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The 腻峁単颈办腻产丑颈苍补测补 includes the histrionic representation of the limbs which is simply known as physical gestures. In the 狈腻峁瓂补艣腻蝉迟谤补, three kinds of physical gestures are accepted. The gestures expressed with major classification of the body parts are termed as 艣补谤墨谤补 i.e., physical expression, mukhaja i.e., facial expression and 肠别峁ａ弓腻办峁泃补 i.e., different movements of the entire body.^[1] The movements of the 补峁単补蝉 fall in the 艣补谤墨谤补 type of gesture and the expressions of 耻辫腻峁単补蝉 fall under the mukhaja type of gesture.

The 补峁単补蝉 i.e., major classification of the body parts are six in numbers viz.,

1. head,
2. hands,
3. chest,
4. sides,
5. waist and
6. feet.

The 耻辫腻峁単补蝉 denote different parts of the face. These are also six in numbers viz.,

1. eyes,
2. eyebrows,
3. nose,
4. lower lip,
5. cheeks and
6. chin.^[2]

The movements of limbs used to bear a great importance in dramatic representation. These are discussed in detail here.

i) Head Movements:

In the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, seven types of movements of the head are recorded. These are termed as:

1. 腻办补蝉尘颈办补,
2. kampita,
3. udyuta,
4. vidhuta,
5. 辫补谤颈惫腻丑颈迟补,
6. 耻诲惫腻丑颈迟补 and
7. abadhuta.

Among those 腻办补蝉尘颈办补 denotes giving lecture, asking questions and natural talk.^[3] Kampita i.e., shivering head shows anger, threatening, arguing etc.^[4] Udyuta i.e., slowly shaken head shows grief, astonishment etc.^[5] Vidhuta type of movement expresses suffering by cold or old age or because of the consumption of liquor.^[6] 笔补谤颈惫腻丑颈迟补 type of movement shows achievement, joy and sportiveness.^[7] 鲍诲惫腻丑颈迟补 movements shows raised head with pride^[8] and abadhuta movement indicates massages, conversation etc. In the 狈腻峁瓂补艣腻蝉迟谤补 also, similar types of opinion has been given.^[9] But in the 础产丑颈苍补测补诲补谤辫补峁嘺 nine kinds of head movements are accepted.^[10] In the 础产丑颈苍补测补诲补谤辫补峁嘺 the varieties viz., 耻诲惫腻丑颈迟补, kampita and 辫补谤颈惫腻丑颈迟补 are seen to be accepted like the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺.

ii) Chest Movements:

There are five kinds of chest movements accepted by the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 as well as the 狈腻峁瓂补艣腻蝉迟谤补^[11] .These are鈥�

1. 腻产丑耻驳苍补,
2. nirbhugna,
3. prakampita,
4. 耻诲惫腻丑颈迟补 and
5. sama.^[12]

Different movements of chest indicate different situations in a Drama. The terms 腻产丑耻驳苍补 and nirbhugna projects the word bhugna which means being crooked because of illness^[13] . The movement called 腻产丑耻驳苍补 denotes the position in which someone acts to be killed by weapon or suffering from heart diseases. The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 speaks that in this position the actor should hold the chest by hand.^[14] This posture can be observed even in modern theatrical performances. In the term nirbhugna, the word bhugna is preceded by the prefix nir, which is used to denote the opposite form.^[15] So, the opposite of the word bhugna is nirbhugna which means not crooked. Justifying the meaning of the term nirbhugna, the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 suggests that in the position of nirbhugna, the actor should slightly stiff the chest to show the status of pride. At the time of laughing, weeping or showing fear, the chest is thrown up and it is called prakampita movement.^[16] In the 耻诲惫腻丑颈迟补 movement, the cheast postion is kept slightly upward to show normal breathing and also yawning.^[17] Again when the chest is kept in a normal position with elegant posture it is called sama.^[18]

iii) Waist Movements:

The term 办补峁璱 is used to denote the waist part in Sanskrit. This word is used in both masculine and feminine gender in Sanskrit.^[19] The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 seems to take the word 办补峁璱 in feminine gender and makes the divisions of waist movements in feminine gender.

Five types of waist movements are accepted here. These are鈥�

1. 辫谤补办补尘辫颈迟腻,
2. 惫颈肠肠丑颈苍腻,
3. 苍颈惫峁泃迟腻,
4. 谤别肠颈迟腻 and
5. 耻诲惫腻丑颈迟腻.

This book explains all these in a projected manner. 笔谤补办补尘辫颈迟腻 i.e slightly shaking movement should be adopted in the walking of hunch backs, dwarfs and persons of short height.^[20] 搁别肠颈迟腻 should be adopted in going for a walk and 耻诲惫腻丑颈迟腻 should be taken in sportive movement by uplifting the waist part in a certain way.^[21] In 惫颈肠肠丑颈苍腻 movement, the middle portion of waist should be undulated and adopted to show doing exercise and looking over the shoulders.^[22] When someone turns back and the actor focus the back of that person, at that time the actor should take the 苍颈惫峁泃迟腻 movement.^[23]

iv) Side Movements:

There are five kinds of side movements accepted in the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 and these are鈥�

1. samunnata,
2. nata,
3. 辫谤补蝉腻谤颈迟补,
4. vivartita and
5. 补辫补蝉峁泃补.

Samunnata movement should be adopted to show retreat. The term nata denotes the action of saluting someone.^[24] According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 nata movement is adopted in approaching someone. The 辫谤补蝉腻谤颈迟补 movement shows triumph, happiness and joy. The term 辫谤补蝉腻谤颈迟补 means expanded.^[25] Vivartita movement is taken to take circular movement and 补辫补蝉峁泃补 movement is taken to show fear^[26] whereas the 狈腻峁瓂补艣腻蝉迟谤补 suggests it as the movement adopted in returning.^[27] In the 狈腻峁瓂补艣腻蝉迟谤补, the side movement called unnata is mentioned which suggests the position of going backward.^[28] The side movement called samunnata is not accepted in the 狈腻峁瓂补艣腻蝉迟谤补.

v) Nose Movements:

In Sanskrit the term 苍腻蝉颈办腻 is used to denote nose. 狈腻蝉颈办腻 is a feminine term and that is why in the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 as well as in the 狈腻峁瓂补艣腻蝉迟谤补, the varieties of nose movements have been mentioned in feminine gender.

Six kinds of nose movements are accepted in the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺^[29] as well as in the 狈腻峁瓂补艣腻蝉迟谤补.^[30] These are鈥�

1. 苍补迟腻,
2. 尘补苍诲腻,
3. 惫颈办峁涐梗峁���,
4. 蝉辞肠肠丑惫腻蝉腻,
5. 惫颈办奴峁噄迟腻 and
6. 蝉惫腻产丑腻惫颈办墨.

If a person feels good smell by taking long breath with his nose, the movement is called 蝉辞肠肠丑惫腻蝉腻 and if the smell is pungent than the nostrils automatically become contracted upward and this position is called 惫颈办峁涐梗峁璦 movement.^[31] Likewise 苍补迟腻 i.e., bent nostrils denote pleasant state, 尘补苍诲腻 i.e., lowered nostrils denote the unpleasant state, 惫颈办奴峁噄迟腻 i.e., nostrils drawn together shows disgust and 蝉惫腻产丑腻惫颈办墨 denotes nose in normal position.^[32] In this context the 狈腻峁瓂补艣腻蝉迟谤补 explains the positions of nose as鈥攊n 苍补迟腻 position, the lobes of the nose should cling for a while.^[33] In 尘补苍诲腻, the lobes should be in rest position. Rest of the positions is explained by the 狈腻峁瓂补艣腻蝉迟谤补 as it is found in the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺.^[34]

Footnotes and references:

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[1]:

迟谤颈惫颈诲丑补蝉迟惫腻峁単颈办辞 诲峁涐梗峁璦岣� 艣膩r墨ro mukhajastath膩/ tath膩 肠别峁ａ弓腻办峁泃补艣caiva 艣膩kh膩峁単op膩峁単asa峁儁uta岣�// 狈腻峁瓂补艣腻蝉迟谤补, 8.11

[2]:

tasya 艣irohastora岣�p膩r艣vaka峁�墨p膩data岣� 峁�a岣峚峁単膩ni/ netrabhr奴n膩s膩dharakapolacibuk膩nyup膩峁吥乶i// Ibid., 8.13

[3]:

svabh膩v膩d峁沯unorv膩mak峁�epe峁嚹灏觳共醭揪卑觳贯箖 蝉补办峁泃/ 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.24.1

[4]:

产补丑耻艣补岣� 办补迟丑颈迟补峁� yacca 迟补诲腻 kampitami峁�yate/ ro峁�atarjanatarke峁�u pratij帽膩su ca d峁浥泍ate// Ibid., 3.24.2-3

[5]:

艣颈谤补蝉辞 谤别肠补苍补峁� yattu 艣anaistadyutami峁�yate/ Ibid., 3.24.3

[6]:

惫颈诲丑耻迟补峁� 苍腻尘补迟补岣� 辫谤辞办迟补峁� tath膩 p膩r艣cavikampanai岣�/ 艣墨tagraste jvar膩rte ca matte ca jvarite bhavet// Ibid., 3.24.4-5.

[7]:

parir膩rhita峁� s膩dhane vismaye har峁�e l墨l膩y膩峁僣a tadi峁�yate/ Ibid., 3.24.6

[8]:

sak峁沝耻诲惫腻丑颈迟补峁� cordha峁� tad耻诲惫腻丑颈迟补mi峁�yate/ ucchr膩ye dar艣ane garve tattathordhvanir墨k峁�a峁噀// Ibid., 3.24.1-7.

[9]:

狈腻峁瓂补艣腻蝉迟谤补, 8. 17-29

[10]:

samam耻诲惫腻丑颈迟补madhomukham膩lolita峁� 诲丑耻迟补峁�/ 办补尘辫颈迟补峁� ca par膩v峁泃tamutk峁�ipta峁� 辫补谤颈惫腻丑颈迟补峁�// 础产丑颈苍补测补诲补谤辫补峁嘺, 49.

[11]:

狈腻峁瓂补艣腻蝉迟谤补, 10.1

[12]:

痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.24.25

[13]:

产丑耻驳苍补岣�鈥�rog膩din膩 ku峁璱l墨k峁泃a岣�/ 艢补产诲补办补濒辫补诲谤耻尘补, Vol.3. p.518

[14]:

艣astak峁�ate vigh膩te ca h峁沝roge ca tadi峁�yate/ 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.24.27

[15]:

苍颈谤鈥�p谤补迟颈濒辞尘测补尘/ Nirukta, 1.3

[16]:

痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.24.27-28

[17]:

耻诲惫腻丑颈迟补峁� yad奴谤诲丑惫补峁� tu tad耻诲惫腻丑颈迟补mucyate/ 奴谤诲丑惫补峁� nigamite 办腻谤测补峁� j峁沵bhite峁�u prayogata岣�/ Ibid., 3.24.29-30

[18]:

蝉补尘补峁� 苍腻尘补 惫颈箩帽别测补峁� sau峁ａ弓have峁�u tat/ Ibid., 3.24.30

[19]:

办补峁璱岣�, pu峁�, 蝉迟谤墨鈥� 补产诲补办补濒辫补诲谤耻尘补艢, Vol.2, p.9

[20]:

ni艣citodv膩han膩ccaiva tathaivaodv膩hit膩 尘补迟腻/ 苍墨肠补 v膩manakubj膩n膩峁� gatau 办腻谤测腻峁� 辫补办补尘辫颈迟腻// 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.24.41

[21]:

谤别肠颈迟腻 recite 办腻谤测腻 补苍测腻 濒墨濒腻驳补迟别 迟谤颈诲丑腻/ Ibid., 3.24.43

[22]:

vy膩y膩me tvatha sampr膩pte vy膩v峁泃taprek峁�ite峁�u ca/
肠丑颈苍苍腻 办腻谤测腻 办补峁璱stajaj帽air苍颈惫峁泃迟腻 vartite峁�u ca// Ibid.3.24.42

[23]:

para峁単mukhasy膩bhimukh墨 苍颈惫峁泃迟腻 parik墨rtit膩/ Ibid., 3.24.40

[24]:

Monier Monier Williams, A Sanskrit-English Dictionary, p.525

[25]:

V.S Apte, The Student鈥檚 Sanskrit English Dictionary, p.766

[26]:

asya caivopagaman膩dbhaved补辫补蝉峁泃补峁� puna岣�/ 苍补迟补峁� tvapas峁泃e 办腻谤测补峁� con苍补迟补峁� t奴pasarpite// pras膩rite prahar峁Ｄ乨au tr膩se c膩pas峁泃e puna岣�// 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.40.34

[27]:

鈥︹赌�..viniv峁泃e tv补辫补蝉峁泃补峁冣��./ 狈腻峁瓂补艣腻蝉迟谤补, 10.17

[28]:

鈥︹赌�.un苍补迟补峁� 肠腻辫补蝉补谤辫补峁噀/ Ibid., 10.16

[29]:

苍补迟腻 尘补苍诲腻 惫颈办峁涐梗峁��� ca 蝉辞肠肠丑惫腻蝉腻 k奴峁噄t膩苍补迟腻/ sv膩bh膩vike ca 办补谤迟补惫测腻 prayoge 苍腻蝉颈办腻 budhai岣�// 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.25.62-63

[30]:

狈腻峁瓂补艣腻蝉迟谤补, 8.126-127

[31]:

惫颈办峁涐梗峁��� 办耻帽肠颈迟腻 cordhva峁� socch膩s膩 b膩yup奴rit膩/ 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.25.64

[32]:

苍补迟腻 tu rucite 办腻谤测腻 尘补苍诲腻 艣oke vidh墨yate/ 惫颈办奴峁噄迟腻 jugups膩y膩峁� 艣别峁Ｄ� 蝉惫腻产丑腻惫颈办墨 尘补迟腻// Ibid., 3.25.65-66

[33]:

苍补迟腻 muhu岣ヅ沴i峁ａ弓apu峁�膩鈥︹赌�../ 狈腻峁瓂补艣腻蝉迟谤补, 8.127

[34]:

Ibid., 8.128