नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
56 THE NATYASASTRA [ IV. 125-
125. Niśumbhita—a foot bent towards the back, the breast raised high, and the hand held at the centre of the forehead (tilaka).¹
126. Vidyudbhrāntā¹—foot turned backwards and the two hands in the Maṇḍalāviddha² gesture stretched very close to the head.
127. Atikrānta—observing the Atikrānta Cārī, the two hands stretched forward in a manner befitting the dance.
128. Vivartitaka—hands and feet to be thrown out, the Trika to be turned round and hands to be Recita
129. Gajakrīḍita—the left hand bent and brought near the [left] ear, and the right hand in Latā gesture and the feet Dolāpāda Cārī.
130. Talasaṁsphoṭita¹—a foot to be swiftly lifted up and put forward, the two hands showing Talasaṁsphoṭita² gesture.
131. Garuḍaplutaka—the two feet to be stretched backwards and the two hands--right and left—to be respectively with Latā and Recita gestures, and the breast raised up.
132. Gaṇḍasūcī—the feet to be in Sūcī position, the side to be Unnata, one hand to be on the breast and the other to bend and touch the cheek.
133. Parivṛtta—the hands raised in Apaveṣṭita gesture, the feet in Sūcī position, the Trika is turned round (in the Bhramarī Cārī).
134. Pārśvajānu---one foot in Sama position and the opposite thigh raised, and one Muṣṭi hand on the breast.
135. Gṛdhrāvalīnaka---one foot stretched backwards and one knee slightly bent and the two arms outstretched.
125 (B.125, G.122). ¹ Ag. interprets differently
126 (B;126, G.123). ¹ Ag. interprets differently.
² Nowhere defined in NŚ. 127 (B.127, G.124).
128 (B.128, G.125). 129 (B.129, G.126).
130 (B.130, G.127). ¹ Ag. interprets the passage, differently.
² Defined nowhere in NŚ.
131 (B.131, G.128). 132 (B.132, G.129). 133 (B.133, G.130).
134 (B.134, G.131). 135 (B.135, G.132).
.IV. 145] DESCRIPTION OF THE CLASS DANCE 57
136. Sannata—after jumping, the two feet are to be put forward in Svastika form and the two hands to show Sannata¹ (i.e. Dolā) gesture.
137. Sūcī—a Kuñcita foot to be raised and put forward on the ground, and the two hands to be in harmony with the performance.
• 138. Ardhasūcī—the Alapadma hand is held on the head, the right foot is in Sūcī (karaṇa) position.
139. Sūcīviddha—one foot of Sūcī Karaṇa being put on the heel of another foot, the two hands to be respectively put on the waist and the breast.
140. Apakrānta—after making the Valita thigh, Apakrānta Cārī is to be performed, the two hands to be moved in harmony with the performance.
141. Mayūralalita—after assuming the Vṛścika K. two hands to be Recita, and the Trika to be turned round [in the Bhramarī Cārī].
142. Sarpita—the two feet to be moved from the Añcita position and the head with Parivāhita gesture, and the two hands are Recita.
143. Daṇḍapāda—after the Nūpura Cārī, Daṇḍapāda Cārī should be observed and the āviddha (vaktra) hand should be shown quickly.
144. Hariṇapluta—after observing the Atikrānta Cārī one jumps and stops, and then one of the shanks are bent and thrown up.
145. Preṅkholitaka—after observing the Dolāpāda Cārī one is to jump and let the Trika turn round (in the Bhramarī Cārī and come at rest.
136 (B.136, G.133). ¹ According to Ag. Sannata = Dolāhasta.
137 (B.137, G.134). 138 (B.138, G.135).
140 (B.140, G.137). 141 (B.141, G.138).
142 (B.142, G.139). 143 (B.143, G.140). 144 (B.144, G.141).
145 (B.145, G.142). ¹ Defined nowhere in NŚ.
8
58 THE NATYASASTRA [ IV. 146
-
Nitamba—arms to be first thrown up and hands to have their fingers pointing upwards and the Baddhā Cārī to be observed.
-
Skhalita - after observing Dolāpāda Cārī, hands with Recita gesture to be turned round in harmony with this.
-
Karihasta—the left hand is to be placed on the breast, the palm of the other hand to be made Prodveṣṭitala, the feet to be Añcita.
-
Prasarpitaka—one hand to be Recita and the other with Latā gesture, and feet to be Samsarpitatala (= Talasañcara).
-
Siṁhavikrīḍita—after observing the Alāta Cārī one is to move swiftly and hands to follow the feet.
-
Siṁhākarṣita—one foot to be stretched backwards and hands to be bent and turned round in the front and again to be bent.
-
Udvṛtta—hands, feet and the entire body to be moved violently (lit. thrown up) and then Udvṛtta Cārī to be observed.
-
Upasṛtaka—observing Akṣipta Cārī and hands in harmony with this Cārī.
-
Talasaṁghaṭṭita—observe the Dolāpāda Cārī two palms will clash with each other and the left hand to be Recita.
-
Janita—one hand to be on the breast, the other hanging loosely and observing Talāgrasaṁsthita (Janita) Cārī.
-
Avahitthaka—after observing Janita K. raising hands with fingers spread out and then letting them fall slowly.
-
Niveśa—the two hands will be on the breast which should be Nirbhugna and the dancer should assume Maṇḍala Sthāna (posture).
146 (B.146, G.143). 147 (B.147, G.144). 148 (B.148, G.145). 149 (B.149, G.146). 150 (B.150, G.147). 151 (B.151, G.148). 152 (B.152, G.149). 153 (B.153, G.150). 154 (B.154, G.151). 155 (B.155, G.152). ¹ According to Ag. Talāgrasaṁsthita pāda means Janita cārī. 156 (B.156, G.153). 157 (B.157, G.154).
-IV. 167 ] DESCRIPTION OF THE CLASS DANCE 59
158. Elakākrīḍita—jumping with Talasañcara¹ feet and coming to the ground with the body bent and turned.
159. Urūdvṛtta—a hand made Āvṛtta (Vyavartita) and then bent and placed on the thigh, shanks made añcita and Udvṛtta.
160. Madaskhalitaka—two hands hanging down, the head assuming the Parivāhita gesture, the right and the left feet to be turned round in Āviddha Cārī.
• 161. Viṣṇukrānta—a foot stretched forward and bent as if on the point of walking, and hands to be Recita.
162. Sambhrānta—a hand with Āvartita (Vyavartita) movement placed on the thigh which is made Āviddha.¹
163. Viṣkambha—a hand to be Apaviddha,¹ Sūcī Cārī, foot to be made Nikuṭṭita and the left hand on the breast.
164. Udghaṭṭa—feet to in Udghaṭṭita¹ movements and hands in Talasaṁghaṭṭita movement² are to be placed on two sides.
165. Vṛṣabhakrīḍita—after observing the Alāta Cārī two hands to be made Recita, and afterwards these should to be made Kuñcita and Añcita.
166. Lolita—hands on the two sides to be Reicta and Añcita, and the head Lolita and Vartita.
167. Nagāpasarpita—to draw back feet from Svastika position and the head to be Parivāhita and hand to be Recita.
158 (B.158. G.155). ¹ Same as agratalasañcara, see NŚ. X. 46.
159 (B.159, G.156).
160 (B.160, G.157). ¹ Defined nowhere in NŚ.
161 (B.161, G.158).
162 (B.162, G.159). ¹ Defined nowhere in NŚ.
163 (B.163, G.160). ¹ Defined nowhere in NŚ.
164 (B.164, G.161). ¹ Defined nowhere in NŚ.
² Defined nowhere in NŚ.
165 (B.165, G.162). ¹ Defined nowhere in NŚ.
166 (B.166, G.163).
167 (B.167, G.164). ¹ Defined nowhere in NŚ.
60 THE NATYASASTRA [ IV. 168-
168. Śakaṭāsya—beginnning with body at rest, advancing with a Talasañcara¹ foot and making the breast Udvāhita.²
169. Gaṅgāvataraṇa—foot with the toes and the sole turned upwards, hands showing Tripatāka with the fingers pointing downwards and the head being Sannata.¹
The Aṅgahāras
170. I have spoken of one hundred and eight Karaṇas. I shall now describe the different Aṅgahāras.
171-173. Sthirahasta—stretching two arms and throwing them up, taking up Samapāda Sthāna, the left `hand stretched upwards from the level of the shoulder, taking up afterwards the Pratyālīḍha Sthāna, then observing successively the Nikuṭṭita, Urūdvṛtta, Ākṣipta, Svastika, Nitamba, Karihasta and Kaṭicchinna, Karaṇas.
174-176. Paryastaka—observing Talapuṣpapuṭa, Apaviddha, and Vartita Karaṇas, then takiug up Pratyālīḍha Sthāna, then assuming Nikuṭṭaka, Urūdvṛtta, Ākṣipta, Uromaṇḍala, Nitamba, Karihasta, Katicchinna, Karaṇas.
176-178. Sūcīviddha—after showing Alapallavā (Alapadma) and Sūcī (mukha) gestures assuming one after another Vikṣipta. Āvartita, Nikuṭṭaka, Urūdvṛtta, Ākṣipta, Urnomaṇḍala, Karihasta, and Kaṭicchinna Karaṇas.
178-180. Apaviddha—Apaviddha and Sūcīviddha Karaṇas, then observing Udveṣṭita K. with hands and turning the Trika,
168 (B.168, G.165). ¹ See above 158 note. ² B. reads udghāṭita.
169 (B.169, G.166). ¹ Defined nowhere in NŚ.
² Defined nowhere in NŚ.
³ For B.170-174 and G.167-170 see 56-61 before.
170 (B.174, G.171). ¹ Defined nowhere in NŚ.
171-173 (B.175-177, G.172-174). ¹ Definition of the aṅgahāras have been translated like the karaṇas; above see. 62 note. Aṅgahāras are mostly combinations of the karaṇas.
174-176 (B.178-180a, G.175-176). ¹ G. Omits 175b.
176-178 (B.180b.-182a, G.177-179a).
178-180 (B.182b-184a, G.179b-180).
.IV. 196 ] DESCRIPTION OF THE CLASS DANCE 61
showing with hands Uromaṇḍalaka gestures and assuming Kaṭicchinna Karaṇa.
180-182. Ākṣiptaka—assuming successively Nūpura, Vikṣipta, Alātaka, Ākṣipta, Uromaṇḍala, Nitamba, Karihasta and Kaṭicchinna Karaṇas.
182-184. Udghaṭṭita¹—moving Udveṣṭita and Apaviddha (Aviddha) hands and the two feet to be Nikuṭṭita, and again changing them to Uromaṇḍala gesture and then assuming successively Nitamba, Karihasta and Kaṭicchinna Karaṇas.
184-187. Viṣkambha—hands by turns made Udveṣṭita, feet are successively made Nikuṭṭita and bent, then assuming Urudvṛtta K. hands to be made Caturasra¹ and feet Nikuṭṭaka, assuming then Bhujaṅgatrāsita K. hands to be made Udveṣṭita, assuming Chinna and Bhramaraka Karaṇas while Trika is to be moved, then Karihasta and Kaṭicchinna Karaṇas to be assumed.
187-190. Aprājita—assuming Daṇḍapāda K., hands having Vikṣipta and Ākṣpita¹ movement, then assuming Vyamsita K. the left hand moving along with the left foot, then hands being Caturasra and feet having Nikuṭṭaka movement, assuming Bhujaṅgatrāsita K. and hands having Udveṣṭita movement, then assuming successively the two Nikuṭṭakas (i. e. nikuṭṭa and ardhanikuṭṭaka), Ākṣipta, Uromaṇḍala, Karihasta, and Kaṭicchinna Karaṇas.
190-192. Viṣkambhāpasṛta—assuming Kuṭṭita and Bhujaṅga trāsita Karaṇas, Recita hand to show the Patāka gesture, then to be assumed successively Ākṣiptaka, Uromaṇḍala, Lata, Kaṭiccheda Karaṇas.
192-195. Mattākrīḍa—assuming Nūpara K. by turning Tirka, then assuming Bhujaṅgatrāsita K. assuming next Recita K.
180-182 (B.184b-186a, G.181-182).
182-184 (B.186b-188a, G.183-184). ¹ In the definition of aṅgahāra this term has been equated with nṛtta or dance.
184-187 (B.188b-191a, G.185-187). ¹ Defined nowhere in NŚ.
187-190 (B.191b-194a, G.188-189). ¹ Defined nowhere in NŚ.
190-192 (B.194b-196a, G.190-191).
192-195 (B.196b-199a, G.192-194).
62 THE NĀṬYAŚĀSTRA [ IV. 167-
with the right foot, and then assuming successively Ākṣiptaka, Chinna, Bāhyabhramaraka, Uromaṇḍala, Nitamba, Karihasta, Kaṭiccheda Karṇas.
196-197. Svastikarecita¹—hands and feet are Recita, then assume Vṛścika K. and again repeat this movement of the hand and feet, and then Nikuṭṭaka K. and the Latā gesture alternately with the right and the left hand, and then Kaṭicchinna K.
197-200. Pārśvasvastika—assuming (Dik-) Svastika from one side and then the Ardhanikuṭṭaka, all these to be repeated on the side, then the Āvṛtta (vyaavartita) hand to be placed on the thigh, then to assume successively Urudvṛtta, Ākṣipta, Nitamba, Karihasta and Kaṭicchinna Karaṇas.
200-202. Vṛścikāpasṛta—assuming Vṛścika K. holding the Latā band to be held on the nose, after moving the same hand in Udveṣṭita movement, then assuming successively Nitamba, Karihasta and Kaṭicchinna Karaṇas.
202-204. Bhramara—assuming successively Nūpurapāda Ākṣiptaka Kaṭicchinna, Sūcīviddha, Nitamba, Karihasta, Uromaṇḍala and Kaṭicchinna Karaṇas.
204-206. Mattaskhalitaka—asuming Matalli K. and moving round the right hand and bending and placing it near the (right) cheek, then assuming (successively) Apaviddha. Talasaṁsphoṭita, Karihasta and Kaṭicchinna Karaṇas.
206-208. Madavilasita—moving with Dolā hands and Svastikāpasṛta feet, making hands Añcita as well as Valita and then assuming successively Talasaṁghaṭṭita, Nikuṭṭaka, rudvṛtta, Karihasta and Kaṭicchinna Karaṇas.
195-197 (B.199b-201a, G.195-196). ¹ In the translation of this K. Ag. has been followed.
197-200 (B.201b-204a, G,197-199). ¹ In the translation of this K. I have followed Ag.
200-202 (B.204b-206a, G.200-201).
202-204 (B.206b-208a, G.202-203).
204-206 (B.208b-210a, G.204-205).
206-208 (B.210b-212a, G.206-207).
-IV. 223 DESCRIPTION OF THE CLASS DANCE 63
208-210. Gatimaṇḍala—after assuming Maṇḍala Sthānaka and making the hands Recita and the feet Udghaṭṭita assuming successively Matalli. Ākṣipta, Uromaṇḍala and Kaṭiccheda Karaṇas.
210-212. Paricchinna—after the Samapāda Sthān¹ assuming Paricchinna (i.e. Chinna) K then with Aviddha foot assuming Bāhya Bhramarakā¹ and with the left foot assuming Sūcī K. and than observi· (successively) Atikrānta, Bhujaṅgatrāsita, Karihasta and Kaṭicch· ṇa Karaṇas.
212-216. Parivṛttakarecita—holding on the head hands in loose Svastika form and them after bending the body the left hand to be made Recita, and raising the body, again the same hand to be made Recita, after this hands to show Latā gesture and assuming successively Vṛścika, Recita, Karihasta Bhujaṅgatrāsita, Ākṣiptaka Karaṇas then have Svastika foot; all this to be repeated after turning back completely, then assume (successively) Karihasta.
216-219. Vaiśākharecita—along with body the two hands to be made Recita and all this is to be repeated with the body bent then observe Nūpurpāda Cārī and Bhujaṅgatrāsita, Recita, Maṇḍalasvastika, afterwards bending shoulder Urūdvṛtta, Ākṣipta Uromaṇḍala Karihasta¹ and Kaṭicchinna Karaṇas are to be assumed.
219-221. Parāvṛtta—assuming Janita K. and putting forward a foot, then assuming Alātaka K. and turning the Trika, [in the Bhramri Cārī] afterwards the left hand bend and to on the cheek, then assuming Kaṭicchinna Karaṇa.
208-210 (B.212b-214a, G.208-209).
210-212 (B.214b-216a, G.210-211). ¹ According to Ag (I.p.152) bāhya bhramaraka seems to mean a cārī of that name. But it seems that by this bhramaraka, the movement known as bhramarī has been meant. See M. Ghosh AD. 289ff. also A. K. Coomaraswamy. MG. p.74.
212-216 (B.216b-220a, G.212-215).
216-219 (B.220b-223a, G.216-218).
219-221 (B.223b-225a, G.219-220).
64 THE NATYASASTRA [ IV. 221-
221-223. Alātaka—assuming Svastika, vyamsita [in it hands being Recita], Alātaka, Ūrdhvajānu, Nikuñcita, Ardhasūcī, Vikṣipta, Udvṛtta, Ākṣipta, Krihasta and Kaṭicchinna Karaṇas one after another.
223-225. Pārśvaccheda--holding Nikuṭṭita hands on the breast assuming Ūrdhvajānu, Ākṣipta, Svastika Karaṇas, Trika to be turned round, then Uromaṇḍala, Nitamba, Kārihasta and Kaṭicchinna, Karaṇas to be assumed.
226-227. Vidyudbhrānta—assuming Sūcī K. using the left foot first, and Vidyubhrānta K. using the right, foot first, then Sūcī K. with the right foot moved first, and Vidyudbhrānta with the left foot moved first, afterwards assuming Chinna K., and turning round the Trika, then Latā and Kaṭicchinna Karaṇas.
227-229. Udvṛttaka--assuming Nūpurapāda Cārī hanging the right and the left hands by the side, and with them assuming Vikṣipta K., with these hands assuming [again] Sūcī K., and turning round the Trika [in Bhramarī Cārī] and then assuming Latā and Kaṭicchinna Karaṇas.
229-231. Ālīḍha—assuming Vyaṃsita K., striking the hands on the shoulder, and then Nūpura K., with the left foot [moving first], afterwards Alāta and Ākṣiptaka Karaṇas with the right foot [moving first] and then making Uromaṇḍala gestures with hands and assuming Karihasta and Kaṭicchinna Karaṇas.
231-233. Recita—showing Recita hand, bending it on one side and making the [same] Recita movement and then repeating this movement after bending the entire body, assuming successively Nūpurapāda, Bhujaṅgatrāsita, Recita, Uromaṇḍala and Kaṭicchinna Karaṇas.
221-223 (B.225b-227a, G.221-222).
223-225 (B.227b-229a, G.223-224).
225-227 (B.229b-231a, G.225-226).
227-229 (B.231b-233a, G.227-228).
229-231 (B.233b-235a, G.229-230).
231-233 (B.235b-237, G.231-232).
-IV. 247 ] DESCRIPTION OF THE CLASS DANCE 65
234-235. Acchurita—assuming Nūpura K. and turning the Trika round, assuming Vyamsita K. and again turning round the Trika, then assuming successively Alātaka¹ K. from the left [side] and Sūcī, Karihasta and Kaṭicchinna Karaṇas.
236-238. Ākṣiptarecita—Svastika feet to be in Recita and so the Svastika hands, then with the same (i.e. Recita) movement they should be separated, and with the same Recita movement they are to be thrown up, then assuming successively Udvṛtta, Ākṣipta, Uromaṇḍala, Nitamba, Karihasta and Kaṭicchinna Karaṇas.
239-241. Sambhrānta— assuming Vikṣipta K. throwing out the left hand with Sūcī gesture, the right hand placed on the breast, Trika to be turned [in the Bhramarī Cārī] then assuming successively Nūpura, Ākṣipta, Ardhasvastika, Nitamba, Karihasta, Uromaṇḍala and Kaṭicchinna Karaṇas.
242-243. Apasarpita—observing Apakrānta Cārī and assuming Vyaṁsita K. with the hands moving in Udveṣṭita manner, then assuming successively Ardhasūcī, Vikṣipta, Kaṭicchinna, Udvṛtta Ākṣiptaka, Karihasta and [again] Kaṭicchinna Karaṇas.
244-245. Ardhanikuṭṭaka --observing swiftly Nūpurapādikā Cārī, hands to move in harmony with the feet and Trika to turn round [in the Bhramarī Cārī], then hands and feet to make Nikuṭṭita movement, afterwards assuming Uromaṇḍala, Karihasta, Kaṭicchinna and Ardhanikuṭṭaka Karaṇas.
The Recakas
246. I have spoken of these thirtytwo Aṅgahāras ; I shall now describe the four Recakas¹ ; please listen about them :
247. Among the Recakas the first is that of the foot (pāda),
234-235 (B.238-239, G.233-234). ¹ Read vāmaṁ cālātakam for pādaṁ cālātakam in B.
236-238 (B.240-242, G.235-237). 239-241 (B.243-245, G.238-240).
242-243 (B.246-247, G.241-242). 244-345 (B.248-249, G.243--244).
246 (B.250, G.245). ¹ For the relation between Recakas and the Aṅgahāras and the use of the Recakas see Ag.
247 (B.251, G.246).
66 THE NATYASASTRA [ IV. 248-
the second is that of the waist (kaṭi), the third is that of the hand (hasta) and the fourth is that of the neck (grīvā).
248. The term Recita [relating to a limb] means moving it round separately (i.e. not in any Karaṇa or Cārī) or its drawing up or its movement of any kind separately.
249. Pāda-recaka—Going from side to side with wavering feet or with differently moving feet, is called their Recaka.
250. Kaṭi-recaka—Raising up the Trika and the turning of the waist as well as its drawing back, is called the Kaṭi-recaka.
251. Hasta-recaka—Raising up, throwing out, putting forward, turning round and drawing back of the hand is called its Recaka.
252. Grīvā-recaka—Raising up, lowering and bending the neck sideways, and other movements of it are called its Recaka.
253-254. Seeing Śaṁkara (Śiva) dance with Recakas and Aṅgahāras, Pārvatī too performed a Gentle Dance (lit. danced with delicate forms)¹, and this dance was followed by the playing of musical instruments like Mṛdaṅga,¹ Bherī, Paṭaha, Bhambhā², Diṇḍima, Gomukha, Paṇava and Dardura.
255. [Besides on this occasion] Maheśvara (Śiva) danced in the evening after the break-up (lit. destruction) of Dakṣa's sacrifice¹ with different Aṅgahāras and in conformity with proper time beat (tāla) and tempo (laya).
| 248 (B.252, G.247). | 249 (B.253, G.248). |
| 250 (B.254, G.249). | 251 (B.255. G.250). |
| 252 (B.256, G.251). |
253-254 (B.257-258, G.252-253). ¹ Read nṛtyantī sma ca pārvatī Ag. I. p. 203.
² mṛdaṅga, bherī, paṭaha. bhambhā, diṇḍima, dardura and paṇava are drums of different sizes and shapes, and made of different materials such as clay, wood etc. Of these bherī, paṇava and gomukha (possibly a horn) have been mentioned in the Bhagavad-gītā, ch. I.13.
- B. read jhañjhyā (pa. bambhā).
255 (B.259, G.254). ¹ The story of the break-up of Dakṣa's sacrifice occurs in two different forms in the Bhāgavata and the Varāha P. See JK. under Dakṣa.
-IV. 263 ] DESCRIPTION OF THE CLASS DANCE 67
256. Gaṇas like Nandin and Bhadramukha seeing then [in course of this performance of Śiva], Piṇḍībandha¹ [of different dance forms] gave names to them [and imitated these] well.
257-263. Names of Piṇḍīs specially attached to different gods and [goddesses are as follows] : Śiva—Vṛṣa, Nandin - Paṭṭisi, Caṇḍikā (Kālī)—Siṃhavāhinī, Viṣṇu—Tārkṣya, Svayambhu—(Brahman)—Padma (lotus), Śakra (Indra)—Airāvatī, Manmatha—Jhaṣā, Kumāra (Kārtikeya)—Śikhī (peacock), Śrī (Lakṣmī)—Ulū (owl), Jāhnavī (Gaṅgā)—Dhārā, Yama—Pāśa, Varuṇa—Nadī, Kuvera (Dhanada)—Yākṣī, Bala (rāma)—Hala (plough), Bhogins (serpents)—Sarpa, Gaṇeśvaras (the lords of Gaṇas)¹—Dakṣayajñāvimardinī, The [Piṇḍī] of Śiva, the killer of Andhaka², will be Raudrī in the form of his trident. The Piṇḍīs of the remaining gods and goddesses will be similarly named after (lit. marked with) their own banners³.
263-264. After inventing the Recakas, Aṅgahāras and Piṇḍīs, Śiva communicated them to the sage Taṇḍu¹ who in his turn made out of them dance together with songs and
256 (B.260, G.255). ¹ Piṇḍībandha—Ag. (I. 170-171) explains the words as follows:—पिण्डोबन्म चाङ्गतिविशेषस्तस्यैकदेशविवक्षणेने पिण्डीति।......पिण्डीबन्धः करणाङ्गहारादिः।......पिण्डीबन्धशब्देन विविपिण्डीप्रभृत्युपायमशूरललितादिकरणसंघशः।......भङ्गधारा एव पिण्डीबन्धाः तथाऽन्येपि पिण्डीबन्ध इति केवलकरणसंघशः. From these quotations it is apparent that Ag. had no definite idea about the piṇḍībandha or piṇḍī. But the word occurs in the following couplet of a later work on dramaturgy (Bh P. p.264) :
षोड़शद्वादशाष्टौ वा यस्मिन्नृत्यन्ति नायिकाः। पिण्डीबन्धादिविन्यासैः रासकं तदुदाहृतम् ॥
From the above quotation the meaning of the word seems to be a term relating to group-dance. For more about piṇḍībandha see 257-262, 284-285, 291-294 below.
257-262 (B.261-266a, G.256 261). ¹ Gāṇeśvarī means relating to Gaṇeśvaras or lords of hosts ; see above NŚ. III. 31,58 and III. 1-8 note 7.
² The story of Śiva's killing the Asura Andhaka occurs in Rām, Hraivaṃśa and several Purāṇas. See JK. sub voce.
³ B. omits 263b altogether.
263-264 (B.266b-268a, G.262-263). ¹ Taṇḍu's name does not seem to occur in any extant Purāṇa. It is just possible that the name of this muni has been derived from tāṇḍava a non-Aryan word which originally may have meant dance.
68 THE NĀTYAŚĀSTRA [ IV. 265-
instrumental music; and hence this dance is known as Tāṇḍava (i.e. of Taṇḍu's creation).
The sages speak
265. Use of Gestures etc. (abhinaya) having been devised by the experts, for drawing out the sense [of songs and speeches in a play] what led to the making of dance (nṛtta), and what is its nature ?
266. Why is dance made in connexion with the Āsārita songs ? It does neither relate to its meaning nor reflect its spirit.
267. [In answer to these questions] it is said that the dance is occasioned by no specific need; it has come into use simply because it creates beauty.
268. As dance is naturally loved by almost all people, it is eulogised as being auspicious.
269. It is eulogised also as being the source of amusement on occassions of marriage, child-birth, reception of a son-in-law, general festivity and attainment of prosperity.
270. Hence the host of Bhūtas have ever praised¹ the Pratikṣepas² which are used in songs and in regulating the division of dances.
271. Śiva (lit. god) too was pleased to say to Taṇḍu, "Perform this dance in connexion with the singing of songs.
265 (B 268b-269a, G.264). ¹ B. reads tasmān nṛttam for kasman nṛttam in 265b.
266 (B.269b-270a, G.265). 267 (B.270b-271a, G.266).
268 (B.271b-272a, G.267). 269 (B.272b-273a, G.268).
270 (B.273b-274a, G.269). ¹ For prakīrtitāḥ, B.G. read pravartitaḥ.
² pratikṣepa—Ag. (I. p.182) defines this term as follows :—प्रचुरस्तुतियुक्तो गीतविशेषः प्रतिक्षेप इत्याह । इदं भरतमुनिना न क्वचिल्लक्षितम् । अन्ये तु गीतानी प्रयोक्तव्यच्छन्दकादय एव वृत्तवैचित्र्यात्तथा तथापि प्रतिलिप्यमानाःङ्गाः प्रतिशेपाः.
271 (B.274b-275a, G.270): ¹ For taṇḍuḥ santoṣapūrvakam. This variant has been recorded by Ag. (I.181) and it seems to be the correct reading. B.G. read taṇḍustāṇḍavapūrvakam.
.IV. 278 ] DESCRIPTION OF THE CLASS DANCE 69
272. The Class Dance (tāṇḍava)$^1$ is mostly to accompany the adoration of gods but its gentler form (sukumāra-prayoga) relates to the Erotic Sentiment.
The Vardhamānaka
273. Now while coming to discuss the Vardhamānaka I shall describe the rules regarding the performance of the Class Dance (tāṇḍava) as it was performed by Taṇḍu.
274. As in its performance Kalā and tempo (laya) attain vṛddhi (increment) due to the increment of Akṣaras it is called the Vardhamānaka.
The Āsārita
275. After setting down the musical instruments (kutapa) the producers [of plays] should get the Āsārita performed.
276. Then after the Upohana has been performed to the accompaniment of drums$^1$ and stringed instruments, a female dancer should enter [the stage] with the playing of drums [only].
277. This playing of the [instrumental] music should be in pure Karaṇa$^1$ and Jāti$^2$. And then a Cārī should be performed with steps in accompaniment of music.
278. On entering the stage with flowers in her hands the female dancer should be in the Vaiśākha Sthāna (posture) and perform all the four Recakas (i.e. those of feet, hand, waist and neck).
272 (B.275b-276a, G.271). $^1$ The tāṇḍava has been translated by some as 'wild dance' (Haas, Daśarūpa, p.5), but the adjective seems to be misleading. From the present chapter of the NŚ, it appears that the word meant 'class dance' which has been codified. It is to be distinguished from the folk dance mentioned in later works. Tāṇḍava was no exclusively male dance. For the illustrations of the karaṇas taken out of old bas reliefs and printed in the Baroda ed. of the NŚ. show that these were performed by women as well. These karaṇas were evidently elements of tāṇḍava; lāsya performed by women was only a gentler form of the tāṇḍava.
| 273 (B.276b-277a, G.272). | 274 (B.277b-278a, G.273). |
| 275 (B.278b-279a, G.274). | 276 (B.279b-280a, G.275). |
| 277 (B.280b-281a, G.276). | 278 (B.281b-282a, G.277). |
70 THE NĀTYAŚĀSTRA [ IV. 279-
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Then she should go round the stage scattering flowers from her hands to gods, and after bowing to them, she should make use of different gestures (abhinaya).
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Instrumental music should not be played when there is any song to be delineated by gestures, but at the performance of Aṅgahāras drums must be employed.
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The playing of drums (lit. instrumental music) during the Class Dance should be Sama, Rakta, Vibhakta and distinctly heard (sphuṭa) on account of clear strokes and should be properly following different aspects of the dance.
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After following the song [with her dance] the dancer should make her exit and others [like her] will enter [the stage] in the same manner.
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These other women will in due order form Piṇḍīs¹ and till all these are formed they will perform the Paryastaka.
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After forming [Piṇḍīs] these women will make their exit, and during the formation of the Piṇḍīs an instrumental music which has various Oghas and Karaṇas should be played, and it should be similar to the music at the time of the Paryastaka.
285-287. Then this Upohana should be again performed as before and the Āsārita too; a song also should be sung and a female dancer should enter the stage in the manner described before, and she should delineate [the meaning of the song in the second Āsārita by suitable gesture] and translate the subject-matter (vastu)¹ into a dance.
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After finishing the Āsārita the female dancer should make her exit, and then another female dancer should enter the stage and make a similiar performance.
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Thus at every step the rules of Āsārita should be followed by singers as well as players of the instrumental music.
279 (B.282b-283a, G.278). 280 (B.283b-284a, G.279).
281 (B.284b-285a, G.280). 282 (B.285b-286a, G.281).
283 (B.286b-287a, G.282). ¹ See above 282 note 2.
284-285 (B.287b-288, G.283a-284).
285-287 (B.289-291a, G.284b-285, 286). ¹ For vastu (padavastu) see Mālavi. II. 0, 5, 8, 13, 14. 288 (B.291b-292a, G.287).
-IV. 293 ] DESCRIPTION OF THE CLASS DANCE 71
290. [During all these performances] the first foot¹ of the song should be sung once, the second twice, the third thrice, and the fourth four times.²
291. The Piṇḍīs have four varieties Piṇḍī [proper] Śṛṅkhalikā, Latābandha, and Bhedyaka.¹
292. The name Piṇḍī or Piṇḍībandha is due to its being a Piṇḍī (lump), a cluster (gulma)¹ is called Śṛṅkhalikā², and that which is held together [as it were] by a net, is Latābandha³, and Bhedyaka⁴ is to be the (separate) dance of one individual.
293. The Piṇḍībandha is to be applied in the first (lit. shortest Āsārita), Śṛṅkhalā at the transition of tempo, the Latābandha in the middle one and the Bhedyaka in the longest (i e. Āsārita).
289 (B.292b-293a, G.288). ¹ Vastu here means padavastu. See above 285-287 note.
² These āsāritas were distinguished by the kalās of time they required. According to Ag. (I.185) the shortest āsārita takes up seventeen kalās, the medium āsārita thirty-three kalās and the longest āsārita sixty-five kalās.
290 (B.293b-294a, G.289). ¹ It is implied that each each of these groups of songs should be followed by dance of different dancers.
291 (B.294b-295a, G.290). ¹ See notes 256 above. In the BhP. (p. 246) occurs the following passage :—
अपरेषु चभेदास्तु गुल्म-शृङ्खलिका लताः । भेद्यकश्चेति चत्वारः कथ्यन्तेऽत्र मनीषिभिः ॥
गुल्मः सम्भूय यन्नृत्तं शृङ्खलाऽन्योन्यबन्धनी । परस्पराङ्गवेष्टेन यन्नृत्तं सा लता मता ॥
एकैकस्य बहिः संघान्नृत्तं यत् स च भेद्यकः । पिण्डीबन्धश्च गुल्मश्च पर्यायाविति केचन ॥
From this it is quite clear that the piṇḍībandha relates to the grouping of dancers. Of these the gulma is a general collective dance, the śṛṅkhalā is the dance in which partners hold one another's hands, the latā is the dance of two putting their arms around each other, and the bhedyaka is the dance of each one separately away from the group. The section 292 below does not quite agree with this view.
292 (B.295b-296a, G.291). ¹ See above 291 note.
² BhP. does not identify the gulma and the śṛṅkhalikā.
³ See above 291 note 1. ⁴ See above 291 note 1.
⁵ See above 291 note 1. ⁶ saṅnṛtta=ekanṛtta=ekasya nṛtta ; cf sakṛt (= once).
IV. 3. ] DESCRIPTION OF THE CLASS DANCE 73
303. When in course of a song some of its parts are repeated, the parts uttered first should be delineated by gestures and the rest are to be translated into dance.
304-305. When in course of a song some of its parts are repeated it should be followed by the instrumental music which observes the rule of three Pāṇis and three kinds of tempo. On an occasion like this the instrumental music should follow the [proper] tempo.
305-308. The Tattva, the Anugata and the Ogha relate to the Karaṇa. Among these, the Tattva is to be applied in slow tempo, the Anugata in medium tempo and the Ogha in quick tempo. This is the rule regarding the instrumental music. [Different] parts of the song in case of a Chandaka are to be repeated. This is always the rule in [combining] the dance, Gestures and the song. In case of songs composed in one stanza (nibaddha) commencement (graha of the playing of drums) should take place at their end, but in the repetition of the parts [of a large song] such commencement should take place from the beginning.
The Gentle Dance
309. This should be the procedure in performing the Āsārita songs. Now consider [all] that relating to the adoration of gods as the Gentle Dance (sukumāra).
310. The Gentle Dance with the Erotic Sentiment [relates to] a dialogue between a man and a woman when they are in love.
Occasions suited to dance
311. Now listen, O Brahmins, about occasions in plays when dance should be introduced in course of songs.
312. Experts should apply dance when the principal words of a song [in a play] as well as its [ornamental adjunct known as]
| 301 (B.304b-305a, G.300). | 302 (B.305b-306a, G.301). |
| 303 (B.306b-307a, G.302). | 304-305 (B.307b-308a, G.303-304a). |
| 305-308 (B.308b-311, G.304b-307). | 309 (B 312, G.308). |
| 310 (B.313, G.309), | 311 (B.314, G.310), |
74 THE NATYASASTRA [ IV. 313
Varṇa¹ comes to a close or when any character attains good fortune [in a play].
313. And dance should take place on an occasion in a play when something connected with love occurs between a married couple, for it (the dance) will be a source of joy.
314. Dance should also take place in any scene of a play when the lover is near and a [suitable] season or the like is visible.
Occasions when dances are prohibited
315. But dance should not be applied to the part of a young woman who is enraged (khaṇḍitā),¹ deceived (vipralabdhā)² or separated [from her lover] by a quarrel (kalahāntaritā)³.
316. Dance should not be applied also at a time when a dialogue is going on or when the beloved one is not near at hand, or has gone abroad.
317. And besides this when one realises the appearance of one of the seasons or the like from the words of a Messenger, and feels eagerness or anxiety on account of this, no dance should be applied.
318. But if during the performance of any part of the play the heroine is gradually pacified, dance is to be applied till its end.
319. If any part of a play relates to the adoration of any deity one should perform there a dance with energetic Aṅgahāras which Śiva created.
320. And any love-song mentioning relations between men and women should be followed by a dance with delicate Aṅgahāras which Pārvatī (lit. the goddess) created.
Playing of drums
321. I shall now speak of the rules about the playing of
312 (B.315, G.311). ¹ See NŚ. (C.) XXIX. 19-32.
313 (B.316, G.312). 314 (B.317, G.313).
315 (B.318, G.314). ¹ see NŚ. XXIV. 216. ² ibid. 217. ³ ibid. 215.
316 (B.319, G.315).
317 (B.320, G.316). 318 (B.321, G.317).
319 (B.322, G.318). 320 (B.323, G.319).