1. TxtSkt-sangItaratnAkara-Sarngadeva-v4-EngTrn-KRajaandRadhaB-AdyarLibrary-1976-0063

SAMGĪTARATNĀKARA

OF

SARNGADEVA

Vol. IV

CHAPTER ON DANCING

Translated by DR. K. KUNJUNNI RAJA

AND RADHA BURNIER

THE ADYAR LIBRARY AND RESEARCH CENTRE

THE ADYAR LIBRARY SERIES

VOLUME ONE HUNDRED AND EIGHT

SAMGĪTARATNĀKARA Vol. IV English Translation

THE SAMGĪTARATNĀKARA

OF

SĀRNGADEVA

Vol. IV

GHAPTER ON DANCING

Translated by DR. K. KUNJUNNI RAJA

AND

RADHA BURNIER

THE ADYAR LIBRARY AND RESEARCH CENTRE

1976 The Adyar Library and Research Centre Adyar, Madras 600020, India

First Edition -1976

ISBN: 0-8356-7494-0

Agents for Publications of The Adyar Library and Research Centre

AMERICAS, JAPAN: The Theosophical Publishing House, P. O. Box 270, Wheaton, Illinois 60187, U. S. A. AUSTRALIA, NEW ZEALAND, INDONESIA & FIJI ISLANDS The Theosophical Society in Australia, 121 Walker Street, North Sydney 6020, N.S.W., Australia. EUROPE & THE UNITED KINGDOM: The Theosophical Publishing House, 68 Great Russell Street, London W.C.IB 3 BU, England. INDIA & OTHER COUNTRIES: The Theosophical Publishing House, The Theosophical Society, Adyar, Madras 600020, India.

PRINTED IN INDIA At the Vasanta Press, The Theosophical Society. Adyar, Madras 600020

PREFACE

THE SAMGITARATNĀKARA of Sarngadeva is an authori- tative work on Indian music and dancing, closely following the Nātyaśastra and Abhinavagupta's com- mentary on it, with some fresh material added. The Adyar Library has published a critical edition of the text with the commentaries of Kallinātha and Simha- bhūpāla, in four volumes. An English translation was also planned, of which the first volume containing the first chapter on music, translated by Professor C. Kunhan Raja, was published in 1945 as No. 51 of the Adyar Library Series. The translation of the fourth volume, containing the seventh chapter of the text on dancing, published in volume 23, parts 3-4, of The Adyar Library Bulletin is now being issued as a book in the Adyar Library Series. The translation of the remaining volumes will be published in due course. The present translation is the result of the col- laboration of a team of workers. The late Pandit S. Subrahmanya Sastri who edited the text had made a translation of the first 498 out of the 1670 verses of this chapter. This was revised and the further portion translated by Dr. K. Kunjunni Raja and Mrs. Radha Burnier. The aim has been to bring out clearly the

vi

ideas contained in the text in readable English rather than to make a strictly literal, word for word translation. Nearly forty verses in the introductory portion of this chapter are the same as the introductory verses found in the Abhinayadarpana ascribed to the legendary sage Nandikeśvara. On the basis of this M. Alain Danielou suggested in his foreword to the Sanskrit text (published in the Adyar Library Series, No. 86) that Sarngadeva might have borrowed these verses from Nandikeśvara's text ' since there seems no reason to doubt the antiquity of the Abhinayadarpana.' It may be pointed out here that though Nandi- keśvara is mentioned as an ancient authority on music and dancing even in Abhinavagupta's commentary on the Nātyaśāstra (Rājaśekhara says in the beginning of the Kāvyamīmāmsā that Nandikeśvara is the founder of the Rasa school; and Sarngadeva himself refers to Nandikeśvara as an ancient authority), there is no reference to his Abhinaydarpana in any work prior to Śārngadeva. Even Abhinavagupta who refers to the views of Nandikeśvara on music does not refer to this work; in one place he says that he is summarizing the views of Nandikeśvara on the authority of Kīrtidhara, though he has actually seen no work of his. (at kīrtidhareņa nandikeśvaramatam atrāgamitvena daršitam tadas- mābhih sākşān na drstam tatpratyayāt tu likhyate samkşepatahı, end of ch. 29) The Abhinayadarpana is obviouly a text later than the Nātyaśāstra and Abhinavagupta, and cannot be by the legendary sage Nandikeśvara. The compiler

vii

of the text clearly states that he is only collecting the teachings of earlier authorities (etāni pūrvaśāstrānusāreņo- ktāni vai mayā, verse 47). M. Danielou himself has referred to such borrowings in the Samgītasaroddhāra, the Rasakaumudī, the Abhinavabhāratasārasamgraha, etc. It is probable that the Abhinayadarpana is a similar later manual ascribed to the legendary Nandikeśvara to give it the stamp of authority. Sarngadeva lived about the middle of the 13th century under the patronage of the Yādava king ·Singhana (A.D. 1210-47). King Simhabhūpāla, author of the Sudhakara commentary came soon after, in the beginning of the 14th century (A.D. 1330). He, as well as Kallinatha, author of the Kalanidhi commentary, takes the introductory verses of the chapter on dancing as the genuine text of Sarngadeva himself. Hence there is no reason to believe that Sarngadeva is the borrower; his indebtedness is only to the Nātyaśāstra and Abhinava's commentary on it. The highly honoured place occupied by Sārngadeva not only in the field of musicology but also in literary criticism is evident from the fact that Jagannatha Pandita, author of the Rasagangādhara, refers to his vicws and quotes his verses as authority while discussing problems connected with Rasa realization. Sārngadeva generally follows Abhinavagupta, but in many places he states his views in clear and definite terms. Some of the statements may be noted here. (a) The so called sthāyibhāva-s like love, grief and fear can also be fleeting feelings (samcāribhāva-s)

viii

when they are not fully developed by describing the vibhāva-s and anubhāva-s adequately. This view is suggested from Bharata's prohibition of jugupsā as a vyabhicārin for śrngāra. (Nātyaśāstra, GOS ed. I, p. 307); Abhinavagupta also accepts this (sthāyinastu uyabhicāriņo- 'pi bhavanti, p. 270). (b) The bliss of Rasa is only comparable to the bliss of enjoying Brahman, and not identical. (c) The actor does not enjoy Rasa; it is the specta- tors who enjoy it (na rasam svādate natah). (d) The analogy of the vessel (patra, a vesscl, a character) and the soup or essence (rasa) suggests that the spectators enjoy the Rasa (as existing in the characters) through the actor who is only the medium. (e) Santa may be accepted as an independent Rasa since it has its own vibhāva-s, anubhāva-s and sthāyibhāva. Sārngadeva takes Nirveda as its sthāyi- bhāva. (f) Bhakti (devotion) and sneha (affection) are only varieties of rati or love, and may be considered as vyabhicarin-s; it becomes sthayin when it is between a man and a woman, and then leads to śrngāra Rasa. As Dr. Kunhan Raja has pointed out in his intro- duction to the first volume, the art has undergone changes during the course of the centuries and hence we find obscurities in the text which are difficult to clarify. We have, however, consulted the commentaries of Kallinātha and Simhabhūpāla and also the Nātya- śāstra and Abhinavagupta's commentary on it to try to arrive at the correct readings and meaning.

ix

Wherever the corrupt readings in the commentaries gave rise to new problems, we consulted the manuscripts in the library. Important corrections of the text are given as footnotes. Where there are alternative readings, the translations of such readings are also given as footnotes. The index appended to the translation is not an exhaustive one and refers only to the definitions of technical terms and not to all the pages where they occur. As alternative names and synonyms are used for a number of terms, these have also been included in the index. We offer our thanks to H. H. The Maharaja of Bikaner for kindly lending manuscripts of the com- mentaries of Kallinātha and Simhabhūpāla from the Anup Sanskrit Library, which have been helpful in our work. Our thanks are also due to Mrs. Seetha Neelakantan, Librarian, Adyar Library, for preparing the index and reading the proofs.

CONTENTS PAGE PREFACE 917 V

TRADITIONAL ORIGIN 1 ANGA-S Head, p. 7; Hands, p. 11; Single Hand Poses, p. 14; Combined Hand Poses, p. 25; Nrtta Hand Poses, p. 29; Chest, p. 41; Sides, p. 43; Hips, p. 43; Feet, p. 44; Shoulders, p. 47. PRATYANGA-S 48 Neck, p. 48; Arms, p. 49; Belly and Back, p. 53; Thighs, p. 54; Shanks, p. 55; Wrists, p. 56; Knees, p. 57; Ornaments, p. 58. UPĀŃGA-S .. 58 Glances, p. 58; Glances Expressing Rasa, p. 59; Glances Expressing Permanent Moods, p. 61; Glances Expressing Transitory Moods, p. 63; Eyebrows, p. 67; Eyelids, p. 69; Pupils, p. 70; Cheeks, p. 73; Nose, p. 74; Breath, p. 75; Lips, p. 77; Teeth, p. 79; Tongue, p. 80; Chin, p. 81; Mouth, p. 83; Heels, p. 84; Ankles, p. 84; Fingers, p. 84; Toes, p. 84; Soles, p. 85; Facial Colour, p. 86. Positions of the Hands, p. 87; Movements of the Hands, p. 88; Actions of the Hands, p. 88; Places for the Hands, p. 89. NRTTAKARAŅA-S . . 90 Utplutikaraņa-s .. 121 ANGAHĀRA-S .. 127 Recaka-s .. 138 CĀRĪ-S .. 138 Earthly Cari-s, p. 140; Aerial Carī-s, p. 144; Earthly Deśī Cārī-s, p. 149; Aerial Deśī Cārī-s, p. 154.

xii

POSTURES (STHĀNA-S) 157 Postures for Men, p. 159; Postures for Women, p. 162; Desi Postures, p. 164; Sitting Postures, p. 168; Reclining Postures, p. 170. Style (Vrtti) 171 Ways of Using Weapons (Nyāya-s) 173 MAŅŅALA-S 175 Earthly Mandala-s, p. 175; Aerial Mandala-s, p. 178. Lāsyānga-s 182 Rekhā 183 Procedure for Practice 184 A Person fit for Dancing, p. 184; Merits of the Dancer, p. 185; Defects of the Dancer, p. 186; Decorations of the Dancer, p. 187. The Teacher, p. 187; The Dance Troupe (Sampradāya), p. 188; Merits and Defects of the Troupe, p. 189. The Pure Style (Suddha-paddhati), p. 190; Gaundalīvidhi, p. 191; Peraņin, p. 194; Peraņī paddhati, p. 197. Acarya, p. 198; The Actor (Nata), p. 198; The Dancer (Nartaka), p. 198; Vaitālika, p. 198; Cāraņa, p. 199; Kohlāțika, p. 199. The Audience, p. 199; The President of the Assembly, p. 200; The Seating of the Assembly, p. 200. THE NINE SENTIMENTS (RASA-S) .. 202 The Erotic sentiment, p. 206; The Comic sentiment, p. 211; The Pathetic sentiment, p. 213; The Furious sentiment, p. 216; The Heroic sentiment, p. 218; The Fearful sentiment, p. 220; The Odious sentiment, p. 221; The Marvellous sentiment, p. 222; The Tranquil sentiment, p. 223. The Transitory Moods 226 The Temperamental States 241 Conclusion .. 244 Index .. 247

SAMGĪTARATNĀKARA

WE BOW to the energetic (sāttvika) Siva, whose body movement (angika) is the phenomenal world, whose articulate expression (vācika) conștitutes all verbal expression, and whose ornaments (aharya) are the moon, stars, etc. 1 [This treatise on] dancing, destroying sorrows, is composed by Särngadeva, rich in boundless knowledge attained through the grace of Siva. 2 It [the art of dancing] is reputed to be threefold, [comprising] Nātya, Nrtya, and Nrtta. At first, the fourfaced [Brahmā] gave to Bharata the sacred lore of dancing. Thereafter Bharata, along with groups of Gandharva-s and Apsaras-es, demonstrated Nātya, Nrtya, and Nrtta in the presence of Siva. Then Siva remembered his own performance of Uddhata (forceful dancing) and demonstrated [it] to Bharata, through Tandu, the leader of his attendant hosts. With pleasure Śiva also demonstrated before him Lāsya (graceful dancing) and demonstrated [it] to Bharata. througn Tandu, the leader of his attendant hosts. With pleasure Śiva also demonstrated before him Lāsya (graceful dancing), through Parvati. Having learnt from Tandu, the sages [Bharata and others] taught Tāndava to mortals. Pārvatī trained Ușā, the daughter of the demon Bäna, in Lāsya; through her the Gopi-s of Dvaraka and through them the women of the Saurastra

2 SAMGĪTARATNĀKARA

country; and by these were taught the women of various countries. Thus received traditionally, this [art] has been established in the world. 3-8 The lotus-born [Brahma] took the verbal text (Pāțhya), the gestures (Abhinaya-s), the song (Gita), and the sentiments (Rasa-s) from the Rg, Yajus, Sāma, and Atharva Veda-s, respectively, and created this triad [of Nātya, Nrtya, and Nrtta] which bestows righteousness (dharma), gratification of desires (kāma), wealth (artha), and liberation (moksa); increases fame, proficiency, good fortune, and cleverness; gives rise to magnanimity, steadiness, courage, and pleasure; and destroys grief, suffering, sorrow, loneliness, and fatigue. 9-11 This is verily higher than the great Bliss of Brahman. How else could it have captivated the minds of Nārada and others [who have realized Brahman]? Beyond this there is nothing to be seen or heard in this world. 12-3 These two, Natya and Nrtya, which bestow the desired goal free from all afflictions [i.e., liberation], should always be witnessed by one who has fulfilled his duties, especially during festive occasions. 13-4 Of these, Nrtta, originated by Brahmā, should be performed at the coronation of kings, great festivals, [festive] processions, temple processions of gods, weddings, the coming together of dear ones, triumphal entry into cities, house-warming ceremonies, and the birth of a son; [it is] auspicious for all activities. 14-6 We shall now describe fully the triad, Natya and others. The term Nātya primarily means Rasa

SAŅGĪTARATNĀKARA 3

(sentiment); through implication, dancing which makes Rasa manifest, and consists of the four types of Abhinaya (gestures), is said to be Natya, by the learned. It connotes Abhinaya which is found in an actor, which suggests the Determinants (Vibhäva-s) connected with the text of dramas and which gives the audience uninterrupted enjoyment of Rasa. 16-9 I shall relate the definitions of Vibhāva, etc., in the section dealing with Rasa. 19 Abhinaya is of four kinds: Āngika, Vācika, Āhārya, and Sāttvika. Of these, Angika is demon- strated by [the artistic gestures and movements of] the limbs of the body. The text of the poem, drama, etc., presented by the vocal organs [through correct recital] constitutes Vācika. Decoration with garlands, bracelets, crown, etc., [costumes, weapons, make-up and the like] constitutes Aharya. The indication of the internal feelings of the actor [also reciprocated by the spectators] constitutes Sāttvika. 20-2 The proper way of rendering this [Abhinaya] is said to be twofold: loka-dharmi (conforming to what exists in the world) and nātya-dharmī (the ideal to be followed as laid down in treatises on the dance). These again are of two kinds [each]. 22-3 The ancients spoke of two kinds of loka-dharmi: cittavrtyarpikā (indicating a particular frame of mind) and bāhyavastvanukārinī (imitation of external objects). 23-4 The former (cittavrttyarpikā) adopts the Kaiśikī- vrtti useful for stage representation and gives beauty

4 SAŅGĪTARATNĀKARA

suited for such [representation] to what is common in the world; while the other follows the ordinary modes only to some extent through Avestita and other [Karaņa-s].1 24-5 The learned speak of this twofold variety in the case of nātya-dharmī also. 26 That which demonstrates moods exclusively through gestures of the limbs (Āngikābhinaya) is known as Nrtya. It is well known to all learned in Nrtya by the term Mārga. 26-7 The movements of the body, quite devoid of all kinds of Abhinaya-s (gestures) in the manner prescribed in connection with Angika-[abhi- naya], is known as Nrtta by those well versed in dancing. 27-8 These two [Nrtya and Nrtta] are said to be of two kinds: Tāņdava and Lāsya. Tāņdava is accepted to be that which was [originally] described by Tandu. It is mainly forceful (uddhata) in performance, has Vardhamāna, Āsārita and other types of songs with the appropriate Dhruva-s, and is employed predo- minantly with Karaņa-s and Angahāra-s.2 Lāsya requires delicate movements and arouses the erotic sentiment. 28-30 Three varieties of Nrtta are known: Visama, Vikata, and Laghu. Of these, dancing round and round with ropes3 and the like is Visama. That

1 Cf. vv. 537-8 ff. ª Cf. v. 568 ff. 3 In straight rotations.

SAŅGĪTARATNĀKARA 5

which is ludicrous in form, dress, and movement is considered to be Vikata. That which is constituted by Añcita and other minor Karana-s is known as Laghu. 31-2 The Nätya described by the ancient sage Bharata, consisting of the indication through gestures of the sentence-meaning and the [individual] word-meanings of the texts in dramas, and thus suggesting the sen- timents and the moods, is employed only in dramas; therefore, leaving aside the three varieties of dancing connected with that, only Angikābhinaya is being dealt with here. 33-4 Of this (Angikābhinaya) the three [subdivisions], Śākhā, Ankura, and Nrtta, are considered important. Of these, that which is known as Sākhā consists of various poses of the hand. Ankura is [the gesture] made on the basis of the meaning of the previous passage of the text. When the gesture anticipates the meaning of the passages that follow, it is known as Sūcī. That which is accomplished through Karana-s and Angahāra-s is Nrtta. Sūcī and Ankura are not useful [for the present purpose], but are incidentally mentioned here. 35-7 Here [in Āngikābhinaya], the Anga-s are said to be six: the head, the two hands, the chest, the sides, the hips, and the two feet. Other [people] include the shoulders. The Pratyanga-s are also six in number: the neck, the two arms, the back, as also the belly, the two thighs, and the two shanks. Other [experts] include three more as well: the wrists, the knees, and

6 SAŅGĪTARATNĀKARA

the ornaments worn on the limbs. The eyes, the eyebrows, the eyelashes, and the pupils of the eye, the cheeks, the nose, and the breath, the lips, the teeth, the tongue, the chin, and likewise the mouth-these are the twelve Upanga-s in the head. Those [i.e., Upanga-s] on the other limbs are the heels, the ankles, the fingers of the hand, as well as the toes and the soles of the feet. 38-42 The colour of the face (Mukharāga); the positions. of the hands (Karapracära-s); the movements of the hands (Karakarana-s); the actions of the hands (Kara- karma-s); the places for the hands (Hastaksetra-s); the twofold Karana-s, the pure and those accompanied by jumps (Utpluti-s); Angahāra-s along with their Recaka-s; the Carī-s, both Suddha (pure) and Desistha (provincial variants); then the Sthānaka-s; Vrtti-s; Nyaya-s along with their Pravicāra-s; Mandala-s of all kinds; the Lasyanga-s; then the Rekha; the procedure for practice (Srama); definition of a person fit for dancing (Patra), her qualifications, disqualifications and decoration; description of the dance teacher; the dance troupe, its merits and demerits; the pure mode; the rule relating to Gaundali; the correct des- cription of Peranin and his style; the Ācārya; descrip- tion of Nata, Nartaka, Vaitālika, Cāraņa, Kohlāțika, the assembled spectators, the leader of the assembly, and the location of the assembly: description of the Rasa-s (sentiments); description of the Bhāva-s (moods)-These we describe in this chapter in the given order. 42-8

SAŅGĪTARATNĀKARA 7

ANGA-S

HEAD

THE HEAD movements are known to be of fourteen kinds: Dhuta, Vidhuta, Ādhūta, Avadhūta, Kampita, Ākampita, Udvāhita, Parivāhita, Añcita, Nihañcita, Parāvrtta, Utkșipta, Adhomukha, and Lolita. Other [experts] say there are five more varieties: Tiryanna- tonnata, Skandhānata, Ārātrika, Sama, and Pārśvā- bhimukha. 49-51

Dhuta

The head when obliquely bent slowly and alter- nately [from side to side] is known as Dhuta. Its use has been pointed out by Bharata and others to indicate someone remaining in a solitary place; glancing on either side; a disconsolate state of mind; astonishment; sorrow; aversion for a thing; and dissent. 52-3

Vidhuta

The same [head movement indicated above], at a quicker pace is called Vidhuta. This is applied in cases of affliction by a chill; fever; fear; or soon after drinking liquor. 54

Ādhūta

The head lifted once obliquely upwards is Ādhūta. Its application has been prescribed in looking at one's own limbs with pride; in looking up towards

8 SAMGĪTARATNĀKARA

one standing at the side; and in the proud attitude, ' I am powerful'. 55-6

Avadhūta Bringing down the head once is said to be Ava- dhūta. The learned say that this should be used when indicating standing; a place; in signalling to another individual; when inviting; and in the course of conversation. 56-7

Kampita Shaking the head many times quickly up and down is Kampita. This head [movement] is to be used to indicate understanding; to signify approval; in anger; in uncertainty; in threatening; and in hurriedly interrogating. 58-9 Ākampita The same [movement] made twice slowly is Äkampita. This is employed when pointing to some- one standing in front; questioning him; signalling to another individual; giving advice; inviting [someone]; and in expressing one's opinion. 59-60 Udvāhita The head lifted upwards once is Udvāhita. This is used to signify the proud attitude, 'In this matter I am powerful'. 61 Parivāhita A circular movement of the head is Parivahita. Discerning judges say that this head [movement]

SAŅGĪTARATNĀKARA 9

should be applied in cases of pride due to excessive shyness; when imitating one's lover; when filled with wonder; in smiling; in rejoicing; anger; approval; and reflection. 62-3

Añcita The [posture of the] head with neck slightly bent sidewise is Añcita. This should be adopted to show illness; anxiety; confusion of mind and fainting; and when the chin is supported [by the hand]. 64

Nihañcita In Nihañcita the shoulder is thrown up and the neck bent down. This occurs in Vilāsa, Lalita, Garva, Bibboka, Kilakiñcita, Moțțāyita, Kuțțamita, Māna, and Stambha. Viläsa is the gait and other actions of a woman with beautiful limbs. Lalita is known to be the graceful charm of the body and limbs of a beautiful woman. Bibboka is indifference due to pride produced by the attainment of desires. Kila- kiñcita is said to be weeping, laughter, etc., resulting from joy. Mottāyita is complete absorption in hear- ing of the beloved, looking at him, etc. Kuttamita is feigning discomfort though overjoyed at having the hair pulled, etc., [by the lover]. Māna is jealous anger arising out of love. Stambha is stupefaction at the union of a newly married girl with her husband. 65-70

Parāvṛtta The head with the face turned away is said to be Paravrtta. It should be used while turning away

10 SAŅGĪTARATNĀKARA

the face out of anger, shyness, etc .; while imitating such a movement; and when looking backwards. 70-1

Utkşipta The head with the face turned upwards is known as Utksipta. It is used to look at tall objects, the moon, and other [planets, etc.] that course the sky. 72

Adhomukha Adhomukha is what it signifies [face turned downwards] and is used to indicate shyness, sorrow, and in bowing [to someone]. 73

Lolita Lolita is [that posture of the head] with the eyes. unsteady and gazing in all directions. It is used to indicate sleep, disease, possession by an evil spirit, intoxication, and fainting. 73-4

[The above] are the fourteen head postures enumerated by Bharata.

Tiryańnatonnata When the head is bent crosswise and lifted up, it is Tiryannatonnata. It is said that this is used during Bibboka,1 etc., of charming women. 74-5

Skandhānata The head bent on the shoulder is called Skandhānata. It is used to depict sleep, infatuation, fainting, and anxiety. 75-6

1 See v. 67.

SAŅGĪTARATNĀKARA 11

Ārātrika When, after slightly touching either shoulder, the head is turned in a circular movement, it is Ārātrika. It is to be seen in expressing astonishment and the understanding of another's opinion. 76-7

Sama The head when naturally straight is considered to be Sama and is used in depicting the natural state. 77

Pārśvābhimukha Pārśvābhimukha is what it signifies [face turned aside] and is utilized for looking at someone stand- ing at the side. 78

[The above] are the five types of head postures enumerated by other experts. HANDS

Patāka, Tripatāka, then what is called Ardha- candra, Kartarīmukha, Arāla, Mușți, Śikhara, Kapit- tha, Khatakāmukha, Šukatuņda, Kāngūla, Padmakośa, Alapallava, Sūcīmukha, Sarpaśiras, Catura, Mrga- śīrşaka, Hamsāsya, Hamsapaksa, Bhramara, and likewise Mukula, Urņanabha, Samdamśa and another hand pose, Tāmracūda-these are considered to be the twenty-four unconjoined (asamyuta) hand poses [i.e., poses in which only one hand is employed uncon- joined with the other]. -Both hands are employed together, however, whenever it is required by what has to be demonstrated through gestures. 78-82

12 SAŅGĪTARATNĀKARA

Añjali, what is designated Kapota, Karkața, like- wise Svastika, Ņola, Pușpapuța, Utsanga, Khațakā- vardhamānaka, Gajadanta, Avahittha, Nișadha, like- wise Makara, and Vardhamäna-these are the thirteen conjoined hand poses. 82-4 The [above] thirty-seven are the hand poses used in Abhinaya, in the view of the sage [Bharata]. 84 [The two hands are employed in the following gestures]: Caturaśra, Udvrtta, that named Talamukha, Svastika, that which is called Viprakīrņa, Arālakhata- kāmukha, Āviddhavaktra, Sūcyāsya, Recita, Ardha- recita, Nitamba, Pallava, Keśabandha, Uttānavañcita, that which is called Lata, Karihasta, and what is known as Paksavañcitaka, Pakşapradyotaka, Daņda -: paksa, Garudapaksa, the two hand poses, Ordhva- maņdalin and Pārśvamaņdalin, Uromaņdalin, Uraḥ- pārśvārdhamaņdalin, Musțikasvastika, and yet another, Nalinīpadmakośaka, Alapadma, Ulbaņa, Lalita, and Valita. These thirty are considered to be Nrtta hand gestures used only in Nrtta. Other [writers] say that these are applicable to Abhinaya also, in principle and in usage. 85-90 The sage states that the two hands in Lata pose are applicable in Nrtta and in Abhinaya. Hence, it is implied that the other poses [prescribed for Nrtta] can also be used in Abhinaya, since they are grouped together [with the Latā pose]. 91 Knowledge of their specific application is obtained through resourcefulness, tradition, and observation of worldly usage. Thus the elephant is represented by

SAMGĪTARATNĀKARA 13

the Karihasta gesture in the world. This is recognized by Abhinavagupta and other [experts]. 92-3 All these hand poses together are sixty-seven [in number]. The [usual] reckoning of these as sixty-four cannot be justified either by reasoning or by authorita- tive texts. chviars may argue that these are only sixty-four in the following way" 93-4 [Construe the words] svastikau hastau as attributes of viprakīrņakhyau in verse 85 of the text]; the hands of the Viprakīrņa pose are only [the hands] that are separated after assuming the Svastika pose; and there is no [special] application [prescribed] for the Viprakīrna pose inde- pendently [of the Svastika pose]. Similarly [construe the word] pārśvamandalinau as an attribute of mromanda- linau [in verse 88]; and alapadmau [=alapallava, as an attribute] of ulbanau [in verse 89]. The attribine and the substantive do not constitute different things; thus ' blue lotus ' does not refer to two different flowers. 95-8 This reasoning is suggested by me to justify the usual reckoning [as sixty-four]. But in the separate enumeration and definiton [of these hand poses], none of the teachers [authoritative writers] recognizes Svas- tika and others as attributes. 98-9 Certain writers speak of seventy varieties of hand poses by making mention of Nikuñcaka among the Asamyuta class, then the Dvisikhara hand pose among the Samyuta class and adding the Varadā- bhaya [pose of both hands] among the Nrtta hand gestures. 100-1

14 SAMGĪTARATNĀKARA

1. SINGLE HAND POSES Patāka (Flag) When the thumb is bent, touching the root of the forefinger, and the palm and fingers are outstretched, the fingers pressed against one another, it is Patāka. It is employed in touching objects, administering a slap, to indicate a flag, caressing,1 etc. When indicating flames, the fingers of this pose point upwards, separated from each other, and in movement. To indicate a shower of rain, [the fingers] of this [pose] point down- wards; on the hips, [it] indicates the wings of a bird; moved upwards, tall things. To indicate playing on the drum, it points downwards. Moved upwards from the hip, the pose indicates lifting up. Brought from one's own side towards the face, it indicates facing an object. When shaken [sidewise] at one's side, it expresses negation. When the Pataka [hand] placed on the other Patāka [hand] is rubbed quickly, it indicates washing. Similarly, when rubbed slowly, it indicates crushing and wiping. For pulling up and holding rocks and other massive things, two of these [Patāka] should be made to face each other, separated 2 in the appropriate manner. With fingers moving down and up, this is used to indicate the speedy movement of wind and waves. 102-8 Tripatāka (Flag indicated with three fingers) The same [i.e., Patāka] with the ring-finger bent is Tripatāka. It is prescribed in touching, etc., of 1 Clapping of hands. 2 joined.

SAMGĪTARATNĀKARA 15

auspicious things like curd. With the palm facing out- wards, it is used for calling, by bending the two fingers which are close together. With the palm downwards and the two fingers thrown outwards, it is used to indicate what has been abandoned through indifference. Placed over the head, with the palm on one side, it should be used in making salutation. With the two fingers facing upwards, it is accepted for lifting up [another's] face. With the two fingers alternately moving down and up, it is used to indicate doubt. Turned downwards and moved round about the head, it indicates the wearing of a turban. In the same manner moving [round] further upwards from the head, it indicates the wearing of a crown. By closing the nose, mouth and ears with the two fingers, this [pose] indicates undesirable smell, words and noise respectively. The hand [in this pose] with the two fingers pointing downwards, fluttering near the hip, and moved upwards, downwards, and crosswise indicates respectively a small bird, a stream, and slight breeze. With the ring-finger placed near the eye and moved downwards [this pose] indicates tears and wiping the same; [with the ring-finger placed] on the forehead, the Tilaka [mark on the forehead]; and with the same [finger] placed on the curls on the forehead, the pushing aside of the curls. 109-16

Ardhacandra (Half-moon)

When all the fingers are close together on one side and the thumb remains on the other, resembling the form of the crescent moon, it is said to be Ardhacandra.

16 SAŅGĪTARATNĀKARA

It should be turned upwards aloft to indicate the crescent moon. To indicate a young tree it should be moved upwards. Holding the cheek and turned away, it indicates fatigue. It is also used for a slender waist, the forcible ejection [of persons by the neck] and the like. 117-9

Kartarīmukha (Scissor's blade)

When the forefinger of the Tripatāka pose is sepa- rated from the middle finger and remains behind it, then it is Kartarīmukha. It is employed to indicate the adorning of the foot with lac-dye, etc. Moved downwards, with the middle finger in the place of the forefinger and the forefinger again resuming its former position, it indicates falling. Pointed forwards and turned to face upwards it is used to indicate reading anything written. 119-21

Arāla (Bent)

When each of the fingers beginning with the fore- finger is separated from the next by greater and greater intervals and is higher and higher and slightly bent, while the forefinger is curved like a bow and the thumb bent, it is called Arāla. Placed against the heart of men it is said to be applicable in benediction and the like. Below, it should be applied twice or thrice to indicate the gathering of women's hair into a knot or loosening it. To indicate a crowd, it reaches its own side from the other side in a circular movement. With the fingers turned downwards it is used for calling.

SAŅGĪTARATNĀKARA 17

When the two hands [in this pose], move round clock- wise, with the tips of the fingers making the Svastika, it indicates marriage. For the circumambulation of deities, this Arāla pose alone [without the Svastika] is to be moved around clockwise. To indicate questions like ' Who art thou?', 'Who am I?', 'What connection is there [between us both]?', suggesting the absence of connection, this pose is employed again and again with the fingers thrown outwards. Placed on the forehead the same pose indicates the wiping off of perspiration from the forehead and is used in situations mentioned in the case of Tripatāka. 122-8

Mușți (Fist)

When the finger-tips rest compactly in the middle of the palm, not covered [by the fingers], and the thumb remains pressed against the middle finger, that is called Musti. It is employed to indicate the holding of a spear, a sword or a stick and fighting of various kinds; and with the thumb turned forward, [this pose indicates] running; both hands are used to indicate wrestling. 128-30

Śikhara (Crest)

When the thumb of Musti points upwards, it becomes Sikhara. It is used in hurling a javelin or spear, in grasping a bow, arrow or goad. In rearrang- ing the curls, Musti is also employed; and that is follow- ing the practice of people in everyday life. 130-1 2

18 SAŅGĪTARATNĀKARA

Kapittha (Wood apple) If the tip of the forefinger of Sikhara touches the tip of the thumb, then it is Kapittha. It is employed in holding a spear, the weapon Vajra, the discus bow, mace, etc., as well as in drawing an arrow [mounted on the bow], etc. Sometimes, Kapittha and Śikhara are interchangeable. 132-3 Khațakāmukha If the ring-finger and the little finger of Kapittha are thrown upwards, separated and bent, then there is the Khatakāmukha [pose]. Facing upwards, [this pose] is employed in holding the reins and Cāmara-s of horses, etc., in plucking flowers, in putting on strings of pearls and garlands, in drawing out arrows, and in churning. When held towards the face, it indicates the holding of a mirror. Both hands are used, with the palms facing downwards, to indicate the grinding of substances like musk. It is also used to indicate clipping off the stalks of betel leaves, etc. 134-7 Śukatunda (Parrot-beak) When the forefinger and the ring-finger of Arāla are very much bent, then it is Sukatunda. It is employed to indicate anger between lovers due to recent jealousy, or exchange of [hot] words such as '[It is] not you', '[It is] not I', 'I do not need your help' and so on, and in casting dice in gambling, etc. For dismissing with contempt or beckoning, the fingers should be thrown outwards and inwards respectively. 137-9

SAŅGĪTARATNĀKARA 19

Kāngūla

In Kängūla, the ring-finger is bent, the little finger pointed upwards, and the forefinger, thumb, and middle finger held upwards in a [triangular] position like that of the three [sacrificial] fires. It is employed to indicate a small fruit, a morsel of moderate size, imitating a cat's paw, etc. It is also prescribed for caressing the chin of children. 140-1

Padmakośa (Lotus-bud)

In Padmakośa the thumb and other fingers are bent like a bow, separated from each other with tips unattached. It should be employed in worshipping God and in making offerings. With the tips [of the fingers moved] outwards twice or thrice, this hand pose indicates heaps of flowers. It is also used for the Bilva, Kapittha, and other fruits and the breasts of women. 142-3

Alapallava

That is the Alapallava pose in which, after making the Vyavartita movement [Karana], the fingers stand sidewise along the palm. Alapadma is the very same. As regards the fingers of this [pose], some writers mention Parivartita instead of Vyāvartita. This pose is used to indicate [the question], 'Whose art thou?', [the statement] 'There is not', and in nega- tion. It is used by women to express only what is despicable, inappropriate, and false. 144-6

20 SAŅGĪTARATNĀKARA

Sūcīmukha (Needle-point) When the forefinger of Khatakāmukha is stretched upwards that pose is Sūcīmukha. Its application is described here: It indicates the missile named Cakra (discus), the potter's wheel, the chariot-wheel, and a crowd of people, when the forefinger is whirled round facing upwards, pointing downwards, remaining at one's side, and proceeding from the other side to its. own side, respectively. In indicating a flag it is lifted aloft. To express approval, [with the words, 'That is right '], it is made to swing. To indicate [the number] one, the forefinger is lifted up. When it is placed on the nose it is used to examine the breath. When the forefingers of both hands, with the palms facing down- wards, are brought together side by side, they indicate union; when separated, they denote separation. They are thus explained by Sarngadeva. 147-51

Sarpaśiras (Snake-hood) When Patäka is curved in the middle then it is the Sarpaśiras pose. Facing upwards, it is used for offering water to the Deva-s. Facing downwards, it indicates. the movement of a serpent, stroking the temples of an elephant, and the slapping of shoulders by wrestlers in a contest.' 152-3

Catura

When the thumb of this [Sarpaśiras] is placed on the middle joint of the middle finger and the little finger stands erect, that pose is known as Catura.

SAMGĪTARATNĀKARA 21

Other [experts] describe [it as] the placing of the thumb of Pataka at the root of the middle finger; some others say that the little finger is to be slightly moved backwards. When placed near the face, it is used to indicate tact. The two hands joined at the wrists are used to indicate modesty. When placed on the side, it indicates deliberation. Next to the heart, it indi- cates reasoning. When combined with Udvestita [Karaņa], it indicates sportfulness. With the palm turned upwards, it is indicative of playing a trick, casting dice, and pacification.1 When the thumb and the middle finger are rubbed against each other, [this pose] indicates softness. When both hands in this Catura pose are kept together, they are indicative of clever speech. 154-8

Mrgaśīrșa (Deer-head) When the thumb and the little finger of Sarpasiras project upwards, the pose is called Mrgasīrsa. Facing downwards, it signifies 'today', 'here', and 'now'; turned upwards, it signifies the throwing of dice; when placed over the cheek and other places, it is used to wipe off perspiration from the cheek, etc. 159-60

Hamsāsya (Swan-face) Where the forefinger, the thumb, and the middle finger are joined in a [triangular] position like the three [sacrificial] fires, while the other two fingers point upwards separately, that is called Hamsasya. With the

1 The text should be śame.

22 SAŅGĪTARATNĀKARA

tip rubbing [against the other finger-tips], this pose indicates what is soft or insignificant; [with the tips] . churning round, it indicates what is smooth; thrown out, it indicates what is small; shaken, it indicates what is loose or light. [With the tips] separated and closed again in the appropriate manner, this pose indicates the plucking of flowers, etc. 161-3

Hamsapakşa (Swan-wing) If the three fingers beginning with the forefinger of Patāka are slightly bent at their roots, the pose is called Hamsapaksa. This should be used for Acamana (cere- monial sipping of water), and anointing with sandal- paste and the like. Placed near the chin, it is indicative of supporting the chin when in sorrow; with the arms forming a circle, the two hands [in this pose] are used to show a huge pillar, and for embracing someone in front; crossed in Svastika [each hand being brought near the other shoulder], they refer to an embrace. To indicate the various sentiments, this pose should be used along with horripilation and other indications of emotions (Bhava-s) in accordance with each Rasa. In the case of the other hand poses also, there should be the indications of emotions according to the Rasa. 163-7 Bhramara (Bee)

When the tips of the thumb and the middle finger are joined together, the forefinger bent, and the two other fingers extended apart from each other, the pose is Bhramara. It is used for holding flowers with long

SAŅGĪTARATNĀKARA 23

stalks, and indicates ear-rings made of palm-leaf (tālapatra), as well as plucking out a thorn, etc. 167-9

Mukula (Bud) That is Mukula in which all the fingers held compactly together and pointing upwards are joined to the tip of the thumb. It is used to indicate the bud of a lotus, etc., offering oblations, worshipping gods, eating, etc. When opened out and restored to its natural position repeatedly, it is indicative of gifts, haste, kissing the mouth, and throwing a flying kiss [Vița's kiss] in the presence of women. When placed on the breast, armpit, etc., this pose indicates Äcchu- ritaka. When, with the five fingers, a nail-mark is made over the breast, etc., with some noise, then those proficient in the Kāmasūtra know it as Ācchuritaka.

Ūrņanābha (Spider) 169-73

When the five fingers of Padmakośa are bent, [the pose is called] Ornanabha. This is to be employed in stealthy grasping, in catching someone by the hair, etc., and in scratching one's head. In indicating beasts with claws like the lion and the tiger, the two hands are crossed [in Svastika] and made to reach the region of the chin. 173-5

Samdamśa (Pincers) When the thumb and the forefinger of Arāla have their tips together and the middle of the palm is made slightly hollow, then [the pose] is said to be Samdamśa.

24 SAMGĪTARATNĀKARA

It is of three kinds: Agraja, Mukhaja, and Pārśvaja, defined respectively as pointing forwards, towards the face, and sidewise. The Agraja type of Samdamśa should be employed in pulling out a thorn, plucking small flowers, etc. The Mukhaja type of Samdamśa should be used in saying angrily, 'Fie [upon you]', to remove flowers from their stalks, and in applying colly- rium [to the eye] with a brush or a pencil; while the Pārśvaja type of Samdamśa should be employed with both hands in threading pearls or piercing them, and in expounding the truth. To indicate a conversation in an angry mood, this pose should be assumed by the left hand and the tip slightly whirled around. It is used also to indicate preparing lac-dye paste. Thus says Šārngadeva. 175-81

Tāmracūa (Cock) If in Bhramara the little finger and the ring-finger rest on the palm, that [pose] is Tāmracūda. In beckon- ing a child, in rebuke, in measuring time, in singing, etc., in hastening and in inspiring confidence, etc., this pose should be used with a fall [of the index finger] making a sound. This is what is called Chotika (snapping). The view held by some that when the little finger of Musti is stretched out, the pose becomes Tāmrarūda and that its application is for pointing out a thousand and other númbers is not acceptable to the doubtless scholar [Sārngadeva], because it is not found in usage.1 181-4 1 Simhabhūpāla says that in the Mahratta country this pose is used to indicate numbers like a 'thousand'

SAŅGĪTARATNĀKARA 25

2. COMBINED HAND POSES

Añjali (Joined palms) Añjali is considered to be the placing together of the two palms in the Patāka pose. This should be applied in saluting deities, preceptors, and Brāhmaņa-s by holding it on the head, the face, and the chest, respectively, by men, and in any manner by women. 185-6 Kapota (Pigeon) The Kapota pose is that in which the two hands are joined at their bases, tips, and sides. Those well versed in hand poses know this also by another name: Kürmaka. When facing forwards, it is used in saluting and in conversing with the preceptor; and for expressing modesty. Along with shaking of the head,1 it is used by women and the lower classes of men. 186-8

Karkata (Crab) When the fingers of the two hands are seen inter- laced and stretched inwards and outwards, [the pose] is called Karkata. With the fingers stretched inwards, it should be employed to indicate deep thought and forbearance. With the palms and fingers facing out- wards, it is used above, on the side, or in front to indicate the cracking of fingers, etc. Facing towards one, in the region of the belly, it indicates a corpulent body; with the chin resting on the back of the fingers,

1 Siire kamprah; when shaken it indicates cold.

26 SAMGĪTARATNĀKARA

it indicates fatigue; contracted and with the fingers slightly facing one another, it indicates hold- ing a conch [for blowing it]. The type with the fingers stretched outwards is used to. indicate yawn- ing, etc. 188-92

Svastika (Cross) That is considered to be Svastika, wherein the two hands, with one wrist placed over the other, face upwards at the left side of the body. In Abhinaya (gesticulation), the two hands may assume either the Arāla or the Patāka pose. The Svastika, when sepa- rated [at the wrist], is used by women for saying, 'It is so', and to indicate vast stretches such as the sky and the ocean. 192-4

Pola (Swing) When the two hands in the Patāka pose hang down with relaxed shoulders and loose fingers, [the pose is called] Dola. It is used to indicate illness, dejection, intoxication, fainting, flurry and the like. It is either motionless or swings on the side according to the situation. 195-6

Puspaputa (Flower-basket) Two Sarpaśīrsa-s with their external sides brought together form Puspaputa. It should be employed for holding and giving away grain, flowers, fruit, etc., and also water. It is also prescribed by the son of Sodhala, [Sārngadeva], for flower-offerings. 196-7

SAŅGĪTARATNĀKARA 27

Utsanga (Embrace) When the two hands in the Arāla pose are stretched out and crossed in Svastika to rest on the other shoulder facing the body, it is spoken of as Utsanga. Some have held that the Svastika should rest on the right side of the body, with the palms facing downwards. Others. hold that the fingers as well as the backs of the two hands should face the sides and be inserted under the armpits. Still others maintain the use of Sarpasīrsa-s in the place of Arala-s. [This pose] is indicative of an undertaking very difficult of achievement, cold, an embrace, refusing to be placated,1 bashfulness of women, etc. 198-201

Khatakāvardhamānaka In Khațakāvardhamānaka the hands assume the Khatakamukha pose and form a Svastika at the wrists, or face each other. It is used in receiving betel leaves, etc., in love-making by amorous persons, and in string- ing flowers; according to another view, in speaking the truth, etc., and indicating the lily (kumuda), the lotus, a spear, and the holding of the conch [for blowing].2 202-4.

Gajadanta (Elephant-tusk) When two Sarpaśīrsa hands are placed between each other's shoulder and elbow, [the pose] is called

1 Not accepting decoration. 2 According to the former view, it is used for offering betel leaves, etc., by lovers; and according to the latter, for stringing flowers, speaking the truth, etc.

28 SAMGĪTARATNĀKARA

Gajadanta. Other [experts] give the definition of Gajadanta as that in which the two Sarpasirsa hands are slightly bent at the elbow and placed over the shoulders, facing each other. It [the former], when moved to and fro, is used to indicate pulling rocks. This [pose] also indicates the carrying of the bride and the bridegroom to the place of marriage, holding pillars, and huge weights. Thus says [Sārngadeva], the son of Śrī Sodhala. 204-7

Avahittha (Dissimulation) If two Sukatunda hands, facing the chest, are turned downwards and further lowered, [the pose] is called Avahittha. It is used to indicate weakness, eagerness, breathing out, and thinness of the body. 208-9

Nişadha

When Kapittha encircles Mukula, [the pose] is Nisadha. It is used to indicate correct understanding of the meaning of the Sästra-s, grinding, that which is well established, and saying ' This is true'. Some say that the first type of Gajadanta is Nisadha, which is considered to indicate valour, courage, majesty, pride, etc. 209-11

Makara (Shark) When the hands, assuming the pose called Patāka, face downwards and are placed one above the other with the thumbs stretched upwards, it is known as

SAŅGĪTARATNĀKARA 29

Makara. This is used in representing a crocodile, a shark (Makara), etc., a tiger and other carnivorous. animals, a lion, etc., as well as the flood of a river. 212-3.

Vardhamāna (Extending) If two Hamsapaksa hands are in Svastika and turned away, the pose then becomes Vardhamāna, which is used in opening a door. When the Svastika is separated, it is applied likewise in tearing open the chest. Others say that Sarpasīrsa should take the place of Hamsapaksa in this [pose]. Yet others accord their approval to this when done without Svastika. 214-6

3. NRTTA HAND POSES

Caturaśra (Quadrangle) When two Khatakämukha hands level with the elbows and shoulders, face forwards in front of the chest and are at a distance of eight inches from the chest, that pose is called Caturaśra. It is used in pulling garlands, etc. 216-7

Udurtta (Waving) In Udvrtta, the two hands are, [first] made to assume the Caturaśra pose and then the Hamsapaksa pose; and of these hands, that facing upwards is lowered and the other facing downwards reaches the chest. It is used for portraying a palm-leaf fan. Those skilled in Nrtta say that the same is called Tālavrnta. Others consider that two Hamsapaksa hands facing forwards,

30. SAMGĪTARATNĀKARA

when waved inwards and outwards, constitute Udvrtta and should be used to indicate an acclamation of triumph. 218-20

Talamukha (Palms facing)

When two Hamsapaksa hands assume the Udvrtta pose and then stand on the sides obliquely (Tryaśra) with palms facing each other, that [pose] is considered to be Talamukha. It is prescribed by the learned to indicate the sweet sound of a Mardala drum. 221-2

.Svastika (Cross)

Svastika with the two Hamsapaksa-s not touching each other is the Svastika Nrtta hand. 222

Viprakīrņa (Scattered)

The same Svastika suddenly separated is Vipra- kīrņa. Others hold that two Hamsapaksa hands with the tips pointing downwards or upwards, placed in front of the breasts and turned away [from each other] is Viprakīrņa. 223-4

Arālakhatakāmukha

The two hands in Patāka are crossed in Svastika, then made to swing inwards and outwards [by Vyāvrtta and Parivartana movements]; then assuming the Padma- kośa pose facing upwards, they are again swung in- wards [in the Vyävrtti] and outwards [in the Parivrtti] alternately; [then] the left hand should assume the Arala pose facing upwards, and the other, the

SAMGĪTARATNĀKARA 31

Khatakāmukha facing downwards, effecting Caturaśra; or, with the two hands in Svastika [one of them assum- ing Arāla and the other Khatakāmukha]; or, the two hands, first in the Arāla pose and later made to assume the Khatakāmukha pose. This Nrtta hand is called Arālakhațakāmukha. This is employed in the deliberation of merchants, ministers, etc. Others des- cribe Arālakhațakāmukha thus: a Khațakāmukha hand, facing forwards, is placed in front of the chest and the other, in Aräla, with the tip raised, is stretched out on the side a little; then the two hands [one in Arāla and the other in Khatakāmukha] remain on their own sides or on opposite sides with the length of a span between each other. 224-9

Āviddhavaktra

If two Patāka hands, having performed Vyāvrtti, have the palms facing downwards, while the foreparts of the arms, the elbows, and the shoulders move about sportively, [the pose] is called Āviddhavaktra. Experts point out its application in movements which are crooked because of haste. 230-1

Sūcīmukha (Needle-point)

When the middle finger and the thumb of two Sarpasīrșa hands are joined together, reach the Caturaśra region [in front of the chest eight inches away as in Caturaśra; cf. verse 217] and move across with the forefinger stretched outwards, alternately, [the pose] is Sūcīmukha. Some say that the special feature

32 SAMGĪTARATNĀKARA

in this is that the two hands first assume Patāka, do Vyāvrtta and Parivrtta, and after turning, are stretched out. Some others mention as the characteristic of Sūcyāsya that the two hands in the Sarpasīrsa pose, with the thumbs stretched out in the middle, assume Recitasvastika. 232-5

Recita (Circling) The two hands stretched out palms upwards are called Recita; or two Hamsapaksa hands, when making a quick circular movement, are said to constitute Recita; or else, if these two characteristics are combined to- gether, that would be the characteristic of Recita. This [pose] should be applied to indicate tearing open the chest of the demon [Hiranyakaśipu] by Nṛsiņha. 235-7

Ardharecita (Half-circling) The same [i.e., Recita] with one hand in Catu- raśra is Ardharecita. 237

Nitamba (Hip) When two Patāka hands, first face upwards and then downwards, proceeding from the region of the shoulder to the region of the hip, and then perform the Recaka movement, [the pose] is called Nitamba.

Pallava (Sprout) 238-9

When two Patāka hands are stretched upwards in Vyävartita and turned back in Parivartita, and

SAŅGĪTARATNĀKARA 33

brought to form a Svastika, [the pose] is considered to be Pallava. Some say that here two Tripatāka hands are used. Yet others say that Pallava is that in which two Padmakośa hands, loose at the wrists, are lowered and raised up, either at the sides or in front. Still. others mention Patāka in the place of Padmakośa.

Keśabandha (Tying the hair) 239-42

Keśabandha is that [pose] in which the two hands rise upwards from the two sides, without touch- ing the sides, reach the head, and as in Nitamba, emerge from the region of the hair separately and repeatedly, the one proceeding out as the other moves towards it. 242-3

Uttānavañcita

When two Tripatāka hands are placed over the cheeks, the shoulders or the forehead, slightly crosswise and facing each other, remain for a while with the palms upwards and are then moved from that posi- tion, while the shoulders and the elbows are slightly shaken, [the pose] is known as Uttānavañcita. Others. consider the slight lowering of the shoulders and the elbows [as characteristic of this pose]. 244-6.

Latākara (Creeper-arm) When two Patāka hands are made to swing,. stretched crosswise, that [pose] is Latākara. Some writers prescribe Tripatāka for this pose, as well as. for Keśabandha and Nitamba. 246-7 3

34 SAŅGĪTARATNĀKARA

Karihasta (Elephant-trunk) Karihasta is known to be that [pose] in which one hand in Latākara is raised and swung on either side like the trunk of an elephant, as if to touch some- thing, while the other hand, assuming Khatakāmukha or Tripataka, is placed on the ear. Now [it may be asked], why has not the dual number been used here as in the case of the other poses?1 We answer: Wherever, through a particular word, reference is made to two hands in the same type of pose, the dual is employed, as in ghatau and caturaśrau; wherever the two words signify different types [of poses], the dual is employed as in ghatapatau and arālakhatakāmukhau. In this instance, a single Latākara hand is seen having the form of an elephant's trunk. The pose of the other hand is of an accessory nature; therefore the singular number. And here the form of an elephant's trunk is not assumed by each of the two hands, as would be the case in ghatau [where the ghata aspect is common to both]. In this case we cannot say that one hand indicates the karin (elephant) and the other hand, the meaning of the term hasta (the hand). This is neither an ekaśesa [as in ghatau] nor a dvandva compound [as in ghatapatau], to justify the dual number. [Also], the singular number has been used by the all-knowing sage (Bharata). 248-54

1 The other Nrtta hand poses are referred to in the dual number in the definitions.

SAŅGĪTARATNĀKARA 35

Pakşavañcita

Paksavañcita is that [pose] in which the tips of two Tripatäka hands are placed on the top part of the hip. 255

Pakşapradyotaka These two hands [in the Paksavañcita pose] with their tips facing the sides, are considered to be the Paksapradyotaka [pose]. Some speak of the palms facing upwards [as the feature of this pose], and others of fingers pointing upwards with palms facing outwards. These [different positions] assumed one after the other will be graceful. 255-6

Daņdapakșa When a Hamsapaksa hand approaches the chest from its own side, and then the other hand in Latākara is stretched crosswise with a sportive movement, and in sequence [the movement is repeated] likewise on the other side, the pose is Dandapaksa. Other [experts] consider the stretching of the hand to be simultaneous [with the movement of the other hand]. 257-8

Garudapakşaka (Garuda-wing) When two Patäka hands placed near the hip [with the palms] facing downwards and the elbows bent are made to move crosswise and upwards quickly, that [pose] is Garudapaksaka. These are said to be Tripatāka hands by some, but this is not acceptable to the sage Bharata. 259-60

36 SAMGĪTARATNĀKARA

Ürdhvamandalin (Circled above) When the two hands [in Patāka] reach the sides from the chest [with Vyävartana], thence the forehead, and are then outstretched with a circular movement, [the pose] is Ūrdhvamandalin. Some say that this pose ends when the hands reach the forehead; this is well known as Cakravartanika, among the experts on dancing. 260-1

Pārśvamandalin (Circled at the side) When two Patāka hands are placed on their respective sides, facing each other, they are said to be [in the] Pārśvamandalin [pose]. But others say that Pārśvamandalin is that [pose] in which the arms move around from their respective sides, with Āvestita; experts in dancing consider this to be Kaksavartanikā. 262-3 Uromandalin (Circled at the chest) That is the Uromandalin [pose] in which the two hands [in Patāka] move simultaneously from the chest to the sides with a circular motion, one by Udvestita and the other by Apavestita movement, and thence they move back to the chest in the reverse order [that which came to the side by Udvestita movement going back by Apavestita movement, and vice versa]. Other [experts] say that the two hands should move around after being placed on the chest. This [pose] is well known as Urovartanikā among those who know. Some mention Hamsapaksa in the place of

SAŅGĪTARATNĀKARA 37

Patāka, in the case of the three [aforesaid poses] beginning with the Ūrdhvamandalin. 264-7

Urahpārśvārdhamandalin (Half-circle at the chest and sides)

One hand is placed on the chest, palm upwards and the other is stretched out on the side [palm up- wards]; then the hand on the chest, assuming the Alapadma pose, is brought to its own side with the Vyävartita movement, while the other hand assuming the Arala pose, reaches the chest with a circular motion by the Udvestita movement; and again the other [hand is made to reach the chest, with a circular movement, in the Arala pose]; by repeating this, the Urahpārś- vārdhamandalin [gesture is performed]. 267-9

Muştikasvastika

When one hand assumes the Arala pose through a Vartanā movement [Āveșțita caused by the bending of its wrist], and the other the Alapallava pose [through Udveștita caused by the bending of its wrist] several times, alternately, and then the two hands assuming the Khatakāmukha pose form a Svastika, then the pose is Muşțikasvastika. Kapittha, Sikhara or Mușți hands can also form the Svastika. 270-1

Nalinīpadmakośa (Lotus-bud) When two Padmakośa hands in the Svastika pósture are separated through the Vyavrtta movement and face away from each other, [the pose] is Nalinīpadmakośa.

38 SAŅGĪTARATNĀKARA

Others say that two Padmakośa hands at first joined at the wrists and facing each other and then separated with the Vyavrtti and Parivartana movements [simultaneously], form the Nalinīpadmakośa [pose]. Some others say that the two Padmakośa hands, when made to approach the knees through Vyāvrtti and Parivartana movements [simultaneously], form this [Nrtta pose]. Yet others say that the characteristic of this [pose] is as follows: The two hands in Padmakośa reach the neighbourhood of the shoulders, the breasts, or the knees with a Vivartita movement. 272-6

Alapadmaka

When two Alapallava hands in the region of the chest are made to approach the shoulders with an Udvestita movement and then stretched out, [the pose] is Alapadmaka. 276-7

Ulbaņa (Strong)

When two Alapadma hands with their fingers quivering face the shoulders and are stretched over the shoulders, then [the pose] is said to be Ulbana. 277-8

Lalita (Delicate) The learned consider two Pallava hands in the region of the head to be Lalita. Other [experts] speak of Lalita as having the two hands placed on the head, motionless, and without assuming the Caturaśra pose. Yet others mention that in Lalita two

SAŅGĪTARATNĀKARA 39

Khatakāmukha hands touch each other's tips after slowly reaching the head. 278-80

Valita (Bent round).

The two hands in what is called the Lata pose, when crossed in Svastika at the elbows, are considered to be the Valita [pose]. Other [experts] know it as Musțikasvastika formed over the head with the Vivrtta movement. Some others maintain that the Khatakā- mukha pose, assumed by the two hands joined at the tips, [is the characteristic of this pose]. The two hands. reaching upwards and bent backwards at the elbows. are [also] considered as [the characteristic features of] Valita. The learned know that these [above-men- tioned] Nrtta hands can be used in sequence also. 280-2

These are the thirty Nrtta hands.

Nikuñcaka

Patāka with the thumb touching the middle finger at its root is the Nikuñcaka [pose]. It is. employed to indicate a small quantity and the study of the Veda-s. 283

Dviśikhara (Double-crested)

The joining of two Sikhara hands is considered to be the Dvisikhara [pose]. It is used to indicate lying on a bed, cracking the fingers, and humouring women. When the two Sikhara-s are joined and then, separated, negation is indicated. 284-5

40 SAŅGĪTARATNĀKARA

Varadābhaya If the right and the left hands in the Arala pose assume the Varada (giving gifts) and Abhaya (giving protection) poses next to the corresponding hip, then [the pose] is said to be Varadābhaya [Nrtta pose]. 285-6

The above are three additional hand poses described by other schools.

These seventy hand poses have been cited by me as an illustration. There are an infinite number of other poses, since the objects to be represented are infinite. They may also be created in this way, in accordance with what takes place in everyday life. 286-7 These hand poses, aided by the eyes, the eyebrows, facial colour, and other Upanga-s, as well as by the Pratyanga-s, should be made to express the Rasa-s and Bhāva-s. 287-8 Hand poses should move in the region of the fore- head to represent superior things; should be placed over the chest in the case of standard things; and are prescribed lower down in the case of inferior things. 289 This procedure is prescribed by other [experts] in reference to superior and other types of characters. 290 These hand poses should be close [to the body] in the case of superior things; slightly further [away], in the case of standard things; and at a distance, in the case of inferior things. 290-1 The movements of the hands should be slight for representing anything experienced directly or

SAŅGĪTARATNĀKARA 41

indicating intense Sāttvika Bhāva; they should be copious when representing anything experienced indirectly; while representing [experience] between the two, they should be moderate. 291-2 These hand poses should be -used precisely by superior and ordinary characters, in accordance with the definition and in the correct position of the body and limbs (Sausthava);1 by inferior types [they should be used] in a different manner [i.e.,.carelessly]. 292-3 Gesticulation with the hand is not prescribed for indicating one who is depressed, distracted, afraid, swooning, subjected to languor, tormented with dis- gust or sorrow, asleep, weary, stricken with old age, afflicted with disease or cold, inactive and absorbed in thought, in penance, intoxicated, mad, or care- less. Hand poses such as the Karkata that indicate the inner disposition are to a large extent applicable in cases of depression, etc., [mentioned above]. This is the opinion of the wise. 293-6

CHEST

The positions of the chest are five: Sama, Abhugna, Nirbhugna, Prakampita, and Udvahita. We give their definitions. 296-7

Sama The Sama chest is declared to be that which has Sausthava and the Caturaśra pose of the limbs,2 while

1 Cf. v. 1037. 2 Cf. v. 1040.

42 SAŅGĪTARATNĀKARA

remaining in its normal position. It is employed in indicating the natural state. 297-8

Ābhugna Äbhugna is the sunken and relaxed chest and indi- cates pride,1 shyness, cold, heart-ache, sorrow, faint- ing, fear, flurry, and also disease and depression, according to [Sārngadeva], the devotee of Siva. 298-9

Nirbhugna When the chest is steady and raised because the back is curved, [the pose] is Nirbhugna. It is used to indicate self-respect, taking an oath, stupefaction, a look of surprise, joyous speech,2 and excessive pride. 300-1 Prakampita

[When the chest] is incessantly thrown upwards and shaken, [the pose] is Prakampita. It indi- cates fear, laughter, fatigue, hard breathing, spasms, hiccoughs, and sobbing. 301-2

Udvāhita

[When the chest is] lightly raised upwards, with- out shaking, [the pose] is called Udvāhita and is indi- cative of long-drawn breath, yawning, and looking at lofty objects. 302-3

1 Seems to be a mistake; not in Natya Śāstra .. 2 The reading prahrsta is taken.

SAŅGĪTARATNĀKARA 43

SIDES

Vivartita, Apasrta, Prasārita, Nata, and Unnata, are the five positions of the side, enumerated by the learned. 303-4

Vivartita

Vivartita is the turning aside of the hip-joint and is employed in turning aside. 304

Apasrta Apasrta is reverting from that [Vivartita] and is used for turning around from the sidewise position. 305 Prasārita Prasārita is stretching both the sides and indicates. joy, etc. 305

Nata

In the Nata [pose] the hips and the shoulders are bent [forward]. It is indicative of approaching somebody.1 306

Unnata Unnata is the reverse of the former. It is indi- cative of retreating. 306

HIPS

The positions of the hip are accepted to be of five kinds: Kampita, Udvāhita, Chinna, Vivrtta, and Recita. I shall now give their definitions. 307

1 The text should give apasarpana for upasarpana and vice versa.

44 SAMGĪTARATNĀKARA

Kampita Kampita is considered to be that which has quick movements from side to side. It is employed to indicate the movements of hunchbacks, dwarfs, etc. 308

Udvāhita

When the hip is slowly raised from side to side, that is Udvähita. It indicates the sportive gait of women and the gait of corpulent people. 309

Chinna

The Chinna hip results from turning the middle [of the body] obliquely on the sides. It is used in taking exercises, in hurrying, and in turning around to look at things. 310

Vivrtta

Facing the front while the side is turned away, is the Vivrtta hip. It is employed in turning around. 311 Recita

Rotating the hips on all sides is called Recita. It is used in turning around. 312

FEET

Foot poses are of six kinds in the opinion of the sage Bharata: Sama, Añcita, Kuñcita, Sūcī, Agratala- samcara, and Udghattita. Seven other foot poses are

SAMGĪTARATNĀKARA 45

mentioned by other [experts]: Tadita, Ghatitotsedha, Ghattita, Mardita, Agraga, Pārsniga, and Pārśvaga. I shall give their definitions. 312-4

Sama

The foot which rests on the ground naturally is called Sama. When stationary, it shows the natural state; when moving, it indicates moving around. 315

Añcita

When the heels are on the ground, the balls of the feet raised upwards and the toes outstretched, [the pose] is Añcita. It is used for stamping with the foot,1 turning round (Bhramaraka movement), etc. 316

Kuñcita

When the toes are bent, the heels raised, and the arch bent, [the pose] is Kuñcita. It is used in the walk of a person who is very tired and in grasping something at a height. 317

Sūcī

When the left foot is in the natural position, and the other [foot] touches the ground with the tip of the toe, while the other parts are raised, [the pose] is Sücī. It is used for tying an anklet. 318

1 The text should read pādāhatih for pādo hasta.

46 SAŅGĪTARATNĀKARA

Agratalasamcara When the heel is raised up, the big toe stretched, and the other toes curved down, the foot is [called] Agratalasamcara. It is used in urging, pounding, standing, causing pain, stamping the ground, pushing away what is on the ground, in the Recaka movement around, and in intoxication. 319-20

Udghattita Standing on the balls of the feet and bringing the heel down to the ground, once or more [than once] is Udghațțita. 321

Tādita

While holding to the ground with the heel, if the forepart [of the foot] strikes it [the ground], the foot is [called] Tādita. It indicates anger and pride. 322 Ghațitotsedha Striking the ground often with the forepart and the heel, alternately, is Ghatitotsedha. 323 Ghattita

When the foot strikes the ground with the heel [the pose] of the foot, is Ghattita. It is employed in prompting. 323 Mardita

That pose is Mardita in which the sole rubs against the ground crosswise. 324

SAŅGĪTARATNĀKARA 47

Agraga

Agraga is slipping [the foot] forward quickly. It should be used to indicate swampy ground. 324

Pārsniga

Moving backwards on the heel is said to be the Pārșņiga foot. 325

Pārśvaga

When [the foot] either stands on its side or moves to the side, that [pose] is Pārśvaga. 325

SHOULDERS

The positions of the shoulders are said to be of five kinds: Ekocca (one raised), Karnalagna (touching the ear), Ucchrita (stretched upwards), Srasta (relaxed), and Lolita (swinging). Their characteristics are indi- cated by their names. 326

Ekocca

The position of the shoulders called Ekocca indicates striking with the fist or the lance. 327

Karņalagna

In the opinion of the wise, the Karnalagna shoulder indicates an embrace and the cold season. 327

Ucchrita

Ucchrita indicates joy, pride, etc. 328

48 SAMGĪTARATNĀKARA

Srasta

Srasta indicates sorrow, fatigue, intoxication, and fainting. 328

Lolita

Lolita should be used in the dancing of Vita-s, and is mentioned by experts on dancing as indicative of laughter and playing on the Hudukkā (a kind of drum). 328-9

PRATYAŃGA-S

NECK

Neck positions are of nine kinds: Sama, Nivrtta, Valita, Recita, Kuñcita, Añcita, Tryaśra, Nata, and Unnata. 329-30

Sama

Sama is the natural position and is used in medi- tation, prayer, and the normal course of business. 330

Nivrtta

When the neck returns [to its own position] after facing something, [the pose] is said to be Nivrtta and indicates returning to the normal position [after facing elsewhere]. 331

Valita

[In the] Valita [pose] the neck faces sidewise. It is indicative of discomfiture and looking askance. 332

SAŅGĪTARATNĀKARA 49

Recita

Recita is shaking and moving [the neck] around. It indicates circular things and churning. 332

Kuñcita

Kuñcita is [the neck] slightly bent. It is used to indicate a load on the head and concealing one- self. 333

Añcita Añcita is [the neck] stretched and moved about and is indicative of pulling [someone] by the hair, and of a half-glance. 333

Tryaśra Tryaśra is [the neck] slanted to the side and it is indicative of fatigue, of a side-glance, and a load on the shoulder. 334

Nata Nata is [the neck] bent low; it is indicative of tying an ornament [around the neck] and clasping the neck. 334

Unnata Unnata is [the neck] thrown up and indicates displaying an ornament [worn around the neck] 335

ARMS

The positions of the arms are said to be of ten kinds by wise men: Ordhvastha, Adhomukha, Tiryak, 4

50 SAMGĪTARATNĀKARA

Apaviddha, Prasārita, Añcita, Mandalagati, Svastika, Udveşțita, and Prsthānusārin. Other [experts] men- tion six other positions: Aviddha, Kuñcita, Namra, Sarala, Āndolita, and Utsārita. 335-7

Ūrdhvastha Ordhvastha is the arm reaching above the head and is used for pointing out tall objects. 338

Adhomukha Pointing to the ground is Adhomukha. 338

Tiryak Reaching to the side is Tiryak. 338

Apaviddha Apaviddha is the arm which proceeds out from the region of the chest with a circular movement. 339

Prasārita

[The arm] stretched out towards the front is Prasārita. 339

Añcita [The arm] proceeding from the region of the chest and returning to the chest is Ancita. 340

Mandalagati When the arm is turned round in all directions, it is called Mandalagati. It is prescribed for brand- ishing a sword, etc. 340-1

SAMGĪTARATNĀKARA 51

Svastika

Svastika is crossing the arms so that they touch each other [at the wrists]. It is employed in the worship of the sun [by holding on the head], an embrace [by holding in front], and obeisance [by holding it lower down] 341-2

Udvestita

The arm going out with a movement at the wrist is Udvesțita. 342-3

Prsthānusārin

The arm reaching the back is Prsthanusārin. It is used for taking an arrow out of the quiver and receiv- ing betel leaves. 343

Āviddha

The arm moved inwards is Aviddha. 344

Kuñcita

When the arm is bent till the elbow is pointed, it is called Kuñcita. It is used in wielding a sword, etc., striking, eating, and drinking. So declares the doubtless scholar [Śārngadeva]. 344-5

Namra

Namra is [the arm] slightly bent; it is employed in praising and in carrying a garland. 345

52 SAŅGĪTARATNĀKARA

Sarala

Sarala is [the arm] stretched out sidewise, upwards, and downwards. It is used, respectively, to imitate wings, for measuring [heights], and pointing out what is on the ground. 346 Andolita

Andolita (swinging) is what it signifies. 347

Utsārita

Utsärita is the arm reaching its own side from the other and is used in driving away a crowd. 347

Now, by employing these arm movements, collect- ively and separately, and resorting to various tempos like the Druta, thousands of Vartana-s come into existence. These [Vartanā-s], full of grace, can be thought out by experts.1 348-9 If employed with Recaka-s, without sacrificing grace, these arm movements, full of various dextrous modes, are called Cālaka-s by experts. 349-50 They [the Calaka-s] should be employed in the last khanda of the [instrumental compositions], Otā, Avatsa, Rigoņī, Pada, Malapa, and the Upaśama of Gajara; also in [the last khanda] occurring in [the vocal compositions] Ela, etc .; likewise, in the last khanda of Dhruva, etc., belonging to the Sālagasūda type [of vocal compositions] and also in the last khanda 1 Kallinātha quotes 24 varieties of Vartanā-s described by Kohala.

SAŅGĪTARATNĀKARA 53

of Praharana [one of the instrumental compositions]. Other [experts] say that they should also be employed elsewhere [i.e, in other khanda-s] as well as in vigorous (Proddhata) [song] having a soft beginning, and in Kavita [one of the instrumental compositions]; and not in any other place. 350-2

BELLY AND BACK

The movements of the back are derived from the movements (Vartana-s) of the belly [being just the opposite] and, hence, need not be separately dealt with. The belly is now dealt with. 353 Belly movements are of three kinds: Ksāma, Khalla, and Pūrņa. 354

Kşāma

Ksāma is caused by the sagging of the belly. It is employed to indicate yawning, laughing, breathing out, and weeping. 354

Khalla

Khalla is the hollowed [belly]. It is used to indicate one who is famished, sickly, or overcome with fatigue. It takes the form of the belly of a vampire, of Bhrngiriti [one of Siva's attendants] etc. 355

Pūrņa Pürna is the bulging [belly]. It is employed to indicate a diseased person, someone with a pot-belly, or one who has over-eaten. 356

54 SAŅGĪTARATNĀKARA

Other [experts] mention in addition Riktapūrņa, which is what the name signifies [i.e., emaciated at first, but grown big later]. It indicates respiratory disease. 356

THIGHS

Thigh movements are of five kinds: Kampita, Valita, Stabdha, Udvartita, and Nivartita. 357

Kampita Of these, that is known as Kampita in which the sides are lowered and raised [repeatedly]. It indicates the gait of low-class people. 357-8

Valita

In Valita, the knee moves inwards. It indicates the free gait of a woman. 358

Stabdha

Stabdha is the motionless [thigh]. It indicates depression and fear. 359

Udvartita

In Udvartita, the heel and the forepart of the sole are repeatedly thrown inwards and outwards. It is used in taking exercise and in Tāņdava. 359-60

Nivartita

Nivartita is caused by the heel moving inwards. It indicates haste and languor. 360

SAŅGĪTARATNĀKARA 55

SHANKS

The shank is described by Sarngadeva as of five kinds: Āvartita, Nata, Kșipta, Udvāhita, and Pari- vartita. Others mention five other kinds of shanks: Niḥsrta, Parāvrtta, Tiraścīna, Bahirgata, and Kampita.

Āvartita 361-2

When the left foot is moved towards the right and the right foot towards the left, again and again, that is called Avartita. It indicates the gait of the Vidūsaka. 363 Nata

The Nata shank is caused by bending the knee and is employed in standing, sitting, and moving. 364

Kşipta Throwing [the shank] outwards is Ksipta. It is used in taking exercises and in Tāndava dancing. 364

Udvāhita

Udvāhita is the shank moved upwards. It indi- cates the gait of one possessed. 365

Parivartita

Parivartita is the shank of one who moves cross- wise. It is used in the Tandava dance. 365

Nihsṛta The shank which is stretched forwards is called Niḥsṛta. 366

56 SAMGĪTARATNĀKARA

Parāvṛtta

In Parävrtta, the shank is behind [the knee], while the knee touches the ground [i.e., kneeling]. This is done with the left shank in ceremonies for the manes, and with the other shank in propitiating the gods. 366-7

Tiraścīna

When the external side [of the shank] touches the ground it is Tiraścina. It is employed in sitting. 367

Bahirgata

Bahirgata is the shank stretched sidewise. It is used in Nrtta dancing. 368

Kampita

: Kampita is shaking [the shank]. It should be used to indicate fear and the sound of anklet bells (Ghargharikā). 368

WRISTS

The movements of the wrist are of five kinds: Nikuñca, Ākuñcita, Cala, Bhrāmita, and Sama. 369

Nikuñca

Of these, Nikuñca is said to be that which is bent. outwards. It is employed to indicate a gift, and giving refuge. 369-70

SAMGĪTARATNĀKARA 57

Ākuñcita

Äkuñcita is that which is bent inwards. It should be employed by wise men in pushing away people. 370

Cala Cala is the repeating of Nikuñca and Ākuñcita. It is employed in invoking. 371

Bhrāmita

Bhrämita is moving the wrist around. It is used in brandishing swords and knives. 371

Sama

Sama is the straight [wrist]. It is used for hold- ing a book and receiving a gift. 372

KNEES

Knee poses are said to be of seven kinds by the learned: Samhata, Kuncita, Ardhakuncita, Nata, Unnata, Vivrta, and Sama. 372-3

Samhata Samhata is said to be the knee in contact with the other knee. It is indicative of shyness, anger, and jealousy. 373

Kuñcita In Kuñcita, the thigh and the shank touch each other. It is used in sitting. 374

58 SAM̧GĪTARATNĀKARA

Ardhakuñcita

In the Ardhakuñcita knee, the hip is lowered. 374

Nata

Nata is the knee brought to the ground. It is employed in falling and prostrating. 375

Unnata

Unnata is the knee which reaches the region of the breast. It is employed in climbing hills. 375

Vivṛta

In Vivrta, the two knees are turned outwards. It is used when sitting on an elephant. 376

Sama

Sama is the knee in its normal position. It indi- cates the natural posture. 376

ORNAMENTS

The appropriate costume, etc., for various parts, are considered to be ornaments. 377

UPĀNGA-S

GLANCES

Glances expressing Rasa should be looked upon as eight in number: Kānta, Hāsya, Karuņa, Raudra, Vīra, Bhayānaka, Bībhatsa, and Adbhuta. 377-8

SAŅGĪTARATNĀKARA 59

The eight glances produced by the Sthayibhava-s (Permanent Moods), when they have not become transitory, are known as Sthayi glances: Snigdha, Hrsta, Dīna, Kruddha, Drpta, Bhayānvita, Jugupsita, and Vismita. 378-9 The glances relating to the Vyabhicāribhāva-s. (Transitory Moods) are twenty in number: Sūnya, Malina, Śrānta, Lajjita, Śankita, Mukula, Ardha- mukula, Glāna, Jihma, Kuñcita, Vitarkita, Abhitapta, Vişaņņa, Lalita, Ākekara, Vikośa, Vibhrānta, Vipluta, Trasta, and Madira. All these glances, added together, are accepted to be thirty-six. 380-2

1. GLANCES EXPRESSING RASA Kānta The Känta glance is that which seems to drink in its object, is open, and extremely clear. It is accompanied by movements of the brows and Katāksa, and excites the passion of love. 383 Those well versed in the arts say that Katāksa is moving the pupils of the eyes here and there and letting them come to rest in a variety of [charming] ways. 384 Hāsya In the Häsya glance, the pupils are drawn slightly inwards and move in various ways; the eyelids are slightly contracted, at first slowly, later moderately, and then quickly. It is recommended for indicating the feeling of astonishment.1 385-6 1 producing smiles ?

60 SAMGĪTARATNĀKARA

Karuņa

The Karuna glance is said to be that in which the upper eyelids droop down, tears fall, the pupils are dull with sorrow, and the eyes are directed solely towards the tip of the nose. 386-7

Raudra

The Raudra glance is said to have tremulous eyelids, motionless pupils, and intensely red and severe eyes. It is terrible with [knitting of] brows, and cruel. . 387-8

Vīra

The Vira glance is described by the wise as that which is steady, open, and majestic. It has even pupils, is bright, and narrowed at the corners. [This glance] indicates the eight varieties [of feeling]: gene- rosity, courage, nobility, sweetness, delicacy, power, grace, and sportfulness. 389-90

Bhayānaka

The Bhayänaka glance is that in which the eye- lids are stretched and turned upwards, while the pupils quiver and are turned upwards. It is employed to indicate running away in fear from the object seen. 390-1 Bībhatsa Bībhatsa is that in which the eyelashes tremble and meet, the pupils are agitated, the eyelids lowered,

SAŅGĪTARATNĀKARA 61

and the glance rests at the sides out of disgust at the object seen. 391-2

Adbhuta The Adbhuta glance is clear, with the pupils moving inwards and outwards in relation to the bright white of the eye, the tips of the eyelashes slightly lowered, and the [outer] ends of the eyes open. 392-3 These are employed, respectively, in the eight Rasa-s beginning with Śrngāra.

2. GLANCES EXPRESSING PERMANENT MOODS

A glance expressive of Rasa becomes a glance ex- pressive of Bhäva when the feeling is not strong enough. 394 Snigdha The glance known as Snigdha is open, lovely, and sweet, with charming eyebrows. It is characterized by Kațāksa and is full of eagerness. Kīrtidhara and others say that one brow should be gently raised upwards in this [glance]. 394-5

Hrsta The Hrsta glance is spoken of as having full cheeks and pupils which move inwards. It is slightly lowered, moving, winking, and accompanying a smiling countenance. 396

Dina The glance which has half-closed upper eyelids and slightly restricted [movements of the] pupils, has

2 PP, p. 151.

62 SAMGĪTARATNĀKARA

tears, and is dull in movement, is considered to be Dīna. 397

Kruddha [Sārngadeva], the devotee of Siva, says that the Kruddha glance has motionless and raised eyelids, and is fierce, with slightly tremulous pupils and crookedly knit eyebrows. 398

Drpta The Drpta glance expresses fortitude, and is open and steady. 399

Bhayānvita The Bhayänvita glance is that in which the eye- balls seem to leave their sockets, the lids are wide open owing to the feeling [of fear], and the pupils agitated. 399-400

Jugupsita The Jugupsita glance is said to have indistinct vision, contracted eyelids, and pupils which are hidden. It expresses revulsion at the object seen. 400-1

Vismita The Vismita glance is considered to be expan- sive, with the two eyelids wide open, and the pupils turned upwards, motionless. 401-2 These glances are employed, respectively, in the eight Permanent Moods (Sthāyibhāva-s), beginning with Love. 402

SAŅGĪTARATNĀKARA 63

3. GLANCES EXPRESSING TRANSITORY MOODS

Śūnya

The Sūnya glance has pupils and eyes in the normal position. It [is vacant and] does not see the objects in its ken, and is immobile and dull. It is prescribed for indicating anxiety. 403

Malina

This is the glance in which the pupils are with- drawn from their object, the eyelids are a little closed, the corners are devoid of brilliance, and the tips of the eyelashes flutter. It is employed in the Vihrta of women. Vihrta is considered to be refraining from con- versation with the beloved even when the time is appropriate for it. 404-5

Śrānta

The Śranta glance is not directed to a distance. It has wilted eyelids and is slothful of movement; the pupils are unsteady and the corners slightly narrowed. It indicates fatigue. 406

Lajjita

Lajjita is considered to be the glance in which the eyelashes tend to meet each other, the pupils are cast down, and the upper eyelids droop. It should be used to indicate shyness. 407

64 SAŅGĪTARATNĀKARA

Śańkita Śankita is described by the doubtless [Śārngadeva] as the glance which is sometimes unsteady and some- times still, looking sidewise, seemingly directed out- wards, yet looking stealthily, and withdrawing imme- diately from the object. It indicates suspicion. 408-9

Mukula The glance with fluttering eyelashes meeting at the tips, and pupils tranquil with pleasure, is Mukula. It indicates happiness, and agreeable touch and smell. 409-10

Ardhamukula That which is half open,1 with somewhat mobile pupils and half-closed lids is Ardhamukula. It indi- cates anything which gives pleasure. 410-1

Glāna The Gläna glance has sunken pupils and moves slowly and feebly, with eyelashes, eyelids, and brows which seem to be drooping. It is recommended for showing weariness. 411-2

Fihma Jihma is that which has slightly lowered lids and concealed and drooping pupils. It is cast slowly, obliquely, and slyly, and is employed for indicating jealousy, a secret, dullness, and sloth. 412-3 1 Ardhavyākosita seems to be the correct reading.

SAŅGĪTARATNĀKARA 65

Kuñcita

The glance in which the eyelids and lashes are slightly bent and the pupils completely contracted is called Kuñcita. It indicates an undesired object, envy, and a dazzling object hard to look at. 414-5

Vitarkita

The glance in which the eyelids are turned up and the pupils full blown and moving downwards is called Vitarkita. It is mentioned as appropriate in conjecturing. 415-6

Abhitapta

The glance in which the pupils look indolently, and the eyelids are agitated on account of pain, as if confused, is called Abhitapta. It should be under- stood to indicate depression, a sudden attack, and anguish. 416-7

Vişanņa

The glance in which the outer corners droop, the two lids are distended and winking, and the pupils motionless, is Visanna. It indicates sorrow. 418

Lalita

The Lalita glance is sweet and smiling, with the outer corners of the eyes contracted. It is accompanied by movements of the brow and excites the passion of love. It is indicative of amorous dalliance. 419 5

66 SAŅGĪTARATNĀKARA

Ākekara [The glance] in which the eyelids and the corners are slightly contracted is Akekara. It is half closed and has pupils which frequently turn in a direction away from the gaze of others. It is employed to indicate things difficult to look at [because of distance], and hidden objects. 420-1 Vikośa The Vikośa [glance] is described by the learned as having wide open eyelids. [The glance is] full blown and unwinking, with restless pupils. It indi- cates pride of knowledge and wisdom, anger, and criticism. 421-2 Vibhrānta The Vibhranta glance is that which is restless and diffident in looking, and is wide open, with full- blown and agitated pupils. It is used to indicate agitation, speed, and hurry. 423-4 Vipluta When the eyelids tremble, become motionless, and then droop down it is the Vipluta glance. It indicates distress, grief, etc., and also insanity and fickleness. 424-5 Trasta The Trasta [glance] has tremulous and wide- open pupils and throbbing eyelids. It indicates fear. 425

SAŅGĪTARATNĀKARA 67

Madira

The Madira [glance] is said to be of three kinds, fit to be employed in portraying the light (taruna), moderate (madhyama), and base (adhama) [types of] intoxication, with their respective characteristics. Of the three, excessive intoxication found in a low-class person is base [intoxication]. The Madira [glance] used in light intoxication has the outer corners of the eyes distended, eyes famished, and pupils rolling about. The Madira glance used in intoxication of the moderate type has slightly contracted lids, is somewhat unsteady in movement and has pupils which move about. The Madira [glance] used in the base type of intoxication moves in the lower part [of the eye], is turned down, with pupils slightly visible, much winking, and eye- lids which cannot be opened even with effort. 426-30 These thirty-six glances have been enumerated by me as an illustration. The glances are innumerable, depending on the combination of the actions of the brows, pupils, and lids. Even the Creator [Brahmā] is not capable of describing each one of these glances. Hence, to make it easy to understand them, we shall presently deal with [the movements of] the brows, etc. 430-2

EYEBROWS

[The movements of] the eyebrows are explained by the learned as of seven kinds: Sahaja, Patita, Utkșipta, Recita, Kuñcita, Bhrukuți, and Catura. 432-3

68 SAŅGĪTARATNĀKARA

Sahaja

The normal position [of the eyebrows] is Sahaja. It is used to indicate a straightforward disposition. 433

Patita

[When the eyebrows] move down simultaneously or one by one, it is Patita. These two lowered brows indicate rejection, wonder, joy, anger, envy, disgust, laughter, and smelling. 434-5

Utkşipta

Utksipta (raised) is what it signifies and refers [to the raising of the brows] one by one or together. It indicates the anger of women, deliberation, and natural seeing and hearing. This Utksipta movement should be used by experts to indicate the playful imitations of lovers (lila) and manifestations of love (helā). 435-6

Recita

Delicately raising one eyebrow is Recita. It is used [only] in Nṛtta. 437

(Ni) kuñcita When one or both of the eyebrows are delicately curved, that is Nikuñcita. It is employed in Mottāyita, Kuțțamita, Vilāsa, and Kilakiñcita.1 437-8

1 Cf. verses 66 ff. for definitions.

SAŅGĪTARATNĀKARA 69

Bhrukuți

Raising both eyebrows [completely] from the roots is Bhrukuti. It is employed to indicate anger. 438

Catura

In Catura, both the eyebrows are slightly throb- bing, elongated, and slow [in movement].1 It indi- cates agreeable contact, love, and dalliance. 439

EYELIDS

[Movements of] the eyelids are explained to be of nine kinds by [Sārngadeva], the son of Sodhala: Prasrta, Kuncita, Unmesita, Nimesita, Vivartita, Sphurita, Pihita, Vitādita, and Sama. 440-1

Prasṛta

Prasrta [eyelids] are fully drawn apart. They indicate heroism, joy, and wonder. 441

Kuñcita

Kuñcita [eyelids] are slightly contracted. They indicate beautiful objects, etc., and pleasant things. 442

Unmeşita, Nimeşita, and Vivartita

Separating the eyelids is Unmesita; bringing them together is Nimesita; raising them is Vivartita. These three are employed to indicate anger. 442-3

1 charming (madhura).

70 SAMGĪTARATNĀKARA

Sphurita Sphurita are throbbing [eyelids]. They are to be employed to indicate jealousy. 443

Pihita

Pihita [eyelids] are very much constricted and joined together. They indicate sore eyes, sleep, swoon, and discomfort caused by excessive rain, heat, smoke, wind, and collyrium. 444

Vicālita (Vitādita)

Vicalita is the upper eyelid striking the lower. It is used to indicate a blow. Other [experts] say that it is opening the eyelids [to such an extent] as to make them invisible. 445

Sama

Sama [eyelids] are in the normal position. They are employed to indicate the natural position. 446

PUPILS

Now I shall describe the actions which differen- tiate the [movements of the] pupils. They are of two kinds: those which depend on themselves and those which depend on objects. 446-7 Wise men say that the actions of the pupils which depend upon themselves are nine in number: Bhramaņa, Valana, Pāta, Calana, Praveśana, Vivartana, Samud- vṛtta, Nișkrāma, and Prākrta. 447-8

SAŅGĪTARATNĀKARA 71

Bhramaņa

Bhramana is considered to be the circular move- ment of the pupils between the eyelids. 449

Valana

Valana is oblique movement. 449

Pāta

Pāta is downward movement. 449

Calana

Calana is said to be throbbing. 450

Praveśana

Praveśana is to be known as the drawing in [of the pupils] between the eyelids. 450

Vivartana

Vivartana is the Katāksa glance. 450

Samudvṛtta

Samudvrtta is lifting up. 451

Nişkrāma Niskrama is returning inwards [from Samudvrtta]. 451 Prākṛta Prākrta is said to be the natural state. 451

Samudvrtta, Valana, and Bhramana express the Heroic (Vira) and the Furious (Raudra) sentiments;

72 SAŅGĪTARATNĀKARA

Päta indicates the Pathetic (Karuna); Calana, the Fearful (Bhayānaka); Praveśana, the Odious (Bībhatsa) and the Comic (Hasya); Vivartana, the Erotic (Śrngāra); Nișkrāma, the Furious, the Fearful, and the Marvellous (Adbhuta); while Prakrta indicates a disposition without excitement. 452-4 I shall now describe the eight kinds of actions of the pupils which depend on objects. Those well versed in the theory and practice [of dancing] speak of the following eight glances: Sama, Sāci, Anuvrtta, Avalo- kita, Vilokita, Ullokita, Ālokita, and Pravilokita. 454-6

Sama

Pupils which are in the centre [of the eye], agreeable in appearance, are called Sama. 456

Sāci

Pupils which are within slanting eyelashes are called Sāci. 457

Anuvrtta

According to the sage [Bharata], Nirvarņanā {care- ful observation) of objects is Anuvrtta. Nirvarnana is looking intently for a long time, prompted by the desire to see the object in its entirety. 457-8 Avalokita

Avalokita is looking at something below. 458

SAŅGĪTARATNĀĶARA 73

Vilokita

Vilokita is said to be looking backwards. 459

Ullokita

Ullokita is looking at an object which is above. 459

Ālokita

Ālokita is said to be suddenly looking at an object. 460

Pravilokita

Pravilokita is explained by experts as looking at an object on the side. 460

Experts mention these as common to the Rasa-s. and the Bhava-s. 461

CHEEKS

The cheeks are said to be of six kinds: Kuñcita, Kampita, Pūrņa, Kșāma, Phulla, and Sama. Their definitions are now given. 461-2

Kuñcita Kuñcita is the contracted cheek with hair standing on end. It is employed to indicate cold, fever, and fear. 462

Kampita Kampita is throbbing. It should be employed by the wise to indicate horripilation. 463

74 SAŅGĪTARATNĀKARA

Pūrņa Pürņa is the raised cheek. It is employed to indi- cate pride and enthusiasm. 463

Kşāma Kşāma should be known as the sunken cheek, to be employed by actors to indicate sorrow. 464

Phulla Phulla means the full-blown cheek. It is employed to indicate great joy. 464

Sama Sama is the cheek in the natural position. It is considered to indicate [normal] dispositions without excitement. 465

NOSE

The nose is explained to be of six kinds by the writer Sārngadeva: Svābhāviki, Nata, Manda, Vikrsta, Vikūņita, and Socchvāsa. 465-6

Svābhāviki Svābhāviki is what the name indicates, [the natural position], free of exciting features. It should be used to indicate [such] dispositions. 466

Nata The Nata nose is accepted to have nostrils which frequently contract and expand. It is used in sniffing and detecting mild and intermittent smells. 467

SAŅGĪTARATNĀKARA 75

Manda Manda is the nose which breathes gently in and out. It is prescribed for deliberation, anxiety, sorrow, and dejection. 468

Vikrsta The Vikrsta [nose] has nostrils which are extremely dilated. It should be used to indicate anger, grief, fear, gasping, and smelling something highly fragrant. 469

Vikūņita Vikūņita is the contracted [nose] which is employed in laughter, envy, and disgust. 470

Socchvāsa Socchväsa is the nose drawing in air. It indicates fragrance, and emotions such as dejection which cause deep breathing. 470-1

BREATH

Breathing, [comprising] inspiration and expira- tion, is said to be of nine kinds by Kohala: Svastha, Cala, Pravrddha, Nirasta, Ullāsita, Vimukta, Vismita, Skhalita, and Prasrta. According to some others well versed in the art, breathing is of ten kinds: Sama, Bhranta, Vilīna, Andolita, Kampita, Stambhita, Ucch- vāsa, Niḥśvāsa, Sūtkrta, and Sītkrta. 471-4

Svastha Svastha breathing is respiration in the natural way. It should be used to indicate normal function- ing. So says the doubtless [Śārngadeva]. 474-5

76 SAŅGĪTARATNĀKARA

Cala Cala is breathing through the mouth. It [the breath] is warm, long-drawn, and audible. It is to be employed to indicate anxiety, depression, sorrow, and deliberation. 475-6

Pravṛddha Pravrddha is breathing out through the mouth in an increased measure, audibly. It indicates tuber- culosis, etc. 476-7

Nirasta Nirasta is declared to be the breath expelled once [a gasp], audibly. It is prescribed for indicating the sorrowful, the ill, and the tired. 477-8

Ullāsita The Ulläsita breath is slowly and gently drawn in through the nose. It is used by experts to indicate agreeable smell and doubt. 478-9

Vimukta Vimukta is stated to be the breath held for a long time and then let out. It is declared by the learned to be indicative of Yoga, meditation, and breath-control (prāņāyāma). 479-80

Vismita Vismita is [the breath] held with effort, owing to the mind wandering elsewhere. It indicates surprise, wonder, and construing the meaning of a passage. 480-1

SAMGĪTARATNĀKARA 77

Skhalita

Skhalita is stated to be breathing profusely out of sorrow. It indicates death, disease, and tottering. 481-2

Prasṛta

Prasrta is breathing out of the mouth during sleep in long and audible [breaths]. 482

[Of the ten other kinds of breath], Sama is the same as Svastha; Bhranta is the breath circulating inside; and the others bear self-explanatory namcs. Among them Sūtkrta and Sītkrta imitate the sound of the breath expelled and drawn in through the mouth, respectively. Sama is the natural. Bhranta indicates the first meeting of lovers. Vilina indicates swooning, and Andolita is considered to indicate climbing a hill. Kampita is indicative of amorous enjoyment and Stambhita, of discharging missiles, etc. Ucchvāsa is used in smelling flowers and Nihśvāsa in penitence, etc. Sūtkrta is indicative of pain, etc., and Sītkrta is employed to indicate cold, uneasiness, pressing with the nails, and passionate kissing of women. Let the wise understand other uses [for these] from daily life. 483-7

LIPS

The lips are said to be of six kinds: Vivartita, Kampita, Visrsta, Vinigūhita, Samdașțaka, and Samudga. Others mention other [kinds of lips]: Udvṛtta, Vikāsin, Āyata, and Recita. 488-9

78 SAŅGĪTARATNĀKARA

Vivartita Vivartita is closing the lips awry. It is prescribed in contempt, pain, envy, laughter, etc. 489-90

Kampita Kampita (tremulous) is what it signifies. It indi- cates distress, fear, cold, [the muttering of] prayers, and disease. 490

Visrsta Visrsta is protruding the lips. It is used to indicate adorning with lac-dye, etc., and the playful Vilāsa and Bibboka of women. So states Śārngadeva. 491

Vinigūhita Vinigūhita is drawing the lips inside the mouth. It indicates something achieved with great effort, as well as the anger and spite of women when forcibly kissed by their lovers. 492

Samdastaka Samdastaka is the lip bitten by the teeth. It is prescribed to indicate anger. 493

Samudga Samudga is the pouting of the lips. It indicates blowing, compassion, kissing, and congratulating.

Udvrtta 493-4

Udvrtta [lips] result from drawing up the mouth, and indicates contempt and ridicule. 494

SAŅGĪTARATNĀKARA 79

·Vikāsin Vikāsin reveals the upper teeth slightly, and is prescribed in smiling. 495

Āvata Äyata is [the mouth] stretched along the upper lip. It is indicative of smiling. 495

Recita Recita is moving the lip sidewise, and is indicative of dalliance. 496

TEETH

We shall [now] describe the actions of the teeth for establishing the definitions [of the various positions] of the teeth. The actions of the teeth are said to be eight: Kuttana, Khaņdana, Chinna, Cukkita, Grahaņa, Sama, Dașța, and Nișkarșaņa. 496-7

Kuttana Kuttana is chattering [of the teeth]. It indicates cold, illness, fear, and old age. 498

Khandana Khandana is accepted to be the frequent touching and separating of the teeth. It is used in muttering prayers, reading, speaking, and eating. 498-9

Chinna Chinna is tightly closing the teeth. It is known to indicate weeping, fear, cold, illness, biting the betel roll, taking exercises, etc. 499-500

80 SAGĪTARATNĀKARA

Cukkita

Cukkita is keeping the two rows of teeth wide apart. It is used in yawning, etc. .500

Grahana

Grahana is holding a piece of grass or a finger 1 between the teeth. It indicates fear. 501

Sama

Sama is slight contact [of the teeth]. It is accepted as indicating the natural state. 501

Dașta Dasta is biting the lower lip with the teeth. It is said to indicate anger. 502

Nişkarşaņa

Nişkarsana is thrusting forward [the teeth]. It is to be used in showing the crying of monkeys. 502

TONGUE

The [actions of the] tongue are of six kinds: Rjvi, Sṛkkānuga, Vakra, Unnata, Lola, and Lehini. 503

Rjvi

Among them, Rjvi is [the tongue] stretched out in the open mouth. It shows fatigue and the thirst of wild beasts. 503-4

1 The text should be anguleh.

SAŅGĪTARATNĀKARA 81

Sṛkkānuga Srkkānuga is licking the corner of the mouth. It depicts great anger and the eating of delicious food. 504

Vakra Vakra is [the tongue] with the tip turned up in a gaping mouth. It portrays the Man-Lion (narahari). 505

Unnata Unnata is [the tongue] in the wide-open mouth, [fully turned up] as the name indicates. It is used in yawning and in looking at things inside the mouth. 505

Lola

Lola is [the tongue] moving inside a gaping mouth. It is used in representing an ogre (Vetāla). 506

Lehini Lehini is considered by the sage [Bharata] to be the tongue licking the teeth and lips. 506

CHIN

[The positions of] the chin are indicated by the actions of the tongue, the lips, and the teeth; hence they are [already] almost defined. Yet, for conve- nience, I shall describe them in accordance with usage. 507 [The positions of] the chin are eight in number: Vyādīrņa, Śvasita, Vakra, Samhata, Calasamhata, Sphurita, Calita, and Lola. 508 6

82 SAŅGĪTARATNĀKARA

Vyādīrņa Vyādīrņa is [the chin] far out [of position]. It is declared to indicate yawning, laziness, etc. 509

Śvasita Śvasita is [the chin] which has slipped down an Angula. It is used in looking with wonder. 509

Vakra

Vakra is [the chin] pushed to the side. It is prescribed in indicating possession by the spirits of planets [Epilepsy ?]. 510

Samhata Samhata is motionless, with closed mouth. It is to be used in silence. 510

Calasamhata Calasamhata is [the chin] in movement while the lips are closed. It is used in kissing women.1 511

Sphurita Sphurita is the trembling [chin]. It is used in fear and in fever with cold fits. 511

Calita

Calita is the closing up and falling apart [of the jaws]. It is used to indicate paralyzed speech, excite- ment, and anger. 512 1 The text should be naricumbane.

SAŅGĪTARATNĀKARA 83

Lola

Lola is movement to and fro, obliquely. It is used in chewing and in mere deliberation. 512

MOUTH

The learned speak of six kinds of mouths: Vyā- bhugna, Bhugna, Udvāhi, Vidhuta, Vivrta, and Vini- vṛtta. 513

Vyābhugna Vyābhugna is the somewhat elongated mouth. Ancient scholars prescribe it for depicting despondency, anxiety, thought, etc. 514

Bhugna Bhugna is the mouth pulled down. It is used in indicating bashfulness and the natural disposition of ascetics. 515

Udvāhi

Udvāhi is the turned-up [mouth]. It is used in playfulness, pride, indifference, and in walking. 515

Vidhuta

Vidhuta is [the mouth] lengthened obliquely. It is used in prohibition and denial. 516

Vivrta Vivrta is [the mouth] with the lips open. It is used to indicate merriment, sorrow, fear, etc. 516

84 SAŅGĪTARATNĀKARA

Vinivrtta . Vinivrtta is [the mouth] pushed aside. It indi- cates anger, jeaiousy, and envy. 517

HEELS

Utkșipta (raised), Patita (fallen), Utkșipta-patita (raised and fallen), Antargata (turned inwards), Bahir- gata (turned outwards), Mithoyukta (joined together), Viyukta (separated), and Angulisangata (meeting the toes) are the eight positions of the heel seen in the movements (Cārī-s) and postures (Sthäna-s) of the foot. 517-8

ANKLES

The [positions of the] ankles are of five kinds in the postures (Sthānaka-s), etc .: Angusthasamślișta (touching the big toe), Antaryāta (turned inwards), Bahirmukha (turned outwards), Mithoyukta (joined together), and Viyukta (separated). 519

FINGERS

The fingers of the hand are of seven kinds: Samyuta (joined together), Viyuta (separated), Vakra (crooked), Valita (curved), Patita (fallen), Kuñcanmūla (bent at the roots), and Prasrta (spread out). 520 The characteristics of these various [positions of , the] heels, etc., are known from their names. 521

TOES The toes of the feet are of five kinds: Adhahksipta, Utkșipta, Kuñcita, Prasārita, and Samlagna. 521-2

SAŅGĪTARATNĀKARA 85

Adhahkșipta Adhaḥksipta is pressing down [the toes] repeatedly. It is used in haughty indifference and amorous agitation (Bibboka and Kilakiñcita). 522

Utkșipta Utksipta is raising [the toes] repeatedly. It indicates the extreme bashfulness of a newly married girl. 523

Kuñcita

Kuñcita is the contracted. It indicates cold, fainting, fear, and possession by evil planets. 523

Prasārita

Prasarita is the straight and motionless. It is used in stupefaction, sleep, and the cracking of limbs. 524

These differences should also be known by experts in dancing to exist for the big toe. 524

Samlagna Samlagna are the toes close together along with the big toe. It is used in rubbing. 525

SOLES

The soles of the feet are known to be of six kinds: Patitägra (with the forepart fallen), Uddhrtāgra (with the forepart raised), Bhūmilagna (touching the ground), Uddhrta (raised from the ground), Kuñcanmadhya (with the arch bent), and Tiraścīna (transverse). 525-6.

86 SAŅGĪTARATNĀKARA

FACIAL COLOUR

The colour of the face explains the states of the mind which are expressions of the Rasa-s; hence, as it is useful in the [expression of the] Rasa-s, the colour of the face is now described. 526-7 The colour of the face is of four kinds: Svābhāvika (natural), Prasanna (clear), Rakta (red), and Śyãma (dark). 527-8

Svābhāvika

Of these, Svābhāvika (natural) is true to its name, and is prescribed by the wise for portraying unexcited moods. 528

Prasanna

Prasanna is the clear [colour] which is used in the Comic (Hāsya), Erotic (Śrngāra), and Marvellous (Adbhuta) Rasa-s. 529

Rakta

Rakta is the red [colour]. It is used in the Pathetic (Karuņa), Furious (Raudra), Heroic (Vīra), and Marvellous (Adbhuta) Rasa-s. 529 Śyāma Śyāma (dark) is true to its name. It is used in the Odious (Bibhatsa) and Fearful (Bhayānaka) Rasa-s. The [gestures of the] various limbs shine all the 530

more when combined with the [proper] colour of the

SAŅGĪTARATNĀKARA 87

face just as the quarters shine with the moon [at night]. 530 Just as in the representation of the Rasa-s and the Bhäva-s, the movements of the eyes change every second, so also the [proper] colour of the face should be produced to suit each Rasa. 531

POSITIONS OF THE HANDS

Bharata considers the positions of the hands to be of three kinds: Uttāna (facing upwards), Adhomukha (facing downwards), and Pārśvagata (turned to the side). Others speak of Agraga (going forwards) and Adhas- tala (palm facing down), in addition to the three men- tioned above. Bhattanāyaka, who says that Agraga is included in Uttāna and Adhomukha in Adhastala, also accepts only three [kinds of hand positions]. Sārnga- deva, who knows the theory and practice [of the art], gives fifteen positions as follows: Uttana (palm facing upwards), Adhastala (palm facing downwards), Pārva- gata (palm facing sidewards), Agratastala (palm facing forwards), Svasammukhatala (palm facing oneself); Ordhvamukha (pointing upwards,) Adhovadana (point- ing downwards), Paranmukha (pointing outwards), Sammukha (pointing towards oneself), Pārśvatomukha (pointing to the side); Ürdhvaga (moving up), Adho- gata (moving down), Pārśvagata (moving to the side), Agraga (moving forwards), and Sammukhāgata (moving towards oneself). 532-7

88 SAMGĪTARATNĀKARA

MOVEMENTS OF THE HANDS

The Karana of the hand is considered to be a particular action performed in the representation of a hand pose, which [action] is not indispensable for adopting [that pose]. 537-8 Āveșțita, Udveșțita, Vyāvartita, and Parivartita- these are the four kinds [of Karana-s of the hand] accepted by the learned. 538-9 When the fingers [which are straight to start with] are bent in sequence beginning with the forefinger, while the hand is brought from [its own] side up to the chest, the palm being turned towards the body, then that Karana of the hand is called Āvestita by scholars. 539-40 But the movement away from the palm [i.e., the straightening] of the [beńt] fingers [beginning with the forefinger] in their respective order, along with [the movement of] the hand [away] from the chest [to the side] is called Udveșțita [i.e., the reverse of Āveșțita]. 541 Vyāvartita should be done for the hand in the same manner as for Āvestita, and the Karana [named] Parivartita is explained by Udvestita: But these two Karana-s are made with the fingers beginning with the little finger. 542-3

ACTIONS OF THE HANDS The actions of the hands have been spoken of by experts on dancing as twenty in number, their functions

SAM̧GĪTARATNĀKARA 89

being indicated by the names themselves: Dhūnana (shaking), Śleșa (contact), Viśleșa (separation), Kșepa (throwing out), Raksaņa (protecting), Moksaņa (releas- ing), Parigraha (accepting), Nigraha (restraining), Utkrsta (raising up), Ākrsta (drawing inwards), Vikrsta (drawing outwards), Tādana (beating), Tolana (weigh- ing),1 Cheda (cutting), Bheda (splitting), Sphotana (bursting), Motana (snapping), Visarjana (dismissing), Āhvana (beckoning), and Tarjana (threatening). 543-5

PLACES FOR THE HANDS

The two sides, in front, behind, above, below, the head, the forehead, the ear, the shoulders, the chest, the navel, above the hips, and the two thighs-these are the fourteen places for the hands. 546-7

1 Nātya Sāstra, IX. 166. Todana=Tādana. Samgītasudhākara gives Lolana.

NRTTAKARANA-S

I bow to that Lord who is stable, beyond the range of the senses, the destroyer of the god of love, who dances on the stage of heaven and earth performing different Karaņa-s and Angahāra-s. 547-8

A beautiful action of the hand, the foot, etc., [in combination], which is in keeping with the Rasa, is called Karaņa or Nrttakaraņa, just as the terms Bhīma and Bhimasena are applied to the same person. 548-9

We give [below] the different types of Karaņa-s, as given by Bharata: 1. Talapuspaputa, 2. Līna, 3. Vartita, 4. Valitoru, 5. Mandalasvastika, 6. Vaksaḥ- svastika, 7. Aksiptarecita, 8. Ardhasvastika, 9. Diksvas- tika, 10. Prsthasvastika, 11. Svastika, 12. Añcita, 13. Apaviddha, 14. Samanakha, 15. Unmatta, 16. Svas- tikarecita, 17. Nikutțaka, 18. Ardhanikutțaka, 19. Kațī- chinna, 20. Kațīsama, 21. Bhujangatrāsita, 22. Alāta, 23. Vikşiptākșiptaka, 24. Nikuñcita, 25. Ghūrņita, 26. Ordhvajānu, 27. Ardharecita, 28. Mattalli, 29. Ardha- mattalli, 30. Recakanikutțaka, 31. Lalita, 32. Valita, 33. Daņdapakșa, 34. Pādāpaviddhaka, 35. Nūpura, 36. Bhramara, 37. Chinna, 38. Bhujangatrastarecita,

SAŅGĪTARATNĀĶARA 91

39. Bhujangāñcita, 40. Daņdarecita, 41. Catura, 42. Kațibhrānta, 43. Vyamsita, 44. Krānta, 45. Vaiśā- kharecita, 46. Vrścika, 47. Vrścikanikuttaka, 48. Vrsci- karecita, 49. Latāvrścika, 50. Ākșipta, 51. Argala, 52. Talavilāsita, 53. Lalāțatilaka, 54. Pārśvanikuțțaka, 55. Cakramandala, 56. Uromandala, 57. Āvarta, 58. Kuñcita, 59. Dolapādaka, 60. Vivrtta, 61. Vinivrtta, 62. Pārśvakrānta, 63. Niśumbhita, 64. Vidyudbhrānta, 65. Atikrānta, 66. Vikșipta, 67. Vivartita, 68. Gajavikrī- dita, 69. Gaņdasūci, 70. Garudapluta, 71. Talasam- sphoțita, 72. Pārśvajānu, 73. Grdhrāvalīnaka, 74. Sūci, 75. Ardhasūci, 76. Sūcīviddha, 77. Hariņapluta, 78. Pari- vrtta, 79. Daņdapāda, 80. Mayūralalita, 81. Prenkho- lita, 82. Samnata, 83. Sarpita, 84. Karihastaka, 85. Prasarpita, 86. Apakrānta, 87. Nitamba, 88. Skhalita, 89. Simhavikrīdita, 90. Siņhākarșita, 91. Avahitthaka, 92. Niveśaka, 93. Edakākrīda, 94. Janita, 95. Upasṛta, 96. Talasanghattita, 97. Udvrtta,, 98. Vișņukrānta, 99. Lolita, 100. Madaskhalita, 101. Sambhrānta, 102. Vişkambha, 103. Udghattita, 104. Śakațāsya, 105. Ūrūdvrtta, 106. Vrsabhakrīdita, 107. Nāgāpa- sarpita, 108. Gangāvataraņa. 550-64 Thus one hundred and eight Karana-s have been pointed out by me. As the combinations of Cārī-s (steps) and Sthānaka-s (postures) are innumer- able, the Karana-s are also innumerable. But [only] these [108 Karaņa-s] are used in the Angahāra-s.1 564-6

1 An Angahāra is a combination of several Karaņa-s.

92 SAŅGĪTARATNĀKARA

Now I shall state the definitions of these [Karaņa-s] as accepted by those who know the things defined. 566 Normally, at the beginning of the dance, the feet must have the Sama pose, the hands must have the Latākara pose, and the body must be in the Caturaśra pose. Only the other particular features are stated. 567

Talapuspaputa (Handful of flowers) While the right foot is extended through the Adhyardhikā Cārī, the two hands are brought to the right side with the Vyavartana movement and then brought with the Parivartana movement to the left side of the waist which is bent in the Sannata position. [Then] the hands take the Puspaputa pose near the left breast, the feet being in the Agratalasamcara pose. That is Talapuspapuța. 568-70 If this Karana comes after another Karana, then the hand movements must accord with [the pose] which is given up or taken up in the particular [Karaņa which precedes]. This [Karaņa] is used in offering handfuls of flowers and in indicating bash- fulness. 570-1

Līna (Attached)

After making the Ordhvamandala movement, the hands take the Añjali pose on the chest. The humps of the shoulders are raised [as] in Nihañcita in which the neck is bent down. That Karana is Lina. It is to be used by the learned in indicating the entreaties of a lover. 572-3.

SAŅGĪTARATNĀKARA 93

Vartita (Inverted) After having crossed the hands at the wrists [in Svastika] on the chest, with [the hands] facing the. body and separated from each other,1 the Vyāvrtta and Parivartita movements should be made, and [the hands] made to fall, palms upwards on the thigh. This is accepted to be Vartita. 573-4 It is employed to indicate jealousy, if two Patāka hands are made to fall. Those [i.e., the same Patāka] hands with the palms turned down or with palms rubbed, indicate anger. Here [in this Karaņa], there can be other hand poses like Sukatunda also in. accordance with [different] applications. 575-6

Valitoru (Thighs turned) The hands make the Vyāvrtta and Parivartita movements simultaneously from the chest, and with the Ākșiptā Cārī are brought together through the Pari- vartana movement and placed there [i.e., on the chest] adopting the Sukatunda pose with the palms facing down. [Then] a posture (Sthana) is adopted with the Baddha Cari. This is called Valitoru. It is used to indicate the bashfulness of a shy and artless girl (Mugdhā). So says Sārngadeva. 576-8

Mandalasvastika Having adopted the Caturaśra pose of the hands, while performing the Vicyava Cari, the hands should make the Ordhvamandala gesture preceded by the

1 The text should be aślistau.

:94 SAMGĪTARATNĀKARA

Udvestita movement, and then make the Svastika. Here the posture (Sthana) to be used is Mandala. This is Mandalasvastika, employed in looking at well-known meanings. 579-80 Vakşahsvastika (Crossed at the Chest) After placing the two hands at the chest in the Caturaśra pose, the Recita gesture [of the hands] is made. Then they are brought with the Vyavartita movement to the chest which is bent forward (Abhugna), and crossed in Svastika. The legs also form a Svastika. That is accepted to be Vaksahsvastika. To indicate bashfulness and sympathy, this [Karana] is used with the shoulders not bent. 581-2 Ākșiptarecita (Cast off) The two hands placed near the heart make a Vyävrtta movement high up and are thrown down at the sides. Then one hand [the left hand] in the Hamsapaksa pose is brought with a quick circular movement, pointing downwards, to the chest. The other [hand] in a similar manner [i.e., in the Hamsapaksa pose, with a quick circular movement, pointing down- wards] is taken away [from the body]. The feet are in the Añcita and Sūcī poses. That is Āksiptarecita. In Abhinaya, a series of giving and receiving is indi- cated by this [Karaņa]. 583-5 Ardhasvastika (Half-Cross) The right hand makes the Karihasta gesture and the left hand takes the Khatakāmukha pose at the chest. The feet make the Svastika. That is Ardhasvastika.

SAŅGĪTARATNĀKARA 95

Others took it that in the place of Karihasta, Pakşavañcita, Pakşapradyotaka or Ardhacandra is to be made at the sides. 585-7

Diksvastika (Crossed in different directions) When the Svastika [Karaņa] moves in all direc- tions, turning sideways, to the front, and the back [in the course of a single circular movement], while the hands and feet make the Recita movement, that is called Diksvastika. It was employed by the ancients to indicate the movement of the body while singing. This kind of Svastika action is possible in other varieties of Svastika also. 587-9

Prsthasvastika (Crossed behind) While the two arms are extended with the Udvestita movement, the Apakrāntā Cārī is performed. Then as the Apavestita movement is being performed, the other foot makes the Recita movement and Sūcī Cārī. Then a Svastika is formed with the feet and hands. That is Prsthasvastika. It is employed by those who know the principles of dancing to indicate nega- tion, impetuosity, pursuing of enemies, and talking; according to some others, to indicate movement in fighting. 589-92

Svastika (Crossed) After extending the hands with the Udvestita movement, while a Vyvarta movement is being performed, a jump is made and then a Svastika formed simultaneously with the hands and feet. That is

96 SAMGĪTARATNĀKARA

Svastika. It should be used by the learned to indicate the afore-mentioned things [i.e., with reference to Prsthasvastika]. 592-8

Añcita (Bent) When, with the Vyāvrtta and Parivartita move- ments, the hand in the Karihasta pose is brought near the nose and takes the Alapadma pose, then therc is Añcita. It is to be used in [explaining passages] indicating great elation about one's own superiority. 594-5 Apaviddha (Thrown off) Standing with the Caturaśra pose of the hands, the right hand is extended with the Vyavarta movement while the Aksiptā Cārī is [simultaneously] performed. Then the [same] right hand, adopting the Sukatunda pose, is made to fall on the right thigh. The left hand is held at the chest in the Khatakamukha pose. That is Apaviddha. The son of Sodhala [Sārngadeva] says that it is to be used to indicate anger and jealousy. 595-7

Samanakha (Level nails) The body is in the natural position, the feet touching each other with the toes placed level on the ground. The hands are in the Lata pose .. This is Samanakha. It is used in the first entrance [of the dancer]. 598 Unmatta (Frenzied) Performing the Āviddhā Cri, the feet are kept in the Añcita pose. The hands perform the Recita

SAŅGĪTARATNĀKARA 97

gesture, one by one. That is called Unmatta. It is used in indicating pride born of wealth, etc. 599

Svastikarecita

After taking the Caturaśra pose, the hands adopt the Hamsapaksa pose and make a quick circular movement. Then with the Vyavrtta and Parivartana movements they are brought down and up from the region of the head. Making the Aviddhavakra gesture, they form a Svastika at the chest. Then they are separated and make the Paksavañcita and Paksapra- dyotaka gestures [at the hips]. A Cārī which is suitable to this [action] is made, ending in the Avahitthaka posture (Sthāna). This is Svastikarecita. It is em- ployed in portraying Nrtta dancing and indicating great joy. 600-3

Nikuttaka (Rising and falling)

Assuming the Mandala posture and standing with the Caturaśra [gesture], the right hand is brought with an Udvestita movement to the hump of the [right] shoulder. With a falling and rising move- ment of the little finger and the next finger, the Alapadma pose is made, while the right foot does the Udghattita action. Then bringing [the hand]1 to make the Aviddhavakra gesture, the Caturaśra pose of the hand is taken. In the same way, the move- ments are made with the left hand and foot. This is

1 Abhinavagupta takes it as the left hand. 7

98 SAŅGĪTARATNĀKARA

Nikuttaka. It is used while dancing sentences indi- cating self-adulation. 603-6

Ardhanikuttaka

The same performed to one side is Ardhanikuttaka. It is used in the case [of self-adulation] when the words are not fully developed. 607

Katīchinna (Turned waist)

Having done the Bhramari Cari [on either side], the Mandala posture is taken. One hip takes the Chinna position while the hand is placed on the shoulder in the Pallava gesture. The same is done on the other side. When this is repeated three or four times, it is Katichinna. It is used to express wonder. 608-9

Kațīsama (Level waist)

After performing the Āksiptā and Apakrāntā Cärī-s and having formed a Svastika with the two hands, the right hand is placed on the navel in the Khatakāmukha pose, and the other [hand] on the waist in the Ardhacandra pose. That side [i.e., the left side] is in the Nata pose, and the other [waist] is raised [as it would be in the Udvāhita pose of the chest]. This is repeated on the other side. When accompanied by the Vaisnava posture, this is called Kațīsama. It is used by the stage-manager (Sūtra- dhara) at the consecration of the Jarjara. 610-2

SAŅGĪTARATNĀKARA 99

Bhujangatrāsita (Frightened by Serpent) After performing the Bhujangatrāsitā Cārī and throwing up the foot in the Kuñcita position, make a movement in such a way that the thighs, waist, and knees make a triangle. With the Vyavrtta and Parivartita movements, one hand takes the Dola pose and the other [hand] the Khatakāmukha pose. This is considered to be Bhujangatrāsitā, true to its name [frightened by serpent]. 613-4

Alāta (Fire-brand) The Alāta Cārī [is to be performed with the right foot]. The right hand does the Nitamba gesture and adopts the Caturaśra pose. The Urdhvajānu Cārī is to be performed with the left foot. In the same way if it is repeated for the other side, that is Alāta. It is recommended for graceful Nrtta. 615-6

Vikşiptāksiptaka (Thrown out and in) While one hand performs the Vyavarta movement, that foot [i.e., on the same side] is stretched out (Viksepa). The other hand is in the Caturaśra pose. Then the former hand makes the Parivartana move- ment and the foot is brought back (Āksepa). In the same way it is repeated for the other side. This is Vikşiptākșiptaka, and is used to indicate going and coming. 616-8 Those who know the principles of dancing do not accept this application [for the movement]. The hand poses for Abhinaya are prescribed principally

100 SAMGĪTARATNĀKARA

where the meaning of sentences has to be portrayed [through dancing]. This is mainly for Nrtta. There- fore this type of Karana is to be used in between pieces of Abhinaya, in moving about, in the course of Cārī-s and Sthanaka-s which are used while fighting is being shown, and in indicating arrangements for keeping time (Tāla). 618-21

Nikuñcita (Bent) After performing [the foot movement of the] Vrścika Karana, the hand on the same side in the Arāla pose is placed on the side of the head. The other hand [also] in the Arāla pose is brought from the region of the nose to the chest. This is called Nikuñcita. It is employed to indicate jumping up, eagerness, doubt, etc. According to others, Patāka and Sücyäsya hands are to be placed at the tip of the nose in this [Karaņa]. 621-3

Ghūrņita (Reeling) While the [right] hand is raised in the Vyāvartana movement and lowered in the Parivartana movement, [thus] moving about away from the sides, Jangha- svastika is made [i.e., the legs are crossed below the knee]. Then the Apakrāntā Cāri is made [with the left foot] and the foot kept in that direction. The left hand is in the Dola pose. This Karana is called Ghūrņita. 624-5 Ūrdhvajānu (Raised knees) While the foot has the Kuñcita pose and the Ūrdhvajānu Cārī is being performed, the hand on

SAŅGĪTARATNĀKARA 101.

that side [i.e., the side of the raised knee] has the Alapadma or Arala pose, pointing upwards. The Pakșavañcitaka pose is made above the knee held on a level with the breast. The other [hand] is in the Khatakāmukha pose at the chest. That is called Ūrdhvajānu. 626-7

Ardharecita (Half whirl)

Standing in the Mandala Sthanaka, one hand in the Khatakamukha pose is held at the chest. [The other hand] moves away and then adopts the Sūcīmu- kha pose near it [the chest]. The foot makes the Udghattita movement and the side is in Sannata. It is used to indicate running away and also coarse or ill-conceived actions. 628-9

Mattalli (Intoxicated reeling)

Having made a Svastika with the ankles, the feet move away and simultaneously the hands make the Udveșțana and Apavestana movements repeatedly. That is Mattalli, and is used to indicate intoxication. 630-1

Ardhamattalli (Semi-intoxicated reeling)

The right hand makes movements (Vartanā-s) like Nitamba and Kesabandha. The feet are .moved away in agitation. The left hand makes a partial Recita movement. Then that is Ardhamattalli. It is used to indicate slight intoxication. 631-2

102 SAŅGĪTARATNĀKARA

Recakanikuttaka The right hand makes the Recita movement. That [i.e., the right] foot makes the Udghattita move- ment. The left hand is in the Dola pose. That is Recakanikutțaka. 633

Lalita (Graceful) [The right hand] is as stated above [making the Nitamba, Keśabandha, and other Vartanā-s]. The other [hand] makes the Karihasta gesture. The foot makes the Udghattita movement. This is likewise repeated on the other side. That is Lalita and it is used to indicate graceful dancing. 634

Valita (Turned round) The hand in the pose called Sucimukha is moved away from the chest. The foot in the Sūci pose is also moved away. Then the Bhramari Cāri is per- formed. If in turn this is done on both sides, it is Valita. It is used to indicate the graceful. 635-6 Dandapakșa (Stiffened side) First the Ūrdhvajānu Cārī is performed. The hands make the Lata gesture. One of them is then placed above the knee which is raised. In the same way, it is repeated on the other side. That is called Daņdapaksa. 636-7 Pādāpaviddhaka (Foot-piercing) The two hands pointing outwards are placed in the region of the navel in the Khatakāmukha pose.

SAŅGĪTARATNĀKARA 103

One foot in the Sūci pose is brought in contact with the other and the Apakrāntā Cārī is performed [with the Suci foot]. Then the same is repeated with the other foot. This is Pādāpaviddhaka. 638-9

Nūpura (Anklet)

After doing the Bhramarī Cārī, the Nūpurapādikā Carī is performed with one foot. The hand on the same side makes the Recita movement. The other hand is in the Lata pose. This is known as Nūpura. 639-40

Bhramara (Bee)

The foot is as in the Āksiptā Cārī and simultaneously the Udvestita movement is made with the hand. The lower part of the spine is curved around and the feet form a Svastika. Then the same is repeated on the other side. Simultaneously the hands make the Ulbana gesture. This is Bhramara, and is to 'be used in moving about haughtily. 641-2

Chinna (Turned)

The hands in the Alapadma pose are placed at [each] side of the hips in sequence while the waist takes the Chinna position. The body takes the Vaiśākha posture. That is called Chinna. It is to be used in checking the time measurement (Tāla) and in resting the limbs. 643-4

104 SAŅGĪTARATNĀKARA

Bhujangatrastarecita (Reeling with serpent fright)

The Bhujangatrasita Carī is performed. Then the Recita gesture is made with the hands which are [brought] to the left side. That is Bhujangatrastarecita. 644-5 Bhujangāñcita (Serpent touch)

If the above-mentioned [Bhujangatrāsitā] Cārī is performed with the right foot and the right hand makes the Recita movement, the other hand being kept in the Lata posture, then it is Bhujangañcita. 645-6

Dandarecita

If the Dandapādā Cārī is performed and the hands make the Dandapaksa gesture, then it is Dandarecita, used in merry dance. Others explain its use in vigorous movement. 646-7

Catura

Of the two hands kept near the chest, the left takes the Alapallava pose and the right, the Catura pose. One foot makes the Udghattita movement. This is Catura [Karana] and is employed to indicate the actions of the Vidūsaka producing wonder. 648-9 Katibhrānta (Waist moved around) After assuming the Sūci pose, the left foot moves away quickly. The right foot is placed on that [left] side and símultaneously the Recaka movement is made with the hips. [Or] the Bhramarī Cāri is

SAŅGĪTARATNĀKARA 105

performed and the Vyāvrtta and Parivartita move- ments made with the hands, making the Caturaśra gesture at the end. Then it is Katibhrānta. Its use is recommended by the doubtless [Śārngadeva] to fill up the pauses in music (Yati-s) in between the Tāla-s, and also in moving about. 649-52

Vyamsita (Beguiled) One hand is spread out below by an Udvestita movement; the other hand is stretched out above in the same way [by an Udvestita movement] and is brought back to the region of the chest. Then one hand makes the Recita gesture, palm facing up and the other makes the Recita, facing down. The posture is that of Alīdha Sthanaka. This is called Vyamsita. It is to be employed to indicate the movement of great monkeys like Hanumān. 652-4

Krānta (Extended) Performing the Atikrāntā Cāri, the foot that comes down is bent. Simultaneously the hand is extended with the Vyavartita movement. Then bringing it back with the Parivartana movement, the Khatakā- mukha pose is taken at the chest. The same is repeated on the other side. This is called Kranta. The teachers speak about its use in vigorous movement. 655-7

Vaiśākharecita Where Recaka movements are made with the hands, the feet, the waist, and the neck, and the standing

106 SAMGĪTARATNĀKARA

posture is Vaiākha Sthānaka, that should be known as Vaiśākharecita by scholars. 657-8

Vrścika (Scorpion)

Where the hands make the Karihasta gesture, and the feet are kept at the back like the tail of a scorpion, the back being bent [back] far, that is known as Vrścika. This is employed to indicate the aerial movement of Airavana and others. 658-9

Vrścikakuttita (Vrścikanikuttaka) The feet take the pose of Vrścika [as explained above] and the hands in Alapadma pose are moved up and down [Nikuttita movement],1 one after the other, at the shoulders. Then it is Vrścikakuttita. It is employed to indicate wonder, desire for aerial move- ment, etc. 660-1

Vrścikarecita

Where the feet are in the pose of Vrścika and Svastika hands are separated and perform the Recita gesture, that is Vrścikarecita. It is used for journey- ing in the air. 661-2

Latāvrścika (Creeper-scorpion) Where the feet are in the pose of Vrścika and the left hand takes the Latā pose, that is Latāvrścika. It:

1 Unnamanam vinamanam syād angasya Nikuttanam. Kohala quoted by Abhinavagupta, IV. 70.

SAŅGĪTARATNĀKARA 107

is to be employed by the learned in jumping up in the sky. 662-3

Ākșipta Where the Āksiptā Cārī is performed, and the hand in Khatakāmukha or Catura pose is brought in, [the side being slightly bent], that is Āksipta [Karaņa]. It is considered [applicable] in the movement of the Vidūşaka. 663-4

Argala (Impediment) The right foot is kept on the side of the little toe of the left foot at a distance of two and a half spans (Tala), with the shank stiff. Simultaneously the right arm is kept stiff at the left side, assuming the Alapallava pose with the tip slightly spread out. Then it is Argala. It is advocated by Śārngadeva in [indi- cating the ] movement of Angada [the Monkey-lord], etc. 664-6-

Talavilāsita One foot is raised high and stretched at the side with the toes and the balls turned up and its tip in contact with the hand in the Pataka pose. Similarly, in turn, it is repeated on the other side. That is called Talaviläsita and is used in the case of the stage-manager (Sūtradhāra), etc. 667-8

Lalāțatilaka (Tilaka on forehead) If the big toe of the foot in the pose of the Vrścika Karaņa makes a Tilaka mark on the forehead, then

108 SAMGĪTARATNĀKARA

it is Lalātatilaka. It is considered to indicate the movement of celestial beings (Vidyadhara-s). 668-9

Pārśvanikuttaka

One of the hands crossed in Svastika is brought to the side, pointing upwards and does the Nikuttita movement, while the other points downwards. The feet, in the same way, make the Nikuttita movement. This is Pārśvanikuttaka, and is employed in repeatedly showing or moving about. 669-70

Cakramandala (Wheel-spin)

After performing the Addita Cāri, whirl around like a wheel, keeping the arms in the Dola pose and bending the body inwards. This is called Cakramandala. It is employed in worshipping gods and in vigorous movement. 671-2

Uromandala

Where the Baddhā and Sthitāvartā Cārī-s are per- formed, while the hands make the Uromandala gesture, that is said to be Uromandala by [Sarngadeva], the favourite of Siva. 672-3

Āvarta (Whirl)

With [slight] Udveștita and Apavesțita movements, the hands are in the Dola pose. The Cāsagati Cārī is performed. That is Avarta, and it is used in creeping with fear. 673-4

SAŅGĪTARATNĀKARA 109

Kuñcita (Bent)

Where the right hand in the Alapadma pose is kept at the left side, palm facing upwards, and the left foot takes the Agratalasamcara pose, that is Kuñcita. It should be used to indicate the gods filled with great joy. 674-5

Dolāpāda (Swinging foot)

After the Ūrdhvajānu Cārī, the Ņolāpādā Cārī is performed and the arms are kept in the Dola pose. Then it is called Dolapada by the great experts. 676

Vivṛtta

Bringing in the feet in the Āksiptā Cārī and bringing in the hands also, with the Vyavrtti and Parivrtti movements, the waist is turned round (Bhramarī) and the Recaka gesture made with the hands. This is Vivrtta. It is used in vigorous move- ment. 677-8

Vinivrtta

With one foot in the Sūci pose, a Svastika is made at the ankle of the other foot. With the Vyavrtta and Parivartita movements, the waist should be twisted around and back on one side. Then the Baddha Cārī is performed and the Recita gesture made with the hands. This is Vinivrtta. It is employed as in the previous case. 678-80

110 SAMGĪTARATNĀKARA

Pārśvakrānta (Extended to the side)

When the Pārśvakrāntā Cārī is performed and the hands follow the feet, then it is Pārśvakrānta [Karaņa]; or the hands can be in keeping with the Abhinaya. It is to be used to indicate the movement of Bhīmasena, etc., which is mostly terrible. 680-1

Nišumbhita

Where one foot is in the Kuñcita pose near the heel of the other foot, the chest is raised high, and the middle finger of a Khatakāmukha hand makes a Tilaka mark on the forehead, that is Nisumbhita. Or, the hand can be as in the Vrścika. This is used to indicate the great god [Siva]. 682-3

Vidyudbhrānta (Lightning turn) The foot is bent up backward and circles around on all sides near the head. This is called Vidyud- bhranta. Its application is said to be in the movements of the haughty. 684-5

Atikrānta

After performing the Atikrāntā Cārī, the foot is stretched out in front. The hands are used to fit the context. This is Atikrānta [Karaņa]. 685-6

Viksipta (Thrown out) After performing successively the Vidyudbhrāntā and Dandapada Carī-s, if the hands, moving around

SAŅGĪTARATNĀKARA 111

in the same direction by Udvestita and Apaveștita movements, are bent and thrown up backwards or sidewards, then it is Viksipta. The movement of the haughty is to be indicated by it. 686-8

Vivartita (Twisted around) Where, after throwing out one hand and one foot, the base of the spine is twisted around, and the other hand makes the Recita gesture, it is called Vivartita. 688-9

Gajavikrīdita (Elephant's sport) If, after performing the Dolāpādā Cārī, the [left] hand in the Karihasta pose keeps moving near the ear, then it is Gajavikrīdita, whose name indicates what it is. 689-90

Gandasūci (Sūcī at the cheek) The foot is in the Suci pose, the sides in the Nata pose, the [right] hand in the Khatakāmukha pose at the chest, and the left hand in the Alapallava pose touching the cheek. This is Gandasūci. Here some desire Sucīpada in the region [of the cheek]. Others want Sucimukha Nrtta hand pose. Some others take it as Sūcīmukha Abhinaya hand pose; the decoration of the cheek is to be represented by the- [Gaņdasūci] Karaņa in that case. 690-2

Garudapluta (Garuda's leap) Where the hands make the Latā and Recita gestures, the feet are in the pose of Vrścika [Karaņa]

112 SAŅGĪTARATNĀKARA

and the chest is raised up, it is Garudapluta, true to its name [i.e., indicating the flight of the bird, Garuda]. 693 Talasamsphotita (Clapping with the palms) In performing the Dandapādā or Atikrāntā Cārī, while the foot lifted up comes down quickly in front, the hands clap making a sound; then it is Talasam- sphotita, which is what it signifies [clapping with the palms of the hand]. 694-5

Pārśvajānu (Knee at the side) If one foot is placed at the back [of the thigh] of the other foot which is in the Sama pose, one hand in the Musti pose being kept at the chest and the other in Ardhacandra at the waist, then it should be known as Pārśvajānu. It is to be employed to indicate fighting and struggling. 695-6

Gdhrāvalīnaka (Kite-like) One foot is stretched out backwards [with the other knee bent], and the hands make the Latã gesture touching the ground with the thumbs. That is Grdhrävalīnaka, and it is used to indicate the fighting of great birds. 697

Sūci (Needle) Throwing up one foot, bend it and bring it down without touching the ground. The hand on that side in the Khatakāmukha pose is kept at the chest and the other [hand] in the Alapadma pose in the region

SAŅGĪTARATNĀKARA 113

of the head. The same is repeated on the other side. Then it is called Sūci by Sarngadeva. It is used to indicate wonder. 698-9

Ardhasūci (Half-needle) Süci, if done only with one hand and foot, is called Ardhasūci. 700

Sūcīviddha (Needle-pierced) One hand in Paksavañcitaka or Ardhacandra is placed on the hip. The other hand in Khatakāmukha is on the chest. One foot in Sūci pose is kept at the heel of the other foot. Then it is Sūcividdha, indicative of deliberation, etc. 700-1

Harinapluta (Deer-leap) After performing the Hariņaplutā Cārī, the two hands assume the Dola and Khatakāmukha poses. This is called Harinapluta (deer's leap), its use being indicated by the meaning of the term itself. 702

Parivṛtta The two hands make the Ordhvamandalin gesture, one foot is in the Sūc pose and with the Baddhā Cārī makes a Vivarta movement, and the loins are twisted around (Bhramarikā). That is the Karana called Parivrtta. 703

Daņdapāda (Rod-like leg) First the Nūpurapādā Cārī is performed, then the Daņdapādā Cārī. The hand is quickly kept like a 8

114 SAMGĪTARATNĀKARA

rod. It is then called Dandapāda. Scholars employ this to indicate moving about with pride. 704-5

Mayūralalita (Peacock's grace) If the two hands make the Recita gesture, the feet in the Vrścika position are bent, and the Bhramari Cärī is performed, then it is Mayūralalita, true to its name [peacock's grace]. 705-6

Prenkholita (Swinging) After performing the Dolāpāda Carī with one foot, jump up with the other foot and twist the loins around. Then it is Prenkholita. 706-7

Sannata After performing the Mrgaplutā Cāri, the foot is crossed in front in Svastika and the hands assume the Dola pose. That is Sannata. It is employed to indi- cate running away from bad characters. 707-8

Sarpita (Sliding) The foot in the Añcita pose moves away from the other foot, the head is bent, and the hand on that side makes the Recita gesture. Then the same is repeated on the other side. This is called Sarpita, and is employed to indicate the drawing near or going away of an intoxicated person. 708-9

Karihasta (Elephant's trunk) If the left hand in the Khatakāmukha pose is , placed at the chest, the other hand makes the

SAŅGĪTARATNĀKARA 115

Udveșțita movement and takes the Tripatāka pose at the ear, and the foot on that side in the Añcita pose moves out, then it is called Karihasta by the learned. 710-1

Prasarpita (Creeping)

One hand makes the Recita gesture. The foot on that side moves slowly away from the other foot, rubbing the ground, and the other hand makes the Latā gesture. Then it is Prasarpita, indicating the movement of celestial beings. 711-2

Apakrānta (Retreating)

If the Baddhā and Apakrāntā Cārī-s are performed, the two hands moving in an appropriate manner, it is called Apakrānta [Karaņa]. 713

Nitamba (Hips) The two hands in the Pataka pose with the fingers pointing downwards are brought to the region of the head [with the Vyävartita movement]. Then with the Parivrtta movement they are stretched out above the shoulders and made to face each other. Then turning down the fingers facing the body, they make the Nitamba gesture. This is Nitamba Karaņa. 714-5

Skhalita (Wavering) When in the Dolāpādā Cäri the feet swing to and fro, the hands in Hamsapaksaka follow the

116 SAMGITARATNAKARA

movements of the foot, and this is repeated on the other side, it is considered to be Skhalita. 716

Simhavikrīdita (Lion's sport)

After performing the Alata Cari, the foot is placed quickly in front, and the hand seems to give a slap [with the palm]. Then the same is repeated on the other side. This is Simhavikrīdita. It should be employed in terrible walking. So says [Sārngadeva], the expert in Karaņa-s. 717-8

Simhākarșita (Lion-pull)

One foot is in the Vrścika pose and the hands are in the Padmakośa or Ūrnanābha pose. When the other foot takes the Vrscika pose, the earlier hand pose is dropped and again taken in the same way. Then it is Simhakarsitaka, used to indicate the lion. 718-9

Avahitthaka (Dissimulation)

After performing the Janita Cāri, the hands in Arala and Alapallava poses are placed on the forehead and the chest [respectively] with the fingers facing the body. Then they are brought to the sides by the Udveșțita and Vyāvrtta movements respectively, and then to the chest by Apavestana and Parivrtti move- ments respectively and kept facing each other. This is called Avahitthaka. It is employed to indicate the secret meanings of sentences. Others say that Ava- hitthaka Karana is so called because it has Avahitthaka

SAMGĪTARATNĀKARA 11%

hands and that it is suitable for indicating deliberation, weakness, etc. 720-3

Niveśa (Settled) When the hands in the Khatakamukha pose are placed on the chest which is held high and the Mandala posture is assumed, it is Niveśa. It is indicative of riding on an elephant. 724

Edakākrīdita (Goat's sport) Where [first] Edakākrīditā Cārī is performed and the hands assume the Dola and Khatakāmukha poses and the body is bent and [then] turned, it is Edakākrīdita. It is desired in indicating the movement of low types of creatures. 725-6

Janita (Begun) Where after Janitā Cārī one hand in Musti is placed on the chest and the other is in Lata, it is Janita, used to indicate the beginning of an action. 726-7

Upasrta (Approaching) After the Akșiptā Cārī is performed to the left, the hand makes the Vyāvrtta and Parivartita move- ments, is brought to the right side which is in the Nata position, and takes the Arāla pose. That is Upasrta, indicative of approaching respectfully. 727-8.

Talasanghattita After performing the Dolāpādā Cārī, clap the hands kept in the Patāka pose and make the Recita

118 SAŅGĪTARATNĀKARA

gesture [with the hands]; then assuming the Vaisnava posture, the right hand is placed on the hip and the Recita gesture is made with the left hand. That is Talasanghattita, used in indicating sympathy. 729-30

Udvrtta Where the hands and feet are stretched out and brought back [to the normal position], and the body performs the Udvrttā Cārī, it is known as Udvrtta by scholars. 731

Vişnukrānta (Vișņu's stride) One Kuñcita foot is advanced forward as if for rising up and the hands make the Recita gesture. That is Vișņukrānta, indicating Vișņu's movement. 732

Lolita (Rolled) One hand makes the Recita gesture and the other is in the Alapallava pose at the chest; the head rolls * around (Lolita) and rests [while rolling] at the sides; the Vaisnava posture is assumed. Then it is called Lolita by scholars. 733-4

Madaskhalita (Intoxicated stumbling) Where the feet move away in turn from the Svastika pose, the head makes the Parivāhita move- ment, and the hands are in the Dola pose, it is Madaskhalitaka. [Sārngadeva], the favourite of Siva, says that it should be used to indicate medium intoxication. .734-5

SAŅGĪTARATNĀKARA 119

Sambhrānta (Hurried)

Performing the Āviddhā Cārī, make Vyāvrtta and Parivartana movements with the hand and keep it in the Alapadma pose behind the thigh. That is Sam- bhranta. It is to be employed to indicate hurried movement. 736-7

Vişkambha (Impediment)

The right hand in the Sūcīmukha Nrtta pose approaches the left hand and strokes it; then it makes the up-and-down [Nikuttita] movement along with the foot. The left hand is kept on the heart. This is repeated similarly on the other side. Then the right foot takes the Sūci pose and the right hand the Alapadma pose, the left hand being as before. If this is done again and again it is called Viskambha. 737-9

Udghattita (Striking)

Where the foot makes the Udghattita movement, that side is Sannata, and the hands seem ready to beat time, it is Udghattita, if repeated on the other side. It indicates rejoicing. 740

Śakatāsya The Śakațāsyā Cārī is performed; then one hand is stretched out along with the foot; the other hand in the Khatakāmukha pose is kept on the chest. Then it is called Śakațāsya. It indicates the playing of children ìn that way. 741-2

120 SAŅGĪTARATNĀKARA

Ūrūdvrtta Along with the Orūdvrttā Cari, the hands make the Vyavartana movement and in the Arāla and Khatakāmukha poses are placed on the back of the thighs. That is Urudvrtta. It is employed to indicate jealousy, making a request, and amorous anger. 742-3

Vrşabhakrīdita (Bull's play) Performing the Alāta Cari, the hands should make the Recita gesture, then with a Vyavartana movement, they should be bent and in the Alapadma pose placed on the shoulders. This is declared by the wise as Vṛșabhakrīḍita. 744-5

Nāgāpasarpita (Serpent-creeping) ` If the hands make the Recita gesture, the head assumes the Parivahita pose, and the feet are moved away from Svastika, then it is Nāgapasarpita. The wise explain its application in light intoxication. 745-6

Gangāvataraņa (Gangā's descent) If the foot is lifted up and put down along with the raising and lowering of the hands in the Tripatāka pose, and the head also moves likewise, then it is Gangāvatarana, stated by Sārngadeva to indicate the descent of the Ganga [on earth]. 747-8

In the Karana-s, the left hand is normally kept on the chest and the right hand makes the movements suited to each Karaņa. 748-9

SAŅGITARATNĀKARA 121

UTPLUTIKARAŅA-S

Now, following local practices (deśi), [Śārńga- deva], dear to Siva, explains the Utplutikaraņa-s (Karana-s with jumps) which are famous in various localities. 749-50 Añcita, Ekacaraņāñcita, Bhairavāñcita, Daņda- praņāmāñcita, Kartaryañcita, Alaga, Kūrmālaga, Ūrdhvālaga, Antarālaga, Lohadī, Kartarīlohadī, Eka- pādalohadī, Darpasaraņa, Jalaśayana, Nāgabandha, Kapālacūrņana, Nataprstha, Matsyakaraņa, Karaspar- śana, Eņapluta, Tiryakkaraņa, Tiryagañcita, Tiryak- svastika, Sūcyanta, Bāhyabhramarī, Antarbhram- arī, Chattrabhramarī, Tiripabhramarī, Alagabhramarī, Cakrabhramarī, Añcitabhramarī, Širobhramarī, Dig- bhramarī, Samapādāñcita, Bhrāntapādāñcita, and Skandhabhränta-these thirty-six Utplutikarana-s are briefly pointed out by [Särngadeva], the son of Sodhala. 750-7

Añcita

Añcita is standing in the Sama position of the feet and jumping straight up. 757

Ekapādāñcita Ekapādāñcita is the same done with one foot. 758

Bhairavāñcita

Jumping up with one foot kept at the back of the thigh is Bhairavāñcita. 758

122 SAMGĪTARATNĀKARA

Daņdapraņāmāñcita Where, after jumping as in Añcita, one falls on the ground [straight] like a rod, that is called Dandapraņā- māñcita by experts on dancing. 759

Kartaryañcita Añcita with the feet crossed in Svastika is called Kartaryañcita. 760

Alaga Jumping up with face downwards, falling in front and taking the Kukkuțāsana (cock-pose) is called Alaga by the learned Sarngadeva. 760-1

Kūrmālaga If in Alaga there is Kūrmāsana (tortoise-pose), then it is Kūrmālaga. 761

Ūrdhvālaga If, after falling, [the dancer] stands up with feet in the Sama pose, it is Ūrdhvālaga. 762

Antarālaga After doing Alaga and falling [on the ground], standing with the chest facing up and the head touching the hips at the back is Antarālaga. 762-3 Lohadī Standing with the feet in the Sama position and twisting around the loins (Trika), if one jumps up and

SAŅGĪTARATNĀKARA 123

falls obliquely, then it is called Lohadi or Luthita by scholars. 763-4

Kartarīlohadī

The same done with the feet crossed in Svastika is considered to be Kartarīlohadī. 764

Ekapādalohadī

If it is done with one foot, it is accepted to be Ekapādalohadī. 765

Darpasarana

Standing in the Vaisnava posture, if one falls on the ground sideways, then that Karana is called Darpa- sarana by the master of Karana-s, [Sārngadeva]. 765-6

Jalaśayana

The same is called Jalasayana, if [after falling] an attitude like that of [Visnu] lying on water is taken. 766

Nāgabandha Nägabandha is the same, if the posture assumed is Nāgabandha. 767

Kapālacūrņana

Standing with the feet in the Sama position, touch- ing the ground with the head [by bending backwards], and returning to the normal position is described by scholars as Kapālacūrņana. 767-8

124 SAŅGĪTARATNĀKARA

Nataprstha After assuming the Kapālacūrņana, if the chest is kept facing up1 and the back bent, that is called Nataprstha; others call it Vankola. 768-9

Matsyakaraņa Jumping up and bending the waist, if one turns round to the left like a fish, then it is described as Matsyakaraņa. 769-70

Karasparśana If, after performing the Alaga movement and touching the ground with the hand, one moves round below, it is called Karasparśana. 770-1

Enapluta After jumping up and taking the Sūci pose with any one [foot] in the air, if one comes to the ground taking the Utkata sitting pose kept [slightly] above [the ground], then it is Enapluta. 771-2

Tiryakkaraņa If, after jumping up obliquely with one foot, one comes to the ground and stands on the other foot, it is called Tiryakkaraņa. 772-3

Tiryagañcita If the oblique jumping is after standing with the feet in the Sama position, it is called Tiryagañcita. 773

1 The reading should be vakşahsthalam tatah.

SAŅGĪTARATNĀKARA 125

Tiryaksvastika If after crossing the feet in Svastika one jumps up obliquely, it is Tiryaksvastika. 774

Sūcyanta-s If, at the end of the preceding Karana-s, the [Deśīsthāna-s like] Samasūcī, etc., [cf. verses 1084-7]. are taken, they are called Sūcyanta-s. 774-5

Bāhyabhramarī If, standing on the right foot, one bends the left foot and revolves to the left, that is considered to be Bāhyabhramarī. 775-6

Antarbhramarī The same, reversed, is Antarbhramarikā. 776

Chattrabhramari Where, after assuming a posture like that of Trivikrama [keeping one foot on the ground and raising the other], one turns round to the left, that is called Chattrabhramarī by the learned. 777

Tiripabhramarī If after crossing the legs in Svastika one turns round obliquely, it is Tiripabhramarī. 778

Alagabhramarī After assuming the Vaișnava posture, if one stands on the left foot and rotates the body obliquely, then it is Alagabhramarī. 778-9

126 SAŅGĪTARATNĀKARA

Cakrabhramari If in the middle of the Khandasūci Karana, one spins like a wheel, it is Cakrabhramarī. 779

Añcitabhramari

If after performing the Samapādā Cārī, the body is rotated obliquely, it is called Añcitabhramarī by [Śārngadeva], the favourite of Śankara. 780

Śirobhramarī

If, standing on the head, the feet are held up and one turns round thrice, it is considered to be Śirobhramarī. 781

Digbhramarī

Turning round in the same manner as before but once each time, with [the help of] the hands come down to the ground successively in the four directions; then it is Digbhramarī. 782

Samapādāñcita Performing the Añcita Karana from the Sama position of the feet, come down on the ground on one shoulder and turn round horizontally waving the feet. Then it is called Samapādāñcita by the scholar [Śārngadeva], the expert in Karaņa-s. 783-4

Bhrāntapādāñcita Turning round the right foot, support the left shank by the back of the left toes and perform the

SAMGĪTARATNĀKARA 127

Añcita Karana. Then falling down horizontally on the shoulders turn round waving the feet. This is called Bhrāntapādāñcita. 784-6

Skandhabhrānta

After assuming the Utkata sitting posture, perform the Ancita Karana and stand supporting the ground with both shoulders [keeping the legs in the air]; then turn round as in the previous case [of Digbhramari] and stop [successively] in the four directions [after each turn]. This is called Skandhabhranta by scholars. 786-8 There are many other varieties of Karana move- ments. They are not explained [here] by Śrī Sarnga- deva for fear of making the text voluminous. 788-9

ANGAHĀRA-S

I shall explain the names as well as the definitions of the Angahra-s to be used in the Pūrvaranga [preliminary part of a dramatic performance] whose results are [partly] seen and [partly] unseen. 789-90 The graceful movement of the limbs to the proper places, composed of groups of Mātrkā-s (combinations of two Karana-s), is called Angahāra [i.e., the hāra or movement of Anga-s]. Or it is explained that this [particular] movement pertains to Hara, [Lord Śiva], and is demonstrated with the limbs. 790-1 Two Karaņa-s make a Mātrkā; three Karaņa-s, a Kalāpa; four, a Khaņdaka; and five a Sanghāta. Thus others have explained the different terms on the

128 SAŅGĪTARATNĀKARA

basis of the number [of Karana-s in a combination]. The sage [Bharata] himself considered in these only the question of fewer or more Karana-s; this is indicated by the term 'or', in 'By two, three or four' [' dvābhyām tribhiś caturbhir vā, in Nātyaśāstra IV. 31]. 792-4 Sthirahasta, Paryasta, Sūcīviddha, Aparājita, Vai- śākharecita, Pārśvasvastika, Bhramara, Ākșiptaka, Paric- chinna, Madavilasita, Ālīdha, Ācchurita, Pārśvac- cheda, Apasarpita, Mattākrīda, and Vidyudbhrānta- these sixteen are explained as Angahara-s with an even number of [time] units, acceptable to the sage [Bharata]. 794-7 Vişkambhāpasrta, Mattaskhalita, Gatimaņdala, Apaviddha, Viskambha, Udghattita, Akșiptarecita, Recita, Ardhanikutta, Vrścikāpasrta, Alātaka, Parā- vrtta, Parivrttarecita, Udvrttaka, Sambhrānta, and Svastikarecita-these are the sixteen [Angahāra-s] with an odd number of [time] units. Together they are thirty-two. Owing to the infinite number of combi- nations of Karaņa-s, they [Angahāra-s] are infinite in number; still these thirty-two are given on the basis of their importance. 797-801 Each one of the Karana-s should be done in one long Kala [time unit] in the case of all the Angahāra-s. So says [Sarngadeva], the expert on Karana-s. 801-2

Sthirahasta

Making the Līna, Samanakha, and Vyamsita Karaņa-s, separate the hands, give up the Ālīdha posture and take up the Pratyālīdha posture

SAŅGĪTARATNĀKARA 129 Then perform successively the Nikuttaka, Ūrūdvrtta, Svastika, kşiptaka, Nitamba, Karihasta, and Kațīc. chinna Karana-s. Sthirahasta is made up of these ten Karana-s, according to [Sārngadeva], the devotee of Śiva. Some experts on dramaturgy say that in all Angahära-s the portion from the beginning up to Pratyālīdha is to be used. 802-5 Parvastaka

Talapuspaputa, Apaviddha, and Vartita, and tnen Nikuttaka, Ūrūdvrtta, Ākșipta, Uromaņdala, Nitamba, Karihasta, and Katīcchinna successively-by these ten Karaņa-s, Paryastaka is explained by scholars. 806-7 Sūcīviddha

Ardhasūci, Viksipta, Āvarta, Nikuțțaka, Ūrūdvṛtta, Ākşipta, Uromaņdala, Karihasta, and Kațīcchinna-by these nine Karana-s [successively], the Angahāra named Sūcīviddha is explained by Bharata and others. 808-9

Aparājita Daņdapāda, Vyamsita, Prasarpita, Nikuțțaka, Ardhanikutțaka, Ākșipta, Uromaņdala, Karihasta, and Kațīcchinna-the definition of Aparājita is given by the doubtless [Särngadeva] as consisting of these nine Karaņa-s [successively]. 810-1 Vaišākharecita Vaiśākharecita [Karaņa] done on both sides, then Nūpura, Bhujangatrāsita, Unmatta, Mandalasvastika, 9

130 SAMGĪTARATNĀKARA

Nikuțțaka, Ūrūdvtta, Ākșipta, Uromaņdala, Kari- hasta, and Katīcchinna-these eleven Karana-s, in the respective order, constitute the Angahāra named Vaiśākharecita. 812-4

Pārśvasvastika

Diksvastika, then Ardhanikuttaka done on one side, then again Diksvastika, then Ardhanikuttaka done on the other side, Apaviddha, Ūrūdvrtta, Āksipta, Nitamba, Karihasta, and Kațīcchinna-by these eight Karaņa-s is Pārśvasvastika constituted, or by ten Karana-s because of the repetition of the first two. 814-6

Bhramara

Nūpura, Ākșipta, Chinna, Sūci, Nitamba, Kari- hasta, Uromandala, and Katīcchinna-by these eight Karaņa-s, Bhramara is explained. 817-8

Ākşiptaka

Nūpura, Vikșipta, Alāta, Ākșipta, Uromaņdala, Nitamba, Karihasta, and Katīcchinna-by these eight Karaņa-s is Akșiptaka made. Some [experts] say that Vikșipta, Alāta, and Aksipta are done twice. 818-20

Paricchinna

Samanakha, Chinna, and Sambhranta, then Bhra- mara to the left, Ardhasuci on the left side, Atikrānta, Bhujangatrāsita, Karihasta, and Kațīcchinna-by these nine Karana-s Paricchinna is done. 820-2

SAMGĪTARATNĀKARA 131

Madavilasita Madaskhalita, Mattalli, and Talasamsphoțita are done many times in a variety of ways; then Nikuttaka, Ürüdvrtta, Karihasta, and Kațīcchinna-these are the seven [Karaņa-s] given for Madavilasita. By repeating the [first] three Karana-s thrice, the Karana-s become thirteen. Some desire the first three Karana-s repeated four, five, etc., times. 822-5

Ālīdha

Vyamsita, Nikuttaka, Nūpura done with the left foot, Alataka and Aksipta with the other [right] foot, then Uromandala, Karihasta, and Katīcchinna-by these eight Karana-s done successively is the Angahāra named Alidha acceptable to sage Bharata. 825-7

Ācchuritaka

Nūpura, Bhramara, Vyamsita, Alātaka, Nitamba, Süci, Karihasta, and Katīcchinna-these eight Karaņa-s are given for Ācchuritaka. 827-8

Pārśvaccheda

Vrścikakuttita, Ūrdhvajānu, Ākșipta, Svastika, then after turning the loins around, Uromandala, Nitamba, Karihasta, and Katīcchinna-these eight Karaņa-s [successively] are stated to be in Pārśvaccheda. 829-30

Apasarpita [First] Apakrānta, then solely the hand-movements of Vyamsita, and then Karihasta, Ardhasūci, Vikșipta,

132 SAMGĪTARATNĀKARA

Kațīcchinna, Ūrūdvrtta, Ākșipta, Karihasta, and Kațīc- chinna-these seven and a half Karana-s, or nine and a half including the repetition of Katicchinna and Karihasta, are given in Apasarpita. 831-3

Mattākrīda

After doing Bhramara, Nūpura, and Bhujanga- träsita on the right side only, Vaisākharecita, Akșipta, Chinna, Bhramara, Vyamsita, Uromandala, Nitamba, Karihasta, and Kațīcchinna-by these twelve Karaņa-s successively, or eleven, counting the repetition of Bhra- mara as a unit, is the Angahāra named Mattākrīda constituted, according to [Śārngadeva], devotee of Śiva. 833-6

Vidyudbhrānta

Ardhasūci on the left side, and then Vidyudbhrānta on the right, then again the two [Karana-s] on the opposite sides, then Chinna and Atikränta, then with the left side Latāvrścika and Kațīcchinna-thus six Karana-s, or eight in number including the repetition of the two, are known in Vidyudbhrānta [Angahāra] by experts. 837-9

These are the sixteen Angahara-s with even units [of time].

Vişkambhāpasṛta

After doing the Nikuttaka Karana, perform succes- sively Ardhanikutțaka, Bhujangatrāsita, Bhujanga- trastarecita, Ākșipta, Uromaņdala, Latā hand gesture,

SAŅGĪTARATNĀKARA 133

and Katīcchinna. These are the seven Karana-s in Vis- kambhāpasṛta. 839-41

Mattaskhalita

Mattalli, Gaņdasūci, Līna, Apaviddha, then .Tala- samsphotita to be done at the same speed [as Apavid- dha], then Karihasta, and Katīcchinna-these seven Karaņa-s successively are given for the Angahara named Mattaskhalita. 841-3

Gatimandala

Mandalasvastika, Niveśa, Unmatta, Udghatțita, Mattalli, Ākșipta, Uromaņdala, and Kațīcchinna are the eight Karana-s in Gatimandala, as given by the doubtless [Sārngadeva]. 843-5

Apaviddha

First Apaviddha, then Sūcīviddha, then making the Udvestita movement with the hands, turn round the loins with the Baddha Cari, afterwards assume the Karaņa-s Ūrūdvrtta, Uromaņdalaka, and Kațīcchinna as the fifth. Then there is Apaviddha. 845-7

Vişkambha In Vişkambha there are the Karaņa-s Nikuttaka, Nikuñcita, Añcita, Ūrūdvrtta, then Ardhanikuțta, then Bhujangatrasita, then Bhramara with the Udvestana movement of the hands, then Karihasta and Katīc- chinna as the ninth. 847-9

134 SAŅGĪTARATNĀKARA

Udghattita In Udghattita there is Nikutta, Uromaņdalaka, then Nitamba, Karihasta, and fifthly Katicchinna. 849-50 Ākșiptarecita Svastikarecita, Prsthasvastika, Diksvastika, Kațī -. sama, Ghūrņita, Bhramara, Vrścikarecita, Pārśvani- kuțțaka, Uromaņdala, Sannata, Siņhākarșitaka, Nāgā- pasarpita, then Vaksahsvastika according to some scholars, Daņdapaksa, Lalāțatilaka, Latāvrścika, Niśum- bhita, Vidyudbhrānta, Gajavikrīdita, Nitamba, Vișņu- krānta, Ūrūdvrtta, Ākșipta, Uromaņdala, Nitamba, Karihasta, and optionally Katīcchinna-these twenty- five Karana-s are required for Äksiptarecita according to the ancients. Because Nitamba and Uromandala are repeated, they become twenty-seven [in number]. According to the view of those who do not accept Vakşaḥsvastika and Kațīcchinna in this [Angahāra] there are only twenty-five [Karana-s], in spite of the repetition. 850-8

Recita Svastikarecita, Ardharecita, Vaksaḥsvastika, Un- matta, Aksiptarecita, Ardhamattalli, Recakanikutțaka, Bhujangatrastarecita, Nūpura, Vaiśākharecita, Bhu- jangāñcita, Daņdarecita, Cakramaņdala, Vrścikarecita, Vivrtta, Vinivrtta, Vivartita, Garudapluta, Lalita, Mayūralalita, Sarpita, Skhalita, Prasarpita, Tala- sanghattita, Vrsabhakrīdita, Lolita-performing these twenty-six Karana-s by arranging them in four parts in

SAŅGĪTARATNĀKARA 135

unequal numbers in the four directions, do the Uromandala and Katīcchinna [Karaņa-s] at the end. This is Recita. 858-65

Ardhanikutłaka

Nūpura, Vivrtta, Nikuțța, Ardhanikutța, Ardha- recita, Recakanikuttaka, Lalita, Vaiśākharecita, Catura, Dandarecita, Vrścikakuttita, Pārśvanikuttaka, Sam- bhränta, Udghattita, Uromandala, Karihasta, and Katīcchinna-these seventeen Karana-s [successively] make Ardhanikuttaka. 865-8

Vrścikāpasṛta

First Latavrścika, then Nikuñcita, Mattalli, Nitamba, Karihasta, and Katīcchinna as the sixth- these are given by scholars for [the Angahāra] Vrścikā- pasrta. Here in the place of Nitamba some give Bhramara. 869-70

Alātaka

Svastika, twice Vyamsita, Alāta, Ūrdhvajānu, Nikuñcita, Ardhasūci, Vikșipta, Udvrtta, Ākșipta, Kari- hasta, and Katīcchinna-these eleven Karaņa-s are in Alātaka. One more, if Vyamsita is counted twice. 871-2 Parāvrtta

Do the Janita [Karana] on the right side, then Śakatāsya and Alātaka, Bhramara to the left, then Karihasta with the Nikuttita movement of the hands, and then Katīcchinna. These six Karana-s in sequence

136 SAŅGĪTARATNĀKARA

are given by [Särngadeva], the son of Sodhala, for Parāvrtta. Nikuttaka [Nikuțțita] is explained by experts as downward and upward movement of a limb. 873-5

Parivrttarecita

After doing the Nitamba Karana, do Svastika- recita, Vikșiptākșiptaka, Latāvrścika, Unmatta, Kari- hasta, Bhujangatrāsita, Ākșipta, and Nitamba. These nine Karaņa-s up to Nitamba should be performed [all round] along with Bhramarika movements. Doing this [also] on another side, and after turning round to the other two sides, do Karihasta and Katīcchinna standing at the first place-that is called Parivrttarecita by the teachers. The procedure of performing [the Karana-s] all around, omitting the last two Karana-s has been prescribed for all the Angahāra-s by the scholar Śārngadeva, who knows the views of Bhatta[nāyaka], Abhinavagupta and others. 875-80

Udvṛttaka

After Nūpura Karaņa, do Bhujangāñcita, Grdhrā- valīnaka, then Viksipta twice, one on each side, then Sūci in between [two] Udvrtta-s, then Nitamba, Latā- vrścika, and Katīcchinna. By these nine Karaņa-s, Udvrttaka is constituted. Including the repetition of Vikșipta and Udvrtta, the number will be two more.1 881-3

1 The last line should read viksiptodvrttābhyām.

SAŅGĪTARATNĀKARA 137

Sambhrānta

Vikșipta, Añcita, Gaņdasūci, Gangāvataraņa, Ardhasūci, Daņdapāda, Catura made to the left side, then Bhramara, Nūpura, Ākșipta, Ardhasvastika, Nitamba, Karihasta, Uromaņdala, and Kațīcchinna- by these fifteen Karana-s successively, the experts explain Sambhrānta. 883-6

Svastikarecita

After Vaiśākharecita and Vrścika, repeat the two again, and then do successively Nikuttaka along with the Lata hand pose, and Katīcchinna as the fourth; then it is known as Svastikarecita. Because of the repetition of the first two, there are two more [i.e., six in all]. 886-8

These are the sixteen Angahara-s with even units [of time].

The Angahara-s are to be employed by intelligent people, who desire great felicity, in the Utthāpana and other parts of the preliminaries [of a play], in Pāņika songs such as Vardhamāna and Āsārita, along with musical instruments like Mrdanga, Gomukha, Bhambhā, Bherī, Pațaha, Dindima, Panava, and Dardura which follow the time (tāla) and the tempo (laya). 888-90 Thus the use of Karaņa-s in Angahāra-s is ex- plained. It is said that there is great merit even in the separate employment of Karaņa-s. 891

138 SAŅGĪTARATNĀKARA

RECAKA-S

Now we explain the four Recaka-s described by Bharata; they relate to the feet, hands, waist, and neck. 892 The continual movement [of the foot] in between the heel and the tip of the toe and then outwards, involving bending and stretching, is the Recaka of the foot. 893 A quick circular movement of the hands in the Hamsapaksa pose, [inwards and outwards], alternately is the Recaka of the hands [i.e., while one moves out, the other moves in]. 894 Turning round the waist in all directions along with the vertical rotation of the toe slightly spread out, is the Recaka of the waist. 895 Shaking and moving the neck around is said to be the Recaka of the neck. 896 These [Recaka-s] produce separately the same result as a part of the Angahāra-s.1 896

CĀRI-S

The Cari is constituted of various [beautiful] move- ments of the feet, shanks, thighs, and hips performed simultaneously. The term is derived from the verbal root car (to move), by the addition of the suffix i(ñ)

1 The necessary Recaka-s are added to the Angahara-s to make the total time-unit, even or odd, as required. See Kallinātha on v. 797.

SAMGĪTARATNĀKARA 139

in the instrumental sense, and the feminine suffix [n]i[s] at the end. 897 Like the hand poses in Abhinaya, in the Gaits (Gati-s), the Carī suitable for effecting the particular foot positions desired [for the gait] must be performed and the further [Cärī] must be in keeping with the first. 898 Owing to this interdependence, the Cāri itself is called Vyāyāma. Its varieties are: Cārī, Karaņa, Khaņda, and Maņdala. 899 Of these the Cari which can be effected by [any] one foot is called Cari. That which requires both feet is called Karana. This Karana is different from the Nrttakaraņa. 900 Three Karaņa-s make a Khanda and three or four Khanda-s make a Mandala, depending on whether the Tryasra [Cācatpuța] or Caturaśra [Caccatpuța] Tāla is adopted.1 901 This [the Carī requiring one foot] is of two kinds: the earthly (Bhaumi) and the aerial (Ākāśikī). Of these, the earthly Carī-s are sixteen: Samapādā, Sthitāvartā, Šakațāsyā, Vicyavā, Adhyardhikā, Cāșa- gati, Edakākrīditā, Samotsaritamattallī, Mattallī, Ut- spanditā, Additā, Spanditā, Avaspanditā, Baddhā, Janitā, and Ūrūdvrttā. 902-4 Now we shall name the aerial Carī-s: Atikranta, Apakrāntā, Pārśvakrāntā, Mrgaplutā, Ūrdhvajānu, Alātā, Sūcī, Nūpurapādikā, Ņolāpādā, Daņdapādā,

1 See Tālādhyāya, vol. III of the text.

140 SAMGĪTARATNĀKARA

Vidyubdhrāntā, Bhramarī, Bhujangatrāsitā, Ākșiptā, Āviddhā, and Udvrtta. These together form thirty- two Cārī-s accepted by Bharata. 905-7 There are other Cārī-s well known in various parts of the country. Now we shall speak about them: Rathacakrā, Parāvrttatalā, Nūpuraviddhakā, Tiryań- mukhā, Marālā, Karihastā, Kulīrikā, Viślișțā, Kātarā, Pārșņirecitā, Ūrutāditā, Ūruveņī, Talodvrttā, Hari- ņatrāsikā, Ardhamaņdalikā, Tiryakkuñcitā, Madālasā, Saņcāritā, Utkuñcitā, Stambhakrīdanikā, Langhita- janghā, Sphuritā, Avakuñcitā, Sanghatțitā, Khuttā, Svastikā, Taladarśinī, Purāțī, Ardhapurāțī, Sarikā, Sphurikā, Nikutțikā, Latākșepā, Addaskhalitikā, and Samaskhalitika-these thirty-five are given as the earthly Cari-s [of the Desi type]. 908-13 Vidyudbhrāntā, Puraḥksepā, Vikșepā, Hariņa- plutā, Apaksepā, Damarī, Daņdapādā, Anghritāditā, Janghālanghanikā, Alātā, Janghāvartā, Veștana, Udve- stana, Utkșepa, Prsthotksepa, Sūcikā, Viddhā, Prāvrta, Ullola-these nineteen are the aerial Cari-s [of the Deśī type]. Together they are stated to be fifty- four. The Carī-s of Marga (classical) and Desi type are together taken to be eighty-six. 913-6 Now we shall give the definitions of these Cārī-s in order: 917

1. EARTHLY CARI-S Samapādā

When one stands with the two feet close together, the nails [of the toes] on a level, and in the Samapāda

SAŅGĪTARATNĀKARA 141

posture, it is called Samapādā [Cārī]. It is considered to be a Cãrī because it can be useful [as the starting point, etc.] of movements. But it is [counted] among the Sthana-s also. 917-8

Sthitāvartā One foot in Agratalasamcara moves across to the [external] side of the other foot to form a Svastika with the knee turned inwards and similarly [i.e., Agratalasamcara] the other foot is separated [after making a Svastika] and brought to its own side. This is then called Sthitāvartā. 919-20

Śakatāsyā Where the upper part of the body is held with effort,1 one foot in Agratalasamcara is stretched forward, and the chest is kept in Udvāhita, it is called Šakațāsyā. Āsya means 'to be thrown'. It is by using this Cārī that a cart (sakata) is to be thrown forward. [Hence the term Sakatāsyā for this Cārī]. 920-1

Vicyavā If from the Samapada position the feet are lifted up and the foreparts are brought down [Nikuttana] on the ground, it is called Vicyava. 922

Adhyardhikā The left foot is placed near the heel of the right foot; the right foot is drawn away to its own side where

1 The text should read yatnāt dhrtva.

142 SAŅGĪTARATNĀKARA

it is placed crosswise at a distance of a span (Tāla) and a half; then in the same way the right foot is placed at the heel of the left foot and [after moving away] placed obliquely. This is called Adhyardhikā. 923-4 Cāșagati

The right foot is put forward by a span, then drawn back by two spans, then simultaneously with jumping movements both the feet approach each other a little and separate, [or] separate and approach each other. This is accepted to be Cāsagati, and is used in frightened movements, etc. 925-6

Edakākrīditā

When after a slight jump the two feet in Agra- talasamcara come down one after the other, it is con- sidered to be Edakākrīditā. 927

Samotsaritamattalli

One foot in Agratalasamcara is kept behind the other foot making a Svastika at the shank. Then the other foot is made Agratalasamcara and the feet make circular movements moving away and coming together. This is Samotsaritamattalli, and is used to indicate moderate intoxication. 928-9

Mattallī

The feet are kept with the entire sole touching the ground, crossed in Svastika at the shanks, and slightly oblique. Then with a circular movement

SAMGITARATNAKARA 143

they either come together or move away from each other. This is called Mattalli, and is used in slight intoxication. 930-1

Utspanditā Where the foot moves slowly to and fro in the manner of the Recaka, [touching the ground] with the little toe and the big toe alternately, that Cāri is called Utspandita by the wise. The term spanda is used for falling down owing to carelessness. Some say that here the Nrtta hand named Recita [is to be used]. 931-3

Additā One foot in Agratalasamcara is alternately rubbed against the forepart and the back of the other foot kept in the Sama position. This is known as Additā. 934 Spanditā Where the thigh is motionless (Nisanna), the left foot is in the Sama position, and the right foot is stretched out crosswise to a distance of five spans, that is accepted to be Spanditā. 935

Avaspanditā The same movement with the other foot is accepted to be Avaspanditā. 936

Baddhā The two thighs make the Valana movement and the shanks are crossed in Svastika. Or, releasing

144 SAMGĪTARATNĀKARA

the Svastika, make circular movements with the tips of the feet and bring each foot to its side. This is accepted to be Baddhā. 936-7

Janitā

That is called Janita Carī where one foot is in Agratalasamcara, one hand is kept at the chest in the Musti pose, and the other [hand] moves in a beauti- ful way. [Here] the movement of the foot [in Agratalasamcara] is important; the other [movement of the hand] is only secondary. 938-9

Ūrūdvrttā

The heel of one foot in Agratalasamcara is placed facing the back of the other foot, or the reverse is done. One of the shanks, with the knee bent and turned inwards, faces the other shank. Then it is called Ūrūdvrttā Cārī. It is employed to indicate shyness, jealousy, etc. 939-41 These are well known as being used in wrestling in the Angahāra-s [i.e., in Nrtta] and in Nātya, and are described in the Nātya-śāstra as being based on the eternal Veda-s. 941-2

2. AERIAL CĀRI-S

Atikrāntā

A Kuñcita foot is raised to the region of the ankle of the other foot and put forward to some extent; then it is raised naturally as in the world and made to

SAŅGĪTARATNĀKARA 145

fall on the ground at a distance of four spans. This is called Atikrāntā Cārī by the doubtless [Sārngadeva]. 942-4 Apakrāntā After performing the Baddhā Cārī, throw up the Kuncita foot and bring it down at the side. Then it is called Apakrāntā Cārī. 944-5

Pārśvakrāntā

Raise up one Kuncita foot on its own side; then bring it down on the ground by its heel [Udghattita]. Then it is called Pārśvakrānta. This is well known to people as Pārśvadandapādā. Others say that in this [Cārī], the foot must be raised near the other thigh and then brought down on the ground with the Udghattita movement. 945-7

Mrgaplutā Throw up one Kuñcita foot, jump up and bring it [the foot] down on the ground. Bring down at the back the shank of the other foot kept in Añcita. Then it is to be known as Mrgaplutā. It is to be done by the Vidūsaka. 948-9

Ūrdhvajānu Throw up one foot in Kuñcita and make its knee level with the breast; keep the other foot steady and motionless. This is Ordhvajanu. 949-50 Alātā One foot is stretched backwards with its sole facing the other thigh and then its heel is brought 10

146 SAŅGĪTARATNĀKARA

down to the ground on its own side. This is then called Alātā. 950-1

Sūcī

Throw up one Kuñcita foot, stretch its shank [bringing it] up to the knee or up to the thigh, and with its forepart bent let the foot fall on the ground [on its forepart]. This is called Sūcī. 951-2

Nūpurapādikā

Bring backwards one Añcita foot and touch the hips with its heel; then raising the shank let it fall on the ground on its forepart. This is called Nūpura- pādikā Cārī. 953-4

Ņolāpādā

Raising one Kuñcita foot and swinging it from side to side, place it by its heel on its own side. This is called Ņolāpādā. 954-5

Dandapādā

One foot as in Nūpura[pādā Cārī] is placed at the heel of the other and then stretched forward quickly with the tip of the knee facing the region of the body. This is called Dandapādā Cārī. 955-6

Vidyudbhrāntā

One foot touches the head which is turned back, is turned round in all directions, and stretched. This is Vidyudbhrāntā. 957

SAŅGĪTARATNĀKARA -147

Bhramari

The foot is in Atikränta Cäri, the thigh which is oblique is twisted around, and the whole body moves round through the turning of the sole of the other foot. This is called Bhramarī Cāri by Sārnga- deva. 958-9

Bhujangatrāsitā

Raise one Kuncita foot near the root of the other thigh and make the heel face the hips. [Then] the knee moves to its own side, the sole of the foot facing upwards due to the turning of the waist and the knee. This is Bhujangatrāsita, indicative of the fear of snakes. 959-61

Ākșiptā

Throw up one Kuncita foot to the height of three spans and bring it to the other side and then, crossing the shank [with the other shank] in Svastika, let it fall on the ground on its heel. This is known as Ākșiptā Cārī. 961-2

Āviddhā

From a Svastika made without the shanks touching each other, one foot in the Kuñcita position is stretched obliquely, brought to its own side, and made to fall on its heel in the region of the other heel. This is Āviddhā. 963-4

148 SAŅGĪTARATNĀKARA

Udurttā One foot is in the Āviddha Cārī. Its heel is kept in the region of the other thigh. Then jumping up and turning round, the foot is made to fall on the ground. Then similarly the other foot is raised [and made to per- form all the movements]. This is called Udvrttā. 964-5

The Carī-s can be performed [only] by delicate movements of the limbs. They are to be employed by the learned in fighting and wrestling, in Nrtta, in Nāțya, and in Gati (gait). 966 The hand or the foot [movement], whichever is important in the context, should be employed first; and then only the other. When both are equal [in importance, they may be used] simultaneously. 967 In accordance with the foot, the hand [must move]; and according to the hand, the hips [must move]. The major and minor limbs (Anga-s and Upänga-s) are declared by the learned to follow the foot [movements]. 968 When the Carī-s are predominant, the other limbs are to be employed thus. When the hand [movements] are important, the other limbs follow the hand. 969 Just as in the Cäri the foot moves again and again and [then] comes to rest on the ground, so also [in the case of hand movements], the hand makes various movements and rests on the waist. 970 In Nātya the hand must rest on the waist in the Ardhacandra pose; in Nrtta the hand [at the waist] must be either Paksavañcitaka or Pakşapradyotaka. 971

SAMGĪTARATNĀKARA 149

3. EARTHLY DESI CARI-S Rathacakrā If the two feet are kept on the ground in the Caturaśra posture [Deśī Sthānaka] and then slipped forward or backward, it is called Rathacakra. 972

Parāvṛttatalā The sole of the foot faces up at the back and is stretched outwards. This is called Parāvrttatalā by Sārngadeva. 973

Nūpuraviddhā Standing with the feet crossed in Svastika, make Recita movements of the feet with the heels and with the foreparts [of the feet]. This is called Nūpuraviddha. 974 Tiryanmukhā Standing in the Vardhamāna posture, if the feet slide quickly to the right and the left, it is Tiryan- mukhā. 975

Marālā

The feet are kept in the Nandyāvarta posture and after making Recita movements with the heel and foreparts, they are stretched forward. This is called Marālā. 976

Karihastā Standing in the Samhata posture, the feet rub the ground with their sides. This is known as Karihastā Cārī. 977

150 SAŅGĪTARATNĀKARA

Kulīrikā

Oblique movcment with the feet kept in the Nandyāvarta posture, is Kulīrikā. 978

Viśliştā.

If the feet in Pārsnividdha Sthana are separated and made to approach each other or move away from each other, that is called Vislista by the learned. 978-9

Kātarā

Moving backwards with the feet kept in Nandyā- varta Sthāna is Kātarā. 979

Pārșnirecitā. Standing in the Pārsnipārśva Sthāna, if the heel makes the Recita movement, then the Crī is called Pārșņirecitā by the learned. 980

Ūrutāditā

Standing in the Ekapāda Sthana, if the foot on the ground strikes the thigh, then it is called Orutadita Cārī. 981

Ūruvenī

Where the thighs are crossed in Svastika and the feet rub the ground with their sides, that is called Ūruveņī by the wise. 982

SAŅGĪTARATNĀKARA 151

Taloduṛttā

Where the foreparts of the feet move forward quickly with the back of the toes [touching the ground], that is accepted by good people as Talodvrttā Cārī. 983

Hariņatrāsikā

Having the Kuñcita feet crossed in Svastika with the foreparts of the soles bent, one should jump and come down. That is called Hariņatrāsikā. 984

Ardhamandalikā

Where the two feet move outwards rubbing the ground and return [with a circular movement to the original position] slowly one after the other, that is called Ardhamaņdalikā by the learned. 985

Tiryakkuncitā

Where the foot kept obliquely is bent and thrown out repeatedly, it is called Tiryakkuñcitā Cārī by the master of Karaņa-s [Šārńgadeva]. 986

Madālasā

Where the two feet are placed here and there unsteadily as if by an intoxicated person, that is called Madālasā Cārī by the learned. 987

Samcāritā

One bent foot is thrown up again and again and brought [down] to touch the other foot and

152 SAMGĪTARATNĀKARA

the other foot is moved away obliquely. Then it is Samcāritā. 988

Utkuñcitâ

Raise the two Kuñcita feet and place them forward one by one. This is called Utkuñcitā Cārī by [Sārngadeva], the son of Sodhala. 989

Stambhakrīdanikā

One foot is moved obliquely and the other foot made to touch it on the side by its sole again and again. This is Stambhakrīdanikā. 990

Langhitajanghikā

From the Khandasuci Sthana one foot is dragged and pulled up quickly by the other foot. This is called Langhitajanghikā. 991

Sphuritā

Sphurita is quickly sliding with the sides of the feet touching the ground. 992

Avakuñcitā

Regular backward movement with the two feet bent is Avakuñcitā. 992

Sanghatțitā

Standing in the Visamasūci Sthāna, jump up and come down stamping the ground with the feet. This is called Sanghattita. 993

SAŅGITARATNĀKARA 153

Khuttā

Striking the ground with the tip of the foot is called Khuttā. 994

Svastikā

The foot that assumes the Svastika form con- stitutes Svastikā. 994

Taladarśinī

Where, standing in Samhata Sthana, the feet move separately and obliquely touching the ground with the external sides, that is called Taladarśini. 995

Purāțikā

Mutual up-and-down Nikuttana movement of the feet with the sole raised is Purātika. 996

Ardhapurāțikā

The Nikuttana movement on one Udvrtta foot by the other which is Udvrtta and Nikutta [?] is Ardhapurāțikā. 996-7

Sarikā

Where one foot glides forward, it is accepted to be Sarikā. 997

Sphurikā Gliding forward with the two feet kept in the Sama posture is Sphurikā. 998

154 SAŅGĪTARATNĀKARA

Nikuttikā

Standing on the bent tip of the foot is Nikuttikā. 998

Latākșepā

Where, after placing the foot backwards and then stretching it forward, the Nikuttana movement is made on the ground, it is called Latāksepā. 999

Addaskhalitikā

The stumbling of the feet obliquely is Adda- skhalitikā. 1000

Samaskhalitikā

If the feet make a stumbling movement forwards and backwards obliquely and simultaneously, it is called [Sama]skhalitikā Cārī. 1000-1

4. AERIAL DESI CARI-S

Vidyudbhrāntā

Throwing up the foot in front and moving it around above the forehead quickly, place it on the ground. This is known as Vidyudbhrantā. 1001-2

Puraksepā

Throwing up the Kuñcita foot and stretching it forward quickly, place it on the ground. This is Puraḥkșepā. 1002-3

SAŅGĪTARATNĀKARA 155

Vikşepā

The foot is stretched forward in the air and bent repeatedly. This is called Viksepa Cārī by Šārngadeva. 1003-4

Hariņaplutā

Jumping up with the foot bent and letting it fall repeatedly constitutes Hariņaplutā. 1004

Apakepā

Where one foot touches with its external side the back of the other thigh and moves near the hips, that is called Apaksepā. 1005

Damarī

Damarī is the circular movement of the bent foot to the left and the right. 1006

Daņdapādā

Where the two feet are crossed in Svastika and then thrown up obliquely, that is called Dandapādā Cari by the doubtless [Sārngadeva]. 1006-7

Anghritāditā

Stretch the two feet, jump up, and clap the two soles of the feet in the air. This is Anghritāditā Cārī. 1007-8.

156 SAMGĪTARATNĀKARA

Janghālanghanikā

One foot which is slightly bent is kicked in the air by the other foot. This is accepted to be Janghālanghanikā Cārī. 1008-9

Alātā

Alāta is that in which one foot kept behind is crossed by the other quickly. 1009

Fanghāvartā Where the sole of the foot moving inwards is thrown at the back of the knee and the sole of the foot moving outwards is thrown at its side, it is: Janghāvartā. 1010

Vestana

If one foot encircles the other foot, it is called Vestana; some experts on Nrtta call the same Valana. 1011

Udveştana

Udvestana is when after Vestana at the back the foot is stretched out [in front]. 1012

Utkșepa

The throwing up of the bent foot forward and backward up to the knee is called Utksepa by the learned. 1012-3

SAŅGĪTARATNĀKARA 157

Prsthotksepa If the same is done backwards alone, it is called Prsthotkșepa. 1013

Sūcī

After placing one foot by the side on the thigh,1 it is stretched [forward] pointing the end [i.e., the toes]. That is called Sūci by [Sārngadeva], the favourite of Siva. . 1014

Viddhā

Of the two feet crossed in Svastika,2 one is swung to and fro slightly in front and the other foot is Kuncita. This is known as Viddha by the learned. 1015

Prāvṛta Where the body is delicately turned and the foot is in Udvrtta, that is to be known as Prāvrta, the life of love. 1016

Ullola

Ullola is the waving of the two feet in the air one after the other. 1017

POSTURES (STHĀNA-S)

Sthana is a static posture; and Cārī is the move- ment. At the beginning and end of movement there

1 The text should be üroh. 2 The text should be svastikasya.

158 S.AŅGĪTARATNĀKARA

must be a posture. One moves from a posture and stops after the movement. Thus the Cārī-s are invari- ably connected to the Sthana-s. Therefore after them [the Carī-s], the Sthana-s are now explained. 1017-8 Any special position of the body which is motionless is called a Sthana (posture). Vaișnava, Samapācia, Vaisākha, Maņdala, Ālīdha, and Pratyā- līdha-these are the six Sthana-s for men. Now we shall name the three Sthana-s for women, following the view of sage Bharata: Ayata, Avahittha, and Aśvakrānta. We name [also] four more suggested by sage Bharata by the words athāpi ca: Gatagata, Valita, Moțita, and Vinivartita. 1019-22 Now the twenty-three postures of the provincial (Deśi) type are given: Svastika, Vardhamāna, Nandyavarta, Samhata, Samapāda, Ekapāda, Prsthottanatala, Caturaśra, Pārșņividdha, Pārșņi- pārśvagata, Ekapārśvagata, Ekajānunata, Parāvrtta, Samasūci, Vișamasūci, Khaņdasūci, Brāhma, Vaișņava, 'Saiva, Gāruda, Kūrmāsana, Nagabandha, and Vrsabhāsana. 1022-6 Svastha, Madālasa, Krānta, Viskambhita, Utkața, Srastālasa, Jānugata, Muktajānu, and Vimukta-thus the sitting postures (Upavistasthānaka-s) are stated to be nine in number by Bharata. 1026-7 Sama, Ākuñcita, Prasārita, Vivartita, Udvāhita, and Nata-these are the six reclining postures (Suptasthāna-s). 1028 Thus there are six Sthana-s for men, seven for women, and twenty-three others [Deśi], nine sitting

SAMGITARATNAKARA 159

postures, and six reclining postures. All together are fifty-one, as given by [Sarngadeva], the doubtless expert on Karana-s. Now I shall give the definitions of all of them, according to the view of the experts. 1029-31

Vaisņava 1. POSTURES FOR MEN

One foot is in the natural (Sama) position and the other foot in Paksasthita is kept in Tryaśra two and a half spans (Täla-s) away; the shank is slightly bent and the limbs kept in Sausthava. This is called the Vaisnava posture. It has Vișņu as its presiding deity. The sage (Bharata) says that this pose should be used by men of the superior (Uttama) and the normal (Madhyama) type in natural conversation and while engaged in various activities. Some others say that it is to be used only by the actor taking the role of Visnu. Yet others say that it is to be used by the stage-manager (Sūtradhāra) and others con- trolling the positions of the Nātya. 1031-4 Paksasthita is that pose of the foot in which the toes point sideways. Tryaśra is the same if it faces slightly forward. Tala is said by the learned to be the distance between the tips of the thumb and the middle finger of the hand fully stretched [i.e., a span]. When the waist, the knee, the elbows, the shoulders, and the head are properly held, the chest is raised, and the body is Sanna, that is Sausthava[?]. Sanna is the body resting in the natural position and Nisaņna is the motionless posture. 1035-8

160 SAŅGĪTARATNĀKARA

In the case of superior (Uttama) and normal (Madhyama) characters, in Sausthava the feet must be in the Sama position [?] and the body must not be too upright [not tall]; [it should be] motionless, and not bent. 1038-9 This Vaisnava Sthana is the life of Caturaśra. The Vaisnava Sthana in which the two hands move about at the waist and the navel separately and the chest is raised is called Caturaśra. 1039-40

Samapāda

Where Sausthava [of the limbs] is important and the two feet are kept in the Sama position at a distance of one span between them, that is Samapāda. It has the four-faced Brahma as its presiding deity. It is prescribed in accepting the blessings given by Brahmins, in looking at birds of medium size, in indi- cating eagerness for being chosen by the bride [in Svayamvara], persons belonging to various sects, persons practising vows, those in aerial vehicles, and those in chariots. 1041-3

Vaiśākha

When the two thighs are kept in the air above the ground at a distance of three and a half spans from each other and the two feet are kept on the ground pointing obliquely outwards, also at the same distance from each other, then it is called Vaiśākha Sthāna. Its presiding deity is Viśākha (Kārttikeya). It is employed in looking at big birds, in fighting,

SAMGITARATNAKANA tỔt

etc., in urging horses, in speeding up, and in riding. 1043-5

Mandala

The two feet are kept on the ground with a dis- tance of one span between them, pointing obliquely outwards. The hips and the knees are on the same level, with the thighs motionless (Nisanna) above the · ground at a distance of two and a half spans from each other. This is Mandala, and it has Indra as its presiding deity. The sage (Bharata) recommended its employment in the use of weapons like the bow and Vajra, in riding on elephants, and in looking at birds like Garuda. Some others say that in Mandala the two feet must be kept at a distance of four spans from each other. 1046-8

Ālīdha

The left thigh is kept motionless in the air and slightly bent; the right foot is stretched forward to a distance of five spans. Both [feet] are oblique. This should be known as Alīdha Sthana, which has Rudra as its presiding deity. By this one should represent wrangling words of jealousy and anger increasing more and more and the slapping of wrestlers, etc., resulting from the Heroic or Furious sentiment. After aiming weapons in this posture, one must adopt the Pratyālīdha posture [for releasing them]. 1049-51 11

162 SAMGĪTARATNĀKARA

Pratyālīdha Pratyālīdha is considered to be the reverse of the position of the limbs taken in Alīdha. In this [posture], the weapons aimed [at the target] in the Alīdha posture are to be [actually] thrown. Its presiding deity is also Rudra, according to [Särngadeva], the favourite of Śiva. 1052-3 Of these [six postures], the first four are seen in Nātya and Nrtta. The use of the other two are desired by [some] experts only in Nätya. Others say that all the six postures can be used in the five types of dancing [Nāțya, Nrtta, Nrtya, Lāsya, and Tāņdava]. 1053-4

Avata 2. POSTURES FOR WOMEN

The left foot is put obliquely at a distance of one span; the right foot is in the natural (Sama) position. The face is cheerful, the chest raised, the waist not raised, the right hand kept on the hip, and the other in the Lata pose. This is called Ayata. Its presiding deity is Lakşmī. 1055-6 This Sthana is to be used when gaits of the wounded are desired; when conversation with friends, lovers, etc., is made; on first entering the stage; in offering handfuls of flowers; in anger arising out of desire or jealousy; in cracking the fingers; in threatening; in negation; in assuming anger owing to jealous love; in pride, pro- fundity, and silence; in invocation and dismissal. Some say that this is to be assumed by women alone in Pürvaranga; others say that either men or women may

SAŅGĪTARATNĀKARA 163

adopt this posture in the introduction (Praveśa) and that the posture must be assumed by whoever [first] enters the stage. The entry into the stage, etc., are to be made after assuming the Ayata posture and suitable movements of the hands and feet should be adopted for them. This is the view stated by Abhinava- gupta. 1057-62

Avahittha

Avahittha is the same [as Äyata] with the feet reversed [i.e., the left foot in Sama and the right in Tryaśra]. This Sthana, of which the presiding deity is Durgā, should be used in anxiety, deliberation, satis- faction, natural conversation, wonder, looking at one's own body with pride arising from great personal charm; in looking towards the path of the lover, and in spor- tiveness, grace, and charm. It is indicative of the mood of Dissimulation (Avahittha). 1063-5

Aśvakrānta

One foot in Sūcī pose is placed at the heel of the other foot kept in the natural (Sama) position, or on its own side in the Sama position at a distance of one span, as for mounting a horse. This is called Aśva- kranta. This Sthana should be used in stumbling; in holding up clothes which slip down; in hiding what ought to be concealed; in receiving bunches of flowers; in taking hold of the branch of a tree; in natural conversation; in Vibhrama; and in Lalita. Bhāratī is its presiding deity. 1065-8

164 SAŅGĪTARATNĀKARA

Gatāgata When the female dancer, about to move forward, hesitates with one foot raised, it is called Gatāgata, as it is neither going nor standing. 1069

Valita The body is slightly twisted around; the foot which is in the direction in which the body is twisted touches the ground with the little toe; the other foot touches the ground with its big toe. This is called Valita, and is used in looking with desire. 1070-1

Moțita One foot is kept in the Sama position, the other in Kuncita with the toes half touching the ground[?]. The two hands move up in front in the Karkata pose. This is Motita. Its use is prescribed in all the stages of love. 1071-2

Vinivartita

The same at the back with the positions of the feet reversed is Vinivartita. 1073

3. DEŚI POSTURES Svastika

When the two feet in Samhata posture are bent (Kuñcita) and crossed in Svastika with the two little toes touching each other, that [posture] is called Svastika by the learned. 1073-4.

SAŅGĪTARATNĀKARA 165

Vardhamāna

In Vardhamāna the two feet are oblique with the heels touching each other. 1074

Nandyāvarta

If in this posture [i.e., Vardhamāna] itself, the distance between the feet is six Angula-s or one Vitasti only [12 Angula-s], then it is called Nandyavarta. 1075

Samhata

The body is in the natural position, the big toes of the feet touch each other, and the ankles are also close together. This is Samhata, used in offering handfuls of flowers. 1076

Samapāda Where the body is in the natural position and the feet are kept straight at a distance of one Vitasti from each other, it is called Samapāda. So says Śārngadeva. 1077

Ekapāda

If one foot is in the Sama position and the other touches by its outer side [the other leg] above the knee on its outer side, then it is called Ekapada. 1078

Prsthottānatala Where one foot touches the ground at the back by the back of its toes and the other foot is kept in

166 SAMGĪTARATNĀKARA

front in the Sama position, that is called Prsthottānatala by the learned. 1079

Caturaśra

If in the Nandyävarta posture the distance between the feet is eighteen Angula-s, then it is called the Caturaśra posture by experts. 1080

Pārșnividdha

In Parsnividdha, the heel touches the big toe. 1081

Pārsnipārśvagata

In Pārșnipārśvagata, one heel is kept on the inner side of the other. 1081

Ekapārśvagata

If, in front of one foot kept in the Sama position, the other foot is placed obliquely on the external side, it is called Ekapārśvagata. 1082

Ekajānunata

If one foot is kept in the Sama position and the other is placed obliquely with the knee bent at a distance of four Angula-s, then it is Ekajānunata. 1083

Parāvrtta

In Parävrtta, the big toe and the little toe are level with the heel [of the other foot]. 1084

SAŅGĪTARATNĀKARA 167

Samasūci

When the two legs are stretched obliquely with the heels, shanks, and thighs touching the ground, it is called Samasūci. 1084-5

Vişamasūci

When the two feet in Sūci pose are stretched apart simultaneously, one forward and the other backward, it is called Vișamasūci by experts. Some say that in this the two legs must have the knees and ankles touching the ground. 1085-6

Khandasūci

When one foot is in Kuñcita and the other is stretched obliquely with its thigh and heel touching the ground, it is called Khandasūci. 1087

Brāhma

If one foot is in the natural (Sama) position and the other assumes the Kuñcita pose at the back and is [then] thrown up keeping the knee-joint straight, it is called Brāhma. 1088

Vaişnava

Keeping one foot in Sama, if the other is slightly bent (Kuñcita) and stretched forward obliquely, then it is Vaișņava. 1089

168 SAŅGĪTARATNĀKARA

Śaiva

The left foot is in Sama and the other is raised in the Kuncita pose to the level of the [other] knee-cap. This is called Saiva. 1090

Gāruda When the left leg is bent in front and the other leg touches the ground at the back with the knee, it is called Gāruda. 1091

Kūrmāsana When the right leg touches the ground with its knee and the outer side of the ankle, and the left foot is in the Sama position, it is known as Kūrmāsana. 1092 Nāgabandha When, after sitting, the right shank is placed on the back of the left thigh, it is stated to be Nāgabandha by the expert on Karana-s, [Sārngadeva]. 1093

Vrşabhāsana If the knees are kept on the ground together or separated, it is called Vrsabhasana. This posture has Sausthava. 1094

Svastha 4. SITTING POSTURES

Where the two feet are bent and spread out, the chest is slightly raised, and the two hands placed at the thigh and the waist [respectively], that posture is called Svastha. 1095

SAŅGĪTARATNĀKARA 169

Madālasa

One foot is stretched out a little, the other is placed on the seat, and the head is bent on one side. This is called Madalasa. It is employed in intoxication, calamity, despondency, anxiety, and separation. 1096-7

Krānta

When the two hands are placed on the chin, the head rests on the shoulder, and there are a few tears in the eyes, that is called Kranta. It is used in solitude, when under arrest, and when suffering from grief. 1097-8

Vişkambhita When the two thighs are spread out, the arms and legs are spread out beautifully, and the eyes are closed, it is called Viskambha. It is used in Yogic posture, in meditation, and in sitting naturally. 1099-1100

Utkața

When the heels and the hips are on the same level and the feet are on the ground in the natural position, it is Utkața. [It is used] in Yogic posture, in medita- tion, in chanting [religious songs, etc.,] in the morning or evening, etc. 1100-1

Srastālasa

When the two hands are free and hanging loosely, the body inactive, and the eyes dull in appearance,

170 SAMGĪTARATNĀKARA

it is Srastālasa. It is used in failure, fatigue, intoxica- tion, disease, swoon, and fear. 1101-2

Jānugata The posture with the knees kept on the ground is accepted to be Jānugata. It is used in sacrifices (Homa), in propitiating gods, in begging piteously, in looking at animals, in threatening wild animals, and in pacifying angry persons. 1103-4

Muktajānu When one of the knees in the Utkata sitting posture is kept on the ground, the posture is called Muktajānu. It is used in pacifying the anger of a beloved woman, in pouring ghee in the sacrificial fire, and in the appeasing of great persons by good people. 1104-5 Vimukta

Vimukta is falling on the ground, and is used in Hāva, weeping, etc. 1106

5. RECLINING POSTURES Sama

Lying down with the face turned upwards and the hands loose and free is Sama. 1106

Ākuñcita

[Lying down] with the limbs contracted and the knees touching each other is called Ākuñcita. Its use

SAMGĪTARATNĀKARA 17I

is stated by Śrngadeva to be in indicating persons feeling cold. 1107

Prasārita

Lying down pillowed on one arm with the knees stretched is called Prasarita. It is used in sound sleep. 1108

Vivartita

Lying down with the face turned downwards is Vivartita. It is used in indicating someone wounded by weapons, etc. 1109

Udvāhita

Lying down with the head resting on the shoulder and the elbow fixed on the ground is called Udvahita. It is used as a playful pose in front of the lord. 1109-10

Nata

Lying down with the shanks slightly separated and the two hands resting loosely is Nata. It is to be used in sorrow, fatigue, laziness, etc. 1110-1

STYLE (VRTTI)

Style (Vrtti) is the verbal, mental, and physical . activity useful for achieving the aims of human existence (Dharma, Artha, and Kāma). It is to be understood that there are four types [of Vrtti-s]: Bhāratī, Sāttvati,

172 SAŅGĪTARATNĀKARA

Ārabhatī, and Kaisikī. Their origin is now described Bhäratī was born from the Rgveda, Sattvati from the Yajurveda, Ārabhațī from the Atharvaveda, and Kaiśikī from the Sāmaveda. 1111-3 Verbal activity employed mainly by actors, which predominantly consists of sentences in Sanskrit, is accepted to be Bhārati-vrtti. 1114 The mind is called Sattva as it consists of that [consciousness] which manifests the spiritual essence (Sattva); cheerfulness, bravery, generosity, etc., that arise in the mind are Sattvata-s; and the activity which is mainly expressive of such mental dispositions is Sattvatī-vrtti. It is full of the Heroic, Furious, and Marvellous sentiments and is lacking in the Erotic and Pathetic sentiments and the feeling of Detach- ment (Nirveda) since it is based on the vigorous style. 1115-6 The Arabhati-vrtti is the physical activity of enthusiastic soldiers in proximity [the term being thus derived from the words ārāt, 'near', and bhata, ' soldier '] and is used in forceful sentiments such as Raudra. It involves much supernatural magic and adds to the variety [in the depiction] of battles. 1117-8 That which is produced by the gracefulness of words and physical gestures, rich in pleasant songs and dances, and full of the Erotic sentiment, its essence being charm, is declared to be the Kaisikī-vrtti by the doubtless [Sarngadeva]. Through beauty and grace, this style may be employed in sentiments like the Furious also. 1118-9

SAMGĪTARATNĀKARA 173

Āmukha, Prahasana, Vīthī, and Prarocanā-these are the four parts of the Bharati-vrtti according to the sage [Bharata]. The Amukha has five varieties: Udghātyaka, Avalagita, Kathodghāta, Pravartaka, and Prayogātiśaya. The Sāttvatī-vrtti is of four types: Utthāpaka, Parivartaka, Samlāpaka, and Saņghātaka. In the Arabhati also there are four varieties: Samksip- taka, Avapāta, Vastūtthāpana, and Sampheța. In Kaiśiki the four varieties are Narma, Narmasphuñja, Narmasphota, and Narmagarbha. Narma is of three types: Paracittākşepaka, Paropālambhaka, and Roșer- șyāsūcaka. 1120-6 These are applicable [mainly] in dramas and hence their definitions and illustrations are not given by the doubtless [Sarngadeva], fearful of increasing the volume of the text. 1126-7 Literature, music, and dance do not shine if devoid of style (Vrtti) ; hence these Vrtti-s explained by Bharata must be understood [even by those interested in dancing, etc.] 1127-8

WAYS OF USING WEAPONS (NYĀYA-S)

The movement of the body suited to protect oneself from the enemy's weapons or to discharge one's own weapons on the enemy is called Nyaya. Bhārata, Sāttvata, Vārșagaņya, and Kaiśika are its four varieties [corresponding] respectively to the four Vrtti-s. For understanding the definitions of these [Nyāva-s], I sha ll

174 SAŅGĪTARATNĀKARA

now state the Pravicāra-s. Pravicāra-s are those excel- lent (prakrsta) and varied (vicitra) movements and gaits which are meant for discharging weapons. 1128-31 Carrying the shield with the left hand and the sword with the right hand, stretch the hands out in front and draw them back; then rotate the shield on either side; flourish the sword around the head; the hand with the sword is turned round at the wrist encircling the head and the cheek; the shield must also be turned round near the head. 1132-4 In Bhärata [Nyãya] this is the rule, along with the discharge of the weapon once at the waist [of the enemy]. In Sättvata too it is the same procedure, but the flourishing of the weapon should be done at one's back and the weapon should strike [the enemy] at the feet. The Pravicāra ordained for Vārsagaņya is similar to Sättvata, but here in addition the shield must also be flourished at the back and the hand with the weapon should be flourished at the shoulder or the chest, and it must strike the chest. In Kaisika, [the procedure is] as in Bhärata, but the weapon should fall on the head. 1135-8 In these Nyaya-s weapons like the javelin, the spear, the bow, the Vajra, etc., may also be used, with the limbs in Sausthava. The Pravicāra-s are not attractive if performed without Sausthava. The striking should be done only nominally, not actually. Or by means of magic or tricks it must appear as [actual] striking. These Nyāya-s are to be employed along with Cari-s in discharging the weapons. 1139-41

SAMGĪTARATNĀKARA 175

MAŅDALA-S

The Mandala has already been stated to be a combination of Cari-s; now the different varieties [of Maņdala-s] are explained by [Sārngadeva], the intelli- gent expert on Karaņa-s. 1142 Bhramara, Āskandita, Āvarta, Šakațāsya, Addita, Samotsarita, Adhyardha, Edakākrīdita, Piștakuțta, and Casagata-these are said to be the ten Earthly Maņdala-s. Atikrānta, Daņdapāda, Krānta, Lalita- samcara, Sūcīviddha, Vāmaviddha, Vicitra, Vihrta, Aläta, and Lalita-these are said to be the ten Aerial Mandala-s. Depending on the preponderance of the Earthly or Aerial Carī-s [constituting the Mandala-s], the Mandala-s are also referred to as Earthly or Aerial. Their employment is in discharging weapons. The Aerial Mandala-s are important in the movements [depicting] fighting. In enumerating the Cārī-s [in each Mandala], I shall refer to the foot [right or left] by the name of the Cari. A Mandala is not spoilt by the omission or addition of some Cārī-s. 1143-8

1. EARTHLY MANDALA-S

Bhramara The right foot is Janita and the left foot, Spandita; then again the right foot is Sakatāsya and the left foot, Avaspandita; or the right foot is Bhramara and the left, Spandita; again the right is Sakațāsya and the left, Cāagati; again the right foot is Bhramara, and

176 SAŅGĪTARATNĀKARA

finally the left foot is Spandita. This is called Bhra- mara by the learned. 1149-51

Askandita The right foot is Bhramara and the left foot, Addita; again the right is Bhramara, Sakatāsya, and Orūdvrtta successively, and the left foot is Adhyardhika and Bhramara; then again the right foot is Spandita and the left is Sakatāsya, and with that the ground is stamped firmly. This is accepted by the wise as Āskandita. 1151-3

Ãvarta The right foot is Janita and the left foot, Sthit- varta, then Šakațāsya, Edakākrīdita, Ūrūdvrtta, Addita, Janita, and Samotsaritamattalli successively; then the right foot is Sakatāsya and then Ūrūdvrtta; then again the left foot is Casagati and the right, Spandita twice; then the left foot is Sakatāsya and the other foot is Bhramara; afterwards the left foot is Casagati. This is called Āvarta. 1154-7

Śakatāsya Janita, then the seven beginning with Sthitāvarta mentioned before [for the Āvarta Mandala] in their respective order; then the right foot is Sakatāsya and the other, Spandita; then the foot is Sakatāsya succes- sively till the Mandala is completed. This is called Śakatāsya by the experts. 1158-9

SAŅGĪTARATNĀKARA 177

Addita

The right foot is [successively] Udghattita, Baddha, Samotsaritamattalli, Ardhamattalli, and Apakrānta; then again the same foot is Udvrtta, Vidyudbhrānta, Bhramara, and Spandita; the left foot is Sakatāsya, then the other foot is Casagati twice; then the left foot is Addita and Adhyardhika; and then the right foot is Cāșagati; the left is Samotsaritamattalli, Mattalli, and Bhramara; then the right foot becomes Span- dita and stamps the ground. This is called Addita Maņdala. 1160-3

Samotsarita

Take the Samapäda position and stretch the hands upwards keeping them close together; then with Aves- țana and Udvestana movements bring them down to the waist; then make a circular movement first with the right foot and then with the left, and then stretch out the left foot. Thus successively moving round in all the four directions is called Samotsarita. 1164-6

Adhyardha

The right foot is successively Janita and Spandita; then the left does the four Cārī-s, Adhyardhika, etc., given for the Addita [Mandala]; then the right foot is Śakatāsya, and at the end there is a circular movement in all the four directions. This is Adhyardha Mandala to be used in wrestling. 1167-8 12

178 SAŅGĪTARATNĀKARA

Edakākrīdita

After keeping the feet on the ground as in the Sūcīviddha Karaņa, do Sūcī and Viddhā Cārī-s; then [perform] Edakākrīditā and Bhramarī [Cārī-s] fully; then with the feet in Sūcīviddha as before, do Āksiptā Cari-s; finally move round in the four directions. This is known as Edakākrīdita. 1169-71

Piştakutta

The right foot is Sūci and the left is Apakrānta; then the right and left are several times alternately Bhujangatrasita; and at the end the circular movement in all directions (Mandalabhranti) is performed. This is called Pistakutța. 1171-2

Cāşagata

Cāsagati feet throughout, and turning round in a circle at the end is Casagata, used in wrestling. 1173

2. AERIAL MANDALA-S Atikrānta

The right foot is Janita and then Sakatāsya and the left foot is Alāta; then the right is Pārśvakrānta and the other is Suci, and again the same [left] foot is Bhramara. Then the right foot is Udvrtta and the left, Alätaka. Or the two feet in the Chinna Karaņa do the outward turn (Bähyabhramari) in which there is Recaka to the left side. Then the left foot is Atikranta and the right foot, Dandapāda. This is

SAMGĪTARATNĀKARA 179

called Atikrānta Mandala by [Sārngadeva], the favou- rite of Śiva. 1174-7

Daņdapāda

The right foot is Janita and then Dandapada and then the left is Sūci and Bhramara; then the right is Udvrtta and the left is Alāta; then the right is Pārśva- kranta and the left foot is Bhujangatrāsita and Atikrānta; then the right is Dandapada and the other foot is Sūci and Bhramara. This is called Dandapada Mandala by the learned. 1177-80

Krānta

The right foot is Sūci and the left Apakrānta; then the right foot is Pārśvakranta and the left foot in the same way [i.e., in Pārśvakrānta] moves round in all directions; then the left foot is Suci and the right, Apakrānta. This is called Kranta [Mandala] by the great, and indicates natural movement. 1180-2

Lalitasamcara

The right foot is successively Urdhvajanu and Sūcī, the left foot is Apakränta, and the right is again Pārśvakrānta. Then the left foot is Sūci and Bhrama- raka successively and the right foot is Pārśvakrānta. Then the left is Atikranta and the right, Sūci; the left is then Apakränta and the other foot is then Parśva- krānta; then the left foot is Atikrānta; then after keeping both feet as in the Chinna Karana, turn

180 SAŅGĪTARATNĀKARA

round outwards (Bahyabhramari) with the left foot. This is to be known as Lalitasamcara. 1182-6

Sūcīviddha

The right foot is Suci and then Bhramara; then the left foot is Pārśvakranta and Apakranta, and the right is Sūcī; then the left is Apakränta and the right, Pārśvakrānta. This is called Sūcīviddha [Maņdala] by the ancient [scholars]. 1186-8

Vāmaviddha

The right foot is Sūci and the left, Apakrānta; then the right is Dandapāda and the left is Sūci and Bhramaraka; then the right is Pārśvakranta and the left is Äkşipta; then the right is Dandapāda and Ūrūd- vrtta also; and the left, Sūcī, Bhramara, and Alāta successively; then the right is Pārsvakranta and the left, Atikrānta. This is called Vāmaviddha Maņdala by Śārngadeva. 1188-91

Vicitra

The right foot is Janita, Orūdvrtta, and Vicyava; then the seven beginning with Sthitävarta given for Ävarta [Mandala]; then the left foot is Spandita and then the right is Pārsvakranta; then the left foot is Bhujangatrāsita and the right, Atikränta; then the left is Udvrtta and the right, Alāta; then the left foot is Pārśvakrānta or Sūcī; the right foot is Vikșipta, and the left, Apakranta. This is called Vicitra [Mandala]. 1192-5

SAŅGĪTARATNĀKARA 181

Vihṛta The right foot is Vicyava, Spandita, and Pārśva- krānta successively; then the left foot is Spandita; then the right foot is Udvrtta and the left, Aläta; then the right foot is Sūci and the left foot, Pārśvakrānta; then the right foot is Äksipta and after turning round anti- clockwise and clockwise, becomes Dandapāda; then the left is Sūci and Bhramara successively; then the right foot is Bhujangatrāsita and the left, Atikrānta. This is Vihrta Maņdala. 1195-8

Alāta

Do the Süci and Bhramari Cārī-s with the left foot successively, Bhujangatrāsitā Cārī with the right, then Alata with the left foot; having done these Cārī-s six or seven times in sequence, quickly move around in the four directions in Parimandalita form; then the right foot does Apakrāntā and the left, Atikrānta and Bhramarikā with delicate movements. This is called Alāta Mandala by the learned. 1199-1202

Lalita

The right foot is Sūci and the left is Apakrānta; the right is then Pārśvakrānta and Bhujangatrāsita; then the left foot is Atikranta and the right, Aksipta; then the left is successively Atikrānta, Urūdvrtta, and Alãta; then the right is Pārśvakranta and the left, Sūcī; the right is again Apakrānta; the left is Atikrānta and steps delicately. This is called Lalita Mandala. 1202-5

182 SAŅGĪTARATNĀKARA

LĀSYĀNGA-S [OF THE DEŚI TYPE]

Cāli, Cālivada, Ladhi, Sūka, Urongaņa, Dhasaka, Angahāra, Oyāraka, Vihasī, and Mana-these ten ele- ments of Läsya are known in the Desi style, according to the experts on Deśi style. 1206-7

Cāli Cali is the simultaneous movement of the feet,. thighs, hips, and arms. [It should be] soft, grace- ful, and attractive, in accordance with the Tāla-s and neither too quick nor too slow, and mostly oblique. 1207-9

Cālivada The same is called Calivada when performed quickly and mostly with straight movements. 1209

Ladhi

Ladhi is accepted to be the simultaneous move- ment of the hips and the arms, which is soft, oblique, and graceful. 1209-10

Sūka

Sūka is the rhythmic movement, either slow or quick, and full of feminine charm (Häva), of the ears shining with beautiful ornaments. 1210-1

Urongaņa The graceful oblique movement, slow or quick, of the breasts and the shoulders is called Urongana by the experts. 1211-2

SAŅGĪTARATNĀKARA 183

Dhasaka

Dhasaka is the rhythmic bending down of the breasts with extreme grace. 1212

Angahāra

The gradual bending of the two halves of the body in the form of a bow, gracefully to time is Angahāra. So says the doubtless [Sārngadeva].

Oyāraka 1213

Oyaraka is accepted to be the slightly oblique, downward movement of the head. 1214

Vihasī

Vihasī is the smile which is full of the sentiment of love, which is different from the trained [smile], and which has an extremely subtle and hovel charm. 1214-5 Mana

Mana is accepted to be that which has the tempo of the Sthaya belonging to songs, etc. 1215

REKHĀ

Rekha is declared to be that position of the body, attracting the mind and the eyes, where there is a harmonious combination of the various [poses of the] major limbs (Anga-s) like the head, eyes, and hands. 1216

184 SAMGĪTARATNĀKARA

PROCEDURE FOR PRACTICE

After worshipping the Lord of Obstacles (Gana- pati), the Goddess of Speech (Sarasvatī), Brahmā, Vișnu, and the great Siva, the stage, the presiding deities [of the stage], the cymbals and musical instru- ments, in their respective order, and also the teacher, the dancing girls, the two pillars and the bar, by means of fragrant unguents like musk and sandal paste, white fragrant flowers, incense, and lights, various offerings of food and dress, betel leaves and oblations, the intelligent dancer should start the practice at an auspicious time. 1217-20 A bar should be placed on two pillars, horizontally, at the level of the girl's breast so as to be held [conveniently] by the hands for support. Putting on a white dress and tightening the jacket, the chaste and intelligent girl should, supporting herself on the bar, practise the movements of the limbs and learn Valana, Sthāpana, Rekhā, Tālasāmya (tallying with the time- beat), the Laya-s and the Anga-s and all the accessories of the Läsya dance explained before, and also learn to follow the singing and the instruments. 1220-3

A PERSON FIT FOR DANCING

Generally in Nrtta, the person fit to perform the dance movements is a female dancer. [Such] persons are well known to be of three types: Mugdha (shy), Madhyā (normal), and Pragalbha (bold and con- fident). 1224

SAŅGĪTARATNĀKARA 185

The definition of Mugdha, etc., is proclaimed respectively by the three types of youthfulness. 1225 The first type of youthfulness [adolescence] is accepted to be that which is eager for the kind of amorous dalliance in which the lips, the full breasts, the cheeks, hips, and thighs are concealed [due to shyness]. 1225-6 The second type of youthfulness is explained by the fearned as the life of Love, with heavy thighs and hips, and with large, hard, high, and firm breasts. 1226-7 The third type of youthfulness is known to be that which has a maddening charm, is clever in perfect amorous dalliance, and has feelings tutored by Cupid [himself ]. 1227-8 There is also a fourth type of youthfulness in which there is little enthusiasm; and in which the lips, the big breasts, cheeks, and hips are weak [and exhausted]. A person having this type of youthfulness is called Atipragalbha (over-mature). Since it tends towards old age and is devoid of charm, it is not accepted by the learned.[as suitable for dancing]. 1228-30 A child, being devoid of [originality of] imagina- tion, does not please the learned, as a suitable person for dancing. 1230

MERITS OF THE DANCER

Beauty of limbs, perfection of form, a charming and full face, large eyes, lips red like the Bimba fruit,

186 SAŅGĪTARATNĀKARA

attractive teeth, a neck beautiful like the spiral conch, arms straight like moving creepers, slender waist, hips which are not too heavy,1 thighs resembling the trunk of an elephant [or having the form of the metacarpus], not being too tall, crippled, or too fat, not having prominent veins, being conspicuous in charm, beauty, sweetness, courage, and generosity, and being either fair or dark in colour-these are accepted by the learned as the merits of the dancer. 1231-4 That dancer who by means of delicate movements of the body, beautiful rhythms, and correct timing seems to bring out the very letters of the songs and instrumental music, and who seems to make visible through her limbs the sound of the songs and instru- ments and dances carrying her limbs like flowers, fully manifesting the Rasa, is stated to be the best dancer by the expert on Karana-s, [Sārngadeva]. 1234-6

DEFECTS OF THE DANCER

The lack of these [merits] severally or in combina- tion constitutes the defect. The merits and defects of the dancer must be well examined if the dance is to be successful. It is stated in the Mārkandeyapurāna2 that the dance depends entirely on the dancer. The dance of a beautiful dancer is successful; success depends

1 The text should be madhyānatisthūla. 2 The reference is found only in the third section of Visnu- dharmottarapurāņa.

SAMGĪTARATNĀKARA 187

on nothing but beauty. Real dance is that in which the dancer is beautiful; the rest is imitation. 1237-9

DECORATIONS OF THE DANCER

At the back, a waving [loose] knot of very black,. glossy, and abundant hair with bright strings of flowers on it; or a straight and long braid [of hair] decorated with a string of pearls; the forehead having curly locks. of hair arranged on it; a beauty-spot made on the forehead with musk, sandal-paste, etc .; the eyes deco- rated with collyrium; on the ears, tālapattra (cylindrical ear-ornaments) of brilliant beauty; the two rows of teeth lighting up the stage with their radiance; the cheeks marked with streaks of musk; a garland of pearls round the neck; strings of large pearls decorating the breasts; the forearm having golden bangles studded with fine gems; the fingers having rings set with rubies, sapphires, diamonds, etc .; the body smeared with sandal-paste or with saffron; garments of white silk, etc .; a fine jacket or a short petticoat with a tight- fitting bodice, depending on the customs of various places-these or other things should be suitably used as decorations for the dancer who may be dark or fair in colour. So says [Sārngadeva], the devotee of Śiva. 1239-47

THE TEACHER

A man of personality, who knows the science of dancing [i.e., the movements of the body, its

188 SAŅGĪTARATNĀKARA

dependence on timing and tempo, etc.]; who is clever in beginning and concluding [the songs and instrumental music], who knows well the [three] Graha-s [Sama, Atīta, and Anāgata of the Tna]; who knows how to play on the [various] instruments; who is well versed in the knowledge handed down by tradition [through teachers]; who knows the truth about the beauty of sounds; who is conversant with the excess or deficiency of the Sthaya-s [of Rāga-s]; clever in the tempos [Druta, Madhya, and Vilambita] and time-measure- ments [Tāla-s like Caccatpuța]; who can create instru- mental compositions (Vadyaprabandha-s); who is an expert in Mukhavādya (the sounds of drums, etc., repeated orally by the cymbal-bearer); who can origi- nate new styles [in song, dance, and instrumental music]; who is clever in teaching pupils; who can establish the rules about dance, songs, and instrumental music; in whose heart the dancer enters, or who himself enters the heart of the dancer; who is capable of attracting people, and who knows the defects and the [proper] performance of dances-he is the dance teacher. 1247-51

THE DANCE TROUPE (SAMPRADĀYA)

Where there is one excellent Mukharin (leader of the troupe); 1 one Pratimukharin (chief assistant); two

Vādyādhyāya. 1 For descriptions of the various instruments, see Vol. III,

SAŅGĪTARATNĀKARA 189

Avajadhara-s [those who play the Āvaja, a kind of percussion instrument]; two [players on the] Addāvaja (percussion instrument); two Karatädhara-s [those who play the Karata, a kind of percussion instrument]; thirty-two good Mardaladhara-s (Mardala drum players); two Taladhara-s (cymbal players); eight persons playing bell-metal cymbals; two persons playing on the Kahala (a wind instrument); two flute- players having a discriminating taste who can play with distinct, sweet, and full sound, (four of these persons who can play with a sweet sound would be better); two main singers along with eight [other] singers; two main female singers along with eight other female singers; and among these two, one dancer, with all the merits [of a dancer], brightening the troupe; all these being beautiful and beautifully deco- rated, clever in synchronizing the songs, etc., and with their hearts blooming with joy-that is the best troupe, and it is called Kutila in the world; half of that is called Madhyama (medium); less than that, is called Kaniștha (small). 1252-8

MERITS AND DEFECTS OF THE TROUPE

Following the Mukharin, his tempo (Laya), filling any deficiencies, and following the timing (Tala)-these four are the merits of the Kutila [troupe]. The lack of any of these merits is a defect in the troupe. 1258-9

190 SAMGĪTARATNĀKARA

THE PURE STYLE (ŚUDDHA-PADDHATI)

When the chief spectator has taken his seat along with those learned in music and dancing, the members of the troupe enter the stage and, standing, harmonize the various instruments and with concentrated mind play the Melapaka Prabandha, and then Gajara. Then behind the curtain, the dancer should take flowers in her folded hands and stand taking a posture (Sthānaka) which has Sausthava.1 Then when the Upaśama is begun and the curtain has been removed, the dancer, attracting the minds of the spectators, should enter the stage. 1260-3 When the players are playing instrumental com- positions like the Upaśama, she should throw the hand- ful of flowers at the centre of the stage in a beautiful curve, for the eldest god (Indra) himself occupies the centre of the stage. Then, full of joy, the dancer should dance carefully by means of the Nrttānga-s alone, along with the playing of the Upaśama. 1264-6 Pada, Otā, Kavita, Malapa, Avatsaka, Rigoņī, and Tudukā-while these compositions are being played in their entirety, in a definite order, or in any order made to suit one's wishes, the dance should be performed on the left and the right (Visamānga), or forwards (Samanga), or both [i.e., in all three directions]. 1266-8 Then when the pure Prabandha-s are being sung in any order one likes, the dancer must perform the three types of dance, after making her appearance. At

1 Cf. v. 1037.

SAŅGĪTARATNĀKARA 191

the end of the Gajara, if the Upaśama is not played, the dancer must enter [the stage] in the beginning [of the Gajara]. So say the experts. 1268-70 Thus this method is explained; it is called Parividi by the people. Others say that the playing of the Samahasta [Pāța] 1 must be before the entry [of the dancer]. According to them the entry is [made] standing in the Samapäda posture with the proper Sausthava, while Pāta-s like Samahasta [are being played]. 1270-2 Some [scholars] say that the songs and the Mukha- vādya must be employed separately. Some people desire the use of songs, etc., one after the other. 1272-3

GAUŅŅALĪ-VIDHI

Devoid of vigorous instrumental compositions [like Otā and Kavita] and of songs like Elā, and accompa- nied by [vocal] Sālagasūda compositions like Dhruva,2 [the dancer] dances with gentle movements of the limbs, using the Läsyanga-s. [She] herself sings and plays on the Trivali instrument. That dancer is called Gaundali. Here some [authorities] do not accept the playing on the instrument [as necessary for the Gaun- dalī]; the wearing of the Trivali on the shoulder is not decent for a girl. The same person [Gaundalī] who does not sing vocally is called a Dumb Gaundali (Mūkagauņdalī). The Gauņdali's dress is said by 1 See vol. III, Vādyādhyāya, v. 843. 2 See vol. II, Prabandhādhyāya, v. 311 ff.

192 SAMGĪTARATNĀKARA

experts to be that of the Karņātaka country. Figura- tively her dance is also called Gaundali. 1273-7 The style of that dance is called Gaundalīvidhi by those who know it. It is also called the provincial style (Desīpaddhati) [in contrast to the pure style]. We now describe it. 1278 The members of the troupe (Sāmpradāyika-s) are dressed in the Karņātaka style. As in the previous case, the instruments (Atodya-s) are played simul- taneously. Then Melāpaka is to be played carefully in Ekatālī; then Gajara is played in any Tāla. When [its] Upaśama section has been begun with Nihsāru or Ekatālī, the dancer enters and throws a handful of flowers at the centre of the stage. Then after showing [separately] the movements of the limbs to the left and the right and forwards, dance movements in all three directions are performed only at the Upaśama of Gajara. 1279-82 Then along with Rigoni [one of the Vādyapra- bandha-s] accompanied by Addatāla, Niḥsāru, and Ekatālī [Sālagasūda vocal compositions] and after- wards with Avatsa and Kavita [Vādyaprabandha-s], without any restrictions of Tala, the dance should be successively performed. 1283-4 Again [she] should dance in various ways accom- panied by Rigoņī and Uttavaņa [Vādyaprabandha-s]. When the instruments have stopped and the Sthana [Mandra etc.] has been indicated by the flutists (Vämsika-s), she sings together with them. Then the Gaundali dancer recites the Sthäyin with the fourfold

SAŅGĪTARATNĀKARA 193

Alapa of the Raga. Or another important singer may make various Alapa-s [of the Räga]. After singing the Dhruva completely with any Tāla other than Manthaka and Pratimantha, while the Jakkā [Yati] is played, and the Dhruvakhanda is being constantly sung softly by singers with Melaka-s, some dance which is attractive to the mind by displaying [the Lāsyānga] Mana, is performed. Then when the vocal and the instru- mental music has stopped, while dancing to the various Sthāya-s, Dhruvapada-s should also be fre- quently danced to. 1284-9 Having danced to some [of the Sthäya-s] with the Tala alone of the song [without the words], to others with the Tala and the words of the songs, [the Sthãya-s being] neither too long nor too low, and pleasant with sweetness and dignity, and full of charm; or [having done them] without any Tala in the beginning, the later portions having the proper Tāla-s, the dance should be ended in the Dhruva portion [of the song]. At the Kalasa [the conclusion], the players should beat the drums simultaneously. At the conclusion the dancer must remain motionless as in a picture. 1290-2 Thus doing, the procedure having been adopted again as before, the dancer must perform the dance when the Dhruva portion is being sung. Then when the instrumental artists play the Abhoga [last section of the Dhruva], [the dancer] must again dance. When the end of the song is near, the Gaundali dancer must vigorously perform the dance with various dignified Cārī movements and Cālaka-s. 1292-5 13

194 SAMGĪTARATNĀKARA

Here [at the end of the Dhruva Khanda] again the beating of the drum is desired. Then [the music] being brought to an end simultaneously by the instru- ments, the conclusion [of the dance] should be made. 1295-6 After thus performing the dance with the Dhruva [vocal composition], the dance should be performed in turn with Manthaka, etc., in the same way as with the Dhruva. The distinctive features [alone] of these [dances] are now explained. 1296-7 In Mantha, etc., there is dancing only for the Dhruva portion, [not for the Sthāya-s]. But in Mantha, the dance in the beginning must be with the Mantha Tala; then it is with Ekatali that the Mantha dance progresses. 1297-8 In Pratimantha, etc., the dancing is done with their respective Tala-s. In these Salaga songs, the dance must be based on quick tempo (drutalaya). In the case of Tāndava dance, a slow tempo (vilambitalaya) is always recommended by scholars. 1299-1300 Where, having danced thus to the [seven] Rūpaka-s (compositions?) of the Sālagasūda type [beginning with Dhruva and] ending with Ekatāli, the dance is concluded, it is the Gaundalīvidhi. 1300-1

PERAŅIN

With the body smeared over with white [colouring] powder such as ash; with the head shaved leaving a [small] tuft of hair; having a number of shining anklet-

SAŅGĪTARATNĀKARA 195

bells (Ghargharikā-s) tied to the shanks; with a good voice; one who is clever in the five elements; an expert in the art of timing and tempo, who dances so as to attract the mind of the audience-he is Peranin. 1301-3 The five elements are stated by [Sārngadeva], the favourite of Siva, to be Gharghara, Visama, Bhāvāśraya, Kavicāraka, and Gīta. 1303-4

Gharghara Of these Gharghara is accepted to be the special training in the sounding of anklet bells. Padivāta, Apadapa, Siripāța, Alagapāța, Sirihira, and Khaluhula -- these six kinds of Gharghara-s are accepted by the learned. 1304-6

1. Padıvāța The up-and-down (Kuttana) movement on the ground of both the heels one after the other, or of one heel, with the forepart of the feet held to the ground is Padivāța. 1306-7

2. Apadapa Striking the ground with the sole of the foot with an up-and-down movement is Apadapa. 1307

3. Siripāța Sliding the foot forward and backward repeatedly with the sole holding the ground is Siripāta. 1308

4. Alagapāța Shaking both the feet gently in the air one after the other is called Alagapāta. 1309

SAŅGĪTARATNĀKARA 197

Gīta Here Gita refers to the Salaga [songs] prescribed for the Gaundali. 1316

PERAŅĪ-PADDHATI

As in the case of the Gaundali style, here also the members of the troupe on the stage should produce the deep sound of instruments 'Dhi, dhi, dhi, dhi'. Then, while three Pada-s based on Rigonī and Uttavana [Prabandha-s] are played twice, mainly in slow tempo and in Nihsaru Tala, there should enter on the stage [an actor] with grotesque speech, dress, and ornaments, whose head is clean-shaven (Attabodaka). While he is dancing, producing only the Comic sentiment, the Peranin dancer enters. After entering he performs his dance after the conclusion (upaśama) of the Rigonī Prabandha. When all the musical instruments have stopped and while the cymbal-players (Tāladhara-s) together play expertly the Tala named Garugi, or the [Tāla named] Sarasvatīkaņțhābharaņa, and the instru- mentalists (Vādaka-s) produce deep (Mandra) sounds on instruments like the Mardala, simultaneous with the Tāla sound, the Peranin dancer makes various Ghar- ghara-s like Apadapa. Then he must dance Utpluti- karaņa-s [Vișama, mentioned above] to the Niḥsāru Tāla, accompanied by the Kavita [Prabandha] which is either Kūțanibaddha or Varņasarātman. Then along with Sālagasūda [compositions] he must demonstrate Rekhā, Sthāpana, attractive modes of sounding the

198 SAŅGĪTARATNĀKARA

anklet-bells (Gharghara), Gita dancing, difficult jumps (Vișama) in consonance with Praharaņa [Vādyapra- bandha], and while the Abhoga is being played, Kavicāra-s and Bhāvāśraya-s in Peraņīpaddhati. 1316-25

ĀCRYA

The Acārya is declared to be the person who knows the theory and practice of the triple symphony [dance, song, and instrumental music]. He must be eloquent of speech, handsome in appearance and dress, an expert in praising in a pleasing manner, humorous in assemblies, and an expert in playing musical instruments. 1325-6

THE ACTOR (NAȚA)

: An actor is an expert in the four kinds of histrionic representation (Abhinaya), who knows the various types of plays like the Bhāņa. 1327

THE DANCER (NARTAKA)

A Nartaka is defined by experts as one who is [well] trained in the traditional dance. 1327

VAITĀLIKA

The Vaitalika is considered by the wise to be one who knows well the various languages, who can amuse

SAMGĪTARATNĀKARA 199

the people of the assembly, and who is clever in criticizing others. 1328

CĀRAŅA

The Carana is accepted to be one who knows the Kinkiņīvādya, who is surrounded by dancers in dis- guise [dancers of Vikata],1 who knows the vital points of all Räga-s, and who is clever. 1329

KOHLĀȚIKA

The Kohlātika is accepted to be one who can carry a heavy burden, who is well versed in Bhrama- rikā, etc., who is clever in rope-walking, who is an expert in dancing with a dagger, and who is clever in using weapons. 1330-1

THE AUDIENCE

People of moderate views, attentive, eloquent speakers, experts in Nyäya, who know the right and wrong types of dancing, having the neck bent because of modesty, without pride, knowing well the Rasa-s and Bhäva-s, clever in the triple symphony, who criticize those who are not talking correctly, clever, free from jealousy, and with hearts overflowing with Rasa-these are [fit to be] the members of the assembly. 1331-3

1 Cf. v. 32.

200 SAMGĪTARATNĀKARA

THE PRESIDENT OF THE. ASSEMBLY

Of an amorous disposition, generous, honourable, one who can discriminate [the qualities] of the body and of the dancers, wealthy, one who responds to even a modicum of merit, interested in entertainments, eloquent, free from jealousy, clever in making jokes, intelligent, of a dignified disposition, skilful in all the arts, rich in the detailed knowledge of all the Sastra-s, desirous of fame, pleasing in speech, one who under- stands the thoughts of others, judicious, with a good memory, having an exceptional knowledge of the triple symphony [dance, song, and instrumental music], one who knows how to give gifts, one who has all the instruments [and other paraphernalia], one who knows the distinctions between the Deśi (provincial) and Mārga (classical), one who can distinguish deficiencies and excesses, learned, bold and impartial mediator, having command over his attendants, capable of aesthetic appreciation, full of Rasa, truthful, of noble birth, having a gracious face, steady in affection, grateful, an ocean of kindness, virtuous, fearful of sins, a friend of scholars-such a man is [fit to be] the president of the assembly. 1334-40

THE SEATING OF THE ASSEMBLY

The brilliant [multi-coloured] dancing hall must be decorated with many flowers. It must be rich with various awnings and adorned with jewelled pillars.

SAŅGĪTARATNĀKARA 201

There the President must occupy the beautiful lion- seat; to his left, the members of the harem and to his right, the chieftains; behind the chieftains should be the secretary of the treasury; 1 near them are scholars well versed in worldly and Vedic lore; poets of aesthetic taste, clever in the various styles, are also here. In the centre of the scholars should be seated honoured phy- sicians and astrologers. On the right side is the assemblage of ministers; there itself are to be seated the chiefs of the army and others. Men and women of aesthetic taste should be around the members of the harem and in front of the king [the president of the assembly]. Behind the king are to be girls full of beauty and youthfulness, carrying beautiful chowries, making the minds of the people [audience] blissful through the jingling sound of their bangles. Sitting on the left side [of the king] in front are the com- posers of songs (Väggeyakāraka-s),2 story-tellers, bards, scholars, flatterers, clever in praising, and others clever in all the [different types of] Mātu-s (words of a song). Then the attendants [of the king] are to be seated round about them. The assembly should also have clever men holding canes. The bodyguards [of the king] should stand on all sides with weapons in their hands. Seating the audience thus, the king witnesses the dance and music. 1340-50

1 The text might read kośaśrīkaranādhipah. 2 See Prakīrņakādhyāya, v. 2.

THE NINE SENTIMENTS .(RASA-S)

THE wise desire this triple symphony [song, dance, and instrumental music] to be prominent in Rasa-s. So we now deal with Rasa-s through the method of generalization and noting of special features. 1351 Produced by the Determinants [or causes] (Vibhāva-s), Consequents [or results] (Anubhāva-s), and Transitory Moods (Vyabhicāribhāva-s) that reside in the actor, without having as basis oneself, another, a friend, an enemy, etc., and free from any distinction due to the distinctions of nature, place, and time; receptive only to the pure Sthāyibhāva (Permanent Mood) such as Love (Rati), Laughter (Hasa), etc., and therefore, owing to the lack of any impediment, founded on complete peace; different from intuition, sensation, recollection, and other kinds of knowledge; dissimilar to the knowledge of Brahman [in] being based on various Permanent Moods like Rati; blissful, self- revealing knowledge called enjoyment; that is Rasa. Or Rasa is the Permanent Mood when it is revealed through enjoyment. 1352-6 Just as by various ingredients [of cooking] such as curd, and vegetables like turmeric, and articles such as sugar lumps having a sweet or other flavour, prepared

SAŅGĪTARATNĀKARA 203

in a particular way, the Rasa called Sādava (the six-flavoured) is produced, so also by the employ- ment of Determinants (Vibhāva), etc., Rasa (sentiment) is produced. 1356-8 There are nine accepted Rasa-s: the Erotic, (Śrngāra), the Comic (Hāsya), the Pathetic (Karuņa), the Furious (Raudra), the Heroic (Vira), the Fearful (Bhayānaka), the Odious (Bibhatsa), the Marvellous (Adbhuta), and the Tranquil (Sānta). 1358-9 Since the Tranquil sentiment can be effected only by Quietude (Sama), and since that cannot exist in the actor, there can be only eight Rasa-s in dramas-so say some people. That question cannot be raised, however, for the actor does not enjoy any Rasa. The audience tastes the Rasa; the actor is recognized as the vessel [out of which they taste it]. It is but reasonable that those clean-hearted people, who are concentrated of mind, enjoy the Tranquil sentiment produced by its own Determinants (Vibhāva-s). 1359-62 Love (Rati), Laughter (Hasa), Sorrow (Soka), Anger (Krodha), Energy (Utsāha), Fear (Bhaya), Disgust (Jugupsa), Astonishment (Vismaya), and Detachment (Nirveda)-these nine are the Permanent Moods. 1362-3 Some people have said that Disgust (Jugupsā) is the Permanent Mood in the case of the Tranquil sentiment. Some say it is Enthusiasm (Utsāha), others that it is Quietude (Sama), and yet others say that all these together [form the Permanent Mood of the Tranquil sentiment]. 1363-4

204 SAŅGĪTARATNĀKARA

Having explained the Permanent Moods, when the time comes for [explaining] the Transitory Moods (Vyabhicāribhāva-s), the sage [Bharata] refers first of all to Detachment (Nirveda) even though it is inaus- picious. Therefore he certainly thought that it [i.e., Nirveda] can be both a Permanent and a Transitory Mood. [The word] being in the middle, it can be taken either along with the previous [i.e., Sthāyi] or with the subsequent [i.e., Vyabhicäri] word through association. 1364-6 This [Nirveda] is a Permanent Mood if it is pro- duced by the knowledge of the real truth about things of this world; and it is a Transitory Mood if it is produced by the loss of beloved persons or the advent of misfortune. 1366-7 Detachment (Nirveda), Fatigue (Glani), Appre- hension (Śankā), Cruelty (Augrya), Depression (Dainya), Envy (Asūyā), Intoxication (Mada), Weari- ness (Srama), Anxiety (Cinta), Contentment (Dhrti), Recollection (Smrti), Shame (Vrīdā), Distraction (Moha), Indolence (Alasya), Inconstancy (Cāpala), Joy (Harsa), Indignation (Amarsa), Despair (Vișāda), Possession (Apasmāra), Stupor (Jadatā), Deliberation (Vitarka), Dreaming (Supta), Impatience (Autsukya), Dissimulation (Avahittha), Assurance (Mati), Awaken- ing (Vibodha), Sickness (Vyādhi), Insanity (Un- - māda), Arrogance (Garva), Agitation (Āvega), Death (Mrti), Fright (Trasa), and Sleep (Nidra)-these are the thirty-three Transitory Moods (Vyabhicāri- bhāva-s). 1367-70

SAMGĪTARATNĀKARA 205

Stupefaction (Stambha), Perspiration (Sveda), Horripilation (Romañca), Change of Voice (Svara- bheda), Trembling (Vepathu), Change of Colour (Vaivarņya), Tears (Āśru), and Unconsciousness (Pralaya)-these are the eight Temperamental States (Sāttvikabhāva-s). [These are the natural outward signs of internal feelings]. 1370-1 The sources of the Comic (Hasya) sentiment are the improper manifestations of the Erotic senti- ment, etc., (rasābhāsa-s) disfigured [changed] owing to the Determinants, etc., being placed in improper objects. 1371-2 The killing of one's relatives is the result of the Furious sentiment and it is the cause of the Pathetic sentiment-so say the learned; hence the Furious is the cause of the Pathetic. It is for the same reason that the Furious is called the cause of the Fearful sentiment. 1372-3 The development of the Pathetic sentiment is desirable from the Erotic sentiment of the Vipralambha type (Love in Separation). Wise men have said that the Heroic sentiment is the cause of the Fearful and the Marvellous sentiments. 1374 The laughter of the Vidusaka is the cause of mirth in the hero. When there is the Odious, senti- ment, the Fearful sentiment may be produced in the case of the timid, since there is similarity of Transitory Moods, caused by excitants such as blood, Distraction (Moha), etc. Thus these Rasa-s produce and are produced by one another. . 1375-6

206 SAMGĪTARATNĀKARA

Dark, pale, grey, red, fair, black, blue, yellow, and white-these are respectively the colours of the nine Rasa-s. Vişnu, Manmatha, Yama, Rudra, Indra, Kāla, Mahākāla (Siva), Brahman, and Buddha 1-these are respectively the presiding deities of the [nine] Rasa-s. Others say that Kama is the deity of the Erotic sentiment. 1377-9 Now I shall state the particular definitions of [the various] Rasa-s, etc., in their order. 1379

The Erotic Sentiment (Srngāra) By Determinants (Vibhäva-s) such as the lover and the beloved [and other Exciting Determinants or Uddīpanavibhava-s] created by the poet in his work and brought before the eyes, as it were, by the actor by means of his performance, the Permanent Mood of Love (Rati) is made palatable to the spectators; by means of Consequents such as the Kānta glance exhibited by the actor, this [Permanent Mood] is made very intense; variety is created by the Transitory Moods such as Joy (Harsa) and Anxiety (Cinta). Then it [the Permanent Mood] is called the Erotic sentiment by the learned Sārngin (Sārngadeva). 1380-2 Sambhoga and Vipralambha are stated to be its two stages; their definitions are respectively the union with and the separation from the beloved person. Love (Rati) is the Permanent Mood of pleasure with identity of feeling between a young couple of the highest type arising from perfect happiness, pervading 1 The reading Budha seems to be a mistake; cf. Nātya-śāstra.

SAŅGITARATNĀKARA 207

from the beginning till fruition, and filled with sexual love. 1383-5 The causes for the production of the Permanent and other [Transitory] Moods seen in the world, when presented by the great poets and made visible, as it were, by the actors, produce Rasa-s. They are Deter- minants (Vibhava-s) since they determine [produce] the Rasa-s. 1385-6 A handsome man and a beautiful maiden [they are the Basic Determinants or Alambanavibhāva-s], over- come by ardent love; characters like a female messenger, the woman's confidante and others; ornaments appro- priate to each one, such as a crown, or a bracelet; the time, like the spring; things like sandal-paste; also music and the like; a place, such as a beautiful mansion or a garden [or a forest]; imitating the lover; looking at a swan-couple, paintings, etc .; water-sports-these, seen or heard, are well known as the Determinants in the Erotic Sentiment. 1387-90 The effects of the Moods [Permanent as well as Transitory] which are represented by clever actors are Anubhāva-s (Consequents), so called because they are the causes in the realization of their own causes [i.e., the Permanent or Transitory Moods].1 1390-1 They [the Consequents] lead towards, or make known, the Moods (Bhava-s); hence they are called by the term 'Abhinaya' also, though they are only simulated by the actors. 1391-2

1The Moods are made to be felt (anubhavyate) by these effects; hence they are called the Anubhava-s or Consequents.

208 SAMGĪTARATNĀKARA

The [amorous] glance called Kānta,1 the pupils of the eyes with the [Kațāksa] movement 2 producing happiness, the eyebrows in the Catura pose,3 a clear and sweet voice, the various Temperamental States represented by Horripilation, Change of Colour, etc .- these form the Consequents enriching the Erotic senti- ment. Here [in this sentiment] all other than Indolence (Ālasya), Cruelty (Augrya), and Disgust (Jugupsā) be- come Transitory Moods; the three Transitory Moods beginning with Indolence should not be represented as existing in one's own Basic Determinant (Vibhāva).4 These are accepted to follow the course of Love in Union (Sambhoga). 1392-5 In Love in Separation (Vipralambha), the Kānta glance, etc., are not desired as Consequents. Appre- hension (Śańkā), Envy (Asūyā), Weariness (Śrama), Impatience (Autsukya), Detachment (Nirveda), Fatigue (Glāni), Death (Mrti), Insanity (Unmāda), Sickness (Vyādhi), Possession (Apasmāra), Awakening (Vibo- dha), Stupor (Jadatā), Depression (Dainya), Sleep (Nidra), Dream and Drowsiness (Supta), and Anxiety (Cinta)-by the Consequents associated with these Transitory Moods, Love in Separation is repre- sented.5 1396-8

1 cf. v. 383. 2 cf. v. 384. 3 cf. v. 439. 4 These three Transitory Moods should not be employed as existing in the same person in whom love is being depicted. Disgust is a Permanent Mood of the Odious sentiment, but then all Permanent Moods could be Transitory Moods in the case of Rasa-s other than their own. 5 The reading of 1396 should be śankāsūyā.

SAŅGĪTARATNĀKARA 209

An extremely bad stage of Insanity (Unmāda), etc. [i.e., Possession, Sickness, etc.] should not be shown here. Death also should not be shown actually [on the stage], but the happy stage arising subsequently may be shown, to indicate it [death]. It can also be represented indirectly by words. 1398-1400 Now [it may be asked]: How is it that Love in Separation, which is full of sorrow, is accepted as a Rasa? This question does not arise, as in Love in Separation, we find the continuous suggestion of love. Even in Love in Union, the apprehension arising from [possible future] separation is certainly un- avoidable. Thus each relieves and enriches the other and therefore the two can very easily be relished [and can be Rasa-s]. If it has the same [monotonous] form, like sugar, it will not be capable of being relished [continuously] for a long time. 1400-2 In Love in Union, Sleep (Nidra) too [like Awaken- ing] does not exist. [The question is asked]: For those who are longing for each other, there is Awakening. Why should it be described exclusively for Love in Separation? 1403 This argument is not acceptable. Awakening (Vibodha) is only the end of Sleep (Nidra). How can it exist without the latter [Sleep]? 1404 If it is said that there is Sleep (Nidrā) even in Love in Union, due to the exertion of love dalliance, that is not so; for even though it may exist in Union, it should not be depicted since that is against the development of love. 1404-5 14

210 SAŅGĪTARATNĀKARA

If it be said that since the Transitory Moods such as Anxiety (Cinta) are common to both the Pathetic sentiment and to Love in Separation, there is no difference between the two, that is not correct; the Pathetic sentiment has Sorrow as the Permanent Mood; while in Love in Separation, the Permanent Mood is Love. The distinction is based on the difference in the Permanent Moods. 1405-7 Now [it may be said]: Let there be the distinction in the case of the highest type of characters. But in the case of low characters, since there is no possibility of Exciting Determinants (Uddīpanavibhāva-s) such as garlands, etc., there can be no love; and then how can there be the Erotic sentiment of the Vipralambha type? Therefore, in that case, the Pathetic sentiment arising out of separation from the loved one is clear. In the case of low characters the sentiment of Love in Union is also impossible, since there are no [Exciting Determinants] garlands, etc. 1407-9 That is not correct, for Love in the case of a low character arises from the Basic Determinant (Alambana- vibhāva), namely, the woman alone. Otherwise, even in separation how can there be love, since there are no [Excitants such as] garlands, etc .? 1409-10 Love in Separation, in which the Transitory Moods such as Anxiety are weak because of the hope [of re- union], is different from the Pathetic sentiment which is produced by hopelessness towards the beloved. 1410-1 The Kāma Sāstra has mentioned ten conditions in love. Longing (Abhilāsa), then Anxiety (Cintā),

SAŅGĪTARATNĀKARA 211

Recollection (Anusmrti), Enumeration of [the beloved one's] Merits (Gunakirtana), Distress (Udvega), Lamentation (Vilāpa), Insanity (Unmāda), Sickness (Vyādhi), Stupor (Jadatā), and Death (Maraņa)-these are the ten stages of love. 1411-3 The enjoyer [the hero] is the most important person; the woman [the heroine] who is the object of enjoyment is only a subordinate; therefore her attach- ment towards another man produces an interruption to the sentiment. On the other hand, the enjoyer [hero] being independent, there is no interrup- tion [of the sentiment] if he has other beloved ones. 1413-4 The Erotic sentiment is of three types, differen- tiated by words, by costumes and make-up (Nepathya), and by the movements of the body. The dress and make-up of the actor indicative of [the hero] Rāma, etc., is called Nepathya. 1415

The Comic Sentiment (Hāsya) Oddity in dress, ornaments, movements, and talk, imitation of the same [dress, etc.] of other people, impudence, greed for things shown by the eyes, irrel- evant talk, touching the arm-pit, etc., of the person who is to laugh so as to tickle him-these and others are the Exciting Determinants. 1416-8 The Consequents are throbbing of the eyes, cheeks, and lips; opening wide, completely closing, or slightly contracting the eyes; holding the sides; per- spiration; flushing of the face, etc. 1418-9

212 SAMGĪTARATNĀKARA

The Transitory Moods are Dream (Svapna), Dissimulation (Avahittha), Indolence (Alasya), Sleep (Nidra), Distraction (Tandra), and so on. These and the rest are to be employed appropriately in the different types [of laughter] such as Smita (Gentle Smile).1 The Permanent Mood is Laughter (Hāsa). [When such are the conditions], the sentiment is called the Comic. 1419-21 This [Comic sentiment] is of two kinds: self- centred (Ätmastha) and centred in others (Parasamstha). The self-centred is that which is produced in the spectator on seeing the Determinants alone; that Comic sentiment which is produced on seeing another person laughing, and also [seeing] the Determinants, is described by the learned as centred in others. 1421-3 This [Comic sentiment] can relate to high, middle, and low characters; thus it is said to be of three kinds. Again it has six varieties in a different way: Smita (Gentle Smile) and ·Hasita (Gentle Laugh) are pro- claimed by the wise as existing in the high character; Vihasita (Laughter) and Upahasita (Ridicule) in the middle character; and in the low character are described Apahasita (Vulgar Laughter) and Atihasita (Excessive Laughter). 1423-5 The Gentle Smile (Smita) is that laughter charac- terized by slightly expanded cheeks and gentle glances, without showing the teeth. 1426 The Gentle Laugh (Hasita) is indicated by blooming face, eyes, and cheeks, the teeth being slightly visible. 1427 1 See below, vv. 1424 ff.

SAŅGĪTARATNĀKARA 213

That which is accompanied by sound, sweet, proper to the occasion, with ruddy face, and with eyes and cheeks slightly contracted, is known as Laughter (Vihasita) by the wise. 1428 Where the shoulders and the head are bent, the eyes squinting, and the nose expanded, that laughter is Ridicule (Upahasita). 1429 Laughter arising on improper occasions, with tears in the eyes, with the shoulders and the head [violently] shaking, is stated to be Vulgar Laughter (Apahasita) by Śārngadeva. 1430 Laughter in which the ears are expanded, having a very loud sound, the eyes wet with running tears, and where the sides are held by the hands, is accepted to be Excessive Laughter (Atihasita). 1431 Among these three pairs, the first three [Smita, Vihasita, and Apahasita] are produced in oneself [self-centred]; others [Hasita, Upahasita, and Atihasita] are centred in others, since these are produced respectively by the former [Smita, etc.].1 1432 The Comic and Furious sentiments are of three types, distinguished by speech, by costumes and make-up, and by action. This is only an indication, since this distinction is possible in all [Rasa-s]. 1433

The Pathetic Sentiment (Karuna)

Separation from dear ones and relatives, loss of wealth, death, captivity, misfortune arising from one's 1 In v. 1432, the last line hasyo'tihasitam matah should read pürvasankrāntijattvatah.

214 SAMGĪTARATNĀKARA

own addictions [to gambling, liquor, etc.], death of one's son, etc., banishment from the country-these and others, either heard or seen [on the stage] are accepted as the Determinants. In the case of high characters these Determinants existing in other persons also [can be the Determinants for their own Karuņa]; but in the case of middle and low characters these are Determinants only when they exist in themselves [and not when they occur in others]. 1434-6 Shedding tears, dryness of mouth, weeping, lamen- tation, stupefaction, change of colour, drooping of the limbs, fainting, long-drawn respiration, exerting the body by falling and by striking it, and beating on the breast are the Consequents. 1436-8 Fatigue (Glani), Weariness (Srama), Fear (Bhaya), Distraction (Moha), Despair (Visāda), Detachment (Nirveda), Anxiety (Cintā), Impatience (Autsukya), Depression (Dinata), Stupor (Jadatā), Sickness (Vyādhi), Insanity (Unmāda), Indolence (Ālasya), Possession (Apasmära), and Death (Mrti), as well as Stupefaction (Stambha), Trembling (Kampa), Tears (Aśru), Change of Colour (Vaivarnya), Change of Voice (Svarabheda) and others are the Transitory Moods. Grief (Soka) is the Permanent Mood. [When these conditions exist] there is the Pathetic sentiment.1 1438-40 1 The Temperamental States Stupefaction, Perspiration, (Sāttvikabhāva-s) such as etc., are included among the Transitory Moods to show that these need not be permanently displayed by the actor in the Pathetic sentiment. Usually these are included in the Consequents, since they are the natural outward signs of internal feelings.

SAŅGĪTARATNĀKARA 215

The rule here about the Consequents among the high and other characters is according to propriety. 1440 Weeping (Viläpa) is crying accompanied by praise of the good qualities of the person lamented. Crying, while reproaching fate, oneself, and others is said to be Lamentation (Paridevana) by those who know the words. 1441-2 The Pathetic sentiment is of three kinds: produced by damage to virtue, produced by loss of wealth, and produced by the death of relatives. Of these, the first occurs only in high characters. 1442-3 Weeping is of three kinds: caused by happiness, grief, and jealousy respectively. 1443 That which is produced by happiness along with the recollection of grief, with expanded cheeks, with the hair on the body standing on end, and with tears in the corners of the eyes, is recognized as that produced by happiness (Anandaja). 1444 [That depicted] by lamentation in a loud voice, the ends of the eyebrows turned [up], shedding tears profusely, and unsteady movements of the limbs, is accepted as [weeping] produced by grief (Ārtija). 1445 The weeping of women in which the head is shaken by the heaving of sighs, the lips and cheeks throb, and the glances and the eyebrows are crooked, is that produced by jealousy (Īrsyākrta). 1446 In the case of high and middle characters, tears are not shed for their own grief, because of their

216 SAMGĪTARATNĀKARA

courage; but they flow for the grief of others. In the case of women and low characters [they flow] for both [their own grief and that of others]. 1447

The Furious Sentiment (Raudra)

Wicked people like Rāksasa-s and Daitya-s, de- structive by nature; fighting, anger [on the part of others], false allegation, violation of another's wife, etc., abuse of the customs and learning of the place, caste, and family of another; threatening to kill and to violate the wife of another, insulting words, demoli- tion of the house, etc., confiscating the kingdom, rivalry, and desire to kill are stated to be the Determinants. 1448-50 Knitting the eyebrows, red eyes, throbbing cheeks, biting the lips, pressing the hands against each other, striking another's body with the hand, etc., tearing [with the nail, etc.], pounding, breaking and crushing, taking up weapons, hurling [the weapon], fighting, and shedding of blood are the Consequents. 1451-3 Of these, such actions as beating should not be actually represented on the stage, but should be described by the actor after the event. 1453 Energy (Utsāha), Awakening (Vibodha), Indigna- tion (Amarsa), Agitation (Avega), Cruelty (Augrya), Restlessness (Capala), Perspiration, Trembling, Horri- pilation, Choking Voice, etc., are the Transitory Moods. Anger (Krodha) is the Permanent Mood. [When these conditions exist] there is the sentiment called the Furious: 1454-5

SAŅGĪTARATNĀKARA 217

Perspiration may be actually represented or indi- cated by holding a fan, etc. Here [in the Furious sentiment], Energy (Utsaha) is only a Transitory Mood, and so there is no confusion with the Heroic sentiment [where Energy is the Permanent Mood]. 1455-6 Now if it is accepted that a Bhava (Mood) becomes Permanent (Sthayin) if it is invariably present, then how can this Energy (Utsaha) become a Permanent Mood in the Heroic sentiment? Such a doubt is out of place, for the Transitory Moods only flash momentarily, like lightning; so that the Permanent Moods can always be there. So it exists in the two Rasa-s in two different forms [i.e., as a fleeting Transitory Mood in the Furious sentiment and as the Permanent Mood in the Heroic sentiment]. 1456-8 Now it may be asked: Will not the Mood intended to be permanent, itself become momentary, since it is a natural Mood? True, but then it has become permanent in the form of mental impressions. The others [like Nirveda, etc.] do not become permanent as their impressions are expelled by the Permanent Mood.1 They are restricted here, as their qualities manifest themselves and disappear [by turns]. 1458-60 Anger is of four types, being directed towards an elder, towards a lover, towards an enemy, and towards a servant. 1460 Anger towards elders is controlled by modesty and should have indistinct expression through action. 1461

1 The reading in v. 1459 should be na sthairyayoginah.

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The anger of a beautiful woman towards her lover, arising out of love, is indicated by throbbing lips, a few tears coming out of the corners of the eyes, and by the face having knitted eyebrows. 1461-2 Anger towards one's enemy is without any restraint, expressed by biting the lips, pressing the hands against each other, knitting the eyebrows fully, and looking at one's own arms. 1462-3 Anger towards one's servants is assumed for some purpose and is free from cruelty; it is characterized by unnatural looks, expanded eyes, and many rebukes. 1463-4

The Heroic Sentiment (Vira)

Certainty with regard to the true nature of action referring to the [aims of life such as] virtue, etc., [i.e., wealth, and pleasure] on the part of high char- acters, without astonishment, confusion, or sorrow; Naya (Diplomacy), Vinaya (Modesty), Kīrti (Fame), capacity for heroic action, Pratapa (Might), influence, : invincible military strength, power of counsel, having ministers who are wealthy and of good family-these and others shall be the Determinants indicated through words by the actor. 1464-7 Knowledge regarding the proper employment of the Upaya-s (Policies) like Negotiation (Sāma); Sthairya (Steadiness) and Dhairya (Courage); Saurya (Valour) or generosity as is proper; speech, deep with emotion, etc .; and all the consequents of Pride

SAŅGĪTARATNĀKARA 219

[Garva, one of the Transitory Mòods] shall be the Consequents. 1467-9

(Avega); Recollection (Smrti), Cruelty (Augrya), Agitation Horripila (Romanca), Indignation (Amarsa), Contentment (Dhrti), Assurance (Mati) -moods like these are the Transitory Moods. Energy (Utsaha) is the Permanent Mood. [When these conditions exist] the wise call the sentiment the Heroic. It exists only among men of the high type [and not among middle and low characters]. 1469-71 Diplomacy (Naya) is said to be the employment of the six means of foreign policy (Guna-s), after know- ing them well. The six Guna-s described in the science of politics (Nītiśāstra) are: Alliance (Sandhi), War (Vigraha), March (Yāna), Halt (Āsana), Stratagem [to divide the enemy] (Dvaidhībhāva), and Recourse [to the protection of a mightier king] (Samśraya). Modesty (Vinaya) is described by the favourite of Siva [Särngadeva] to be the control of the senses. Might (Pratāpa) is the fame produced by valour, which causes distress to enemies. Fame (Kirti) is the glory which produces happiness to friends and indifferent people. The Policies (Upaya-s) are four: Negotiation (Sama), Bribery (Dana), Effecting a Division (Bheda), and Attack (Danda). Steadiness (Sthairya) is to have an unperturb- ed mind. Courage (Dhairya) is to be profound. Valour (Saurya) is the conduct of war without any fear. 1471-5 In a proper war, the sentiment is the Heroic, whereas in an improper war it is the Furious. 1476

220 SAMGĪTARATNĀKARA

The Heroic sentiment is of three kinds: Heroism in Charity (Danavira), Heroism in Virtue (Dharma- vīra), and Heroism in War (Yuddhavīra). Here, Charity, etc., are the Determinants as far as the villain is concerned, while in the hero they are the Conse- quents. That is the view of the learned. 1476-7

The Fearful Sentiment (Bhayanaka)

The sight of demons (Rāksasa-s), ghosts (Piśāca-s), bears etc., of frightening form, and hearing their unnatural noises in a lonely house or at the entrance of a forest; panic and anxiety existing in others; hearing about and contemplating the death or captivity of one's relatives-these and others are the Determinants. 1478-80 Intermittent stupefaction and trembling of the eyes, hands, and feet; much horripilation; dry lips and palate; palpitation of the heart; loss of colour in the face; change of voice; drooping of the limbs; unsteadiness of the eyes due to restlessness-these are the Consequents. 1480-2 Then the eight [Temperamental States], Stupe- faction (Stambha), etc., Depression (Dainya), Agitation (Avega), Inconstancy (Cāpala), Apprehension (Śankā), Distraction (Moha), Fright (Trāsa), Possession (Apas- mära), and Death (Marana) are the Transitory Moods. Fear (Bhaya) is the Permanent Mood. [When these conditions exist] there is the sentiment called the Fearful. 1482-3

SAŅGĪTARATNĀKARA 221

Fear is said to be of two kinds: real and assumed. Women and men of low type have real fear; men of the middle type and the high type are said to have assumed fear. Those two [types] of men are naturally free from fear; they may assume fear towards their masters and elders to show their modesty. Low characters have to show that [i.e., fear] by means of mild actions in order to indicate their own nature. 1484-6 The Fearful sentiment is, again, of three kinds: that which is produced by causes in oneself (Sva- hetūttha), that which is assumed (Krtrima), and that which is for frightening others (Vitrsitaka). Of these the first (Svahetüttha) is what its name indi- cates; the assumed one is unreal and is shown by high characters towards their elders, etc .; and Vitrāsitaka is intended for frightening children, etc. 1487-8

The Odious Sentiment (Bibhatsa)

An object which is extremely unpleasant either by its innate nature or by some defect in one's constitu- tion; that which is forbidden; that which is unpalatable due to satiety ;. the filthy; what produces constant repulsion as it gives unwanted results-such are the Determinants. 1489-90 And the Consequents are: trembling, shaking the limbs [in disgust]; contracting the nose, lips, and jaws; spitting; unsteady steps; and covering the nose and the eyes. 1490-1 The Transitory Moods are Delusion (Moha), Agitation (Avega), Possession (Apasmāra), Death

222 SAMGĪTARATNĀKARA

(Mrtyu), and Sickness (Vyādhi). Disgust (Jugupsā) is the Permanent Mood. [When these conditions exist] the sentiment is called the Odious. 1492 The Odious sentiment is of three kinds: Pure (Śuddha), Impure (Asuddha), and Extremely Pure (Atyantaśuddha). The first two arise respectively from pure and impure Determinants like blood and excretion. The extremely pure type results from the virtue of renunciation and has the whole of worldly existence as its object [of renunciation]. 1493-4

The Marvellous Sentiment (Adbhuta)

Attainment of desired objects which are rare, sight of heavenly beings and aerial vehicles, seeing illusory (Māyā) and magical (Indrajāla) acts, and also palaces, gardens, etc., of extraordinary excellence, seeing a person excelling in arts or crafts-these are the Determinants. 1494-6 The Consequents are opening wide the eyes, gazing with unwinking eyes, horripilation, uttering words of praise, saying 'Well done' in approbation, Ullukasana, crying 'Ha! Ha!' in joy, choking voice, perspiration, shivering indicating joy, and the Consequents depend- ing on Sparśagraha.1 1496-8 The Transitory Moods are Stupefaction (Stambha), Perspiration (Sveda), Horripilation (Romāñca), Un- consciousness (Pralaya), Choking Voice (Gadgada), Agitation (Avega), Hurry (Sambhrama), and Inactivity 1 See below v. 1502.

SAMGĪTARATNĀKARA 223

(Jādya). Astonishment (Vismaya) is the Permanent Mood. [When these conditions exist] the sentiment is called the Marvellous by [Särngadeva], the son of Sodhala. 1498-1500 Illusorily produced changes in form, etc., are called Mayā; showing impossible things with the help of various herbs, sleight of hand, or by secret charms is called Indrajāla. Ullukasana is accepted here as the shaking of the body due to joy. The new Consequents based on Sparsagraha are slightly curved eyes, touching the shoulders and cheeks, and knitted eye- brows. 1500-3 The Marvellous sentiment is said to be of two kinds: joyous and divine. The former is produced by the realization of one's desires, and the latter is pro- duced by celestial things. 1503-4

The Tranquil Sentiment (Santa)

Dread of mundane existence, finding defects in worldly pleasures, contact with ascetics, instructions of sages on .tranquillity, self-control and forbearance, assemblages of people with spiritual aims, ascetics, penance-groves, plenty of water gurgling in rivulets, places of pilgrimage and people going to such places, rivers of sacred water and river banks spotted with wild rice plants, Saiva or Vaisņava temples, lonely forests, devotees intoxicated with devotion towards Śiva or Vișņu, greatness of devotion towards Vișņu, and others are accepted as the Determinants. 1504-8

224 SAŅGĪTARATNĀKARA

Calm mental activity,1 the eyes shedding tears of joy, the body coated with bristling hair [i.e., horri- pilation], thinking about the meaning of the science of Release [i.e., philosophy], instruction in the knowledge of Brahman [Ultimate Truth], talk about Reality, the eyes directed towards the tip of the nose, showing the Jñanamudra [gesture indicating wisdom]-these and others are the Consequents. 1508-10 The following are the Transitory Moods: Insanity (Unmāda) produced by drinking the essence of supreme bliss, Joy (Harsa), Contentment (Dhrti), and complete Awakening (Vibodha), Recollection (Smrti), and Assur- ance (Mati). Detachment (Nirveda) arising from the realization of Truth is the Permanent Mood. [When these conditions exist] there is the Tranquil sentiment. 1510-2 Free from distinctions such as Love (Rati), etc., and free of all disturbances caused by worldly objects, shining in the form of intense supreme bliss-that is the Tranquil sentiment. 1512-3 Or the Permanent Mood may be Quietude (Sama), which is natural aversion towards worldly pleasures. In order that it may be represented on the stage, the Transitory Moods are [to be shown] frequently in thẹ middle of this. 1513-4 All those gestures discussed previously as represen- ting the natural state are applicable to the Tranquil sentiment, for Santa is the natural state of the self. Sānta is said to be the natural state of the self, since by 1 The reading should be mandaspandam.

SAMGĪTARATNĀKARA 225

abandoning attachment towards worldly pleasures, it leads to the natural state of bliss. 1514-6 Some people consider as Rasa-s the [following] three: Devotion (Bhakti), Affection (Sneha), and Passion (Laulya). For these, they consider Faith (Śraddhā), Tenderness (Ārdratā), and Desire (Abhilāșa) as the Permanent Moods. This is not correct, for Devotion and Affection are only a form of Love (Rati) between men [i.e., free of sex]. These two are only Transitory Moods; they [Devotion and Affection] become Perma- nent Moods only when they are between man and woman, [in which case it is only sexual Love, the, Permanent Mood of the Erotic sentiment]. Passion (Laulya) is only desire towards an improper object, which becomes the cause of the Comic sentiment. Hence it has been decided by the sage [Bharata] that the Rasa-s are only nine. 1516-9 Love (Rati) and others are the Permanent Moods when they are produced by a large number of Deter- minants; when produced by a few of the Determinants, the same [Love, etc.], become Transitory Moods and appear in other sentiments also appropriately. For example, Laughter is found in the Erotic sentiment [as a Transitory Mood] and Love in the Tranquil sentiment; and Anger in the Heroic sentiment, Fear in the Pathetic sentiment, and Disgust in the Fearful sentiment. Energy and Astonishment are Transitory Moods in all the sentiments. Quietude (Sama), exists in all the sentiments; but since it is permanent, it cannot be a Transitory Mood. 1519-22 15

226 SAMGĪTARATNĀKARA

THE TRANSITORY MOODS (VYABHICĀRIBHĀVA-S)

Now the definitions of the Transitory Moods such as Detachment [are given]:

Detachment (Nirveda) Abusive words, scolding, illness, anger, beating, poverty, separation from beloved persons, and the sight of another's prosperity are the Determinants as far as low characters are concerned. Being humiliated, as well as the realization of Ultimate Truth, is [the Determinant] as far as high characters are concerned. The Consequents are weeping, deep respiration, down- cast face, deliberation, etc. That Mood is described by the learned as Detachment (Nirveda). 1523-6

Weakness (Glāni) Sickness, vomiting, purgation, fasting, austerities, penance, mental worry, excessive drinking, too much exercise, sexual indulgence, sleeplessness, travelling a long distance, hunger, thirst, and so on are the Determinants. Drooping lips, eyes, and cheeks, raising and putting down the feet slowly, thinness of the body, change of colour [paleness], languidity of the body, trembling, lack of energy, etc., are the Consequents. That Mood is called Weakness. 1526-9

Apprehension (Śańkā) The arrest of people for crimes such as theft, and giving offence to the king are the Determinants [for

SAŅGĪTARATNĀKARA 227

Apprehension] as far as other collaborators are con- cerned. Attempting not to be seen by others1; looking on either side frequently; dryness of the throat, lips, and mouth; licking all round; trembling; change of facial colour; a thick and rolling tongue; an expectant look-when a multitude of these Consequents exists, there is Apprehension in the low type of characters and also in the middle and high types of men. This [i.e., Apprehension] exists in high types of women and is expressed by mild gestures. Because of their timidity, it can produce fear. Apprehension produced by causing displeasure to the beloved is said by Särngin [the author] to exist in the Erotic sentiment; and that produced from theft and giving offence to the king, etc., in the Fearful sentiment. 1530-4 Apprehension is said to be of two kinds: that existing in others and that arising in oneself. Guilty feeling existing in timid persons, which is appre- hended on seeing their confused looks, is that arising from others. That arising from oneself is the appre- hension about other people knowing one's own fear [taking the form]: 'Others may know my crime '. In [expressing] sentiment, Apprehension is found together with Dissimulation (Avahittha). 1535-7

Cruelty (Augrya) Offence towards the king, proclamation of faults that do not exist, and arresting a robber are the Determinants. Imprisoning, killing, beating, and 1 In 1531, the correct reading seems to be yatnah for yatra.

228 SAMGĪTARATNĀKARA

threatening are the Consequents. Then there is Cruelty (Augrya), which is essentially lack of pity. 1538-9

Depression (Dainya) From the Determinants, Anxiety, Impatience, Mental Worry, and Misfortune, and Consequents [such as] turning round the head, dullness of body, and rejecting the decorations of the body, should the Mood of Depression be discerned. 1539-40

Envy (Asūyā) Where various offences, hatred, and the sight of other people's prosperity, wealth, good luck, intelli- gence, education, etc., are the Determinants; and where the Consequents are finding faults [in others] out of indignation, hiding [their] good qualities, decrying their virtues as vices, not paying any attention, downcast face, knitting the eyebrows in contempt, etc., there is said to be Envy. 1541-3

Intoxication (Mada) Drinking liquor is the Determinant and the Con- sequents are the five [things]: sleeping, laughing, sing- ing, weeping, and abusive words. In the case of high characters, it is sleep; in the case of the middle type of character, laughter and singing take place; and in the low type of character there is weeping and abusive words. Where these exist, there is Intoxication. And it is of three kinds: light, medium, and base (Taruna, Madhya, and Adhama). Taruna means 'a little' [i.e., only slightly intoxicated]; and Adhama is excessive

SAMGĪTARATNĀKARA 229

and is associated with low characters. Taruņa is ordained for all [types of characters]; Madhyama is only for the middle and low characters; and the Adhama type of intoxication is only for the low type of characters. 1543-7 By means of indistinct and incoherent sentences, by much horripilation on the body, and by light and stumbling steps should the light type of Intoxica- tion be represented. Drooping, agitated, or outstretched arms, unsteady and rolling eyes, and irregular gait are the Consequents in the medium type of Intoxication. Incapacity to walk, loss of memory, hiccoughs, vomit- ing, flow of phlegmatic saliva [from the mouth], a thick tongue, and spitting are the Consequents in the excessive type of Intoxication. 1547-50 If the drinking is done on the stage, the growth of Intoxication should be represented; if the entry on the stage is after drinking, the intelligent [actor] should use simultaneously such means as joy, grief, and fear for [indicating] decreasing Intoxication. 1550-1

Weariness (Srama) By means of Determinants such as long travel, doing exercises, etc .; and by Consequents such as gentle massaging of the body, contraction of the mouth, cracking of the limbs, deep breathing, yawning, and slow gait, Weariness is [depicted]. 1552-3

Anxiety (Cintā) When the Determinants are poverty, loss of wealth, and theft of a favourite object; and when the

230 SAMGĪTARATNĀKARA

Consequents are deep respiration, downcast face, grief, recollection, meditation, emaciation, neglect [non-decoration] of the body, and discontent, then there is what is known as Anxiety. Deliberation (Vitarka) arises either before or after Anxiety. 1553-5

Contentment (Dhrti) Discretion, wealth of spiritual knowledge, devotion to one's superiors, and good conduct [i.e., disciplined life] as the basis and instrumental cause; obtaining more than what is expected of desired objects [getting an excessive amount of wealth, etc.] as the basis; and the enjoyment of sports as an instru- mental cause-these are accepted as the Determinants. The Consequents are two: not worrying about the enjoyment of objects gained or about objects unobtained or passed by, when they are spent or lost; and absence of grief. That [Transitory Mood] the wise call Contentment. 1556-9

Recollection (Smrti) Sleeplessness of a sort that there is rest only towards the last hours of the night, meditation, and frequent study of the Veda-s and the different systems of philo- sophy are the Determinants; and the Consequents are nodding or raising the head, looking at dissimilar things, and lowering the eyebrows. That [Transitory Mood] is called Recollection. It is the remembering of objects which have been long forgotten and which produces happiness or misery. 1559-62

SAŅGĪTARATNĀKARA 231

Shame (Vrīdā) Transgressing the [words of] superiors, humilia- tion, repentance over what has been given up, non- fulfilment of vows1-produced by these Determi- nants, the Mood of Shame is indicated by such [Consequents] as downcast face, talking in secrecy, thinking [thoughtfulness], touching one's garment and ring, cutting [biting, etc.] the nails frequently, and drawing [lines] on the ground. Shame is seen when one becomes ashamed, repentant, and pure, after having done something improper. 1562-5 Distraction (Moha) Injury to the body, separation from dear ones, etc., owing to distress caused by fate; beating on vital parts; terrible fear in an unexpected place due to robbers, etc .; recollection of enmity, etc., on the part of a person who finds no remedy [for it]-where these Determinants exist; and where falling down, shaking the body, restlessness of mind, inactivity of the senses, and others are the Consequents, that [Mood] is called Distraction by the wise. On seeing the cause of fear and not finding any remedy for it, the mental attitude which is undecided about what is to be done, is said to be Distraction. 1565-9 Indolence (Alasya) When satiety, one's own nature, pregnancy, sick- ness, fatigue, etc., are the Determinants; and sleep, 1 The correct reading seems to be pratijnatanirvahana. See Nātya-šāstra.

232 SAŅGĪTARATNĀKARA

laziness, sitting, dislike of all activity except taking food are the Consequents, the [Transitory Mood] is called Indolence. 1569-70

Inconstancy (Cāpala) Where the Determinants are indignation, opposi- tion, jealousy, attachment, hatred, and rivalry; and where the Consequents are rebuking, harsh words, striking, beating, killing, and imprisonment, the [Mood] is taken to be Inconstancy. It is action without any forethought. 1571-2

Joy (Harsa) The favour of gods, husbands, elders, or one's master; union with the beloved; attainment of the desired object, attainment of unattainable desired objects and wealth; birth of a son, etc .- where these . are the Determinants; and where brightness of eyes and face, speaking pleasant words, horripila- tion, tears, perspiration, etc., are the Consequents, that [Mood] should be called Joy. 1573-5 Indignation (Amarșa) Indignation arises on being insulted in an assembly by men who have superior education, wealth, strength, and prosperity; it is of the nature of a desire for vengeance. It exists only in men of energy. Its Consequents are perspiration, a downcast face, shaking the head, having a mind not directed on anything, looking for means [for vengeance], and mental energy. 1575-7

SAŅGĪTARATNĀKARA 233

Despair (Vișāda) Non-attainment, owing to misfortune, of the result even when the means are available, giving offence to the king, and getting arrested at the time of theft, etc., are the Determinants; and looking for friends, thinking about means, and perplexity of mind are the Con- sequents, based on energy, in the case of high and middle characters. In the case of low characters, the Consequents are running, cogitation, a dry mouth, looking, sleep, sighing, and licking the corner of the mouth. Where these exist that Mood is called Despair by those who know the Moods. 1578-81

Possession (Apasmāra) Possession by gods, Nāga-s, Yakşa-s, Piśāca-s, Brahmarāksasa-s, Bhūta-s, etc., and by malignant planets; memory of these; staying long in an impure place; resorting to a lonely house; derangement of the Dhatu-s [the three humours, wind or vāta, bile or pitta, and phlegm or kapha]-by means of these and the like Determinants; and by the Consequents, throbbing, trembling, deep breathing, running and falling down on the ground, licking [the lips] with the tongue, perspiration, stupefaction, foaming mouth, loss of consciousness, etc., Possession is indicated. 1581-4 Stupor (Jadatā) Stupor is the lack of discrimination of things seen or heard. Its Determinants are seeing or hearing a

234 SAŅGĪTARATNĀKARA

desired or an undesired thing and sickness. Its Con- sequents are a contradicting reply, speaking indistinctly, incapacity to distinguish between welcome and unwelcome things, an unwinking stare, etc. This [Stupor] can come either before or after Distraction (Moha). That is the view of scholars. 1585-7

Deliberation (Vitarka)

Where perplexity, doubt or reflection when two opposing views are given, and arguments for and against [these views] are the Determinants; and where the Uonsequents are shaking the head, knitting the eyebrows, and the Catura pose of the hand, that [Mood] is called Deliberation. The Permanent Mood which has Deliberation [as a Transitory Mood] is also [usually] associated with Dissimulation (Avahittha).

Dreaming (Supta) 1587-9

Dreaming has sleep as its Determinant; and it is the state of dreaming. Its Consequents are an immobile body, closed eyes, prattling in sleep, [deep] respiration, and complete retirement of all the senses. 1590-1

Impatience (Autsukya) Impatience is described by those learned in the Moods as produced by [the Determinant] separation from dear ones. It is kindled by memory of those beloved persons, and is indicated by [the Conse- quents] sleep, drowsiness, dullness of the body, and thinking. 1591-2

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Dissimulation (Avahittha)

The state of concealing indications of feeling is called Dissimulation. Its Determinants are fear, shame, audacity, crookedness, respect, and indifference through pride; and its Consequents are break in the talk about the beloved person, etc., feigned boldness, giving a wrong impression through speech, and similarly through looks, etc. 1593-5

Assurance (Mati) Assurance is an extraordinary flash of insight. It is to be produced by [the Determinants] knowledge arising from the consideration of the pros and cons of things, deliberations on the Sastra-s, and suppositions and disputations (Ohapoha) of various kinds. It is to be indicated by [the Consequents] Samdamśa, Catura and other hand poses, raising the eyebrows, and in- structing pupils on the meanings of various Sāstra-s. Ohāpoha means reasoning in a positive and negative way. 1595-8

Awakening (Vibodha) The end of a dream, break of sleep, digestion of food, sound, touch, etc., in dream, or remembered in the waking stage-by these Determinants is [Awakening] produced. Yawning, rubbing the eyes, getting up from bed, cracking the fingers, bending the limbs, stretching the arms, deep breathing-by these Con- sequents should Awakening be indicated. Or it is

236 SAŅGĪTARATNĀKARA

complete awakening, and its Determinants and Conse- quents are to be noted from the world itself. 1598-1601

Sickness (Vyādhi)

Diseases such as fever are caused by the dis- order of any one or any two or all three of [the humours of the body] vāta, pitta, and kapha. By sickness, here, is meant the Mood arising from these. Fever is to be represented by Stupefaction, droop- ing limbs, bent body, narrowing down the mouth, lamentation, shivering, and loud groaning. Fever is produced by passion also. It is of two kinds: produced by cold and by heat. Fever with the feeling of cold should be represented by shaking of the jaws, shivering of the whole body, dryness of mouth, lamentation, horripilation, narrowing of the mouth, etc. Fever with the feeling of heat [is to be represented] by the desire to drink water, throwing out the hands, feet, and body out of a desire to lie down on the ground, and lamentations with the desire to have cool unguents. 1601-5 Insanity (Unmāda)

In the case of high characters, Insanity arises during Love in Separation because of separation from the beloved; in the case of low characters, because of loss of wealth; in the case of all, because of a fall or injury. It should be represented by [Consequents] such as laughing without reason; weeping and reciting in the same way [i.e., without reason]; dancing; sing- ing; lying on the bed; getting up and running;

SAMGĪTARATNĀKARA 237

prattling incoherently; throwing up dust and ashes; decorating oneself with skulls, bark-garment, and the remains of flower-offerings to a deity (nirmālya). Even though Insanity is included in Sickness, it is stated separately. In Love in Separation, etc., this [Mood] does certainly produce great variety. In the same way Possession also [produces variety] in the Odious and Terrible sentiments. 1607-11

Arrogance (Garva) In the low type of characters, Arrogance arises again and again mainly owing to noble birth, good looks, strength, prosperity, learning, wealth, and youth. In the case of high characters, it comes only [in a flash] like lightning. In the case of women, it comes in different ways. The expert in Karana-s says that this [Arrogance] should be represented by looking with raised neck, contempt, jealousy, not giving a reply, not talking, anger, roughness, Vibhrama (restlessness), movement of the limbs, movement of the eyes, and by insulting and transgressing elders. 1612-5- Vibhrama (restlessness) arises in women through joy, love, intoxication and arrogance, and produces a change in speech, in the movement of the limbs, in the Temperamental States, in costumes and dress, and in action. 1615-6

Agitation (Āvega) In the case of timid persons, Agitation arises soon after grief is produced; the bold [i.e., high] type of persons show it with courage even if it be

238 SAMGĪTARATNĀKARA

strong. For each Determinant, it has distinct and various Consequents. It is of eight kinds depending on the difference in the forms of the Determinants which cause it. Natural calamity, storm, rain, out- break of fire, running amok of elephants, hearing of good or bad news, and calamity arising from enemies are the causes. The agitation due to natural calamity is produced by lightning, fall of meteors, thunderstorm, earthquake, eclipse of the sun or the moon, or by the sight of a comet. Its Consequents are change of colour and languidity of limbs; the Consequents of Despair and Astonishment are also acceptable here. [In the Agitation] due to storm, the Consequents are covering with a cloth, rubbing the eyes, and quick movement. In that due to rain, [the Consequents are] pressing the whole body, taking shelter in some house, etc., or quick running. In that due to fire, [the Consequents are] shaking of the limbs, the eyes getting filled with smoke, and the quick movements in Atikrāntā and Apakrāntā Cārī-s. That which is produced by the running amok of elephants has [as its Consequents] running, retreating quickly, fear, and trembling. In the Agitation due to the hearing of good news, [the Consequents are] astonishment, looking back, gifts of cloth and ornaments, getting up and embracing. In that due to the hearing of bad news, [the Consequents are] tears and horripilation while narrating the news, lamentation, falling on the ground, moving and rolling about, running about,1 etc. In that arising from 1 The reading should be paridhavana.

SAŅGĪTARATNĀKARA 239

calamity caused by enemies, the Consequents are sudden retreat, taking up weapons, shield and armour, mounting elephants or horses, and delibera- tion. These are the separate Consequents in Agitation which is of the nature of excitement. 1616-28

Death (Maraņa) Death is said to be of two kinds: produced by illness and produced by accidental injury. Death produced by illness is caused by the maladjustment of the humours (Dosa-s), or by boils, fever, etc. Here, the defective humours, wind (vāta), bile (pitta), and phlegm (kapha) are accepted as the Dosa-s. Death through accidental injury is caused by weapons, snakes,1 poison, water, wild animals, horses, elephants, fire, fall from a height, etc. 1629-31 Death through illness is indicated by Consequents such as limbs stretched out motionless, closing the eyes, hiccoughs, taking the final breath (ūrdhvaśvāsa), vomit- ing, being attended by people, and speaking in indis- tinct syllables. In death caused by weapons, suddenly falling on the ground, trembling, throbbing, etc., should be used [as Consequents]. In that caused by snake-bite and drinking poison, there are the following eight Consequents in order, [indicating] the spreading of the poison: blackness [of the body], trembling, burning sensation, hiccoughs, foam [from the mouth], twisting of the shoulders, stiffness, and death. The Consequents in the case of death through other kinds 1 The reading should be śastrāhi.

240 SAŅGĪTARATNĀKARA

of accidental injury are the same as in the case of death caused by weapons. 1631-5 Here by 'Death' is meant the activity of the mind just before death, when death is inevitable, the illness, etc., being incurable. 1636

Fright (Trāsa)

Fright is said to be a sudden surprise producing tremors of the body. It is caused by portents [like a meteor or earthquake], hearing a terrible noise, and seeing frightful sights. Its Consequents are described as shrinking of the body, trembling, stupefaction, choked voice, horripilation, looseness of limbs, closing the eyes, and fainting. Fear produced by deliberation on the past and the future is different from Fright. 1637-9 Sleep (Nidra)

Sleep is the first recession of the sense-organs from their respective objects. Overeating, natural habit, deliberation, laziness, intoxication, fatigue, and the indeterminable nature [of a text, etc.,] felt through the difficulty in explanation, etc., are the Determinants for Sleep. Its Consequents are yawning, heaviness of the face, tossing about of the body, rolling the eyes, cracking [the limbs of] the body, deep breathing, relaxed body, and closed eyes. 1640-2 I have stated these thirty-three since they make the sentiment Dominant by producing variety. There are others in thousands. According to some, Desire (Abhilāsa) is included in Love (Rati), Pride (Dambha)

SAŅGĪTARATNĀKARA 241

in Dissimulation (Avahittha), Hunger and Thirst in Fatigue (Glani), and Tranquillity (Udvega) in Detachment (Nirveda). Others can be guessed at similarly. 1643-5

THE TEMPERAMENTAL STATES (SĀTTVIKABHĀVA-S)

When, by these [Permanent] Moods like Love explained before, consciousness is modified, that [modi- fied consciousness] identifies itself with the soul (prāna); and that soul makes the body its own; then the modifi- cations in the body like Stupefaction are produced. 1645-6 In this way, produced by the Determinants connected with Love, etc., which are being relished, and indicated by Consequents such as Stupefaction occurring in the body, these internal states shine forth in the soul on which consciousness has been super- imposed. They are called Sāttvikabhāva-s, since they shine forth in Sattva, or the vital breath. 1647-8 Or, Sattva can be the [Sattva] Guņa explained in Sāmkhya philosophy; or it means 'goodness'. Here goodness is accepted to be purity of body and soul. Here Sāttvikabhāva-s are accepted by good people to be Moods (Bhava-s) existing in Sattva. 1649-50 The vital breath (prāna) depends on [each of] the other four elements, beginning with earth, as the prominent factor. Sometimes the vital breath itself becomes the prominent element and moves in the 16

242 SAMGĪTARATNĀKARA

body. When it depends on the earth [element], then the state of Stupefaction (Stambha) is indicated. From the vital breath based on the water [element] come Tears (Asru); and from that based on the fire [element] come Change of Colour (Vaivarnya) and Perspiration (Sveda). From that based on Ether (Ākāśa) is pro- duced Unconsciousness (Pralaya). When independent, it [the vital breath] indicates Horripilation (Romañca), Trembling (Vepathu), and Change of Voice (Svara- bheda) respectively, depending on whether it [the vital breath] is weak, medium, or strong. 1650-3 The external Stupefaction, etc., in the body are easily produced in the case of [ordinary] people who consider the body to be the same as the soul; but they are not easily produced in the case of the great who have no such misconception. 1654

Stupefaction (Stambha) Stupefaction arises out of joy, attachment, fear, sorrow, grief, wonder, anger, and perplexity. Its Con- sequents are stiffness, vacant look, lifeless and stupefied body, motionlessness, and absence of tremor. 1655-6

Perspiration (Sveda) When mental distress, illness, joy, bashfulness, anger, fear, fatigue, pain, beating, heat, swoon, and exercise are the Determinants; and when holding a fan, perspiration, and the Arala hand pose used for wiping the forehead are the Consequents, the [Temperamental State] is called Perspiration by the learned. 1656-8

SAŅGĪTARATNĀKARA 243

Horripilation (Romāñca) Embracing, amorous scratching (Acchuritaka), cold, joy, fear, and anger produce Horripilation. It is to be represented by touching the body, shaking the body frequently (Ullukasana), and the body with hair standing on end. 1658-9

Change of Voice (Svarabheda) Severe illness, old age, anger, fear, joy, intoxica- tion, etc., are the Determinants. Visvara, Bhinna and Gadgada are Consequents. This Mood is called ' Change of Voice'. Visvara means produced at the wrong place of articulation. Bhinna means not con- tinuous. Gadgada is of irregular pitch [varying from] medium or tāna, high or ucca, and low or nīca. 1660-2

Trembling (Vepathu) Embracing, amorous scratching (Acchuritaka), joy, anger, fear, old age, cold, and illness are the Determinants; and shivering, throbbing, and shaking are the Consequents. Then the [Temperamental State] is called Trembling (Vepathu). Shivering (Vepana), etc., are the different types of trembling in the increas- ing order of prominence. 1662-4

Change of Colour (Vaivarnya) Change of Colour occurs through illness, swoon, fear, anger, cold, grief, and fatigue. It is to be repre- sented by effecting a change of colour in the face by pressing the blood-vessels or by vermilion (sindūra), etc. 1664-5

244 SAŅGĪTARATNĀKARA

Tears (Aśru) As a result of joy, anger, collyrium [applied in the eye], smoke, fear, grief, yawning, staring with unwinking eyes, cold, and illness, the state of Tears comes; and it must be indicated by shedding tears and by wiping the eyes. 1666-7

Unconsciousness (Pralaya) Fainting is caused by intoxication, swoon, injury, sleep, loss of consciousness, fatigue, etc., and is to be represented by falling on the ground. 1667-8

Thus three kinds of Moods [or States, Bhāva-s] are given: the Permanent Mood, the Transitory Mood, and the Temperamental State. All the eight Tempera- mental States can appear in any one of the sentiments. In a drama, one sentiment must always be made the Permanent one among the sentiments; other Rasa-s [the Bhava-s are meant here] are only Transitory States, since they follow the main sentiment. Among them, conflicting sentiments must be delineated as existing in different persons. The varied arrangement of the sentiments in a drama must be like the arrange- ment of flowers [in a garland]. The permanent Rasa takes the place of the thread [in the garland]. This is: the view of those who know the sentiments. 1668-71

May this complete essence extracted out of the ocean of the science of dancing by the scholar Sārnga- deva be tasted by the intelligent to their hearts' content. 1672

SAŅGĪTARATNĀKARA 245

If there is any merit in my work, I need not request you to accept that, O Wise Men. Merit in others, even if it be just an atom, is like a mountain to you. 1673 What matters if this book composed by me is full of defects or is free of defects? My mind is keen on worshipping you, O Good People. Whom does not merit surpass? [True merit is beyond the reach of all, i.e., nobody can expect to reach perfection.] 1674 Is there anything in these three worlds which is incontrovertible to you? Still, O Good People, out of affection for me, please honour my work. 1675 Or, I have only followed the ancient path of the sages, and good people naturally love one who treads along the right path. 1676 What is the use of intellectual wealth for me who am desirous of worshipping good people? The monkey lords, though animals [without any intellect], did please Rāma. 1677 My attempt at composition did not arise out of pride of knowledge; on the other hand, I have prepared this as a provision for the journey to [reach and] live in the minds of the learned. 1678

THUS ENDS THE SEVENTH CHAPTER, ON DANCING, OF THE SAMGĪTARATNĀKARA COMPOSED BY ŚRI ŚĀRNGADEVA, FREE FROM DOUBT, SON OF SODHALADEVA, WHO REJOICES IN FAULTLESS KNOWLEDGE, AND WHO IS THE MASTER OF KARANA-S

INDEX

ABHILĀȘA (Permanent Mood), Āhārya, 3 225,240 Ahvana (Hands, Actions), 89 Abhinaya, 3, 207 Ākampita (Head), 8 Abhitapta (Glance), 65 Ākekara (Glance), 66 Äbhugna (Chest), 42 Ākrsta (Hands, Actions), 89 Ācārya, 198 Ãcchuritaka, 23 Aksiptā (Cārī), 147

(Angahara), 131 Āksipta (Nrtta Karaņa), 107

Actor (Nata), 198 Äkşiptaka (Angahāra), 130 Ākșiptarecita (Angahāra), 134 Adbhuta (Glance), 61 (Nrtta Karaņa), (Rasa), 222-3 94 Addaskhalitikā (Deśī Cārī), 154 Ākuñcita (Posture), 170-1 Additā (Cārī), 143 Addita (Mandala), 177 (Wrists), 57

Adhaḥkșipta (Toes), 85 Alaga (Utplutikaraņa), 122 Alagabhramari (Utpluti- Adhama (Intoxication), 67, karana), 125 228-9 Alagapāța (Gharghara), 195 Adhastala (Hands, Positions), 87 Ālambanavibhāva-s, 207 Adhogata (Hands, Positions), 87 Alapadmaka (Nrtta hands), 38 Adhomukha (Arms), 50 (Hands, Positions) Alapallava (Single hand), 19 Alasya (Transitory Mood), 87 231-2 (Head), 10 Alātā (Cārī), 145-6 Adhovadana (Hands, Positions), (Deśī Cārī), 156 87 Alāta (Mandala), 181 Adhūta (Head), 7-8 Adhyardha (Mandala), 177 (Nrtta Karaņa), 99 Alātaka (Angahāra), 135 Adhyardhikā (Cārī), 141-2 Alīdha ( 5, 131 Affection (Rasa), 225 (Posture), 161 Agitation (Transitory Mood), Alokita (Pupils), 73 237-9 Amarsa (Transitory Mood), 232 Agraga (Hands, Positions), 87 Amukha (Style), 173 (Feet), 47 Anandaja (Rudita), 215 Agraja (Samdamśa), 24 Añcita (Arms), 50 Agratalasamcara (Feet), 46 (Feet), 45 Agratastala (Hands, Positions), 87 (Head), 9 (Neck), 49

248 SAMGĪTARATNĀKARA

Añcita (Nrtta Karana), 96 Arālakhatakāmukha (Nrtta (Utplutikarana), 121 hands), 30-1 Añcitabhramari (Utpluti- Ārātrika (Head), 11 karana), 126 Andolita (Arms), 52 Ardhacandra (Single Hand), 15-6 (Breath), 77 Ardhakuñcita (Knees), 58 Angahāra (Lāsyānga), 183 Ardhamandalikā (Deśī Cārī), Angahāra-s, 127-37 151 Anga-s, 5, 7-48 Ardhamattalli (Nrtta Karaņa), Anger, 217-8 101 " (Permanent Mood), 203 Ardhamukula (Glance), 64 Anghritāditā (Deśī Cārī), 155 Ardhanikutțaka (Angahāra), Angika, 3, 5 135 Angulisangata (Heels), 84 (Nrtta Karaņa), Angusțhasamślista (Ankles), 84 98 Añjali (Combined hands), 25 Ardhapurāțikā (Deśī Cārī), 153 Ankles, 84 Ardharecita (Nrtta hands), 32 Ankura, 5 Antarālaga (Utplutikaraņa), (Nrtta Karaņa), 101 122 Ardhasūci (Nrtta Karana), 113 Antarbhramarī (Utplutikaraņa), Ardhasvastika (Nrtta Karaņa), 125 94-5 Antargata (Heels), 84 Ārdrata (Permanent Mood), Antaryāta (Ankles), 84 225 Anubhāva-s, 207 Argala (Nrtta Karana), 107 Anuvrtta (Pupils), 72 Anxiety (Transitory Mood), Arms, 49-53 Arrogance (Tran itory Mood), 229-30 237 Apadapa (Gharghara), 195 Artija (Weeping), 215 Apahasita, 212-3 Āskandita (Mandala), 176 Apakrāntā (Cārī), 145 Aśru (Temperamental State), Apakrānta (Nrtta Karaņa), 115 244 Apakşepā (Deśī Cārī), 155 Assembly, President of, 200 Aparājita (Angahāra), 129 Seating of, 200-1 Apasarpita ( ), 131-2 Assurance (Transitory Mood), Apasmara (Transitory Mood), 228 233 Astonishment (Permanent Apasrta (Sides), 43 Mood), 203 Apaviddha (Angahāra), 133 Aśuddha (Bībhatsa Rasa,) 222 (Arms), 50 (Nrtta Karaņa), 96 Asūyā (Transitory Mood), 228 Aśvakranta (Posture), 163 Apprehension (Transitory Atihasita, 212-3 Mood), 226-7 Ārabhați-vrtti (Style), 172 Atikräntā (Cārī), 144-5

Arala (Single hand), 16-7 Atikrānta (Mandala), 178-9 (Nrtta Karaņa), 110

SAŅGĪTARATNĀKARA 249

Atipragalbhā, 185 Belly, 53-4 Atmastha (Hasya Rasa), 212 Bhairavāñcita (Utplutikaraņa), Atyantaśuddha (Bībhatsa Rasa), 121 222 Bhakti (Rasa), 225 Audience, 199 Bhārata (Nyaya), 174 Augrya (Transitory Mood), Bhāratī-vrtti (Style), 172 227-8 Bhavaśraya, 196 Autsukya (Transitory Mood), Bhaya (Permanent Mood), 203 234 Bhayānaka (Glance), 60 Avadhūta (Head), 8 (Rasa), 220-1 Avahittha (Combined hands), Bhayanvita (Glance), 62 28 Bheda (Hands, Actions), 89 (Posture), 163 Bhinna (Change of Voice), 243 (Transitory Mood), Bhramana (Pupils), 71 235 Bhramara (Angahāra), 130 Avahitthaka (Nrtta Karaņa), (Mandala), 175-6 116-7 Avakuñcitā (Deśī Cārī), 152 (Nrtta Karana), 103 (Single hand), 22-3 Avalagita (Style), 173 Bhramari (Cārī), 147 Avalokita (Pupils), 72 Bhramita (Wrists), 57 Avapata (Style), 173 Bhränta (Breath), 77 Avarta (Mandala), 176 Bhrāntapādāñcita (Utpluti- (Nrtta Karana), 108 karaņa), 126-7 Avartita (Shanks), 55 Bhrukuti (Eyebrows), 69 Avaspandita (Cārī), 143 Avega (Transitory Mood), 237-9 Bhugna (Mouth), 83 Bhujangancita (Nrtta Karaņa), Āvestita (Hands, Movements). 104 88 Āviddha (Arms), 51 Bhujangatrāsitā (Cārī), 147

Aviddha (Cārī), 147 Bhujangatrasita (Nrtta Karana), 99 Āviddhavaktra (Nrtta hands), Bhujangatrastarecita (Nrtta

Awakening (Transitory Mood), 31 Karana), 104 Bhūmilagna (Soles), 85 235 Bibboka, 9 Āyata (Lips), 79 Bībhatsa (Glance), 60-1 (Posture), 162-3 (Rasa), 221-2 Brāhma (Desī Posture), 167 BACK, 53-4 Breath, 75-7 Baddhā (Cārī), 143-4 Bahirgata (Heels), 84 CAKRABHRAMARĪ (Utpluti- (Shanks), 56 Bahirmukha (Ankles), 84 karaņa), 126

(Utpluti- Cakramaņdala (Nrtta Karaņa), Bāhyabhramarī 108 karaņa), 125 Bāhyavastvanukāriņī, 3 Cakravartanikā (Nrtta hands), 36

250 SAŅGĪTARATNĀKARA

Cala (Breath), 76 DAINYA ('Transitory Mood), 228 (Wrists), 57 Damarī (Desi Cārī), 155 Calana (Pupils), 71 Dambha (Transitory Mood),240 Calasamhata (Chin), 82 Dānavīra, 220 Cāli (Lāsyānga), 182 Dance Troupe, 188-9 Calita (Chin), 82 Merits and Cālivada (Lāsyānga), 182 Defects, 189 Capala (Transitory Mood), 232 Dancer, Deeorations of, 187 Cārana, 199 Defects of, 186-7 Cārī, 138-9 Merits of, 185-6 Cārī-s, 138-57 (Nartaka), 198 Aerial, 144-8 Dancing, Person fit for, 184-5 Deśi, Aerial, 154-7 Daņdapādā (Cārī), 146 Deśi, Earthly, 149-54 (Desī Cārī), 155 Earthly, 140-4 Daņdapāda (Maņdala), 179 Cāșagata (Mandala), 178 (Nrtta Karana), 113-4 Cașagati (Cārī), 142 Daņdapaksa (Nrtta hands), 35 Catura (Eyebrows), 69 (Nrtta Karaņa), 104 (Nrtta Karana), 102

(Single hand), 20-1 Daņdapraņāmāñcita (Utpluti- karaņa), 122 Caturaśra (Deśī Posture), 166 Dandarecita (Nrtta Karaņa), (Nrtta hands), 29 104 (Posture), 160 Chattrabhramarī (Utpluti- Darpasaraņa (Utplutikaraņa), 123 karana), 125 Cheda (Hands, Actions), 89 Dașța (Teeth), 80 Death(Transitory Mood),239-40 Cheeks, 73-4 Deliberation (Transitory Mood), Chest, 41-2 234 Chin, 81-3 Depression (Transitory Mood), Chinna (Hips), 44 228 (Nrtta Karaņa), 103 Desire (Permanent Mood), 225, (Teeth), 79 240 Chotikā, 24 Cinta (Transitory Mood),229-30 Despair (Transitory Mood), 233

Cittavrttyarpikā, 3-4 Detachment (Permanent

Colour, Change of (Tempera- Mood), 203

mental State), 243 (Transitory Mood), Comic sentiment, 211 226

Consequents, 207 Determinants, 207

Contentment (Transitory Devotion (Rasa), 225

Mood), 230 Dhairya, 219

Courage, 219 Dharmavīra, 220

Cruelty (Transitory 227-8 Mood), Dhasaka (Lāsyānga), 183 Dhrti (Transitory Mood), 230

Cukkita (Teeth), 80 Dhūnana (Hands, Actions), 89 Dhuta (Head), 7

SAMGĪTARATNĀKARA 251

Digbhramarī (Utplutikaraņa), Frignt (Transitory Mood), 240 126 Diksvastika (Nrtta Karaņa), 95 Furious sentiment, 216-8

Dīna (Glance), 61-2 Diplomacy, 219 GADGADA (Change of Voice),

Gajadanta (Combined hands), 243 Disgust (Permanent Mood), 203 Dissimulation (Transitory 27-8 Mood), 235 Distraction (Transitory Mood), Gajavikrīdita (Nrtta Karaņa), 111 231 Dola (Combined hands), 26 Gaņdasūci (Nrtta Karaņa), 111 Gangāvataraņa (Nrtta Karaņa), Dolāpādā (Cārī), 146 120 Dolāpāda (Nrtta Karaņa), 109 Gāruda (Deśī Posture), 168 Dreaming (Transitory Mood), Garudapakşaka (Nrtta hands), 234 35 Drpta (Glance), 62 Dviśikhara (Nrtta hands), 39 Garudapluta (Nrtta Karaņa), 111-2 Garva, 9 EDAKĀKRĪDITĀ (Cārī), 142 Edakākrīdita (Maņdala), 178 (Transitory Mood), 237

(Nrtta Karana), 117 Gatāgata (Posture), 164

Ekajānunata (Deśī Posture), 166 Gatimandala (Angahāra), 133 Gaundali, 191 Ekapāda Ekapādalohadī (Utpluti- ),165 Gaundali-vidhi, 191-4

karaņa), 123 Gentle Laugh, 212-3 Smile, 212-8 Ekapādāncita (Utplutikaraņa), Gharghara, 195 121 Ekapārśvagata (Deśī Posture), Ghatitotsedha (Feet), 46 Ghattita (Feet), 46 166 Ghūrņita (Nrtta Karaņa), 100 Ekocca (Shoulders), 47 Eņapluta (Utplutikaraņa), 124 Gīta, 197

Energy (Permanent Mood), 203 Glāna (Glance), 64

Envy (Transitory Mood), 228 Glances, 58-67 Permanent Erotic sentiment, 206-11 expressing

Excessive Laughter, 212-3 Moods, 61-2

Eyebrows, 67-9 Rasa, 59-61

Eyelids, 69-70 Transitory . Moods, 63-7

FACIAL Colour, 86-7 Glãni (Transitory Mood), 226

Faith (Permanent Mood), 225 Grahana (Teeth), 80

Fame, 219 Grdhravalinaka (Nrtta

Fear (Permanent Mood), 203 Karana), 112

Fearful sentiment, 220-1 Guņa-s, Six, 219

Feet, 44-7 Fingers, 84 HAMSAPAKŞA (Single hand), 22 Hamsāsya ( ),21-2

252 SAŅGĪTARATNĀKARA

Hand Poses, Combined, 12, 25-9 Nrtta, 12, 29-40 Janghālanghanikā (Deśī Cārī), 156 Single, 11, 14-24 Janghāvartā (Deśī Cārī), 156 Hands, 11-41 Janita (Carī), 144 Actions, 88-9 Janita (Nrtta Karaņa), 117 Movements, 88 Janugata (Posture), 170 Places, 89 Jihma (Glance), 64 Positions, 87 Hariņaplutā (Deśī Cārī), 155 Joy (Transitory Mood), 232 Jugupsā (Permanent Mood), Hariņapluta (Nrtta Karaņa), 203 113 Jugupsita (Glance), 62 Harinatrāsikā (Deśī Cārī), 151 Harsa (Transitory Mood), 232 KAIŚIKA (Nyāya), 174 Hasa (Permanent Mood), 203 Kaiśikī-vrtti, 172 Hasita, 212-3 Kakşavartanikā (Nrtta hands), Hāsya (Glance), 59 36 (Rasa), 211 Kalāpa, 127 Head, 7-11 Kampita (Breath), 77 Heels, 84 Heroic sentiment, 218 (Cheeks), 73 (Head), 8 Heroism in Charity, Virtue, and (Hips), 44 War, 219 (Lips), 78 Hips, 43-4 Horripilation (Shanks), 56 (Temperamental (Thighs), 54 State), 243 Hrsta (Glance), 61 Kāngūla (Single hand), 19 Kanistha (Troupe), 189 Hunger (Transitory Mood), 241 Kānta (Glance), 59 Kapālacūrņana (Utpluti- IMPATIENCE (Transitory Mood), karana), 123 234 Kapittha (Single hand), 18 Inconstancy (Transitory Mood), Kapota (Combined hands), 25 232 Indignation (Transitory Mood), Karaņa (Cārī), 139 Karasparśana (Utplutikaraņa), 232 124 Indolence (Transitory Mood), Karihastā (Deśī Cārī), 149 231-2 Karihasta (Nrtta hands), 34 Indrajāla, 223 Insanity (Transitory Mood), (Nrtta Karana), 114-5 Karkata(Combined hands), 25-6 236-7 Karnalagna (Shoulders), 47 Intoxication (Transitory Mood), Kartarīlohadī (Utplutikaraņa), 228-9 123 Irsyakrta (Weeping), 215 Kartarīmukha (Single hand), 16 JADATĀ (Transitory Mood),233-4 Jalaśayana (Utplutikaraņa), 123 Kartaryañcita (Utplutikaraņa), 122

SAŅGĪTARATNĀKARA 253

Karuņa (Glance), 60 Kuñcita (Glance), 65 (Rasa), 213-6 Katāksa (Glance), 59 (Knees), 57 (Neck), 49 Kātarā (Deśī Cārī), 150 Kathodghata (Style), 173 (Nrtta Karaņa), 109 (Toes), 85 Katibhranta (Nrtta Karaņa), Kūrmaka (Combined hands), 25 104-5 Kūrmālaga (Utplutikaraņa), Katīchinna ),98 122 Katīsama Kūrmāsana (Deśī Posture), 168 Kavicāra, 196 ),98 Kutila (Troupe), 189 Keśabandha (Nrtta hands), 33 Kuttamita, 9 Khalla (Belly), 53 Kutțana (Teeth), 79 Khaluhula (Gharghara), 196 Khanda (Cārī), 139 LADHI (Lāsyānga), 182 Khandaka, 127 Laghu (Nrtta), 4 Khandana (Teeth), 79 Lajjita (Glance), 63 Khandasūci (Deśī Posture), 167 Lalāțatilaka (Nrtta Karaņa), Khatakāmukha (Single hand), 107-8 18 Lalita, 9 Khatakāvardhamānaka (Com- (Glance), 65 bined hands), 27 (Mandala), 181 Khuttā (Deśī Carī), 153 (Nrtta hands), 38 Kilakiñcita, 9 (Nrtta Karana), 102 Kirti, 219 Lalitasamcara (Mandala), 179- Knees, 57-8 80 Kohlātika, 199 Lamentation, 215 Krānta (Mandala), 179 Langhitajanghikā (Deśī Cārī), (Nrtta Karana), 105 152 (Posture), 169 Lāsya, 4 Krodha (Permanent Mood), 203 Lasyanga-s, Desī, 182-3 Krtrima (Bhayānaka Rasa), 221 Latakara (Nrtta hands), 33 Kruddha (Glance), 62 Latākșepā (Dešī Cārī), 154 Ksama (Belly), 53 Latāvrścika (Nrtta Karaņa), (Cheeks), 74 106-7 Ksepa (Hands, Actions), 89 Laughter, 212-3 Ksipta (Shanks), 55 (Permanent Mood), Kukkutāsana, 122 203 Kulīrikā (Deśī Cārī), 150 Laulya (Rasa), 209 Kuñcanmadhya (Soles), 85 Lehini (Tongue), 81 Kuñcanmūla (Fingers), 84 Līna (Nrtta Karaņa), 92 Kuñcita (Arms), 51 Lips, 77-9 (Cheeks), 73 Lohadī (Utplutikaraņa), 122-3 (Eyebrows), 67 Loka-dharmī, 3-4 (Eyelids), 69. Lola (Chin), 83 (Feet), 45 » (Tongue), 81

254 SAMGĪTARATNĀKARA

Lolita (Head), 10 Mayūralalita (Nrtta Karaņa), (Nrtta Karana), 118 114 (Shoulders), 48 Might, 219 Love (Permanent Mood), 203 Mithoyukta (Ankles), 84 Luțhita (Utplutikaraņa), 123 Modesty, 219 (Heels), 84

MADA (Transitory Mood), 228-9 Moha (Transitory Mood), 231 Madālasā (Deśī Cārī), 151 Moksana (Hands, Actions), 89 Madalasa (Posture), 169 Madaskhalita (Nrtta Karaņa), Motana (Hands, Actions), 89 Motita (Posture), 164 118 Mottāyita, 9 Madavilasita (Angahāra), 131 Mouth, 83-4 Madhya, 185 Mrgapluta (Carī), 145 Madhya(ma) (Intoxication), Mrgaśīrsa (Single hand), 21 67,228-9 Mugdha, 185 Madhyama (Troupe), 189 Mūkagaundali, 191 Madira (Glance), 67 Makara (Combined hands), 28 Mukhaja (Samdamśa), 24 Muktajānu (Posture), 170 Malina (Glance), 63 Mukula (Glance), 64 Māna, 9 (Single hand), 23 Mana (Lāsyanga), 183 Musti (Single hand), 17 Manda (Nose), 75 Mustikasvastika (Nrtta hands), Mandala (Cārī), 139 37 (Posture), 161 Mandalagati (Arms), 50 NĀGABANDHA Mandala-s, 175-81 (Deśī Posture), 168 Aerial, 178-81 (Utplutikaraņa), Earthly, 175-8 123 Mandalasvastika (Nrtta Kara- Nāgāpasarpita (Nrtta Karaņa), ņa), 93-4 120 Marālā (Deśī Cārī), 149 Nalinīpadmakośa (Nrtta Marana (Transitory Mood), hands), 37-8 239-40 Namra (Arms), 51 Mardita (Feet), 46 Mārga, 4 Nandyāvarta (Deśī Posture), 165 Marvellous sentiment, 222-3 Mati (Transitory Mood), 235 Narma (Style), 173

Mātrkā, 127 Narmagarbha (Style), 173

Matsyakaraņa (Utplutikaraņa), Narmasphota ( ,, ), 173 Narmasphuñja ( ,, ), 173 124 Nartaka, 198 Mattākrīda (Angahāra), 132 Mattalli (Cari), 142-3 Nata, 198

Mattalli (Nrtta Karana), 101 Nata (Knees), 58

Mattaskhalita (Angahāra), 133 (Neck), 49

Māyā, 223 (Nose), 74 (Posture), 171

SAMGĪTARATNĀKARA 255

Nata (Shanks), 55 Nrtta Karaņa-s, 90-120 (Sides), 43 Nataprstha (Utplutikaraņa), Nrtya, 4 Nūpura (Nrtta Karaņa), 103 124 Nūpurapādikā (Cārī), 146 Nāțya, 3 Nūpuraviddhā (Deśī Cārī), 149 Nāțya-dharmī, 3-4 Nyaya-s, 173-4 Naya, 219 Neck, 48-9 ODIOUS sentiment, 221-2 Nepathya, 211 Nidrā (Transitory Mood), 240 Ornaments, 58 Oyāraka (Lāsyānga), 183 Nigraha (Hands, Actions), 89 Nihañcita (Head), 9 PĀDĀPAVIDDHAKA, (Nrtta Niḥsrta (Shanks), 55 Karaņa), 102-3 Niḥśvāsa (Breath), 77 Padivāța (Gharghara), 195 Nikuñca (Wrists), 56 Padmakośa (Single hand), 19 Nikuñcaka (Nrtta hands), 39 Nikuñcita (Eyebrows), 68 Pakşapradyotaka (Nrtta hands), 35 (Nrtta Karana), 100 Nikutțaka (Angahāra), 136 Paksasthita, 159

(Nrtta Karana), 97 Pakșavañcita (Nrtta hands), 35

Nikuttikā (Deśī Cārī), 154 Pallava (Nrtta hands), 32-3

Nikuttita (Angahāra), 136 Paracittāksepaka (Style), 173

Nimesita (Eyelids), 69 Paranmukha (Hands, Positions), 87 Nirasta (Breath), 76 Nirbhugna (Chest), 42 Parasamstha (Hāsya Rasa), 212 Nirvarņanā, 72 Nirveda (Permanent Mood), Parāvrtta (Angahāra), 135-6 (Deśi Posture), 166 203 (Head), 9-10 (Transitory Mood), (Shanks), 56 226 Parāvrttatalā (Deśī Cārī), 149 Nisadha (Combined hands), 28 Paricchinna (Angahāra), 130 Nișanna, 159 Paridevana, 215 Nişkarşana (Teeth), 80 Nişkrāma (Pupils), 71 Parigraha (Hands, Actions), 89

Niśumbhita (Nrtta Karaņa), Parivāhita (Head), 8-9 Parivartaka (Style), 173 110 Nitamba (Nrtta hands), 32 Parivartita (Hands, Move-

(Nrtta Karana), 115 ments), 88

Nivartita (Thighs), 54 (Shanks), 55

Niveśa (Nrtta Karaņa), 117 Parivrtta (Nrtta Karaņa), 113 Parivrttarecita (Angahāra), 136 Nivrtta (Neck), 48 Paropālambhaka (Style), 173 Nose, 74-5 Nrtta, 4 Pārșniga (Feet), 47

(Angikābhinaya), 5 Pārșņipārśvagata (Dešī Posture),

hand poses, 29-41 Pārșņirecitā (Deśī Cārī), 150 166

256 SAMGĪTARATNĀKARA

Pārsnividdha (Deśī Posture), Postures, (Sthana-s), 157-71 166 Women, 162-4 Pārśvābhimukha (Head), 11 Practice, Procedure for, 184 Pārśvaccheda (Angahāra), 131 Pragalbhā, 185 Pārśvadaņdapādā (Cārī), 145 Prahasana (Style), 173 Pārśvaga (Feet), 47 Prakampita (Chest), 42 Pārśvagata (Hands, Positions), Prākrta (Pupils), 71 87 Pralaya (Temperamental State), Pārśvaja (Single hand), 24 244 Pārśvajānu (Nrtta Karaņa), Prarocanā (Style), 173 112 Prasanna (Facial Colour), 86 Pārśvakrāntā (Cārī), 145 Prasārita (Arms), 339 Pārśvakrānta (Nrtta Karaņa), (Posture), 171

Pārsvamandalin (Nrtta hands), 110 (Sides), 43 (Toes), 85 36 Prasarpita (Nrtta Karaņa), 115 Pārśvanikuttaka (Nrtta Prasrta (Breath), 77 Karana), 108 Pārśvasvastika (Angahāra), 130 (Eyelids), 69

Pārśvatomukha (Hands, Posi- (Fingers), 84

tions), 87 Pratāpa, 219

Paryastaka (Angahāra), 129 Pratyālīdha (Posture), 162

Passion (Rasa), 225 Pratyanga-s, 5-6, 48-58

Pāta (Pupils), 71 Pravartaka (Style), 173 Praveśana (Pupils), 71 Patāka (Single hand), 14 Pravicara-s, 174 Pathetic sentiment, 213-6 Patita (Eyebrows), 68 Pravilokita (Pupils), 73

(Fingers), 84 Pravrddha (Breath), 76 Prāvrta (Deśī Cārī), 157 (Heels), 84 Patitāgra (Soles), 85 Prayogātisaya (Style), 173 Prenkholita (Nrtta Karaņa), Peraņin, 194-7

Permanent Moods, 203 Pride (Transitory Mood), 240 114 Peraņī-paddhati 197-8

Perspiration (Temperamental Prsthānusārin (Arms), 51

State), 242 Prsthasvastika (Nrtta Karaņa),

Phulla (Cheeks), 74 Prsthotksepa (Deśī Cārī), 157 95

Pihita (Eyelids), 70 Pistakutța (Maņdala), 178 Prsthottanatala (Desī Posture),

Policies, 219 165-6

Possession (Transitory Mood), Pupils, 70-3 Puraḥksepā (Dešī Cārī), 154 233 Postures, Desi, 164-8 Purātikā Purna (Belly), 53 ), 153

Men, 159-62 Reclining, 170-1 (Cheeks), 74

Sitting, 168-170 Pușpapuța (Combined hands), 26

SAMGĪTARATNĀKARA 257

RAKŞAŅA (Hands, Actions), 89 Samanakha (Nrtta Karana), 96 Rakta (Facial Colour), 86 Samapādā (Cārī), 140-1 Rasa, 202 Samapāda (Desi Posture), 165 Rathacakrā (Deśī Cārī), 149 (Posture), 160 Rati (Permanent Mood), 203 Samapādāñcita (Utpluti- Raudra (Glance), 60 karaņa), 126 (Rasa), 216-8 Samaskhalitikā (Deśī Cārī), 154 Recakanikutțaka (Nrtta Kara- Samasūci (Deśi Posture), 167 na), 102 Sambhoga (Srngara), 206-8 Recaka-s, 138 Sambhranta (Angahāra), 137 Recita (Angahāra), 134-5 (Nrtta Karana), 119 (Eyebrows), 68 Samcāritā (Desī Cārī), 151-2 (Hips), 44 Samdamśa (Single hand), 23 (Lips), 79 Samdastaka (Lips), 78 (Neck), 49 Samghātaka (Style), 173 29 (Nrtta hands), 32 Recollection (Transitory Mood), Samhata (Chin), 82 (Desi Posture), 165 230 (Knees), 57 Rekhā, 183 Ridicule, 212-3 Samkşiptaka (Style), 173 Samlagna (Toes), 85 Riktapūrņa (Belly), 54 Samlāpaka (Style), 173 Rjvi (Tongue), 80 Sammukhägata (Hands, Posi- Romañca (Temperamental tions), 87 State), 243 Samotsarita (Mandala), 177 Roşersyāsūcaka (Style), 173 Samotsaritamattalli (Cāri), 142

SAcr (Pupils), 72 Sampheta (Style), 173

Sahaja (Eyebrows), 68 Sampradāya, 188-9

Saiva (Deśī Posture), 168 Samudga (Lips), 78 Samudvrtta (Pupils), 71 Šakațāsyā (Cārī), 141 Sakațāsya (Maņdala), 176 Samyuta (Fingers), 84

Śākhā, 5 (Nrtta Karaņa), 119 Sanghāta, 127 Sanghattitā (Deśī Cārī), 152 Śankā (Transitory Mood), 226-7 Sama (Breath), 77 Śankita (Glance), 64 (Cheeks), 74 Sanna, 159 (Chest), 41-2 Sannata (Nrtta Karana), 114 (Eyelids), 70 Sānta (Rasa), 203, 223-5 (Feet), 45 Sarala (Arms), 52 (Head), 11 (Knees), 58 Sarikā (Desī Cārī), 153 Sarpaśiras (Single hand), 20 (Neck), 48 (Posture), 170 Sarpita (Nrtta Karana), 114 22

(Pupils), 72 Sāttvata (Nyāya), 174

(Teeth), 80 Sattvatī-vrtti (Style), 172

(Wrists). 57 Sāttvika, 3 Sāttvikabhāva-s, 241-4 17

258 SAMGĪTARATNĀKARA

Śaurya, 219 Srkkānuga (Tongue), 81 Sausthava, 159 Srngāra (Rasa), 206-11 Sentiments, Nine, 202-25 Stabdha (Thighs), 54 Shame (Transitory Mood), 231 Stambha, 9 Shanks, 55-6 Shoulders, 47-8 (Temperamental State), 242 Sickness (Transitory Mood), 236 Stambhakrīdanikā (Deśī Cārī), Sides, 43 152 Sikhara (Single hand), 17 Stambhita (Breath), 77 Sirihira (Gharghara), 196 Steadiness, 219 Siripāța ( ), 195 Sthairya, 219 Sirobhramarī (Utplutikaraņa), Sthāna (Posture), 158 126 Sthirahasta (Angahāra), 128-9 Sītkrta (Breath), 77 Sthitāvartā (Cārī), 141 Skandhabhrānta (Utplutikara- Stupefaction (Temperamental ņa), 127 State), 242 Skandhānata (Head), 10 Stupor(Transitory Mood), 233-4 Skhalita (Breath), 77 (Nrtta Karaņa), 115-6 Style, Pure, 190-1

Simhākarșita (Nrtta Karaņa), Sūcī, 5 (Vrtti), 171-3

116 (Cārī), 146 Simhavikrīdita ( 116 ), (Deśī Cārī), 157 (Feet), 45 Sleep (Transitory Mood), 240 Ślesa (Hands, Actions), 89 Sūci (Nrtta Karana), 112-3 Sūcīmukha (Nrtta hands), 31-2 Smita, 212-3 Smrti (Transitory Mood), 230 (Single hand), 20 Sūcīviddha (Angahāra), 129 Sneha (Rasa), 225 Snigdha (Glance), 61 (Mandala), 180

Socchvāsa (Nose), 75 (Nrtta Karaņa), 113

Śoka (Permanent Mood), 203 Sūcyanta-s (Utplutikaraņa-s), 125 Soles, 85 Sorrow (Permanent Mood), 203 Sūcyāsya (Nrtta hands), 32

Spandita (Cari), 143 Suddha (Bibhatsa Rasa), 222 Suddha-paddhati, 190-1 Sparśagraha, 223 Sphoțana (Hands, Actions), 89 Sūka (Lāsyānga), 182

Sphurikā (Deśī Cārī), 153 ukatunda (Single hand), 18 Sünya (Glance), 63 Sphurita (Chin), 82 Sphurita (Desī Carī), 152 Supta (Transitory Mood), 234

Sphurita (Eyelids), 70 Sūtkrta (Breath), 77

Śraddha(Permanent Mood), 209 Svābhāvika (Facial Colour), 86

Śrama (Transitory Mood), 229 Svābhāviki (Nose), 74

Śranta (Glance), 63 Svahetūttha (Bhayānaka Rasa), 221 Srasta (Shoulders), 48 Srastālasa (Posture), 169-70 Svarabheda State), 243 (Temperamental

SAŅGĪTARATNĀKARA 259

Svasammukhatala (Hands, Posi- Thirst (Transitory Mood), 241 tions), 87 Tiraścīna (Shanks), 56 Śvasita (Chin), 82 (Soles), 85 Svastha (Breath), 75 Tiripabhramari (Utpluti- (Posture), 168 karana), 125 Svastika (Arms), 51 Tiryagañcita (Utplutikaraņa), (Combined hands), 26 124 Svastikā (Deśī Cārī), 153 Tiryak (Arms), 50 Svastika (Desī Posture), 164 Tiryakkaraņa (Utplutikaraņa), (Nrtta hands), 30 124 (Nrtta Karaņa), 95-6 Tiryakkuñcitā (Dešī Cārī), 151 Svastikarecita (Angahāra), 137 Tiryaksvastika (Utplutikaraņa), (Nṛtta Karaņa), 125 97 Sveda (Temperamental State), Tiryańmukhā (Desī Cārī), 149 Tiryańnatonnata (Head), 10 242 Toes, 84-5 Śyāma (Facial Colour), 86 Tolana (Hands, Actions), 89

TĀDANA (Hands, Actions), 89 Tongue, 80-1 Tranquil sentiment, 203, 223-5 Tādita (Feet), 46 Tranquillity (Transitory Mood), Tala, 159 241 Taladarśinī (Deśi Cārī), 153 Transitory Moods, 226-41 Talamukha (Nrtta hands), 30 Trasa (Transitory Mood), 240 Talapuspapuța (Nrtta Karaņa), Trasta (Glance), 66 92 Trembling (Temperamental Talasamsphotita (Nrtta Karaņa), 112 State), 243 Tripatāka (Single hand), 14-5 Talasanghattita (Nrtta Tryaśra, 159 Karana), 117-8 Talavilāsita (Nrtta Karaņa), (Neck), 49

107 UCCHRITA (Shoulders), 47 Talodvrttā (Deśi Cārī), 151 Tāmracūda (Single hand), 24 Ucchvāsa (Breath), 77 Uddhrta (Soles), 85 Tāndava, 4 Uddhrtāgra (Soles), 85 Tarjana (Hands, Actions), 89 Taruna (Intoxication), 67, Udghattita (Angahāra), 134

228-9 (Feet), 46 (Nrtta Karaņa), 119 Teacher, 187-8 Tears (Temperamental State), Udghātyaka (Style), 173 Udvāhi (Mouth), 83 244 Teeth, 79-80 Udvāhita (Chest), 42

Temperamental States, 241-4 (Head), 8

Tenderness (Permanent Mood), (Hips), 44

225 (Posture), 171

Thighs, 54 (Shanks), 55 Udvartita (Thighs), 54

260 SAMGĪTARATNĀKARA

Udvega (Transitory Mood), 241 Uromandala (Nrtta Karaņa). Udvestana (Deśī Cārī), 156 108 Udvestita (Arms), 51 Uromandalin (Nrtta hands). (Hands, Movements), 36-7 88 Urongaņa (Lāsyānga), 182 Udvrttā (Cārī), 148 Udvrtta (Lips), 78 Urovartanikā (Nrtta hands), 36 Ūrūdvrttā (Cārī), 144 (Nrtta hands), 29 Ūrūdvrtta (Nrtta Karaņa), 120 (Nrtta Karana), 118 Ūrutāditā (Dešī Cārī), 150 Udvrttaka (Ańgahāra), 136 Ūruveņī Ūhāpoha, 235 ),150 Utkata (Posture), 169 Ulbana (Nrtta hands), 38 Ullāsita (Breath), 76 Utkrsta (Hands, Actions), 89

Ullokita (Pupils), 73 Utkşepa (Deśī Cārī), 156 Utksipta (Eyebrows), 68 Ullola (Desi Cari), 157 Ullukasana, 223 (Head), 10

Unconsciousness (Tempera- (Heels), 84 (Toes), 85 mental State), 244 Unmāda (Transitory Mood), Utksipta-patita (Heels), 84 Utkuñcitā (Deśī Cārī), 152 236-7 Utplutikarana-s, 121-7 Unmatta (Nrtta Karaņa), 96-7 Unmeșita (Eyelids), 69 Utsaha (Permanent Mood), 203 Utsanga (Combined hands), 27 Unnata (Knees), 58 Utsarita (Arms), 52 (Neck), 49 Utspanditā (Cārī), 143 (Sides), 43 Uttana (Hands, Positions), 87 (Tongue), 81 Upahasita, 212-3 Uttānavañcita (Nrtta hands), 33

Upānga-s, 6, 58-87 Utthāpaka (Style), 173

Upasrta (Nrtta Karaņa), 117 Upāya-s, 219 VĀCIKA, 3

Uraḥpārśvamaņdalin (Nrtta Vaiśākha (Posture), 160-1 Vaiśākharecita (Angahāra), hands), 37 129-30 Ūrdhvaga (Hands, Positions), (Nrtta Karaņa),

Ūrdhvajānu (Cārī), 145 87 105-6

(Nrtta Karaņa), Vaisņava (Desī Posture), 167 (Posture), 159

Ūrdhvālaga (Utplutikaraņa), 100 Vaitālika 198-9 Vaivarņya 122 (Temperamental

Ūrdhvamandalin (Nrtta hands), State), 243 Vakra (Chin), 82

Ūrdhvamukha (Hands, Posi- 36 (Fingers), 84

tions), 87 (Tongue), 81

Ordhvastha (Aŕms), 50 Vakşaḥsvastika (Nrtta Karaņa),

Ūrņanābha (Single hand), 23 94 Valana (Deśī Cārī), 156

SAMGĪTARATNĀKARA 261

Valana (Pupils), 71 Vikața (Ntta), 4-5 Valita (Fingers), 84 Vikośa (Glance), 66 (Neck), 48 (Nrtta hands), 39 Vikrsta (Hands, Actions), 89

(Nrtta Karana), 102 (Nose), 75 Vikşepā (Deśī Cārī), 155 (Posture), 164 (Thighs), 54 Viksipta (Nrtta Karaņa), 110-1

Valitoru (Nrtta Karaņa), 93 Vikşiptākșiptaka (Nrtta Karana), 99 Valour, 219 Vikūnita (Nose), 75 Vāmaviddha (Mandala), 180 Vilāpa, 215 Vankola (Utplutikaraņa), 124 Vilāsa, 9 Varadābhaya (Nrtta hands), 40 Vilīna (Breath), 77 Vardhamāna (Combined hands), 29 Vilokita (Pupils), 72

(Deśī Posture), Vimukta (Breath), 76

165 (Posture), 170 Vinaya, 219 Vārşagaņya (Nyāya), 174 Vinigūhita (Lips), 78 Vartanā, 52 Vinivartita (Posture), 164 Vartita (Nrtta Karaņa), 93 Vastūtthāpana (Style), 173 Vinivrtta (Mouth), 84 (Nrtta Karaņa), 109 Vepathu (Temperamental Vipluta (Glance), 66 State), 243 Viprakīrņa (Nrtta hands), 30 Vestana (Deśī Cārī), 156 Vipralambha (Śrngāra), 206-8 Vibhava-s, 207 Vīra (Glance), 60 Vibhrama, 237 (Rasa), 218 Vibhrānta (Glance), 66 Vibodha (Transitory Mood) Visāda (Transitory Mood), 233 Visama 196 235-6 Visama (Nrtta), 4-5 Vicālita (Eyelids), 70 Visamasucı (Deśi Posture), 167 Vicitra (Mandala), 180 Visanna (Glance), 65 Vicyavā (Cārī), 141 Visarjana (Hands, Actions), 89 Viddhā (Deśī Cārī), 157 Viskambha (Angahara), 133 Vidhuta (Head), 7 (Nrtta Karaņa), 119 (Mouth), 83 Viskambhāpasrta (Angahāra), Vidyudbhrānta (Angahāra), 132-3 132 Viskambhita (Posture), 169 Vidyudbhrantā (Cārī), 146 - Viślesa (Hands, Actions), 89 (Desi Cari), 154 Vidyudbhrānta (Nrtta Karaņa), Viślistā (Deśī Cārī), 150 Vismaya (Permanent Mood), 110 203 Vihasī (Lāsyānga), 183 Vismita (Breath), 76 Vihasita, 212-3 (Glance), 62 Vihrta (Glance), 63 Visņukrānta (Nrtta Karaņa), (Mandala), 181 118 Vikasin (Lips), 79 Visrsța (Lips), 78