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PART TWO TRANSLATION & CRITICAL EDITION

hastamudradipikayam prathamaparicchedah harih sri ganapataye namah avighnamastu namitanamika yasya patakassakarasmrtah | suryo raja gajassimho vrsabho grahatoranam || lata patakavicisca rathya patalabhumayah | jaghanam bhajanam harmyam sayam madhyandinam ghanam 11 valmikamururdasasca caranam cakramasanam | asanirgopuram saityam ' sakatam saumyakubjakau|| kavatamupadhanasca parighadi 'latargale | sattrimsad bharatenoktah patakassamyutakarah || divaso gamanam jihva lalatam gatrameva ca | ivasabdasca sabdasca dutassaikatapallavah || asamyutapatakakhya dasahastassamiritah | HASTAMUDRADIPIKA CHAPTER 1 When the ring finger of the hand is bent and the other fingers are extended straight away, it is Patakahasta. The Patakahasta is used to indicate the Sun, a king, elephant, lion, ox, crocodile, decoration, creeper, flag, wave, path, the mythical world below the earth (Patal am ), the Earth, the buttocks, bowl, palace, 1. Tiruvangattu Narayanam Nambisan caityam 2. Tiruvangattu Narayanam Nambisan parighadighrarathargale 1

2 evening, after-noon, cloud, ant-hill, thigh, servant, foot, wheel, seat, lightning, gate-tower, coldness, vehicle, serenity, crooked / curved, door, pillow, trench, foot, bolt [These are samyutahastas - shown with both the hands]. Asamyutahastas are day, going, tongue, forehead, body, 'like this', noise, messenger, sand bank and tender leaves. angusthasya tu tarjjanya yadagro milito bhavet|| sesa vislathita yasya mudrakhyassakaro matah | vardhanam calanam svargassamudrassandravismrtih || sarvo vijnapanam vastu mrtyusca dhyanameva ca | upavitamrjuprokto mudrakhyastu trayodasa || hastastu samyuta prokta natyasiddhantavedibhih | cittam cintabhilasasca svayam jnanaparabhavam || lajja srstih smrtih prano hetu karanameva ca || bhavyarthasca nanarthasca caturthi sodasoditah | amsayukta munindraistu kara mudrahvaya ime || If the edges of the thumb and the forefinger are touched each other, and the other fingers are stretched out, it is Mudrakhya. Meanings shown by Mudrakhya are increase, movement, the heaven, the ocean, dense / heavily intermingled / entangled, forgetting, 3. Tiruvangattu Narayanam Nambisan svayam caiva tatha smrtih | punah jnananca srstisca pascat pranaparabhavau ||

all, to inform, thing, death, meditation, sacred thread worn by the Brahmins, straight / truth These are samyutahastas. Asamyutahastas are the mind, thought desire, self, knowledge, failure, shyness, creation, remembrance, life, reason, only / itself, that which is coming into being / next, negative and the meaning of dative case. angusthangulimulantu samsprsedyadi madhyama || mrdrabhidhanahastastu katakakhyam vrajettada | visnuh krsno halibanah svarnam rupyam nisacari|| nidra pradhanayosit sri vina tara sragulpalam raksah kiritam parikha ' visesasyandanam punah || sahartho vimsatikarassamyuktakatakahvayah || kusumam darpanam narihomasvedo'lpavacakam| yacchabdastunisurabhirnirdista katakavidhah | asamyukta navakara natyasastravisaradaih || In Mudrakhya, if the middle finger touches the root of the thumb, it is Kataka . Visnu, Krsna, Balarama, arrow, gold, silver, a female demon, sleep, main woman, Goddess Laksmi, Vina, star, garland, blue lotus, ghost like, crown, trench, news about, chariot, combined/union - These 4. Tiruvangattu Narayanam Nambisan parigham 3

are samyutahastas. Flower, mirror, woman, sacrifice, sweat, a little, which, quiver, fragrant / fragrance These are asamyutahastas. - angusthastarjaniparsvamasrito'ngulayah parah | akuncitasca yasya syuh sa hasto mustisamjnakah || suto'pavargi lavanyam punyam bhutasca bandhanam| yogyasthitisca gulphanca karsanam camaram yamah || pankamausadhicapau ca doladanam pradaksinam | khananam tyagakuntau ca vikramastapanam tatha || utkirna pradhavascaiva hasta vai pancavimsatih | mustisamjna munindraistu samyukta parikirtita || vrtharthasca bhrsarthasca dhigarthassacivastatha | langhanam sahanam danamanuvado jayam dhanuh || asmacchabdaikavakyantu jaraharanabhojane | ayuktamustinamanah kara pancadasoditah || When the side of the forefinger touches the thumb and all other fingers are bent, it is known as Musti. Charioteer, salvation, beauty, goodness, ghost, binding, worthiness, status, ankle, pulling, whisk, Lord Yama (Deity in charge of death) mud, medicinal herb, bow, swing, charity, circumambulation, mining, giving 5. Tiruvangattu Narayanam Nambisan prasava ++ 4

up / sacrifice, spear, valour, heat, scatter / to sow, to give birth - these are samyutahastas Asamyuta Musti is used to show synonyms of in vain, to indicate superlative, synonyms of shame, minister, violation, suffering, to give permission, victory, bow, we, one, worn out, to steal, related to food. kaniyyunnata yatra tisrasyussannataparah || angusthastarjjaniparsvam samsprset bharatarsabhah || kartarimukhamityahuh hastantam nrttavedinah | papah sramo brahmanasca kirtih kumbho vratam grham || suddhistiranca vamsasca ksudha sravanabhaksane ' | garbho'vasanam mrgaya natyajnairmunipungavaih || kartarimukhahastastu samyuta sodasasmrtah yusmadarthaikavacanam vacanam samayakramah || bahuktirasmadarthasca martyo vaktram virodhita | balako nakulascapi nrttajnaissamudiritah || kartarimukhahastakhya asamyukta dasaiva hi | When the little finger is raised, other these fingers are slightly bent and the forefinger touches the thumb, the mudra is Kartarimukha. Sin, weariness, Brahmin, fame, forehead of an elephant, house, observing austerities / holiness / purity, bank, dynasty, hunger, to hear, to 6. Tiruvangattu Narayanam Nambisan bhasane 5

eat, pregnancy, symbol of summing up, hunting, you [addressing an equal or one above], word, difference in time, plural, we, man, face, verbal or physical expression amounting to hatred, child, mangoose - these meanings. are shown by Kartarimukha. Out of these, the first sixteen are samyutahastas and the rest are asamyutahastas. bhrulateva yada vakra tarjanyangusthasamvrta || namitanamikasese kuncitodancite tada | sukatundakaram prahuracaryah bharatadayah || hasto'yamankuse caiva varsinyeva ' prayujyate| When the forefinger is bent like an eyebrow and the thumb touches the ring finger, which is bent, and other fingers are bent, the hasta is Sukatunda. Only two meanings are shown in this mudra. Both are samyutahastas. They are angle hook and ( bird ). - namitanamikaprsthamangustho yadi samsprset|| kanisthika sunamra ca yasmimstu sakarah smrtah | kapitthakhya iva vidvadbhih nrttasastravisaradaih || vagura samsayah pinchah sriyam sparso nivartanam | bahih prsa 'vatarane barha " vinyasa ityapi || 7. Tiruvangattu Narayanam Nambisan paksinyeva 8. Tiruvangattu Narayanam Nambisan panam 9. Tiruvangattu Narayanam Nambisan prsthavatarane 10. Tiruvangattu Narayanam Nambisan padavinyasa 6

samyuktastu kapitthakhya dasahastassamiritah | When the ring finger and the little finger are bent and the thumb is placed on the ring finger, the hasta is Kapittha. Net, doubt,the tail of a peacock, Sri, to touch, to retreat, outside, back, to descend, to put step These are the samyuta Kapitthas. There are no asamyutahastas. - angulyasca yathapurva samsthita yadi yasya tu sa hasto hamsapaksakhyo bhanyate bharatadibhih | candro vayurmanmathasca devaparvatasanavah || nityabandhavasayyasca silasukhamurastanam | vasanam vahanam vyajassayanam patanam janah || chadanancaiva 11 vyapanam sapanam tatha | ayanam namanancatha majjanam candanam tatha || alinganancanuyanam palanam prapanam gada | kapolamamsah kosasca vidheyanugrahau munih || itisabdabhidheyasca matsyapujanakacchapah | hamsapaksakhyahastastu catvarimsaddvayottarah || samyukta natyasastrajnaih kathita munipungavaih || yusmad bahuktih khadgo rud idanimahamagratah || parasurhetirahvanamutsangapraptivarane | 11. Tiruvangattu Narayanam Nambisan tadanam chadanam caiva 12. Tiruvangattu Narayanam Nambisan palanam 7

ayuktahamsapaksakhya hasta ekadasa smrtah || The hasta is known as Hamsapksa when all the fingers are stretched out as such. Forty-two samyutahastas are there. They are The moon, air, God of love similar to Cupid, dwellers of the Heaven, mountain, valley, always, relatives, stone, comfort, the chest, the breast, cloth, to take, to lie, to lay, to fall, people, to beat, to cover, to spread, to protect, to come, salutation, to bathe, sandal, to embrace, to follow, to protect, to send, club (mace), cheek, shoulder, hair, humble, blessing, sage, like this/as mentioned, fish, to worship and tortoise. You (pl), sword, anger, now, I, "in front of", white axe, flames, to call, approximation/being near to, to oppose These are the eleven asamyutahastas - purato madhyamancapi prsthatastarjjanim nayet kapitthahastastu tada prapnuyat sikharabhidham || sancaram caranau netre darsanam margamargane karno panam karascastau samyuktasikhara eva hi In Kapitthahasta, if the forefinger and the middle finger are stretched out apart from each other, it is Sikharahasta. The meanings shown are to walk, feet, eyes, to see, way, to search, ears, to drink. There is no asamyutahasta here. 8

sannatascaladagrasyustarjanyangasthamadhyama | itare connate yatra hamsasyam tadudiritam || kaninika mududdhulih pandaro nilohitau | karuna romarajisca samsmrta munipungavaih || hamsasyahasta nrttajnairastaveva hi samyutah | varsarambhah kesaromo rekha trivalirityapi || asamyuktastu catvaro hamsasyakhya kara smrtah | If the tips of the forefinger, the thumb and the middle finger are joined with some movement and the ring finger and the little finger are stretched out apart from each other, it is Hamsasyahasta. Glance, softness, dust, white, blue, red, mercy / pity / compassion, group of hair (as a line), beginning of rain, hair, line, the three folds of the abdomen are the meanings shown by this hasta. Out of these, the first eight are samyutahastas and the rest four are asamyutahastas. kara sakhasca vislista madhyam hastatalasya tu | || kincidakuncita yasya luthitam " so'njalih karah | pravarsam vamanam vahnih pravahah prasvanah prabha || murdhajah kundalancaiva santapah sambhramah sada nadisnanam pravahaca ridharam natyakovidaih || samyuktanjalinamano hasta pancadasoditah | 13. Tiruvangattu Narayanam Nambisan gaditah 9

ayuktajalinamanavubhaveva karau smrtau || sakha krodhasca vidvadbhih natyasastrabdhiparagaih | If all the fingers are stretched out without touching one another and the bottom of the palm is bent, then the hasta is Anjali. Heavy rain, vomiting, fire flow loud noise, light, hair, ear ring, heat, anxiety, always, river, bath, flow, blood are the samyutahastas and branch of a tree and anger are the asamyutahastas said by the scholars of Natyasastra. angusthastarjanincapi varjayitvetarakramat| isadakuncita yatra so'rdhacandrakarah smrtah | yadyarthasca kimarthasca vaivasyanca nabhasthalam || dhanyo daivam smrtiscapi trnam purusakuntalam | samyuktastvardhacandrakhya hasta nava samiritah || prasthanam mandahasasca kimsabdascapi kutsanam | asamyuktastvardhacandrakhyascatvarah samsmrtah karah || If the fore finger and the thumb are stretched out and the other fingers are bent slightly, the hasta is Ardhacandra There are nine samyutahastas and four asamyutahastas. Samyutahastas are - 'if so', 'for what', distress, sky, highly virtuous, great divine luck and similar positive subjects / God, remembrance, grass and hair of men. 10

Asamyutahastas are - to set out, smile, contempt, 'what'. madhyamanamikanamre angustho'pi parasparam| yadyarabhensparsaya mukurarasakaro matah | | damstra viyogo jangha ca nitambo vedasodarau | stambhacolukhalam vegi pisacah pustirityapi || ekadasasamadista samyuktamukurakarah | vimato bhramaro rasmih kopah susthu ca kankanam || grivangadam nisedho'pityayuktamukura nava | If the ring finger the thumb and the middle finger are bent so as their tips are about to touch one another, the hasta is Mukura. A large canine tooth, separation, the ankle, the hip, the Veda, brother, pillar, mortar, the fast one, devil and well nourished are the eleven samyutahastas. Disagreeable, bee, ray, anger, good, bangle, neck, a bracelet for the upper arm, negation are the nine asamyutahastas. namita tarjani yasya sa hasto bhramarahvayah || garudganam jalam chatram dantikarnau manisibhih | bhramarakhyastu samyukta hasta panca samiritah || gandharvo janmabhitisca rodanam natyakovidaih | bhramarakhyastvasamyuktascatvarassamudiritah || If the forefinger is bent at the middle, it is Bhramarahasta. 11

There are five samyutahastas and four asamyutahastas. Samyutahastas are - wing, song, water, umbrella and ears of an elephant. Gandharva (demi Gods who are expert singers), to come into being, fear, to cry - these are the asamyutahastas. madhyamanamikaprsthamangustho yadi samsprset| kanisthika kuncita ca sucimukhakarastu sah || bhinnamutpatanam loko laksmanah patamanyatah | maso bhru sithilam paso 14 yuktassucimukha dasa || ekah kastam jado'nyasca bahuktih sravanam kala | purayamete rajyanca kincit saksinirasanam || agaccha gaccha yuddhaya sucimukhakarah smrtah | sodasaiva hi natyajnairasamyukta manisibhih || If the middle finger and ring finger are bent and the thumb is placed on it and the little finger is also bent, then the hasta is Sucimukha. There are ten samyutahastas and sixteen asamyutahastas. Divided / broken, to jump, world, Laksmana, fall, one / different, month, eye brows, split and coir are the samyutahastas. Asamyutahastas are one, expression to mean what happened which should not have happened, to indicate dead body, anyone/anything 14. Tiruvangattu Narayanam Nambisan balau 12

else, plural, to hear, knowledge, ago, he, these people, country, a little, witness, to refuse, ask to come to fight with [as a command], and ask to go [as a command]. mulancanamikangulya angastho yadi samsprset | yasmimstu nrttasastrajnaih pallavassakarah smrtah || vajram parvata srrngasca gokarnau netradirdhima | mahisah paridhah praso jantusrrnganca vestanam || samyuktapallavakhyastu kara navasamiritah | 15 duram varnanca " dhumanca puccham vetranca salayah || ayuktapallavakhyastu hastah sad samudiritah | If the thumb touches the root of the ring finger, the hasta is Pallava. There are nine samyutahastas and six samyutahastas. Samyutahastas are - Vajrayudha, peak, ears of a cow, length of the eyes, buffalo, a long wooden cylindrical weapon, spear, horn and to rotate. Asamyutahastas are distance, pledge, smoke, tail, cane and different types of grains. angusthah kuncitakarastarjanimulamasritah || yadi syat sakarah prokto tripataka munisrvaraih | astamadiraye panam sariram yacanam budhaih || sadete tripatakakhya samyukta samsmrtah karah | The sages say that it is Tripatakahasta if the thumb is slightly 15. Tiruvangattu Narayanam Nambisan pananca 13 nya

bent and it touches the root of the fore finger. The sunset, ' etc.', expression to address / to accuse a person, drinking, body, to beg are the samyutahastas. There are no asamyutahastas. madhyamanamikamadhyamangustho yadi samsprset || mrgasirsakahasto'yam kathito munipungavaih | samyukta eva hasto'yam mrge ca paramatmani || If both the middle finger and the ring finger and slightly bent and the tip of the thumb touches the middle of the middle finger, the hasta is Mrgasirsa. Only two meanings are shown by Mrgasirsa and that are samyutahastas. They are deer and The Supreme Being. tripatakasya madhyantu nimnam yadi bhavet tada | hastassarpasirasso'yam vise sarpe phane matah | | 16 If the middle of the Tripataka is bent inwards, it is Sarpasiras. The meanings shown by this mudra are poison, serpent and hood. 16. sprset pradosini yatra rekhamangusthamadhyagam || Tiruvangattu Narayanam Nambisan angulyasca yathapurvam sahangusthena yasya ca| tatha nimnatalascaiva sa ta sarpasirah karah | tu candanam bhujago mandyamadhyam vikiranam munih | dantikarnavidhunasca raksa samvahanam tatha | navahamsatastu samyukta sarpasirse samiritah || 14

15 kuncitodancitassesa sa hasto vardhamanakah | strikundalam ratnamala januryogi ca dundubhih || ambastho'pi ca hasta sad samyuta vardhamanakah | avarti nabhikupau ca trayo hastastvasamyutah || If the forefinger touches the middle line of the thumb and the other fingers are gradually bent and held slightly upwards the hasta is Vardhamanaka. Large ear studs of women, chain of gems, the elbow joint / knee, an ascetic, a huge drum and mahout are the samyutahastas. Swirling, (converging in a definite direction generally downward), the naval and well are asamyutahastas. tarjjani madhyamam rekhamangustho yadi samsprset kunitodancitascanya aralassakarah smrtah || mudho vrksasca kilasca XXXX 17scankurah karah | aralakastu pancaite kathita natyakovidaih || If the thumb touches the middle line of the two finger and the other fingers are bent and held slightly upwards then the hasta is Arala. There are only five meanings, which are sumyutahastas. They are ignorant, tree, cut ends of plant parts, and bud (the fifth one is not clear). 17. Tiruvangattu Narayanam Nambisan kudmala

urnanabhapadakarah pancangulyasca yatra hi | urnanabhabhidhah proktah sa hasto munipungavaih || turangasca phalam vyaghro navanitam himam bahu | 1 ambhojamurnanabhakhyahasta saptaiva samyutah || If the fingers are held in the form a spider the hasta in known as Urnanabha. Horse, fruit, tiger, butter, snow, very / many / all superlatives and lotus are shown in this hasta as samyuta. There are no asamyutahastas. pancanamangulinanca yadyagro milito bhavet | sustu yatra ca vijneyo mukulakhyakaro budhaih || srgalo vanaro mlanih vismrtirmukulahvayah | catvarascaiva hi karah kathita natyavedibhih || If the ends of all the fingers are joined together, then the hasta is Mukula. Fox, monkey, withering / drooping / becoming weak, to forget are the samyuta Mukulahastas. madhyamatarjjanimadhyamangusthah pravisedyadi | sesa sannamita yatra sa hastah katakamukhah | | kancukah kinkarassuro mallo banavimocanam | bandhananca sadete syuh samyukta katakamukhah || 16

sambuddhavapi haste ca asapaksa 8 iti smrtah | niscaye sukatundakhyah karassamyuta eva hi || || iti hastalaksanadipikayam prathamaparicchedah | If the thumb is inserted in between the middle finger and the fore finger and the other fingers are bent, the it is Katakamukhahasta. Garb, servant, valiant, a strong man (a wrestler ), releasing the arrow and to tie are the samyutamudras. There is no asamyutamudra for Katakamukha. Hamsapaksa is used to address and Sukatunda is used to show assurance or affirmity. THUS THE FIRST CHAPTER OF HASTALAKSANADIPIKA COMES TO AN END. dvitiyaparicchedah samipasamayau tulyau samau danava kaunapau || saro jale tulyahaste tulyau varunavaridhi || lavanyabhusane tulye cittabuddhisamanake | kurasatru samakarau samau sainikasudrakau || samahastau siddhapadau tulyau nisvasagadgadau | jayasakti tulyahastau tulyau punyagunavubhau || tamastriyame dve tulye tulyau ca drdhaniscayau | 18. Tiruvangattu Narayanam Nambisan hamsapaksa 17

18 piyusamrtatulye dve alpabindusamanakau || jvaladhumau tulyahastau jyesthabhimasamanakau | nakulo bharatastulyau samau vijayalaksmanau || satrughnasahadevau ca tulye palanakarmani | dhvajadandau tulyahastau samane darpayauvane | tulye sahocca svaivasye same patalagahvare | masapaksau tulyahastau sabhadesau samanakau || pasapramodau tulyau dvau samane sparsasamgati | samanau dhanyagambhirau svanavadye samanake || pujabhakti tulyahaste samanau suhrdasrayau | vistarasayye dve tulye kalusavyakulau samau || samanacarasancarau tulye tu dhanahatake | bimbakhetau ca tulye dve dvau sandehaviparitakau || mahinivartane tulye pura tadvacake same | godaksine tulyahaste samau rajakakimkarau || bhrukucau tulyahastau kilasucisamanakau | tanumlanistulyahastau prayaso natyadarsanat|| dvyarthassesassamakhyata hastah kecidyathamati | 20 CHAPTER II Proximity and time the enemy of god and a demon - lake and water - the lord of ocean (Varuna) and the ocean beauty and ornament mind and intellect - cruel and enemy - soldier and the Sudra - person of 19. Tiruvangattu Narayanam Nambisan sammoha 20. not in Tiruvangattu Narayanam Nambisan

divine qualities and traits and foot - sigh and stuttering of words due to emotion victory and strength - the heavenly reward of holy or virtuous actions and virtue - darkness and night - stability/firmness and decision -nectar and liquor a little and a drop of water flame and smoke the - - elder brother and Bhima Nakula and Bharata - Arjuna and Laksmana Satrughna and Sahadeva - protection and action-flag-post and stick - proud and youth fainting / lipothymy and helplessness - the mythical world under the earth (Patala) and cave - month and a lunar fortnight assembly and country - coir and happiness to touch and affair / case blessed and majestic - noise and musical instrument - worship and devotion relative and support - width and bed - agitated and embarrassment spy and journey -wealth and gold - image / idol and hamlet doubt and opposite the earth and to retreat - ago and 'that' (words mean 'that') - - cow and South - washer man and servant - eye brow and breast - the cut end portion of a plant and a needle thin and withering - these meanings are shown in similar mudras. The rest may be interpreted according to the will. vaidhavyam suratam yuddham ramastridanamityapi | ete pancasamakhyata hasta katakamustayah | | brahma katakapaksah syat sivastu mrgapaksakah | kartarimukhamustistu vidyadhara udahrtah || yaksastu paksamustih syat madhyascandrarthamustikah | 19

21 kartarikatakassastram kalyanasya patakakam 27 || patakakatako masah tadvadeva ca gosmrtah | kartarikataka kanya srivatsam sikharanjalih | | vardhamanakahamsasyastvadharah parikirtitah | patakamustihimsa syat pratibandhastathaiva ca || patakamukula hasta sugrivangadabalinah | samyuktahamsapaksa syuh hanumatpramukhah 22 kapih || patakakartarihastam pattanam dasakandharah | anjalikatakah prokto yagah pallavamustikah || hastah katakamudrakhya satyam dharmasca samsmrtih | mudramustih pita tadvat senapatiritiritah || mata katakapaksah syat sa eva ca sakhi matah | mudra patakascihnam syat hrdyam paksapatakakah|| karyabharya vivahasca hasto mukulamustikah | tarksyassikharabhedah syat annam mukulabhedakam || vardhamananjaliratnam vikrida katakanjalih | nasastu mustibhedah syat madhyam sikharapaksakah || sucimukhanjaliscitram pautraputravudahrtau | kartarimukhamudrakhyau putrikatakasucika || vardhamanakapaksakhyah budhaih piyusamisyate | mudravyah pallavo bahurupayah parikirtitah || katakakhyakarah prayah stritve sarvatra yojayet | 21. Tiruvangattu Narayanam Nambisan kalyamasyapatakakam 22. Tiruvangattu Narayanam Nambisan kisahanumadadayah 20

katako mukuropetassundari parikirtita || patakakartarihasto yuvaraja iti smrtah | samyuktahamsapaksakhyo duhkham syadatha sanmadah || hasto hi paksamudrakhyo sauryam samyuktamustikam | kartarimukhahastasyussankhah sopanavenavah || nivi "samyuktamudrakhyo nasika vardhamanakah | hamsasyo mandapo hasta alako hamsapaksakah || saivalanca tathaivahurnatyasastravisaradaih | dvayam sarvatra yojyam syat sucimukhasamasthitah || hastassikharanameti vijneyam vibudhaissada | prayah proktam misrahasta natyasastroktavartmana || 24 nathah pita gurustulyah lila nrttotsavah samah | dhairyarambhasamau tulyassiddhascihnam phalam nava || snehanuragavisvasastulyastulyakara smrtah | paparadhadosasca tarksyahamsajatayusah || vilambakraunca mandasca tulyahastassamiritah | visadavyadhiduhkhani samahastani kevalam || anekarthakara prayo darsitassastravartmana || || iti hastalaksanadipikayam dvitiyaparicchedah samaptah || Widowhood, copulation, battle, Sri Rama, giving away a virgin in marriag these five meanings are shown by both Kataka and Musti. 21 23. Tiruvangattu Narayanam Nambisan nivi 24. Tiruvangattu Narayanam Nambisan nathah ....kevalam under similar mudras 25. Tiruvangattu Narayanam Nambisan krama

22 Brahma should be shown by both Kataka and Hamsapaksa, Siva should be shown by both Mrgasirsa and Hamsapaksa and Vidyadhara (Celestial being) should be shown by both Kartarimukha and Musti. Yaksa (celestial beeings who are subordinates of Kubera, the deity of wealth) should be shown by both Hamsapaksa and Musti, the middle part should be shown by both Ardhacandra and Musti, Sastra should be shown by Kartarimukha and Kataka, the dawn should be shown by Hamsasya and Pataka. Month and cow - Pataka and Kataka, Girl / virgin - Kartarimuka and Kataka Srivalsa (A mark on the chest of Lord Visnu) Sikhara and Anjali. The lower lip Vardhamanaka and Hamsasya torture / violence/ kill ing and obstacle- Pataka and Musti. Sugriva, Angada and Bali - Pataka and Mukula, the monkeys like Hanuman - Hamsapaksa in both the hands. Residence - Pataka and Kartarimukha. Ravana - Anjali and Kataka. Yajna - Pallava and Musti. Truth and Dharma - Kataka and Musti, (Remembrance Kataka and Mudrakhya) Father and commander in chief Mudrakhya and Musti. - Mother and female friend - Kataka and Hamspaksa, sign / symbol Mudrakhya and Pataka, pleasant pertaining to the heart - Hamsapaksa and Pataka.

Matter, wife, wedding - Mukula Musti, Garuda - a variety of Sikhara, rice a variety of Mukula. Gem Vardhamana and Anjali, play Kataka and Anjali, distruction / annihilation - a variety of Musti, the middle - Sikhara and Hamsapaksa. Beautiful Sucimukha and Anjali, son and grandson - Kartarimukha and Mudrakhya, daughter - Kataka and Sucimukha. Nectar Vardhamanaka and Hamsapaksa, hand, a way out - Pallava and Mudrakhya. Feminine gender should always be accompanied with Kataka. Beautiful woman Kataka and Mukura. Royal hirer - Pataka and Kartarimukha, sorrow - Hamsapksa in both the hands close together, Happiness - Hamsapaksa and Mudrakhya. Valour Musti in both the hands close together conch, step, flute two 23 Kartarimukhas close to each other. The knot of the wearing garment (of woman) - two Mudrakhyas together. Nose - Vardhamana, Platform Hamsasya, curl of hair and sediments / husk chaff - Hamsapaksa. Two (in number) should be shown by both Sikhara and Sucimukha always. Almost all mixed mudras are explained here as it is said in the Natyashastra Lord, father, guru, - play romantic game, dance, festival, courage bravery, beginning, a person of divine qualities and traits -

sign / symbol, fruit, novel /new affection, love, trust / belief-sin, offence / fault, defect / fault - Garuda swan, Jadayu (name of a bird in Ramayana), vilambita, krama, manda- these are shown in yhe same hasta. Disaoppointment, disease and sorrow are similar mudras. THE SECOND CHAPTER OF THE Hastalaksanadipika ENDS WITH THIS. harih patranam nayakadinam uttamanam svabhavatah | gitasiddhantatattvajnairindalo raga isyate || madhyamanantu patranam kvacidindala eva hi | cetipancamaragasca kvacidityucyate budhaih 26 || nicanamapi patranam balakanam tathaiva ca cetipancama eva syat netaye drsyate kvacit || avasthayantu tattvajnairantari raga isyate 27 | veladhulistvarayantu bhayanakarase'pi ca 28 || praharsatisaye rago bhinnapancama isyate " | atarkitapramode tu ragah srikamaro matah 30 || srrngarakhyarase prayo ragastvarto nigadyate 3" | murcchane khalu paurali vipralambhasya murcchane | 26. 27. 28. Tiruvangattu Narayanam Nambisan dvitiyadisu patresu nicapatresu balake | svabhavikobhavedragascetipancamanamakah || Tiruvangattu Narayanam Nambisan kavivakye kathaksepe kvacidantarirucyate| Tiruvangattu Narayanam Nambisan veladhulirbhayaddhetoddurasthasya vacovidhau | hasye kvacidavasthayam tvarayam capi kathyate || 29. Tiruvangattu Narayanam Nambisan bhinnapancamaragassyat sriramasyadbhute kvacit | 30. 31. Tiruvangattu Narayanam Nambisan srikamarakhyastesam tu vipralambhasya murcchane | Tiruvangattu Narayanam Nambisan srrngare ratibhave ca prayenarto nigadyate | 24

(paurali vipralambhakhya srrngarasya tu murcchane | ) raksasanantu srrngararase muddo nigadyate || tesantu vipralambhasya murcchane muralindalam | 25 sriramasya tu sambhoga srrngare muralindalam || rasayoh kaisiki prahurhasyabibhatsayorapi | krodhe raudrarase capi tarkaraga udahrtah ||h viranamnirase rago viratarkah smrto budhaih | duhkhakantararagastu soke ca karune matah || danarago'dbhutarase bhayanakarase kvacit| dustanigrahavartayam ghattantarirudahrta 2|| tontakhyaragah sante ca bhaktibhave ca kathyate | korakkurijni ragah syat kapinantu svabhavatah || puranirakhyaragastu varsakalasya varnane | prabhatavarnanayanca gitajnairupagiyate || ankasane srikanthi dustanamapi himsane | sandhyavarnanavelayam madhyahnasya ca varnane || bhaktibhave ca vidvadbhih kathyate gitiparagaih || muddhartaviratarkesu cetipancamadanayoh | korakurinnirage ca dhruvatalah prakirtitah || srikanthi tontuponira kausikistvandale 'pi ca | ekatalo vinirdistah bhinnapancamaduhkhayoh || 32. Tiruvangattu Narayanam Nambisan dustanigrahavartayam ghattantarirudahrta | asirvadavidhavesa mangalaprarthanavidhau ||

ghattantarakhyarage ca tarphe cantari samjnite | tripatatala eva syat sa vilambitamatrakah || madhyamamatra tripata veladhulyam vadanti talajnah | apare punarhi natye dhruva iti kaiscid drutassamakhyatah || srikamare ca pauralyam tripatatidruta mata | muralindalarage tu dhruvatalo vilambitah | For noble heroes (and heroines) in ordinary situations i.e. when they are not under the spell of ordinary emotions like love, anger etc. Indala is used. On certain occasions, even some middling characters have Indala. But sometimes they have the raga Cetipancama. For evil characters and for children, Cetipancama is employed. While enacting in avastha Antari raga is used. (avastha means the enactment of a story where the character deviates from his real nature. This raga is usually employed in nirvahanaslokas). Veladhuli is used in 'tvara' and in bhayanakarasa. The raga Bhinnapancama is used in excessive joy. Srikamara is used in unexpected happiness. On almost all occasion of srngara Arta is used. Paurali is the summit of Arta. It is used at the height of vipralambha. The raga Muddha is used in the $rngara of the demons. 26

Their (of the demons) vipralambha in its extreme and Sri Rama's sambhogasrngara are in Muralindala. In hasya and bibhatsarasas, Kaisiki is used. In krodha (anger) and raudrarasas, Tarka is used. Viratarka is used in virarasa. The raga Dukkhagandhara is used in dukkha (grief) and in karuna (pathos). Dana raga is used in adbhutarasa, and sometimes in bhayanaka. Ghattantari is used on occasions of reporting the death of evil persons. Tontu is used in santaasa and bhaktibhava. Monkeys in ordinary situations, have Korakkurinji raga. Puraniru is used in the descriptions of rainy season, and morning. Srikanthi is used at the end of an act, at the killing of evil persons, in the descriptions of noon and dust, and in bhaktibhava. Dhruvatala is used along with the ragas Muddha, Arta, Viratarka, Cetipancama Dana and Korakkurinji. For the ragas Srikanthi, Tontu, Puraniru Kaisiki, Indala, Bhinnapancama and Dukkhagandhara, ekatala is used. For the ragas Ghattantari, Tarka Antari vilambitamatraka tripatatala should be there. Those who know about talas say that Veladhuli is combined 27

with madhyamamatra. For Srikamara and Paurali atidrutatripata is used. Vilambitamatraka is used along with Muralindala 28

CRITICAL NOTES:While edition some deviations are noticed and are noted here. RATAKA :- 'parighanghrilatargale ' is given that text. But according to the Tiruvangattu Narayanam Nambisan it is. This reading seems rational because in 'lata pataka vicisca ' 'lata ' is mentioned Therefore to avoid repetition it is omitted. MUSTI :- 'c 3/4露" is replaced by '' in the Tiruvangattu Narayanam Nambisan It is accepted. SUKATUNDA :- 'hasto'yamankuse caiva varsinyeva prayujyate ' is given in the text. The Tiruvangattu Narayanam Nambisan reading is. The stage practice follows the Tiruvangattu Narayanam Nambisan reading. Therefore it is accepted here also. KAPITTHA: The Tiruvangattu Narayanam Nambisan reading and are accepted for translation. HAMSAPAKSA:- The Tiruvangattu Narayanam Nambisan readings and are accepted. ARALA:- One word is missing in the version. The Tiruvangattu Narayanam Nambisan reads it as 'HA' blossom of flower. Instead of the Tiruvangattu Narayanam Nambisan reads. It is accepted for translation. SIMILAR MUDRAS:-' sammoha ' is the Tiruvangattu Narayanam Nambisan reading for 'sahocca '. It is accepted MIXED MUDRAS:- Instead ' kalyanasya patakakam ' of the Tiruvangattu Narayanam Nambisan reads 'kalyamasya '. This reading is accepted. According to the Tiruvangattu Narayanam Nambisan reading : .kevalam ' should come under similar mudras. It is quite appropriate also. The order of delineation 29

coincides with the Tiruvangattu Narayanam Nambisan reading. In several places elongation of the last, letter of the word 'Pataka' is seen. It may be due to the influence of Malayalam. 6 > Among the misramudras '' is used instead of (Tiruvangattu Narayanam Nambisan) and '' is used instead of '(Tiruvangattu Narayanam Nambisan). The Tiruvangattu Narayanam Nambisan versions are accepted) In describing svaras also the Hastalaksanadipika deviates from the Natyakalpadruma in several case. But not much deviation is found as in the case of the mudras. The omissions and false readings may be result of the mistakes occured while copying, preparing translations, transliterations etc. 30