the production of a play1 are analytically

indited in this encyclopedic work. It is a pioneer work of the world.

It registers a tradition and expatiates on the various functions of the

theatre. It remains the undisputed authority and a source book on

the subject—a canonical thesis. Its sway as an authority remains

undisputed due to its antiquity and thoroughness. It is a master work

for play-houses, plays, dance, music, aesthetics, and history of the

theatre in general. No topic is strange in this book and every topic is

comprised in this. B N S is a record of everything that could be said

about theatrics. Its reading and following benefits a regisseur, actor,

musician, playwright, poet and historian.

2. The source for knowledge and wisdom is always attributed to

the Creator (BRAHMA), of the Ultimate Repository. This science of

theatrics has its descent from Brahma to Bharata, who is now consi-

dered by the moderners as a legendary figure. That knowledge descends

in pupillary succession is the axiom in this Bharata-land. B N S is a

compilation about theatrics learnt by Bharata from the Progenitor-

Brahma. In his turn Bharata imparted the knowledge of theatrics to

his century of sons and disciples, so that they might practise and give

it the perpetuation of a tradition.

3. This nātya śāstra or nātya veda is the science of the

theatre. It is a composite essence of the Four Vedas. It

remains a scripture for the THEATRE. The funda-

mental functionaries of a stage-play are: (i) A Text, (ii) Music,

@ Play includes dramatic production, dance play, pantomime and musical

nrtta.

83—4

(iii) Gesture and (iv) Taste GUSTIBUS. These rudimentary requisites are extracted from the four Vedas. This composition consists of the Text from the Ṛg Veda, Music from the Sāma, gesticulation from the Yajur and Rasa from the Atharva. Thus this science has its descent from the Vedic lore and is considered by the Creator himself as the Fifth Veda and a nāṭya itihāsa--history of the play and theatre.

4. Brahmā narrating the contents of the nāṭya vēda to Indra, directed the Lord of the Celestials to produce the same with his retinue of angels. The qualities required of them being:

BNS I.20

kuśalāyevidagdhasca pragalbhasca jitaśramāḥ

teṣvayam nāṭyasamge hi vedah sam krāmyatām tvayā.

Those are eligible for acting who are skilled, well read and trained, experts in arts, and the sturdy. Indra, hesitated to initiate and direct his celestials into this new art, nāṭya karma, as he felt that they were unfit--ayogyāḥ. But he suggested that it is only the ṛsis--the austere and celibate ascetics, that could well perform the new art. It was then that the Creator behested Bharata Muni and his hundred sons to produce a play.

I. 24.

tvam putra śatasamyuktāḥ prayōktā syabhavānagha.

Bharata having been duly instructed by the Creator himself in the subject of Theatrics, trained his numerous sons for the benefit of the world. His teaching and training covered the bhārati, verbal intonation of the TEXT, natural actions--sāttvati and vigorous gesticulations, ārabhaṭi. The Master felt that his acolytes, being men, could not perform to perfection, subtle, delicate and lovely feminine gestures--kaiśiki. He got over the impasse by praying to Brahma to create ‘prima donnas’ to exhibit those finer gestures. (Bharata saw those gestures of kaiśiki, i.e., subtleties in the Dance Cadences of the Lord Nilakantha, the primeval--DANCE-KING). To the demand of Bharata, the Creator by mere volition of thought, created dansueses to practise the delicate attitudes with aesthetical content.

50

I. 44.

dīyatām bhagavan dravyam kaiśśikhyāh sam prayojakam

nṛttāngāhāra sampannā rasa bhāvā kriyātmikā.

5. The abhinetris (dansueses) were, manjukesí, sukesi, misrakeśi, sulocana, saudāmini, devadatta, devasena, manorama, sudati, sundari, vidagdha, vipula, sumāla, santati, sunanda, sumukhi, māgadhi, arjuni, saralā, keralā, dhṛti, nanda, puṣkalā, and kalama.

Their appellations signified beauty, robustness, agile qualities, fulgurant movements, virtuosity—what not, all virtues in EXCELSIS required for a de luxe production, a feast for the angels.

6. To harmonise with the actions of the personnel of the troupe ṚSI svāti was placed in charge of the orchestra (kutapa) constituted of several types of musical instruments. Nārada, the Divine Singer, was fixed up as the maestro and he had the assistance of the other Gandharvas—celestial musicians.

7. Then arose the occasion for the production of the premiere. Festival of the Indra's Banner was appositely trysted for the production.

I. 54.

mahānayam prayogasya samyah samu pastitah

ayam dhvaja mahahsrīmān mahendrasya pravartate.

I. 55.

atredānīmayam vedo nāṭya sangrāh prayujyatām

That which is called nāṭya veda shall be translated into a production—an applied science. The production consisted of the eight components and variegated actions.

I. 57.

aṣṭānga pada samyukta vicitra veda nirmita.

The premiere was a tremendous success and the major angels gave awards to the troupe. Indra gifted his Banner, Brahma gave away the eccentric wand;+ varuṇa, presented a gold vessel, Sūrya awarded

+Kutilakam. See Ch. XII (Gaits).

51

them with a parasol; Vāyu, the Wind God, gave a fan and Lord Śiva blessed them with the—perfection of Accomplishment—Siddhi. Viṣṇu's award was a throne, Kubera donated a crown and Goddess Saraswati blessed them with sweet and pleasant voices. The other minor gods like, Yakṣas and others parted with their perfections in Bhāvas, Rasas, Expressions and Gesticulations. But the tragic result was, the asurvas—Titans that obstructed the production, were killed.

8. Bitterly chagrined, Virūpakṣa, the leader of the obstructionists gathered hordes and prompted by feelings of jealousy and vengeance, began to overpower the actors and actresses by cruel deeds of black magic. The participants of the New Art felt stupified. Utter deadliness—prevaded them. The Lord of the Angels divined the evil source and handling his Flag-Staff as a deadly weapon, attacked the asuras and reduced them to shreds and pieces. Thenceforward the Banner-prop came to be known as JARJARA—that which reduces to pieces. Later on this JARJARA was revered as a protection against all evil forces. The creator was approached for a safeguard against an encore of these troubles. Brahma behested Visva-karma—the Divine Architect, to construct a Theatre-house for the unimpeded production of plays. A play house was built, well fortified and sanctified and all the several celestials were placed on guard over the manifold divisions of it under the command of Brahma.

I.82.

agacha tva rito draṣṭumdrubino nāṭya maṇḍapam.

drṣṭyā nātya gṛham brahmā prāha sarvān surāmstatah.

9. Over the turrets (mattavāriṇis) the lightning was stationed to ward off the evil forces of the daityas.

I.90

stāpitā mattavarīṇyām vidyut daitya niṣūdanī

stambheṣu mattavāriṇyah stapitah paripālane.

Amidst the several celestial sentries placed at the several points of the theatre, the creator himself presided over the centre of the stage, ranga pitha. The personnel of the troupe was well guarded. Hence

52

forward the Creator said, 'the theatre shall have all these angels for its presiding deities.'

I.97.

yanyetāni niyuktāni daivatā niha rakṣaṇe ete sā mathī devāstubhaviṣyantī tyuvā ca sah.

10. When the Theatre House was so well sentried and defended, the celestials, unafraid of any plausible impediment, said to the creator that the asuras may be allayed by peaceful means in the first instance, and that if they persisted adamantly, then recourse to other means of subjugation could be employed.

I.99.

purvam sama prayoktavyam dvitīyam dāna meva ca tayo rupari bhedastu tato dandah prayujyate.

Brahmā addressed the obstructionists as follows :

I.101/1

kasmad bhavanto nāṭyasya vināśārtha mupasthita.

Why have you started these obstructionist tactics?

The leader Virūpākṣa said:

I.102/2.

yo' yam bhagavatāsṛṣṭo nāṭyavedah surecchayā pratyādesōyamasmākam surārdham bhavatā kṛtah.

nāṭya veda promulgated and propogated by you for the benefit of the celestials seems to be designed for our discomfiture and defeat. Let that not be so designed. We too are creatures that emanated from you.

I.105 to 120.

alamvo manyu na daityā viṣādam tyaja tā naghāh bhavatām devatānāmtu śubhā śubha vikalpakah.

53

karmabhāvānva yā pekṣo nāṭya vedo mayā kṛtah

naikānta totra bhavatām devānām cā nu bhāvanam.

trailokyasyāsya sarvasya nāṭyam bhāvānu kīrtanam,

kvacit dharmah kvacit kṛdā kvacit darthah kvacicchramah

kvaciddhāsyam kvacityuddham kvacit kāmah kvacit vadhah

dharmo dharma pravṛttā nām kāmah kamōpa sevinām.

nigrahodurvi nītānām vinitānām dama kriyā

klibānām dhārṣṭya janana mutsāhah śūrama ninām.

abudhānām vibodhōsca vaiduṣyam vidu śānapi,

īśvarā ṇām vilasasca sthairyam duhkhārdhi tasyaca.

arthopa jivinām artho dhṛiti rudvigna ceta sām,

nāna bhavopasampannam nāna vasthām tarātmakam.

lokavṛttānukaranam nāṭyametanmaya kṛtam

uttamādhamam madhyānām nāranām karama sam śrayam

hitopa deśa jananam dhṛti kṛida sukhādi kṛt,

duhkhār tānāh sramārtānām śokārtānām tapasvinām

viśrānti jananam kāle nāṭya metad bhaviṣyati

dharmyam yaśasya māyuṣyam hitam buddhi vivardhanam.

lokopadeśa jananam nāṭya metat bhaviṣyati.

nata gyānam natacchilpam nasā vidyā nasa kalā

nāsā yogō natat karma nāṭyesmin yannadṛśyate.

sapta dvipānu karanam nāṭya metat bhaviṣyati

yenānukaraṇam nāṭya metat dya nmayā kṛtam.

devānā masura nāmca rāgya matha kutumbinām

brahmarṣī ṇām ca viḡeyam nāṭyam vṛttāntadarśakam.

yoyam svabhāvō lōkasyā sukha duhkhā sama nvitah,

songādyabhinayo peto nāṭyamitya bhī dhīyate.

54

I. 120.

veda vidyetihaśānā mākhyāna pari kalpanaṃ,

vinoda jananam loke nāṭyame tad bhaviṣyati.

To the request and query of Vīrupākṣa, the Progenitor expatiated in extenso, the be all and end all of this New Art of Theatrics. The precepts remain classic and they hold aloft the ideals of the ‘ play ’ and its accoutrements.

Braḥma said:

‘ Enough with your anger and no more of it, Oh sinless beings. You may give up your distress and sorrow. This New Art of nāṭya weal and woe of all beings,—you and the angels. There are no preferences shown to any. To portray all the feelings of the three worlds, is the aim of this art. There is in it dharma, sport, acquisition of wealth and peacefulness. It aids self-control. It is replete with humour, warfare, erotics and destruction. It graces dharma on those that are so disposed, kāma on them that induldge in it, and self-control for such of them as strive for it. It provides for exhilaration and strength to the weak. The Heroic are exalted. The ignorant and the unknowing are enlightened. Wisdom to the learned is guaranteed. Man of power will find entertainment in this and it ensures steadiness and courage to those that are afflicted by distress and sorrow. It affords a vocation to those that live by it. The disturbed minds are filled with poise and equanimity.

This nāṭya veda will become the standard classic for inculcating all aesthetical inclinations, predilections, emotions, feelings, all actions and activities of the superior, medium and the ordinary types of men. Moreover this science in due time will become the solace for the distressed and worn out: those that are drowned in sorrow and also to the ascetics. Besides all these this New Art will be the vehicle for what is meritorious and glorious. It will be capable of procuring fame, longevity and what is most worthy of attainment. It enlarges the intellect and amply provides for general instruction to the world.

There is no other art, no other science, no other learning, no workmanship, no yoga, no action in general not included and touched

55

upon in this master work. It comprehends everything and there is no

reason why you should feel dismayed over this. It shall perpetuate

itself in these Seven Islands, rather in these seven continents (sapta

dvīpa). It enmirrors all the details of the modes of the lives of the

Devas, Asuras, Kings, Householders and Superior Ṛṣis, (Brahma Ṛṣis).

That which is natural to the world both in pleasure and sorrow

and which is in union with attitudes and expressions of the body

and limbs, is to be known as nāṭya. This is a compilation of Veda

Vidya, Itihāsa and Akhyāna. It will be amusing and delightful

It shall always deal with the topics of the Srutis, ancient lore, tradi-

tion (sadācarā) and of the apocryphal texts."

Brahma then ordained all the Devas, Ṛṣis and others to perform

a sacrifice ‘ RAÑGA PŪJA ‘ as a preliminary ritual to the actual

production of a play. Presiding Deities were to be propitiated.

This ‘ rañga pūja ’ is ordained to be a preliminary sacramental ritual

to be performed. Any lapse will result in multifarious disasters.

Faultless completion of these purva rañga rites ensures all auspi-

ciousness.

Rañga Pūja was performed.

56

CHAPTER III

THE PLAY HOUSE

Nāṭya maṇḍapa, nāṭya gṛha, nāṭya veśma have been used as synonyms for a THEATRE. The main divisions of it are Nepadhya Gṛha (Green Room). Mattavāraṇi (turretted side-winged rooms raised on pillars), stage proper (raṅga and prekṣa gṛha) auditorium.

2. Three types of constructions, each in three sizes, are dealt with. The oblong, the square and the triangular buildings are envisaged. These may be in three sizes, the superior, the medium and the ordinary.

3. The length and other dimensions are also given. The hand-length is taken as a norm for linear measurement. The medium type building is recommended as the best type of structure for the production of plays as it would be conducive to good accoustics.

4. @ mattavāraṇi.

Dr. A. K. Coomaraswamy in his review of P. K. Acārya's Māna sāra has given an additional glossary of architectural terms. Therein mattavāraṇi is a turret. These towering projections into the sky are on either side of the stage supported on sturdy pillars. These are important components of the THEATRE. The whole building has to be protected from lightning shocks. The mattavāraṇis being towers have to be protected against acts of vis major, like lightning. In this chapter

II. 72/2.

āyasam tatra (tamra) dātavyam stambhānām kusalai radhah

(vide I. 90).

the prescription is, the pillars of these side winged pavilions must be built with iron or copper fittings to conduct the fury of the lighting to the earth and this renders the whole building safe to stand firm. Lightning is one of the presiding Deities that has been stationed on the turrets at the behest of Brahma. Vide I. 90. (Profs. Mankad and S. K. De have different views). Prof. H. R. Diwekar wrote in 1959 an inclusive article on this subject. (Gwalior).

II.12.

prekṣa grhāṇāṃ sarve sāṃ prasastam madhyamam smṛtam

tatra paṭhyamca geyamca sukha srāvya taram bhavet.

4. Details of several denominations of linear measurements are given. The minimum presumed is the speck of dust, then the grain seed and then the first digit of the thumb and other known scales. Twenty-four thumb digits make a hasta–hand length—and four such make a danda. These have been so standardised.

5. Various details of construction, from the selection of the site, to the completion of the theatre are narrated. Every step of action in the process of building must be done without any error whatsoever. The least fault gives rise to a disaster. The building must be East to West. The measuring tape must be of cotton or fibre. It must not snap during measuring operations.

6. A fourth of the building must be devoted to the stage–rañga. Various rituals, invocations to gods and several details of ceremonies are mentioned to be observed during the construction of the theatre. Pillars are to be constructed and raised to represent the homogeneity of the several groups in the society. The Theatre and the activities therein have been designed and promulgated, so that the whole community will be benefited by the performance produced in it. The walls must be plastered and mural paintings of various floral designs have to be artistically carried out. Figurines of graceful and beautiful lovers may decorate the panels on the walls.

7. The stage must be level, well polished and should not be curved or convex like the shell of a tortoise or the back of a fish. The floor or surface of the stage must be polished to a mirror-finish. It may be bedecked with precious stones. Decorative reliefs and niches may be filled in with statuettes. The stage must have windows and screens.

II.83.

nirvyuha kuharo petam nā nā grathita vedikam

nā nā vinyāsa samyuktam yantra jāla gavākṣa kam.

58

The windows may be of artistic fret work of variegated designs. The beams of the roof must also be made of good artistry besides being sturdy and well supported. The whole of the mosaic work must be grand and majestic. In construction there should be no violence to symmetry.

8. The ideal stage-house i.e., theatre, must resemble the cave of a hill (or rather a rock-cut cave of a hill) with2 two floors provided with windows to let in gentle breeze but not winds disturbing the acoustics.

II.87.

kāryah śaila guha kāro dvibhumir nāṭya mandapah,

manda vātāyano peto nirvāto dhīra sabda van.

The interior of the walls must have beautiful paintings.

II.92.

citrakarmānicā lekhyāh puruṣāh strijanāsṭa thā,

latā bandhasca kartavyascaritam scatmabhogajam.

The height of the auditorium floor has to be lowered relative to the height of the stage floor, having regard to visibilty and audibility. The sitting space of the spectators must face the stage.

2. DVIBHŪMI.

Two-floored. This has given rise to a harvest of controversy. Easily tempting is the conclusion that there is a ground floor and also a first floor above it. But some others have rightly pointed out that the stage is divided into two compartments transverse, so that two events contemporaneous in time could be performed on the stage and the audience could view it at a single sight. The writing of older plays, from Bhāsa to Harṣa, seem to postulate a double stage of this type both open to the view of the audience on the same plane and which remain mutually exclusive except for an improvised doorway for entrance closed by a movable javanika, a curtain. See Ch. XII wherein there is no indication to go up on to a first floor. The conventionalised acting for getting up is directed to be done on one plane only. But ‘dvibhūmi’ of nāṭya mandapa doesn’t exclude the possibility of the auditorium being in two tiers, convenient for the audience to sit and witness the performance unobstructedly, in which case dvibhūmi applies to prekṣa gṛha and not to raṅga only.

II.99..

hasta pramaṇai rutsedhair bhūmi bhāgasamuthitaih

ranga piṭhāvalokyamtu kuryād āsanajam vidhim.

9. The green room, or nepadhya grha, behind the stage must have

two entrances opening on to the stage. There must be entrances in

the auditorium for the spectators to enter.

The general descriptions apply to all the three types and to

all the three sizes of theatres.

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CHAPTER IV

RAṄGA PŪJA

(PRELIMINARY STAGE RITUALS)

Imprimis, the theatre, now ready for use and occupation, had to be purified by tethering cows and allowing priests to reside in it, for seven days. The stage also must be cleaned and purified. The nāyaka, the chief actor, put on new clothes and performed sacred rituals and ordained. He bowed to the Lords of the Trinity and other Celestials. In faith and in humility, all the gods and angels were propitiated for the grand accomplishment and to ward off all evil.

2. The musical instruments were gathered at a place and the jarjara, the symbol of safety was worshipped.

III.13 and 14.

tvam mahendra praharaṇa sarva dānava sūdana

nirmita stvam sarva devaih sarva vighnanibarhaṇa,

nrpasya vijayam samse ripūṇām ca parājayam

go brahmaṇa sivam caiva nāṭyasya ca vivardhanam.

The prayer to the jarjara weapon of protection was :

" Thou weapon of Mahendra, the destroyer of the titans, you are installed by all the angels, you are the reliever of all destructions and impediments. Hail victory to the Ruler of the land; defeat of the enemies. Let there be peace and plenty. May the play, to be produced, be blessed with Accomplishment."

3. The auspicious timings for initiating the worship and prayers were enumerated.

4. The stage was well decorated. The Master of Ceremonies, who was to conduct all the worship, was the NĀṬYA ĀCĀRYA,

Regisseur. Auspicious and fragrant articles were collected and used.

The various parts of the stage were purified and the gods were installed

by invocation.

5. Line drawings in the shape of a lotus were painted on the

centre of the stage (rañgavalli). The designs were colourful, artistic

and appositely painted on the floor. At the points of the airts, differ-

ent gods were propitiated.

6. After the worship, different sacrifices were offered. All the

sub-divisions and compartments of the stage, auditorium and whole

of the threatre-house were sanctified. Various mantras were piously

recited. The burden of the prayers was for the splendorous success of

the play and to ward off the evil forces.

7. An earthen vessel—kumbha, with a gold piece in it, was

stationed at the centre of the stage. Orchestra was played at high

pitches. Sandal paste was used for worship. Unguents were in-

censed. All the angels and gods were worshipped in the ordained

manner.

8. Sacrificial Fire (hōma) was installed and offerings were

made to the Divine Beings. These rituals were performed before

the King and the players, who assembled there. The Regisseur—

prayokta, conducted the hōma. The vessel placed at the centre of

the stage was broken for auspiciousness. The chief producer lit a

lamp and waved it in adoration. The light was placed at the centre

of the stage and loud reports of the musical instruments and fanfare

were raised.

9. No performance could be commenced without first perform-

ing this rañga pūja ritual. These were conducted without a fault.

The nāṭya ācārya was well versed in the Śāstras. He possessed

humility. He was pure, clean and maintained a peaceful mind.

62

CHAPTER V

TĀṆḌAVA LAKSANA

(Dance Attitudes)

Bharata having been initiated into the New Art and after completing

the rituals known as Raṅga Pūja (Worship of the Stage), wherein

all the presiding Deities were propitiated, prayed to Brahma.

"Oh Lord Pitāmaha, presently behest us as to the performance

of a play."

IV.1/2.

"Agyāpayiā vibho ksipraṁ kah prayogah prayujyatām."

2. Brahma commanded, the Nāṭya ācārya,—Bharata thus:-

"'amṛta manthana' the samavakara type of play, wherein the

events relate to Devas and Asuras and which will be pleas-

1. The author was closely associated with the compilation of the work

'TĀṆḌAVA LAKṢANA'—G. S. Press 1936. He has made free use of the work.

He remains grateful to the three authors.

2. 'amṛta manthana' is an Epic event. The Devas who did not attain

perpetual life, craved for the discovery of amṛta—Ambrosia. They leagued in the

asuras promising a share of the spoils and made tremendous efforts to churn the

oceans, stationing the mandara mountain peak as a churning rod and encircling it

with Vāsuki, the serpent Lord, as the chruning tape. Grail of Ambrosia was acquired,

besides several other precious products. This eventful story was dramatically thesis-

ed by the Creator. Of the ten types or patterns of play, Samavakara was the model

selected for the dramatic representaton of the theme. Samavakara type was fully

described in a later chapter of the work—B.N.S. The length of the play was

limited to three-Acts, the episodes comprised, dealt with deceit, acts of Vis major

and finally accomplishment. amṛta manthana—theme was very apposite slelection

for a Samavakara type of play.

This was the premiere produced by the pioneer Regisseur Bharata; Brahma

presiding. This is the world's first play production.

ing to gods may be produced. Such a production will be

conducive to acquire the fruits of dharma, ardha and

kāma. I have composed it and may you stage it for the

delight of all."

IV.2, 3.

tato samyukto bhagavatā yojayāmṛta manthanam /

eta dutsāha jananam sura prītikaram tatha. //

yoyam samavakārastu dharma kāmārtha sādhakah

mayā pramathito vidvā n sa prayogah prayujyatām.

The first play ‘amṛta manthana’ was produced and both the Devas

and Titans were happy over the production.

3. Brahma developed a desire to produce the play—the one in

the repertoire, before Lord Śiva, the Divine Dancer. Śiva permitted

its production in his abode—kailāsa. The site with the Himā-

layan ravines, closeted with ranges of hills, without-grown mango

groves and beautiful cascades, was the arena over which Bharata

Muni produced a play to the immense delight of Lord Śiva at the

command of Brahma. Thereafter, to please the supreme spectator

Śiva, Bharata produced a, dima3 type of play entitled ‘tripura dāha.’3

Greatly delighted was Śiva on witnessing this play and the Lord

said that the play left an indelible impression on his mind.

3. Dima-type was another stupendous pattern of a play of four-Acts length,

Six rasas (sṛṅgāra and hāsa excepted) were suffused in it. A celebrated episode was

dramatised. The magnanimous were the roles in it. The feelings were worked

out to a high pitch of tempo. The atmosphere of the play comprised solar and

lunar eclipses, frequent fall of meteors, outbursts of volcanos, blow of high winds

and warfare to a tumultuous degree. Black Magic, sorcery and witchcraft practices

were rampant. Sixteen heroes personnelling the dramatis personae. Ārabhaṭi

and Sātvati natures are commingled.

To suit the above pattern of play, the fable selected was Tripura dāha,

wherein the ruler of the three impregnable cities, who became a menace to the

worlds, was annihilated by a coup-de-main by all the angels headed by Śiva. This

story dealing with the battle-divine of Śiva was produced before Śiva and, no wonder,

it earned the commendation of that Lord.

64

4. Lord Śiva in jubilation and ecstasy said to TANDU, his follower-in-chief, who was himself an adept in Dance, to initiate Bharata into the multifarious Nrtta—pure dance-patterns known as Karanas and Angahāras and Recakas.

5. Tandu (Nandi) enumerated the thirty-two Angahāras. This can be said to be a multi-composite suite of controlled attitudes of the various limbs of the body, each performed with grace, vigour, movement and aesthetically suffused poses. The word Angahāra seem to connote a garland of controlled attitudes of several limbs. These had the origin in and are dependent on Karanas. Roughly a Karana is a dance sequence consisting of combined suite of actions, mainly of the hands and feet.

IV.28.

hasta pāda pracārasca yathā yojyah prayoktrbhih angahāreṣu vaksyāmi karaneṣuca vai dvijāh sarve ṣāmangaharā nām niṣpattih karanairyatah

Two karana actions make an unit known as mātrka.

IV.31.

dve nrtya karane caiva bhavato nrtya mātrka dva bhyām tribhis caturbhir vyāpyangahārastu mātrbhīh.

IV.171.

caranasyā nu gascā pi dakṣiṇāstu bhavet karah, cāryescaivatu yāh proktā nrtta hastāsta thai va ca sa mātr keti vijñeya tadbhedāt karanāni tu.

mātrka is a fundamental combined pose of hands and feet. This is technically explained as a combined action of cāris (Feet-positions—movements) and nrtta hastas (patterned poses of palms). Combined action of the three karanas is known as kalāpaka, four as bhāndaka and five as sanghātaka. Angahāras, sometimes fold in their presentation six, seven, eight or nine karanas. It is never a single pose of the fixed (still) type but a continuity of attitudes of different limbs in a sequence always according to rhythm and beat of time.

83–5

65

6. karaṇa is described as:

IV. 57/2-59/2.

prāyeṇa karaṇe kāryo vāmo vakṣah sthitah karah,

caraṇasyan ugasacāpi dakṣiṇastu bhavetkarah,

hasta pāda pracaramtu kaṭi pārśvo ru samyutam

urah pṛṣṭodaro petam vaksyamanam nibōdhata,

yāni sthānāmi yascaryo ṇṛtta hasta sthadaivaca

sa matṛ keti vinneyatadyogatkarāṇam bhavet.

The versatile danseuse or danseur according to her or his skill and dexterity presents the several combinations of the poses of the limbs. Generally the left hand is rested on the chest. This is normally the start for any karaṇa sequence to commence. The right hand is always moved to accord with an aesthetic and graceful cadence with the foot. These, with movements of the hands and foot, always align with the positions of the waist (kaṭi), side (pārśva), chest (hṛdaya), back (pṛṣṭa), and belly (udara). The movements of the hand and the patterned poses of the palms, lend grace to the sequential composite suite of actions of several limbs and all this is a karaṇa.

An attention pose is called souṣṭava. (See Ch. X, Para 5).

IV. 60.

kaṭi karṇa sama yatra kūrparam sa sira stha tha,

samunnatamurascaiva souṣṭavam nāmatadbhavet.

That posture in which the waist (hips) rump and the elbow are in a line with the ear, head, shoulders, normal chest and the knee is called souṣṭava—An Attention pose.

7. One hundred and eight karaṇas have been described in B N S. Their detailed study is tiresome to a general reader. But to illustrate, six karaṇas are herein described and their combination in a canonised sequence will result in the performance of an aṅgahāra, known as mada vilāsita—lascivious dalliance. The order of the various karaṇas is: (i) mada skhalita, K. 99. Eccentricity in inebriation,

66

verse 160, (ii) mattalli, K. 27, Whirling, 92, (iii) tala samspho-

ṭita, K, 69, Shouting, 130, (iv) nikuṭṭitaka, K. 9, Fully curved

arms over shoulders, 69, (v) urūdvṛtta, K. 98. Thigh up-turned,

159, karihasta, K. 87, Proboscis, 148, kaṭichinna, K. 11, Split waist,

verse 73 and valit K, 31, Conjoint whirling, 92.

The reader will find several technical terms in the given descriptions

of the karaṇas. Attitudes of the several limbs are mentioned by

their classified names which are explained in later chapters. The

manner of these poses is included in the present explanation. K. 9,

nikuṭṭita, 69. Fully curved.

nikuṭṭitau yada hastau svabāhu śiraso antare

(1)

padau nikuṭṭitau caiva jñeyam tattu nikuṭṭanam.

The arms are fully curved over the shoulders, leaving space on either

side of the head, with the legs fully bent. This is nikuṭṭitaka karaṇa.

(Kohala, another authority, directs bending of the body and rais-

ing it often in this nikuṭṭitaka pose).

K. II. kaṭi chinna, verse 71, ‘Split waist’

parya yasah kaṭi chinnā bāhu śirasi pallavau

punah punasca karaṇam kaṭichinnam tu tadbhavet.

(2)

The waist is moved round and round, the hands, patāka-posed are

crossed at the wrists (svastika of the hand) and released, this, when

repeated, is to be known as kaṭi chinna.

K. 31. valita, verse 92, (conjoint whirling)

(3)

apaviddho bhaveddhastah sūcī pāda sta thaivaca

ta thātrikam vivṛttam ca valitam nāma tad bhavet.

The hands are thrown out in abandon (apaviddha), the leg is raised

and the knee stretched out to simulate a needle point (sūci) and the

waist is whirled. (vivṛtta). This is known as valita.

K. 69. tala samsphoṭita,130, Shouting.

(4)

67

druta mukṣipya karaṇam purastadatha pata yet,

tala samsphoṭitau hastau talasamsphoṭite smṛtau.

The foot is raised quickly and projected out in front. The hands

are clapped to produce sounds of shouting. This is known as tala

samsphoṭita.

K. 98. urūdyṛtta, verse 159, ‘Thigh upturned’

kara māvṛtta karaṇa mūrū prṣṭe ‘ncitam nyaset,

jaṅghāncita tathodyṛtta hyūrū dvṛttam taduchyate.

Wave the hand and place it below the thigh so that the full arm

is in curvature. The calf is bent and put in urudvṛtta (the toes of

one foot clasping the inner ankle of the other leg).

K. 99. madaskhalita, verse 100 ‘Eccentricity in inebriation’

karau pralambitau kāryau śiraśca parivāhitam,

padau ca valita viddhau madaskhali ta ke dvijah.

The hands are let down hanging, the head moved from side to side

(parivāhita) then the following sequences of actions are performed

with the foot.

(i) The legs are first bent and moved in valita i.e., the knees

are placed apart and a knee (preferably the right)

is turned in circular formation.

(ii) Then the legs from knees down arc crossed (in svastika)

and released.

(iii) These leg actions are repeated with the right and left.

This suite of movements is known as madaskhalita.

These six karaṇas when combined in a long drawn continuous dance

sequence in a particular order and combining some other comple-

mentary actions of other limbs in prescribed patterns make an aṅga-

hāra known as madala vilasita—Lascivious Dalliance. The text is:

IV. Verse 209-210, A. 16.

dolai karaiah pracalitai svastikā pa sṛtaib padaih

ancitair valitairhasta stala saṅghaṭṭitaista thā,

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nikuṭṭitam ca kartavya mūrūd vṛttam tathaīvaca,

kari hastam kaṭi chinnam madad vilasite bhavet.

The hands—rather the forearm palms are upturned and moved in

cradle swing formation, the legs are crossed and interlocked, the

arms, the feet and other limbs are moved in the order of karaṇas

valita, K. 31, talasamghaṭṭita or samṣphoṭita, K. 69. Then the other

karaṇas of nikuṭṭita, K. 9, urūdvṛttaka, K. 98, karihasta, K. 87,

and kaṭichinna, K. 93, are progressively and consecutively presented.

The whole sequence is the aṅgahāra known as madavilasita , A. 16.

The reader has to note that these poses can only be learnt from a

master Artiste—nāṭya ācārya. As this is about an Art to be practised,

theoritical instruction alone is never a complete recipe.

7. Like this 108 karaṇas and 32 aṅgahāras have been explained.

8. recakas, ‘quick casting out movements’.

These are four in number. They are movements including whirling

and shaking. The recakas of the foot, waist, hand and neck are des-

cribed i.e., pada, kaṭi, kara and kanṭah.

These actions of recakas are never independent units of dance pose-

patterns, but are only dance actions included in a complementary

way to add vigour and grace to the presentation of karaṇas and aṅgahā-

ras.

recita and recaka are synonymous.

recaka of the leg, consists in moving from side to side tripping and

moving the feet in different ways.

recaka of the waist is to spin it round and round and to move it back-

wards.

recaka of the hand consists in lifting up the hand, throwing it about,

moving it in circular motion and drawing it back. Similarly the

fingers.

recaka of the neck, consists in raising up the neck, keeping it straight,

erect, bending it, moving it sidewards or moving it in a circular motion.

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Rāhula, another authority described recakas as the several independent whirling actions of the neck, hands, waist and the legs.

9. TANDU described to Bharata the terrific destructive dance of the twilight, performed by Lord Śiva at the time of Dakṣa Yajña.

IV. 256.

mṛdanga bheripaṭaih gya diṇḍima go mukhai

pañavairdardu scaiva sarvā todyaih pramaditaih

dakṣa yagye4 vinihate sandhyā kāle maheswarah,

nānāgaharaih prāṇ tyallayatala vasā nugam,

piṇḍi bandhā sta to dṛṣṭvā nāndi bhadra mukhā gaṇāh.

To the accomplishment of music, orchestral synthesis consisting of mṛdaṅga, bheri, paṭah, bhāṇḍa, diṇḍima, gomukha and all the other musical instruments, Śiva danced the twilight-all-comprising-cosmic-dance at the time of dakṣa yajña. The dance repertoire consisted of all aṅgahāras, the rhythm of movement, coordinating with the time beat of the assembly of music and fanfare.

TANDU further narrated that Śiva danced the recakas and añgahāras, the vigorous movements and Pārvatī did the delicate and lovely cadences of the limb movements.

4. Lord Śiva married Satī or dakṣāyani, daughter of Dakṣa—a progenitor. When he undertook to perform a sacrifice out of an ill-will he bore against Śiva, he behaved impolitely by not extending an invitation either to his daughter Satī or to her husband. But Satī, out of her affection to the father’s home, informed Śiva and went to the sacrifice conducted by her father. Under rigid commands of Dakṣa, Satī’s visit was treated with indifference and positive neglect. In an utterly mortified and humiliated state of agonised feelings, she raised a fire and consumed herself. Śiva in an arrant and ferocious manner destroyed Dakṣa and other hordes of miscreants by performing His Destructive Dance.

Satī, reborn as Pārvatī, spent her youthful days in penance and austere living, prayed to Lord Śiva, to be accepted as His Spouse. Śiva and Pārvatī, the Eternal Spouses are symbolised to be the Original FIGURANT and FIGURANTEE His dance is of the vigorous masculine type. Her’s is the delicate, graceful and feminine pattern.

70

10. Each god and goddess had for his or her counterpart a celestial spouse, symbolising an excellent VIRTUE. The twin dance of both the counterparts is known as pindi bandha. The counterparts of the angels are called pindis. All these variegated dance patterns were imparted to TANDU by Lord Siva and thereafter they were called tāndava—TANDU'S dance repertoire.

11. The rsis implored Bharata thus: IV. 267-271

yada prāpyarthe marthānām tagnairabhina yah krtah

tasman nrttam krtam yetat kam svabhāva mapecksate.

nagitākārda sambadham nacapya r tha sya bhāvakam,

kasmānnrttam krtam hye tat gite svasāritesuca.

To this Bharata replied:

atrocyate na khalvardham kamci nnr tta mapekaste,

kimtusobhām janayatitya tonrttam pravartitam,

prāyena sarva lōkasya nrtta misṭam svabhavatah,

manglya mi ti krtva ca nrtta meta tpakir titam,

vivāha prasavāvāha pramōda bhyu daya di su.

vinoda tarnam cete nrtta metatpra vartitam.

Gesticulations are the means to get at the meanings of things and this is abhinaya. Then why are these nrtta—blank, pure dance movements agalore? This has no reference to the meaning of the song. Then why these flat dance sequences sung in asārita type of music?

Bharata replied: ‘Yes. Nrtta has no bearing on the meaning of the words of the songs. It is performed and produced for its aesthetical grace, excellence and pleasing results. These dance cadences have their delight-producing effects. During times of festivities like marriages and birth of children, these nrtta performances are considered to be auspicious. It provides for a delightful diversion. It has an appeal which is universal and popular. Hence the importance of nrtta.

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CHAPTER VI

THE PŪRVA RAÑGA RITUAL

This is an elaborate chapter dealing with the lengthy ritual of pūrva rañga. It is common knowledge that the Vedic ritual known as pūrva mimāmsa scrupulously deals with many details of sacrificial ceremonies. The rigour, the descipline, the propitiation to the gods, the offerings to be made and finally the accomplishment to be achieved by the master of the ceremonies, are based on the theory of doing acts and reaping their fruitful consequences to the transcending elevation of one's own being. Analogically the theatric stage is considered as the Vedic Altar. All the Presiding Deities are propitiated, the orchestral music is tuned and timed and commenced. Two or three actors enter the stage, in a conventionalised gait, according the steps to music, sing paeans of invocation, adoration and praise, introduce the poet and the play and prepare the audience to be the fitting recipents of the feast of eyes and ears. This pūrva rañga ritual is a condition precedent to the commencement of the play. The performance is a Commandment. No transgression is permitted. No violation is tolerated. Any breach is considered to be perdition.

2. The preliminary step is, assembling all the musical instruments at a place—in front of the nepadhya gṛha and at the back of the rañga (stage). A series of technical terms are used to describe the musical preface in these pūrva rañga rites. Each instrument is to be tuned to the proper drone of melody and harmony. Invocation to the gods, welcome to the King, the lord of the land and other spectators comprise the performance of nāndi.

3. After the tumultuous prelude, the sūtra dhāra, the regisseur, enters, with flowers in his palms. He is accompanied by two side-actors—pāri pārśvakas. They enter in a conventionalised sthānaka

of vaiṣṇava (vide Ch. X) bearing, auspicious looks and in an attention-pose, souṣṭava. They must have previously observed certain

disciplines of piety and cleanliness. One of the side-actors carries

the auspicious gold vessel, and the other bears the jarjara, the symbol

of safety and victory. They must make five strides and prepare

themselves for the worship of Brahma. These steps have to be taken

by lifting the foot by three tālas (27") and placing it again forward

in the middle of the third tāla. The regisseur showers or rather

offers the hands-full of flowers on the centre of the stage, the seat

of Brahma, the creator. They bow to this chief deity Brahma.

Later obeisance is to be made to the audience. All the three move

towards the place where all the musical instruments are assembled.

Progressively all other presiding deities are worshipped.

110 to 115. nāndī. Ch. V.

sūtra dhārah patheh tatra madhyamam svaramāsritah,

nāndīm padai dvādasābhihastābhi rvapyalām kṛtam,

namōstu sarva devebhyo dvijātibhyah śubham tatha,

jītam somena vai rajya sivam go brāhmaṇāyaca,

brahmottaram tathaivāstu hatā brahmadviṣastathā,

prasasyemām mahā rāja prthivīm ca sa sāgaram,

rāṣṭram pravardhitām caiva ranga syā śāmūrdhyatu.

prekṣa karturmahandharmo bhavatu brahma bhāvitah,

kāvya karturya sascā stu dharmascāpi pravardhatām,

ijyayā cānayā nityam priyantām devatā iti.

nāndī padāntareṣvesu hyevamāstīti nityaśah,

vandetam samya guttābhirvāgminau nāri parśvakau

evam nāndī vidhātavyā...

sūtra dhāra must recite the nāndī in the medium tone and it must

consist of twelve or eight words. The prayer is couched in this

manner:

" I bow to all the gods. May prosperity dawn on the scholars.

May the King, Soma, have all auspiciousness. So too

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cows and scholars. May the King rule over the land and

seas. May the Kingdom prosper and the stage have

plentitude. May all the spectators be dharma-abiding.

May the playwright-poet attain fame. May there be

progress for dharma. May all the gods be pleased.''

While this invocation is being uttered, the side-actors, who are always

reputed for their grand eloquence say ‘ be it so’—tathāstu. Soon

after this nāndī invocation, the side-actors have to say ‘digle, digle;

and jhanṭu jhanṭu ’ in a rhythm according to time beats.

Then a ślōka must be recited in a high tone. The verse must be in

praise of the God who is to be propitiated. Soon afterwards, a

ślōka in adoration of jarjara must be sung. Thuswise the invocation

continues wishing for an all-round auspiciousness.

5. Conventionalised steps have to be taken in movement.

Songs of particular melodies have to be sung. Then enters the

Court Fool—vidūṣaka. His conversation with the sūtra dhāra must

be humorous, irrelevant and disjointed. It may even be extended

to impertinence, illogicality and always be in the form of questions

to initiate a dialogue.

6. This is śuddha type of pūrva rañga. The other is citra

type and this is to be performed by adepts in dancing. There must

be high pitched singing and loud fanfare. The flowers have to be

strewn over wider areas. The dansuses have to perform añgahāras

and recakas. After this they exeunt.

7. In the matter of singing and dancing there should not be

any overdoing or any transgression of the canons and directions. These

faults will displease the spectators and will cause their discom-

fiture. Such a mal-play leads to the ruin of lucidity and clearness.

The rasaite effect will be marred. The rest of the play will be flat

and insipid.

Production of a play is always known and understood as a sacrifice

performed to please the gods.

8. In the countries of Avanti, Dakṣiṇa, Āndhra and Māgadhi,

actors must perform pūrva rañga rites in either of the two ways.

This is mostly guided by traditional practices.

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CHAPTER VII

RASA Gustibus—TASTE

(Aesthetic Essence)

1. The listeners of Bharata questioned him thuswise:-

(i) Wherein consists the state of being in rasa?

(ii) What is rasa when applied to a play?

(iii) What are bhāvas—feelings and emotions?

(iv) With what do the emotions deal?

(v) What are Sangraha, Kārika and Nirukta?

2. Bharata

"I can only expatiate on the above topics in brief, as this extensive science is inexhaustible." There are innumerable texts and commentaries thereon.

Sangraha is a compendious compression of topics of Nāṭya-subject, dealt with in Sūtras and commentaries thereon.—(Bhāṣyas).

This Sangraha exposition, in brief deals with (1) Rasa, gustibus: (2) Bhāva, emotions and feelings; (3) Abhinaya, gesticulations; (4) Dharmi, Natural and conventional Rules; (5) Vṛtti, Moods and Modes; (6) Pravṛtti, Traditional Types; (7) Siddhi, Accomplishment; (8) Svaras, tunes; (9) Ātōdya, Orchestral instruments; (10) Gāna, Music; (11) Raṅga, Stage; Further, some texts also include in Saṅ-graha; (12) Upacāra, Etiquette and (13) Maṇḍapa, Auditorium;

Thus the subdivided topics are thirteen and these are comprehensively called SAṂGRAHA.

3. Kārika. ‘Expanded Expressions’.

These are literary modes of expression in verses expanding the meanings and purport, covered by trite and pithy sayings known as Sūtra.

4. Nirukta. ‘Etymological Diction’.

The derivations attached to several ‘nouns’ as found in dictionaries—nighaṇṭu, the various declensions of verbal roots, and the basic rules of interpretation to milk out the meanings, are the features and contents of Nirukta.

Special import of words and derivative connotations of expressions are also dealt with in Nirukta (Technical terms).

Sañgraha is an elaborate and explicit narration of the knowledge of Nāṭya as gathered from the pre-existing Kārika and Nirukta —comprising of technical terminology.

5. Rasa. Eight “tastes” are recognised. (Aesthetic essences—gustibus).

6. Sṛṅgāra: Beauty in excelcis.

7. Hāsya: Buffoonery including wit, redicule and foolery.

8. Karuṇa: Mercy and compassion.

9. Roudra: Terrific and frightful.

10. Vīra: Heroic and magnanimous.

11. Bhayānaka Weakness in fright.

12. Bībhatsa Loathsomeness.

13. Adbhuta Wonderment.

14. Bhāvas classified and listed.

There are three types of Bhāvas—Emotions and feelings. (i) Sthāyi, stable and composed; (ii) Sañcāri, fleeting and varying; (iii) Sāttvaja, immanent, innate, natural and involuntary.

Sañcāri is also known as Vyabhicāri.

I. Sthāyi—Stable, composed and lasting feelings and emotions. These are eight in number.

1. Rati Consummation of joy and happiness.

2. Hāsa Merriment and hilarity.

3. Sōka Sorrow consequent on separation.

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4. Krōdha

Excitement and anger in resentment.

5. Utsāha

Exultation of spirits.

6. Bhaya

Timidity due to fear.

7. Jugupsa

Loathsome feeling causing disgust.

8. Viśmaya

Struck with wonder.

II. Sañcāri or Vyabhicāri—Fleeting, incidental and varying

emotions.

These are always ancillary to the stable emotional conditions.

They are thirty three.

1. Nirveda:

Pressure in agitation.

2. Glāni:

Depression of feelings.

3. Śańka:

Dubious condition.

4. Asūya:

Jealousy.

5. Mada:

Lustful passion.

6. Śrama:

Exhaustion.

7. Ālasya:

Slothfulness; Languor.

8. Dainya:

Meekness.

9. Cinta:

Sorrowful and cogitation.

10. Mōha:

Infatuation.

11. Smṛti

Mindfulness; Memory.

12. Dhṛti:

Fortitude.

13. Vriḍa:

Bashfulness.

14. Capalata:

Fickleness.

15. Harṣa:

Exhilaration.

16. Āvega:

Impetuosity.

17. Jaḍata:

Dullness; Stupor.

18. Garva:

Pride; Arrogance.

19. Viṣāda:

Dejection, Despair.

20. Autsukya:

Deep expectation.

21. Nidra:

Sleep.

22. Apasmāra:

Incoherence and tipsy talk.

23. Supta:

Deep sleep.

24. Vibōdha:

Awakened state; wakefulness.

25. Amarṣa:

Undeserving compassion, intolerance.

26. Avahita:

Dissimulation, ornate concealment of

passions

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27. Ugrata: Ferocious anger.

28. Mati: Intelligence.

29. Vyādhi: Disease, Imbalance in health.

30. Unmāda: Madness.

31. Maraṇa: Death; Complete prostration.

32. Trāsa: Extremely puzzled.

33. Vitarka: Suspense and extreme doubting.

III. Sāttvika or Sāttvaja : Immanent and innate natural feelings.

1. Sthamba: Motionless and immobile.

2. Svēda: Sweating.

3. Romānca: Horripilation.

4. Swara Bhanga: Distortion in voice.

5. Vēpathu: Tremor.

6. Vaivarṇya Change of colour of the face.

7. Aśru: Tear-ridden.

8. Pralaya: Deadly Swoon.

(These three types of Bhāvas are dealt with in Chapter VII.)

7. Abhinaya: Gesticulations. (Actions).

Four ways of gesticulations—abhinaya—are dealt with.

1. Āṅgika: Bodily and limb movements.

2. Vācika: Vocal expressions.

3. Āhārya: Decor, makeup and costume.

4. Sāttvika: Natural and realistic expressions.

5. Dharmi: This is of two kinds.

(i) Loka Dharmi: Imitation of Nature.

(ii) Nātya Dharmi: Conventionalised for the Stage.

9. Vṛttis: Moods and Modes.

These are sub-divided into four: (i)Bhārati: dealing with the language; (ii) Sāttvati: is the natural; (iii) Kaiśiki: Subtle, delicate and lovely actions. (mostly feminine) and (iv) Ārabhaṭi: Vigorous, ferocious and masculine actions.

80

10. Pravrttis: Regional schools of Dance Tradition.

(i) Āvanti: Round about the city of Avanti.

(ii) Dakṣiṇa: South of the Vindhyas.

(iii) Ōḍhra: Orissa.

(iv) Pāncāla: Punjab (Greater).

(v) Madhyama: Central India.

11. Siddhi: Accomplishment: This is of two kinds.

(i) Mānuṣī — Human.

(ii) Daivi — Divine.

12. Svaras: ‘Staff Notation’.

Tonic: Solfa Notations. (music—fundamental vocal sounds)

These are seven:

(i) Ṣadja .. Sa.

(ii) Niṣāda .. ni.

(iii) Rṣabha .. ra.

(iv) Gāndhāra .. ga.

(v) Madhyama.. ma.

(vi) Pañcama .. pa.

(vii) Daivata .. dha.

These are tonal progressions into a pitch and regression.

(Solfa notations are:—

do (or) ut; re, mi, fa, sol, la and si or te).

13. Ātōdya: ‘Orchestral instruments’. These are of four kinds.

(i) Tatam Stringed instruments.

(ii) Avanaddham Drums—percussion.

(iii) Ghana Cymbals.

(iv) Suśira Wind instruments.

83—6. 81

14. Gānam. Singing. This consists of five types.

(1) Pravēśa: Commencement.

(2) Ākṣēpa: Sustaining as a sound.

(3) Niṣkrama Winding up.

(4) Prasādika expansion and spreading out.

(5) Antara (contained in).

These are always attuned to Dhruva tāla in time beats. (Rañga and Mandapa are the same).

15. Prakrti. Realistic Representation. This is of three types.

(i) The Superior,

(ii) The midium and

(iii) The ordinary.

16. Upacāra. Etiquette and courtesies.

This is two-fold. (i) Within and (ii) Without.

(i) Bāhya; without and (ii) Abhyantara; within.

17. Rañga. Stage (Mandapa).

This is of three types as described in chapter II.

Square, Oblong and Triangular.

This VII Chapter is very significant, as it analytically deals with the several subjects that comprise the whole of THEATRICS. These topics are dealt with including apocryphal interpolations for eg. prakrti, upacāra and Mandapa. The expatiation of each of these topics forms the complete thesis of Nāṭya Śāstra, its core and substance.

This Chapter is concluded by dealing with the first topic ‘rasa’ TASTE.

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CHAPTER VIII

RASA—GUSTIBUS

" De Gustibus non disputandum ".

(There can be no dispute with regard to TASTE).

1. Bharata expounds the theory of RASA, as contained in Sutra granthas. Sutra-treatises.

2. No meaning will transpire or proceed without the admixture of some rasa. Rasa emanates, arises and springs out of the combinations of (1) Vibhāva, (2) Anubhāva and (3) Vyabhicāri. In this connection an analogy is given for clearer understanding. It is even as several ingredients, roots, condiments and other substances mixed and seasoned together that give an edible taste. It is like a treacle mixed with other substances to make a cake which tastes well. Similarly several stable conditions, influenced by several emotions attain the status of rasa.

(i) Vibhāva: Thought, feeling and emotion.

(ii) Anubhāva: Physical manifestation of thought, feeling and emotion (vibhāva) either in words or actions i.e., body-cum-limb movement and gestures.

(iii) Vyabhicāri: See ante.

3. How is rasa tasted?

It is even as good and healthy people eat the edible prepared out of several condiments, and derive pleasure out of it. Analogous are the stable conditions and emotions modulated by speeches, poses and postures which produce different kinds of emotional expressions and which are so enjoyed by the onlookers, who are the elite and goodmen. They derive pleasure from the spectacle performed and produced by the expert actors.

The authoratative verses are:

VI,

yatha bahu dravya yutairvyanjanairbahu bhir-

yutam,

āsvāda yanti bhuñja na bhaktam bhakta vido

jānāh."

bhāvābhinayasambaddham sthāyibhāvam stha-

tho budhāḥ,

āsvādayanti manasā tasma nnāṭya rasāḥ smṛtah "

As experts in good taste of food swallow the comestibles made of different kinds of substances, even so do men swallow by their receptive minds the various expressions of the actor indicative of varied emotions, and enjoy. This pleasure-experience is called Nāṭya rasa. Thus the spectators become rasaite i.e. they have a gustatory experience.

4. The listeners put the next poser to Bharata, thuswise:

Is it that the emotions arise out of rasa or rasa out of emotions?

To this Bharata answered: " some experts consider that emotions and rasas act and react on one another. But I do not subscribe to this view.

The rasas spring out of expressional modulations.

VI 38

nānābhinaya sambaddhān bhāva yanti rasāni man,

yasmatasmada mī bhāvā vijñeyā nāṭya yokṛbhih "

As the taste—rasa is held to emanate (in the spectators) from the variegated emotional expressions and movements (of the actor) the gamut of emotional expressions have to be scanned and studied by Regisseurs of plays (Prayōktāh).

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VI 39

nānā dravyair bahu vidhair vyanjanam bhāv yate

yathā'

evam bhāvā bhāvā yanti rasā nabhinayaiḥ saha "

Even as a product of different condiments is palatably reli-

shed, so the bhāvas are pleasingly experienced by tasteful actions—

rasa-abhinaya.

The above explanations lead to the further inference that

there can not be any rasa, devoid of emotional expressions or vice-

versa. Abhinaya—action is a composition of emotions and rasa and

this secures the accomplishment—Siddhi.

Even as a tree grows out of a seed and bears flower and fruit,

so the rasas are like the germinating seed and the bhāvas are dependent

upon them.

VI 42

yathā bijādbhaved vṛkṣo vṛkṣāt puṣpam phalam yathā'

tathā mūlam rasāḥ sarve te bhya bhāvah vyavasthitāḥ"

Therefore the stable conditions are the indices of rasas. Bhāvas

are always impregnated with the essentials of rasa.

5. Originally only four rasas are recognised. Sṛngāra, Raudra,

Vīra and Bībhatsa. The travesty of Sṛngāra is Hāsya. Similarly

Raudra into Karuna, Vīra into Adbhuta and bībhatsa into Bhayā-

naka. The following are the colours that signify the eight rasa and

the presiding deities of each:

(1) Sṛngāra

Śyāma, Dark green or blue: Viṣṇu.

(2) Hāsya

Śveta: White: Pramatha ganās.

(3) Raudra

Rakta: Red: Rudra.

(4) Karuṇa

Kapota: Pigeon colour: Yama.

(5) Vīra

Gowra: Pale red: Mahendra.

(6) Adbhuta

Pīta: Yellow: Brahma.

(7) Bībhatsa

Nīla: Violet: Maha kāla.

(8) Bhayanaka

Kṛṣṇa: Black: Kāḷa Deva.

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CHAPTER IX

RASAS—TASTES

SR̥NGĀRA

This ‘ taste ’ springs out or emanates from the stable condi-

tions of pleasurable feelings in their exuberance. That which in

ordinary course of life, is pure and clean, agreeable to intellect and fit

for sacrifice, brilliant and good to look at, and is assimilated with the

idea of Sr̥ngāra—beautiful, is the state of Sthāyī Bhāva. One that

is gaudily and brilliantly dressed, is called—generally a sr̥ngāra

person, Moreover, the names of some persons intrinsically by

themselves will be suggestive of ‘ high birth ’, noble lineage and herit-

age, and excellent habits; so too the names of these rasas—tastes,

which are passim found in Nāṭya Śāstra. They are self-suggestive

in regard to their origin, mode and purpose, as though somebody

teaches us what they signify and mean. This Sr̥ngāra, purified as it

is, distilled, through ācāra—customary habits, is always pleasing

and captivating by its brilliance and other ornamentation. This

attaches to both sexes, being part of the very nature of high birth

and youth.

2. Sr̥ngāra has two foot-holds:

(i) Sambhoga

Meeting and Consummation.

(ii) Vipralambha

Separation and consequent agony.

(1) Sambhōga:

Emotional flowering of Sr̥ngāra sensations is produced in the

following milieu:

(i) Agreeable seasons.

(ii) Decoration with flower garlands.

(iii) Application of scents and unguent pastes.

(iv) Tiolette.

(v) Company of those desired.

(vi) Fine houses and beautiful apartments.

(vii) Visits to orchards and arbours.

(viii) Listening to good music.

(ix) Witnessing pleasant things.

(x) Dalliance leading to ecstatic joy.

The gesticulations must be nimble and agile. They must be of the eye, eye-brows and side glances. The speech must be pleasant and sweet. The above actions should never be overtaken by any of the sour fleeting feelings (vyabhicāri) like slothfulness, wrathfulness and dejection etc.

The milieu consisting of the display of the actions of the above pleasant features and conditions will be conducive to reach the ripened stable feeling known as Sthāyi bhāva, rati. When the actor represents or simulates the co-ordinating postures and actions and reaches the stable feeling, rati, then springs out in the spectator, the relish and flavour, taste, known as Śṛṅgāra rasa.

Vipralambha:

The actions in this state must display the following feelings and emotions.

Uneasiness, dejection, suspense, envy, exhaustion, drooping, expectation, sleep, deep slumber, dream, wakefulness, diseased state, madness, incoherence, dullness, stupor, death and the rest of the feelings of discomfort and ill-temper.

Śṛṅgāra is always considered to comprise of Sambhoga and vipralambha. The latter which always covers mercy and sympathy— Karuṇa, has ten sub-divisions as dealt with by the author of vysika sastra (Science of erotics).

Karuṇa:—mercy and sympathy arise in cases of imprecations, degradation, intricacy, separation from the dear ones, ambition, death, as also in states of deep anxiety, sorrow out of some consideration and attachment.

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Sṛngāra comprehends all feelings of Karuṇa also.

VI (Prose) :

"eva manyah karuno nyasca vipralambha iti". eva meṣa

sarva bhāva samyuktah sṛngāro bhavati"

Sṛngāra is essentially filled with pleasurable feelings and accompanied by effects of seasons, adornment with flowers, and liaison between lovers. Moreover it also arises when lovers visit arbours and orchards, and travel enjoying landscape.

These have to be displayed with beautiful actions of the eyes and smiling faces, pleasing words, by fortitude, pleasure and fine dressing. Exuberance of elation is the keynote.

(The feature of ‘rasa’ in this chapter will be better understood after re-reading it and after the next chapter on bhāva is perused. Both are the important components of the full concept of rasa).

3. Hāsya:—Buffoonery including wit, ridicule and foolery.

The basic stable condition is hāsa, laughter and merriment. This consists of counterfeiting and portraying the defects of others. This may be in dressing, ornamentation, craftiness, putting on conceited appearance, wavering, cunning nature, undignified conversation, betrayal of awkwardness and general drawbacks. These are displayed by the actions of nose, cheeks, expanded looks, making contorted and distorted actions, sweating, discolouration of face, drawing the attention of neighbours. laughinguproariously, keeing the palms at the waist.

The following fleeting emotions go to the aid of hāsya rasa:

(1) Avahiddha Dissimulation of internal feelings.

(2) Ālasya slothfulness.

(3) Tandri Laziness.

(4) Nidra Sleep.

(5) Svapna Dream.

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(6) Prabodha

Awakened state.

(7) Asūyā

Jealousy etc.

These feelings of Hāsa are of two kinds:

(1) Ātmasta

Subjective.

(2) Parasta

Objective.

If the performer himself laughs over his own action, it is subjective—ātmasta; it is objective if he makes others laugh—parasta.

VI (Prose) :

yada svayam hasati tadātma sthah,

yada tu param hāsa yati tadā parasthah

That is known as Hāsya Rasa where one is provoked to laughter on seeing unnatural dressing (viparīta alamkāra), queer conduct and habits, and peculiar names. One is also induced to laugh at the greotesque habits, speech, movements of the body and dress.

Laughter-emotion is found to manifest in six ways, having regard to the classes of persons, their status and circumstances.

(1) Smïta

Smile.

(2) Hasitam

Laughter.

(3) Vihasitam

Loud laughter.

(4) Upahasitam

Ridiculous laughter.

(5) Apahasitam

Unnecessary and impertinent laughter.

(6) Atïhasitam

Excessive laughter.

Smita (smile) and Hasitam (laughter) are found in the superior type of persons; similarly vihasitam (loud laughter) and upahasitam (ridiculous laughter) in the medium type and the last two varieties Apahasitam (unnecessary and impertinent laughter) and Atihasitam (excessive laughter) are found in the ordinary.

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In the Superior type:

1. Smita (smile): The manifestation of this feeling consists in expansion of the cheeks and eyes and elegant looks. The teeth are not exposed and the whole demeanour is grave enough.

2. Hasita (laughter). There will be slight expressive expansion of the eyes, face and cheeks. Closed teeth-line is slightly exposed.

In the medium type:

3. Vihasitam (loud laughter). Eyes and cheeks are slightly contracted. These actions are accompanied by sweet and agreeable voice. They are dependant on circumstances and time and change of hue on the face.

4. Upahasitam (ridiculous laughter). In this, the nostrils will be expanded, the looks are crooked, the heads of the shoulders are shrunk and contracted.

In the ordinary type:

5. Apahasitam unneccessary and impetuous laughter):

The laughter is out of place. Eyes are filled with tears. The heads of shoulders are shaken up.

6. Atihasitam (Excessive and uproarious laughter):

The eyes are tear-filled in excitement. Roaring voice is audible. The sides are held by hands and pressed down to overcome the outburst of laughter.

The contexts for the six varieties of laughter in the three types have to be created in literary works having due regard to the superior, medium and ordinary types of persons.

4. Karuna—Mercy and compassion.

This arises out of the stable conditions of Sōka, (sorrow on separation). The following are the feelings that aid the stable condition.

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Feelings that are consequent on (1) a curse, (2) distress, (3) fall or degradation, (4) bereavement, (5) separation from dear ones, (6) loss of wealth and prowess, (7) killing, (8) bondage, (9) casualty, (10) serious injury, (11) sorrow when re-united and (12) when one is killed. The above feelings are enacted by tears, crying, dryness, discolouration of the face, languid limbs, deep breathing, sobbing and trance.

The ancillary and fleeting feelings are:-agitated state, depression, moody and sorrowful condition, uneasiness, trepidation, confusion, swooning, wearisomeness, fear, low spirits, disease, dullness, lunacy, incoherence, trembling, slothfulness, death, violent shaking from top to toe, discolouration, tears and change of voice.

5. Raudra. (Terrific and frightful).

The taste has its basis in the stable condition (sthāyi) of Krodha—Anger, and it embodies the natural expressions of rākṣasas, titans, or men in high excitement. This is generally the penultimate stage for the outburst of a quarrel. This rasa is displayed by feelings of anger, attacking passions, despising, insulting, disgracing, uttering falsehoods, maligning, striking, violent dealing, harsh speech, contumely expressions, envy and the like.

The above congeries of feelings and expressions are manifest in the following actions:-

Beating, tearing away, teasing, cutting, giving blows, dragging, discharging missiles, damagingly hurting, shedding blood and the like. Further bloodshot eyes, sweating, knitting of the brows in anger, hindering and arresting, biting the lips, grinding of the teeth, bulging of cheeks, squeezing of hands, fingers and the like. The feelings underlying this emotion are extreme vigilance and alertness, excitement, trepidation, implacable anger, terrific appearance, haughtiness, wild looks, shuddering with anger, hair standing on end, and trembling voice.

Anger is taken for granted with some like the rakṣasas etc. Their very appearance like multiheadedness and handedness dis-

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hevelled hair, blood-shot and protruding eyeballs, fearful and black appearance are provocative. Even in their minions one can detect the qualities of militancy, belligerancy and quarrelsomeness.

More than all this, this rasa consists of, or emanates from, terrific voice, cruel and loud tones, use of weapons, and movements teeming with all kinds of terrific acts.

6. Vīra. Heroism and magnanimity:

This noble rasa emanates from the basic stable feeling of exhilaration of spirits (utsāhātmaka).

The feelings that aid the above in a complementary manner are alertness accompanied by constant attention and vigil, politeness, polity, strength, enterprising valour, boldness, dexterity, in excelsis.

They are exhibited by qualities of fortitude, determination, pride, tribulation, sternness, undue mercilessness, self-consciousness, sobriety, wakefulness and horripilation.

Mournful mood and betrayal of bewilderment are foreign to this Vīra rasa.

Further the feelings are displayed through steadiness, courage, pride, hilarity and exhilarating spirit. Valorous prowess, shown by use of words and indicative of contempt for the lowly are also features that contribute for the rasa.

7. Bhayānaka. Weakness in fright.

This is born out of the stable condition of fear. The same is exhibited through the feelings of grotesqueness and unpleasantness. It includes such expressions naturally made manifest on hearing ill-omened voices of foxes, shrieks of owls and allied sounds, that per se cause fear and a shudder. Entering empty and deserted houses and the thick of wild forests causes this feeling. Moreover the news of the destruction of the nearest and the incarceration of dear ones has the same effect. The above terror-stricken feelings are displayed by the trembling of hands and feet, unsteady looks, horripilation, discolouration of the face, change in the voice and the like.

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The fleeting feelings that are ancillary to the above are:

standing still, sweating, suspense, stupor, sinking, trepidation, stupid vacany, fear, incoherent babbling, death and general insensibility.

Moreover, Bhayānaka is well known to consist of the effects of wild voices, too much of placidness, witnessing a battle terrific, entering dark forests, vacant houses, hearing the news of transgression of the law of the King and command of the teacher.

The fear so caused by the above is displayed by the distortion of the body, face, looks, standing motionless, looking agitatedly, dried up demeanour, fluttering of the hearts and horripilation.

The expression of placidity which is generally the antithesis of frightened condition (because of its overbearing and involuntary nature) arises out of the same feelings and conditions but in placid state, the expression is mellow and soft. This fear-feeling is manifest in the actions of trembling hands and feet, motionlessness, still body, contracted action of the heart, dryness and hoarseness of the lips, cheeks and throat.

8. Bibhatsa. Revolting and loathsome.

The stable conditions out of which this taste arises are unpleasantness, unwelcome state, aversion, ignoble and ill-famed events, unclean and undesirable things, unsuitable sounds to the ear and grotesque scenes to the eye. Also the feelings like agitation, nauseating sensation produce this condition.

The same is displayed by the uneasiness of the body, distemper, distortion of face and nose, rubbing, sneezing, spitting, uneasy movements of the body and the like, twisting contortions of the face, eyes and nose (closing of the nostrils to ward off stink), pressing down the nose, bent head, looking down, hopping without reason and tripping of the foot for unknown causes.

9. Adbhuta. Wonderment.

The stable conditions out of which this taste arises are surprise on seeing a divine being, accomplishing cherished objects,

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visiting pleasure gardens, temples, large audiences, an aeroplane or any aerial or space vehicle, magic, sleight of hand, and things that happen out of the natural way.

The same are displayed by fully opening the eyes, looking as things aghast, horripilation due to excitement, tears of joy, sweating, pleasurableness, applaus, awarding presents, composing verses extempore, asking for an encore and exclamations, like Hah, Hah, continuously. Further the feelings are manifest in extreme pleasure uttering hysterical cries, fortitude, dullness and stupor, behaving as if lost in a grand spectacle.

10. It is agreed on all hands that the ninth rasa Śānta (Tranquility) was not one countenanced and recognised by Bharata. But later writers on Literary Ornamentation gave a place to it inspite of the controversy. But it is recognised as a rasa, for purposes of refuting its place as much. Its mention has come to stay. Some editions of B N S have wisely included the passages explaining this rasa on the firm ground of its expatiation by Abhinava Gupta pāda cārya, the Great Commentator of BNS.

Śānta. (Tranquility).

The stable feeling is Śama: placidity and pacification. This leads to the Finale: Liberation of the spirit—Mokṣa. This arises out of knowledge of the Ultimate Reality. Renunciation of things mundane, and purity of intention (thought, deed and word). The display of the above consists of Yama—self-control, Niyama—austerity, Adhyātma—Introspection, Ātma Dhyāna—self-realisation, Dhāraṇa—Receptivity, Upāsa—penance, Sarvabhūta daya—compassion towards all created beings, communion with the Higher Spirit and understanding or awareness.

The ancillary feelings and emotions are agitation, recollection, sternness, purification of the different classes of society, steadiness and horripilation.

Further, Śānta springs out from the complete control of the organs of sense and actions by taking a firm foothold in introspection

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and wishing the welfare of all animated beings. Even so when there

is the sublime feeling beyond the reach of weal and woe or hatred

and jealousy and looking on all beings with equality.

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CHAPTER X

BHĀVA-FEELINGS AND EMOTIONS

1. The discourse on ‘Bhāva’, feelings and emotions opens with the questions of the ‘listening’ pupils of Bharata.

(1) Bhāva: What is it? (2) What is it that tends to become Bhāva? (3) What are they going to become?

2. The answers are the synthesis and analysis of the subject of Bhāva.

The coordination of some essential ideas and feelings related to the theses of poesy and as interpreted by word, body and mind is Bhāva.

Verbal root is ‘Bhu’—To do. Bhavitam is conceived or made. Similarly Vāsitam—smelling. The meaning is—specialised.

It is well known in worldly experience that when we say such a thing is saturated with a particular scent or taste, we use the word Bhavita.

The idea is conceived and seasoned in the mind and through the word and action it is expressed for purposes of communication to others and this is Bhāva. Whatever idea or thing is suggested by the word Vibhāva or Anubhāva, in the actions followed by body, speech and mental feelings that is known and connotated to be the concept of Bhāva.

That is Bhāva where there is a combined effect of speech, body, facial expression and the natural instincts (in all actions) along with what is conceived in the mind of the poet—what he meant and intended to communicate.

3. Then the question arises, what is Vibhāvā?

Vibhāva is both the subject and object of knowledge. The idea, when well dressed and seasoned with the actions of speech, body and natural disposition, assumes the name of vibhāva. It is also the

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unit of knowing (vijñāta). It is called vibhāva because many ideas

are incident to the several actions of word and body. The specialised

process of knowing the idea and the actions of speech and body is

technically termed as Vibhāva.

4. Anubhāva.

The combined actions of body, mind and natural feelings

are realised and are manifested for easy comprehension and this is

known as the process of Anubhāva. Where an idea or a theme is con-

ceived and experienced in all its variations and ramifications by the

combined actions of speech and body, it is known as Avibhāva.

External manifestation of the concluded Vibhāva is Anubhāva.

The mere idea—bhāva, its ideation becomes perfect or com-

pleted, when coordinated with Vibhāva and Anubhāva i.e., when it

is well settled for comprehension it is Vibhāva, and when well percei-

ved and understood by experience, it is Anubhāva.

Anubhāvas and Vibhāvas are all within the experience of

everyman in the world and these accord to the course of worldly life.

5. There are three subdivisions of Bhāvas.

(1) Sthāyi—stable .8; (2) Sancāri or Vyabhicāri 33;

and (3) Sāttwaja or Sāttvika, involuntary and natural 8;

making a total of forty nine.

These are the indices of appreciation of the import of the

essence in poetic compositions. These in combination with the

ordinary qualities of nature give rise to what are known as Rasas.

VII. 12:

yōrdho hṛdaya samvādī tāsya bhavō rasōdbhāvah

Śarīram vyāpyate tena śuṣkam kāṣṭa mivāgnina "

That subjective quality which is in coordination or in corres-

pondence with the inner heart, its dormant empathetic response,

that state is the origin of Rasa—TASTE (a congeries of mental feelings

and emotions). It is like fire that inheres in the piece of timber.

It pervades the whole system of physical and intellectual make up.

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The question arises, if the so called Rasas are to spring out of a combined action of natural qualities along with the aforesaid forty nine Bhāvas, which inhere in poetic compositions, why then do the natural and stable conditions obtain the classification of Rasas as such.

The answer is given by citing an analogy. Just as hands, feet, abdomen and other limbs are common to all men, still among them attain the dignity of kingship on account of birth, habits, decorum, character, education, virtuosity and the like, so some among the people are, on account of their uncultured intellect become servants or followers.

Even so do Vibhāva, Anubhāva, Vyabhicāri feelings become dependent on Sthāyi Bhāvas, which ripen into a Rasa, when experienced by a spectator.

Sthāyi Bhāvas have attained the dignity of overlordship over others and similarly other Bhāvas attach themselves to these on account of the superiority of Sthāyi Bhāvas.

Sthāyi Bhāvas attain the dignity of Rasa; Vyabhicāri and other Bhāvas resemble the retinue.

Projection of the same idea is made through a simile. It is like a king accompanied by a large caparisoned retinue, who comes to be recognised as a king, to the exclusion of any other person in the congregation.

VII. 18.

yathā narāṇām nrpatih śiṣyānāmca yathā guruh.

evamhi sarva bhāvānām bhavah sthāyī mahāniha.

Even as a king is to his subjects, or a preceptor to his disciples, so is Sthāyi, superior to all other Bhāvas.

6. Sthāyi Bhāva. (i) Rati.

Consummation of joy and happiness.

It is even Ānanda personified. This is suffused with pleasure.

The accessory to the fleeting and contingent Vyabhicāri feelings are, seasons, flower garlands, scented pastes, jewellery, palatable dishes, apartments, pleasure resorts like arbours and total absence of unplea-santness.

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These delightful feelings are displayed in the following manner. Smiling face, sweet speeches and words, graceful,

charming movements of the eyebrows and glances.

The rasa of Ṣṛngāra arises out of the Sthāyībhāva of rati,

when there is the fulfilment of an object. It is displayed as indicated

above and with placid temperament.

VII. 8.

yathā narāṇām nṛpatih śiṣyāṇāmca yathā guruh

evam hi sarva bhāvānām bhāvah sthāyī mahānīhā

7. (2). Hāsa: (jocularity, merriment and hilarity).

This arises from mimicry in imitating others' actions, slight

tendency to cheat, practical joke, disconnected and incoherent talk

either wantonly or due to stupidity, impertinent forwardness, meddle-

someness, and perverse stupidity and oddity or liberty.

The same has to be displayed by following actions:-laughter

etc. (The six types having regard to the type of persons) Ch. VII

8. (3). Śōka: Sorrow consequent on separation.

This emanates from the following circumstances. Separa-

tion from dear ones, wealth and prosperity, life, freedom and distress.

The same is displayed by shedding tears, sobbing, wailing

in excess, discolouration, change of voice, dejection, drooping body,

falling on the ground, loud lamentation, deep heaving, dullness,

stupor, madness and death.

The crying (rudita) is of three kinds:-

(a) ānandaja; (b) ārtija; (c) īṛṣyāja.

Crying or shedding tears may be the consequence of extreme

pleasure, extreme distress or deep rooted envy.

(a) Ānandaja-harṣa: (Born of pleasure) :

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This is shedding tears (of joy) out of pleasure. (These are cool). It is manifest in the expansion of cheeks and temples, trickling down of tears, from the corners of the eyes, when a person remembers some past events,; horripilation. These are the outward signs.

(b) Ārtija (Born of distress and sorrow).

The tears are hot and tide out, out of pangs of sorrow. The lamentation is loud. There will be uneasy shaking of the body. One moves, but falls down and rises. Crying is usual.

(c) Īrṣyaja (Born out of jealousy).

This is the common feature with feminine and low roles when they are overtaken by distress and disappointment. This feeling is manifest in the actions of pouting out of lips, twisting of eye-brows and contortion of looks.

The feeling is controlled by the brave i.e., the superior and the medium types. But the ordinary burst out crying.

9. (4). Krōdha: Anger

This arises out of affront, effrontery, inflamed temper, opposition in quarrel, tendency to disputation, inconveniently cornered position and when found in hostile environment.

The same is displayed in the twisting of the nose, rolling up of eyes, biting of lips and bulging of the cheeks.

Krōdha is of five types:

(1) Ripuja

Caused by enemy or King.

(2) Guruja

Caused by the preceptor (when offended).

(3) Pranayaprabhāva

Arising out of discord in love.

(4) Bhrtyuja

Caused by a servant.

(5) Krtakah

Feigned.

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1. Ripuja:

When anger is provoked by the King or enemy, it may be in

an uncontrolled state, displayed with knitted eyebrows, wry face,

biting lips, twisting the hands and feet and looking often at one's

own shoulders.

2. Guruja:

The display of feelings; when a preceptor is offended it is

shown in the slight distortion of the face and looks, tearful eyes, wiping

out of sweat, excitement not clearly visible under the exercise of

self-control.

3. Pranayaprabhāva:

Anger against love is manifest in indisposition, paucity of

tears, side glances, knitting of brows, throb of lips and general dis-

pleasure.

4. Bhrtyuja:

When angry with a servant, it takes the form of sternness,

threatening with pointed finger, chastisement, widening of the eyes

and bad looks of many kinds.

5. Kr̥takah:

Feigned anger assumes the form of finding a cause for the

loss of temper, pervasion of uneasiness, and finding one's self at the

height of a heroic mood.

10. Utsāha: Exultation with energy.

This always betokens a noble mind and is never affected by

sorrow, is possessed of power, virtue, courage and prowess. The

display is by determination, courage, self-sacrifice, skill and magnani-

mity. It has to be demonstrated by being free from confusion and

show of confidence and tendencies of accomplishment and success.

Faultless behaviour is the key note of this feeling.

11. Bhaya: Timidity due to fear.

This generally appertains to women and ordinary characters.

This arises out of any transgression of duty due to the king and pre-

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ceptor, sight of ferocious, cruel and wild animals, entry into vacant

and deserted houses, forests, hills, caves and on the approach of ele-

phants and snakes. Furthe:, sunless days, cloudy nights, utter dark-

ness, hootings of owls and noises of other nocturnal beings cause this

feeling of fear. These feelings are manifest in actions of fluttering

of the heart, hands and legs, fixity of position, dry face, wetting of the

lips, sweating, general tremor, frightened state, eagerly looking

for rescue and help, running about amuck as though pulled by some

side-force and exclaiming for help.

Generally the fear-feeling arises out of depression and loss of

vitality, on account of transgressions made towards king or preceptor.

Terrible sounds and frightful sights also cause this. The tongue dries

up, and there is a general confusion set in the person. The person

maintains wild looks. There is generally languor and depression of

the body and limbs. The eyelids frequently tremble.

12. Jugupsa: Loathsome feeling; causing disgust.

This feeling is the characteristic feature of women and

ordinary characters. These are consequent on learning of unpleasant

things. Contraction of the body, spitting, wry face, heart-ache and

the like, are the actions that are to be exhibited. Further the nose is

covered and there may be trembling with fear.

13. Vismaya. Amazement:

Chiefly this feeling arises out of illusion, magic, by looking

at things of art like painting and sculpture, feats of surpassing skill

and strength, fine literary compositions and high scholarship. By

seeing these, one is amazed. The display of the above feelings con-

sists in distended eyes, looking with wide open eyes in surprise, knitting

of eye-brows—falling down, horripilation, waving of the head in

approbation and admiration and uttering exclamations of praise.

14. Vyabhicāri or Sancāri Bhāvas; (fleeting and incidental

feelings).

The question imprimis arises, why are these called Vyabhicāri

—the straying bhāvas. The verbal root CARA is movement. VI and

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ABHI are prefixes. These bhāvas essentially pervade and move about the RASAŚ. They are incidental and sometimes indifferent. They lead to the exhibition of several sensations relating to speech, body and natural conditions.

Hereinafter will be described the thirty three Vyabhicāri bhāvas.

15. (1). Nirveda: Agitation under pressure.

This feeling arises out of penury, impoverished condition, disease, disgrace, downcast state, contemptuous neglect, pulling down, anger, rancour, beating, bereavement, and philosophical bent of mind. The above feelings are displayed by women by crying aloud in distress, agitated heavings, abandon of limbs and other acts of helplessness. In men the eyes are filled with tears followed by drooping face and eyes, and sitting in yogic postures.

16. (2). Glāni: Depression of feelings.

This arises under the following conditions. Vomiting, moroseness, disease, austerity, observing religious regimen, starvation, uneasiness of mind, excess of sex-indulgence, surfeit of drinking, over exercise, long walks, thirst, hunger and loss of sleep. The above feelings are displayed by depression of voice, eyes, cheeks, and belly; slow and faltering gait, trembling and famished condition of the body, discolouration and general languor of limbs.

17. (3). Śanka: Dubious condition.

This essentially consists in dubiousness and it is peculiar to women and low people. It arises when one is caught in the act of purloining or arraigned of an offence and sinning by doing a prohibited act.

These are displayed by a frequent change of looks, covering the head, licking ones own lips, discolouration of the face, trembling, dried up lips and throat, sobbing and enfeebled voice with distortion.

Two types of Śanka are catalogued. Ātma samutha: Subjective and Para samutha: objective.

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The subjective-dubious condition is recognised by looks and

actions of trembling, down cast looks, looking sideways, heavy and

stubbed tongue and ash-coloured demeanour. The person is found

in suspense.

(The second type of dubiousness is not explained in the Text.)

18. (4). Asūya : Jealousy.

This feeling is the out-come of hatred arising out of many

wrongs done, opulence and happiness of others, intellectual superiority

and literary greatness in others.

The display of the above feelings occurs in pointing out the

defects of others in an assembly. “ tasyāsca pariṣadi dōṣa prakhyā-

pana,” by opposing and working against other’s excellences, possessing

a jealous eye, irsya cakṣuh, down cast face, knitting eyebrows, libelling

and maligning others.

19. (5). Mada : Lustful passion—also when inebriated.

It arises out of drinking intoxicating liquors. This consists

of three types:

(1) Taruna : Rising bloom in adoloscence.

(2) Madhyama: Mid-youth.

(3) Avakrsta : Ordinary (lowest).

An intoxicated person may keep on singing. Another cries,

yet another keeps on laughing. But another goes on abusing in harsh

and vulgar language. Still one may sleep on.

Persons possessing superior nature sleep away the condition.

The medium type of man sings or laughs.

The ordinary uses harsh and vulgar abuses and cries.

The intoxicated of the first taruṇa type keeps on a blooming

face, maintains a sweet voice, keeps a hilarious spirit, but is slightly

confused in speech. His movements consist in delicate and halting

steps.

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An apposite quotation from Chaucer is

"A dronke man

Wot well he hath an house

But not the way thither."

The medium type of man has the tripping foot and rolling

eyes, drooping and confused hands, has crooked and unsteady gait.

The ordinary type, loses consciousness and is unable to

walk, vomits and hiccups. He has a thick tongue, expectorates

out frequently and has a loathsome appearance.

On the stage i.e., while acting, the actions of the drunken

man are to be expressed as though he is in a superlative state of drunken-

ness and it must also be shown that his inebriation has disappeared.

The expert virtuoso in Nāṭya must perform the waning

away of the tipsy state by tremulation, fear, sorrow and joyfulness.

Just as sorrows are minimised by soothing words of pros-

pective prosperity and promise of great fortune, even so the effects of

intoxications are easily destroyed by the aforesaid special means in

repentance, regret, fear and hilarity.

20. (6). Śrama: Exhaustion, wearisomeness.

This feeling is the result of long walks, physical exercise and

servitude.

The display consists of massage of the body, heavy breathing,

relaxing the limbs, slow gait, throwing off the limbs in abandon,

contortions of the eyes, face and deep sighs.

21. (7). Ālāsya: Slothfulness: Languor.

This is generally seen in women and ordinary characters.

It arises out of sorrow, disease, pregnancy, surfeit of eating or even

starvation and inability to undertake any action.

The display is by show of disinclination to do work, confine-

ment in bed, reclining, idly sitting, sleeping and general laziness.

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22. (8). Dainyam: Meekness, servility.

This arises out of some misfortune, mental distress and anxiety and the like.

It is displayed by lack of fortitude, disease of the head, heaviness of the body, absent mindedness, uncleanliness and discarding all good habits.

23. (9). Cinta: Sorrow, cogitation.

This arises out of loss of affluence, power, things dear, and impoverishness. It is always a dubious state of mind.

This is displayed by deep sighing, uneasiness, moodiness, downcast head, brooding over, emaciation, vacancy in heart and mind.

24. (10). Moha: Infatuation.

It arises out of acts of VIS MAJOR, excessive sorrow, disease, fear, some unknowable and irrepressible pressure, recollection of past acts of enmity, meeting highway robbers unawares, severe threat, when one is at bay, stupefaction of all the limbs and when disabled from retaliation.

The display is by loss of consciousness, violent reeling, loss of reputation and loss of sight.

25. (11). Smṛti: Recollection: memory.

Recollection of ideations of pleasurable and painful incidents of the past.

Smṛti arises out of violations to normal health, disturbance of night-sleep, recurrence of similar events and similar instances, morose condition, gloomy habits. All suppressed inhibitions are roused and they flow out in outbursts. They become alive in wakeful awareness.

The display of them consists in shaking of the head, looking up with pupils raised and lowering of eyebrows. Experts in the art

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of acting show it as though this remembrance arose from a constant

habit of one's own natural propensity. The same may arise out of

seeing or hearing similar associated objects, scenes and sounds. This

is accompanied by nodding of the head, shaking the same and lower-

ing of brows.

26. (12). Dhṛti. Fortitude.

This arises out of heroism, searching wisdom, listening to

learn, opulence, cleanliness, good habits, respect to teachers, surfeit of

pleasure, realisation of cherished objects, material gain, dalliance and

sport. It must also be free from fear, sorrow, gloominess and the

like.

The same is displayed in a manner as though one is actually

enjoying what is achieved or realised by expressing regret when

things could not be accomplished or when events slip away penulti-

mately without fruition. Further the display may be by enjoyment

of objects of the five senses, sound, touch, form, taste and smell. No

sorrowful mood should be betrayed.

27. (13). Vṛida: Bashfulness' shame.

This essentially consists of doing something prohibitive like

transgressing the mandates of elders, showing disrespect and ignoring

the presence of elders, slighting persons and going behind avowed

promises. The person feels shy, humiliated and sorry for the flagrant

violation.

The display is by covering up the face in shame. Scratch-

ing the ground with toes, removing the nails frequently and touching

and twisting the hem of the garment.

28. (14). Capalata: Fickleness.

This arises from excessive attachment, hatred, enviousness,

ill-feeling, jealousy, occurrence of unfavourable events. A person of

waywardness embarks on some action without bestowing proper

thought and goes on inflicting pain by beating as a consequence of

want of well conceived forethought.

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The display is by using hard words and threats. Beating,

belabouring and other irritated actions.

29. (15). Harṣa: Hilarity.

This feeling is a result of joy, consequent on accomplishing

the desired object, meeting dear friends, contentment, and thankfulness

shown to God, guru, king and husband, obtaining wealth, food and

clothing. Enjoyable pleasures are also the signs of harṣa.

The display consists of flashing eyes, expanded countenance,

pleasant words, nice conversation, embracing, horripilation and tears

of joy trickling.

30. (16). Āvega: Impetuosity.

The following eventful circumstances give cause to this feel-

ing. Torrential rain and tempestuous weather, sudden accident,

the elephant running amuck, news of extreme woe or weal, natural

depression and afflictation, meteor-striking, fall and consequent loud

noice, eclipses of sun and moon and deliberate declarations by the

enemy.

Āvega feeling has an eight fold classification in its display:

1. The feeling, if due to tempestuous winds, is displayed

by covering the head, wiping out eyes, holding the

clothes closely and walking quickly.

2. While raining, the actions are rubbing off the body to

drench off the water, running away, looking out for

cover or shelter.

3. When fire breaks out, display is to close the eyes as if

the smoke has spread into them; contraction of the

body to avoid touch of fire, shaking to avoid fire

to jump over or crossing it deftly to avoid it.

4. When a wild elephant runs amuck, the feeling is displa-

yed by walking about fast, avoiding the shifting and

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overtaking movements. Stupefaction out of fear, trembling, looking back in terror.

5. On hearing the news of excessive weal, the display consists of welcoming, embracing, gifting away clothes and jewels, tears of joy and horripilation.

6. On hearing news of woe, the display is by sudden falling down on the ground, rolling over irregularly, running wildly, crying and shrieking.

7. When struck by sorrow, the display is by wearing shield and armour, getting on an elephant, chariot or horse, after due deliberation.

8. When hit by meteors or threatened by lightning, the display is by prostration of all the limbs, turning pale, tragic feelings and consternation.

9. (1). Jaḍata: Stupor, listlessness.

This arises out of a nonchalant uninterestedness in everything. A type of inertia dormantily possessed. It is caused on hearing and seeing unpleasant or pleasant things, by disease and the like.

The same is displayed by irresponsive, speechless disinclination to converse or talk, dullness, keeping silent, looking steady with fixed eyelids in expectation of a remote and far fetched thing and absent-mindedness.

The same is displayed by irresponsive speechlessness, disinclination to converse or talk, dullness, keeping silent, looking steady with fixed eyelids in expectation of a remote and far fetched thing and absent mindedness. Standing still and blank headed vacancy are also the actions for this feeling. One appears as if overpowered by something else, and subjected to a dominant influence.

32. (18). Garva: Pride and conceitedness and vainglorious attitude.

This is an outcome of wealth, high birth, handsome or beautiful appearance, youth, literary excellence and acquisition of the above.

110

The same is displayed by being jealous of others, belittling

others, causing effrontery, remaining non-responsive, non-conversant,

looking on ones own mien and physique. It is also evident by out-

bursts of surprising laughter and laughing out in ridicule, using hard

and cruel language, showing disrespect to the Master and inter-

rupting others' conversation in a supercilious attitude.

33. (19). Viṣāda: Dejection, helplessness.

Arises out of incapacity to do any work, or to tide over some

difficulty, an act of God, visitation of misfortune. It may arise while

one is in a resigned attitude due to inability to complete anything,

when caught red-handed while stealing, due to a seditious act done

against the king.

The display consists in seeking for help, trying to get out

of difficulty, devising some means to avoid an event, exerting to find

some means to get out, making effort to avoid difficulties and feeling

uneasy in mind. With the superior and medium type of persons,

the display is by deep sighs. With the ordinary, the tendency is to

run away, putting on empty looks, dryness of the face, licking and

wetting the corners of the lips, general feeling of dullness and sobbing.

34. (20). Autsukyam: Deep expectation.

This arises out of recollection, separation from dear ones,

and meeting dear ones.

The display can be made by deep and long sighs, downcast

eyes, moodiness, dull sleepiness, inalertness and desire to go to sleep

at unusual hours.

35. (21). Nidrā: Sleep.

This arises out of weakness, wearisomeness, exhaustion,

passionate state, laziness, gluttonous eating and continued awakened

state.

The display is by restlessness, exhaustion and heaviness of

body, rolling of the eyes, stretching out limbs, dullness, deep breaths,

dejected body and closed eyes, massaging the body and yawning.

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36. (22). Apasmāra (apasmṛta): Incoherence and tipsy talk.

This arises out of the following: when possessed by a Diety,

Yakṣa, Nāga, Brahma rākṣasa, Bhūta, Preta, Piśāca, or when memory

is possessed of the above. Also this feeling is produced when looking

at filth and while living in deserted houses. Uncleanliness, sudden

illness or misfortune produce this feeling.

The display of the above consists of biting the lips (one's

own) throbbing, deep sighs, excessive shaking, running away, sweat-

ing, stupor, frothing at the mouth, licking ones own tongue, suddenly

falling on the ground, suddenly rising from sleep in half-wakefulness.

37. (23). Suptam: Deep Sleep.

This state is a variant of sleep. Subjugation of every activity

of the sense organs is found in this state of sleep. This is observed

when one is in stupor, lying prostrate on the ground and stretching

one's self out in complete abandon.

The display is by snoring in sleep, weakened state of the

limbs and body, relaxation, closing of eyes, suspension of all activity

of all the sense organs, dreaming, talking during dreamy state, deep

inhaling and exhaling and general stupor of limbs.

38. (24). Vibodha: Wakefulness: Awakened state.

This arises out of the digestion of the last meal, disturbance

to sleep and dreamy condition, shrill sounds, acute touch and hear-

ing of noises.

The display is by yawning, rubbing the eyes with palms or

fingures, getting out of the bed and the like.

39. (25). Amaṛṣa: Undeserving compassion and intolerence.

This arises when one is belittled or put to shame because of

his strong physique, scholarship and opulence. This also arises in

the case of people who are disgraced, or thrown down (pugilistic

fight or in a wrestling bout) in a public assembly, by those who possess

profound learning, heroism and strength and who are set up by other

people.

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The display is by shaking of the head, profuse sweating,

moody with a down cast head, brooding over the defeat earned,

looking up for help and devising means of retaliation. Also by

making efforts with perseverance and shaking the head violently.

40. (26). Avahiddha: Dissimulation, ornate concealment of

passions.

It essentially consists in suppressing the real internal condi-

tions of man. It arises from shyness, timidity, fear of defeat met

undeservingly, apprehension of loss of honour and crooked mentality.

The same is displayed by irrelevant talk and keeping on

avoiding-looks, disturbing a narration, assuming of courage, main-

taining a demeanour of unnoticeableness and passing undignified

remarks.

41. (27). Ugrata: Ferocity' ferocious anger.

This sprouts up when catching one in a cruel act, when

one is disloyal, commits a heinous act against the state and when

one talks nonsense.

The display is by killing, binding with gyves, beating,

rebuking, chastisement and torturing.

42. (28). Mati: Intelligence and understanding.

This arises out of deep study of wisdom-lore, arguing pros

and cons and dialectics.

The same is displayed by exposition of subjects to be learnt

by the disciples; elucidation of problems, commenting on recondite

texts.

43. (29). Vyādhi: Disease, imbalance in health.

It arises out of disorderly interaction of windiness, bilious-

ness and congestion of the lungs. The result is fever. It is an indi-

cation of imbalance in internal health. This fever may be due either

to extreme heat or internal cold.

83—8

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FEVER WITH EXTREME HEAT : is displayed by thro-

wing the limbs in listlessness, desire to roll on the ground, rubbing

with cold water, avid eagerness for cold appliances, dryness of

face, restlessness and pulling up the limbs.

FEVER DUE TO INTERNAL COLD : is exhibited by

excessive shaking, throwing out the limbs or contraction of the same,

desire to have warmth, horripilation, biting the teeth, rounding

the jaws, curving the nose, or contorting and twitching it, dryness of

face, feeling helpless and miserable and lamentation.

Other diseases can be displayed by wry face, dullness of

body, drooping looks, deep breaths, unbearablness, moaning and

shaking.

44 (30). Unmāda: Madness.

It arises out of separation from dear ones, loss of opulence

and wealth, causing bodily pain by rude shocks to the body. Inflam-

mation, excess action of windiness, billiousness and phelgmatic con-

dition of the body.

This is displayed by laughing without any ostensible cause

or reason, crying likewise, by being dragged by others, incoherent

and irrelevant chatter, lying down, sitting, getting up, running away,

dancing and singing, smearing the body with ashes or dust. The

makeup may consist of dressing with grass, decorating with usedup

and discarded garlands, wearing torn clothes, carrying pots and skulls,

generally erratic and fitful condition.

45. (31). Maraṇa: Death.

This arises in two ways: (1) by disease and (2) by accident

or sudden shock.

DEATH BY DISEASE : this is caused by the incurable

turn or development of colic pains, liver, intestinal functional dete-

rioration, by cancers, boils and by epidemic diseases.

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Death by accident occurs by missiles, snake-bite, drinking

poison, dog-bite, by elephants, horses, chariots, animals or other

quadrupeds, fall from conveyances and general destruction.

The display of death by disease, consists in a down cast body,

throwing out of limbs, drooping limbs, closure of eyes, hiccups, deep

breaths, not noticing people that are about him, indistinct speech

and incoherence of utterance.

DEATH BY ACCIDENT: The display is in cases of in-

jury by weapons, snake-bite, drinking of poison, fall from elephants,

and the like, consists of shaking and struggling violently when poison

is the cause, the display is by dry mouth, trembling, excessive

thirst, hiccups, froth in mouth, drooping of shoulders, dullness and

death.

There will be complete exhaustion, emaciation, absence of

vitality and finally cessation of life.

46. (32). Trāsa: Extremely puzzled (due to fear).

This feeling arises out of the striking of lightning, meteor or

thunderbolt, loud reports made by clouds and big wild animals.

The display consists in the contraction of the body, excessive

trembling, shuddering, stupefaction, horripilation, faltering voice

and incoherent and feeble talk.

47. (33). Vitarka: Suspense and extreme doubting.

This arises out of discussion about doubtful matters, or

consequential and mutually discrepant subject, consideration of

contraries.

The display consists of several enquiries, catechisms, deter-

mination, consultations and reservations. Downcast head and

drooping eyebrows and shaking of the head are the physical actions to

be displayed.

These thirty-three Vyabhicāri bhāvas have to be acted and

displayed with reference to place, time and conditions, also must

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correlate to what transpires out of one's own mind and in others,

must also have a bearing upon the status of the role or character,

high, medium or ordinary, must also have a bearing on the sex of the

role and in all it must be regulated by the actor's own initiative and

innate genius.

48. Sāttvika or Satvaja feelings are inborn, involuntary,

natural emotions and these have their birth in the mind. It is well

illustrated from one's own experience in day to day life. When news

of death is heard, Sāttvika bhāvas manifest themselves in the form

of tears, discolouration and swooning. There may not be any volition

on the part of the listener. The feelings involuntarily manifest them-

selves, similarly the other emotional consequences like horripilation,

sweating, tremor, swooning, distortion of voice, motionlessness,

change of colour and tears.

But these have to be portrayed by the actor on the stage

without himself involving in the process of emotional implications.

For this, the actor maintains a tranquil mind and intellectually

identifies himself with the role in the particular context of the fable

depicted. These are known as samāhitac manastat and tadātmya,

i.e., intellectually entering into the “other mind” (of the role dis-

played) and all this emotionally in a detached manner.

This portraiture which is an imitation of the natural feelings,

rouse in the spectators, reciprocal feelings and consequent Rasa.

The oft repeated question is posed in this context.

"To denominate some feelings as sāttvika, i.e., natural

emotions that are involuntary and inborn, are you to be understood

as saying that the other emotions (Vyabhicāri) are displayed without

the demonstration by volition of the self (of the actor)?

The answer is fashioned in the following manner:

'Satva' means arising out of the mind. It is therefore

laid down that satva condition arises out of such com-

posure and equanimity of the mind and is secured

when the mind is well balanced in sobriety.

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The actor detached as he is, mentally superimposes his self

over the role he is to portray and display.

The actor by his expertise in acting without victimising

himself into the Sāttvika bhāva (involuntary emotion) displays,

parodies, or imitates the Sāttvika states of the role in the particular Sāttvika

contests, and the actor is known to have performed the Sāttvika

abhinaya. When this is performed, the spectators that witness it

become rasaite or rasa-possessed.

Theatric display is thoroughly an imitation of the feelings and

emotions that pervade the lives of beings. These actions, be they

sorrowful or joyful, have to be depicted by the actor without himself

partaking in them, but by representing them and this he can do by

samāhita manastat with an equanimity of the mind, and this acting

is to be known as Sāttvika abhinaya—gesticulations projected out

by the mind (satva) in its poised state.

(If the actor himself feels the role, like the spectator or

reader of a work of art, he is committing the blunder of travesty in

depiction. His virtuosity consists in keeping a poised mind and

intellectually re-presenting the involuntary emotions of the ‘other

mind ’ [tadātmya) of the role he is displaying or re-presenting).

Appositely is quoted the observation of Beryl de Zoete in

her ‘The other mind ’. pages 12 and 13.

" In all forms of dance (display or roles) I believe it is possible

and indeed essential to achieve that transformation

of the body into an instrument for the expression of

something beyond itself and beyond the scope of its

ordinary expressive capacity without which no danc-

ing is really interesting."

49. The Sāttvika bhāvas are eight-fold:

(a) Sthambha Stupefaction.

(b) Sveda Sweating.

(c) Romānca Horrpilation.

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(d) Svarabheda

Change in voice.

(e) Vepathu

Trembling.

(f) Vaivarṇya

Discolouration.

(g) Aśru

Tears.

(h) Praḷaya

Death.

(a) Sthambha (Stupefaction) : arises out of pleasure, fear, disease, astonishment, distress, revengeful retaliation.

The display consists in irresponsive condition, unconsciousness, standing still, in not moving or quivering, steadiness, empty and bland appearance, and depressed frame of mind.

(b) Sveda (sweating) : This arises out of anger, rage, fear, pleasure, shame and grief.

It is displayed by taking up a fan and waving it to ward off stuffiness, removing sweat by the fingers or cloth, expression of greed for fresh air and frequent horripilation.

(c) Romāñca (horripilation) : arises by touch, fear, cold, pleasure, anger and disease. The display is by change in voice, faltering voice, trembling and in violent upheaval of the body.

(d) Svarabheda (change in voice) : This is the result of fear, pleasure, anger, old age, excess of heat, disease and lustfulness. The display is by tremulousness.

(e) Vepathu (trembling) : Is consequent on cold atmosphere, fear, pleasure, anger, and old age.

(f) Vaivarṇya (discolouration) : Arises out of cold, anger, fear, exhaustion, disease, wearisomeness and excess of heat.

The display is perceived in change in the facial hue and flutter of the pulse. This action has to be done with great effort and practice. It is also not easy of performance.

(g) Aśru (tears) : Arise out of extreme pleasure, anger, smoke, collyrium (eye-salve), yawning, fear, distress, winkless look,

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cold and disease. The display is by shedding tears and wiping them frequently.

(h) Praḷaya (death): This is the result of exhaustion, swooning, lustfulness, sleep, excessive shock and infatuation.

The display is the show of actionlessness, unnoticeable breathing, lying prostrate on the ground.

Thus forty-nine bhāvas have been enumerated in extenso. The BNS text also categorises the various bhāvas out of the forty-nine, which may tend to produce the various rasas.

50. For Śṛngāra rasa.

Except the bhāvas like Ālasya, (slothfulness) Ugra (ferocity), Jugupsa (loathsomeness), the rest of the forty-six may be conducive to produce the pre-eminent Śṛngāra rasa. These severally in combination in several contexts go to enhance the Śṛngāra effect.

For Hāsya rasa.

Glāni (general depression), Śanka (doubtfulness), Asūya (envy), Śrama (weariness), Capalata (unsteadiness), Suptam (sleep or feigning sleep). These bhāvas enhance the rasa.

For Karuṇa rasa.

Nirveda (agitation), Cinta (moroseness), Dainya (helplessness), Glāni (depression), Aśru (tears), Jaḍata (dullness), Maraṇa (death), Vyādhi (disease), produce this rasa.

For Roudra rasa.

Garva (haughtiness), Asūya (envy),Mada (lustfulness),Utsāha (buoyancy of spirit), Āvega (impetuosity), Amarṣa (deep rooted anger), Krodha (anger), Capalata (unsteadiness), Ugrata (ferocity) are conducive to the emanation of this rasa.

Vira rasa.

Asammoha (free from all bewilderment), Utsāha (zeal), Bhayānak a (fear), Āvega (impetuosity), Harṣa (joy), Mati (steady mind),

Ugratvam (ferocity), Amarṣa (deep rooted anger), Mada (ardent passion), Romānca (horripilation), Svarabheda (change of voice), Krodha (anger), Asūya (envy), Dhṛiti (fortitude), Garva (pride), Vītarka (suspense).

Bhayānaka rasa.

Vepathu (tremor), Svarabheda, (change of voice), Romānca (horripilation), Stambha (steadiness), Maraṇa (death), Sveda (sweating), Vaivarṇya (discolouration).

Bibhatsa rasa: Revolting.

Apasmāra (incoherent madness), Unmāda (insanity), Viṣāda (tragic sorrow), Mada (lustfulness), Mṛtyu (death), Vyādhi (disease), Bhaya (fear).

Adbhuta rasa.

Stambha (steadiness), Sveda (sweating), Moha (infatuation), Romānca (horripilation), Vismaya (wonderment), Āvega (impetuousness), Jaḍata (dullness), Harṣa (exhilaration), Mūrcha (swooning).

The players must be conversant with all these and other sāttvika bhāvas, which will be appurtenant to the action for the purpose of producing the desired rasa.

From the point of view of stage action there is no literary work which is confined to one rasa. Several Vyabhicāris go to attain the Sthāyi bhāva—state, and when this is so simulated by the actor, the corresponding rasa is produced in the responsive spectator (Sahrdaya). The actor must display the Sthāyi emotion in exuberance long with the Sāttvika feelings, otherwise, the feelings will remain in the state of Sancāri or fleeting. The performance will be unsteady. The expert Danseur or Dansuese must know the Sāttvika abhinaya in combination with the other bhāvas to produce the desired rasa.

What is claimed as Absolute Beauty is an impossibility; but what are called beautiful things flourish, relatively by discerning certain excellence in anything.

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Sthāyi, Sattva and Vyabhicāris are replete with meaning in varied matters and ideas.

The same are to be handled by adepts in expert acting, for the flowering rasas in their works of art, after the fashion of plucking flowers (without destroying or damaging the tree).

Whoever masters these rasas and bhāvas attains the highest perfection.

CHAPTER XI

GESTICULATIONS

1. The previous chapters on Rasa and Bhāva were dealt with subjectively. Now onwards, objective representations of the ideas to be displayed will be dealt with. The poses of the body, attitudes of several limbs, positions of the legs, and movements of feet, comprise the compendious title Anga Abhinaya, Gesticulation, i.e. several movements of the various limbs besides the representation of psycho-logical feelings.

2. What is Abhinaya? How is it conducive to the attainment of Siddhi—Accomplishment.

The word Abhi is a prefix to the verbal root " ñi " which means 'to make it reach' or to realise or to make one realise or cognise. Abhi—towards Ñi—realise 'to get at' when one vowel ' i ' in abhi follows another ' i ' in ni it becomes naya. The word Abhinaya is compounded by crasis sandhi formation. This has to be understood as the word connoting the import of the root ñi.

The verbal root ' ñi ' with Abhi prefaced to it, also, indicates " going towards " or approaching. In so far as dramatic action leads towards understanding (by the audience), it is known as Abhi-naya. " Abhinaya "—connotes the means by which several states of feelings and several ideas along with several divisions and sub-divisions are comprised in (to be communicated).

3. The Abhinaya in play (dance and drama) is essentially of four kinds. But different modes and expressions of the play-production are also comprised under the name.

(1) Āngika action of limbs.

(2) Vācika action of speech.

(3) Sāttvika action that is natural.

(4) Āhārya action with the aid of costume and make up.

Of the above, Sāttvika has already been detailed.

4. Angābhinaya. Action of the limbs.

The principal divisions are:

(1) Śarira (of the body).

(2) Mukhaja (facial).

(3) Cēṣṭa. (resultant actions of movements).

VIII. 9

caturvidhaschaisa bhāvet-nāṭya syād abhinaya dvijah/

aneka bheda bahulam NĀṬYA—maśmin pratistitam//

Each of the above group of actions comprises the co-ordinating actions of several limbs.

The main limb actions are divided into six parts:

(1) Śira (head)

(2) Hasta (hand)

(3) Kaṭi (waist)

(4) Vakṣa (chest) (urah)

(5) Pārśva (sides)

(6) Pāda (legs)

Further, Śira actions always go with coordinating actions of its sub-limbs like:

(i) Nētra (eyes)

(ii) Bhṛ (eye brows)

(iii) Nāsa (nose)

(iv) Adhara (lower lip)

(v) Kapola (cheeks)

(vi) Cibuka (chin)

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The actors must be conversant with the particular main division i.e. whether the actions pertaining to that limb or sub-limb for purposes of re-presentation in dance or play, and also wherein the essence of action originates. The actors must be proficient in this knowledge.

The limb action is known as Śāakha—a heading or title and that which suggests the action is known as Añkura (the seed or the sprout).

All dance centres round Angahāra and Karaṇa.

5. Head actions.

Thirteen actions of the Head are enumerated, defined and explained as to their application:

(1) Ākampitam (full shake), (2) Kampitam (repeated shaking), (3) Dhūtam (slowly breathing out while moving the head), (4) Vidhūtam (moving quickly), (5) Parivā-hitam (sideward movement), (6) Ādhūtam (aslant), (7) Avadhutam (lowering), (8) Ancitam (side-bent), (9) Ni-hancitam (gracefully veiled), (10) Paravṛttam (jerking), (11) Utksiptam (face to face), (12) Adhōgatam (hung down), (13) Lōlitam (spinning round).

1. Ākampitam. (full shake): The head is slowly raised and lowered in an unshaken manner. The action is indicative of: suggestion, acquisition, perception, understanding of what another person says, questioning in ordinary conversation, placing something while thinking, calling one.

2. Kampitam: Raising and lowering of the head with greater frequency. The action indicates, slight anger, doubt, threatening, expression of going beyond the question.

3. Dhūtam: The head is moved up when slowly breathing out. Indications are: not wanted, sorrow, wonder, faith, looking at sides and at vacancy, objection, rejection.

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4. Vidhūtam: Quick action of Dhūtam. The action signifies catching cold, smitten by fear, fright, feverishness, slightly drunken state.

5. Parivāhitam: The Head is moved from side to side. The display means, accomplishment of something, surprise, pleasure, remembering, slight irritation, sorrow, lovely dalliance (vihara), sportiveness.

6. Ādhūtam: The head is occasionally lifted up in a slanting way. The uses of this action signify, pride, indication of internal desire, to look at things sideways in self conceit.

7. Avadhūtam: The head is lowered down. The display means, message, calling, welcome, wavering in talk, and suggestiveness.

8. Ancitam: The head is bent slightly to the side. The indications are illness, swooning, intoxicated state, sorrowful condition, contemplative state (resting the cheek on the palm).

9. Nihāncitam: This is a peculiar and graceful feminine action, consisting of lifting up the hem of the cloth and holding it to screen the face and slightly bending the eyebrows. These signify pride, self-conceit and sportiveness. These are generally the displayable actions of certain moods of heroines (Nāyikas)

Bibboka (a type of Nāyika) : affectation of indifference.

Kilikimcita: cries in joy.

Mottāyita: silent, involuntary expression of affection towards an absent lover.

Kuttamita: affected repulsion shown by lovers. Affected endearments and caresses.

Sthambamāna: stupefaction.

This Nihāncita pose of the head could be gracefully employed to signify feelings above specified by the feminine roles in apposite contexts.

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10. Paravṛttam: Consists in rejection or refusal by a contemptuous jerk of the head. Face is turned away and the look is turned towards the back. This signifies: rejection, contemptuously warding off.

11. Utkṣiptam: Head is lifted and kept steady and straight. The uses are: looking at the divine, or looking in awe at great things.

12. Adhōgatam: The head is hung down. The display signifies, expression of modesty, shyness, bowing down and sorrow.

13. Lolitam: The head is spun round and round. The indication is, epileptic fits, disease, lustfulness, devil, possession, sleep and the like.

The B.N.S. describes the following as a residuary action of the head when the head is kept naturally erect in an unaffected attitude. It is known as Prakṛta (Natural). This pose is assumed to indicate auspiciousness while studying under a master, while in penance and when victory is expressed.

B.N.S. further affirms that these actions1 are many and more. The actors must be vigilant enough to gather from worldly experience, the several other attitudes of the Head, and display the same according to time, place, circumstance and the usual course of life.

VIII. 39.

ebhonyē bahavō bhēda lokābhinaya samsrayāh /

teca lokasvabhāvena prayoktvyah prayoktṛbhih //

CHAPTER XII

GLANCES—LOOKS DR̥ṢṬIS

A blind dancer is inconceivable. This conclusion is emphasised, having regard to the important function " Glance " plays in the suite of limb actions. The vital and vibrant action is of the eyes—their looks. They focus and emit the contents of the mind. The ideas to be conveyed are gracefully exhibited through the looks of the figuranti. The looks are always pregnant with thoughts, ideas, feelings and emotions. Unless the glances are surcharged with the particular emotion—occupying the minds, they are incomplete. The ancient authority classified the glances, in the manner of the bhāvas and rasa one can venture to say the glance actions are the synonyms of feelings.

There are eight rasa-dr̥ṣṭis—Glances of Tastes and an equal number of Sthāyi dr̥ṣṭis. The Sancāri dr̥ṣṭis are twenty. In fine, thirty six glances are dealt with in the B.N.S.

(1) Kāṇta Amiable.

(2) Bhayānaka Frightful.

(3) Hāsya Comical.

(4) Karuṇa Pathetic.

(5) Adbhuta Wonder.

(6) Roudri Ferocious.

(7) Vīra Heroic.

(8) Bībhatsa Loathsome.

The Sthāyi dr̥ṣṭis—Stable glances (8) :

1 Snigdha (Erotically friendly), 2 Hṛṣṭa (Merry), 3 Dīna (Piteous) 4 Kr̥ddha (Furious), 5 Dr̥pta (Proud), 6 Bhayānaka (Fearful), 7 Jugupsita (Nauseating), 8 Vismita (Amazed).

Sancāri dr̥ṣṭis—fleeting glances :

1 Sunya (Vacant), 2 Malina (Dirty), 3 Śrānta (Worn out), 4 Lajjā (Abashed), 5 Glāni (Famished), 6 Sankita (Doubt),

83—9.

7 Viṣanna (Sorrowful), 8 Mukuḷa (Closed like a bud),

9 Kuncita (Bent down), 10 Abhitapta (Warmed or Heated)

11 Jihma (Crooked), 12 Salalita (Graceful), 13 Vitarkita,

(discerning), 14 Ardha Mukula (Half closed), 15 Vibh-

rānta (wonder struck), 16 Vipluat (flooded), 17 Ākekara

(Partly shut), 18 Vikośa (Fully open and out of the sheath),

19 Tṛṣṭa (Frightened). 20 Madira (Inebriated).

A perusal at a glance of the above list will clearly show that all

these ‘Glances’ are meaningful and doubtless they convey the

vitality of the feelings to be expressed. The Glances are the most

important actions.

Rasa Glances 8:

1 Kānta (Amiable): The looks have their origin in pleasur-

able and amiable feelings. The display consists in looking side-ways

with a slight-drop of the eyelids.

These are ripe in Śṛṅgāra rasa, as these are meant for it.

2 Bhayānaka (Frightful): The eyelids are fully open and

the sight is fixed. Eyeballs roll about. This look is indicative of fear.

3 Hāsya (Comical): The eyelids are slightly cast down

associated with a feeling of bewilderment. This is intended to dis-

play cunningness and deception.

4 Karuṇa (Pathetic): In this there is slight declension of the

upper eye lid. The eyes are humid with tears. The glance is directed

in the line of the tip of the nose. The display expresses mercy and

imploration.

5 Adbhuta (Wonder): The ends of the eyelids are bent

towards each other. The eyeball is enlarged in astonishment. This is

indicative of gentility.

6 Roudri (Ferocious): Horror feeling is exhibited. The

glance is cruel, harsh and inflamed. The eye is reddish. The eyeball

is fixed between the eyelids. The eyebrows are twisted.

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7 Vīra (Heroic): The glance is bright, fully bloomed, grave and disturbed. Both the eyeballs are set parallel. The glance is refulgent.

8 Bibhatsa (Loathsome): Repulsive and uncouth look with lids bent down, the glance is directed sideways. The eyeballs roll about violently. The lids are in a fixed state now and then.

The glances that are appurtenant to Sthāyi or stable Bhāvas, which are eight are enumerated and described.

9 (1). Snigdha glance is indicative of enjoyment. (Erotic glance). It is a sweet look fully opened. The eye balls are fixed, indicative of some expectation of fulfilment of desire. The eyebrows indicate pleasure.

When the mind is suffused with pleasurable feelings, these different sub-limbs like eyes, eye-brows etc. assume attitudes signifying weal.

10 (2). Hṛṣṭa: This is associated with merriment and laughter. It is not fixed and steady. It is essentially indicative of smiling. The display consists of the twinkling of eyes, clear eyeballs and looks slightly bent or inclined.

11 (3). Dīna: This is indicative of Śoka, sorrow. The upper eyelid is drooping. The eyeball is blurred or dimmed. The eye is impure with hot tears. Movement of the eyes is slow.

12 (4). Krodha: This is an angered glance, designed for an angry mood. The glance is rugged and harsh. The upper eyelid is fixed up. The eyeball is upturned and fixed. The eyebrows are crooked.

13 (5). Drpta: This glance indicates hauteur. It springs out of exhilaration, buoyancy of spirit. The eyeballs are fixed. The look is fixed and fully blown out, emitting placidity.

14 (6). Bhayānvita: This is associated with fear indicative of frightened state. Both the eyelids are fully opened out. The eyeballs are shaken in fear.

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15 (7). Jugupsita: Anxiety stricken condition is denoted by the glances. Betokens anxiety. The eyelids are contracted. They are black and dirty. The eyeballs are closed. The sight is perturbed in view of the object expected to be looked at.

16 (8). Vismita: This is an astonished glance. It is useful in expressing astonishment. The eyeballs are as much turned up and shrouded by the closing eyelids. The glance is even and well opened.

B.N.S. deals with twenty glance varieties pertaining to the Sancāri Bhāvas--feelings and emotions.

17 (1). Śūnya: The eyeballs are parallel and equipoised. The eyelids are unshaken. The looks are on, into vacancy. They are not capable of perceiving outside objects. Dark black-eye constitutes this vacant glance. This is expressive of sorrow and moroseness.

18 (2). Malina: This dirty glance is indicated by frequent flickering of eyelids, which are not fully closed. The eyeballs are in bewilderment. The ends of the eyes are dirty. This signifies agony and discomfiture and consequent discolouration.

19 (3). Śrānta: In this wornout glance, the eyelids are drooping because of exhaustion and weakened state. The eyes are emaciated. The ends of the lids are bent. The eyeballs are weak and cast down, wearied condition is signified.

20 (4). Lajjānvita: The eyelids are slightly bent down in this abashed glance. The upper lids are drooping in shame. The looks are in fear. Bashfulness is expressed.

21 (5). Glāni: The eyelids and brows are famished. The look is not fixed. They are slack and slow. The eyeballs are exhaused. Incoherent talk is indicated.

22 (6). Śankita: Flickering at times and fixed in alternation, the looks are varying. The look is lifted up and frequently extending sideways. They are stupid, dull and shaky due to fear.

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23 (7). Viṣādini-Viṣaṇṇa: The eyelids are expanded because of

sorrow. The ends of the eyes droop. The eyelids are flickering and

upset. Expresses distress.

24 (8). Mukulā: The eyelids are half closed and throb.

The eyeballs are half screened, indicative of beatific, slumberous

state, sleepy condition and enjoyment of pleasurable experience.

25 (9). Kuncitā: The ends of the eyelids are not bent. The

sockets are closed. The eyeballs are weakened. Expresses jealousy.

Unwillingness to look at the undesirable and pain of the eye is indi-

cated.

26 (10). Abhitapta: The eyeball movement is slackened by

the sockets which are shaken. They signify being overwhelmed by

distress and depict a tormented condition. Expresses Nirveda,

restlessness in agony, pain and overheated state.

27 (11). Jihmā: The looks are elongated and the sockets of

the eyes are slightly closed. There may be slow, backward glances.

The look is deep seated. The eyeballs are concealed. Expresses

jealousy, dullness and slowness.

28 (12). Salalitā: The glances are sweet and amiable. The

ends of eyes are contracted with an inward feeling of smile, the looks

indicate amorous dalliance. Expresses fortitude and hilarity.

29 (13). Vitarkitā: The glances are discerning. Sockets are

turned up as in the action of guessing. The eyeballs are dilated.

The look is also downward. Signifies guessing and conjecturing.

30 (14). Ardha mukulā: The eyes are half closed. The lids

are half open. The sockets of the eyes are held closed as in pleasure.

The pupils are slightly rolling. Signifies joy, pleasure in smell,

touch and taste.

31 (15). Vibhrānta: The eyeballs are unsteady, confused and

looks are in bewilderment. The eyes are expanded and fully open.

Expression of precipitousness, trepidation and confusion are signified.

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32 (16). Vipluta: The eyes are overwhelmed with a flood of

tears. The sockets throb. They are dull and halting. The eyeballs

flooded with tears, are rolled up. The looks may be drooping.

Unsteadiness, insanity, deep sorrow, pain and distress and death are

signified.

33 (17). Ākekara: This consists in the twinkling of the eye-

lids directed towards the tip of the nose. The look moves down to the

floor. The glances indicate passivity, an equipoised condition of the

mind. The eyes are partly shut. There may be contracted side-

looks. The eyeballs are frequently rolled about.

This is displayed to exhibit when it is difficult to see. The

looks arc also interrupted.

34 (18). Vikośa; Both the eyeballs are out of their sockets,

this is out of fear. They are fully open and there may be twinkling

of the eye. The eyeballs are not fixed. To signify 'not able to

understand'; anger and an excited mind.

35 (19). Trṣṭa. The cavities are turned up on account of fear.

The eyeball is highly frightened in between outbursts of fear. Fear is

expressed.

36 (20). Madira: This consists of three varieties. Lustful

condition is expressed.

(i) Taruṇa Madira Buoyant inebriation.

(ii) Madhyama Madira Adoloscent inebriation.

(iii) Adhama Madira Ordinary state of inebriation.

Taruna consists of frequent whirling of the eye. The looks

are enfeebled. The ends of the eyes close as though due to starvation.

The look develops into side glances. This is the state in youthful

blossoming.

Madhyama: In lustful life, the cavities of the eyes are slightly

inverted. The eyeball slightly rolls. The look is never steady on

anything.

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Adhama: The third variety of the ordinary type consists

in the lowest phase of lustfulness. It is either accompanied or un-

accompanied by the twinkling of the eyes. The eyeballs remain

open. The looks are downward.

37. The use of these glances in practice is to be decided by

natural conditions and in accordance with the feelings and emotions

to be displayed as the occasions demand. These are also the means to

exhibit Sthāyi Bhāvas for the sprouting of Rasa in the spectators.

38. Eyeballs.

The actions are divided into nine. Their descriptions and

uses are narrated hereunder.

(1) Bhramanam: revolving. The eyeballs revolve round

and round with in the sockets.

(2) Valanam: rolling. The triangular movement of the

eyeballs.

(3) Patana: down cast. In depression these are hung

down loose.

(4) Calanam: unsteady. Shaking movement of the eye-

balls.

(5) Sampravesanam: inverting. The eyelids indicate go-

ing in.

(6) Vivartanam: lovely and graceful. This is done with

feelings of mercy and compassion.

(7) Samudvṛttam: looking up.

(8) Niṣkrāma: going out.

(9) Prakṛti: natural.

Nos. 1, 2, 7 and 8. i.e., Bhramana, Valana, Samudvṛttam,

and Niskrama express the feelings required for producing Vīra and

Roudra (Heroic and Terrific). Niṣkrama (8) and Calana (4) are

combinedly used in frightened states.

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While No. 5 Sampravesana or Pravesana, is displayed for indicating the feelings of hāsya and bibhatsa, i.e. merriment and loath-

someness.

3. Patana: indicates mercy.

4. Niṣkrama; indicates Adbhuta, wonderment.

5. Prākṛtam: for the other feelings.

6. Vivartanam: is displayed for Sṛngāra Rasa.

These actions of the eyeballs are natural to man in daily life. The same have to be displayed for the depiction of Bhāvas and for their results of the several rasas.

39. Darśana: looks.

These ‘looks’ are eight in number which go with the place-ment of eyeballs.

(1) Sama: “Well set”. The eyeballs are on the same plane and the looks gentle.

(2) Sācya: Triangular position. The eyeballs get in between the eyelashes.

(3) Anuvṛtta: “Scanning”. In this the sight is directed to scan the object.

(4) Ālokita: “Care free”. The sight of a bravado, not caring for the consequences.

(5) Vilokitam: “Backwards; looking at the rear”. Sight is directed backwards.

(6) Pralokitam: ‘Sideways.’ The sight is directed side-ways.

(7) Ullokitam: ‘Upward’. The sight is directed upwards.

(8) Avalokitam: ‘Downward’. The sight is cast down.

40. Allied and kindred to the actions of the eyeballs are those of the eyelids.

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There are nine actions classified.

(1) Unmeṣa: The eyelids are disconnected.

(2) Nimeṣa: The eyelids are closer in proximity.

(3) Prasṛtam: The eyelids are expanded and are apart.

(4) Kuñcita: The eyelids are bent.

(5) Sama: Natural condition, neither closed nor widely open.

(6) Vivartita: The lids are thrown up.

(7) Sphurita: The eyelids throb.

(8) Pihita: These are closely set.

(9) Savitāḍita: Eyelids are beating and lashing one another.

1, 2 and 6, Unmeṣa, Nimeṣa and Vivartita are to be displayed in feelings of anger.

3. Prasṛtam is employed in the expression of Wonder; heroic and jubillant feeling.

4. Kuñcita for displaying unpleasant sights, to feel smell, taste and touch.

5. Sama is employed in Śṛngāra.

6. Sphurita is displayed in feelings of jealousy.

7. Pihita is employed to express sleep, swooning, disease, heatbearing, smoke, rain, darkness, due to cloudy weather and diseases of the eye.

8. Savitāḍitam is employed when exhausted because of over work.

9. Eyebrows.

The actions of the eyebrows are classified into seven.

(1) Utkṣepam: thrownup. This is of two types.

(a) throwing up or lifting up the eyebrows simultaneously to the same level.

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(b) lifting up one brow after the other to the same level.

This is useful to express wonderment, buoyancy and anger. When done by both the eyebrows it shows anger.

(2) Patam: cast down. The inversion of the above two processes. This is employed to indicate jealousy, anxiety, laughter, mimicry and smelling.

(3) Bhrukuṭi: knitting of brows. This consists in lifting up the roots of the eyebrows, simultaneously to a point, (root: the end of the eyebrows at the nose). This is displayed in anger.

(4) Caturam: expertness and grace. Eyebrows are slightly elongated and extended after taking a deep breath. This is a dexterous action to express Sṛṅgāra, beauty, refinement, gentleness, enjoyment of a touch of flowers, and while waking up. This is also employed during amorous conversations and for emotional temperaments.

(5) Kuñcita: bent down or contracted. There is a soft bent in one or both.the eyebrows. This action is a specialised one employed by women who belong to the class of Moṭṭayita, Kuṭṭamita and Kilikiñcita.

(6) Recitam: loosening. This is employed in Nṛtta.

(7) Sahaja: natural. This is employed when feelings are unruffled and unaffected.

42. Nāsa: Nose.

There are six actions.

(1) Nata: snubbed. The nostrils are frequently closed together. This action is displayed for expressing

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compliance with or gratification of women while in highly excited, erotic feelings and also in deep signs. Showing feelings of disappointment.

(2) Manda: “dull ”. The nose is being lowered or concealed. This is displayed in nirveda state (of feelings) and also to show agonised, anxious, sorrow-ful and morose feelings.

(3) Vikr̥ṣṭa: ‘elongated’. The nose is ragged and elonga-ted. The nostrils are open. The display expresses strong and concentrated smell, and rouses Roudra and Vīra rasas.

(4) Sochvāsa: snoring. Deep breaths taken through nose. This action signifies smelling of desirable things.

(5) Vikunita: Bent sidewards. The nostrills are contact-ed. This is displayed to express anxiety, jealousy and the like.

(6) Svabhāvita: natural. Normal and natural condi-tion. Experts in nose actions should display the natural conditions of the nose for expressing all other emotions.

One can note in the above nose actions that the fixity of this sub-limb in the face is not conducive to free movement like other sub-limbs. Only a few feelings can be displayed and that too in a few situations. Generally the normal nose serves the varied purposes of gesticulations.

43. Gaṇḍa: Cheek.

Six actions of the cheek are described.

(1) Kṣama: emaciated. This is a cast down condition. This is displayed to express sorrow.

(2) Phulla: blossomed. The cheeks are fully blossomed. This denotes extreme pleasure.

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(3) Ghūrṇa: rolling. The cheeks are stretched out. This signifies buoyancy and pride.

(4) Kampitam: shaking. The throb of the cheeks signifies anger and pleasure.

(5) Kuncitam: bent. Well bent cheeks signify tactile sensibility, cold, fear and fever. This is accompanied by horripilation.

(6) Samam: natural. For the display of natural feelings.

44. Adhara: Lower lip.

(1) Vivarta: spinning round. The action consists in twitching the lip to a side. Feelings of jealousy, restlessness, disgrace and redicule are displayed.

(2) Kampana: shaking. The vibrations of the lip denote internal pain, distress, cold, fear, anger and quickness.

(3) Visarga: separation. Breaking up the lips. Grace fulness of women is expressed. (Bibboka type of heroine). Slight separation of lips. It denotes pleasure in passion.

(4) Vinigūha: concealing. Taking the lip inside the mouth. Expresses tiresomeness, weakness and trouble.

(5) Samdaṣṭa: biting. Bitten by teeth. Denotes anger.

(6) Samuda: natural elevation. This display means pity, sympathy, sucking, expressing pleasure and gratification.

45. Cibuka: chin. (inclusive of teeth-rows and tongue and lips).

Seven are the chin actions.

(1) Kuṭṭana: ‘gnashing’ of the teeth. This display expresses fear, cold, fever, anger and a tight catch.

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(2) Khandana: grinding. This action expresses penance, reading, conversing and the action of eating.

(3) Chinna: cut. This is displayed to show disease, fear, cold and physical exercise, crying and death.

(4) Cukkita: gaping. Shown when yawning.

(5) Lehita: licking. Shown to express lustfulness, appeasement and fickleness.

(6) Sama: natural.

(7) Dasṭa: biting. Shows anger.

The chin actions though named after one sub-limb, they comprise combined actions of teeth, lips and tongue also.

46. Āsya: ‘mouth’.

The following are the six actions described.

(1) Vinivirtta: fully opened. The action is displayed to show jealousy, envy, anger, and while insulting women.

(2) Vidhūta: diagnol expansion. Indicates obstruction —‘not so’ and the like.

(3) Nirbhugna: ‘downcast’. Indicative of gravity.

(4) Bhugna. This is displayed to show shyness (of sanyasis) agony, sorrow, anxiety and humility.

(5) Vivṛta: lips separated. Indicates comic feelings, redicule‘sorrow and fear.

(6) Udvaha: closed lips. This action is generally resorted to by women in sportiveness. Indicates pride, moving gait, disrespect, a commanding expression of ‘well done’; “do this only and nothing else”.

The action may vary with the kindred feelings. These relate to sāttvika—involuntary states of emotions.

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47. Mukha: Rāga: Hue of the face.

Four varieties of this gesticulation are described.

(1) Svabhāvika: natural. This is employed to express natural conditions.

(2) Prasanna: blossoming. Middle type of persons employ to express wonder, comic and srngāra.

(3) Rakta: sanguinary. Display is to rouse (vīra, and raudra), heroic and terrific and lustful.

(4) Śyāma: dusky. The display rouses karuna, fear and loathsome rasas.

Hue of the face is of utmost significance. Bereft of this action of the face, all other actions are rendered futile.

VIII. 169.

śārīrābhinayozalpōzpi mukha rāga samanvitam / dvigunām labhatc śobhām rātrāviva niśākarah //

nayanābhinayopi'syān nānā bhāva rasasphuṭah / mukharāgānvitō yasmatra nāṭyamratra pratiṣṭitam //

yathā mētram prsarpēta mukha bhrūdrṣṭi samyutam / tathā bhāva rasopētam mukha rāgam prayōjyēt //

Even as the moon brightens and makes the nights enjoyable, so does the hue of the face, make the other actions of the body and limbs, doubly brilliant and effective. (169).

The action of the eyes, though resplendent with different feelings and emotions, the essence of the actions centres in the corresponding and apposite colouration of the face. (170).

Even as the eyes move in accordance with the suite of actions of mouth, eyebrows, and glances so too the hue of the face must accord with the emotions and the rousing of the desired rasa. (171).

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48. Neck: Grīva.

Nine actions of the neck are enumerated and described.

(1) Sama: equipoised. Tiis is the naturally erect pose

used in dhyana–meditation and contemplation.

(2) Nata: bent. The face is bent. This pose is displayed

when one uses the toilette, tying and embracing in

endearment.

(3) Unnata: lifted up. For looking upward this is dis-

played.

(4) Tryṣṇa: ‘sideward movement’. Useful to express

when heavy weight is carried on the shoulders, and

to express sorrow.

(5) Recita: whirling. In dancing and churning this is

displayed.

(6) Kuñcita: bent to a side. Bending excessively. Used

when there is a load on the head and also to protect

the neck.

(7) Añcita: extend–stretching it out. This is displayed

when pulled by the tuft of hair and for looking up.

(8) Valita: twist. expression of looking to a side and

when the neck is injured.

(9) Vivṛtta: increase; growth. To keep the face erect.

Such and other kindred actions of the neck are

displayed to the demands of necessity and circum-

stance.

These actions of the neck accord with the suite of actions of

the head and other soub-limbs of the head. All head actions are

controlled by the actions of the neck.

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CHAPTER XIII

ACTIONS OF HAND, CHEST, SIDES, BELLY, WAIST,

KNEE, HIP, THIGH, AND FEET.

The richest vein of Anga Abhinaya is Hasta-Abhinaya—Hand

gestures. The diction of gestures is profound and is as variegated and

wide as language itself, nay as the ideas themselves. Hastas signify

not only the Word-Content in the minimum, but sometimes symbolise

the gamut of an epic range of a subject. This role of interpretation

is of vital importance to the composite art of NṚTYA (Dance).

Accordance between the hand-attitudes and the text of the

song and music is of utmost significance, when one considers, the

aesthetics of form in movement, cadence, representation and inter-

pretation. The cadence of rhythm with the interpretation, in differ-

ent postures is of highest importance. Standing in attention and giving

vocal utterance will be as sterile as rendering music bereft of timing

and rhythm. The Hasta-gestures, thus are of fundamental importance

as they give vitality, grace, elegance and artistic finale to the

given suite of bodily attitudes.

In modern times, Mudra, a symbol prevalent only in Tantra-

literature, is used as a synonym for Hasta. But nowhere in Nāṭya

classical Texts this technical word Mudra is used to signify Hasta.

It will be an etymological apostasy to equate them.

‘Figures of speech are Figures of thought ’ says Dr. A. K. Coo-

maraswamy, the master mind in Art and Indology of recent times.

Figures of form (Hasta actions) are figures of speech and thought.

Loftiest of thoughts are comprehended by speech and these are in

turn interpreted in Hasta-forms. Hasta interpretation is no doubt

based on the Rgvedic hymn:

*See N. S. Krishnamurthy's" Hasta Abhinaya " 1955.

83—10

"naitāvad-ene-paro anyad asti". (There is not merely this, but a transcendent another) and this ideal and sublime pronouncement is the revelation of the key to all Art, nay Metaphysical Ultimate.

Madam La Meri (Madam Hugh Russel), the reputed Nāṭya-Ballerina of New York observes "The hand is made to look like the object of which it speaks, or it is the sublimation of the natural emotional gestures".

La Meri has been a poineer to orientalise the famous German Fairy Tale theme *Swan Lake, appositely making use, in the choreography (Dance-writing), hand-attitudes also, to signify the fable under production in Nāṭya form. Nāṭya-tomanes can very well now accept, with an approving nod, that Hasta-vocabulary has an everlasting universal potentiality, and that its apposite employ-the hand seems to be a well recognised mode of expression intertwined with intonation, oration and recitation. *B. L. Joseph in his monograph on Elizabethen Acting (O.U.P.) has brought out the full significance of gesture. It is in evidence that school curriculum compulsorily taught these gestures as an important adjunct to recitation during the Elizabethan times.

The pride of Bharata-Nāṭya is in its scientific classification and systematisation of these Handposes. The B.N.S. has defined and described these hand-gestures in Chapter IX. Subsequent theorists have extended these poses and developed these Hastas. Nandi's

Rg. X. 31.8.

*This Ballet (Nṛtya Nāṭika) "Swan Lake" was first produced in Moscow in 1876, choreographed by Julius Resinger. Later an improved version was by Marius Petipa on the lines done by Tchaikovsky. It was followed by several others, Diaghi-leff and Auton Dolin.

*In this monograph the author copiously quotes from John Bulwaris. Chirologia and Chironomia 1664.

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Abhinaya darpana ' comprehends a variety of these poses and we

find an indication that these poses are plastic enough toem brace

multifarious purposes of interpretation. These Hastas are many

and innumerable. The pose may be of the single or double hand.

The patterns are classified into several standard forms and each atti-

tude has a connotation, vividly described in the texts. The signi-

ficance of the pose varies with the placement of the hand over the head

or forehead, near the temples, the cheek, the neck, the chest near the

belly, the hips or stretched down full length. Thus each attitude has

a purpose conveyed by the pattern of the hand-pose. Thus the range

of these Hastas seems to be unlimited. It is given to an adept danseuse

(abhinetri) or a danseur (abhineta) to capitalise this limitless treasure

cf Hasta-poses.

2. The single handed poses are twenty four. Their descriptions,

definitions and uses are narrated herein. The hand in this context

means not the full arm or forearm, but the palm with its fingers set in a

particular order. Single hand poses are known as Asamyuta Hastas.

(not combined hand poses).

SINGLE HANDS.

1. Patāka: Banner.

All the fingers of the palm are stretched out touching their

sides–close—and the thumb is bent into the palm. (The whole

length of the thumb touching the inside of the palm).

This is used in dealing a blow, or cutting with an axe; or

make one suffer in pain or enjoy pleasure. To display pride the hand

in this pose is raised to the forehead. Further, tongues of flame,

downpour of rain, pouring down flowers, light showers are shown

with both hands in this pose.

When both hands are crossed at the wrists it is svastika,

and when released from this joint-pose, the action indicates picking

up flowers, tender grass from watery ground. The action signifies

also pointing something that is lying on the ground. In performing

this action the hands are kept in svastika (crossed at the wrists) with

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the palm pointing downwards i.e., the tips of the fingers. Further the

combined action of both the hands in this pose signify covering a

thing or closing a thing i.e., concealing.

The fleeting movements of the beetle black bee and of the

wind, dash of waves on the foreshore and flood waters.

Moreover this palmpose of patāka denotes encouragement,

showering of flowers over elders, flapping of the bird, and general

actions of recita i.e., waving, rubbing against a surface, scathing over,

pressing well, lifting up a hill, to enumerate ten-fold, hundred-fold

and a thousand-fold, are all denoted by this pose, either single or

dcuble.

The inventive genius of the actor, as a prerequisite will be

to the great advantage of displaying this pose–patāka.

2. Tripatāka: “Triple flag”. Of the patāka-pose, if the ring

finger is bent inwards (i.e. into the palm) it is to be known as ‘Triple

flag’.

Invitation, descent, discarding, disregard, objecting, entry,

lifting up, obeisance, endearment, gift, illustration, expressing alter-

natives in wonderment and speech are signified by this Triple flag-

palmpose. Further uses are touching auspicious things, placing the

hand over the head, turban diadem, wearing a crown, covering the

face, nose, or ears, closing, avoiding bad sight, smell and sound.

With this pose of the fingers, if the forearm is moved upward

and downward, it will be indicative of ascent or descent of small

birds, flood, warding off an approaching serpent, flies etc. This

hasta is employed for wiping off tears, arranging the Tilaka (auspicious

beauty mark on the forehead). Smearing of Sandal paste, or smearing

a paste or resin before finally affixing the beauty mark.

Both hands in Tripatāka have to be employed for dressing

the hair, while bowing to the feet of the Preceptor (swastika-crossed at

the wrists), while accosting a bridal party Tripatāka of both the hands

have to be employed with the tips of fingers touching.

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This hand pose has to be employed on seeing, on receiving a king. Then the fingers are loosened and hands are slightly shaken.

When planets are seen the palms are held in svastika-crossed at the wrists.

While obeisance to the austere Rsis who have performed penances is to be made tips of the fingers must be pointing outwards and when a gateway is sighted, the palms must be placed with tips touching.

When indicating the mouth (probably the snouts of animals like boar, varāha) the palms must be held up, the lips pointing downward. The same action may be made when one sees fire, sea, war and crocodiles.

This hasta further signifies monkeys, boats and waves. (or the jump of apes). Expert actors in imitating the aspiration of wo-men when feeling sultry. When the young moon is seen and this has to be displayed in gesture. Both hands in this pose are made with expanded thumbs pointing to each other.

3. Kartarī Mukha: “Scissors-faced ”.

The forefinger in the Tripatāka palm is made to rest at the back of the middle finger. (They appear like the two blades of Scissors).

The palm in this pose, if held inverted i.e. the tips of fingers pointing downward indicate walking in the street, or decoration of feet by applying colours or painting the body. If the tips of fingers pointed upward indicate being bitten, horns, or writing a letter.

Falling, death, transgression (by misplacing the foot) turning round, guessing, letting an article fall, placing a thing at a place, are signified by the palm in Kartari, but the forefinger is at the back of the ring finger.

This hasta of the single hand or double hands indicates the following:

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a deer, yak, buffalo, divine elephant, bull, tower of temple, gateway, hill-peak.

4. Ardha Chandra: “Crescent Moon”.

The fingers and the thumb are all bent to the formation of a

bow. (The thumb is extended away from the forefinger).

This pose indicates: young trees, crescent moon, rotundity

of a fine vessel, conch, bangles, bulging of the vessel, sphere. (If

need be, this pose of both hands may be used). Girdle, waist, fore-

head, ornament worn at the forehead, ear-rings of ladies.

(Popularly ardhacandra prayoga means necking out. This

palm in this pose is placed at the neck below the head and pushed for a

forced expulsion of the unwanted person.)

5. Arāla: “Curved.”

The forefinger is bent like a bow, the thumb also is bent

similarly. The 1est of the fingers are kept upward but bent inward

at the first phalanges.

The arāla posed palm is used to denote physical strength,

haughtiness, valour, bloom, fortitude, divinity, heavenly gravity,

blessings, actions of friendship, holding the long tuft of hair of a lady,

lifting the tufts of hair by ladies after bath to dry up the hair, to des-

cribe the several limbs of the body, *connubial pleasure, while making

circumambulation.

The tips of the fingers are interlaced (svastika) to indicate

a roundness and gathering of teeming crowds, floral design-draw-

ings on the ground (rangavalli).

If the fingers are bent inwards of the palm the indication

is invitation to come; of outward, indication is raising an objection.

Moreover this palm-pose may be employed to signify creation, measu-

ring out something exhaustively, pecking out grass unwittingly and

purposelessly, futile and disjointed talk, removing sweat by a lady in

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a graceful manner, smelling good scent and to express ‘this is the

best.’

All the actions of Tripatāka that could be employed by

women can be employed to advantage with Arāla pose.

6. Sukatunda: ‘Parrot’s beak’

In the arāla palm pose, the ring finger is bent inward the

palm. This is employed to express “neither I nor you,” to invite,

to discharge, to express repulsion with disrespect.

7. Muṣṭi: ‘Fist’

The finger-tips of the four fingers are bent inwards into the

palm and the thumb is over them. (Fist-pose).

Used to show beating, physcial exercise, going, twisting

or torturing, carrying the swords or sticks; holding a stick or spear.

8. Śikhara: ‘Crested’

In the fist-muṣṭi palm pose, the thumb is lifted to form a

crest over the rest of the clasped fingers.

This handpose indicates a rope or a ray, or a blade of grass,

hook, goad, bow, weapon, known as tamara sakti; painting the lower

lip and lifting up the hair of the head to coiffeur.

9. Kapiddha: “Wood apple”

In the Sikhara pose, the middle and ring fingers are bent

and touch the forefinger.

The uses are sword, bow, discus, missile, javalin, spear,

club, thunderbolt—all implements and weapons of fight.

10. Khaṭakā Mukha: “Bracelet-faced”

In Kapiddha palm pose the little finger and the ring finger

are lifted and bent. This is Khatakā Mukha.

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The following are signified: sacrificial substance, (ghee-melted butter) or that which is fit to be put into sacrificial fire, umbrella, holding up the reins, fanning, holding up the mirror, cutting, kneading , preparing the toilette for putting on the facial beauty mark, holding a long stick, extension and flexing of one's arms and legs, allowing to go, withdrawing, holding the ends of garlands (both hands in this pose), flowers of garlands, holding the edges of cloth, border of cloth, showing a necklace of pearls, pulling down the churning pots, plucking the flowers , use of goad or whip, holding the thread of the goad, and sighting a lady.

11. Suci Mukha: 'Needle-faced'

In the pose of Khatakā Mukha, the forefinger is extended or stretched out. This is Suci. This pointed forefinger is either lifted up, bent, moved from side to side, shaken or lifted up, to suit the object or word to be represented.

This pose indicates missile, discus, or multitude of crowd, lightning, flag, creepers, gourds, vine creepers, mango, ear ornament, crooked walking, fish swimming in water, bidding adieu, wishing a good journey (bon voyage) movements of young sperpents (different from fish in water) throwing out the sacrificial things, basketful of tender leaves being thrown out, waving a light, curls of hair hanging on the sides or back, falling in zigzag movement, and circling round. These are represened by the shake and upturned forefinger.

When this forefinger is kept up right, denotes pointing to stars, the bridge of the nose, or the row of teeth and to indicate the mouth the finger is slightly bent.

When the forefinger is moved round and round, it signifies comprehension of the whole universe, lying flat, rising up and beginning of a long day.

When the tip of the finger is taken near to the mouth bent and shaken, denotes speech. Similarly when taken near to the ear, bent and shaken or extended horizontally, signifies negation ('no') when shaken and lifted up indicates 'speak on'.

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When the finger is shaken it exhibits anger, excitement or sweating.

When the finger is taken near the cheek, it indicates tresses of a lady, ornamental armour, covering the shoulders. When it is placed on the forehead shows conceitedness, egotism, pointing out an enemy in anger. This finger also represents the interrogation " who is he?" scratching of the ear; to denote union both hands are employed and when removed from this combined pose indicates separation.

When the forefingers in this pose are crossed (svastika) indicate quarrel, when knit together signify an embrace (one pres-sing against another). When both are put together on the left side, represent the end of the day, if placed on the right side, show end of the night. If the fingers are placed face to face show ' not sepa-rated.' The disc of the moon is indicated by both the fingers.

When fingers of both the hands are employed indicates separated, the distance between them must be four to five inches.

If the finger is lifted up along with the head, indicates Indra. When the finger is moved round and round, the disc of the moon is signified.

If the tip of the finger is placed on the forehead, indicates the third eye of Śiva, and when bent at the sides, Indra is represented.

When the end of the finger alone is moved, indicates ' form ' or a machine to turn stones.

Whenever a halo is to be represented the finger must be pointed downward. To show Śiva, touch the middle of the forehead and bend the finger downward. (Denotes the third eye).

12. Padmakōśa: ' Lotus bud '

All the fingers are free of each other and the thumb. They are curved to form a cup. The palm points upward. The tips of all the fingers and thumbs remain separate. This is Padmakośa hasta. This indicates the holding of Bilva fruit, or wood apple in the

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hand. To show the breasts of women, to show flesh, the finger tips are bent. Slice of flesh and a fruit with many seeds are also shown.

Worship of God, offering sacrifice, a small box, offering rice balls in rituals to the manes. A cluster of flowers can be shown by this palm pose. Blossomed lotus, wavering of petals, and all types of lotuses can also be indicated.

13. Sarpa Śira: Serpent's hood.

All the fingers along with the thumb are held colsely and they are slightly bent inward to form a hollow from palm up to tips of fingers. This palm indicates libation with water, movement of a serpent, sprinkling of water, beating against the arm in challenge, and patting the elephant's head.

14. Mrga śirṣa : Deer-head.

All fingers are held close together downward, tips pointing earthwards, the little finger and thumb are pointed upward.

The follwing are indicated:

"It is now here," strength, hilarity, throwing down the dice, wiping out sweat, Kuṭṭamita class of heroine, who effects amorous action of rypulse to the lover.

15. Kāṅgula: "Plough" (also known as Lāṅgula).

The two fingers, i.e., the middle and the forefinger together with the thumb are held down like three flames from fire, the ring-finger is bent and the little finger is raised up.

This indicates different kinds of small, unripe, tender fruits, and if the fingers are thrown down, angry words are signified.

Precious stones, cat's eye, (Lapis-lazuli) emerald, flowers and cat's foot are also shown by this hasta—handpose.

16. Alapallava: (also known as alapadma) "Tender leaf"

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This is a continuous action to simulate the blossoming of the tender leaves.

The fingers are bent into the palm of the hand one after another in order and released to a side. The wrist is also twisted to harmonise with the release of the fingers.

Indicates rejection or refusal. to say "who are you," denial, empty words, chiding away, reference by a lady to herself.

17. Catura: "Deft"; Adroit.

The little finger is placed upright, the others are stretched with the thumb in between them. This formation is of the four fingers with the thumb bent inward the palm as if indicating the other four fingers.

Politeness, humility, discipline, orderliness, well trained youth, sickness, strength, shyness, fitting words to be adopted, truthfulness and peace are indicated.

Both palms may also be used to express full enquiry into a man's condition, guessing, bashfulness, similarity of eyes and lotus-petals, ears of deer. Sportive dalliance, colouration, memory, shades of intellect, patience, strength, mere consciousness, cleanliness and going together, deftness, pleasurableness, amiability, kindness, softness, mellowness, comfort, character, questioning, conversation, dress, accoutrement, and a grassy plot are also indicated. Further, plenty, want, sexual embrace, decent quality, its absence, youth, household spouse, different castes and creeds are also indicated.

Colours like white are indicated by the uplift of the hand, red and yellow by rounding, blue by rubbing the hands.

18. Brahmara: 'Bee'

The end of the thumb touches the tip of the middle finger, the forefinger is crookedly bent, the other fingers are kept upwards indifferently.

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The pose is indicative of holding flowers which have long

stalks like lotus, black lily and the like. Ear ornament, this suite of

fingers are loosened with the sound thus produced. Threatening,

children's talk, quickness, timing, cymbal beat and making one

believe.

19. Hamsāsya : ‘Swan-faced’.

The forefinger and middle finger are bent and are in contact

with the thumb (without leaving any space between them). This is

conventionally known as tretagni—three fires. The other two fingers

are extended.

This pose indicates degrees of cleverness, littleness, slackness,

deftness, essencelessness, softness. When necessary the tips of the

fingers may be slightly shaken.

20. Hamsa pakṣa: ‘Swan's wing’.

The ring, middle and fore fingers are bent, the little finger

is upright and the thumb is bent.

This is presented to indicate, offering oblation of water,

touching the cheek, act of accepting a gift, sipping water, eating food

by priests, embracing, sight of a huge pillar, horripilation, touch,

smearing of paste, pressing, massage, things that toss between the

breasts of a woman, when she is in a sorrowful mood or rather

wailing, and resting of the cheek on the palm.

21. Samdamsa : ‘Biting or pricking’ or Spanner-like.

This pose is similar to Arāla ‘curved’—No. 5 i.e., the fore-

finger is bent and its tip is in contact with the tip of the thumb, the rest

of the fingers are kept upright. The palm is slightly in depression.

As the needs of rasa and bhāva demand this pose has three

types of attitudes.

(1) Agraja .. arising from the tip-ends.

(2) Mukhaja .. arising from the face.

(3) Parśavagata .. moving at the sides.

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(1) Agraja action is performed to indicate plucking and knitting of flowers and holding them with pincers, or catching straw bits, dry leaves, hair and thread. Also employed to extract foreign bodies like bones etc. and pulling them.

(2) Mukhaja:—To indicate plucking flowers from the stalk, in pulling away the wick of a lamp, thrusting a probe, to express contempt-like ‘fie’ and anger.

(3) Parśvagata:—Indicates wearing of the sacred thread by dvijas (Twice-born), drilling, adjusting the bowstring with a sharp arrow, taking aim at a target, yoga practice, meditation and concentration. Both hands have to be employed for the above. Further, insipidness, crookedness, envy, fault finding words, use of the left hand. The ends of the fingers may be slightly bent.

When ladies employ this pose for signifying drawings, ornamenting, applying collyrium, guessing, show stocks of something, appearance of coral, tender leaf attached to a stalk, and twisting and extracting juice.

22. Mukuḷa: ‘Bud’.

Make Hansāsya pose No. 19. All the tips of the fingers in contact with the tip of the thumb are pointedly shown upward.

Worship of the gods, offering a sacrifice, lotus buds, black lotus buds, kissing of lovers are signified by this pose.

If the fingers are loosened, the purport is non-contempt and non-abuse.

Further eating, counting gold pieces, wrinkled face, twisting in displeasure, hurry to make a gift, and unblossomed buds are also indicated.

23. Ūrṇanābha: ‘Spider.’

In padmakośa pose No. 12, the fingers are separate and slightly bent. In that if the fingers are all bent at the middle phalanges, this attitude of the palm simulates a spider.

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This is used to denote holding the tuft of hair (combing) or catching a thief, catching the head, leprosy, lion, tiger, and holding a stone.

24. Tāmra cūḍa: ‘Cock's tuft’, Cock's comb.

The thumb touches the middle finger, the forefinger is bent, the rest of the fingers are bent into the palm.

Uses :—Threatening; if slightly loosened denotes accompanying of noise, timing—(tāla), to make one believe, to confide, the thing to be done quickly, to make a sign, beckon one to approach, to reckon time units like kāla, Kaṣṭa, Nimesa and Kṣana, speech of boys are the uses of this hasta i.e., handpose..

This pose may also be like this.

All the fingeres are held together and bent with the thumb over it. The little finger is extended. Numbers like hundred, thousand, a lakh (1/10th of a million) are indicated. Gold is denoted. If the fingers are loosened fireflies are signified. Also drops of water or any other liquid are indicated.

Having regard to the purpose of presentation even the single hand poses can be repeated with the other also to convey precision of ideas.

3. DOUBLE HANDED: SAMYUTA—D.H.

4. Anjali: ‘Obiesance.’

When both the palms are in contact in Patāka pose. (s.H. 1).

This is used to express bowing to gods, gurus and friends. If this palm-pose is at the head, it is for the gods, if at the face, it is to the masters, and if it is at the chest, shows greeting to friends. Even women perform accordingly.

2. Kapota: Pigeon.

Both the hands are clapsed at the sides with the palms hollowed.

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Humility, approach, bowing to guru, and conversation are indicative of this palm pose. If women hold it at the chest, it is indicative of cold and fear. Held to represent a tortoise.

If the fingers are closely pressed and slightly loosened, denotes dejection.

To express "only so much" and "there is nothing more to be done," this pose is employed.

3. Karkāṭa: "Crab"

The hand in which the fingers are stretched out to their full length—all separate and not touching each other.

This indicates one who stretches just after raising from sleep, stretching out all limbs, yawning, sneezing after just getting up from bed, and a big belly.

Resting the cheeks on the palms, holding conch to use it for blowing, are also indicated.

4. Svastika: 'Crossed'

Arāla (No. 5 single hand pose) of both hands is made and the forearms are crossed at the wrists. As this is a continuous action, it is lifted up and kept a little to a side.

This is the well known Svastika pose. This is performed by women.

When the svastika is loosened, the palms indicate airts, clouds, sky, forest, oceans and seasons. Earth and flood are also shown by this pose.

5. Khaṭakā vardhamānaka: 'Bangle-developed'

Half closed palms as those of wrestlers facing each other. To indicate a graceful and pleasing act and bowing. Stocks of red lotuses, lilies, holding an umbrella, betel leaves of acceptance are signified by these palms.

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6. Utsanga: 'Thigh'

Arāla (No. 5 S.H.) in svastika type, i.e., crossing at wrists, lift up the hands facing each other. Act of catching is intended. The hands are separated to represent the thigh.

Squeezing, kneading dough, pressing, anger and revenge are indicated. If by women expression of jealousy is denoted.

7. Niṣāda: 'Catch'

Here two different single-handed poses are combined. The hand in Mukuṭa pose (No. 22 S.H.) encircles the other hand in Kapiddha pose (No. 9 S.H.).

The following are indicated:

Keeping tight hold after catching, agreement, speaking truth, placing, brief (i.e. which is expressed pithily) (in this both hands are pressed again each other).

An alternative definition is also given:

One hand is in Sikhara pose (No. 8 S.H.). This is pressed over the other hand in Mr̥gaśīrṣa. (No. 14, S.H.).

This indicates one struck down by fear.

Another definition is:

The right hand held in Muṣṭi (No. 7. S.H.) is passed through the space between left elbow and arm.

The actions are, courage, lustfulness, haughtiness, well being, anxiety, adventurous progress, pomp, self-conceit, pride and steadiness.

Still another definition is given:

Both the palms are in hamsa pakṣa (No. 20. S.H.) with backs of the palms in contact. The actions are wins, dows, nets and strking.

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8. Dola: ‘Cradle swing’

The palms held in patāka (No. 1 S.H.) are stretched out with upturned palms to simulate a swing.

The signifying actions are:-

Surprise, extreme sorrow, swooning, lustfulness, depres-sed condition, agitation, striking, applying pressure, over powered by disease, and injury from a weapon.

9. Puṣpa Puṭa: ‘Receptacle for flowers’ (Socket of a flower)

Both the hands in śarpa śira are joined to leave an enclosed hollow of the palms. (No. 13 S.H.).

This represents holding things like grain, fruits, flowers and the like; their being held and brought, and receiving water and throwing away.

10. Makara: Crocodile.

The palms in patāka (No. 1 S.H.) are placed one over the other, the thumbs, one points upward and the other downward on either side of the palms. The appearance of lion, dragon, wolf, alligator, fish and some demons.

11. Gajadanta: ‘Tusks’ of elephant.

With the palms held in Sarpa Sira (No. 13 S.H.) the fore-arms are bent over the shoulders, to indicate marriage of parties, carrying heavy load, holding a pillar and trying to pull boulders from a hill.

12. Avahitha: ‘Piercing’

When the palms in Śukatunda pose (No. 6 S.H.) with finger tips pointing first to the chest and then turning downward to the chest. Weakness, breathing out, exposing the limbs, leanness, anxiety are indicated and these must be performed falteringly.

83—11 161

13. Vardhamāna: ‘Profess’

The palms in Hamsa pakṣa (No. 20 S.H.) in reverse position (back to back).

Breathing through netted windows, accepting, keeping agreement, speaking truth, brief, well placed, are indicated.

14. These hand (or rather palm) poses are known as Abhinaya Karas–Gesticulatory hands. Their exhibition must be interpreted according to the context and sense.

The actor with expertise must understand the situation (of the text to be Choreographed) and perform the format of the palm (Hand gesture) to suit the ‘form’ to be represented the incident, symbolic innuendoes and cognate matters. He must make his own study and perform the same to perfection with discernment.

The above lists of handposes are exhaustive enough and these appeal to visual perception.

There are also other hand poses which may at pleasure and discretion be employed to indicate bhāvas, aesthetic pleasure and emotional and mental conditions.

Dansuers and dansueses must exhibit these handposes, fully comprehending the purport having regard top lace, time, situation and action suiting the context.

The above classified handposes do need some ancillary movements. The cadence of movement has always to be harmoniously integrated to align with the actions of eyes, demeanour and eye-brows.

(1) Utkarṣaṇa, Pulling up, (2) Vikarṣaṇa, Pulling sideways, (3) Vyakarṣaṇa, Stretching out, (4) Parigraha, Encircling to catch, take fully, (5) Nigraha, Rejection, (6) Āhavana, Inviting, (7) Toḍana, Tease or annoy, (8) Samsleṣa, Embrace, (9) Viyoga, Separation, (10) Rakṣaṇa, Protection, (11) Mokṣaṇa, Release, (12) Vikṣepa, Rejection in contempt.

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(13) Dhunana, Waving or shaking, (14) Visarga,

Agreeable rejection, (15) Tarjana, Cautioning and

threatening, (16) Chedana, Cutting, (17) Bhedana

Splitting, (18) Sphoṭana, Blossoming or dilating,

(19) Moṭana, Contraction, (20) Tāḍana, Beating.

These are the several means by which the classified hand-

poses have to be exhibited in a performance, having full regard to the

contéxt and for fully conveying the meaning.

Further three more means of hand gesticulations are specified:

(1) Uttāna .. Lifting up.

(2) Pārśvaga .. Taking to a side.

(3) Adhogata .. Dropping downward.

These placements have to be aligned with the exhibition of the hand-

pose.

The skilled actor must perform the actions of hand-poses,

the deportment of which must always accord with the actual experience

and behaviour of the men of the world. Otherwise the actions will

become outrageous, disrespectful and positively, insulting. When

superior things are to be indicated, the hand must move towards

the forehead; for medium things towards the chest and for the ordinary

towards the feet. (Lower portions of the body). These may also

be mixed up if the needs of the world demand such a combined re-

presentation. Intelligent players must perform only such hand-poses

with such composite dexterity always harmonising with all circum-

stances-otherwise the depicition may lead to grotesqueness.

While displaying the following emotional feelings no hand-

pose need be employed, but only suitable modulations of the voice

(Kāku) will suffice:

Viṣaṇṇa, Dejection; Murchtia, Swooning; Hrīte, Ashamed;

Jugupsa, Anxiety; Sōka, Sorrow; Glāni, Depression;

Swapna, Dreamy State; Vihaste, Placing the hand in the;

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wrong places; Niscesțe, Actionlessness; Tandrițe, Sloth-

fulness; Jade, Dullness; Vyādhigraste, Diseased condi-

tion; Jarārte, Old age and decay; Bhayārte, Frightened

condition; Sitaviplute, Overwhelmed by cold; Matte,

In drunken state; Pramatte, Committing mistakes and

errors; Unmatte, Mad; Cinta, Moody; Tapastițe,

When in penance; Himavarshate, struck by snow and

rain, Baddhe, When bound; Vārimaplava samsrițe,

Encircled by water; Svapnayite, When dreaming;

Sambhrante, Surprised in amazement; Spoțane, Exp-

losive noise.

Hand-poses alone will not be of good avail. The above

expressions must accord with natural actions. So also the modula-

tion of voice, which must conform to aesthetic taste and bhāva.

IX. 180.

na hastābhinayah kāryah kāryah sattva sa māsrayah,

tatha kāku viśeṣasca nānārtha rasa bhāvakah

When both the hands are employed to display the classified

poses, then simultaneously the appropriate looks, verbal expressions,

pauses and the like must be exhibited to convey the correct sense.

The whole of the Dance-movements are broadly based on

the following actions:

(1) Uttāna .. Lifting up

(2) Vartula .. Circular

(3) Triṣa .. Triangular

(4) Sthitica .. Static

(5) Adhomukha .. Downward

These hand-poses relate to Abhinaya-i.e. gesticulatory

hand actions that convey rasa and bhāva.

5. Now Nrtta hastas ie., pantomimic poses of the hand. How-

ever these are employed for their aesthetic effects. They need not

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convey any meaning. They are employed for their graceful presentation of form, always according to music and time beats.

1. Caturaśra: Rectangular, Nr. H.

The hands are in Khaṭakhā mukha. No. 10. S. H. They are placed eight inches away from the chest, and they are turned towards the actress. The elbows and arms are equally levelled.

2. Udvṛtta: Lifted up and turned round.

The hands are in Hamsa pakṣa (No. 20 S.H.). They are turned round like a fan.

This is also known as Tālavṛntaka (Fan-like).

3. Talā Mukha: Pointing to surface.

The hands in Caturasra (Nr. H. No. 1) and then in Hamsa pakṣa pose. (No. 20 S H) The hands are kept oblique and face each other.

4. Svastika: Crossed.

The hands in the previous poses are crossed at the wrists.

5. Viprakīrṇa: Scattered.

The hands crossed at the wrists as above are released.

6. Arāla and Kaṭakā mukha: Curved and Wristlet.

Make the action of Ālapallava (No. 16 S.H.) then Padmakośa (No. 12 S.H.) in an upturned attitude. This is also a combination-pose. Alternative description consists in keeping the hands at the wrists in Arāla (No. 5 S.H.) and loosening them. (The loosening must be sudden).

7. Aviddha vakra: Piercing downward in a curve.

The shoulders, upper arm and elbow are all curved. The hands are put in opposite directions.

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8. Suci Mukha: Needle-face.

The hands are held in Sarpa śira (No. 13 S.H.). The middle finger and thumb are stretched out.

The same action can be performed with the palms crossed at the wrists.

9. Recita: Emptied by Whirling.

The hands are in Hamsa pakṣa (No. 20 S.H.) and whirled at the wrists very quickly. The palms are extended and are upturned.

10. Ardha Recita: Half Emptied.

The left hand is in Caturasra (Nr.H. No. 1) and the right hand in Recita (Nr. No. 9.).

11. Uttāna Lifted up. Uttāna + Añcitau = Uttana vancitau.

The elbow and upper arms are bent with the palms in Tripatāka pose (No. 2 S.H.). They are moved slightly obliquely.

12. Pallava: Tender leaf.

The hands in Patāka are separated.

13. Nītamba: Posterior, nates.

The hands in patāka are made to emerge from the heads of shoulders.

14. Keśa Bandha: Coiffeuring.

The hands in patāka are made to emerge form the hair of the head, sides and all-round.

15. Lata: Creeper.

The hands in patāka are slightly extended obliquely and kept at the side.

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16. Kari Hasta: Elephant's Trunk, Proboscis.

The hands in the previous pose are lifted up and are moved from side to side. But the hands are in Tripatāka pose (No. 2 S.H.) when approaching the ears.

17. Pakṣa Vañcita: Side and bent.

The hands in Tripatāka are placed at the heads of the loins i.e. hip bones.

18. Pakṣa Pradyota: Side and turned to the opposite side.

The hands in Tripatāka point in opposite directions.

19. Garuḍa Pakṣa: Kite wing.

In the above Nṛtta Hasta, the hands point downward.

20. Danda Pakṣa: Stick to a side.

The hands in Hamsa pakṣa (No. 20 S.H.) are extended. Turn round and round like flapping. The upper arms are also extended at the same time.

21. Urdhva Maṇḍala: Upper Circle.

The hands (normal) are lifted up and turned round and round.

22. Pārśva maṇḍala: Side whirling.

The hands are extended sidewards and whirled.

23. Uro maṇḍala: Chest circling.

One hand is in udvesta (stretched upwards) the other is in apaveṣṭa (downward stretched). They are turned round near the region of the chest.

24. Urah pārśvārtha maṇḍala: Semi-circling near the chest and sides.

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Make alapallava (No. 16 S.H.) and arāla (No. 5 S.H.)

of the hands. Move them quickly in half circles near the chest.

The movement must be on the sides only.

25. Musṭika Svastika: Fists crossed.

The hands in khaṭakā (mukha) pose (No. 10 S.H.) and they

are crossed at the wrists slightly bent.

26. Nalina: Lotus variety.

The hands in Padma kośa (No. 12 S.H.) are extended and

whirled in and out.

27. Alapallava: Sprouting leaves.

The tips of the fingers are lifted up, udveṣṭa.

28. Ulbhaṇa: Out burst. Inflation.

The above hands are stretched out pointing upward.

29. Lalita: Graceful.

The hands in alapallava (Nr.H. No. 27) are placed over the

head.

30. Valita: Bent or twisted.

The hands in lalita are crossed at the elbows.

These Nṛtta Hastas are employed in the suite of the com-

posite actions of Karanas (Vide Ch. IV). They can be represented in

Abhinaya also. To suit the sense and idea these Hasta actions may

be combined both for Nāṭya—Dance, and Nṛtta—pantomime.

The performance of these Nṛtta Hastas is known as Kara-

nam (performance) and this is of four kinds.

(1) Āveṣṭa, Closing; (2) Udveṣṭa, Releasing; (3) Vyā-

vartita, Circling in the reverse ; (4) Parivartita (udvar-

tita), Circled.

168

1. Āvesta:—In this the fingers, from the forefinger, middle

ring and the little are folded into the palm in order leaving space in

between them, one after another.

2. The fingers thus folded in are released in the same order one

after another is udveṣṭa.

3. Vyāvartita or Avarta:—The fingers beginning with the

little finger are moved round and round in order one after another

(inward the palm).

4. Parivartita or udvartita:—Is the release of the above in

order one after another outward.

Further in hand gestures some more movements of the same

are enumerated below:

(1) Tiryak .. Moving sideways obliquely.

(2) Ūrdhva Samsta .. Moving above the head.

(3) Adhomukha .. Pointing downwards (towards

the earth).

(4) Ancita .. Starting from the chest, the

hand is moved round the

head.

(5) Apaviddha .. Is piercing action.

(6) Mandalagati .. Moving in a circle.

(7) Svastika .. Crossed.

(8) Prṣṭānusare .. Self-led, the hand follows one's

own body.

(9) Udveṣṭita .. The movement begins with

the movement of the wrist.

(10) Prasārita .. Extension of the hand.

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The above are the actions known as Karanas of the hands. These have to be employed by Nartakas—Actors.

6. HRṢDAYAM: CHEST (Region of the heart)

7. Ābhugna: Fully bent.

The chest is lowered, posteriors are lifted. Shoulders are bent and loosened.

The action indicates confusion in surprise, sorrow, swooning, fear, disease, something sticking in the heart. These also may be displayed when in contact with chills or when exposed to rain, or due to shyness, as the context and circumstance demand.

2. Nirbhugna: Straight.

Chest is kept steady, posteriors are lowered. The shoulders are not bent but lifted up. This is displayed to exhibit, standing still, humiliated, sight of something surprising, when speaking truth, conceited talk about the self and height of pride.

Further it is said, deep sigh, yawning, crushing, affected indifference towards a lover are also indicated.

3. Prakampita: Shaking.

The chest is continuously up-heaved.

This action denotes laughing, weeping, exhaustion, fear, deep breathing, coughing, hicupping and sorrowing.

4. Udvahitam: Lifted up.

The chest is inflated and lifted up. This is exhibited to present deep breaths, looking up at things high, yawning and the like.

5. Sama: Normal.

The chest and other limbs are at rest and in the natural state.

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This is indicative of well being and healthy condition.

7. PĀRŚVA: Actions of the Sides.

8. Nata: Bent.

The loins are well bent, the side is also bent. Similarly the heads of shoulders are loosened to a side. Indicates the action of approach.

2. Unnata or Samunnata: Elevated.

By some artfulness or skill make the opposite pose of the above nata. Such reverse actions of the loins, side and shoulder must be made. This exhibits ‘to draw back’ or to withdraw.

3. Prasāritam: Extended.

The sides are uplifted.

This denotes joy.

4. Vivartita: Rounding.

This consists in the region of the posterior rounding (rump).

Indicates turning back.

5. Apasṛta: Withdrawing.

Relaxing the limbs from the previous pose Vivartita.

Indicates return, coming back.

8. UDARA: Jaṭhara, Belly.

9. Kṣama: Famished.

When the belly is slender, thin, it is Kṣama. It indicates laughter, ridicule, crying, deep breath, and yawning.

2. Khalvam: When depressed.

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It indicates sickness, addiction to penance, exhaustion and hunger stricken.

3. Pūrna: Full-blown.

When full-blown or bloated.

Indicates full breath, stoutness and sickly condition.

9. KAṬI: Waist.

10. Chinna: Cut.

The waist is well twisted in the middle.

Indicates exercise or extending, wonder, twisting round, seeing and the like.

2. Nivṛtta: Drawn back.

This action consists in facing one who has turned his face away and in coming back. The display shows turning and returning.

3. Rectia: Emptied out.

Indicates circular movement.

4. Kampita or Prakampita: Shaking.

Waist is moved obliquely and backward quickly.

Gaits of a hunch back, short and low people are indicated.

5. Udvāhita: Lifted up.

Lifted up above the posteriors.

Exhibited to indicate stoutness, gracefull gait of women.

10. ŪRU: Thigh.

11. Kampana: Shaking.

This consists in lowering and lifting up the heel frequently.

Uses are to indicate fear and gait of mean people.

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2. Valana: Circling.

The knees are placed with space between them.

Walking of women at their pleasure, carelessness, twisting

of the legs while walking are the display.

3. Sthambana: Steady.

When the thighs seem to have been pierced down.

Indicates terror, alarm and sorrow.

4. Udvartana: Twisting and fixing.

Indicates exercise, stretching out.

5. Vivartana : Separate.

The heels are inverted.

Indicates starting out, movement in agitation and surprise.

The actors must observe the deportment of others in the

world while performing these actions.

11. JANGHA: Lower Knee (Genu).

12. Āvartitam: Circling.

The left foot is moved from the left to the right and front

then to the left again.

A second definition in the alternative is also given. The

calves are put in swastika (crossed). This action is employed by the

Court Fool in his gait.

2. Nata: Bent, Genuflection.

The knees are bent, i.e. leaving space between them.

This is performed while sitting, standing and walking.

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3. Kṣipta: Asunder.

Throwing away the calves asunder is this action.

This is employed in dance and in physical exercises.

4. Udvāhita: Lift Up.

The calves are lifted up.

This is employed in walking with the toes piercing into the earth or ground.

5. Parāvṛtta: Rounding.

The calves are kept in contrary directions. This is a movement frequently made in dance—tāṇḍava.

12. PĀDA: Foot.

13. Udghaṭṭita: Well Rammed.

Standing on the tips of the foot and dropping the heel on the ground firmly.

The hand action of udveṣṭita—release is also coupled with this action and this denotes ‘imitation’.

This may be done once, repeated frequently either quickly or moderately.

2. Sama: Levelled or Balanced.

The feet are at level i.e. natural. This is in conformity with what is natural. They are kept steady in combination with other gesticulations.

In this basic and normal position the feet are moved as if to show evacuation, i.e. Pada reciṭam. The two feet are kept in level about twelve inches apart.

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If the big toe of one leg (is) pointing outward, this is known

as Tṛsra pāda., triangular. This indicates ‘startling’ or ‘alarmed’,

distressed or distracted conditions.

This sama pāda is also defined as consisting in keeping the

heels apart with space in between them.

(In the next chapter dealing with Sthānaks—placement of

legs and feet X-51—this is detailed further. Also vide chapter XII

V. 173 etc.) Aśvakrānta.

3. Agratala Sancara: (Also known as talāgra). Moving on

tips of toes.

The heels are lifted up and the big toe is extended. The

other toes touch the ground.

The indications are beating, well pressing, standing, bend-

ing a bow, breaking or killing, stamping the ground, spinning round

and round.

If the above action is varied by placing the superimposing,

different kinds of emptying, i.e. racita actions are implied. This is

done for coming, walking as it were on the heels. The heels are kept

on the ground and the ends of the feet are in agratala.

4. Añcita: Elevated.

The toes are slightly bent and touch the ground. This is

displayed to show movement on the tips of toes, either when elevated

or resting on the ground. These are used in different kinds of Brah-

manakas—whirlings—or when stamping. (Pādahata).

5. Kuñcita: Shortened.

The heels are raised up and the toes are bent and the bridge

of the foot is curved. This is displayed in high styled gait. The feet

are either on the ground or elevated.

(In atikrānta gait chapter X Vs. 10 & 11) — the actor stands on the

big toes.)

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Sūcīpāda: Pointed Foot. Here the left heel is lifted up and the actor stands normally on the naturally placed right foot. This is displayed to show the nupura anklet. (Generally a Nrtta action).

Even as the foot moves, so the thigh, so both these actions must be harmonised for the exhibition of aesthetic attitudes.

CHAPTER XIV

CĀRI: Movement

The unified or composite actions of the foot, calf, thigh and waist are the well known gestures of Cāri. But when the several types of Cāri actions overlap, the unification of such variegated actions, is called Vyāyāma: Physical exercise. Single foot action is Cāri. When both the feet are moved it is known as Karana.Several Karana (feet actions) are known as Khanda: (Parts). When three or four Khandas are combined they are to be known as Mandala (group) actions. Every movement in Dance, Natya i.e. every action of any limb must be having a corresponding movement in Cāri. Cāris are of the Bhoumya if on the ground and ākāsi if above ground.

2. Classification of Cāris—on the ground: B.C.

3. Sama Pāda: Level Footed.

Standing on the ground, feet actions are repeated (to accord to time beats) and all the toes are on a level contacting the ground.

2. SthitaĀvarta: Standing and Rounded.

With one foot move it circularly on the ground. The other foot is stretched out.

3. Śakaṭāsya: Cart forward movement.

Seated on the floor, with an elevated chest, move one leg on the floor.

4. Adhyardhika: One and a half times.

Left foot is placed behind the right. Then the right is moved off.

5. Cāsagati: Bird Move.

The right foot is extended on the ground to about nine inches (Tala) and moved off. The left is moved in another direction.

83—12

6. Viccyava: Loosened.

The two feet are at rest (placed on the same plane). Then they are separated.

7. Edakā Krīdita: Ram Jump or Elakākriḍita.

Scoup out with the end of the foot and stamp it on the ground. Then jump up as in tala sancāra with the forefeet, like the animal jump by lifting the forelegs. Then drop them down repeatedly.

8. Baddha: Bound.

The calves are put in Svastika crossed one over the other and the thighs are twisted.

9. Urūdvrtta: Thighs Spinning.

The feet are in Tala Sancāra: one heel is turned towards the hind part of the other heel. The udvrtta action, i.e. twisting of the calf is made. This action is indicative of bashfulness, jealousy and the like.

10. Addita: Rub.

Make with one foot either from front or back side the action of padāgratala sancāra, Rub the other foot well.

11. Utspanda: Throb.

The foot is slowly moved from inside or outside as though imitating the action of Recaka.

12. Janita: Source of all movements.

The hand in first pose (Muṣṭi) (S.H. 7) is placed on the chest. The other hand is moved. The foot is moved in talasancāra. (No. 3 of Foot). This is the source of all movements and gaits.

13. Syandita: Trickling.

The feet are separated by five talās. i.e. 30 inches.

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14. Apasyandita: More Trickling

In the above action the other foot is moved likewise.

15. Samotsārita Mattalli: Extended and Whirling.

The feet are in talasancāra (movement on the ground).

They are moved in a circle and brought back.

16. Mattalli: Inebriated.

Both the feet are turned round and round and the hands are in udvestita, (raised) and apaviddha—thrown away.

3. AKĀŚA CĀRIS: Above the Ground. A.C.

4. Atikrānta: Trans-ascending.

This is the movement of walking. Bend the leg and lift it up forward, then drop it down. The lifted leg is always bent at the knee. This is a conventionalised gait.

2. Apakrānta: Side Bent.

The thighs are twisted, the leg is bent and lifted up and placed to a side.

3. Pārśvakrānta: Step Sideways.

Lift up the bent leg, till the knee comes to the level of the chest. Throw forward that lifted foot. This signifies kicking sideways.

4. Ūrdhva Jānu: Uplifterd Knee.

The bent leg is lifted, to reach the level of the chest. The other leg is kept in the normal position.

5. Sūci: Needle Foot or Sūcividdha.

The bent leg is lifted up and the knee joint is stretched upward and slowly dropped down with the end of the foot pointing downward.

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6. Nūpura Pādika: Ankletted Foot or Nūpura Pāda.

The leg is put in agratala pose (No. 3 foot). bending it backwards and dropped down quickly on the ground.

7. Dōla Pāda: Cradle Swing-foot.

The bent leg is lifted up. and swung from side to side. It is then dropped pointing (toes) downwards.

8. Ākṣipta: Thrown.

The bent leg is lifted up and thrown out. The calves are placed in Svastika.

9. Āviddha: Pierced.

The bent leg put in svastika pose is stretched out. It is dropped down as though piercing or touching the ground.

10. Udvṛtta: Jump and Spin.

The leg is put in Āviddha (No. 9 A.C.). Then a jump is taken. Then the other leg is spun round.

11. Vidyut Bhrānta: Lightning Surprise.

The leg is twisted from behind and is stretched out upward till it rubs against the back of the head. Then it is moved round and round.

12. Alāta: Faggot.

The foot is stretched out backward and twisted very near the other leg. The heel is dropped down.

13. Bhujanga Trāsita: Serpent-terror.

The bent leg is lifted up and the thigh is moved round and round in Tṛṣa. (Triangular movement). The waist and the knee are simultaneously moved in a circle.

180

14. Hariṇapluta: Deer-Jump.

Atikrānta (No. 1. A.C.) is made, jump up and drop down the foot. The other calf is bent backward.

15. Danda Pāda: Straight Foot.

The action of Nūpura (No. 6 A.C.) of the leg is made and stretched out to the front. The other leg bent at the knee points towards the body.

16. Bhrahmari: Bee-whirl.

The action of Atikrānta (No. 1 A.C.) is made. The waist is spun round and round. The other leg is made to move round and round near the ground.

The several ‘above the ground’ actions are exhibited to show discharge of missiles, use of bow, handling of sword and arrows. The hands must accord with the movements of the leg actions.

As the leg moves, so does the hand. The waist follows the hand. The action of other sub-limbs accord with the actions of the legs.

When the movement of the legs is on the ground, the action of the hand must be near about the waist region.

4. STHĀNAKAS: Placement—Locations or Positions (Sth).

5. Vaiṣṇava (of Viṣṇu).

Keep the feet 2½ tālas apart. One of the legs is in Tṛṣa (Oblique) and the other in Pakṣa Sthita—rested to a side. In Tṛṣa, the foot is slightly turned towards the end of the other foot (angularly). In Pakṣa Sthita, the toes are slightly directed towards the side. Then one foot points towards the calf of the other, when the other is in souṣṭava. Viṣṇu is the presiding Deity and hence the name to this placement. The display of this, exhibits ‘friendly conversation ’ with persons of various degrees and who have come on different errands and in natural

181

and unexcited conversation. This is exhibited in the discharge of the

discus, missile, in holding the bow, and in keeping the body in such

poses or positions as would indicate steadiness, courage of high order,

and in indicating wrath.

If the above suite of actions are in the reverse order, indi-

cates amorous distemper, abusing and extravagant amorousness.

This also signifies doubt, jealousy, anger, cruelty, cogitation, moodi-

ness, remembrance, mindfulness, meekness, waywardness, pride, desired

object, strength and power.

The above actions convey adbhuta, bībhatsa, vīra and sṛngāra

rasas.

2. Samapāda: Levelled Placement.

Both the feet are equally placed on a level, separated by

one tāla. This is a natural position. Brahma is the presiding deity.

This pose indicates—Scholars blessing, gait of bird-kite, pleasure,

comfortably seated, seated on a chariot or an air-vehicle or a palan-

quin; sitting stiff and erect, and persons devoted to certain types of

penance and religious practices.

3. Vaiśākha: ‘Step of Skanda.’

The feet are kept 3½ tālas apart. The thighs are also 3½

tālas apart and firmly held. They are in Trśra and Pakṣa. (No. 1

Sth.). The presiding Deity is Skanda. This indicates riding a

horse, exercise, starting off, heavy wings or sides, pulling up a bow.

To indicate recaka this may be performed.

4. Mandala: Indra’s Round.

The legs are held four tālas apart and kept in Trsra and

Pakṣa. The waist and knees are held in line. Bow, weapons like

Vajra, conveyance of heavy sided animals like elephants are indicated.

Indra is the presiding Deity.

5. Ālīdha: Rudra-Like.

Standing in the above mandala pose, the legs are held five

tālas apart. Rudra is the presiding Diety. Indicates quick conversa-

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tion due to anger and deep seated enmity. impetuosity and fury of

wrestlers and enemies, and discharge of a missile and its course.

6. Pratyālīḍha: Reverse of Ālīḍha.

In the previous action of ālīḍha, the right knee is bent and

the left is stretched out. The weapon held in ālīḍha is discharged in

pratyālīḍha.

5. There are four Canons to be observed due to justice and good

conscience in the discharge of missiles.

1. Bhārata .. cutting through the Waist.

2. Sāttvata .. the feet are aimed at.

3. Varṣa ganya: .. the chest is aimed at.

4. Kaisikha .. beheading.

The above actions have to be displayed in the positions directed.

In duels, the shield is held by the left hand and the weapon

by the right, stretch out hands full length and withdraw them.

Brandish the sword and move the shield side to side or back. The

weapon must be waved above the head.

The hit with the weapon must be between the cheeks.

Then lift the hand with the sword gracefully. The wise actor protects

the head with the shield. This is Bharati style of fighting.

2. Sāttvathi Style.

The missle is discharged from behind.

3. Varṣa Ganya: This is ārabhaṭī mode.

This is done as in the previous style, but the person will be

moving or walking.

4. Kaiśikhi Style.

The brandishing of the sword at the region of the chest

crosswise. This is to be performed as in Bharati style. Further whirl

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the weapon alone over the head and drop it. All these wieldings must be done with agility of the body.

While these are exhibited on the stage, there should not be any cut, no cleavage, on the body, no shedding of blood or any visible wound. The action must only be suggestive and indicative when brandishing the weapons.

All these movements must be attuned to laya and tāla (Time beats). The excellence of the performance must be in Souṣṭava (virtuosity).

Souṣṭava is generally defined as follows:—The actor is not shaking, not shrinking or contracting, not dejected, must not be too tall, not moving on feet, then it is to be known that the perfor-

mance is in souṣṭava. Further in souṣṭava, the waist is in line with the ear, forearm, shoulder---head and elevated chest. This suite of attitudes must be displayed by the superior and the medium type. The whole of Nāṭya and Nrtta is centred in Souṣṭava.

6. The hands in Viṣṇava sthāna pose must be above the region of navel or waist. The chest is elevated. The following are the four actions to be performed with the bow:

7. pramarjanam .. Cleaning, wiping and brushing it, polishing.

8. ādanam .. Holding it with firm grip.

9. sandhānam .. Fixing the arrow and aiming.

10. mokṣanam .. Discharging the dart.

11. Exercise and Training:

The exercises may be taken in an enclosure or in open air. Smear the body with gingelly oil and rub it with yava gruel. Best exercise should be within enclosed walls.

While taking exercise, the limbs are freely stretched out. The body must be clean, bowels must be emptied out, the nose must

See — Chapter IV Para 6.

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be cleaned. Fatty oils and ghee must be included in the diet of meat

and soup. Vitality depends upon food and all exercise depends on

vitality. Good food is essential.

Taking exercise when the body is not pure, when hungry

or thirsty or drunk must be avoided. There must be fixity of body,

and chest well set.

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CHAPTER XV

MANDALAS: Circuits of Movements

This suite of actions arises out of a combination of Cāris-Movements. These are classified into two types. Akāsi—of the sky, i.e. above the ground. (2) Bhaumi—of the ground.

Akasa Mandalas:

1. Atikrānta:

The right foot is in Janita (B.C. 12). The left foot is in udvahita (A.C. 10) and then in alāta (A.C. 12). Then with the right foot Pārśva Krānta (A.C. 3) is performed. Then with the left foot Sūci is performed. Posteriors are moved round and round. Similarly the right foot is lifted up and circularly moved, the left is in alāta.

The Parichinna and Bāhya Bhramaraka are made. Finally atikrānta A.C. of the left and Danda pāda of the right are made.

This suite of ākāsa cāris are known as ‘Atikrānta Mandala’.

2. Vicitra:

Janita (B.C. 12) is made and in the same pose nikutta is made. Āspandanam of the left and Pārśvakrānta of the right foot. Then sūcipāda of the left is made. Then apakrānta of the right. Left in Bhujanga trāsita, and right in Atikrānta. The right again in udvṛtta and the left in alāta. The right again in Pārśvakranta. The left in Sūci. The right is dropped in Vikṣepa and left in apakrānta.

Also make Bahya Bhramaraka and Viksepa.

3. Lalita Sancāri:

With the right make ūrdhva jānu, then sūci. Then apakrānta of the left. The right is in pārśvagata.

Then left in sūci. Move the posteriors round and round.

With the right pārśvakrānta is made and with the left atikrānta.

Then sūci of the right and apakrānta of the left. The pārśvakrānta

of the right and atikrānta of the left.

Finally display the finale with parichinna and Bāhya

Bhramaraka.

4. Sūci Viddha:

The left foot in sūci, move the posteriors round and round.

Then pārśvakrānta of the right and atikrānta of the left. Sūci of the

right, apakranta of the left.

5. Danda Pāda:

The right is in Janita in the manner of dandakrama, left in

Sūci. The posterior is moved round and round. The right is in

udvrtta and the left in alāta, then right in pārśvakrānta, followed by

bhujan̄ga trāsa. The left is in atikranta. The right is in Danda

pāda. The left is in Suci with the posteriors spinning round and

round.

6. Vihrta:

Put the right in Janita and in the same pose make nikuṭṭa.

Make askandita with the left and udvrtta with the right and alāta with

the left. Sūci with right, then pārśvakranta with the left, and āksipta

with the right.

Turn round the posterior. Then stretch out dandapāda.

The left is in sūci. Posteriors are spun round and round. The right

in Bhujan̄ga Trāsa, and the left is in atikrānta.

7. Alataka:

Make sūci of the right, apakrānta of the left. Then again

pārsvakrānta of the right and alata of the left. Move round and round

in the above cāris repeatedly, six or seven times in graceful foot steps.

Apakranta of the right and atikrānta of the left are made. The left

is in Bhramaraka.

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8. Vāma Viddha or Vāma Bandha:

Make sūci of the right and apakrānta of the left. Then the right in danda krama, the left is sūci. The posterior is spun round and round. Then the right is in pārśvakrānta. The left is in dandapāda, and afterwards in urudvrtta. Then suci of the left and the posteriors are turned round and round. The left in alāta and the right in pārśvakrānta. The left in atikrānta.

9. Salalita: Lalita sancāri.:

The right is in sūci and the left in apakranta. Then the right is in pārśvakrānta then in Bhujan̄gatrāsita. The left in atikrānta and ākṣipta of the right. Then the left in atikrānta, followed by urudvrtta and alāta. Then the right in pārśvakrānta. The left in sūci and the right in apakrānta. The left in atikrānta. Finally lalita sancāri is performed.

10. Krānta:

Make sūci of the right, then apakrānta of the left. Then pārśvakrānta of the right and left. Circular movement is made in this Cāri alternately with legs in Cāri movement. Then sūci of the left and apakrānta of the right. Then move in natural gait.

2. BHAUMYA MANDALAS: (of the ground)

3. Bhramara:

The right in Janita and the left in aspanda. The right in Śakatāsya and left stretched out. The right in bhramaraka with posteriors spinning round and round. The left in āspanda and right in Śakatāsya. The left is moved backward and displayed in bhramaraka followed by a final action in āspanda.

2. Āspandana or Yuddha:

The right is moved in bhramara, the left in addita. The posteriors are spun round and round. The right is in śakatāsya followed by urudvrtta. The left in apasarpita.

189

The nates are spun circularly. Right in spandita the

left in sakaṭāsya followed by asphoṭa. (Clapping).

3. Āvarta:

The right in Janita and nikuṭṭa of the left is performed.

Śakaṭāsya of the right followed by urudvṛtta, the left is moved back-

ward and cāṣagati is displayed. The right is in āskanda. The left in

Sakaṭāsya. The right in Bhramaraka. The nates are turned round.

The left is stretched back.

4. Samotsārita:

The right foot is placed in samapāda sthāna. Stretch the

hands upwards, leaving space between the two with palms turned

upward. Turn one palm round the other. The hands are rested

at the waist. The right in avarta, the left is also displayed likewise.

5. Elakā Kriḍita:

The feet are in Sūcividdha. Then Elakakridita is dis-

played with posterior spinning round and round. The feet in suci

are turned into apaviddha. Then rounding in āvarta is performed.

Half circle is made to make a finale of the circuit of movements.

6. Addita:

With the right leg raised āvarta is displayed. Then āsk-

andita is also performed. Then with the left śakaṭāsya is displayed.

The right is moved backwards and cāṣagati is performed. Then addita

of the left, while right is stretched out, the left again in bhramaṇaka

and the right in āskandita. Finally asphoṭa is made.

7. Śakaṭāsya:

With the right Janita is made followed by nikuṭṭa and

śakaṭāsya, the left in āskanda. Then both legs are in śakaṭasya which

are alternately displayed.

8. Adhyardha:

Starts with Janita if the right followed by āskanda. The

left is stretched out, the right in śakaṭāsya. Then alternately with

the legs śakaṭasya is repeated. This denotes a duel fight—niyuddha.

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9. Piṣṭa Kuṭṭa:

The right foot in sūci and the left in apakrānta. Then beginning with the right, Bhujangga trāsa is performed with the left also. Moving round and round Bhujangga trāsa is continued for some-time.

10. Cāsagati:

This manḍali is displayed by both the legs to simulate a duel.

Display of Sama Cāris are known as Sama Manḍalas. Expert danseurs indulge and exhibit these to perfection.

All these semi and full circuits of movements are symbolic of fights and duels. They must always be accompanied by pleasant, and playful poses of the body and must also be attuned to the music played. This is done by players endowed with excellent expertise.

XI. 70.

etāni khandāni sa maṇḍalāni

yuddhe, niyuddhe ca parikrameca

lilānga mādhurya pura skṛtāni

kāryāṇi bāhyānu gatāni tagyaiḥ

CHAPTER XVI

GATI: Gait.

This is a most interesting chapter in this classic. It deals

with the movements of the various actors and actresses in the stage.

When the curtain is pushed aside, the player enters in a

conventionalised gait, always according his strides to the play of music

and time beats.

When the stage is ready for the actors to make their en-

trance, the prelude music known as upavāhanam is to be played. The

music, befitting the entry of a role must be commenced. The curtain

is to be pushed asunder and the characters of the superior and medium

type enter and make vaisnava sthānaka. The chest is to be in Cattur-

aśra and slightly elevated. The heads of the shoulders must be

steady and not very much raised. The neck region is gracefully held

up in the peacock fashion. The heads of shoulders must be held down

eight inches from the ear. The chin is held up four inches from the

chest. The left hand is on the waist, the right on the chest. The feet

are kept two and a half tālas apart. The legs (feet) are to be lifted in

proportion to the stature of the actor and the role. Four tālas for

gods, two for kings, two for medium roles and one tāla for women

and the ordinary. The lifting is spatial i.e. the raised foot is lifted

and moved forward and placed down on the ground at the specified

distance.

(Tāla: 9³).

The lifted foot must be held high, i.e. above the ground for

four kalas; two and one kalas as required for the superior, medium

and the ordinary roles respectively.

This action of the feet must accord to laya, time beats,

known as Sthita—firm, madhya—medium and Dhṛta—quick. This

also is in accordance with the type of the role. These are the rules of

Tāla and Kala.

83—13

(Kala: 5 Twinklings of the eye-lid).

2. Then regarding gaits—gatis:

The normal and natural condition is—the knee must be in a

line with the waist with regard to persons of superior gait. If the gait

is in a military march, the knee must be in a line with the chest.

3. The feet must be moved gracefully to the sides in accordance

with the music. The actor moves towards the corners of the stage to a

distance of five feet. Then vāma vedha action of the foot is made, i.e.

the left foot touching the middle of the right (vāma=left, vedha=

penetrate or touch). Then vikṣepa (throw off or lift up) of the right

is done. In this way turn round and move towards another corner

of the stage. This movement is repeated and the actor nears the

orchestra to be at a distance of five feet from it. Then moving about

forward and backward, the original actions of vāma vedha and vik-

ṣepa are done. The actor while making this must move, in the

ordained manner towards the four corners of the oblong or square

stage or to the three corners in the third type of the stage.

4. The gaits must vary for daityas, dānavas, yakṣas, royal

personages and pannagas. The gait must be of four talas—strides.

The gait of the celestials and of persons who have become great must

be of the medium type (i.e. two talas).

The royal personages have the same gait measure of the

celestials because their birth is always presumed to be divine. In

Nāṭya conventions, kings are both human and divine. This rule

applies only when the gait is normal and ordinary i.e. unaffected by

any emotion. There is no norm fixed if the role is to be represented

with emotions like exultation, trepidity and anger.

5. The gait and the accompanying action must attune itself

to the mental condition, which may be two kālas or one. Thus the

measure is halved because of the dis-temper occupying the mental

state of the role.

But when the role is to be represented with the following

feelings of fever, hunger, penance, exhaustion, wonder, dissimilation,

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anxiety, run down, beauty, sorrow and pleasure, it may exceed four kālas; but always harmonising with laya–time beat.

For other emotions the measure may vary as the demand reqiires.

6. For the exhibition of feelings to rouse, Sr̥ngāra rasa the following canons are prescribed.

Sr̥ngāra (Erotic)

The actor enters the stage making a suggestive expression in the manner of looking out for a messenger. He is bedecked, ornamented and sartrorially beautified. He is smeared with scent and fine smelling powders and wears wreaths of flowers. He moves on in atikrānta (A.C. (1)) gait with grace which accords with laya and he is in souṣṭava pose. The movements of the hands accord with the leg-moves. The lifting and dropping of hands must be alternated.

Further, when suppression of feelings (pracchanna kāma) is to be exhibited, the actions like discarding the retinue, feelings of exhaustion, being accompanied by a messenger, extinguishing light, paucity of decoration, slow movements and dressing appropriately, have to be resorted to.

The role of suppressed feelings, moves in such an environ- ment without making any noise. He walks as if he is afraid of noise or is not concerned with any noise from without. He has anxious looks and looks about in eagerness. His body trembles and he is suspicious of the future. He moves tripping.

7. ROUDRA: Terrific.

For the exhibition of Roudra feelings in daityas and such opponents that attack them, the gait is only of one type. The feet must be lifted up four tālas high while moving and dropped down four tālas distant ahead. The Roudra feeling is exhibited in three varieties.

1. Nepadhya: Make up.

The body is smeared with wet blood. The face is also similarly coloured or painted. Pieces of flesh are held in the hands. This appearance rouses roudra.

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2. Añga: Of the body and limbs.

The actor puts on multi-hands, heads and carries different kinds of weapons in a medley. His stature is stout, tall and fierce.

3. Svabhāva: Natural.

The eyes are blood shot and hair ash-brown (pinga keśa). He has a dark complexion and maintains an unnatural voice. He has cruel looks, always inclined to beat and threat.

The above appearances and acting rouse roudra rasa.

3. BĪBHATSA: Loathsome.

For arousing this rasa, the actor treads on a ground that is unwelcome and revolting, e.g. a cremation ground, or a battle field made grotesque and loathsome after a terrific carnage. The gait is irregular, strides are not measured; stepping is hectic and sometimes stepping forward is avoided. The stride is in elakākridita. (No. B.M. 7).

The hands are moved to suit the movement of the gait and stride.

9. VĪRA: Heroic.

The feet are lifted up and thrown down firmly and with stress. Paces are taken thuswise. The general movement of the body and limbs are alert and quick. Several cāris are performed—mostly pārsvakrānta (No. A.C. 3) āviddha (A.C. 9) sucividha (A.M. 4).

10. HĀSYA: Frolicsomeness : Buffoonery.

This gait is made by the Vidūṣaka—Courtfool. The jocularity is of three types.

(1) of the body; (2) of the talk and (3) of the make up. Añga: (of the body)

196

1. Jocularīty of the body:

The person has projecting teeth, bald head, dwarfish stature,

hunch back, grotesque features. Such a role entering the stage

creates laughter.

The person makes long strides like a cranc, looks upwards

and side ways.

2. Jocularīty of talk: Kāvya kṛta.

Incoherent, meaningless and purposeless speeches are made.

Indecent, graceless and ugly talk is indulged in.

3. Nēpadhya: Make-up -jocularity of.

By putting on motely coloured clothing, skins and hides,

which are coloured in ink or smeared with ash or paint.

These hāsya actions have to be made with due deference to

the moods and tastes of the audience.

The courtfool holds an eccentric wand in the left hand.

The right is placed in caturaka pose S.H. 17, on the side, the head;

the hand and the leg must be bent alternately suited to the time beats

in music. This is the jocular gait.

When visited by windfall of wealth or fortunc, the gait has

to be changed. The sartorial equipment is also transformed.

11. KARUNĀ: Compassion.

The gait must be steady and the pacing is normal. The

eyes are full with tears, the limbs are exhausted. The behaviour is

such as to signify finding fault with gods of the heavens. The hands

are lifted and outstretched and dropped down in supplication or

loud cries of appeal.

The movement of adhyardhika B.M. 8, is made as though

something unpleasant is going to befall.

197

These are the actions for women and the ordinary.

For the superior and medium type of men, the movements are emboldened. There will be deep breaths at long intervals, looks are directed upwards (blaming the gods). The pose sōsṭava is never indicated. There is no standard fixed for this.

The gait for the medium and low, is to be with the chest depressed as though in deep disappointment and overburdened by feelings of deep sorrow. The legs should not be uplifted very high. The limbs are all let loose and slackened.

12. BHAYĀNAKA: Fright.

The limbs are in Pindi—i.e. contracted and shaking. The hands placed on the chest are folded and the person bends like a hunchback. The lips and teeth and chin are shaken. The action must be slow as though one is oppressed by cold.

In women and ordinary characters, who are devoid of peaceful mind and gentility, the eyes are wide open and are unsteady. The head is moved from side to side. The looks are directed to sides affected by fear and quick pacing and the hands are in Kapota (D.H. No. 2.).

The whole body shakes, the lips are dried up and the movements are unsteady. These suite of actions represent fear, or when threatened or frightened, having particular regard to the general tone of strength (stamina or vitality) which is failing, voice is disrupted with regard to women.

For men of the ordinary type ākṣipta gait is (A.C. 8) performed.

The pacing is very close and sometimes it is very elongated or drawn in the Cāri movement of clakākridita (B.C. 7) (Foot closely falling on heels of the other).

The hand poses have to be made correspondingly by people frightened.

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13. The gait of tradesmen and officers must be in their natural walk.

The left hand must be in the region of the navel and raised in Khaṭakāmukha (S.H. No. 10). The right hand in arāla (S.H. No. 5) and taken to a side and placed near the chest.

He must be moving about. He neither sits nor takes rest. Nor does he stand to overcome an obstruction. He should not move quickly or rush. The body must be posed suited to the above movement.

Vipras—scholars, must walk in atikrānta (A.C. 8) pacing at two talas distance.

Conquerors of senses (Yatis) Sramanas (Buddhist monks) and others, who are under the regimen of austere practices, and others that are under discipline of—penance must have steady looks. Their sight should not be beyond two yokes. (10 or 12 ft.). Their consciousness (cogitation and meditation) must be about something before them. The whole body must be suitable to the above practice. The mind is steady, suited to accoutrement of the person with his emblem of the particular school of penance (practice to which he belongs).

The dressing is humble and simple. The clothing is of the Kaṣāya colour. (Deep yellow ochre). He takes a stand in samapādah sthāna (Sth. 2).

One hand is in Catura (S.H. 17) and the other is extended. The countenance is genial and suited to the action. He must move on without sitting or resting for the body. This is a general direction for all types of monks (whatever be their class).

14. PĀSUPATHAS:

Those monks that are given to diabolical practices of penances. Their looks are always amazed and confused in excelcis or the amazement is suppressed. The actor takes the Śakaṭāsya-mandala (B.M. 7) and the feet are in atikrānta (A.M. 1).

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Generally their gait is conceited and haughty. They move

always as if groping in darkness, with feet and hands feeling out the

way.

15. The movement of a person on a chariot, is depicted by

quickened pacing. The sthānaka is samapāda (No. 2). This signifies

the chariot-move. The person riding the chariot (Rathasta) holds a

bow in one hand and holds the shaft of the vehicle (Kūbara) with the

other. The reigns and the whip are also similarly to be held by the

chariot-driver (Sūta).

For other kinds of conveyances some similar improvised

actions have to be represented.

16. A person flying in an aeroplane must walk very fast on the

stage. This gait is indicative of flying in an aeroplane (vimāna)

and is similar to that of a charioteer, i.e. quick locomotion (on the

stage—rañga).

17. To represent the action of ascent, lift up the body with

the face slightly protruding, always looking at the sky. For descent

the process of the poses are—reversed. Then the looks must be

down—cast, looking round and round.

Samapāda sthāna (No. 2) is to be gaited for representing

quick locomotion. For the person making a descent from the sky,

the legs are straightened, lifted up, lowered and moved in zigzag

directions.

For one who falls down from heights the hands are in apa-

viddha (thrown away) and quickened in dōlapāda (A.C. 7).

The clothing is flowing, waving and scattered. The eyes

are fixed downwards.

Similar actions have to be improvised for the storied build-

ings, hills, rivers and other ups and downs in ravines.

(Here the reader may notice that a first floor above the

ground floor (Dvibhūmi) for the stage is not mentioned).

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The ascent to a storied building must be in atikrānta (A.C.1).

He must lift up the body and the leg indicating as though he is getting up a stair case (Sopānapañkti). While getting down, reverse action has to be simulated. To represent crossing through water,

indicate the depth of water here and there (by vācika—speech) and move by straightening up.

In shallow waters, pull up the cloth, in deep waters, throw off the waters by waving hands. The characteristic feature of move-

ment of crossing (by swimming) is done by slightly bending forward.

The hands are stretched out alternately. To indicate crossing rivers in spate, move obliquely. (Tiryak prasārita). The general

movement of the body must indicate that all limbs are in agitation and confusion and the facial features must be shaking indicative of

helplessness. To represent sailing on board a ship, the feet must be in quick movement simultaneously and together with the whole

body-moves.

The right leg is in atikrānta (No. A.C. 1) the other in añcita(F. 4.).

For ascending staircases and mountains the gait to be adopted is the same.

Even if the action is exclusively in vikṣepa (throwing away) in climbing up trees the feet are in atikrānta (A.C. 1).

For representing the descent into rivers and ponds, the feet must be in suci viddha, (B.C. 5), apakrānta (A.C. 1).)and pārśva-

krānta (A.C. 3).

18. A general precept is emphasised. All the above said actions are laid down herein to be only symbolic. (conventional acting—not

realistic).

XII. 106.

anenāiva vidhānena /

kartavyam gati ceṣṭitam / /

samgyā mātreṇa kartavyā /

nyetāni vidhipūravakam / /

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The above canon is illustrated by an example.

If one's death is to be displayed, should the actor die?

No, need not.

Then how?

By holding the hooked stick, a goad, an elephant-ride is betokened. Thuswise holding the reins or a bridle signifies horse-riding.

Riding on horse-back is indicated by the posing in Vai-sākha sthāna Sth. No. 3.

The creeping of the snake is indicated by the feet in svastika (Crossed).

Thus actions are symbolically conventionalised and by a particular attitude a gamut of connotation is communicated. This is acting : an art.

19. DANDY or BEAU:

The feet are in pārśvakrānta A. C. 3 svastika and recaka. The gait of the fop has to be gracefully made. The legs are slightly bent, the pacing is only one pace apart. The hands are in souṣṭava according with the motions of the legs.

Khaṭaka Vardhamāna (D.H. 5) is made.

20. The gait of a servant, or old trusted family employee must be according to his age, service and conditions. If he is not very old, the feet are lifted and paced apart to a half tāla. The feet must be stretched out straight (upright and steady). The lifting up of the body must be like one lifting himself up out of the mud. The old aged one must maintain a shaking body. If the feet are slowly and steadily lifted and the pacing is elongated, this gait represents the striding of a lean and emaciated servant. He holds his breath because of his advanced age. The old servant holds also a prop and puts his weight of the body on the staff held and moved with this support.

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The same gait is to be adopted for persons afflicted by

disease, fever or exhaustion by penance or hunger. Further,

the holding of the breath, with the belly shrink are also to be depicted.

His voice, is feeble, the cheeks are sunken and the eyes indicate humi-

lity. The movements of the hands and feet are very slow.

A pedestrian after a long distance walk keeps on the above

pacing to show overcoming fatigue. He now and then moves side-

wards, and presses the knees to relieve pain at the joints. For an

obese person the gait must be in proportion to the body, indicative

of lifting of the whole weight of his own fat body. The feet are slowly

lifted up (vikṣipta), the breath is held up, and breathing is slowed

down. He sweats frequently due to exhaustion and fatigue. Appears

to walk quickly.

21. INEBRIATED PERSON:

Persons in adolescence when drunk move with the right

and left feet frequently twisting round one another. Under the

baneful influence, the pacing is unsteady. The head and the body

are shaky. The hands are hung down loose. Tipsy movements are

the key notes.

22. MAD MAN:

In the gait of a lunatic, there is no fixity, regularity or steadi-

ness of pacing. The movement consists in a variety of Cāris. He

feigns to be sane and follows the world. He is rugged, has clipped

hair, and the whole body is smeared with dust.

His talk is always unnecessary and purposeless. He talks too

much to himself. He has a grotesque appearance. He suddenly

sings, laughs and does not delight or relish companionship. He

begins to dance in glee and begins to drum at his pleasure. Sometimes

runs away quickly but suddenly stops. He sits suddenly and lays

himself down. Dresses himself with all types of sartorial variety.

Scarce has he habitation, and always roams in the streets.

The gait is in nīpura pada (A.C. 6) followed by danda

pada (A.C. 15) stretched out. The above actions are followed by

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Badha cari (B.C. 8), Swasti (crossed), The actions in combination have to be performed. Then spin round and round. Then make, bāhya bhramani. (B.M. 1). The movement is directed towards the corners of the stage. Nates have to be spun round and round. The hands are in lata. The hands and feet are moved alternately.

23. HUNCH BACK: Cripple and the Dwarf.

Their crooked physique and the pretended abhinaya must be borne in mind. One leg in the case of the cripple is always kept motionless, the other is posed in padāgratala sancāra (F. 3). The lifting up of the body is made with the motionless leg.

In the act of moving, he supports himself on the other leg, sits with the lame leg and alternately moves on. This is gait for the one with a thorn struck in the sole.

The lame man's gait is in padāgratala (F. 3) combined with ancita (F. 4). The calf is bent, i.e. is in nata (bent).

For the dwarf and hunch back, the gait is with all the limbs contracted. There should not be any striding in long paces because the feet are always in vikṣepa (thrownout).

The legs are moved in udvāhita, (quick paced) and the action is always affected (conceited and cunning).

24. ŚAKĀRA: (King's Concubine's brother).

The gait of the Śakāra (the proverbial King's in-a-way-brother-in-law), is sometimes as described above. The side, head, and a leg are affected. These indicate that he is a Sakāra, who has always mean pride for his forte.

25. SERVANTS:

Their sight is directed downwards whilc moving as though they are looking for something. or carrying out the behests of the master. The eyes are half closed. They frequently touch their dress and look at the clothing. The bodies are turned in eccentric ways.

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They wear garlands loose and rich clothing for a show off. Their pace is quick and they maintain a haughty bearing. They take care of themselves, so that none touches them.

26. Mlechhas, Sabaras and Pulindas, whose standards are different—their actions have to accord to the customs and manners suited to their countries and races.

XII. 152.

teṣām deśānurūpeṇa kāryam /

gati viceṣṭitam / /

27. BIRDS AND ANIMALS:

XII. 153.

sva sva jāti samutthena

svabhāvēna gatirbhavet.

As regards birds, animals and other beasts, their gaits must be according to the nature of their species.

The pose of Narasimha (Avatar of Viṣṇu) man-lion, ālīḍha (Sth. 5). Sthāna must be displayed and the body must accord to it. One hand must be on the knee and the other on the chest. The actor in the role must be looking all round and at his own chin, hand and forehead. The gait must be suited to five tālas.

In duels, lion's gait has to be simulated.

If any direction is not mentioned herein, the wise actor must learn from practical experience of the world.

28. WOMEN:

The following are the sthānas for women.

āyata, avahiddha and asvakrānta.

XII. 163. āyata.

prasanṇa māna murah samam

yatra samunnatam,

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latā nitamba gau hastā

sthānam gyeyam āyāitam.

The face is agreable and inviting, the chest is normally

posed and elevated, the hands are in lata and are placed over the

posteriors. The left foot must be in sama (natural) at a distance of

one tala from the other which is in tṛśra facing the side of the leg.

Further the right foot is in sama, the left is in tṛśra. The

left side of the waist is raised. Then this attitude is to be known as

āyata sthāna.

This sthāna is indicative of invitation, sending off and

moodiness. The danseuse gets on to the stage and imprimis scatters

handfuls of flowers. This sthāna is also indicative of amorous anger,

striking in affected anger at the lover, being excited by concupiscent

passion, pride, seriousness, silence, taking care to maintain dignity.

The other action directed is avahiddha.

Avahiddha.

This sthāna is also for women. The left foot is in sama,

the other is tṛśra, pointing to a side. The left side of the waist is

elevated. Tṛśra consists in shaking the foot forward, and the other

leg when pulled back becomes the sama pose. The feet are one tala

apart, The waist is elevated. One of the hands is in lata and the

other one is placed over the posterior.

This is avahiddha sthāna.

XII. 168.

Samo yatra sthito vāma strya

śrah pakṣa sthito' parah,

samunnata kaṭīrvā ma stva

avahitthantu tadbhavet.

puro picalita strya srastadanyo

pa sṛtah samah,

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pādastalāntaranyasta stri

kamī ṣat samunnatam.

pāṇirla tā khyōyatraikā sta

danya stu nitambagah.

This avahiddha sthāna is used in amorous dalliance, especially by bibboka type of heroine, to maintain her dignity before her lover. Also to indicate looking after the lover who has left or while expecting one. When women assert, are in pleasure, are suspicious and when they guess the pros and cons and are shy, this sthānaka is displayed.

AŚVAKRĀNTA: (vide IX-272).

One leg is in sama. the other is in agratala ancita, F. 3. But it may or may not be in sūci viddha (AC. 5).

XII. 173.

pādah samutthitascaika ekascā gratalāncitah

sūcī viddha maviddhamvā, tada śvakranta mucyate.

The display of aśvakrānta indicates shaking, spinning round, setting aright the drooping dress (upper cover-garment) gathering buds of flowers and taking care of them, gracefully threatening, leaning against the bough of a tree and taking rest. These sthāna poses are to be continued as long as the action continues.

The commencement of Cāri movement blurrs the sthānaka pose.

Some more actions of women are described.

Make avahiddha sthāna, the left arm pointing downward; the right is placed near the navel region in Khaṭakhāmukha (D.H. 5). Thereafter the right foot is moved gracefully one tala away from the other and placed outside the left foot.

These actions and poses are varied in a graceful manner to suit the purposes of dance.

207

29. CHILDREN:

They should display what is natural to them. Neither souṣṭava nor any other standard need be fixed for their paces.

XII. 194.

bālānāmapi kartavyā svachanda pāda vikrama,

natasyaṃ souṣṭavam kāryam pramāṇam na prayoktr̥bhiḥ

30. Persons belonging to the third sex in nature partake the actions more of women than of men.

The actors may take the role of women and neuters. The actresses too may put on the roles of men. They must conform to the real nature of the role adopted.

31. Seating postures of women and men.

The legs are stretched out and pointing in Vaiśākha (5th. 3) sthāna, posteriors are slightly elevated. The hands placed on the waist or thighs. There is comfort in this pose of sitting.

When one sits with one leg stretched out slightly, the other resting on the seat. The head is bent to a side. This is sitting while in a moody state.

The hands touch the chin, the head touches the shoulders. Mind is devoid of any feeling or sensibility. This is a sorrowful pose.

If the hands are let loose and the body is relaxed in abandon state, this indicates swooning, intoxicated state, dejection and distress.

32. SEATS:

Kings and gods are seated on thrones.

High Priest, ministers must have cane seats. For the military commanders and princes of the royalty, hard seats will suffice.

Scholars shall have wooden seats. Youth are seated on carpets.

Queens are always seated on thrones. Gods are on highly polished seats. The wives of high Priest and ministers shall have cane seats. The kept women (bhōga strih) are seated on cloth, skin or carpet.

For the women given to austere practices, fibre seats serve the purpose.

For the hetaerae seats are made of peacock feathers and stuffed cushions are proper.

While on travel, riding elephants, or on voyage, all types of men and women sit side by side.

83—14

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CHAPTER XVII (A)

Stage: RANGA

XII. 237/1.

atah param ranga parikramyaśya vakṣyāmi kakṣāntara samvidhānam.

Hence forward will be detailed stage (ranga), setting on it (Parikramyaśya) and several sections or apartments pertaining to it (Kakṣāntara vidhānam).

1. Kakṣya: Stage-apartments and Settings.

One has to go back to chapter II wherein the theatre is described. The stage managers must station Bhāṇḍa, assembly of all musical instruments, between the two doorways leading into the make-up rooms, nepadhya gṛha, from the stage.

The stage-manager must go round the stage and reconnoitre and settle the different apartments for making arrangements for the production. The play to be produced may need the existence of houses, cities, gardens, rivers, hermitages, forests, land, seas, mountains, three worlds and all the mobile and immobile contents. All these have to be appositely improvised.

Further full panoramic scenery of the world, infernal regions, daityas, nagas, their abodes, are to be manufactured for purposes of the production of plays on the stage. In cities rialtos, where commerce is conducted have also to be provided for (yatrajvārta pravar-tate).

Further where the stage equipment is to be open for sight or to produce illusion of distance or to be secretly located, must be carefully regulated.

Zonal divisions of the stage have to be made for the entry and exit of actors in roles.

2. Those that have to appear on the stage first must enter from the interior, (deep back stage). The others that enter later shall wait in the several zones arranged. Those that have to present themselves must enter the stage facing south. He introduces himself.

That place, where the orchestra (Bhāṇḍa) is stationed and the entries into make-up rooms are situated, is to be conventionally recognised as the East. The actor who enters through this gateway must make his exit only through the same. Even so, the actor that makes an exit for getting again on to the stage, must re-enter by the same gateway, even if he re-enters followed by several others. They must be given a zone for making their re-entry.

3. The retinue which attends on a lord the members walk abreast of him. The persons of lower rank must be round about. If the followers are one's own servants, they must move in front of their master.

4. The traversing of persons in towns, forests, or over hills, or voyage over seas, be it for men or heaven-born, the movement be in conveyances or by an aerial vehicle, several kinds of suggestive artistic devices must be improvised.

XIII. 19.

vividhabhih kriyābhivva nānā rdhā bhih prayogataḥ.

5. Even the heaven-born, when they appear as mortals incognito, they walk on the stage touching the ground. Mortals are to be only in Bhārata Varṣa. The heaven-born traverse other regions like Himalayan, Harivarsa, Ilavarta, Ramyakavarsa, kimpuruṣa varṣa. Kuruvarṣa and utara kuruvarṣa. They have to move for their pleasure as they desire.

If in the progress of the play (in the fable dramatised) a mortal is to enter such foreign regions, the act of the play construction

212

must come to an end (Ankam). He is to enter another zone. Then

his entry is reported by an interlude (praveśaka).

6. While so contriving the entrances, exits and reentrances,

regard must be had to the duration of time of the day. When scenes

of action, have to be changed they must coincide with the division of

the play into Acts.

XIII. 24.

ahvnamah pramāṇam gatvātu kārya lābham vinirdiśet,

tatha lābhetu kāryasya anka chedo vidhiyate.

Whether the ‘time’ (element spread over the action of the

play) is a second, twinkling of the eye-lid, muhurta yama, (7 ghadīyas)

or the whole day occupying a single Act, the fable must be uniform and

identical with the course of events of the reality(world).

The end of the Act and the duration of the play must be

spread over a month or a year and no one Act should relate to a period

longer than one year. Here the “seed” of the fable must be so

developed and synchronised to the passage of time.

XIII. 25.

kṣaṇo muhurto yā movādiva so vāpi nāṭake

ekānke samvidhātavyo bījasyā rdha vasānugah.

ankāchedetu nirvrttam māsam va varṣamevava

nordhvam varsatpra kartavyam kārya manka samās-

rayam.

27/1.

evantu bhārate varṣe kaṣyah kāryah prayogatah.

The computation of the ‘time’ must be calculated and

designed having due regard to the country or continent under context.

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So when dealing with Bhārata-land diurnal durations have to be fixed.

(Sun rise and sun set vary with countries, hence this canon).

Thus the unity of place coupled with units of action has to be harmonised with unity of time. The division of Acts in a play will be explained in detail in later chapters.

7. Regarding the Heaven-born:

Besides men, those angelic beings that have their abodes in the regions of Himalayas, circuit of Kailās, Hemakūṭa, Niṣāda, śveta-parvata and ṣṛngāvarta, can be the dramatis personae. Then their abodes have to be fixed up in Jambudvipa, and symbolically in a particular apariment of the stage. Their actions, prowess and strength may also be symbolically displayed on the stage. For costuming these celestial beings dress only as human beings. Even though it is presumed that the angels are winkless beings, on the stage, the actors should not attempt the winklessness. Their feelings and emotions must be expressed by their looks. The emotional phases suggested by their looks can be understood later in terms of limb gesticulations.

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CHAPTER XVII(B)

PRAVRTTIS : Schools of Behaviour

B.N.S. classifies the country (Bhārat-land) into four regions.

1. Dakṣiṇātya :

XIII. 41.

dakṣiṇasya samudrasya tat hā vindhyasya cāntare

ye deśā steṣu yumjīta dakṣiṇatyamtu nityaśah

This peninsular tract comprises Mahendra, Malaya, Sahya,

Mekala, Pala (kala) manjara mountain ranges. The country lying

in between these is dākṣiṇātya. Besides this, the following sub-

countries are also included. Kośala, tośala, kalinga, yavana, khāsa,

dravida, āndhra, Mahārāstra, Vaiṣṇava, Vana Vasaja. (Vaiṣṇava

may be Vainna-tract between Krṣṇa and pinākini rivers).

The people of this part of the country, because of their

customs, manners dressing, language, music, dancing traditions,

follow the Kaiśiki type of this nāṭya art. Their art is adroit, pleasing,

soft, subtle and in a word, fine. This grouping is done on the broad

principle of the Vṛttis which are four.

(1) Bhārati.

(2) Sātvati.

(3) Ārabhaṭi and

(4) Kaiśiki.

Vṛtti is process of living and consists in exhibiting and dis-

playing the habits, customs, dress, manners, language, commerce,

folklore of the different localities or regions.

Pravṛtti is the communication of the above.

The division into four is based upon the four cardinal styles that are principally found in those regions.

2. Avanti :

The countries are avanti, vidisa, sourāṣṭra, mālava, saind-hava, souvira, antara, arbuda, dāsārṇa, tripura mṛttikavati.

The emotional features of the people of the above tracts of land signify sāttvati and Kaiśiki. This medley is not found elsewhere.

3. Oḍhra Māgadhi :

The countries are anga, vanga, kalinga, vatsa, oḍhra, māgadha, pouṇḍra, antargiri, bāhijīri, plavanga, malada, malla-vartaka, brahmottara, bhārgava, mārgava, prāgjyoṭiṣa, pulinda, videha, tamralipta (Assam), and other countries. Herein māgadhi style is practised i.e., Bhāratī and to an extent ārbhaṭī are in vogue.

4. Pāñcāla :

Country lying north of Ganga river and south of Himalayas. Panchala, śurasena, kaśmīra, hastināpura, bāhlika, sakala, madraka and uṣinara.

The styles are Sāttvati and ārabhaṭi accompanied by a little of singing. The general gait is āviddha. (vigorous).

5. The entry of the actors is prescribed in two ways:-

(1) From left to right, circumambulate taking a right turn;

(2) From right to left, i.e. reverse of the above.

The actors belonging to the pravṛttis of Avanti and Dākṣi-nātya move from left to right. This side entry gate is to the north. Pānchāli and ōḍhramāgadhi actors do it from right to left. To the south lies their entrance (gateway).

216

There may be a medley of these styles. This mixing can be done having regard to the place, time, circumstance and if the audience tolerate. The troupe of skilled actors cleaverly manage and decide the particular style to be displayed. The performance must be suitably changed and followed. The preponderating features which are common and not queer and grotesque have to be combined and displayed. This is the wise rule of via media.

6. The dramatic action in production is of two varieties:

(1) Delicate .. Sukumāra.

(2) Aviddha .. Vigorous.

1. Sukumāra: Delicate and subtle.

The following types of play are classified as sukumāra.

Nāṭaka, prakaraṇa, bhāṇa; vidhi and Anka; dramatis-personae in these are mostly human beings.

2. Āviddha: Vigorous:

When angahāras are of this type, the action consists in cutting, breaking, tearing, warring, belligerency and bellicose and full of black magic and sleight of hand. Trickery, pupetry etc. More men and fewer women take part. The Vṛttis suffused in this style are Sāttvati and Ārabhaṭi.

The types of play are ḍima, samavakāra, vyāyoga, and yhāmṛga. The dramatis personae include gods, demons, rākṣasas and highly tempered men possessed of valour, vigour and strength.

7. XIII. 65.

atha bāhya prayogetu prekṣagrha vivarjite

vidikṣvāpi bhavedrangam kadācid bhartu rāgyayah.

Under orders of the king open-air performances can be produced, thus dispensing with the auditorium. The stage will be in one corner.

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The stage must have six gateways. In one is located the orchestra. When the production is on, there should be no entry from east and west.

In open air performances, the rules are all relaxed. The orchestra is stationed in the East.

The actors must conform to the dress, voice and gait of the role taken for display.

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CHAPTER XVII(C)

DHARMI : Conventions

Representation or display on stage may be natural i.e., in accord with the nature of the real world. This is the purer form. It may also be in the artificial and symbolic manner--dramatic convention. Being so it may not be consistent with the experience of the world. It may even lack natural grace.

XIII. 71.

svabhāva bhavopagatam suddhamtu vikrtam tatha lōka vārta kriyopetamanga lilā vivarjitam

The natural representation known as Nāṭya dharmi will be agreeable to the gesticulations natural to the generality of men and women. What in modern parlance is known as naturalism or realism (not as opposed to idealism) may be approximately connoted by the phrase loka dharmi.

2. Nāṭya Dharmi: Theatric Conventions.

(a) The language and actions may transgress the natural. The emotions expressed through gesticulation may not conform to actions done in nature. The movements like angahāras are according to the directions required in dramatic art.

(b) To suit the theartic voice, the costuming will also be conventionalised.

(c) Even in this conventionalised acting, the 'natural features ' are indented on, into the artistic production. Weal and Woe of men can be displayed in art-forms.

(d) Some dialogues, asides etc. on the stage sometimes are spoken out, fictitiously presuming that the audience alone are the listeners and not the other roles on the stage.

(e) Traversing over hills, travel by aeroplanes, wielding

of shields, holding banners aloft, are represented symbolically to

signify those respective actions.

(f) Sometimes it happens that one actor puts on multiple

roles i.e. appears as several others. This is done by his skill. Though

it is the same individual actor, the dramatic convention dictates that

there are different roles depicted.

(g) In dramatic convention, women with whom consort is

incest, may in roles play as consorts with impunity. When the actress

moves on the stage in exuberance of coquettishness or walks with the

strides of a warrior, the art tolerates this. (It may not be approved in

the real world).

(h) Dramatic convention also has for its contents, the weal

or woe of the average person of the real world.

(i) What is the essence of vedas and itihāsas and is in-

culcated by Brahma, the progenitor, is recognised in dramatic con-

vention for the beatitude of gods and mortals.

(j) The divisions on the stage into zones and apartments

or other arrangements of the settings are also the exigencies of dramatic

conventions.

1. XIII. 84 and 85.

nāṭya dharmi pravṛttamhi sadā nāṭyam prayojayet,

nahyamgābhinayā tkimcidrte rāgah pravartite.

sarvasya sahajo bhavah sarvo hyabhinayordhatah,

angālamakāra ceṣṭatu nāṭya dharmi prakīrtita.

The dramatic action must always be accompanied by and

attuned to the character or role to be displayed by the actor. No

rasa will be aroused if the player does not attune himself to the gesti-

culations of the body or if he is incapable of such dramatic movements.

220

The ideation is common to all and everything done on the stage has a meaning. This is the essential characteristic of the actor. He must accord himself to the role he puts on, by properly costuming and performing gesticulations to communicate the precise meaning.

221

CHAPTER XVIII

ĀHARYA ABHINAYA : Costuming and Make Up

This chapter deals with a variety of Arts and Crafts necessary for a production. Costuming and make up are not only for the individual actors and members of the troupe, but for the whole theatric milieu improvised for presentation on the stage. For the study of sculptural illustrations, a knowledge of the details of this chapter is essential. Make up is nēpadhya. This feature is the very ornament of dramatic action and dance. This factor gives an impressive and presentable form and concludes the final touch to the display. Before the bodily actions and gesticulations are commenced as a result of the volition of the actor, the make up is designed to create the first favourable impression.

2. The Make Up (all inclusive of the actor and of the stage)— Decor and costume.

Four types are enumerated.

(1) Pusta, (2) Alankāra, (3) Angaracana, (4) Samjīva.

(1) Pusta: Improvisation of stage setting. This is of three kinds:

(a) Sandhima, (b) Vyājima, (c) Ceștima.

(a) Sandhima: Consists in producing, manufacturing and improvising the required shape by using thin planks, cloth or hydes.

(b) Vyājima: is making things by the aid of machines and instruments, drilling etc.

(c) Ceștima: is that by which the shape of things to be displayed are produced.

Pusta is that part of the stage accoutrement by which hills, aeroplanes, carriages, shields, armour, banners and trees are stage-managed.

3. Alamkāra:

This ornamental beautification consists of garlands, ornaments, clothing, costumes. This group has several subdivisions.

Mālya: Garlands are five kinds:

(a) Ceṣṭima—shaking.

(b) Vitatam—loose.

(c) Sanghātyam—closely fitted.

(d) Grandhiman—knotted.

(e) Pralambitam, hanging very loose.

Ornaments: These are of four varieties:

(a) āvedya: stucked ornaments of the ear, nose etc. Earrings (Kundala).

(b) bandha: tied or bound. Girdle.

(c) prakṣepya: forearm—Bangles, anklets and wearing clothes.

(d) ārōpaka: Gold threads and other neck jewellery.

4. Ornaments and jewels worn by men and women:

(1) Cuḍāmaṇi: Head or crest—jewel.

(2) Kundala: is an ornament removable from the ear by a pin or nail screw.

(3) Muktāvali: pearl—necklace.

(4) Harṣaka: Pleasing stringed—jewel, a neck ornament.

(5) Kaṭaka: Wristlet and Rings.

(6) Hastavi: (Valayam) Bangles including a perforated variety.

224

(7) Rucika and uccitika: These adorn the wrists.

(8) Keyūra: Shoulder coverings.

(9) Kūrpara: Elbow covers.

(10) Triśram: Hāra, three lined chest ornament.

(11) Tatalam: Waist ornament or a waist thread.

All the above are used by men. Then the appropriate ornaments of gods, kings and ladies are given. Painting the beauty spots of the body is also included.

(1) Śikhara pāsam: Hair-fastener, cluster of hair.

(2) Piṇḍipatram: Plaiting of hair into a spherical knot.

(3) Cudamani: Ornament for the head.

(4) Makarika: Ornament of the crocodile shape.

(5) Muktajālam: Veil like pearl strings.

(6) Gavāksakam: A jewel set will cow's-eye like perforation.

(7) Śirasobhuṣanam: Head Ornament.

(8) Śirasa jālakam: Jewel hanging down the head.

(9) Sikhipatram: Leaf-shaped jewel.

(10) Venikaṇja: Lotus like jewet.

(11) Sarocakam: Beautifying tioli ette.

(12) Lalāta tilakasca: A pendant hanging over the forehead, near the parting of hair. This jewel is of several varieties.

(13) Bhru kaṣopari gucha: Toilette-painting over the eye-brows in the shape of a flower -petal.

(14) Karnika: Ear ornament.

(15) Karṇa valayam: Ear-ring.

(16) Patra karnika: Leaf-like ornament for the ear.

(17) Avesṭitah karṇa mudra: Jewel in the shape of a seal for the ear.

(18) Karṇotkilaka: Ear ornament with a screw fitting. The above ear jewels are in-laid and set in precious stones and jade.

83– 15 225

(19) Karṇa bhusana: Ear-adornıng jewels.

(20) Karṇapūra: A similar variety for the ear. It may even be in painting.

(21) Tilaka: Beauty mark on the forehead.

(22) Patra rekhaca bhaved garḍa vibhūṣaṇam: Painting the cheeks and adorning with jewels hanging over.

(23) Triveṇi (caiva vigyam bhaved)—vakṣo vibhūṣaṇam: Tri-rowed gold chain ornament hanging over the bosom.

(24) Netra yo ran janam: Collyrium applied to the inner eye-lines.

(25) Adhara (sya) ranjanam: Paint over the lower lip, lip stick.

(26) Danta (vividha) raga (sca) tūṛṇam śuklatā: Teeth painted differently, white for the foreteeth-incisors.

(27) Several other types of painting with aesthetic purpose to give grace and gloss to the appearance can be applied.

In the case of bashful maidens, most of these ornamentations are white. The teeth are painted after the rosy colour of a lotus petal. The lower lip is painted red with the hue of the mineral (aśmarāga).

The above add grace and gaiety. A variety of necklaces of the shapes of snakes, and other designs studded with rubies, jade etc., are used. For the neck, a diamond necklace and other stringed ornaments (of beads) are also used. Other jewels with two colours or three colours are used. The neck ornaments may be like decorative chains. Dependent on the skill of the craftsman-goldsmith, the patterns and styles of ornaments are designed for the bosom, and for the neck.

Jade-studded breast coverings may be used for their aesthetic appearance. Similarly ornaments worn over the heads of shoulders. So too for the forearms and upper hand regions, jewels may be worn.

226

Wristlets in a variety. and hasta pallvlam befitting hand ornaments of the designs of leaves may be used. Rings and signets for the fingers and similar rounds for the toes may be used.

Kanci: A waist band with net work, engraved with pearls.

For the gods and kings chain-jewels of sixteen or twenty five bands are also used.

The women among of the angels and of the royalty use pearl beads consisting of thirty two, sixty four or one hundred and eight.

Anklets linked with tiny bells manufactured in billet designs are worn for producing jingling sounds of euphony when the wearer makes graceful gait. Another ornament near down the knee can be worn like an ornament covering the calf and rings round the toes and a special jewel for the big tow. Near about can be painted beauty spots. This painting is done with a variety of resins or red lac or the juice of the red aśōka plant. Such is the elaborate ornamentation and decoration for ladies Cap-a pie. These have to be put on having regard to the emotion and feeling appropriate to the context and occasion for achieving an aesthetic effect.

XXII. 42.

etad vibhūṣaṇam nārya ākeśādāna khādapi yathā bhāva rasāvastham vigya yaivam prayōjayet

In designing and using the above, pay due regard to the canons laid down for the manufacture of the articles. fully being aware of the purpose of the display which must always be in tune with the world.

Some pre-eminent instructions are given in the following terms.

XXII. 43.

nahiśakyam suvarṇena muktābhir maṇi bhistathā svādhīnamce cchayācaiva kartu mangasya bhūṣaṇam

227

vibhāvatobhi prayuktamanga śōbhā karam bhavet

yathā sthānāntara gatnam bhūṣanam ratna samyutam

natu nāṭya prayōgeṣu kartavyam bhusanam bahi

khedam janayate taddhi savyā yata viceṣṭanāt

gurva harna sannohi ceṣṭam na kurute punah

guruhārāvasannasya savedo mūrchā prajāyate

One cannot improve on the natural basic beauty of a person-

ality by putting on gold and precious stones. Such decoration may

bring weakness in relief. Personal charm and beauty of the limbs

not be improved by ornamentation and decoration.

Such adornment which coalesces with the emotion and

feeling, shines. Misplacing a jewel, will mar the good effects.

Never overdo in ornamentation. This pains the actor and

the whole appearance will be a misfit. An actor overburdened by

the weight of ornaments may fail to do the proper acting. Some-

times he may even swoon, or begin to sweat profusely. Gold should

not be used for the manufacture of ornaments. A jewel fitted up

with wax, though lacking in precious stones, will not give any trouble.

These improvisations sufficiently serve the stage-purpose.

6. Vidhyādhara women have plenty of pearls covered over

the tresses of hair. Aspsarasas and yakṣinis must wear rubies. This

is the best decoration for their coiffuer. Nāga women (nagini) dress

their hair with pearls in a creeper like fashion. Ṛṣi maidens of the

hermitages, must have their hair plaited. They should not wear

ornaments. Siddha women delight in wearing pearls and emeralds.

They dress in yellow. Gandharva women must be decorated in pad-

marāga Jade-Ruby with a Viṇa in the hand. Their costumes are

violet coloured.

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Rākṣasa women wear blue-black stone. They have protruding white teeth. They put on black dress.

Celestial women wear jewels studded with cats-eye and pearls. Their costumes are of parrot-green colour.

Women of the monkey class and divine species must have ornaments made of the pusparāga-Topaz-Jades. They wear blue dress.

7. Dress of Women:

The head dress of Avanti ladies is of Salāka Kuntalam—a variety of coiffuring.

Gowda women plait their hair close to the head.

Ābhīra (Gujarat)-they have double plaited hair. They dress in blue.

Women of Assam, their hair knot is raised. But they wear a veil over up to the head.

The women of the South comb the hair to look like a pot. It is twisted round the face.

8. Every actor must put on some paint or other, otherwise, if they make their appearance with the natural hue, they will be disgraced by the audience.

9. Weapons: (Tāla=9′′).

Bhindī—A javalin .. 12 Tālas long

Kunta—Spear .. 10 Tālas long

Śataghni—Battering ram metal-lic head .. 8 Tālas long

Sūla—Tomara, Sakti .. 8 Tālas long

Offensive Weapons:

Dhanur—Bow .. 8 Tālas long

Śara—Arrows .. 4 Tālas long

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Gada—Mace, club

.. 4 Tālas long

Vajra—Club with handle at the

middle

Khaḍga—Sword

.. 40" inches

Cakra—Discus

.. 12" Diameter

Prāsa

.. 6"

Pattisa

Danda

.. 20" Batton

Kañaya—Lance

.. 20"

Carma—Shield

.. Hyde of Rhinoceros

Prakhanda—Shoulder covering

Pragaṇḍa

.. 16"

Valayam

Kheṭaka—Shield

.. 30"

Jarjara—Staff of the banner; Cudgel

Danda Kāsta—Handle of club

10. Jarjara:

This is made of timber or bamboo. Length is 108 inches

with five digits, that is four knots or joints. It must be annointed

with ghee and honey. Flowers and incense must be offered. Pra-

yers rendered . The bamboo used is of the puṇya-veṇu variety.

Its worship has already been dcscribed.

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CHAPTER XIX

SĀMĀNYA ABHINAYA : Natural Acting

Sāmānya Abhinaya—natural acting arises out of speech, body and natural conditions-satva or sāttvika. When acting is suffused with natural gesticulations, it is to be known as satva. This is centered round the natural states and it has always the preeminence in the sphere of acting. When this satva-acting is equally poised and aligned with the actions of speech and limbs it is known as madhya; where satva is lacking, it is of the lowest type.

The satva (psychological and mental) acting is per se invisible. It manifests itself through the exhibition and display of emotions, feelings and rasa.

Emotions are portrayed according to the psychological situations. Their actions are manifest by horripilation, tears, sweating and the like.

As already adverted to in the chapter on Bhāva, sāttvika bhāvas are involuntary by nature.

XXIV. 5/2.

ayatnajā stathā sapta rasa bhāvopa bruhmitāh

They are developed by other bhāvas for the production of rasa.

Generally three of them are described. (i) Bhāva, (ii) Hāva and (iii) Hela.

Satva is in the very nature of the physical system (of human beings) and from it emanates bhāva and from the latter hāva and from that hela.

XXIV.7.

Dchātmakam Bhavet Sattvam Satvāt Bhāvah Samuthitah Bhāvāt Samuthi to Hāvo Hāvād Helā Samuthitā,

Bhāva is conceptual feeling or emotion. Hāva is coqu gesture or blandishment which excites amorous sensations Hela is strongest amorous passion.

2. Bhāva: This consists in investigating or scrutinising the of the poet by the actions of speech, body and demeanour ch pertaining to satva expressions. These pertain to feminine ac They brings out in relief the heart of the poet. It is subject origin and objective in its manifestation. Satva must be overfl with Bhāva.

Hāva is indicated by highly elegant actions of the eye eye brows spilling out erotic feelings.

Bhāva which emanates from the mind (citta) will show itself in the quick movement, recaka of the neck.

The above actions in combination will rouse Sṛngāra and in delicate and subtle manner they are displayed in hela.

3. Gesticulatory actions suffused with erotic feelings are fied into ten and described herein. These pertain mostly to w in erotic atmosphere and states.

4. Lila: Sportive.

This consists of delicate sportive imitation of the end and cherished one by some embellishments of the body and sp

2. Vilāsa: Dalliance.

Exhibition of some action refering to the endearec either in a standing, walking or sitting pose, by the graceful move of hands, eyebrows and eyes.

3. Vicchitti: Discard.

Indication of discading the garlands, dress, ornament unguents. This is done either in a small degree or even to a l extent and in either case it creates a glow of added beauty.

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4. Vikrama: Triumphant Striding.

This consists in the production of perverse effect in things which ought to produce pleasure and lustful affectation by means of blandishments of different kinds of actions of speech, body and decoration.

5. Kilikincita: Lustful Excitement.

This consists of a complex confusion of smiles, meeting at trysts, laughter, fears, diseased condition, 'lustful excitment, sorrow and depression.

6. Moṭṭayita: Sportive Demonstration.

This is a kind of sportive demonstration while feeling and hearing about the mention of the endeared one. All the while the endeared one is stuck up in the heart.

7. Kuṭṭamitam: Ostensible Dislike.

Although the love allows the lover, who is the endeared one, to touch and caress the hair, tresses, breasts, lower lip and the like, which are all productive of pleasure; the expression for the time being will be prevention of such approaches and pretension of dislike.

8. Bibboka: Hauteur.

Though the love is pervaded by and is suffused with pleasant and agreeable feelings and emotions, a sensation of pride and conceitedness sprouts up and she puts on a hauteur air and appears to disregard such impassioned approaches.

9. Lalitam: Graceful.

This consists in the disposition, placement of the hands and feet, deportment of eye-brows, eyes and lips, in a most delicate and graceful manner or form, all the while inviting and tempting the lover to rush into overtures.

10. Vivṛtta: Silent Response

Consists in women not verbally responding to the addresses made to her, whether that be the result of her nature, or any special pretence put on affectedly at the time of the amorous approach.

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4. There'are some involuntary feelings and emotions that spring

out innately. There will be no volition on the part of the player.

They emanate spontaneously.

1. Śōbha: Radiance.

The inviting appearance of youthfulness, gracefulness is

improved by their externality. Decoration of the body is also a

complementary feature.

2. Kāntí and 3. Dipti: Brilliance and its Excellence.

These arise from a grouping of conditions and states pro-

ducing śōbha. Its exuberance is dipti i.e. Kanti in-excelcis is dipti.

4. Mādhurya : Charming deportment or Sweet Flavouring.

The excess of Kānti and dipti and some other conditions

producing lalita—delicate actions, without any extremeness is reckoned

as madhurya.

5. Dhairya: Boldness and Steadfastness.

One is not affected by unsteadiness and being unblemished

in all respects remains faultless and flawless. He is devoid of self-

praise. There is the exhibition of the natural in-born state of the

mind.

6. Pragalbhyam: Sedateness and Serenity.

One proceeds to action in utter fearlessness and absence of

all alaram.

7. Audāryam : Magnanimity.

This consists in feelings of humility and extreme civility in

all respects and under all conditions.

The above pertain to lalita—delicate and subtle states

and always are found in women.

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5. The same become highly burnished and brilliant in actions other than vilāsa and lalita. They are found naturally in men. They are:

6. Śobha: Skill.

Consists in the presence of expert dexterity, bravery, alertness, a contempt for mean things, and an emulation for higher and superior things. All these generally co-exist.

2. Vilāsa: Sportive Pursuit.

The attentions to be bestowed are always fixed on a target even as that of a bull purshing a heifer. He always remembers what he has promised.

3. Mādhuryam: Evenness.

Where on account of great prctice one is able to handle implements even in heavy matters, without any flutter whatsoever.

4. Sthairya: Fixity.

This consists in being steady in matters whether they be of weal or woe, and relating to dharma, ardha and kāma. One is steadfast without swerving from the purpose and aim.

5. Gāmbhirya: Gravity or Serenity.

This consists in the virtue of not betraying variations of the feelings of pleasure, pain and fear etc. His demeanour and behaviour remain unaffected.

6. Lalitam: Loveliness.

A lovely delicacy is exhibited without any apparent affec-tation.

7. Oudāryam: Generosity.

Is that generous attitude shown to all without any distinc-tion between kith and kin, strangers or others.

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8. Tejas: Dignified Mien.

That quality by which one remains unperturbed even when disgrace and the like are offered or imminent.

6. Actions relating to the body are enumerated hereunder:

7. Vākya: Speech or Word.

Where recitation and the intonation in prākṛt or Sanskṛt is made either in verse or poetic prose to convey the rasa intended. This is to be known as vākya abhinaya, i.e., gesticulation through speech.

2. Sūca: Word to action.

When the idea expressed in words is exhibited or displayed by bodily action, and this action follows the word, this is known as sūca.

3. Ankura: Action Sprouting.

The expert actors exhibit in an exquisitely dexterous way, not by words but by suggestive display of feelings, innate in the heart. This has always a beginning for later development. In a way this is also sūca, but this is an action of suggestion.

4. Ṣāakha: Suite of Bodily Gestures.

Consists in producing the desired action regularly from head down to the foot in the order of the limbs.

5. Natyāyitam: Foreboding Actions.

The oncoming action is indicated by the accompaniments and sorroundings. The situation in the fable displayed is developed. It is like meeting the desired at the gate. If, when the occasion requires, dancing attuned to dhruva (vāla) is performed to express pleasure, anger, sorrow and the like to convey bhāva and rasa, is also known as nāṭyāyitam.

7. Nivṛttānkura: Complete Budding.

This is performed by two actors. One of the actors performs the speech action in sūca. Another adopts it or executes it in

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an applied form. The action is done in consonance with the original

sūca action and is completed.

8. There are twelve actions—abhinaya—set out for the execu-

tion of the subject matter of a dramatic work.

(1) Ālāpa .. (Conversation.) This is mere dia-

(2) Pralāpa .. This is meaningless talk and gibber-

ish.

(3) Vilāpa .. This arises out of feelings of pity (Karuna).

(4) Anulāpa .. A long continued conversation is

prolonged involving repetition.

(5) Sallāpa: .. In this there is an interlocutary

conversation.

(6) Apalāpa .. The reverse of the above i.e. (Sal-

lāpa) i.e. repeating the idea in

another form.

(7) Samdeśa .. (Message) when one asks another

to go and communicate or nar-

rate.

(8) Atidesa .. Is “ you say go ” and “ I say this.”

(9) Nirdesa .. Where one categorically asserts.

(10) Vypadesa .. A speech with an innuendo.

(11) Upadesa .. Consists in asking one “ do this.”

“ Take this,” i.e. giving a direc-

tion.

(12) Apadesa .. A message-ridden speech. To

quote the very words of another.

9. The speeches are made in several tenses. Several modes

are narrated either in first person or second person.

1. Pralyakṣa : “ He says so but not I ” and if the same thing becoməs

current (relates to the present tense) it is parasta.

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2. Ātmasta:

'I do it,' 'I go,' 'I talk to him.' This is pratyakṣa as it relates to present tense.

"I shall do it." "I shall go there," "I shall talk to him," is parokṣa, as it is in the future tense.

Ātmast'ha expressions are converted into parokṣa by expressing the same in future tense. Some speeches relate to the events that happened in the immediate past. e.g. "enemies are killed or defeated." This may be a present event or an event of the immediate past. With little variation parokṣa becomes parāstha.

3. Adyatana: Now.

When a thing is to be done 'now and here' by the self and another like 'that must be achieved by me today along with you.'

Such matter in the present (adyatana) relates to the self and another.

When the self interposes his hand referring to something relating to himself (i.e. in his mind) and to another; it is parokṣa (aside).

Sāmānya abhinaya consists in an equitable distribution of gesticulations of the head, face, feet, thigh, calf, belly and waist. Re-presentation and display of emotion and feelings for the emanation of rasa is of pre-eminent importance.

10. Abhyantara gesticulation: Internal.

Wherein the display there is not any excess of any kind, precipitation and is without any brandhishment of flourish or torturing of the body and when the action accords with laya and tāla of the accompanying musical instruments, it is abhyantara. The plot is well apportioned and not grating and uneven and there should be no confusion. This is always subject to rules and hence is classic.

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11. Bāhya: Rules transgressed.

When the above are transgressed and principles are set at naught by full freedom and where there is no concord between action and singing, it is bāhya—it is rather romantic and is always beyond the scientific presentation. Several rules are promulgated for guidance in nāṭya.

12. Gesticulatory representation of the five senses.

13. Śabda: Sound.

The hand is in sūci (pointed forefinger) the glance is towards the tip of the finger, the hand is placed near the ear. This signifies hearing.

2. Sparśa: Touch.

Eyes are slightly lowered, brows are elevated, and the cheeks are touched.

3. Rūpam: Form.

Both the hands are posed in patāka They are placed over the head and with quivering fingers to form a contour over the eye.

4. Rasa-gandha: Smell and Taste.

Lower the eyes, widen the nostrils and indicate delightedness by the lips and by the breath.

Thus primary feelings of the five senses are displayed. Similar gesticulations are made in respect of the ear, skin, eye, nose and tongue (sense organs). The mind perceives through the sense organ. If the mind is not active, nothing can be perceived. The mind functions through one or other of the five sense organs.

13. In all abhinaya-gesticulations there are three types of mental activities: (1) Iṣṭa: pleasing, (2) Aniṣṭa: disagreeable, (3) Madhy-asta: Indifferent.

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1. Iṣṭa:

All the 'likes' and 'agreeables' are indicated by a kind of exhilaration of the body, horripilation and modulations of facial expressions. The player exhibits delight at the 'likes' when the mind is in contact with the sense organs over any object perceived.

2. Anisṭa: Dislike.

This is indicated towards one or other of the above by turning away the head, and not casting a look. The actions relate to eyes and nose.

3. Madhyasta:

Indifference is expressed neither by too much pleasure or too much of displeasure. Parokṣa abhinaya—when displayed by the actor is inferred from the acting. This is also madhyasta type.

14. That object which is actually experienced by the self is known as ātmastha (subjective). That which is described by another or as appertaining to another is known as—parastha (objective). Perchance all emotions and feelings arise out of desire. This desire is, very often, the result of one's mental predilection. Desire may relate to dharma, ardha, and moksha. It may also relate to Sexual congress. The feelings that arouse ṣṛngāra consist in the production of delight or pleasure of the erotic communications between lovers. It is productive of good and is also helpful. "Rati"—is consummation of the achievement of the possession of the object intensely desired for. Generally in this world, people mostly wish for the good, i.e. auspiciousness. The source of all pleasure (Sukha) is Woman.

In women, there are several types, with varying biological and psychological qualities. The females of the following species have common characteristics.

Devas, asuras, gandharvas, rākṣasas, nāgas, birds, pisacas, yakṣas, vṛlas, humans, monkeys, elephants, deer, fish, camels, corcodiles, wild bitches, mares, she-buffaloes,

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she-goats and cows. These have similar sex-habits. The qualities of these species are enumerated. When these characteristics are also found among women (homo sapiens) they are classed as belonging to corresponding species.

16. Deva (like) women.

Their limbs are glossy and smooth. There is slow twinkling of the eye-lid corners. They are diseaseless, shining, and possess power to bestow. They have a tendency to do the right. They are straight forward. They do not sweat profusely. They indulge in normal sex-pleasure. They eat little and delight in good smell. They delight in gāndharva vidya (music). They are agreeable.

2. Asura (like )women.

They indulge in unjust ways and mischief-making. They nurture deep seated anger. They are stern and cruel in speech. They are addicted to flesh and drink. They are always in an angry mood and are always conceited and haughty. They are fickle, niggardly, rough, and delight in frequent quarrels. They are habituated to jealousy and are never steady in friendship.

3. Gandharva (like) women.

They enjoy life in orchards and gardens. Their teeth and nails are well developed. They are always pleasant and keep on smiling, while addressing. They are of slender build, move slowly and are desirous of erotic delights. They indulge with avidity in music, singing, dance and taking part in orchestra. They are clean in habits. They possess shining glossy skin, hair and eyes.

4. Rāksasi (like) women.

Possess big and extensive limbs. They have red and big eyes. Their hair is rough. They are given to sleeping during day. They talk loud. They bite and scratch. They are jealous and invite others for a quarrel. They roam about during nights.

83—16

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5. Nāgini (like) women.

They have a sharp nose and teeth protruding. They have well developed body and red eyes. Their bodily hue resembles the black lilly. They are given to excess of sleep. They have an irritable temper. Their gait and movement are always transverse and they creep quickly on the ground. They relish any animal for food and take delight in scents and flowers.

6. Yakṣi (like) women.

These have well-extended faces. They are given to quickness in looks, delight in being in rivers. They indulge in intoxicating drinks and drink milk. They breed in plenty and are desirous of fruits, lie on the ground, delight in spending time in orchards. They sweat while in sleep. They take pleasure in fixed beds or seat. They desire to meet one, who was seen long ago. They cherish feelings of gratitude.

7. Vyāli (like) women.

These are indifferent to praise or disgrace. They have a rough exterior and a similar voice. They are mischievous and always utter falsehoods. They are strong.

8. Women (homo sapiens).

Trie to be straight forward, possesse noble qualities to help others-humanitarian in feelings, and quick, They have well defined limbs, grateful, delight in the worship of masters and gods; have abiding interest in righteouness, virtue, desire for wealth, are devoid of egoism, fond of friends and possess good habits.

9. Monkey (like) women.

Have a close knit slender body, mischievous. They have ash-coloured hair, are desirous of fruit and always are vaunting, noisy, fickle and fond of trees and gardens. Feel highly gratified for a little help done and remain grateful. Possess a precipitous desire for sex. They have innate monkeyish qualities.

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10. Cow-Elephant (like) women.

They have big jaws and a similar forehead. They are obese and are very fleshy. Eyes are ashy, red and tawny. On the body there is growth of hair. Fond of sweet scents, flowers and drinks, very irritable, possess well established strength, delight in gardens, and trees. Enjoy sweet edibles.

11. Deer (like) women.

Have a thin belly, snub nose, thin calves, take delight in moving in forest land, reddish big rolling eyes, unsteady in the extreme, quick in movement, tendency to be frightened easily, timidity, fondness for music, fondness for sex, anger and possess well established qualities.

12. Fish (like) women.

These are elongated and stout, and have an elevated chest region. No twinkle of the eyes, has always many followers and many offspring.

13. Camel (like) women.

These have long protruding lips. These are sudoriparous. Their movements are crooked and have a thinned belly. Fond of ripe fruits, salt, sour and bitter and pungent edibles. The waist and sides are pulled up. Have a hoarse voice. Long and elevated neck and fond of woods.

14. Crocodile (like) women.

These have a big head, fixed and steady neck and cloven mouth. These make loud noise and are cruel. They partake the nature of fish.

15. Ass (like) women.

These possess thick tongues and lips, hard and rough skins. Fond of biting and kicking. Never tolerate a co-wife, active, unsteady and moving. These are productive of offspring.

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16. Hog (like) women.

These have long protruding posteriors, belly, snout, hairy body, strength, contracted feet and fond of roots. They have black teeth, raised face, and fatty thighs. These are covered by thick bushy hair. They have bad habits and beget profuse offspring.

17. Mare (like) women, (Haya class).

These are always steady, with well set sides, head, thighs, waist and posteriors. Possess manes of hair over the length of the neck. Their gait is beautiful and always are eager to give erotic pleasures. Have straight and thick hair. Fickle minded, and possess a cruel tongue. They are quick-footed, addicted to sex and anger.

18. She-buffalo(like) women.

These have thickest backs, bones, teeth, body, sides and belly. These are all well-sized and defined. With hard hair, these look fearful. They have hatred to mankind. Delight in sex matters. Have an elevated mouth. Enjoy stay in water. Big forehead and posterior are prominent.

19. Goat (like) women.

Thin shoulders, legs, and chest. Eyes are fixed. Closed feet and thin hair. These are timid, dull, precarious, and have profuse progeny. Delight in trees. They are unsteady and quick-footed.

20. Aśva (like) women—Mule.

Have the body and eyes pulled up, are addicted to frequent yawning. Rādiant and have small faces and feet. Have a loud voice, little of sleep, angry. Such women talk too much. Have low habits but are grateful.

21. Bovine (like) women—Gava.

The posteriors are broad, elevated and fat. Calves are thin, fond of friends, contracted are the feet, make good effort.

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Fond of men and also the beloved of men. Attached to the worship of gods and Manes (Pitis). They are always clean and pure. Bear any distress with equanimity.

In conclusion it is said that having understood the nature of the particular type of woman, the lover, or one amorously disposed, must pay attentions to the particular class of lady n order to gain access to her and to consolidate a continuing bond of friendship. Otherwise his efforts will be only fruitless. The service to and attendance on a woman are ordained for pleasure. Similarly penance is practised for the attainment of dharma and this is also sought for, for obtaining happiness. The main spring of all pleasure is woman. Therefore one desires to enjoy her.

16. The attentions and civilities to be bestowed on women by men are considered under three varieties.

(1) Bāhya—external.

(2) Abhyantara—internal. (These originate in kingly roles in plays).

(3) Bāhyābhantara.

Generally high born women belong to the class of abhyantara (inside the harem) and hetaera belong to the bāhya class. Women who are neat, beautiful and clean after baths belong to the bāhyāntara class.

17. Eight types of Heroines—Nayika are enumerated.

18. Vāsaka Sajjika: Awaiting.

The lady decorates herself and applies perfumes in the fullest expectation of her lover's arrival any time; fully blown up with erotic desire, she waits him at the threshhold.

2. Virahotkanṭah: Separated.

The lady is overpowered by pangs of love, in her lonely and forlorn state. Her lover cannot go to her because of several other engagements. She wishfully and in her mental states persues him, in sorrow (only in her mind).

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3. Svādhina bhartrka :Has an obliging lover.

The lover is always obsessed by the enjoyment in her company and ever remains true to her. She always keeps him to herself in a pleasant mood.

4. Kalahāntarita : Quarrelsome.

The lover hesitates to approach her, because of her quarrelsome nature, roused out of jealousy. She imagines, that her lover is indifferent towards her. She chaffs him in a morose and angry mood.

5. Khandita : Awaiting prolonged.

She, inspite of her decoration and readiness to welcome her lover, is disappointed by his not arriving to meet her. She is distressed.

6. Vipralabdha : Disappointed.

She dresses and decorates herself, keeps to the tryst in all promptness, but is disappointed by the lover's absence.

7. Proṣita bhartrka : With an absentee lover.

Her husband is away on account of very important work, at the behest of masters. She had dishevelled hair. Abandons herself into a quiet state.

8. Abhisārika : In search of the lover.

The damsel gives up all sense of delicacy and feminine shame and decency, and being overpowered by extreme concupiscent passion goes out of her abode. She dresses herself and goes in search of her lover, at the tryst and the rendezvous.

Khandita (5), Vipralabdha(6), Kalahāntarita (4). These love-ridden ladies are found in the following states:-

(1) Sorrow borne of moody contemplation accompanied by deep sobs and sighs.

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(2) Deep heaving.

(3) Engaging herself in talk with her confidant maid.

(4) Frequently looking at her ownself, self-pitying her forlorn state.

(5) Distressed, she sobs.

(6) Shows anger or retribution.

(7) She is devoid of all jewels, having cast them away in utter disappointment and dejection.

Svādhīna patika (3): She has control over her lover, She shines with brilliance. Her face indicates extreme pleasure. Bedecks herself in variegated and beautiful habiliments.

Abhisārika (8) of the vesya class (hetaera) runs in pursuit of the sweetheart abandoning the practices of Sāma, and dāna. She goes well adorned.

Abhisārika of the Kulaja class after her pursuit; she fully sweats, shakes with fear, though veiled, her face is fully visible, she goes to the rendezvous.

Abhisārika of the preṣya class (servant); she is lustful, talks about the lustful passion. Her eyes are fully open in excitement and bewilderment. She has fixed foot steps. On her arrival she may find her lover sleeping.

This chapter also details the approaches of men and women leading to the erotic climax. B.N.S. ordains the injunctions regarding what ought not to be shown on the stage. Even the bed should not be a furniture to be put up on the stage. Several amorous approaches and overtures like kissing, touching the breasts and lying down are strictly prohibited from being displayed.

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CHAPTER XX

CITRĀBHINAYA: (Residuary gesticulations)

1. In the chapters wherein the subject of angābhinaya is dealt

with certain minor features would have been missed, such residuary

gesticulations have been classified in this under Citrābhinaya.

angābhinayanasyeha yoviśeṣah kvacit kvacit

anukta uchyate yasmāt sa citrābhinayah smṛtah.

2. By the combined action of Uttāna of the hands (raising them)

or making svastika (crossed) of the hands in patāka hand-poses, with

the head lifted (udvāhitam) and directing the looks upward (i.e.

ūrdhva nirikṣitam); this set of actions may be followed by variegated

glances. These actions when displayed signify:-

Prabhātam .. Dawn

Gaganam .. Sky

Pradosam .. Evening twilight

Divasam .. Day

Ṛtu .. Season

Ghanam .. Clouds

Andhakāra .. Darkness

Vistīrṇasya jalasya Widespread waters

Disa .. Airts

Nakṣatra and graha : Stars and Planets

The feeling of touch and consciousness, intense anxiety due

to possession of wealth, moonlight, pleasure, breeze, haste and smell

are also indicated.

If in the same pose, the mouth is covered (by the palm)

the display signifies the following:

sun, dust, smoke, outburst of fire and expression of the desire

to take shelter from excessive heat.

If in the same pose, the glance is directed upward in a squint-eyed manner, signifies looking at the midday-sun, a steady glance is indicative of sun- rise and sun-set.

To indicate thesacred thread, use both the palms in arāla (S.H. No. 5). To indicate the knot of the sacred thread, perform svastika (crossed), vicyuta.

3. Numerical signs or figures are indicated by fingers; tens, hundreds and thousands are indicated by patāka poses of the hand or these may be expressed verbally or by some side action.

4. To display contemplative mood, and an appearance of concentration of the mind, look downward with head slightly bent down. The right hand is in Samdamsa (S.H. No. 21).

5. The existence of children is signified by lifting the head, and moving both hands towards the right side in Hamsapakṣa (S.H. No. 20).

6. Rtu: The Seasons.

(1) Sarat :

Different flowers of the season are indicated. Healthy condition of the limbs is suggested. The clearness of the airts is also signified.

(2) Hemanta :

Contraction of the body, covering one's self to sustain heat.

(3) Sisira :

Flowers yielding honey are signified. Spread of fine aroma is indicated.

(4) Vasanta :

Creative of pleasure, blossoming of flowers.

(5) Grīsma :

Wiping out sweat, suggesting heat of the earth, use of fans, and showing heated atmosphere indicate this hot season.

250

(6) Varṣa:

Buds of Kadamba and Nimba flowers, Kuṭaja trees, green

leaves, groups of peacocks, loud reports of clouds, and downpour of

rain.

Every season is to be suggested by such actions, inclusive of

costume, dressing and general outlook and set-up.

7. Danseurs generally must be in Vaiṣṇava sthāna. Their

actions must be bold and steadfast. Danseuses must be in āyata

and avahiddha. The actions of actresses must be graceful and mel-

lowed. Embracing must be displayed by an action with smiling

face and short speech.

The actress in that passionate state develops quickly, horri-

pilation, tears of joy and utterance of words smilingly.

Actors exhibit anger by bloodshot and rolling eyes, biting

lips and body shaking with deep breaths.

An actress in the same mood exhibits hot tearful eyes,

and with chin, lips and head shaking. The eyebrows are knitted.

The actor exhibits sorrow by deep breaths, contemplative

mood, hanging down the head, and looking at vacancy.

The actress displays sorrow by crying, interspersed by smiles,

beating the chest and by digging the ground with the big toe.

An actor exhibits fear by showing excitement and confusion,

bewilderment and by dropping down the arms.

The actress displays fear by moving the pupils unsteadily,

by shaking and frequently looking side to side. She also looks ex-

pectantly for aid from without.

8. Birds: Their representation.

By the palm posed in tripatāka and shaking, birds like

parrots, śarikas and small birdlings are indicated.

By recakās and angahārās, peacocks, sārasa birds and swans

are signified.

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9. Animals:

Donkeys, camels, horses, elephants, lions, tigers, bulls and buffaloes have to be signified by simulating their peculiar gaits.

10. Bhūtas:

Piśācas, yaksas, dānavas and rākṣasas, are signified by special angahāras because these are not visible. XXVI 67/2 ‘ Prat-yakṣa nabhavantih.

In the case of gods, who are generally invisible, their actions have to be, according to the sense conveyed by the verbal intonation i.e., words spoken, obeisance is made to them by lifting up the hand from the side in arāla (S.H. No. 5) and touching the head.

When offering salutations to the deities, preceptors, ladies, heavenly beings, dignitaries, praṇāma has to be made accompanied by glorifying them and using grand eloquence. When saluting high mountains, big trees, the hands must be stretched out and lifted up.

XXVI. 93/11.

svapnāyiteṣu bhāvāḥ kartavyā nakhalu hasta san-cāraiḥ

sattvābhi nayenaivā vākyārdhai naivate sādhyāḥ

10. Ideas occuring in dreams should not be represented by the gestures of the hand. If the dream has to be acted, i.e. while dreaming is represented, no hand poses should be displayed. It is impossible to represent them in dramatic action in the natural states.

But the following can be represented about a dreamy condition. Low and indistinct voice, imperfect and incoherent murmurs repetition of words, and a slight memory of something of the past.

If the speaker is an aged role, the voice must be faltering and also trembling.

11. The voice of children must be pleasing, charming and the words uttered with unfinished syllables. The words are indistinct and imperfect.

252

12. The dying man must express words rather loosely, some

words are stressed, but generally the words are faltering. The speech

is interrupted by hiccups, deep breathy, and obstructed by phlegm.

The intonation is varied.

The hands and legs are in vikṣipta (thrown about), become

suddenly actionless, generally the whole body is downcast and drop-

ing. Signs of the overwhelming disease and approaching death are

indicated.

One who drank poison and is nearing his end, shows depres-

sion of the body, hiccups and heavy breaths. The body is victimised

by spasms of agonies.

XXVI. 109.

nānāvidhairyathā puṣpairmalyam gradhnāti mālyakṛt

angopānga rasairbhāvai stathā nāṭyam prayojayet

yāyasya līlāniyatā gatisca ranga praviṣṭasya vidha-

natastu

tā meva kuryādavimukta satvoyāvanna rangatprati

nih ṛtah sah

Even as a florist gathers varieties of flowers to weave them

into a garland, even so in play-acting, combination of rasas and

bhāvas have to be wisely woven and displayed.

The actor while on the stage, and before he retires from it

must depict these (several kinds) emotions, feelings and deportment

prescribed herein, by detaching his own self and by identifying himself

with the role.

XXIV. 112 to 122

loko vedāstathā dhyātma pramāṇam trividham smṛtam

vedādhyātma padārtheṣu prāyo nāṭyam pratiṣṭitam

vedā dhyātmopa pannamtu śabdascandah samanvitam

lokasiddham bhavet siddham nāṭyam lokasya bhāvajam

tasmānnāṭya prayogetu pramāṇam lokaiṣyate

253

devatānām ṛṣiṇāmca ragñyām atha kuṭumbinām

Kṛtānukaranam loke nāṭya mityabhi diyate

lokasya caritam yattu, nānā vasthāntarāmakam

tadanṅgabhinayopetam nāṭya mityabhi saṃgñyitam

evam lokasya yā vārtā nānāvasthān tarātmikā

sā nāṭye sam vidhātavyā nāṭya veda vicakṣanaih

yāni śāstrāṇi yedharmā yāni silpāṇi yāh kriyāḥ

lokadharma pravṛttāni tāni nāṭyam prakīrtitam

nahi śakyam hi lokasyā sthā varasya carasyaca

śastreṇa nirṇayam kartu bhāva ceṣṭa vidhim prati

nānā śīlāh prakṛtayah śīle nāṭyam pratiṣṭitam

tasmālloka pramāṇam hi kartavyam nāṭya yokṛbhih

evam bhāvānu karane nānā prakṛti sambhave

bhāvāṅga satva samyukto yatnah karyah prayokṛbhih

yebhi kra mairyo bhi nayamtu samyak vigñyā ya range

manujah prayumjīyāt

Sa nāṭya tattvābhinaya prayoga sammāna magryam

labhate caloke

gñyeyastvābhinayahyete vāñgne pathyāṅga samśrayāḥ

prayoga gñyenā kartvya nāṭake siddhi michata

254

The above verses proclaim to the world the essence of this Theatrical Art.

The three authoritative sources for the dramatic portrayal are: (1) the world-society, (2) Vedas and (3) Adhyātma—wisdom of Self. This Nāṭya art is founded on them.

The contents of the Vedas and Adhyātma are manifest in the words and metrical pronouncements. The ways and manners of the world derive sanction by the authority of tradition, by virtue of its being in tune with the practice of the world. In this science therefore, the world is ordained as authority for this sanction.

Nāṭya is nothing but an artistic and aesthetic representation of what Gods, Ṛsis, Kings and householders do in the world. What is called action is after all the display of body and limbs of the player signifying the ways and manners of the life in the world—its various moods, situations and feelings.

So the knowledge and science of theatrics must introduce into the dramatic production, the multifarious reactions of the people in various circumstances and situations.

The art must only demonstrate such practices of the world as are expatiated in the several sciences, works of art and treatises.

But still no science in the world can lay down hard and fast rules about the emotions and feelings pervading all the world including its animate and inanimate contents.

By nature men are of profusely different varieties. Dramatisation deals with the display of such types. Therefore the world at-large must be taken as the standard authority by all those that are concerned with this Theatrical Art and Science.

The actors must try to colosely imitate the emotional states emanating out of the individual natures of persons, accompanied by bodily actions, appropriate to the portrayal of particular feeling.

That actor, who rightly and correctly perceives and displays on the stage, the appropriate poses, gets the first place in the world among those experts in theatrical Art.

255

The actions relating to speech and body are to be well understood and performed in play-production and this is the way to the attainment of Siddhi (Accomplishment).

BENEDICTION

XXXVI. 72.

etachāstram prayuktamtu narānām buddhi vardhanam

trailokya kriya yo petam śarva sāstra nidarśanam

māngalyam lalitai scaiva brahmanō vadanodbhavam

supuṇyamca pavitramca subham pāpa vinā śanam

256

Fig. 2—TRIO IN TERPSCHORIAN REGALIA

Fig 1—THREE IN STHĀNAKA POSES

Fig. 3—GANDHARVAS IN DANCE CONCERT

FIG. 4—DANCE CONCERT

Fig. 5--GAJANTAKA

Fig. 6

SIVA WITH THE CORPSE OF SATI

Fig 7 - Samudra Mathana

Fig. 8—SRI RAMA

Fig. 9—TWO IN ROUND

Fig 11—ONE AS THREE

Fig. 10—DANSEUSE AT TOILETTE

Fig. 12

SIVA PARVATI

KALYANAM

Fig 13

GESTURE IN RHYTHM

Fig. 14

TWO DANCE POSES

IN SYMMETRY

Fig 15 -THREE DANCERS IN ACTION

Fig 16 -A TROUPE OF THREE IN DIFFERENT POSES

Fig. 17—TWO DANCERS IN DIFFERENT POSES

Fig. 18—TWO IDENTICAL POSES

Fig. 19—MUSIC IN ALIGNMENT

Fig. 20—DANDA RASAKA OR KOLAATTAM

Fig. 21 - A CONCERT

Fig. 22 - A BALLET STORY IN SCULPTURE

Fig. 23—THE PARAMOUNT DOVER AND THE BRIDES

Fig. 24

DRESSING A THORN PRICK

Fig. 25

A DANCE FIGURE: BROKEN

Fig 26

VIḶANSEUSE IN

VIRḤE ATTITUDE

Fig. 27

MAID OF HONOUR - 1

Fig. 28

MAID OF HONOUR - 2

Fig. 29

TWO FIGURES IN

DIFFERENT ATTITUDES

Fig. 30 - DANCE POSES

Fig 31—DANCE POSES

Fig 32—DANCE POSES

Fig. 33 —DANCE POSES

Fig. 34—DANCE POSES

Fig. 35—DANCE POSES

Fig. 35—DANCE POSES

Fig. 37 -DANCE POSES

Fig. 38-DANCE POSES

Fig. 39-THE YOUNG DANSEUSE

FIG. 10--SIX IN VIGOROUS DANCE MOVEMENT

FIG. 41--NADANTA DANCE OF SIVA

FIG. 42 GANDHARVA

Fig. 43—NAGINI AND OTHER DANSEUSES

Fig 44—One as Three

Fig. 45—JAYASI POSE

Fig 46–DANCE IN GROUP MOVEMENT

Fig 17–A DANCE POSE

Fig. 48–SARASWATI ON HAMSA

FIG. 49 - A DANCE TROUPE

FIG. 50 - VISNU

FIG. 51 - VAISNAVI

FIG. 52 - KOLATTAM

Fig. 53—SOUSTAVA

Fig. 54—NICHE FIGURES - 1.

Fig. 55—NICHE FIGURES - 2.

Fig. 56—DESI DANCERS IN DIFFERENT POSES

Fig. 57—A DANCE ATTITUDE

Fig. 58–KOLATTAM GROUP

Fig. 59.–DANCERS AND MUSICIANS

Fig. 60—VRIKSAKI

Fig. 61—MARDANGAKI

Fig. 62—DANCEUSE

Fig. 63—APSARA

AT TOILETTE - 1.

Fig. 64—APSARA

AT TOILETTE - 2.

Fig. 65—A CELESTIAL

DANCEUSE

Fig. 66—DANCEUSE - 1.

Fig. 67—DANCEUSE - 2.

FIG. 68--MUSIC IN ALIGNMENT - 1.

FIG. 69--MUSIC IN ALIGNMENT - 2.

FIG. 70--MUSIC IN ALIGNMENT - 3.

Fig.

71—NICHE

FIGURES

• 1

Fig.

72—NICHE

FIGURES

Fig 73.--SIVA THE CELESTIAL DANCER

Fig. 74—Ganapati

Fig. 75—A DEVOTEE IN

ATHEOPATHETIC MOOD OF ECSTACY

Fig. 76—VIDUSAKA. A COURT FOOL

FIG.

77—GESTURE

IN

ALIGNMENT

Fig. 78—a danceuse accompanied

by a female drummer

Fig. 79—DANCEUSE

Fig. 80—DISHABILLE POSE

Fig. 81 - THE DANCER APPARENTLY IN

AN EXTRAVAGANZA POSE.

Fig. 82—FIGURES IN DIFFERENT ATTITUDE

Fig. 83—THE DRUMMER

Fig. 84--NANDI

Fig. 85--BOW--WOMAN

Fig. 86—THE DRUMMER

Fig. 87—KRSNA DEVA RAYA

WITNESSING A DANCE CONCERT

FIG. 88 - PURNA KUMBHA DANCE

FIG. 89 - PANCALA PURUSHA

Fig. 90—PADMINI

FIG. 91—TRIVIKRAMA

DESCRIPTION

OF

PLATES

83—17.

Fig. 1–THREE IN STHĀNAKA POSES

All the three are in samapada sthānaka. Well balanced placement.

The right soles are slightly raised.

The hands of the central figure, with both the palms in patāka are bent inward and raised at the sides of the chest.

(From viewer's left) the first figure. The left hand raised straight up at an inclination is held in patāka.

The right hand is gracefully curved and the palm is resting on the waist.

The third figure is symmetrically poised, the right hand is outstretched in inclination and the left is resting at the waist.

Underneath in a circular frame is carved a gandharava in a beautiful karana pose varying from garuda pluta (K. N. 70). to sannata (K. 75). · The glee spirit is visible on the face.

Fig. 2–TRIO IN TERPSICHOREAN REGALIA

The whole composition is a unit consisting of three danseuses on the move towards the viewer's left. The movement is on a stage.

All the figures (from the viewer's left) have their grace of cāris (movements).

The three figures are in cāṣagati, the fine trotting of a caṣa bird. This is a progressive movement from viccyava (loosened).

The movements are in conventionalised gaits of atikrānta, transcending.

The hands are gracefully linked.

The right hand of the central figure is resting over the right shoulder of the figure to its right. The left hand of the central figure is symmetrically balanced on the left shoulder of the third figure to its left.

The right hand of the first figure is curved over on its right side. The right palm is on the right thigh. The left hand is touching the right side of the central figure.

The figure on the extreme right (of the viewer) has its left arm beautifully curved over its waist.

Its right hand is resting on the left side of the central figure.

The combined movement of the trio is a single dance movement. The move in slow tempo in regalia spirit is the highlight in the sequence.

The tilts of the heads have their own charm and grace.

Fig. 3—GANDHARVAS IN DANCE CONCERT

A troupe of six Gandharvas, celestial band of musicians, are seen in a dance concert.

At either end of the panel, a Gandharva is playing on the flute. Their leg movements signify the crescendo and diminuendo of their singing flourishes.

The first figure is of a dancer with his right palm in mrgaśīrṣa, denoting hilarity. The left hand is across the chest in kari hasta.

His left foot is in udghaṭṭita, ramming the ground. The right foot is not visible.

The next figure is that of another danseur. The hands are stretched in kari hasta. The right foot is in udghaṭṭita.

The third figure is with cymbals. He is making the time beats.

The fourth figure is playing the percussion instrument. The tilt of the head signifies the emotive rhythmic flourish. All the heads of the figures are in ādhūtam.

The whole composition depicts a hilarious mood. The vigour of the Gandharvas is manifest in their rendering of music and semantic attitudinisation. The whole sequence is a dynamic movement in sound, dance and bodily change of postures.

Fig. 4—DANCE CONCERT

This is an excerpt sculpture, of a dance concert. On the right, one is sitting with a drum, a percussion instrument. Just behind him is standing another dancer, keeping cymbals, to keep time. Still behind that lady is seen only a head, probably of the singer.

To the left we have a figure tiny in stature with a drum partially damaged.

The beat of the drum synchronising with the steps and the change of attitudes of the prima donna, the central figure.

Central Figure:-

The head is in ādhūtam, aslant, shows internal desire. The chest is steady. The right leg is bent inward at the knee. The left leg is slightly bent inward. The

260

right pāda, foot, is in agratala sancāra. The left pāda is slightly raised. The pose of the central figure accords to a partial sequence, in the chain attitudes of a karana (?)

Fig. 5–GAJĀNTAKA

The dynamism of the total composition is awe-inspiring. The right foot is trampling the head of a tusker. The whole sequence of bodily movements rests on the right sole. The bronze is superbly cast. The pointing of the right toe to the front denotes that the twist at the kaṭi, waist, is exceedingly aesthetic in its purport.

The right hands (of the icon) are four. (i) The upper one is in abhaya (assuring kṣema–Grace) to the devotees. (ii) Upper holding the tiny drum, damaruka, the beat of the spheres, (iii) lower one holding the hood of a snake, and (iv) Lower one is in arāla-curved, single hand pose. This palmpose or Hasta indicates physical strength, haughtiness, valour, bloom, fortitude, divinity and heavenly splendour.

The left set of hands (Palms) : (i) The upper ardha candra, (Cresent Moon) representing the diadem of Lord Śiva. (ii) Upper palm is also in ardha candra. (iii) The Lower one is holding a dagger and (iv) the often Lower one holding a cup (of blood).

The head is aslant in ādhūtam, signifying pride. It also indicates achievement or conquest.

The looks are roudri, ferocious. The feeling of horror is roused. The glance is harsh and inflamed but yet benign. The eyes are reddish. The eyeballs are fixed between the eyelids. The eyebrows are in utkṣepam, thrown up. They are fixed up emitting krodha, anger.

The nose is in vikṛṣṭa, elongated pose, and indicates vīra rasa. The cheeks are in ghūrṇa, rolling, showing buoyancy and pride.

The neck is in tṛśra, sideward movement. The chest is in nirbhugna and indicates crushing. Side is in nata, bent to a side. Waist is in chinnā, twisting round.

The left thigh is in kampana, shaking, and also lifting up the heel frequently. The right thigh is in valana, circling and also in stambhana, steady; crushing of the Gajāśura is indicated.

The left knee is in nata, bent. It is also in udvāhita, raised.

The right foot is steady trampling Gajāśura.

The whole figure is still, except for the dynamic whirl of the Cosmic Dance.

261

FIG. 6—ŚIVA WITH THE CORPSE OF SATI

This is a composite attitude of Śiva. The God is seen in a ferocious dance sequence. Sati, his wife, visited her father's (Dakṣa's) Sacrifice without being invited. She was shown indifference by all the inmates of her father's abode. It was designedly under the command of Dakṣa.Moreover, her Lord was slighted in her presence. In bitter chagrin and agony she suo moto roused flames and immolated herself.

Śiva learnt about this and summoning all the Furies of the Spheres, carried the corpse on his shoulder and stamped out Dakṣa, in vendetta.

This icon represents a dynamically chaotic and tragic dance of Śiva-rudra. His movement represents the whirl of the spheres. The right hands are two: (i) the upper right hand holds the kheṭa weapon, (ii) the lower right hand is in tripatāka, triple flag, and indicates wonderment. The left hands are two: (i) the upper left hand holds the fawn, (ii) the lower left palm holds the cup (of blood).

The head is in ādhūtam, aslant, showing pride, and indicates looking at things askance, in self conceit.

His looks are heroic and fierce. His gaṇḍa, cheeks, are in kampitam, shaking. The throbs signify anger.

The adhara, lower lip, is in kampana, shaking, and shows internal distress, anger and quickness.

The cibuka, chin, is in daṣṭa, biting, and shows anger.

The grīva, neck, is in trṣa, sideward movement, expressing weight which is carried on the shoulder. It also expresses sorrow. Hrdayam, chest, is in nirohugna, straight, and this denotes height of pride. The pārśva, sides, are in vivartita, rounding.

The posterior is elevated and this indicates turning back.

The udara, belly, is in khalvam, depressed, and indicates addiction to penance. The kaṭi, waist, is in chinnā, cut, and denotes wonder.

Ūru, thigh: the right one is in kampana, shaking; the left one is in udvartana, twisted and fixed.

Jānu, knee: the right one is in nata, bent; the left one is in kṣipta, asunder, and also in udvāhita, lifted up.

The right foot, pāda is in sama, levelled or balanced. The left foot is in udghaṭṭita, well rammed.

The head of the enemy Dakṣa or the minstrel with the pipes, is trampled upon or blessed.

In the attitude there is vigour, tragic veneer, and destruction personified. The curls of hair, jaṭājūṭa, are spread out due to the whirl of the head, body and the whole frame.

The body of Sati on the shoulders, gives to the whole composition, a vein of disaster and tragic revengefulness.

262

Fig. 7—SAMUDRA MATHANA

The upper panel is the picture of ‘ Samudra Mathana ’.

On the left side, the titans are holding the head end of the king of serpents. The

right tail end is held by the celestials. In the centre there is the mandara mountain.

Bharata Nāṭya Śastra illustrates the theme of churning the oceans woven into

a type of play known as ḍima. In this, celestials and titans are the dramatic roles.

Fig. 8—SRI RĀMA

The left hand is in arāla, curved pose, holding the upper tip of the bow. The

right hand is in kapiddha, wood apple, holding the arrow, The right leg is straight

and is in sama, firmly poised. The left leg is bent, in nata. This is the pose of

Śrīrāma with the bow.

See Bhagavad gita X. 31. b.

“ rāmah satra bhṛta maham.”

Fig. 9—TWO IN ROUND

This dance pose of two danseurs combined to form into a wheel. They can

roll on. The quick movement will give the idea of a fly wheel in motion.

The sculpture represents a circus like circuit of movements.

Fig. 10—DANSEUSE AT TOILETTE

The sitting posture is superb. The lady is in the final touch of her toilet. The

holding of the mirror by her left hand is graceful. The right hand curved over the

head is an aesthetic and beautiful movement.

Lalātatilaka, fixing of the beauty mark on the face is seen here.

The flowing hem, the slipping of the upper garment over the left shoulder are

the feminine graceful movements of the sartorial coverage. The posture is deftly

carved.

The danseuse is giving a finale to her make-up.

The bright eyes, the setting of the features in equipoise, the shining earrings

and the coiffure arranged in a knot, all give a graceful finish to the figure.

263

Fig. 11—ONE AS THREE

The central figure is legless, but the movement and its analysis disclose that the legs of the central figure are the left leg of the figure to the right and right leg of the figure to the left.

The central figure is to be taken as standing knee to knee, which of course is a difficult pose.

The side figures are bent and so they appear shorter than the central figure.

The caps on their heads indicate that they are court fools.

The telescoping of attitudes is superbly achieved in the sculpture.

Fig. 12—ŚIVA-PARVATI Kalyāṇam