नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
.IV. 62 ] DESCRIPTION OF THE CLASS DANCE 49
the exercise of Sthānas¹ and Cārīs², will apply also to these Karaṇas³.
57. And application of the Nṛtta-hastas¹ which have been prescribed for dance is generally implied in the Karaṇas.
58. The Sthānas, the Cārīs and the Nṛtta-hastas mentioned [before] are known as the Mātṛkās the variations of which are called the Karaṇas.
59. I shall treat the Cārīs suitable for [representing] fight at the time of discussing the foot movements. The master [of dramatic art] should apply them on any occasion according to his histrionic talents.
60. In the Karaṇa the left hand should generally be held on the breast, and the right hand is to follow the [right] foot.
61. Listen [now] about the movement of hands and feet in dance in relation to that of hip, sides, thigh as well as to breast, back and belly¹.
Definition of the Karaṇas.
62. Talapuṣpapuṭa—Puṣpapuṭa hand held on the left side, the foot is Agratalasañcara, the side is Sannata (Nata)¹.
¹ See NŚ. XI. 49 ff.
² See NŚ. XI. 2 ff.
³ B.G. read one hemistich more before 56a. It does not occur in some mss. Ag. records this fact. Though these 108 karaṇas constitute general dance, which is sometimes interpolated in the acting to fill up its gaps, they (karaṇas) may be also used to embellish the movement of limbs in fights of any kind. Ag. (I. p. 96) says अभिनये यन्नृत्तं वक्ष्यतेऽभिनयान्तरालवर्ति छिद्रप्रच्छादनादौ तत् प्रयुज्यते, मल्लादियुद्धे बाहुयुद्धे प्रयोगः सोऽवार्थमपि तत् प्रयुज्यते ; besides this he says tanugatisthitisammilite karaṇam (I. p. 97)
57 (B.171, G.56a, 168). ¹ For nṛttahastas see NŚ. IX. 177 ff.
58 (B.173, G.170). 59 (B.56b-57a, G.56).
60 (B.57b-58a or 172, G.169).
61 (B. 58b-59a, G.57). ¹ For B.60 (G.58) omitted see NŚ. XI. 90-91.
62 (B.61, G.59). ¹ For the sake of convenience constituent parts of the karaṇas have been separately mentioned without putting them in a cumbrous sentence. This method has been followed by A. K. Coomaraswamy in MG. As the definitions of these parts can be easily traced through the index they have not been referred to in the notes.
7
50 THE NATYASASTRA [ IV. 63-
-
Vartita—Vyavṛtta (= Vyavartita) and Parivartita hands bent at the wrist, then these hands placed on thighs.
-
Valitoru—Śukatuṇḍa hands to make Vyavartita and Parivartita K., and thighs are Valita.
-
Apaviddha—the (right) hand with Śukatuṇḍa gesture to fall on the (right) thigh, the left hand held on the breast.
-
Samanakha—the two Samanakha¹ feet touching each other, two hands hanging down, and the body in natural pose.
-
Līna—the two Patāka hands held together in Añjali pose on the breast, the neck held high, and the shoulder bent.
-
Svastikarecita—two hands with Recita and Āviddha gesture held together in the form of a Svastika, then separated and held on the hip.
-
Maṇḍalasvastika—two hands moved to unite in the Svastika gesture with their palms turned upwards in a similar manner, and the body in the Maṇḍala Sthāna (posture).
-
Nikuṭṭaka—each of the hands to be moved up and down¹ alternately between the head and another arm, and the legs also moved in a similar manner.
-
Ardhanikuṭṭaka—hands with Alapallava¹ gesture bent towards shoulders, and legs moved up and down.
-
Kaṭicchinna—the hip serially in the Chinna pose, two Pallava hands held alternately and repeatedly on the head.
63 (B.62, G.60) 64 (B.63, G.61) 65 (B.65, G.62)
66 (B.65, G.63). ¹ samanakha feet has nowhere else been mentioned in the NŚ.
67 B.66, G.64).
68 (B.97, G.65). 69 (B.68, G.66).
70 (B.69, G.67). ¹ nikuṭṭita=nikuṭṭana. Ag. (I. p. 108) quotes the definition of nikuṭṭana from Kohala as follows : unnamanaṁ vinamanaṁ syād aṅgasya nikuṭṭanam.
71 (B.70, G.68). ¹ For kuñcita BG. read añcita. But Ag. (I. p. 204) read kuñcita and means by this word the alapallava gesture.
72 (B.71, G.69).
-IV. 83 ] DESCRIPTION OF THE CLASS DANCE 51
73. Ardharecita—hand with Sūcīmukha¹ gesture to move freely, feet to move alternately up and down, side in Sannata (i.e. Nata) pose.
74. Vakṣaḥsvastikā—two legs on each other in the form of a Svastika, the two Recita hands brought together in a similar manner on the breast which is bent (nikuñcita).
75. Unmatta—feet to be Añcita and hands to be Recita.
76. Svastika—hands and feet respectively held together in the Svastika form.
77. Pṛṣṭhasvastika—two arms after being thrown up and down coming together as a Svastika, two feet also to come together as a Svastika with Apakrānta and Ardhasūcī Cārīs.
78. Diksvastika—turning sideways and towards the front in course of a single (lit. connected) movement, and forming Svastika with hands and feet.
79. Alāta—after making Alāta Cārī¹ taking down hand from [the level of] the shoulder², then making Ūrdhvajānu Cārī³.
80. Kaṭisama—feet to be separated, after the Svastika Karaṇa, of the two hands one to be placed at the navel and the other at the hip, and the sides in the Udvāhita pose.
81. Ākṣiptarecita—the left hand on the heart, the right hand Recita and thrown up and sideways, and then the two hands to be Recita with Apaviddha (Āviddhaka) gestures.
82. Vikṣiptākṣiptaka—hands and feet first thrown up, then again thrown down.
83. Ardhasvastika—the two feet to make the Svastika, the
73 (B.73, G.70). ¹ By apaviddha Ag. (l. p. 105) means the sūcīmukha gesture.
74 (B.74, G.71). 75 (B.75, G.72). 76 (B.76, G.73).
77 (B.77, G.74). 78 (B.78, G.75).
79 (B.79, G.76). ¹ caraṇa=cārī. ² vyāṁsayet=aṁsād viniṣkrāmaṇaṁ kuryāt (Ag). ³ krama=cārī.
80 (B.80, G.77). ¹ udvāhita side is nowhere else mentioned in the NŚ.
81 (B.81, G. 78). 82 (B.82, G.79) 83 (B.83, G.80).
52 THE NATYASASTRA [ IV. 88.
right hand making the Karihasta gesture, and the left one lying on the breast.
-
Añcita—in the Ardhasvastika the Karihasta to be alternately in Vyāvartita (Vyāvṛttā) and Parivartita movement, and then bent upon the tip of the nose.
-
Bhujaṅgatrāsita—the Kuñcita feet to be thrown up, the thighs to have an oblique Nivartana (Nivṛtta)¹ movement, the hip and the thigh also to have the same movement.
-
Ūrdhvajānu—a Kuñcita foot to be thrown up, and the knee to be held up (lit. stretched) on a level with the breast, and the two hands to be in harmony with the dance.
-
Nikuñcita—feet to be moved as in the Vṛścika K., two hands to be bent at the sides, the right hand to be held at the tip of the nose
-
Matalli—making a whirling movement while throwing back the two feet (left and right), and moving hands in the Udveṣṭita and Apaviddha movement.
-
Ardhamatalli—feet to be drawn away from the position in the Skhalita K., left hand Recita, and afterwards to be put on the hip.
-
Recitanikuṭṭita—the right hand to be Recita, left foot Udghaṭṭita (= Nikuṭṭita), and the left hand with Dolā gesture.
84 (B.84, G. 81).
85 (B.84, G.82). ¹ For nivartayet, B. G. read vivartayet, and for nivṛttam B. vivṛttam and G. vivartac.
86 (B.86, G.83).
87 (B.87, G.84). ¹ For vṛścika karaṇa, B.G. read vṛścika caraṇa. But NŚ. does not know any caraṇa or cārī of this name, while a K. of this name occurs, and one karaṇa is very often used to define another karaṇa; see texts for 84 above, 103 and 107 below. In all these cases some mss. read karaṇa instead of caraṇa.
88 (B.88, G.85).
89 (B.89, G.86). ¹ skhalitāpasṛtān pādān feet drawn away from the position of the skhalita K.
90 (B.90, G.87). ¹ According to Ag. udghaṭṭita = nikuṭṭitā for which see above 70 note.
-IV. 100] DESCRIPTION OF THE CLASS DANCE 53
-
Padāpaviddhaka—the Kaṭakāmukha hands with their back against the navel, and feet to be in Sūcī and [then] the Apakrānta Cārī
-
Valita—hands to be Apaviddha, feet to be in Sūcī Cārī Trika turned round [in the Bhramarī Cārī].
-
Ghūrṇita—the left hand in Valita and moved round, the right hand with Dolā gesture, and the two feet to be drawn away from each other from the Svastika position.
-
Lalita—the left hand with Karihasta gesture, the right one to be again turned aside (Apavartita), two feet to be moved up and down.
-
Daṇḍapakṣa—observing Ūrdhvajānu Cārī, Latā hands to be placed on the knee.
-
Bhujaṅgatrastarecita—the feet to be in Bhujaṅgatrasta Cārī, the two hands to be Recita and moved to the left side.
-
Nūpura—the Trika to be gracefully turned round, [in the Bhramarī Cārī] the two hands to show respectively Latā and Recita gestures, and the Nūpurapāda Cārī with the feet.
-
Vaiśākharecita—hands and feet to be Recita, so the hip and the neck, and the entire body in Vaiśākha Sthāna (posture).
-
Bhramaraka—Svastika feet in Ākṣipta Cārī, hands in Udveṣṭita movement, and Trika¹ turned round [in the Bhramarī Cārī].
-
Catura—the left hand with Añcita, (i.e. Alapallava)¹ gesture, the right hand is with Catura gesture, the right feet in Kuṭṭita (i.e. Udghaṭṭita) pose.
91 (B.91, G.88). 92 (B.92, G.89).
93 (B.93, G.90). ¹ For valita. BG read vartita.
94 (B.94, G.91). ¹ See NŚ. IX. 191.
95 (B.95, G.92). 96 (B.96, G.93). 97 (B.97, G.94).
98 (B.98, G.95).
99 (B.99, G.96). ¹ Trika used here and many times afterwards means the trikāsthi (sacrum) the lowest point in the vertebral column where the two other bones of the legs meet.
100 (B.100, G.97). ¹ This is Ag's interpretation of Añcita.
² This is Ag's interpretation.
54 THE NATYASASTRA [ IV. 101-
-
Bhujaṅgāñcita—the feet in Bhujaṅgatrāsita Cārī, the right hand Recita, the left hand with Latā gesture.
-
Daṇḍakarecita—hands and feet to be freely thrown about on all sides like a staff (daṇḍa), and the same hands and feet to be Recita afterwards.
-
Vṛścikakuṭṭita—assuming the Vṛścika K. and the hands with Nikuṭṭita movement.¹
-
Kaṭībhrāntā—the Sūcī Cārī, the right hand with the Apaviddha (Āviddha) gesture and the hip to be moved round.
-
Latāvṛścika—a foot to be Añcita and turned backwards, and the left hand to be with Latā gesture, its palm and fingers bent and turned upwards.
-
Chinna—the Alapadma hand to be held on the hip which in Chinna pose, the body in the Vaiśākha Sthāna (posture).
-
Vṛścikarecita—assuming the Vṛścika K., the two hands in the form of a Svastika gradually to be Recita and to show Viprakīrṇa gesture.
-
Vṛścika—the two hands bent and held over the shoulders, and a leg bent and turned towards the back¹.
-
Vyāmsita—assuming Ālīḍha Sthāna, the two hands to be Recita and held on the breast and afterwards moved up and down with Viprakīrṇa gesture.
-
Pārśvanikuṭṭaka—Svastika hands to be held on one side, and the feet to be Nikuṭṭita.¹
-
Lalāṭatilaka—after assuming the Vṛścika. K. a mark (tilaka) in the forehead to be made with a great toe.
-
Krāntaka—bending a Kuñcita leg behind the back, the Atikrānta Cārī, then the two hands to be thrown down.
101 (B.101, G.98).
102 (B.102, G.99).
103 (B.103, G.100). ¹ See above 70 note.
104 (B.104, G.101).
105 (B.105, G.102).
106 (B.106, G.103).
107 (B.107, G.104).
108 (B.108, G.105). ¹ Ag. interprets the passage differently.
109 (B.109, G.106).
110 (B.110, G.107). ¹ See above 70 note.
111 (B.111, G.108).
112 (B.112, G.109).
.IV. 124 ] DESCRIPTION OF THE CLASS DANCE 55
-
Kuñcita—a leg to be first Añcita and left hand to be held on the left side with its palm upwards.
-
Cakramaṇḍala—the inner Apaviddha (Aḍḍitā)¹ Cārī with the body bent and held down between the two arms hanging straight.
-
Uromaṇḍala—two feet drawn away from the Svastika position and used in Apaviddha (Aḍḍitā) Cārī and hands in Uromaṇḍala gesture.
-
Ākṣipta—hands and feet to be thrown about swiftly in this Karaṇa.
-
Talavilasita—foot with the toe and the sole turned upwards and held high on the side, and the palm of hands bent.
-
Argala—feet stretched backwards and kept two Tālas and a half apart, and hands moved in conformity with these.
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Vikṣipta—hands and feet to be thrown backwards or sideways in the same way.
-
Āvarta—the Kuñcita feet put forward and the two hands moved swiftly to befit the dance.
-
Dolāpāda—the Kuñcita feet thrown up, and two hands swinging from side to side in a manner befitting the dance.
-
Nivṛtta—hands and feet first thrown out, and the Trika to be turned round and the two hands to be Recita.
-
Vinivṛtta—observing the Sūcī Cārī, the Trika to be turned round and hands to be Recita.
-
Pārśvakrānta—observing the Pārśvakrānta Cārī, throwing out hands towards the front, and moving them in a manner befitting the dance.
113 (B.113, G.110).
114 (B.114, G.111). ¹ According to Ag. apaviddha = aḍḍitā cārī for which see NŚ. XI. 22.
115 (B.115, G.112).
116 (B.116, G.113). 117 (B.117, G.114). 118 (B.118, G.115).
119 (B.119, G.116). 120 (B.120, G.117). 121 (B.121, G.118).
122 (B.122, G.119). ¹ For nivṛtta, B. reads vivṛtta.
123 (B.123, O.120). 124 (B.124, O.121).
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.