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-) 迟补迟补岣� pravi艣ati kandukena 办谤墨岣峚 苍迟墨 辫补诲尘腻惫补迟墨 sapariv膩r膩 v膩savadattay膩 saha |^[1]

In 厂惫补辫苍补惫腻蝉补惫补诲补迟迟补 痴腻蝉补惫补诲补迟迟腻 笔补诲尘腻惫补迟墨 and their friends are playing with the ball. 狈峁泃迟补谤补迟苍腻惫补濒墨 refers to a dance called kanduka 苍峁泃迟补. 闯腻测补 says delicate 肠腻谤墨蝉, gatis, 辫腻诲补蝉 and 濒腻蝉测补峁単补蝉 are seen in this dance. Movements like lotus, wavy line, snake, wheel, etc. and gaits like utplavana are performed.

-) m膩lavik膩racitapallav膩vata峁僺膩 sal墨lama艣ok膩ya 辫腻诲补峁� 辫谤补丑颈峁噊迟颈 |^[2]

惭腻濒补惫颈办腻 puts forth her foot to strike the tree. This can be performed by the 办补谤补峁嘺 called 惫颈办峁�i辫迟腻办峁�i辫迟补办补.

鈥淭丑别 办补谤补峁嘺 called 惫颈办峁�i辫迟腻办峁�i辫迟补办补 consists of throwing or stretching the hands and legs forward and backward with a flourish.鈥�

惫颈办峁�i辫迟补峁� hasta辫腻诲补峁� ca tasyaiv膩k峁�epa峁嘺峁� puna岣� |
yatra tat 办补谤补峁嘺峁� 箩帽别测补峁� 惫颈办峁�i辫迟腻办峁�i辫迟补办补峁� 诲惫颈箩腻岣� ||^[3]

kisalam峁沝orvil膩sini ka峁環ine nihitasya p膩dapaskandhe |
cara峁嘺sya na te 产腻诲丑腻 蝉补峁僷谤补迟颈 v膩masya v膩moru ||^[4]

The king asks if her foot hurts because she kicked the 补艣辞办补 tree. Here, 惭腻濒补惫颈办腻 can stand in the pose called 补艣惫补办谤腻苍迟补.

鈥泪苍 补艣惫补办谤腻苍迟腻 one foot is kept raised in the 蝉奴肠墨 position and the other is made to rest on its forepart.

p膩da岣�samutthita艣caikaeka艣c膩gratal膩帽cita岣� |
蝉奴肠墨viddhamaviddha峁� v膩 tad补艣惫补办谤腻苍迟补mucyate ||^[5]

This is employed in hanging on to a bough of a tree.鈥�^[6]

-) iti parijanasahit膩 lat膩g峁沨a峁� parikr膩mati |^[7]

The queen moves around in the garden.

This can be gesticulated by the 办补谤补峁嘺 called 辫补谤颈惫峁泃迟补.

鈥淭丑补迟 办补谤补峁嘺 is known as 笔补谤颈惫峁泃迟补 in which hands are raised high entwined together and held in the reverse direction, sacrum is turned round and feet transposed resting on the toe.鈥�

奴rdhv膩pave峁ａ弓itau hastau 蝉奴肠墨p膩do'pavartita岣� |
辫补谤颈惫峁泃迟补峁� 迟谤颈办补峁� caiva 辫补谤颈惫峁泃迟补峁� taducyate ||^[8]

This movement can be performed by the queen to move about gently in the garden.

-) priyam膩carita峁� late tvay膩 me gamane'sy膩岣� k峁�a峁嘺vighnam膩caranty膩 |
yadiya峁� punarapyap膩峁単anetr膩 辫补谤颈惫峁泃迟补rdhamukh墨 尘补测腻'dya 诲峁涐梗峁��� ||^[9]

When 弄谤惫补艣墨 delays her exit in the pretext of disentangling her pearl necklace from the creeper, the king describes her beauty. 膧峁単ika abhinaya of 弄谤惫补艣墨 can be with her head movement 辫补谤腻惫峁泃迟补, and eye movements such as 蝉腻肠墨 and vivartana. Bharata refers to a variety of actions of the head called 辫补谤腻惫峁泃迟补.^[10] He also refers to the kinds of looks called 蝉腻肠墨 (sideways), in which the look askance when the pupils are in a triangular form coming within the eyelashes.^[11] He refers to the movement of pupils. The movement called vivartana (turning sideways) is the sidelong glance and it should be used in 艣峁涐箙驳腻谤补.^[12]

-) sarve sop膩n膩roha峁嘺峁� n膩峁璦yanti |^[13]

鈥淎ll are ascending the stairs.鈥� Bharata describes the movement of ascending and descending palaces, uneven places, and stairs and so on.

He says,

鈥淲hile ascending a mansion the feet should be lifted up and the body should be held straight in the course of negotiating the steps of the stairs.鈥�

This can be performed with 耻诲惫腻丑颈迟补 uras.

pras膩d膩roha峁嘺峁� k膩ryamatikr膩ntai岣� padairatha |
耻诲补惫腻丑测补 驳腻迟谤补峁� 辫腻诲补峁� ca nyaset sop膩napa峁卥ti峁�u ||^[14]

-) 迟补迟补岣� pravi艣atyunmattaka岣� |^[15]

The entry of a mad man is referred. The author says he comes rushing like the rain water, speeding down in the street. He can enter performing the ga峁単膩vatara峁嘺m 办补谤补峁嘺.^[16]

-) 补惫补蝉迟丑补蝉补诲峁浥沘峁� parikramya |^[17]

滨谤腻惫补迟颈 is in the state of intoxication. After walking around, she says that due to condition she cannot move her feet further.

Bharata says,

鈥泪苍 the case of intoxicated person, whose state of inebriatedness is slight or medium a staggering step with the feet swerving now and then should be adopted. The left and right foot should move in the opposite direction. When the intoxication is less the feet should falter and the body swerves.鈥�

mattan膩峁� tu 驳补迟颈岣� 办腻谤测腻 made taru峁嘺madhyame |
v膩madak峁�i峁嘺p膩d膩bhy膩峁� dh奴r峁嘺m膩n膩pasarpa峁嘺i岣� ||
apak峁涐梗峁璭 made caiva hyanavasthitap膩dik膩 |
vigh奴r峁噄ta艣ar墨r膩 ca padai岣� praskhalitaistath膩 ||^[18]

Here, her gait can be in the 办补谤补峁嘺 called mattalli.

鈥淓xtend the left and right legs forward in a circular motion and draw them back and hold them together. Move hands entwined and extended across in the 办补谤补峁嘺 called mattalli.鈥�

v膩madak峁�i峁嘺p膩d膩bhy膩峁� gh奴r峁嘺m膩nopasarpa峁嘺i岣� |
udve峁ａ弓it膩pavidvai艣ca hastairmattallayud膩h峁泃am ||^[19]

Abhinavagupta recommends this 办补谤补峁嘺 to represent the intoxicated gait.

Then she turns to all the directions in search of the king. So, when she moves around, the 办补谤补峁嘺 called diksvastika can be performed.

鈥淭ransposing of hands and legs over each other to form svastika and doing it turning on all sides is the 办补谤补峁嘺 called diksvastika.鈥�

p膩r艣vayoragrata艣caiva yatra 艣li峁ａ弓ak峁泃o bhavet |
svastikohastap膩d膩bhy膩峁� tad dik svastikamucyate ||^[20]

Abhinavagupta recommends this 办补谤补峁嘺 for gati parivarta.

While she is struck and cannot move further the ardhamattall墨 办补谤补峁嘺, in which the leg moves in a slow motion, can be performed.

鈥淜eep apart the legs and slide in slowly. Hold the left hand extended across and the right hand is to be held at ease on the hip. This is how the 办补谤补峁嘺 ardhamattall墨 is conceived.鈥�

skhalit膩pas峁泃au p膩dau v膩mahasta艣ca 谤别肠颈迟补岣� |
蝉补惫测补丑补蝉迟补岣� 办补峁璱蝉迟丑补岣� sy膩dardhamattalli sm峁泃am ||^[21]

Abhinavagupta recommends this 办补谤补峁嘺 for semi intoxication.

-) 迟补迟补岣� pravi艣atyunmattave峁�o 谤腻箩腻 |^[22]

The king enters like a mad man. 弄谤惫补艣墨 had left him and so he is in a state of intoxication. Bharata describes the gait for a mad man.

鈥泪苍 the gait of a lunatic the steps should be irregular. He should move about in different 肠腻谤墨蝉.鈥�

耻苍尘补迟迟补蝉测腻辫颈 办补谤迟补惫测腻 gatistvaniyatakram膩 |
bahu肠腻谤墨蝉am膩yukt膩lok膩nukara峁嚹伵況ay膩 ||^[23]

Here, 办补谤补峁嘺s such as unmatta and madaskhalita can be used.

鈥泪苍 the 办补谤补峁嘺 called unmatta the foot is out-turned (补帽肠颈迟补) and dropped in a particular stance and hands stretched forward on both the sides.鈥�

a帽citena tu p膩dena recitau tu karau yad膩 |
耻苍尘补迟迟补峁� 办补谤补峁嘺峁� tattu vi箩帽别测补峁� n膩峁瓂akovidai岣� ||^[24]

鈥泪苍 the 办补谤补峁嘺 known as madaskalitaka both the hands should be kept hanging down, head turned round and feet bent and entwined or transposed.鈥�

karau pralambitau k膩ryau 艣ira艣ca pariv膩hitam |
p膩dau ca valit膩viddhau madaskhalitake诲惫颈箩腻岣� ||^[25]

-) 迟补迟补岣� pravi艣ati yuktamad膩 颈谤腻惫补迟墨 肠别峁��� ca |^[26]

滨谤腻惫补迟墨 enters the stage in the state of intoxication along with her 肠别峁���. Bharata says mada should be related to women and lower characters.

The representation of inebriation of women should be made by the gentle faltering of steps, hanging on to the sky, rolling the eye balls, incoherent speech and shivering of the limbs.

尘补诲腻测别'产丑颈丑颈迟腻岣� 辫奴谤惫补峁� t膩n str墨n墨ce峁�u yojayet |
m峁沝ubhi岣� skhalitairnityam膩k膩艣asy膩valamban膩t ||
netr膩vadh奴r峁嘺nai艣caiva vilagnai岣� kathitaistath膩 |
g膩tr膩峁嚹佱箖 kampanai艣caiva 尘补诲补岣� k膩ryo bhavet 蝉迟谤颈测腻岣� ||^[27]

Footnotes and references:

[back to top]

[1]:

SV.II.p.148

[2]:

惭腻濒补惫颈办腻gnimitra A-III.

[3]:

狈腻峁瓂补艣腻蝉迟谤补 IV. 80.

[4]:

惭腻濒补惫颈办腻gnimitra A-III. V-18.

[5]:

狈腻峁瓂补艣腻蝉迟谤补 XIII 167.

[6]:

Infra.Ref.221.

[7]:

Vik. A-II.

[8]:

狈腻峁瓂补艣腻蝉迟谤补 IV.131.

[9]:

Vik. A-I.V-16.

[10]:

狈腻峁瓂补艣腻蝉迟谤补 VIII.33.

[11]:

Ibid.VIII.107.

[12]:

Ibid.VIII.100, 104.

[13]:

Vik. A-III.

[14]:

狈腻峁瓂补艣腻蝉迟谤补 XIII. 96.

[15]:

PY.III.p.67.

[16]:

狈腻峁瓂补艣腻蝉迟谤补 IV.168.

[17]:

惭腻濒补惫颈办腻gnimitra A-III

[18]:

狈腻峁瓂补艣腻蝉迟谤补 XIII. 120,121.

[19]:

Ibid. IV. 86.

[20]:

Ibid. IV. 76.

[21]:

Ibid. IV. 87.

[22]:

Vik. A-IV.

[23]:

狈腻峁瓂补艣腻蝉迟谤补 XIII. 122.

[24]:

Ibid.IV.73.

[25]:

Ibid.IV.158.

[26]:

惭腻濒补惫颈办腻gnimitra A-III.

[27]:

狈腻峁瓂补艣腻蝉迟谤补 XXVI. 62,63.