Essay name: Hastalaksanadipika a critical edition and study
Author:
E. K. Sudha
Affiliation: Government Sanskrit College (Tripunithura) / Department of Sanskrit
This is an English study on the Hastalaksanadipika—a manual depicting the Mudras (gestures) of the Kerala theatre. It is a very popular text supposedly dating to the 10th century A.D. This study also touches the subject of Krsnanattam, Kathakali and Kutiyattam—some of India's oldest theatrical traditions in Kerala.
Chapter 8 - English Translation of the Hastalaksanadipika (Hasta-Lakshana-Deepika)
29 (of 33)
External source: Shodhganga (Repository of Indian theses)
Download the PDF file of the original publication
Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)
घटà¥à¤Ÿà¤¨à¥à¤¤à¤°à¤¾à¤–à¥à¤¯à¤°à¤¾à¤—े à¤� तरà¥à¤«à¥� चानà¥à¤¤à¤°à¤� संजà¥à¤žà¤¿à¤¤à¥‡ à¥� तà¥à¤°à¤¿à¤ªà¤Ÿà¤¾à¤¤à¤¾à¤² à¤à¤µ सà¥à¤¯à¤¾à¤¤à¥ à¤� विलमà¥à¤¬à¤¿à¤¤à¤®à¤¾à¤¤à¥à¤°à¤•à¤� ।। मधà¥à¤¯à¤®à¤®à¤¾à¤¤à¥à¤°à¤� तà¥à¤°à¤¿à¤ªà¤Ÿà¤� वेलाधूलà¥à¤¯à¤¾à¤� वदनà¥à¤¤à¤¿ तालजà¥à¤žà¤¾à¤ƒ à¥� अपरे पà¥à¤¨à¤°à¥à¤¹à¤� नाटà¥à¤¯à¥‡ धà¥à¤°à¥à¤� इतà¤� कैशà¥à¤šà¤¿à¤¦à¥ दà¥à¤°à¥à¤¤à¤¸à¥à¤¸à¤®à¤¾à¤–à¥à¤¯à¤¾à¤¤à¤ƒ ।। शà¥à¤°à¥€à¤•ामरà¥� à¤� पौरालà¥à¤¯à¤¾à¤� तà¥à¤°à¤¿à¤ªà¤Ÿà¤¾à¤¤à¤¿à¤¦à¥à¤°à¥à¤¤à¤� मतà¤� à¥� मà¥à¤°à¤²à¥€à¤¨à¥à¤¦à¤²à¤°à¤¾à¤—े तॠधà¥à¤°à¥à¤µà¤¤à¤¾à¤²à¥� विलमà¥à¤¬à¤¿à¤¤à¤� à¥� [ghaá¹á¹antarÄkhyarÄge ca tarphe cÄntari saṃjñite | tripaá¹ÄtÄla eva syÄt sa vilambitamÄtrakaá¸� || madhyamamÄtrÄ tripaá¹Ä� velÄdhÅ«lyÄá¹� vadanti tÄlajñÄá¸� | apare punarhi nÄá¹ye dhruva iti kaiÅ›cid drutassamÄkhyÄtaá¸� || Å›rÄ«kÄmare ca paurÄlyÄá¹� tripaá¹ÄtidrutÄ matÄ | muralÄ«ndalarÄge tu dhruvatÄlo vilambitaá¸� | ] 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 rÄga Ceá¹ipañcama. For evil characters and for children, Ceá¹ipañcama is employed. While enacting in avastha Antari rÄga is used. (avastha means the enactment of a story where the character deviates from his real nature. This rÄga is usually employed in nirvahaṇaÅ›lokas). VeḷÄdhūḷi is used in 'tvarÄ' and in bhayÄnakarasa. The rÄga Bhinnapañcama is used in excessive joy. ÅšrÄ«kÄmara is used in unexpected happiness. On almost all occasion of srngÄra Ä€rta is used. Paurali is the summit of Ä€rta. It is used at the height of vipralambha. The raga Muddha is used in the $rngÄra of the demons. 26
