नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
Chapter 9: Gestures of Hands (हस्तलक्षण)
CHAPTER NINE
THE GESTURES OF HANDS
Bharata speaks
1-3. So much about the minor limbs such as head, eyes, eyebrows, nose, lips and cheecks, and their description that I was to tell you. I shall now define you for the gestures of hands, breast, sides, belly, waist, thighs and feet and [explain] their proper use¹. In this connexion I shall [first of all] explain the gestures of hands and the like, that are used in the production of a play. You are to listen how they are to be applied [in acting].
Sixtyseven gestures of the hand
4-7. Gestures of single hands (asaṁyuta-hasta)¹ are twenty-four in number : Patāka, Tripatāka, Kartarīmukha, Ardhacandra, Arāla, Śukatuṇḍa, Muṣṭi, Śikhara, Kapittha, Kaṭakāmukha², Sūcyāsya (Sūcīmukha), Padmakośa, Sarpasiraḥ, Mṛgaśīrṣa, Kāṅgula, Alapadma (Alapallava), Catura, Bhramara, Haṁsāsya, Haṁsapakṣa, Saṁdaṁśa, Mukula, Ūrṇanābha and Tāmracūḍa.
1-3 (B.1, 3, 2, G.1-3). ¹ This use relates to the two-fold Practice (realistic and coventional) on the stage (See NŚ. XIV. 62ff). The realistic Practice (lokadharmī) in this connexion is of two kinds, viz. (1) that reflecting one's emotion, as in arrogant reference to one's own-self, this (patāka) hand is to be raised on a level with the forehead (IX. 19), (2) that representing the external form of an object, as the use of the Padmakośa hand to represent lotus and similar flowers. The conventional Practice (nāṭyadharmī) is likewise of two kinds, viz. (1) that creating an ornamental effect, as the use of the four karaṇas of the hand (See NŚ. IX. 205-211 below), (2) that partially suggesting a popular behaviour, as the use of the tripatāka hand to represent words spoken aside (janāntika). See Ag.
4-7 (B.G. same). ¹ These hands gestures are ordinarily used singly ; but at times two hands showing one of these gestures are used simultaneously. But still these are called single (asaṁyuta) hands. For, combined (saṁyuta) hands are so called because they are always to be shown by both the hands ; see Ag.
² Some mss. read this name as khaṭakāmukha. Our reading is
-IX 17 ] THE GESTURES OF HANDS 171
8-10. Gestures of combined hands (saṁyuta-hasta)$^1$ are thirteen in number : Añjali, Kapota, Karkaṭa, Svastika, Kaṭakāvardhamānaka$^2$, Utsaṅga, Niṣadha, Dola, Puṣpapuṭa, Makara, Gajadanta, Avahittha and Vardhamāna.
10-17. Dance-hands (nṛtta-hasta)$^1$ are Caturasra$^2$, Udvṛtta Talamukha, Svastika, Viprakīrṇa, Arālakaṭakāmukha, Āviddhavaktra, Sūcyāsya, Recita, Ardharecita, Uttānavañcita, Pallava, Nitamba, Keśabandha, Latā, Karihasta, Pakṣavañcitaka, Pakṣapradyotaka, Garuḍapakṣa, Daṇḍapakṣa, Ūrdhvamaṇḍalī, Pārśvamaṇḍalī, Uromaṇḍalī Uraḥ-pārśvārdhamaṇḍalī, Muṣṭikasvastika, Nalinīpadmakośa, Alapallava, Ulbaṇa, Lalita and Valita.
These are the sixtyfour$^3$ gestures of hands.
Gestures of single hands
17-26. Now listen about their definition and uses.
Patāka (flag)—the fingers extended and close against one another, and the thumb bent.
supported by the AD. (See ed. M. Ghosh, verse 124. A. K. Coomaraswamy MG. p. 50).
8-10 (B.G. same). $^1$ See note 1 to 4-7 above.
$^2$ Some mss. read this name as khaṭakā°; kaṭakāvardhana, is the name of a saṁyuta-hasta in the AD. (ed. M. Ghosh, 187 and A. K. Coomaraswamy, MG. p. 60).
10-17 (B.G. 10b-17a). $^1$ These gestures (dance hands, nṛttahasta) as their name implies, are ordinarily to be used in dance ; but in course of acting too they are often to be used along with other gestures (single and combined) to create an ornamental effect (See note 1 to 1-3 above). See Ag.
$^2$ In the Skt. text these names are given in dual number e.g. our caturasra stands as caturasrau. The reason for this is to be sought in the fact that unlike the single and combined hands which must represent one single idea or object, the hands in the dance-hand gestures are to be individually moved, not for representing any idea or object but for creating an ornamental effect in acting as well as in dance. See Ag.
$^3$ In actual enumeration hand gestures are sixtyseven in number (single 24, combined 13 and Dance-hands 30). Catuḥṣaṣṭhi in the text should be emended to saptaṣaṣṭhi. • 17-26 (B.18-25, 26a, G.18-25. 26a).
172 THE NATYASASTRA [ IX. 26.
(Uses) : To represent an administration of blows, scorching heat, urging, attainment of happiness and arrogant reference of one’s ownself¹ this hand is to be raised on a level with the forehead. To represent the glare of heat, torrential rain and shower of flowers two Patāka hands with the fingers separated and moving, are to be joined together. A shallow pool of water, present of flowers, grass and any design [lit. object] made on the ground are to be represented by two such hands separated from the Svastika position. The same Patāka hands with their fingers pointing downwards are to be used to represent anything closed, made open, protected, covered, dense or private (concealable). This very hand with its fingers pointing downwards and moving up and down, is to express the speedy movement of wind and [ocean] waves, [ocean waves] breaking against the shore, and flood. The Recaka of this hand should be used to represent encouragement, many [in number], a great crowd of men, height, beating of drums, and flight of birds upwards. And anything washed, pressed, cleansed, pounded, or holding up a hill or uprooting it, should be represented by the palms of two such hands rubbing each other. This is also the manner of representing man and woman².
26-32. Tripatāka (flag with three fingers)—the third finger of the Patākahand to be bent.
(Uses) : It is to be used in representing invocation, descent, bidding goodbye, prohibition, entrance, raising up [anything]¹, bowing [in salutation], comparing², suggesting alternatives, touching [the head with] auspicious objects or putting them on the head, putting on a turban or crown and covering the mouth or the ears. This very hand with its fingers pointing downwards and moving up and down is to be used in representing flight of small birds, stream, snake, bees and the like. And with the third finger of the
¹ In saying ‘I too,’ ‘of me too’, ‘by me too’, in me too’ and the like (Ag).
² Ag. gives detailed rules about the use of the patāka hand in all the cases mentioned above.
26-32 (B.G. 26b-32) ¹ Ag. thinks that this relates to objects like one’s chin.
² nidarśanam upamānopameyabhāvam (Ag.).
174 THE NATYASASTRA [IX. 42-
- And with the two such (saṁyuta)-hands or one such (asaṁyuta) hand should be represented antelope, yak, buffalo, celestial elephant (airāvata), bull, gate (gopura) and hill-top.
43-45. Ardhacandra (crescent moon)—the fingers and the thumb so bent as to make a curve like a bow.
(Uses) : With this should be represented young trees, crescent moon, conchshell, jar (kalaśa), bracelet, forcible opening, exertion¹, thinness and drinking². With this [very] Ardhacandra hand women should represent girdle, hip, waist, face, Tālapatra³ and earring.
46-52. Arāla (bent)—the forefinger curved like a bow, the thumb also curved and the remaining fingers separated and turned upwards.
(Uses) : With this should be represented courage, pride, prowess, beauty, contentment, heavenly [objects], poise, act of blessing and other favourable states. And this, again, will represent woman’s gathering of hairs or scattering them and looking carefully over their entire body. The preliminaries to the marriage by bride’s going round the bridegroom¹ and [marital] union² are to be represented by two Arāla hands moving around each other and their fingers meeting in the form of a Svastika. And with similar hands should be represented circumambulation, round objects, great crowd of men, objects arranged on the ground³. In calling any one, asking any one not to come in, uprooting anything,
42 (B.G. 42).
43-45 (B G. 43-45). ¹ āyastam khedam (Ag.).
² pānaṁ for pīnaṁ (B.G.).
³ Mss. read tālapatra (tāḍapatra) meaning a kind of ear-ornament (tuṭaṅka or taṭaṅka). It is different kuṇḍala from which is also an ear-ornament.
46-52 (B.46-52, G 46-51, 53). ¹ kautukam—vivāhāt pūrvabhāvi vadhūvarayor ācāraḥ antarvivāhaḥ (Ag.).
² vivāhaḥ—agnau sākṣiṇi pāṇigrahaṇam (Ag.).
³ Objects such as Ālpanā and flowers arranged on the ground. For Ālpana see L'alpana by Andre at Suzanne Karpelles, Paris, 1930 (?)
⁴ G. reads after this a couplet defining the Arāla hand.
.IX. 61 ] THE GESTURES OF HANDS 175
saying too many things, wiping off sweat and enjoying sweet smell, abuse, censure the Tripatāka hands have been prescribed before by me, but women are to use the Arāla hand to represent these.
53-54. Śukatuṇḍa (parrot's beak)—the ring-finger (third finger) of the Arāla hand is bent.
(Uses) with this should be represented words such as '(It is) not I', '(It is) not you, (It is) not to be done; invocation, farewell, and saying 'Fie (upon you)' in contempt.
55-56. Muṣṭi (fist)—fingers have their ends [bent] into the palm and the thumb [is set] upon them.
(Uses) : It is used to represent beating, exercise¹, exit, pressing², shampooing³, grasping sword and holding clubs and spears.
57-58. Śikhara (peak)—in this very hand (muṣṭi) the thumb raised.
(Uses) : It is used to represent reins, whip, goad, bow, throwing a javelin (tomara) or a spike (śakti), painting the two lips and feet and raising up hairs.
59-60. Kapittha (elephant-apple)—the forefinger of the Śikhara hand to be bent and pressed by the thumb.
(Uses) : It is to represent weapons such as sword, bow, discus, javelin (tomara), spear (kunta), mace, spike (śakti), thunderbolt and arrows, true and wholesome deeds.
61-64. Kaṭakāmukha—the ring-finger and the little finger of this Kapittha hand to be raised and bent.
(Uses) : It is used to represent sacrifice¹, oblation², umbrella, drawing up reins, fan, holding a mirror, drawing
53-64 (B.53-54, G.54-55).
55-56 (B.55-56, G.56- 7). ¹ Vyāyāma according to Ag. means yuddha (fight or duel).
² 'Pressing' of the teats of cows and buffaloes while milking them; stanapīḍane—mahiṣyādidohane (Ag).
³ Samvāhana according to Ag. means mṛtpīḍana.
57-58 (B.57-58, G.58-59).
59-60 (B.59-60, G.60-61).
61-64 (p.41, B.60-63, G.53-65). ¹ hotram—srugādi-uttānena, Ag.
² havyam—ājyādyāmukhena (Ag.).
176 THE NATYASASTRA [ VII. 65-
[patterns]³, powdering, taking up big sticks, arranging a pearl necklace, taking up garlands, gathering the ends of clothes, churning, drawing out arrows, plucking flowers, wielding a goad, drawing out a goad, string and looking at a woman.
65-71. Sūcīmukha—the fore finger of the Kaṭakāmukha hand to be streched.
(Uses) : I shall tell you briefly of its various uses as the forefinger [in it] is raised and bent, moving sideways, shaking, moving up and down, and moving up without any rest. By moving the forefinger upwards [in this hand] are to be represented discus, lightning, banners, blossoms, earring¹, zigzag movement, a cry of approbation², young serpent, young sprout³, incense, lamp, creepers⁴, Śikhaṇḍa⁵, falling down, curve and roundness and with the forefinger raised this [hand] again should be used in [representing] stars, nose, [the number] one, club and stick. And [this hand with the forefinger] bent should meet the mouth to represent a being with teeth, and by the circular movement of this hand one should represent the taking away [a man's] every thing. And the forefinger in this hand should be alternately raised and lowered to represent long study and long day. And the same should be curved, moved up and down near the face to represent a sentence. And to indicate 'no' or 'speak' the forefinger should be stretched, shaken and moved up.
72-75. This hand should be shaken to represent anger, perspiration, hair, ear-ring, armlet and decoration of the cheeks.
³ khaṇḍanam—drawing decorative patterns or designs on anything. Ag's explanation of this seems to be wrong. Cf. alakā-tilaka patrāvālīm khaṇḍante (draws the alakā-tilakā and patrāvalī) in the Kīrtilatā of Vidyāpati. See ed. Haraprasād Śāstrī, Calcutta, BS. 1331 (1924) pp. 13-14, and the root khāi (to draw) in E. Bengal dialect of Tippera.
65-71 (B.64-71a, G.66-72). ¹ karṇacūlikā—karṇapūra (Ag.).
² Saying 'welldone', 'how beautiful' etc ³ pallava but B. balyava.
⁴ The text uses two words vallī and latā meaning 'creeper'. Ag. distinguishes between the two as follows : alāvu-prabhṛtayo vallyaḥ and drākṣāprabhṛtayo latāḥ
⁵ Śikhaṇḍa—kumārakāṇāṁ kākapakṣaḥ (Ag.).
72-75 (B.71b-75a, G.73-76).
-IX. 82 ] THE GESTURES OF HANDS 177
And to represent pride, 'I am,' enemy, 'Who is this', and scratching of the ear it should be held near the forehead. [And two Sūcīmukha hands] should be united to represent the union [of men], and be separated to indicate separation, and to represent a quarrel the two hands should be crossed, and to show bondage they are to press each other. The two Sūcīmukha [hands] facing each other and held separately on the left side will represent the close of the day, and held on the right side they will indicate the close of the night.
76. This hand moved in the front will indicate [any] form, stone, whirlpool, mechanical contrivance and a hill, and to represent the serving up of meals the same movement of the hand pointing downwards is required.
77. To represent Śiva this hand pointing downwards is to be held close to the forehead and to indicate Indra this hand is to be raised [to the forehead] and held across it.
78. By two such hands the orb of the full moon is to be represented, and to indicate the rising of Indra (i.e. raising his banner) it should be held close to the forehead.
79. [This hand] moved all around will represent the orb of the moon, and to indicate Śiva's [third] eye, it should be held on the forehead and [in case of] Indra's [eyes it should be] raised obliquely.
80. Padmakośa (lotus-bud)—the fingers including the thumb to be separated and their ends to bend, but not to meet one another.
81. (Uses) : To represent Bilva and Kapittha (elephant-apple) fruits and the breasts of women [this hand is to be used]. But to represent accepting [these fruits] or flesh, this hand should be slightly bent at its end.
82. [This hand] should be held [to represent] offering
76 (B.77b-78a, G.77). 77 (B.78b-79a, G.78). 78 (B.75b-76a, G.79).
79 (B.76b-77a, G.80). 80 (B.79b-80a, G.81).
81 (B.80b-81a, G.82). ¹ B. adds one hemistich after this.
82 (B.82, G.83).
23
178 THE NATYASASTRA [ IX. 83.
Pūja to a deity, carrying tribute, casket, offering the first funeral cake¹, and a number of flowers, are also to be indicated by the Padmakośa hand.
83. The two such hands with moving fingers meeting at the wrist and turning backwards will represent the full-blown lotus and water-lilly.
84. Sarpaśiraḥ (snake-head)—the fingers including the thumb to be close to one another and the palm to be hollowed.
85. (Uses) : It is used to represent the offering of water, movement of serpents, pouring water [on anything], challenging [for a duel], motion of the elephant's frontal globes (kumbha) and the like.
86. Mṛgaśīrṣa (deer-head)—the Sarpaśiraḥ hand with all its fingers pointing downwards, but the thumb and the little finger raised up.
87. (Uses) : It is moved to represent here, now, "It is", to-day, possible, splendour (ullasana), throw of dice, wiping off perspiration and pretended anger.
88. Kāṅgula—The middle and the fore-fingers and the thumb to be separated and the ring finger to be bent but the little finger raised.
89. (Uses) : By this are to be represented immature fruits of various kinds and angry words of women.
90. Alapallava (Alapadmaka)—all fingers turned towards the palm, standing on its side and separated from one another.
91. (Uses) : It is to be used for indicating prevention, words like "Who are you," "It is not", "nonsense" and a woman's allusion to herself.
¹ agrapiṇḍa-dāna—nāndīmukhaśrāddha (Ag.).
83 (B.83, G.84). 84 (B.84, G.85). 85 (B.85, G.86).
86 (B 86, G.87). 87 (B.87, G.88).
88 (B.88, G.89). ¹ tretāgnisaṁsthitāḥ=viralāḥ (Ag.).
89 (B.89, G.90). ¹ B. reads one additional couplet (B.90) after this.
90 (B.91, G.91). 91 (B.92, G.92).
.IX. 103 ] THE GESTURES OF HANDS 179
92. Catura—the four fingers stretched and the thumb bent near the middle finger.
93. (Uses) : It is to be applied in representing policy, discipline, penance, cleverness, a young girl, a sick person, spirit, deceit, proper words, welfare, truth and tranquility.
94. By one or two such hands moved round should be represented openness, deliberation, moving, conjecture and shame.
95. By the combined Catura hands are to be represented lotus-petals compared with eyes, and ears of deer.
96-98. Besides these, the Catura hand is to indicate sports, love, brilliance, memory, intelligence, judgement, forgiveness, nutrition, consciousness, hope, affection, reasoning, union, purity, cleverness, favourableness, softness, happiness, character, question, livelihood, propriety, dress, soft grass, a small quantity, wealth, defeat, sexual intercourse, merit and demerit, youth, home, wife and various colours.
99. [To represent] white it (the Catura hand) should be held up ; red and yellow are indicated by moving it round, and blue by pressing [one such hand with another].
100. Bhramara (bee)—the middle finger and the thumb crossing each other, the forefinger bent, the remaining two fingers separated and raised.
101. (Uses) : It is used to indicate the plucking of flowers with long stems such as lotus and water-lily, and ear-ring.
102. It should fall down with a sound to represent rebuke, pride of power, quickness, beating time and producing confidence.
103. Haṁsāsya (swan-mouth)—the forefinger, middle finger and the thumb close¹ to one another and the remaining fingers stretched.
92 (B.93, G.93). 93 (B.94, G.94). 94 (B.95, G.95).
95 (B.96, G.96). 96-98 (B.97-99, G.97-99). 99 (B.100, G.100).
100 (B.101, G.101). 101 (B.102, G.102). 102 (B.103, G.103).
103 (B.104, G.104). ¹ nirantarā iti viralatvaṁ niṣedhati (Ag.).
.IX. 126 ] THE GESTURES OF HANDS 181
117-118. (Uses) : It is used to represent the making of offerings in worshipping a deity, bud of a lotus or a water-lily, throwing a kiss (viṭa-cumbana), contempt, miscellaneous things, taking meals, counting of gold coins, narrowing of the mouth, giving away [anything], quickness and buds of flowers,
119-120. Ūrṇanābha (spider)—the fingers of the Padmakośa hand [further] bent.
(Uses) : It is used to represent the combing of hair, receiving stolen goods, scratching one's head, skin disease, lions, tigers and such other animals, and taking up [touch]—stone.
121-122. Tāmracūḍa (lit. copper-crest i.e. cock)—the middle finger and the thumb crossed, the fore-finger bent, the remaining [two fingers] at the palm.
(Uses) : It should fall down with a sound to represent rebuke, beating time, inspiring confidence, quickness, and making signs.
-
This hand is to be used to indicate small fractions of time such as Kalā, Kāṣṭhā, Nimeṣa and Kṣaṇa as well as talking to a young girl and inviting her.
-
When the fingers in a hand are close to one another, bent and the thumb is set on them, the same is [also] called the Tāmracūḍa hand.
-
By this hand are to be indicated hundred, thousand and lac of gold coins, and when the fingers in it are suddenly made to move freely it will represent sparks or drops.
-
O the best of Brahmins, these are the single hands described by me. Now hear about the combined hands which I am going to describe.
117-118 (B.118-112, G.118-119). ¹ viṭacumbanaṃ svābhiprāyaṃ āvī-ṣkartuṃ svahastam eva mukulitaṃ vitaś cumbatīti viṭacumbanam (Ag.).
119-120 (B.120-121, G.120-121). ¹ Cf. Ag's explanation of cauryagraha.
121-123 (B. 122-124, G.122-123). 123 (B.124, G.124).
124 (B.125. G.125). 125 (B.126, G.126). 126 (B.127, G.127).
182 THE NATYASASTRA [IX. 127-
127. Añjali—Putting together of the two Patāka hands is called Añjali.
(Uses) : It is used to greet gods, venerable persons (guru) and friend¹.
128. In greeting gods it is to be held on the head, in case of venerable persons it is to be held near one's face, and for greeting the friends it is to be placed on the breast, and in case of the remaining persons there is no fixed rule.
129. Kapota (pigeon)—The two (Añjali) hands meeting on one of their sides will make the Kapota hand. Listen about its uses.
130. (Uses) : It is to be used to indicate an approach with inimical attitude, bowing and talking to a venerable person. To indicate cold and fear, women are to hold this hand on their breasts.
131. The hands [showing the Kapota gesture] released after the meeting of fingers will indicate anxious words, or 'This much can be done' or 'Nothing more can be done.'
132. Karkaṭa (crab)—When the fingers of the hands are interlocked the Karkaṭa hand is produced.
133. (Uses) : It is used to indicate the bees-wax, massaging of the limbs, yawning just after awakening from sleep, a big body, supporting the chin and holding a conch-shell [for blowing it].
134. Svastika—The two Arāla hands upturned and held together at the wrists will form the Svastika. It is to be used by women.
135. (Uses) : When the hands are separated from the Svastika position, it will indicate directions, clouds, the sky, forests, seas, seasons, the earth and similar [other] extensive things.
127 (B.128, G.128).
128 (B.129b-30a, G.129). ¹ B. adds one additional hemistich after this.
129 (B.130b-131a, G.130).
130 (B.131b-132a, G.131). 131 (B.132b-132a, G.132).
132 (B.133b-134a, G.133). 133 (B.134b-135a, G.134).
134 (B.135b-136a, G.135). 135 (B.136b-137a, G.136).
-IX, 144 ] THE GESTURES OF HANDS 183
136. Kaṭakāvardhamānaka—When one Kaṭakā (mukha) hand is placed on [the wrist of] another Kaṭakā [mukha] hand the Kaṭakāvardhamānaka hand will be produced.
(Uses) : It is to be used in movements connected with love-making and in bowing [to a person].
137. Utsaṅga—When the Arāla hands are contrarily placed and are held upturned and bent, the Utsaṅga hand will be the result.
(Uses) : It is used to indicate the feeling of touch.
138. It is also used to indicate anything to be done with great effort, acts, of anger and indignation, squeezing [anything] and women's acts of jealousy.
139-140. Niṣadha—The left hand holding the [right] arm above the elbow and the right hand similarly touching the left arm with a clenched fist will make a Niṣadha hand.¹
141. (Uses) : It is to indicate patience, intoxication, pride, elegance, eagerness, valour, arrogance self-conceit, haughtiness motionlessness, steadiness and the like.
142. Dola—When the two shoulders are at ease in a Karaṇa and the two Patāka hands are hanging down the Dola hand is produced.
143. (Uses) : It is to be used in indicating hurry, sadness, fainting, fit of intoxication, excitement, state of illness and wound by a weapon.
144. Puṣpapuṭa—The two Sarpaśiraḥ hands with their fingers close to one another meeting on one side very closely will give rise to the Puṣpapuṭa hand.
136 (B.137b-138a, G.137). 137 (B.139, G.138). 138 (B 140, G.139).
139-140 (B 144-145). ¹ G. omits this passage and 141, and read them differently, but in the footnote to lines 11-16 the definition occurs, and the uses too. B. also gives an additional definition and uses of the Niṣadha in B.141 143.
141 (B.146). ¹ See note 1 to 139-140.
142 (B.148, G.142). 143 (B.149, G.143).
144 (B.150, G.144). 145 (B.151, G.145).
IX. 165 ] THE GESTURES OF HANDS 185
described briefly may be used elsewhere also in conformity with the rules laid down here.
General rules regarding the use of hand gestures
156. In acting, hand [gestures] should be selected for their form, movement, significance, and class according to the personal judgement [of the actor].
157. There is no gesture (lit. hand) that cannot be used in indicating [some] idea. I have profusely described whatever forms (lit. gestures) are usually seen [to be associated with different ideas].
158. There are besides other popular gestures (lit. hand) connected with other ideas, and they also are to be freely used along with the movements inspired by the Sentiments and the States.
159. These gestures should be used by males as well as females with proper regard to place, occasion, the play undertaken and a suitability of their meaning.
Different movements of hand gestures
160. I shall now describe the varied movements which these gestures (lit. hands) [should] have in connexion with the [different] Sentiments and States.
161-163. [These movements are] : drawing upwards, dragging, drawing out, accepting, killing, beckoning, urging, bringing together, separating, protecting, releasing, throwing, shaking, giving away, threatening, cutting, piercing, squeezing and beating.
164. Hand gestures according to the theory of Histrionic Representation are to have three kinds of general movements, viz. upwards, sideways and downwards.
165. These movements of hands should at the time of their use, be embellishad by means of [suitable] expressions in the eyes, the eyebrows and the face.
| 156 (B.161, G.154). | 157 (B.162, B.G.155). |
| 158 (B.163, G.156). | 159 (B.164, G.157). |
| 160 (B.165, G.158). | 161-163 (B.166-168, G.159 161). |
| 164 (B.169, G.173). | 165 (B.170, G.162). |
24
-IX. 183 ] THE GESTURES OF HANDS 187
175. At the time of verbal acting (i.e. when the actor will enunciate his part) the eyes and the look are to be directed to points at which the hand gestures are moving, and there should be proper stops so that the meaning may be [clearly] expressed (lit. seen)¹.
176. The movements of hands in dancing and acting will be of five kinds, viz. palms kept upwards, downwards or oblique, fingers pointing upwards or downwards.
177. These are the hand gestures connected with the various kinds of Histrionic Representations. I shall now speak of Dance-hands (i e. gestures to be used in dance).
The Dance-hands
178. Caturasra—two Kaṭakāmukha hands held forward eight Aṅgulis apart [from each other] on one’s breast, the two shoulders and elbows on the same level.
179. Udvṛtta—the two Haṁsapakṣa hands waved like a palm-leaf (fan). Its alternative name is the Tālavṛnta (palm-leaf).
180. Talamukha—the two hands from the Caturasra position to be held obliquely facing each other.
181. Svastika—the Talamukha hands crossed at the wrists; but released after this they are called Viprakīrṇa.
182. Arālakaṭakamukha—the two Alapallava (Alapadmaka) hands with palms upwards changed into Padmakośa hands. Its another name is Arālakaṭaka.
183. Āviddhavaktraka—The two hands are to have a graceful (kuṭila) movement after touching [successively] the opposite shoulder, elbow and hands, and the palms [of the hands] moved are to turn towards the back.
175 (B.180, G.172). ¹ B. repeats here 164 (B.169)
176 (B.182, G.175). 177 (B.183, G.176).
178 (B.184, G.177). 179 (B.185, G.178).
180 (B.186, G.179). 181 (B.187, G.180).
182 (B.188, G.181). ¹ B.G. read after this a variant of this definition. 183 (B.190, G.183).
183 THE NĀṬYAŚĀSTRA [ IX. 184-
184. Sūcīmukha—The two Sarpaśiraḥ hands with their thumbs touching middle fingers are to stretch their tips obliquely.
185. Recita - the two Haṁsapakṣa hands swiftly moving with the palms facing upward This is like the ordinary Recita [of the hands].
186. Ardharecita—The left hand should be as in the Caturasra and the right hand as in the Recita.
187. Uttānavañcita—The two Tripatāka hands are slightly bent obliquely and the shoulders and the elbows are moved.
188. Pallava—the two Patāka hand joined at the wrist.
Nitamba—the two Patāka hands taken out from the shoulder [to the hip].
189. Keśabandha—the two hands moved out from the hair-knot (keśabandha) and held on the sides.
190. Latā—the two hands to be obliquely stretched sideways.
191. Karihasta—the Latā hand held up and swung from side to side and the Tripatāka hand held on the ear.
192. Pakṣavañcitaka—one Tripatāka hand placed on the waist and another on the head.
193. Pakṣapradyotaka—the Pakṣavañcitaka hands changing places (i.e. the hands placed on the waist to be put on the head and vice versa).
194. Daṇḍapakṣa—the two Haṁsapakṣa hands moved alternately and then held out like a staff.
195. Ūrdhvamaṇḍalī—the two hands to have circling movement near the upper region (i.e. the upper part of the body).
184 (B.191, G.184). ¹ B.G. read after this a variant of this definition.
185 (B.193, G.186). 186 (B.194, G.187).
187 (B.195, G.188). 188 (B.196, G.189).
189 (B.197, G.190). 190 (B.198, G.191).
191 (B.199, G.192). 192 (B.200, G.193).
193 (B.201, G.194). 194 (B.202, G.195). 195 (B.203, G.196).
-IX. 206] GESTURES OF HANDS 189
Pārśvamaṇḍalī—the same movement made on one side.
-
Uromaṇḍalī—after circling movements one hand to be raised up and the other to hang down, and movements to take place near the breast.
-
Uraḥpārśvārdhamaṇḍala—the Alapallava (Alapadmaka) and Arāla hands moved by turns above the breast and on the sides.
-
Muṣṭikasvastika—the two Kaṭakāmukha hands bent at the wrists and moved round.
-
Nalinīpadmakośa the hands to be moved by turns with Vyavartita and Parivartita Karaṇa.
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Allapallava—the two hand to have the Udveṣṭita Karaṇa in their movements.
Ulbana—the two hands to be stretched up and waved.
- Lalita—two [Ala]-pallava (Alapadmaka) hands to be moved above the head.
Valita—the two Latā hands crossed at their elbows.
-
The Dance-hands are to be used in forming Karaṇas and hands such as the Patāka should be used in representing the meaning [of words].
-
[But] sometimes, out of necessity their uses are interchanged, and the names given are due to their predominant use in drama and dance.
-
The Dance-hands are of two kinds : single and combined. I shall now speak of hands in relation to the Karaṇas.¹
The four Karaṇas of the hand
205-206. Instructors of hand gestures are to note carefully the four classes into which all such gestures are grouped. The four classes are : Āveṣṭita, Udveṣṭita, Vyavartita and Parivartita.
196 (B.204, G.197). 197 (B.205, G.198). 198 (B.206, G.199).
199 (B.207, G.200). 200 (B.208, G.201). 201 (B.209, G.202).
202 (B.210). ¹ G. omits this. 203 (B.211). ¹ G. omits this.
204 (B.212, G.203). ¹ This Karaṇa is evidently differently from the K. mentoned in NŚ. IV. 62ff. 205-206 (B.213-214, G.204-205).