अभिनयाङ्कुरम्

[[अभिनयाङ्कुरम् Source: EB]]

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ABHINAYAMKURAM
II GHATEFIÆ.41
WA
>
A Guide to the Students of Dancing
By
GOPINATH & NAGABHUSHAN________________

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L.
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GOPINATUL IXTHTS DANCING TROUTE________________

\।\। 347147217TA11 ABHINAYAMKURAM (The Fundamentals of Indian Dancing)
BY GDPINATH AND NAGABHUNHAN
MADRAS NATANA NIKETAN PUBLICATIONS
1946 All Rights Reserved
[Price Rs. 1-8 to Gopinath.________________

PREFACE.
In introducing Abhinayamkuram to the students and lovers of the Oriental Art of Dancing we wish to say a word that literature on this art is mostly found in Sanskrit, and just a few books have been translated into English which give a theoretical idea and do not much serve the practical purpose of the Students.
Our attempt is to make the subject, intelligible, to the aspiring student, and to help and facilitate the cultivation of the art so elaborately propounded by the great authors, Bharata Muni, Nandikeswara, Abhinava Gupta and others.
We like to express our gratitude to Pandit S. Rajagopala Sarma, Sanskrit Pandit, R. M. H. School, Tyagarajanagar, for the help rendered in connection with this publication.
It is our intention to bring out a series of books dealing in the various sections of this Art.
GOPINATH of Travancore. NAGABHUSHAN of Mysore.
MADRAS, 15th June, 1946.________________

APPRECIATION
FROM
SACHIVOTTAMA DR. SIR G. P. RAMASWAMI AIYAR, K.C.S.I., K.C.I.E., LL.D., Dewan of Travancore.
DEAR MR. GOPINATH,
I have glanced through the handbook proposed to be published by you entitled “ Abhinayamkuram" which has been very carefully compiled and is, within its limits, a useful compendium (adequately illustrated) of the great arts of dancing and gesture which were perfected by our ancients and which you have done not a little to popularisc. I wish you all prosperity.
Yours sincerely, (Sd.) G. P. RAMASWAMI AIYAR.
“ BHAKTI VILAS,"
TRIVANDRUM. 20th June, 1946.________________

GONTENTS.
PAGE
The Origin of Dance The Spreading of the Dance Art in the World What the Dance Art Bestows The Various Expressions The Stage Main Points in Nritya Physical expositions The Nine Kinds of Head Movements The Nine Movements of the Eye-ball The Different Looks Eye-lids and Their Movements Eye-brows and Their Movement The Nose: The Movements of the Nose The Chceks The Lips The Chin The Neck The Face The Nine Emotional Expression of the Face Description Gestures (Mudras)________________

ABHINAYAMKURAM
॥ अभिनयाङ्कुरम् ॥
आङ्गिकं भुवनं यस्य वाचिकं सर्ववाङ्मयम् ।
आहार्य चन्द्रतारादि तं नुमः सात्विकं शिवम् ॥
To whom the whole world is the movement of his body, All the sound as his speech; The Moon and Stars as his ornaments, an embodiment of divine serenity, to this Almighty being Siva, I offer my respects.
॥ नटनस्य उद्भवः॥ ऋग्यजुस्सामवेदेभ्यो वेदाचाथर्वणः क्रमात् । पाठ्यं चाभिनयं गीतं रसान्सङगृह्य पद्मजः । व्यरीरचच्छास्त्रमिदं धर्मकामार्थमोक्षदम् ॥
THE ORIGIN OF DANCE. Lord Brahma compiled from the four Vēdas i.e., Rig, Yajur, Sāma and Atharva taking from them, Speech, Expression, Song (Alusic) and Emotion respectively and made it into this Shastra, which bestows Genorosity, Aspiration, Prosperity and Salvation.________________

॥ नटनकलायाः लोके प्रचारः ॥ नाट्यवेदं ददौ पूर्व भरताय चतुर्मुखः । ततश्च भरतस्साधं गन्धर्वाप्सरसां गणैः ॥ नाट्यं नृतं तथा नृत्यं अग्रे शम्भोः प्रयुक्तवान् । तण्डुना स्वगणाग्रण्या भरताय न्यदीदिशत् ॥ लास्यमस्याग्रतः प्रीत्या पार्वत्यै समदीदिशत् । बुद्ध्वाऽथ ताण्डवं तण्डोः मर्येभ्यो मुनयोऽवदन् ॥ पार्वतीत्वनुशास्ति स्म लास्यं बाणात्मजामुषाम् । तया द्वारवती गोप्यस्ताभिः सौराष्ट्रयोषितः ॥ ताभिस्तु तत्तद्देशीयास्तदशिष्यन्त योषितः । एवं परम्पराप्राप्तं एतल्लोके प्रतिष्ठितम् ॥
THE SPREADING OF THE DANCE
ART IN THE WORLD. Lord Brahma narrated this Vēda, i.e. the Nātya Vēda to Bharatha Muni. Bharathamuni with the help of the Gandharvas and Apsaras exhibited a performance of Nritta, Nritya and Nātya in the presence of Lord Siva.
After witnessing this performance, Lord Siva instructed his chief desciple Tandu to teach Bharatha muni, the Thāndava type of Dancing and Parvathi instructed him the Lasya type. Bharathamuni inturn taught Thandava (the masculine type of Dance) to the other sages which gradually, came to this world,________________

Parvathi taught the Lasya type of dancing to Usha the daughter of Bhānăsura, who inturn taught to Gopies of Dwārāka and in their turn it came to the people of Sourashtra and thus spread all over the country.
॥ नटनस्य गुणाः ॥ कीर्तिप्रागल्भ्यसौभाग्यवैदग्ध्यानां प्रवर्धनम् । औदार्यस्थैर्य धैर्याणां विलासस्य कारणम् ॥ दुःखातिशोकनिर्वेदखेदविच्छेदकारणम् । अपि ब्रह्मपरानन्दादिदमभ्यधिकं मतम् ॥ जहार नारदादीनां चित्तानि कथमन्यथा ।
WHAT THE DANCE ART BESTOWS.
This art of dance brings Fame, Prosperity, Happiness and Knowledge also, makes one Liberal Generous, Steady and Enlightened.
It will ward off Misery, Covetness and Jealousy.
It is said, that this art gives the highest satisfaction and bliss. But for these Nārada and other Divine sages would not have been attracted.
॥ अभिनयविभागाः॥ आङ्गिको वाचिकस्तद्वदाहार्यस्सात्त्विकोऽपरः । चतुर्थोऽभिनयस्तत्र आङ्गिकोऽङ्गैर्निदर्शितः ॥ वाचा निदर्शितः काव्यनाटकादिषु वाचिकः ।
आहार्यों हारकेयूरवेषादिभिरलङ्कृतिः ॥ सात्त्विकस्सात्त्विकै वैभवज्ञेन विभावितः ।________________

एतचतुर्विधोपेतं नटनं त्रिविधं स्मृतम् ॥ नाट्यं नृत्यं नृत्तमिति मुनिभिर्भरतादिभिः । नाव्यं तन्नाटकं चैव पूज्यं पूर्वकथायुतम् ॥ भावाभिनयहीनं तु नृत्तमित्यभिधीयते । रसभावव्यञानदियुक्तं नृत्यमितीर्यते ॥
THE VARIOUS EXPRESSIONS. The expressions are of 4 types:(a) The Body. (b) Speech. (c) Decoration and Ornaments. (d) The Moods.
The combination of the above four are divided into 3 types, viz: Nățya, Nritya and Nritta. (a) Nātya. This composes of mythological sub
jects enacted in the forin of a drama. (b) Nritya. This composes of inusic (song) ex
pression and timing. (c) Nritta. This composes of music (song) and timing.
॥ पूर्वरङ्गम् ॥ विघ्नानां नाशनं कर्तुं भूतानां रक्षणाय च । देवानां तुष्टये चापि प्रेक्षकाणां विभूतये ॥ श्रेयसे नायकस्यात्र पात्रसंरक्षणाय च । आचार्यशिक्षासिद्धयर्थं पुष्पाञ्जलिमुपारभेत् ॥ एवं कृत्वा पूर्वरङ्गं नृत्यं कार्य ततः परम् ।________________

नृत्यं गीताभिनयनभावतालयुतं भवेत् ॥ आस्येनालम्बयेद्गीतं हस्तेनार्थ प्रदर्शयेत् । चक्षुभ्यां दर्शयेद्भावं पादाम्यां तालमादिशेत् ॥ यतो हस्तस्ततो दृष्टिर्यतो दृष्टिस्ततो मनः । यतो मनस्ततो भावो यतो भावस्ततो रसः ॥
___ THE STAGE. Before commencing the performance the artistes offer their prayers with flowers to the Almighty to ward off all evils, to instal courage and strength to the artistes, to implore the blessing of Gods, for the prosperity of the chief, for the effective rendering of the GuruUpadesha (Teaching).
MAIN POINTS IN NRITYA. The songs sung vocally, meaning depicted by the hands, expression exhibited through the eyes, timing kept-up by the feet.
Wherever the hands go, there the eyes should follow. Wherever the eyes go, there the mind. Wherever the mind, there the feeling. Where the feeling, there the mood.
॥ आङ्गिकाभिनयः ॥ अङ्गान्यत्र शिरोहस्तौ वक्षःपार्थो कटीतटौ । पादाविति षडुत्थानि ग्रीवामप्यपरे जगुः ॥ प्रत्यङ्गान्यथ च स्कन्धौ बाहुपृष्टं ततोदरम् । ऊरू जो षडित्याहुरपरे मणिबन्धकौ ॥ जानुनी कूपरावेतत्त्रयमप्याधकं जगुः ।________________

प्रविास्यादप्युपाङ्गन्तु स्कन्ध एव जगुर्बुधाः ॥ दृष्टिभ्रूपुटताराश्च कपोलौ नासिकाहनू ॥ अधरो दशना जिहा चिबुकं वदनं तथा ॥ उपाङ्गानि द्वादशैव शिरस्यङ्गान्तरेषु च ।
PHYSICAL EXPOSITIONS. The Body is divided into 3 parts. 1. Anga. The major portions of the Body:-Head,
Hands, Chest, Sides, Hips and Legs. 2. Pratyanga. The intermediate portions of the
Body, vir:-Neck, Shoulder, Palms, Back, Stomach, Thighs Ankles, Knees, Elbows, and
Wrist. 3. Upanga. The minor portions of the Body, viz:
Eye, Eye-brows, Eyelashes, Cheeks, Nose, Lips,
Teeth, Tongue, Chin, Mouth, and Jaw. Note:-As the major portions of the body move, so do the intermediary portions follow.
॥ शिरः ॥ सममुद्वाहितमधोमुखमालोलितं धुतम् । कम्पितं च परावृत्तमुत्क्षिप्त परिवाहितम् ॥ नवधा कथितं शीर्ष नाट्यशास्त्रविशारदैः ।
॥ उपयोगक्रमः ॥ निश्चलं सममाख्यातं यन्नात्युन्नतिवर्जितम् ॥ नृत्यारम्मे जपादौ च गर्वप्रणयकोपयोः । स्तम्भने निष्क्रियत्वे च समं शीर्षमुदाहृतम् ॥________________

उद्वाहितशिरो ज्ञेयमूर्ध्वभागोन्नताननम् । ध्वजे चन्द्रे च गगने पर्वते व्यामगामिषु ॥ तुङ्गवस्तुनि संयोज्यमुद्वाहितशिरो बुधैः । अधस्तान्नमितं वक्त्रमधोमुखमितीरितम् ॥ लज्जाखेदप्रणामेषु दुश्चिन्तामुर्च्छयोस्तथा । अधस्थितार्थनिर्देशे युज्यतेऽम्बुनि मजने ॥ मण्डलाकारमुद्धान्तमालोलितशिरो भवेत् । निद्रोद्वेगग्रहावेशमदमूर्छासु तन्मतम् ॥ भ्रमणे विकटोदामहास्ये चालोलितं शिरः । वामदक्षिणभागेषु चलितं तधुतं शिरः ॥ नास्तीति वचने भूयः पार्श्वदेशावलोकने । जनाश्वासे विस्मये च विषादेऽनीप्सिते तथा ॥ शीतात ज्वरित भीते सद्यः पीतासवे तथा । युद्धे यत्ने निषेधादावमर्षे स्वाङ्गवीक्षणे ॥ पाह्विाने च तस्योक्तः प्रयोगो भरतादिभिः । ऊध्वोंधोभागचलितं तच्छिरः कम्पितं भवेत् ॥ रोषे तिष्ठेति वचने प्रश्ने संख्योपहूतयोः । आवाहने तर्जने च कम्पितं विनियुज्यते ॥ पराङ्मुखीकृतं शीर्ष परावृत्तमितीरितम् । तत्कायें कोपलज्जादिकृते वक्त्रापसारणे ॥________________

अनादरे कचे तूण्यां परावृत्तशिरो भवेत् । पाचोर्ध्वभागचलितमुत्क्षिप्तं कथ्यते शिरः ॥ गृहाण गच्छेत्याद्यर्थसूचने परिपोषणे । अङ्गीकारे प्रयोक्तव्यमुक्षितं नाम शीर्षकम् ॥ पार्श्वयोश्चामरमिव ततं चेत्परिवाहितम् । मोहे च विरहे स्तोत्रे सन्तोषे चानुमोदने । विचारे च प्रयोक्तव्यं परिवहितशीर्षकम् । THE NINE KINDS OF HEAD MOVEMENTS. 1. Natural (Sama) To keep the head in the natura।
position. Uses:-When starting the dance, in meditation,
pride, an affectionate anger, shocked, doing
nothing etc. 2. Keeping the head raised up (Udwāhita.) Uses:-Look-up at the flag, moon, sky, mountain,
moving in the sky, things that are higher etc. 3. Hanging the head down (Adhomukha.) Uses:-Shyness, dejected, bowing, bad intention,
unconscious, things lying down etc. 4. Moving the head round (Alolita). Uses :-Sleepy, unbearable-feeling, possessed by
devils, intoxicated, unconsciousness, herilous 5. Turning the head left and right (Dhuta.)
Uses :-No, looking on either sides, wonder, leading, down-hearted, unwilling, shivering from cold, fever, fear, drunk, fighting, trying, don’t, wrath,________________

looking at ones own body, calling from one side
etc. 6. Shaking the hcad up and down (Kampita.) Uses:-Commanding to stop, calling to come near,
infusing, challenge etc. 7. Turning the head back (Parāvștta.) Uses :-Turning the face in anger or in shyness,
indifference, looking the hair and arrow-case etc. 8. Raising up the head in an angle (Utkshipta.) ___Uses:-Take, go, growth, acceptance etc. 9. Moving the head from one side to the other
(Parivāhita.) Uses:-Exhausted, separation, praising, congra
tulations, happiness, thought etc.
॥ दृष्टिव्यापाराः॥ भ्रमणं वलनं पातः चलनं संप्रवेशनम् । निवर्तनं समुद्वृत्तं निष्कामं प्राकृतं तथा ॥ पुटान्तर्मण्डलावृत्तिस्तारयोर्धमणं स्मृतम् । वलनं गमनं व्यत्रं पातनं स्रस्तता तथा ॥ चलनं कम्पनं ज्ञेयं प्रवेशान्तः प्रवेशनम् । निवर्तनं कटाक्षस्तु समुवृत्तं समुन्नतिः ॥ निष्कामो निर्गमः प्रोक्तः प्राकृतं तु स्वभावजः ।
॥ उपयोगक्रमः ॥ अथैषां रसभावेषु विनियोग निषोधत ॥________________

भ्रमणं चलनोवृत्ते निष्कामो वीररौद्रयोः । निष्क्रामणं संचलनं कर्तव्यं हि भयानके ॥ हास्यबीभत्सयोश्चापि प्रवेशनमिहेष्यते । प्रपातं करुणे कार्य निष्कामणमथाद्भुते ॥ प्राकृतं शेषभावेषु शृङ्गारे च निवर्तनम् ।
स्वभावसिद्धमेवैतत् कर्म लोकक्रियाश्रयम् ॥ THE NINE MOVEMENTS OF THE EYE-BALL.

1. Circular (Bhramana)-Moving round and round. 2. Triangular (Valana)-Moving in a triangular
   shape. 3. Dropping (Pathana)–Dropping the eyes down. 4. Shaking (Chalana)-Shaking the eyes quickly. 5. Inwards (Sampravesa)-Drawing the eye-balls
   back. 6. Side-long glance (Nivartana) Lingering look. 7. Side to side (Samudvrtta) Moving from left to
   right. 8. Straight look (Nishkrama) Looking straight
   forcefully. 9. Natural (Prakrta) The natural eye. Uses :-1, 4,7 and 8are used in depicting valour and wrath.
   4 and 8 are used in depicting fear. 5 is used in depicting contempt and disgust. 3 is used in sorrow. 8 is used in wonder or surprise.________________

11
12
6 is used in love. 9 is used in almost all places.
॥ दृष्टिभेदाः ॥ सममालोकितं साचीप्रलोकितनिमीलिते । उल्लोकितानुवृत्ते च तथा चैवावलोकितम् ॥ इत्यष्टौ दृष्टिभेदाः स्युः कीर्तिताः पूर्वसूरिभिः ।
॥उपयोगक्रमः ॥ वीक्षणं सुरनारीवत् सानन्दं समवीक्षणम् । नाट्यारम्भे तुलायां चाप्यन्यचिन्ताविनिश्चये ॥ आश्चर्य देवतारूपे समदृष्टिरुदाहृता । आलोकितं भवेदाशु भ्रमणं स्फुटवीक्षणम् ॥ कुलालचक्रभ्रमणे सर्ववस्तुप्रदर्शने । याच्ञायां च प्रयोक्तव्यमालोकितनिरीक्षणम् ॥ स्वस्थाने तिर्यगाकारमपाङ्गवलनं कमात् । साची दृष्टिरिति ज्ञेया नाट्यशास्त्रविशारदैः ॥ इङ्गिते श्मश्रुसंस्पर्शे शरलक्ष्ये शुके स्मृतौ । सूचनायां च कार्याणां नाटये साचीनिरीक्षणम् ॥ प्रलोकितं परिज्ञेयं चलनं पार्श्वभागयोः । उभयोः पार्श्वयोर्वस्तुनिर्देशे च प्रसञ्जिते ॥ चलने बुद्धिजाड्ये च प्रालोकितनिरीक्षणम् । दृष्टरर्धविकासेन मीलितादृष्टिरीरिता ॥ आशीविष पारवश्ये जपे ध्याने नमस्कृतौ । उन्मादे सूक्ष्मदृष्टौ च मीलितादृष्टिरीरिता ॥________________

उल्लोकितमिति ज्ञेयं ऊर्ध्वमागे विलोकनम् । ध्वजाग्रे गोपुरे देवमण्डले पूर्वजन्मनि ॥
औन्नत्ये चन्द्रिकादावप्युल्लोकितनिरीक्षणम् । ऊर्ध्वाधोवीक्षणं वेगादनुवृत्तमितीरितम् ॥ कोपदृष्टौ प्रियामन्त्रे अनुवृत्तनिरीक्षणम् । अधस्ताद्दर्शनं यत्तदवलोकितमुच्यते ॥ छायालोके विचारे च चर्चायां पठनश्रमे । स्वङ्गावलोकने यानेऽप्यवलोकित गुच्यते ॥
THE DIFFERENT LOOKS. They are of 8 kinds. 1. Natural look (Sama.) Uses:-Begining of the dance, comparing, obser
ving, admiring, depict the devas etc. 2. A quick circular open look (Alokita.) Uses:-To see a moving wheel, when looking
things around, request etc. 3. Looking from the centre, to the side of the eye
(Sachi.) Uses :-Explaining the inner inotive, twisting the
mustach, depicting the parrot, aiming the arrow,
mentioning about something etc. 4. Looking both sides (Pralokita.) Uses :–Showing the things on both the sides, com
paring, looking-abroad, lethargic etc. 5. Half opened look (Meelita) Looking with half
opened eyes.________________

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Uses:-Snake, captive, prayer, ineditation, bowing,
__mad, observing etc. 6. Looking up (Ullokita.) ____Uses:-Looking at the flag-staff, tower, before God,
recollecting, growth, Moon, wild-fire etc. 7. Looking up and down quickly (Anuvrtta.) ___Uses :-Depicting anger, affectionate calling etc. 8. Looking down (Avalokita.) Uses:-To look at the shadow, thinking, consultation, trying to learn, looking one’s own body, journey etc.
॥ पुटकर्माणि ॥ उन्मेषश्च निमेषश्च प्रसृतं कुञ्चितं समम् । विवर्तितं च स्फुरितं पिहितं च विलोलितम् ॥ विश्लेषैः पुटयोर्यस्तु स उन्मेषः प्रकीर्तितः । समागमो निमेषः स्यादायामः प्रसृतं भवेत् ॥ आकुञ्चित कुञ्चित स्यात्समं स्वाभाविक स्मृतम् । विवर्तितं समुवृत्तं स्फुरितं स्यन्दितं तथा ॥ छादितं पिहितं प्रोक्तमाहतं तु विलोलितम् ।
॥ एषां उपयोगक्रमः \।\। क्रोधे विवर्तितं कार्य निमेषोन्मेषणैस्सह । विस्मयार्थे च हर्षे च वीरे च प्रसृतं स्मृतम् ॥ 15 अदृष्टदर्शने गन्धे रसे स्पर्शे च कुञ्चितम् ॥ शृङ्गारे च समं कार्यमासु स्फुरितं तथा ॥________________

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सुप्तमूर्छितवातोष्णधूमवर्षागमादिषु । नेत्ररोगे च पिहितमभिघाते विलोलितम् ॥
EYE-LIDS AND THEIR MOVEMENTS. They are of nine kinds :1. Opening (Unmesha.) 2. Closing (Nimesha.) 3. Wide open (Prassta.) 4. Shrinking (Kunchita.) 5. Natural (Sama.) 6. Raising (Vivartita.) 7. Shaking (Sphurita.) 8. Closing tight (Pihita.) 9. Twinkling (Vilolita.) Uses:–1, 2, 6 used in anger.
3 used in wonder, valour and pleasure. 4 used in smelling. 5 used in love. 7 used in jealousy. 8 used in eye-disease, sleeping, strong-wind,
heat, rain. 9 used in, while being slapped.
॥ भ्रव्यापाराः ॥ उत्क्षेपपातनं चैव भ्रकुटीचतुरं भवोः । कुञ्चितं रेचितं कर्म सहजं चेति सप्तधा ॥ भ्रवोरुगतिरुत्क्षेपः सममेकैकशोऽपि वा। सममेकैकशोऽप्येव पातनं स्यादधोगतः ॥________________

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भ्रवोर्मूलसमुत्क्षेपात् भ्रकुटी परिकीर्तिता । चतुरं किञ्चिदुच्छासान्मधुरा आयता भ्रवोः !! एकस्या उभयोऽपि मृदुभङ्गो निकुञ्चितः । एकस्या एव ललितादुक्षेपारेचितं भ्रवः ॥ सहजातं तु सहजं कर्म स्वाभाविकं स्मृतम् ॥
॥ एषां उपयोगक्रमः ॥ कोपे वितर्के हेलायां लीलादौ सहजे तथा । दर्शनश्रवणे चैव ध्वमेकां समुत्क्षिपेत् ॥ उत्क्षेपो विस्मये हर्षे रोषे चैव द्वयोरपि । असूयायां जुगुप्सायां हासे घ्राणे च पातनम् ॥ क्रोधस्थानेषु दीप्तेषु योजयेद्भुकुटी बुधः । शृङ्गारे ललिते सौम्ये स्पर्शे च चतुरं भवेत् ॥ मोट्टायिते कुट्टमिते विलासे किलिकिञ्चिते । निकुञ्चितं तु कर्तव्यं नृत्ते योज्यं तु रेचितम् ॥ अनाविद्धेषु भावेषु विद्यात्स्वाभाविकं बुधः । EYE-BROWS AND THEIR MOVEMENTS. They are of seven kinds :1. Raising the eye-brows (Utkshepa.) 2. Bringing down the eye-brows (Pathana.) 3. Raising the endings of the eye-brows (Bhrukuti.) 4. Delicately expanding the eye-brows slightly up
(Chatura.)________________

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5. Bending the eye-brows one or both (Kunchita.) 6. Raising one eye-brow gracefully (Rechita.) 7. Natural eye-brows (Sahaja.) Uses of the above:1. In Anger, doubt, play, pranks, sight,
hearing, wonder and pleasure. 2. In envy, disgust, laugh, smelling. 3. In wrath. 4. In amorous, grace, calmness, touching. 5. In eagerness, eventhough much pleased,
pretending to be otherwise, the charm in the woman, smiling, laughter, crying,
sadness, pride, fatigue ambition. Note:-Mixing and depicting the above feelings. The above is meant for women.
6. In dancing. 7. In all natural depictions.
॥ नासिका ॥ नता मन्दा विकृष्टा च सोच्छासानुविक्रूणिता । स्वाभाविकी हृदि बुधैः षड्विधा नासिका स्मृता । नता मुहुः श्लिष्टपुटा मन्दा तु निभृता मता। विकृष्टा स्फुल्लितपुटा सोच्छासाकृष्टमारुता ॥ विक्रणिता संकुचिता समा स्वाभाविकी स्मृता ।
॥ एषां उपयोगक्रमः ॥ निर्वेदौत्सुक्यचिन्तासु मन्दा शोके प्रकीर्तिता । विकृष्टा तीव्रगन्धा च श्वासरोषभयार्तिषु ॥________________

सोच्छासा मधुरे गन्धे दीर्घोच्छासकृतेषु च । विक्रणनातौं हास्ये च जुगुप्सायामसूयिते ॥ स्वाभाविकी शेषभावेष्वित्येवं नासिका स्मृता ।
THE NOSE
THE MOVEMENTS OF THE NOSE.
They are of six kinds :1. Closing the nostrils intermittently (Natha.) 2. Calm composure (Manda.) 3. Widening the nostrils (Vikrishta.) 4. Narrowing the nostrils (Sochvāsa.) 5. Twisting the nose (Vikrūņita.) 6. Natural (Swābhāviki.)
Uses:-1 in sadness.
2 in dislike, anxiety, thought. 3 in foul-smell, breathing, anger, fear. 4 in smelling perfume, deep breathing 5 in joking, disguest, jealousy. 6 in all natural occasions.
॥ गण्डः ॥ क्षामं फुल्लं च पूर्ण च कम्पितं कुञ्चितं समम् । षड्डिधं गण्डमुद्दिष्टमस्य लक्षणमुच्यते ॥ उन्नतं पूर्णमात्रोक्तं कम्पितं स्फुरितं भवेत् । स्यात् कुञ्चितं संकुचित समं प्राकृतमुच्यते ॥________________

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॥ एषां उपयोगक्रमः ॥ क्षामं दुःखेषु कर्तव्यं प्रहर्षे फुल्लमेव च । पूर्णमुत्साहगर्वेषु रोमहर्षेषु कम्पितम् ॥ कुञ्चितं तु सरोमाञ्चं कम्पे शीतभये ज्वरे । प्राकृतं शेषभावेषु गण्डकर्म भवेदिति ॥
THE CHEEKS. There are six kinds of cheeks :1. Drooping cheeks (Kshāma.) 2. Blooming cheeks (Phulla.) 3. Raised cheeks (Pūrna.) 4. Tremour of the cheeks (Kampita.) 5. Sunken cheeks (Kunchita.)
6. Natural (Sama.) Uses:-1 in sadness.
2 in happiness. 3 in joy and pride. 4 in horripilation. 5 in shivering, cold, fear, fever. 6 in natural state.
॥ अधरकर्माणि ॥ विकर्तनं कम्पनं च विसर्गो विनिगृहनम् । संदष्टकं सुमुद्गश्च षड्कर्माण्यधरस्य तु ॥ विक्रूणनं विवर्तेस्तु वेपनं कम्पनं स्मृतम् । विनिष्कामो विसर्गस्तु प्रवेशो विनिगृहनम् ॥ संदष्टकं द्विजैर्दष्टं समुद्वृत्तं समुद्रकः ।________________

॥ एषां उपयोगक्रमः॥ असूयावेदनावज्ञालस्यादिषु विकर्तनम् । कम्पनं कोपशीतार्तिभयरोगजयादिष । स्त्रीणां विलासे बिब्बोके विसर्गः सुरते स्मृतः । विनिगृहनमायासे संदष्टं क्रोधकर्मसु । समुद्गस्विति कम्पाङ्गधूनने चाभिनन्दने ।
THE LIPS. There are six kinds of movements of the lips : 1. Drooping lips (Vikartana.) 2. Trembling lips (Kampana.) 3. Protruding lips (Visarga.) 4. Folding in the lips (Vinigūhana.) 5. Biting the lips (Samdasta.) 6. Rounded lips (Samudgaka.) Uses :—1 in envy, pain, disrespect, uneasiness etc.
2 in anger, cold, fear, sick, victory etc. 3 in charm, irrelevant, kissing. 4 in difficulty. 5 in rage. 6 in trembling of the body, thanking etc.
॥ चिबुककर्माणि ॥ कुट्टनं खण्डनं छिन्नं चिकितं लेहनं समम् । दष्टं च दन्तक्रियया चिबुकस्येह वक्ष्यते ॥ कुट्टनं दन्तसंघर्षसंस्फोटं खण्डनं मुहुः ॥ छिन्नं तु गाढसंश्लेषाश्चिकितं दूरमुद्यतम् ॥
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लेहनं जिह्वया लेहः किंचिलेखस्सम भवेत् । दन्तैर्दष्टेऽधरे दष्टमित्येषां विनियोजनम् ॥
॥ एषां उपयोगक्रमः ॥ भयशीतज्वरव्याधिनस्तानां कुट्टनं भवेत् । जपाध्ययनसंतापभक्ष्यायातेषु खण्डनम् । छिन्नं व्याधिभये शीतेष्वायामे कूजिते मृते ॥ जृम्भणे चिकितं कार्य तथालोके च लेहनम् । समं स्वभावभावेषु संदष्टं क्रोधकर्मसु ॥
THE CHIN. The movements of the chin are seven :– 1. While gnashing the teeth together (Kuttana.) 2. While the teeth are separated (Khandana.) 3. Biting the jaws together (Chinna.) 4. Opening the mouth wide (Chikita.) 5. Lapping or licking with the tongue (Lehana.) 6. Slightly licking (Sama.)
7. Biting the lips (Dasta.) Uses:-1 in frightened, cold, fever, ill.
2 in prayer, sadness, meals, coming. 3 in fear of disease, fear of cold, standing ___straight, kooing, death. 4 in yawning. 5 in surprised look. 6 in natural.
7 in anger. Note: The movements of the chin are associated with that of the teeth, lips and tongue.________________

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॥ कण्ठव्यापाराः॥ समा नतोन्नता व्यस्रा रेचिता कुञ्चिताञ्चिता। 21 वलिता च निवृत्ता च ग्रीवा नवविधार्थतः ॥
॥ उपयोगक्रमः ॥ समा स्वाभाविकी ध्यानस्वभावजपकर्मसु । नता ततास्यालङ्कारबन्धे कण्ठावलम्बने ॥ उन्नताभ्युन्नतमुखी ग्रैवेयोर्ध्वाभिदर्शने । व्यस्रा पार्श्वगता चैव स्कन्धभारे च दुःखिते ॥ चिता विधुतभ्रान्ता हावे मथननृत्तयोः। कुञ्चिता गदिता मूर्ध्नि भारित गलरक्षण ॥ अश्चितापस्मृताबद्धकेशाको च दर्शने । पार्थोन्मुखी स्याद्वनिता ग्रीवाभङ्गे च वीक्षणे ॥ निवृत्ताभिमुखीभूता स्वस्थानाभिमुखादिषु । इत्यादिलोकभावार्था ग्रीवाभदैरनेकधा ।
___ THE NECK. Nine movements of the neck and their uses :1. Natural (Samā.)
Uses :-Prayer, natural, meditation. 2. Bringing down the neck (Nata.) Uses:- To be decked with ornaments, tying, look
ing down etc. 3. Stretching up the neck (Unnata.) Uses :-While wearing the neck ornament, while looking up.________________

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4. Bending the neck to one side (Tryasra.) Uses:-While placing something on the shoulders,
sadness. 5. Shifting the neck side-ways gracefully (Rechita.) ___Uses:-Charm, used in dancing. 6. Contracting the neck (Kunchita.) ___ Uses:-Carrying a load on the head, safeguarding
___ the neck etc. 7. Pushing forward the neck (Anchita.) Uses :- Looking in eagerness, while combing the
hair etc. 8. Turning back (Valita.) ___Uses :-While looking something at the back. 9. Pushing forward and back-ward the neck
(Nivrutta.) Uses :-Looking things ahead, while depicting the
movement of birds neck etc.
Note:–The various movements of the neck, represent different moods. All the neck movements are done with the help of the head.
॥ मुखरागः ॥ आयतो मुखरागस्तु चतुर्धा स च कीर्तितः । स्वाभाविकः प्रसन्नश्च रक्तः श्यामोऽर्थसंश्रयः ॥
॥ उपयोगक्रमः ॥ स्वाभाविकस्तु कर्तव्यं स्वभावाभिनयाश्रयः । मध्यस्थादिषु भावेषु मुखरागः प्रयोक्तृभिः ॥ प्रसन्नस्त्वद्भुते कार्यों हास्यशृङ्गारयोस्तथा ॥________________

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वीररौद्रमदायेषु रक्तःस्यात्करुणे तथा । भयानके सबीभत्से श्याम संजायते मुखम् ॥ एवं भावरसार्थेषु मुखरागं प्रयोजयेत् ॥ एभ्योऽन्ये बहवो भेदाः लोकाभिनयसंश्रयाः । ते च लोकस्वभावेन प्रयोक्तव्याः प्रयोक्तृभिः ॥
THE FACE. The Colouration of the Face:
These are of 4 kinds. 1. Natural (Svābhāvika.) Uses :-Before exhibiting any expression, natura।
condition. 2. Gladden face (Prasanna.) __ Uses:-Amorous, merriment, wonder etc. 3. Reddening the face. (Rushing the blood to the
____face) (Rakta.) _____Uses:-Valour, rage, unbearable-grief, mad etc. 4. Withdrawing the activity from the face (Śyāma.)
Uses:-Fear, disgust etc.
Note:- While exhibiting the different moods with the body and limbs, the colouration of the face is very essential, without which, the required effects lost.
॥ रसाः ॥ श्रङ्गारहास्यकरुणरौद्रवीरभयानकाः । बीभत्साद्भुतसंज्ञाश्चेत्यष्टौ नाट्ये रसाः स्मृताः ॥
॥ स्थायीभावाः ॥ रतिर्हासश्च शोकश्च क्रोधोत्साहौ तथा भयम् । जुगुप्सा विस्मयश्चेति स्थायीभावाः प्रकीर्तिताः ॥..________________

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THE NINE EMOTIONAL EXPRESSION
OF THE FACE.

1. SRNGARA
   (Amourous.)
   TO
2. VEERA (Valor.)
3. KARUŅA. (Com jassic n.)________________

4. HASYA. (Contempt.)
5. ADBHUTHA.
(Wonder.)
6. BHAYANAKA.
(Fear.)________________

7. BEEBHATSA.
(Disgust.)
8. ROUDRA. (WRATH)
9. SANTA (Serenity.)________________

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Note :-As mentioned in the Shastras there are only, :8 emotions but for the use of the artistes the 9th emotion (serenity) is also included.
DESCRIPTION 1. Amorous. The principle mood is love (Rati)
With a side-long glance, slightly inoving the
eye-brows with a smile and a gladdened face. 2. l’alour. The principle mood is heroism (Utsaha)
With full open eyes,stretched eye-lashes, raised eye-brows and cheeks, with red colouration of
the face. 3. Compassion. The principal mood is grief
(Shoka). Drooping the eyes down without effort, the nose is still, the cheeks are dragged down, the neck is bent to the right and to the
left slowly, with a pale (Syama) face. 4. Contempt. The principal mood is indifference
(ITasya) One eye-brow raised up, drawing back the eye-balls, shrinking the nose and eye
lids, with a gladdened face. 5. Wonder. The principle mood is surprise
(Ascharya). Raising both the eye-brows gracefully, looking gradually forward, eye-lids stretched sideways, cheeks and neck slightly
forward, with a gladdened face. 6. Fear. The principal mood is fright (Bhaya).
Raising the eye-brows one after another and then both, opening the eyes wide, shaking the eye-balls side ways, looking to the right and________________

28
left, the nostrils widened, the lips turned inwards, trembling of the cheeks, turning of the neck both sides, the colouration of the face
is pale at first and then reddened. 7. Disgust. The principal mood is unbearable
attitude (Apprakrita). Drawing the eye-balls inward, the eye-brows downwards, nose shrunk, eye-lids winking. bending the lips down, dropping cheeks, bringing the neck
down-wards with a natural coloured face. 8. Vrath. The principal mood is anger (Krodha)
Straight forward powerful look, full open eye. lids, with upraised full curved eye-brows, with nostrils dilated, lips trembling with jaws tightly
set, and the colouration of the face is red. 9. Sercnity. The principal mood is calmness
(Samyamana). Looking-up through the eyebrows, half closing the cye-lids, head and neck in natural position.________________

MUDRĀS
(GESTURES.) Hand Gestures Used in Kathakali. The gestural language used in Kathakali is not something which supplements the spoken tongue but is a real substitute for it. It consists of 24 basic Mudras or hand gestures and many combinations of them as used in language. They are of three kinds: (1) Imitative, by which action the form of object
is imitated through the hands. (2) Suggestive, by which certain ideas are sugges
ted. (3) Technical which are imaginative. 1. While exhibiting the hand gestures, the other
parts of the body specially the face and the mind also associate according to the mood
(Bhāva). In depicting the gestures, the position of the hands
should be held in accordance to the shape and
size of the body and situation of the character. Whenever the gestures are shown, the fingers of
the hand should be held in an appropriate form
as shown in the illustrations. The mudras are divided into 4 groups. (1) Asamyuktha Mudras :________________

Showing with one hand and expressing the meaning of the object.
(2) Samyuktha Mudras :
Showing with both hands and expressing the mean. ing of the object.
(3) Samāna Mudras :
Showing more than one object with the same mudra.
(4) Misra Mudras :Holding two different mudras in each hand.
The exposition of the hands in depicting the object in mudras are in 4 ways:1. Avestitham:
The turning of the hand and fingers from side inwards to the body. 2. Udvestitham :
The turning of the hand and fingers from in, to side-wards of the body. 3. Vyāvarthitham :
The turning of the hand and fingers from in and forwards. 4. Parivarthitham :
The turning of the hand and fingers from forwards to inwards.
The above movements are very essential for the gestural language.
The 24 basic gestures with illustrations, their single and double hand gestures are described in this book.________________

1. PATHĀKĀ.
Disc
BOTH HANDS. Uses :Sun
Earth King
Loin
Sent Elephant
Pot
Lightning Lion
Mansion Tower Bu॥
Evening Cold Crocodile
Mid-day Wheel Arch
Cloud
Serenity Creeper
Ant-Hi॥
Door Waves
Thigh
Pillow Path
Servant
Trench Depths of the earth Moving about Feet-Bolt
SINGLE HAND. Uses :Squating
Forehead
Messenger Body
Beach Tongue
As, Like
Tender leaf
Going________________

2. MUDRĀKHYA.
BOTH HANDS.
Uses :
Growing
Shaking
Crowded Forget
Heaven
A॥
Things Death Meditation Sacred Thread Straight
Sea
Inform
SINGLE HAND.
Uses :
Mind Thinking Desire Self
Remembering Knowledge Creation Life
Dislike Future No Therefore________________

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3. KATAKA
BOTH HANDS.
Uses:
Vishnu Krishna Palarasi Irrow Gold Silver Female
demon
Sleep
Rekshas (vaishraBeautiful woman vana caste) Sri Lakshmi Crown Veena
Iron Club Stars
Extraordinary Garland
Chariot Blue Lotus Together.
SINGLE HAND.
Uses :
Flower Mirror Woman
Sacrifice Swept Little
Quiver Perfume That one________________

4. MUSHTI.
BOTH HAND S.
Uses :
Charioteer Blessing Beauty Merit Ghost Binding Goodness Sitting
Heel Pull Chamara Yama Mud Medicine Curse Cradle Giving
Going round and round Digging Leaving Spear Daring Suffering Spreading Delivery
SINGLE HAND.
We
Uses :
In vain Excess Irreverent Minister To capture
Endure Charity Willingness Victory Bow
One Old age Plunder Food________________

5. KARTHA.
RĪMUKHA.
BOTH HANDS.
Uses:
Sin Fatigue Brahmin Fame Head
House Vow Pure Bank Caste Hunger
Hear Speak Pregnant End Hunting
SINGLE HAND.
ses:
You Words
Plura।
We
Enmity Child Mangoose
Time
Man
Face________________

36
6. SUKA
THUNDA.
BOTH HANDS.
Uses :
Hook of the Mahout Bird.
There is no single hand use, in this Mudra.________________

37
7. KAPITTHA.
BOTH HANDS.
Uses:
Net Doubt Feathers
Drink Touch Turning back
Out Getting down Placing the feet
There is no single hand use, in this Mudra.________________

08. HAMSAPAKSHA
BOTH HANDS.
Uses :
Moon Wind Kamadeva Devas Mountain Summit Always Relation Bed Rock Happiness Breast
Cloth Vehicle Lies Lying down Falling down People Beating Mango tree Spreading To install Going with Protection
Sending SINGLE HAND.
Bathing Sandal Embracing Club Cheek Shoulder Hair Obedient Blessing Fish Offering Tortoise
Uses
You Sword Wrath Now
Calling In front
Coming near Lord Siva’s Axe Oppose Flames________________

39
9. SIKHARA.
BOTH HANDS.
Uses:
Walking Legs Eyes
Seeing Way Searching
Ears Drinking.
There is no single hand use, in this Mudra.________________

40
10. HAMSĀSYA.
BOTH HANDS.
Uses
Eye ball White Sympathy Softness Blue Hair line on the stomach Dust or Powder Red
SINGLE HAND.
Uses :
The beginning of the rains Line Hair
Folds of the stomac________________

11. ANJALI.
BOTH HANDS.
Uses:–
Heavy Rains Vomiting
Tire
Bright Hair Ear-rings Heat Confusion
Always River Bath Bowing Blood
Horse Terrible sound
SINGLE HAND.
Uses :
Branches of the tree Rage________________

12. ARDHACHANDRA.
BOTH HANDS.
Uses:
If What for? Weariness
Sky The blessed God
Remember Grass Tuft of man
SINGLE HAND.
Uses:
Enter Smiling
What Hate________________

2
13. MUKURA.
BOTH HANDS.
Uses :
The Canine tooth Separation Hip Veda
Brother Tusk Pillar Mortar
Quick Devil Plumpy
SINGLE HAND.
Uses :
Foe Beetle Rays
Anger Good Bangles
Neck Armlet Protect________________

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14. BHRAMARA.
BOTH HANDS.
ses:
Wings Song
Ears of the elephant
Water Umbrella
SINGLE HAND.
Uses :
Gandharva Birth
Fear Crying________________

45
15. SŪCHĪMUKHA.
BOTH HANDS.
Uses :
Different High Jump World
Lakshmana Falling down Other one
Month Eye brow Breaking Tai।
SINGLE HAND.
Uses :
One person Alas Dead body Other person Plural Ear
Mark Before He They Kingdom Little
Witness Without a seat Sending out Calling for fight Sending for fight________________

46
16. PALLAVA.
BOTH HANDS.
Uses:
Indra’s weapon Length of the eye Spear Top of the moun- Buffalo
Horns of tain or peak
animal Ears of the cow Iron pestle Going round
SINGLE HAND.
Uses :
Distance Bet
Smoke Tai।
Cane Paddy, wheat and other grains.________________

17. TRIPATAKA.
BOTH HANDS.
Uses
Sun-set Et cetera
Addressing Drinking
Body Begging
There is no single hand use, in this mudra.________________

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18. MRGASIRSA.
BOTH HANDS.
Uses: -
Deer The Divine being
There is no single hand use, in this inudra.________________

19. SARPAŠIRAS.
BOTH HANDS.
Uses :
Water Giving
Pouring the water Clapping Snake
Beating the
elephant’s heaa।
There is no single hand use, in this mudra.________________

50
20. VARDHA
MANAKA.
BOTH HANDS.
Uses :
Ear-rinys of woman Gem neck-lace Knee and elbow
Yogi Big drin“ Bheri" Elephant Mahout
SINGLE HAND.
Uses :
Whirlpoo।
Nave।
Well________________

21. ARALA.
BOTH HANDS.
Uses:
Idiot Tree
Sprout
Nail Bud
There is no single hand use, in this mudra.________________

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22. ŪRNANĀBHA.
BOTH HANDS.
Uses :
Horse Fruit
Tiger Butter
Snow Many Lotus
There is no single hand use, in this mudra.________________

53
23. MUKULA.
BOTH HANDS.
Uses :
Fox Monkey
Dim or faded Forget
There is no single hand use, in this mulra.________________

54
24. KATAKĀMUKHA.
BOTH HANDS.
Uses:
Servant Jero
Armoury Wrestler
To shoot the arrow Tying
There is no single hand use, in this inudra.
The Madras Law Journal Press, Mylapore, Madras-MS. 76.________________

DONATED TO TTD CENTRAL LIBRARY________________

NATANA NIKETAN PUBLICATION
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