नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
160 THE NATYASASTRA [ VIII. 99-
Samudvṛtta (raising up)—the raising up of the eyeballs.
Niṣkramaṇa (going out)—going out [as it were of the eyeballs.]
Prākṛta (natural))—eyeballs in the natural (glance.)
Uses of the eyeballs
99-101. Now listen about their uses in [different] Sentiments and States.
Bhramaṇa (moving round), Valana (turning) and Samudvṛtta (raising of eyeballs)—in the Heroic and the Furious Sentiments.
Niṣkramaṇa (going out), and Valana (turning of the eyeballs)—in the Terrible Sentiment.
Sampraveśana (drawing of the eyeball)—in the Comic and the Odious Sentiments.
Pātana (relaxed eyeballs) in the Pathetic Sentiment.
Niṣkramaṇa (going out of the eyeballs)--in the Marvellous Sentiment.
Prākṛta (natural) eyeballs—in the remaining Sentiments (lit. States).
Vivartana (turning sideways of the eyeballs)—in the Erotic Sentiment.
- These are the natural gestures of eyeballs based on the popular practice. They are to be applied [suitably] to all the different States.
The additional Glances
103-107. I shall speak about the varieties of Glances in special relation of these (lit. there). These are of eight kinds, viz. Sama (level), Sāci (sidelong), Anuvṛtta (inspecting), Ālokita (casual), Vilokita (looking round), Pralokita (carefully looking), Ullokita (looking up), and Avalokita (looking down).
99-101 (B.101b-104a, G.100b-102a).
102 (B.104b-105a, G.102b-104a).
103-107 (B.105b-110a, G.104-109a).
.VIII. 108 ] THE GESTURES OF MINOR LIMBS 161
Sama (level)—the eyeballs are in a level position and at rest.
Sācī (side-long)—the eyeballs are covered by eyelashes.
Anuvṛtta (inspecting)—Glance which carefully observes any form.
Ālokita (casual)—(the eyeballs) in suddenly seeing any object).
Vilokita (looking round)—(eyeballs) in looking back.
Pralokita (carefully looking)—turning (eyeballs) from side to side.
Ullokita (looking up)—(turning the eyeballs) upwards.
Avalokita (looking down)—(turning the eyeballs) towards the ground.
These are the gestures of the eyeballs in relation to all the Sentiments and the States.
The eyelids
108-111. Now listen about the gestures of the eyelids follow which the movements of eyeballs They are : Unmeṣa (opening), Nimeṣa (closing), Prasṛta (expanding), Kuñcita (contracted), Sama (level), Vivartita (raising up), Sphurita (throbbing), Pihita (resting), and Vitāḍita (driven).
Unmeṣa (opening)—separating the eyelids
Nimeṣa (closing)—bringing together the eyelids.
Prasṛta (expanding)—separating the eyelids widely.
Kuñcita (contracted)—contracting the eyelids.
Sama (level)—eyelids in a natural position.
Vivartita (raising up)—raising up the eyelids.
Sphurita (throbbing)—when the eyelids are throbbing.
Pihita (resting)—when the eyelids are at rest (lit. closed).
Vitāḍita (driven)—when struck the eyelids are struck accidentally.
108-111 (B.110b-114a, G.109b-113a).
21
162 THE NATYASASTRA [ VIII. 112
Uses of the eyelids
112-115. Now listen about their uses in different Sentiments and States :
Vivartita (raising up)—in anger.
Nimeṣa (closing)—in anger.
Unmeṣa (opening)—in anger.
Prasṛta (expanding)—in objects causing wonder, joy, and heroism.
Kuñcita (contracted)—in seeing undesired objects, (sweet) scent, flavour and touch.
Sama (level)—in love.
Sphurita (throbbing)—in jealousy.
Pihita (resting)—in dreaming, fainting, affliction due to storm, hot smoke, rains and collyrium and eye-disease.
Vitāḍita (driven)—in accidental injury.
These are the uses of the eyeballs and the eyelids in expressing the Sentiments and the States.
The eyebrows
116-120. Now, listen about the gestures of eyebrows, which accord with those of the eyeballs and the eyelids. (They) are seven in number and are as follows : Utkṣepa (raising), Pātana (lowering), Bhrukuṭi (knitting), Catura (clever), Kuñcita (contracted), Recita (moving) and Sahaja (natural).
Utkṣepa (raising)—raising of eyebrows simultaneously or one by one.
Pātana (lowering)—lowering of eyebrows simultaneously or one by one.
Bhrukuṭi (knitting) - raising the root of the eyebrows.
Catura (clever)—slightly moving and extending the eyebrows in a pleasing manner.
112-115 (B.114b-118a, G.113b-117a).
116-120 (B.118b-123a, G.117b-122a).
.VIII. 126 ] THE GESTURES OF MINOR LIMBS [163
Kuñcita (contracted)—slightly bending of eyebrows one by one or the both at once.
Recita (moving)—raising of one of the eyebrows in an amorous way.
Sahaja (natural)—the position which the eyebrows maintain by nature.
Uses of the eyebrows
121-125. Now I shall speak about their uses in (expressing) the Sentiments' and the States.
Utkṣepa (raising)—in anger, deliberation, passion, sportiveness, in seeing and hearing only one eyebrow is raised, and in surprise, joy and violent anger both the eyebrows are raised up.
Pātana (lowering)—in envy, disgust, smile, and smelling.
Bhrukuṭi (knitting)—in objects of anger, dazzling light.
Catura (clever)—in love, sportiveness, pleasing (object), (pleasing) touch¹ and awakening.
Kuñcita (contracted)—in manifestation of affection, pretended and hysterical mood.
Recita (moving)—in dance.
Sahaja (natural)—in simple (anāviddha) conditions.
The nose
126-128. Gestures of the eyebrows have been described; now listen about those of the nose. They are of six kinds: Natā, Mandā, Vikṛṣṭā, Socchvāsā, Vikūṇitā and Svābhāvikā.
Natā—lobes are constantly clinging (śliṣṭapuṭā)
Mandā—lobes are at rest.
Vikṛṣṭā—lobes are blown.
Socchvāsā—when air is drawn in.
Vikūṇitā—the contracted nose.
121-125 (B-123b-126, 128-129a, G.122b-127a). ¹ B. reads 124 a differently and one additional hemistich after this.
126-128 (B.129b-132a, G.127b-130a).
164 THE NATYASASTRA [ VIII. 135-
Svābhāvikā—the natural nose.
Uses of the nose
129-132. This is the description of the gestures of the nose. Now listen about their uses :
Natā—in slight weeping at intervals.
Mandā—in discouragement, impatience and anxiety.
Vikṛṣṭā—in strange smell, breathing, anger and fear.
Socchvāsā—in sweet smell and deep breathing.
Vikūṇitā—in laughter, disgust and envy.
Svābhāvikā—in the remaining conditions.
The cheeks
132-134. Cheeks are of six kinds : Kṣāma (depressed). Phulla (blown), Pūrṇa (full), Kampita (trembling) and Kuñcita (contracted) and Sama (natural).
Kṣāma (depressed)—(cheeks are) fallen.
Phulla (blown)—(cheeks are) raised
Pūrṇa (full)—(cheeks are) expanded.
Kampita (trembling)—(cheeks are) throbbing.
Kuñcita (contracted)—(cheeks are) narrrowed down.
Sama (natural) - as (cheeks are) by nature.
Uses of the cheeks
135-137. Cheeks have been described. Now listen about their uses.
Kṣāma (depressed)—in sorrow.
Phulla (blown)—in joy.
Pūrṇa (full)—in energy and arrogance.
129-132 (B.132b, 134-136a, G.130b-133). ¹ Instead of 129b, B. reads one couplet slightly different in content.
132-134 (B.136b-138, G.134-136a).
135-137 (B.139-141a, G.136b-138).
.VIII. 140] THE GESTURES OF MINOR LIMBS 165
Kampita (trembling)—in anger and joy.
Kuñcita (contracted)—in horripilation (sensitive) touch, cold, fear and fever.
Sama (natural)—in the remaining conditions.
The lower lips
137-139. Gestures of the lips are six in number. (They are) : Vivartana (narrowing), Kampana (trembling), Visarga (spreading out), Vinigūhana (concealing), Sandaṣṭaka (biting), Samudgaka (contracting).
Vivartana (narrowing)—lips narrowed down.
Kampana (trembling)—throbbing (of lips).
Visarga (spreading out)—to spread out (lips).
Vinigūhana (concealing)—drawing in (of lips).
Sandaṣṭaka (biting)—(lips) bitten by teeth.
Samudgaka (contracting)—the contraction of lips and keeping them at rest.
Uses of the lower lips
140-142. These are the gestures of the lips; now listen about their uses.
Vivartana (narrowing)—in envy, pain, contempt, laughter and the like.
Kampana (trembling)—in pain, cold, fear, anger, swiftness and the like.
Visarga (spreading out)—in women’s amors, affected indifference and painting of lips.
Vinigūhana (concealing)—in making efforts.
Sandaṣṭaka (biting)—in manifestation of anger.
Samudgaka (contracting)—in pity, kissing and greeting.
137-139 (B.141b-143, G.139-141a). 140-142 (B.144-146, G.141b-144a).
166 THE NATYASASTRA [ VIII. 143
The chin
143-146. So much about the gestures of the lips ; now listen about those of the chin ; (they are) : Kuṭṭana, Khaṇḍana, Chinna, Cukṣita, Lehita, Sama and Daṣṭa.
Kuṭṭana—when the upper teeth are in conflict with the lower ones.
Khaṇḍana—when (the two lips) repeatedly come together with each other.
Chinna—when (the two lips) very closely meet each other,
Cukṣita—when (the two lips) are held widely apart.
Lehita—in licking the (lips) with the tongue.
Sama—when (the two lips) slightly parted from each other.
Daṣṭa—when the lower lip is bitten by the teeth.
Uses of the chin
146-149. Kuṭṭana—in fear, cold, attack of old age, and sickness.
Khaṇḍana—in mutterings prayers (japa), studying, speaking and eating.
Chinna—in sickness, fear, cold, (taking) exercise, and angry look.
Cukṣita—in yawning.
Lehita = Lehana—in greediness.
Sama—in a natural position.
Daṣṭa—in angry efforts.
So much about the gestures of the chin in relation to the teeth, the lips and the tongue.
The mouth
149-156. Gestures of the mouth are : Vidhuta, Vinivṛtta, Nirbhugna, Bhugna, Vivṛta and Udvāhī.
143-146 (B.147-150a, G.144b-147).
146-149 (B.150b-153a, G.147-150a).
149-156 (B.153b-160a, G.150b-157).
.VIII. 159 ] THE GESTURES OF MINOR LIMBS 167
Vidhuta—the obliquely open (mouth). Vinivṛtta—spread out (the mouth). Nirbhugna—(the mouth) lowered. Bhugna = Vyābhugna—(the mouth) slightly spread out. Vivṛta—the mouth with the lips kept apart. Udvāhī—(the mouth) turned up.
Uses of the mouth
Vinivṛtta—in women's envy, jealousy, anger, contempt and bashfulness and the like.
Vidhuta—in restraining, saying 'not so' and the like.
Nirbhugna—in looking into depth and the like.
Bhugna—in being ashamed, discouragement, impatience, anxiety, discipline and consultation. It is natural for the ascetics.
Vivṛta—in laughter, sorrow and fear.
Udvāhī—in sportiveness and pride of women, in saying 'go away', and disregard, in saying 'so indeed' and angry words.
156-157. The experts should also use the mouth in conformity with the varieties of Glances such as Sama and Sācī and the like mentioned by others.
The colour of the face
157-158. The colour of the face according to the circumstances (lit, meaning) is of four kinds : natural (svābhāvika) bright (prasanna), reddened (rakta) and dark (śyāma).
Uses of the colour of the face.
159-160. Natural face—in a natural and indifferent (mood).
Bright face—in wonder, laughter and love.
Reddened face—in intoxication and in the Heroic the Terrible and the Pathetic Sentiments.
156-157 (B.160b-161a, G.158).
157-158 (B.161b-162a, G.159).
159-160 (B.162b-164, G.160-162a).
168 | THE NATYASASTRA | [ VIII. 161-
Dark face—in the Terrible and the Odious Sentiments.
161-162. The colour of the face should be thus used to represent the States and the Sentiments. The acting done with the Gestures of the Śākhā¹, the Aṅga and the Upāṅga is good, but without proper colour of the face it will not be charming (lit.) beautiful.
162-163. Even a few Gestures when combined with the proper colour of the face will double their charm (lit. beauty) just as the moon [rising] at night will.
163-164. Glances too when combined with the proper colour of the face will clearly express the different States and the Sentiments, and on this (i.e. the colour of the face) the Histrionic Representation rests.
164-165. The colour of the face suitable to the representation of the States and the Sentiments, should follow every gestures of the eye (Glance), the eyebrow and the mouth. So much about the colour of the face which is the basis of the States and the Sentiments.
The neck
166-167. I shall now tell you, O Brahmins, about the gestures of the neck. They are of nine kinds : Samā, Natā, Unnatā, Tryasrā, Recitā, Kuñcitā, Añcitā, Valitā, and Vivṛttā.
Description and uses of the neck gestures
167-171. Samā—the natural neck. (Uses) : in meditation, natural pose, and muttering of Mantras.
Natā—(neck with) face bent down. (Uses) in wearing (lit. binding) ornaments, putting ones arms round (lit. taking) somebody's neck.
161-162 (B.165b-166a, G.162b-163). ¹ See 11 and 15 above.
162-163 (B.166-167a, G.164).
163-164 (B.167b-168a, G.165).
164-165 (B.168b-169, G.166-167a).
166-167 (B.170, G.167b-168a).
167-171 (B.171-175, G.168b-173a).
.VIII. 172] THE GESTURES OF MINOR LIMBS 169
Unnata—neck with the face upturned. (Use) : in looking up.
Tryasra—neck with the face turned sideways. (Use) : in carrying weight on the neck, and sorrow.
Recita—the neck shaken or moved. (Uses) : in feeling (bhāva), churning and dance.
Kuñcita—the neck with the head bent down. (Uses) : in pressure of weight and in protecting the neck.
Añcita—the neck with the head turned back. (Uses) : in hanging (to death), arranging hair and looking very high up.
Vāhita—the neck with the face turned sideways. (Uses) : in looking with the neck turned round.
Vivṛtta—neck with the face towards the front. (Use) : in (indicating) going towards one's own place.
172-173. These are the many varieties of the neck gestures according to their [expressing different] customary states of men. Gestures of the neck are all to follow the gestures of the head and the head gestures also are reflected in those of the neck. So much about the description of the gestures of the head and the connected minor limbs (upāṅga) and their uses. Now listen about the gestures of the remaining limbs (aṅga), which I am going to describe.
Here ends Chapter VIII of Bharata's Nāṭyaśāstra, which treats of the Gestures of Minor Limbs.
172-173 (B.176-177, G.173b-175).
22
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).