Slokas

The Abhinaya Darpana, attributed to Nandikeshwara, is a classic Sanskrit text that holds a significant place in the realm of Indian performing arts, specifically in the context of Bharatanatyam, a traditional Indian dance form. Believed to have been composed between the 4th and 7th centuries CE, the Abhinaya Darpana serves as a comprehensive guide to the art of expressive communication in dance, focusing on the intricate nuances of abhinaya, or the emotive aspect of performance.

Nandikeshwara, often regarded as the mythical sage associated with the traditions of dance, created the Abhinaya Darpana as a manual for dancers and choreographers. The text is structured into chapters, each dedicated to different aspects of abhinaya, covering a wide range of emotions, gestures, and facial expressions. It delves into the subtleties of portraying various bhavas (emotions) through angika (body), vachika (speech), aharya (costume), and sathvika (feelings).

The Abhinaya Darpana is not limited to the technical aspects of dance but also provides insights into the philosophical and spiritual dimensions of artistic expression. It emphasizes the connection between the dancer, the audience, and the divine, highlighting the transformative power of dance as a means of spiritual communication.

In contemporary times, the Abhinaya Darpana continues to influence Bharatanatyam practitioners and scholars, serving as a foundational text that enriches the understanding of the art form’s aesthetics and principles. Dancers often refer to its teachings to enhance their expressive abilities and to maintain the authenticity of the traditional dance style. Overall, Nandikeshwara’s Abhinaya Darpana remains a timeless guide, bridging the ancient and the modern aspects of Indian classical dance.

Slokas in the Abhinaya Darpana play a crucial role in preserving and transmitting the teachings of this ancient Indian dance treatise. The term “slokas” refers to the poetic verses written in Sanskrit that encapsulate the principles, techniques, and aesthetics of abhinaya, the expressive aspect of dance. These verses are attributed to the mythical sage Nandikeshwara, the presumed author of the Abhinaya Darpana, and are organized in a structured manner within the text.

The slokas serve as a pedagogical tool, providing a systematic and comprehensive guide for dancers and instructors. Each sloka addresses specific aspects of abhinaya, including the portrayal of emotions, the use of gestures, the coordination of body movements, and the integration of facial expressions. Through these poetic verses, the intricacies of dance technique and the nuances of storytelling are conveyed in a stylized and mnemonic format.

Furthermore, the rhythmic and melodic cadence of the slokas adds a musical dimension to the learning experience, aiding dancers in memorization and rhythmic synchronization. The oral tradition of transmitting the Abhinaya Darpana, with its slokas, has been instrumental in passing down the rich heritage of Indian classical dance from one generation to another.

In the context of Bharatanatyam and other classical dance forms, students often recite and memorize these slokas during their training, internalizing the principles embedded in the verses. This oral tradition helps maintain the authenticity of the art form and ensures a continuity of knowledge. The slokas, with their poetic elegance, not only serve as a guide to technical aspects but also convey the cultural and spiritual dimensions of dance, fostering a deeper understanding of the art form.

In summary, the slokas in the Abhinaya Darpana act as a literary foundation, encapsulating the essence of Indian classical dance and serving as a timeless reference for dancers, teachers, and enthusiasts alike.

DHYANA SLOKAM

It’s a practice to recite the following shlokas before doing the namaskaram. This shloka is in praise of Lord Nataraja who is the embodiment of the four Abninayas. Angikabhinaya, Vachikabhinaya, Aharyabhinaya, Satvikabhinaya.

Āṅgikaṃ bhuvanaṃ Yasya Vāchikaṃ sarva vāṅmayam

Āhāryaṃ chandra tārādi Thvaṃ numaḥ sātvikaṃ śivam

Word to word meaning

Āṅgikaṃ – body

Bhuvanaṃ – universe

Yasya – whose

Vāchikaṃ – speech

Sarva – all

Vāṅmayam – languages (sound)

Āhāryaṃ – ornaments

Chandra – moon

Tārā – stars

Aadi – etc.

Thvaṃ – that

Numaḥ – bow

Sātvikaṃ – pure

Śivam – lord shiva

Gist of the Sloka

For Siva – The whole universe is the body (Angika Abhinaya), all the languages are His speech (Vachika Abhinaya), heavenly bodies like moon and stars are His jewels (Aharya Abhinaya), I bow to that Lord Siva who is the embodimentof emotional expression (Sathwika Abhinaya).

GURU MANTHRA

Gurur Brahma Gurur Vishnu

Gurur Devo Mahesh Varah

Guru Shakshat Para Brahma

Tasmai Shree Guruve Namah

Word to word meaning

Gurur (Teacher) – Dispeller of Darkness, Gu=Darkness, Ru= Remover

Bhrama – Creator; Personification of Creating quality of God

Vishnu – Preserver; Personification of Preserving quality of God

Deva – God

Maheshwarah – Destroyer; Personification of Destroying Quality of God

Shahshat – Self/ Himself

Para Brahma – He who is the highest Lord, Consciousness

Tasmai – To him / To such

Sri – Holy, splendorous

Namaha – Salutations

Gist of the Sloka

Guruvu or Guru (Teacher or Master) is revered greatly by us as he is a wealth of knowledge. And by offering our sincere obedience to him we expect to gain knowledge from him. The master or Teacher is the one who would direct us to the path of Enlightenment and save us from the darkness of ignorance. Hence Teachers should be given profound honor and respect.

ANTAH PRANAH

(Inner virtues of a dancer)

Yatho hasta thato Drishti

Yatho drishti thato manah

Yatho manah thato bhavo

Yatho bhavo thato rasaha.

Meaning

Where the hand is, eyes should follow there

Where the eyes are, the mind should be there

Where the mind is, there goes the expression,

And where there is an expression, there arises emotion.

PĀTRA LAKSHANAM

(Characteristics of Danseuse)

Tanvī rūpavatī śyāmā pīnōnnatapayōdhara

Pragalbhā sarasā kānta kuśalā grahamōkshayōḥ

Chārī tāla layābhijṇā manḍala-sthānapanditā

Hastāngasthāna nipuṇā karaṇēshu vilāsinī

Viśālalōchana gīta-vādya-tālānuvartinī

Parārthya bhūshā saṁpannā prasannamukha pankajā

Nātisthūlā nātikŕsā nātyuchchā nātivāmanā

Ēvaṁvidha guṇōpētā nartakī samudīritā

Word to word meaning

Tanvī – of moderate stature

Rūpavatī – charming

Śyāma – young

Pīna-unnata payōdhara – with full-round breasts

Pragalbhā – self-confident

Sarasā – playful

Kānta – agreeable

Kuśalā graha-mōkshayōḥ – Expert in grasping and releasing, expert in beginning and ending critical passages

Chārī-tāla-layā-abhijṇā – skilled in chāri movements, tāla and laya

Manḍala-sthānapanḍitā – skilled in mandalas

Hasta-anga-sthāna nipuṇā – expert in posing hasthās, various limbs or angahāras and sthānakas

Karaṇēshu vilāsini – graceful in handling karaṇas

Viśālalōchana – with wide open eyes

Gīta-vādya-tāla-anuvartinī – able to follow the song being rendered along with instruments and tāla

Para-arthya-bhūshāsaṁpannā – adorned with best jewels

Prasanna-mukhapankajā – charming with lotus like face

Na-atisthūlā, na-atikṛsa, na-atyuchchā, na-ativāmanā – neither very stout nor very thin, neither very tall, nor very short

Ēvaṁ-vidhaguṇōpetā nartakī samudīritā – when one possesses all the above qualities, then only she is considered as a Narthaki.

Gist of the Sloka

A woman is considered as Narthaki if she possesses all the following qualities,

Of moderate stature(slender bodied), charming, young, with full round breast, self-confident, playful, agreeable, expert in grasping and releasing, skilled in chāris, tāla and laya, skilled in manḍalas, expert in posing hastas, angahāras and sthānakas, graceful in handling karaṇas, having wide open eyes, able to follow the song being rendered along with Vādya and tāla, adorned with the best jewels, charming with a lotus like face, neither shout, nor very thin, neither very tall, nor very short.

NISHIDDA PĀTRALAKSHAṆAM

(Woman not fit for Dance)

Pushpākshi kēśahīna cha sthūlōshṭhi laṁbitastanī

Atisthūlapyatikṛśā atyuchchapyativāmanā

Kubjā swarahīna cha daśaita nāṭya varjitāḥ

Word to word meaning

Pushpākshi – who has squint eyes

Kēśahīnā (cha) – whose hair is scanty

Sthūla-ōshṭhī – whose lips are thick

Lambitastanī – whose breasts are pendant

Atisthūla(api)- atikṛśā – who is very stout or who is very thin

Ati-uchchā(api)-ativāmanā – who is very tall or who is very short

Kubjā – who is hump-backed

Swarahīna (cha) – who does not have a good voice

Ētāḥ daśaḥ, nāṭya varjitāḥ – these ten women are to be rejected i.e., they are not fit to be danseuses.

Gist of the Sloka

The following ten types of women are not fit to dance,

Who has squint eyes
Whose hair is scanty
Whose lips are thick
Whose breasts are pendant
Who is very stout
Who is very thin
Who is very tall
Who is very short
Who is hump-backed and
Who does not have a good voice.

PĀTRA-ANTAḤ PRĀṆAS

(Inner aspects of the life of a Danseuse)

Javaḥ sthiratwam rēkha cha bhramarī dṛshtih asramaḥ

Mēdhā śraddhā vachō gīṭam pāthra prāna dasa smṛtah

Ēvam vidhēna pātreṇa nṛtyam kāryam vidhānataḥ

Word to word meaning

Javaḥ – swiftness

Sthiratwam – composure

Rēkha cha – symmetry

Bhramarī – graceful execution of turnings

Dṛshtiḥ – glancing eyes

Aśramaḥ – ease / hard work / endurance

Mēdhā – intelligence or retentive faculty

Śraddhā – devotion or concentration

Vacho – good speech

Gīṭam – ability to singing and understanding music

Pāthra prānāḥ daśa smṛtah – these ten are considered as the aspect of inner life of a danseuse

Gist of the Sloka

The following ten are the inner aspects of the life of a danseuse: swiftness, composure, symmetry, graceful execution of turnings, glancing eyes, ease / hard work / endurance, intelligence or retentive faculty, devotion or concentration, good speech, ability to singing and understanding music. A danseuse having the above ten aspects of inner (internal) life, has to proceed with the presentation of dance according to the rules laid down by the treatises.

KIṀKIṆI LAKSHAṆAM

(The nature of the Bells)

Kiṁkiṇyaḥ kāṁsyavirachitaḥ ēkaikāngulikāntaram

Suswarāścha surūpaścha sūkshma nakshatra dēvatāh

Badhnīyāt- nīlasūtrēna granthibhiścha dṛdham punaḥ

Śatadwayam śatam vāpi pādayōḥ nāṭyakārinī

Word to word meaning

Kiṁkiṇyaḥ kāṁsyavirachitāḥ – the tiny bells should be made of bronze

Ēka-ēka-angulika-antaram – there should be one anguli (finger) gap between two bells

Suswarāḥ(cha) – should be sweet toned

Surūpāḥ(cha) – well shaped

Sūkshma – dainty

Nakshatra dēvatāh – with the asterisms of their presiding deities

Badhnīyāt – should be tied

Nīlasūtrēna – with blue string

Grandhibhiḥ dṛdham punaḥ – should be tied firmly with good knots

Śatadwayam, śatam vāpi – two hundred or one hundred bells

Pādayōḥ nāṭyakārinī – on the feet of the danseuse

Gist of the Sloka

The bells should be made of bronze and should be tied with a blue string keeping a gap of one anguli (finger) between each pair of bells. They should be sweet toned, shaped well, dainty and marked with asterisms of their presiding deities. At the time of dancing, such bells, one hundred or two hundred, stringed with blue thread, should be tied on each foot of the danseuse, firmly with good knots.

NAṬA/ NARTAKA LAKSHAṆAM

(Qualities of an actor/dancer)

Rūpavān madhurabhāshi kṛtī vāgmī paṭuḥ tathā

Kulānganāsutaśchaiva śāstrajnō madhuraswarah

Gītavādyādi nṛtyajnō siddhakaḥ pratibhānavān

Ētādṛśa guṇaih yuktō naṭa ityuchchyatē budhaiḥ

Word to word meaning

Rūpavān – handsome/charming

Madhurabhāshi – speaks sweetly

Kṛtī – learned

Vāgmī – eloquent

Paṭuḥ (tathā) – steady

Kulāngana-sutaḥ (cha-ēva) – son of a housewife (of high birth)

Śāstrajṇah – learned in the treatises on arts

Madhuraswaraḥ – of sweet voice

Gīta-vādya-ādinṛtyajṇaḥ – versed in songs, instruments etc. Pertaining to dance

Siddhakaḥ – self-confident

Pratibhānavān – having ready

Ētādṛśa guṇaiḥ yuktaḥ – one who possesses the above qualities

Naṭah iti yuchchyatē buddhaiḥ – will be called Nata by the wise

Gist of the Sloka

A person, to be considered as a Nata, should have the following qualities.

He should be handsome, one who speaks sweetly, learned, eloquent, steady, learned in the śāstras, of sweet voice, versed in gīta vādyā etc., self-confident, having ready wit and son of a housewife.

PŪRWARANGAM

(Preliminary Rituals)

Akṛtwa prārthanam pātra mācharēt yadi nāṭyakam

Tannāṭyam nicha mityāhuḥ nāṭyaśāstra vichakshanāḥ

Nīchapātra kṛtam nāṭyam yadi paśyanti mānavaḥ

Putrahīna bhavishyanti jāyantē paśuyōnishu

Tasmātsarwam samālōchya pūrwakaiḥ yadudāhṛtam

Dēvatā prārthanādini kṛtwa nāṭya mupakramēt

Word to word meaning

Akṛtwā prārthanam pātra mācarēt yadi nāṭyakam – if the danseuse begins to dance without offering prayers (to Gods etc.)

Tannāṭyam nicha mityāhuḥ nāṭyaśāstra vichakshanāḥ – Expert on the science of dance consider that dance as nicham, vulgar

Nīchapātra kṛtam nātyam yadi paśyanti mānavaḥ – If people witness the dance of such a vulgar danseuse

Putrahīna bhavishyanti jāyantē paśuyōnishu – will not have sons and will be reborn in the wombs of animals

Tasmātsarwam samālōcya pūrwakaiḥ yadudāhrtam – so, after carefully observing the rules laid down by our ancestors

Dēvatā prārthanādini kṛtwa nāṭya mupakramēt – and after offering prayers to Gods etc., the dance has to begin

Gist of the Sloka

If a danseuse begins to dance without offering prayers to Gods etc., that Natyam is Nicha Natyam. People who witness that Nicha Natyam will not have sons and further they will reborn as animals in the following births. So, the dance has to begin, after carefully observing the rules for dancing and after offering prayers to Gods etc.

RAṄGĀDHIDEVATĀSTUTIḤ

Bharatakulabhāgyakalike bhāvarasānandapariṇatākāre ǀ

Jagadekamohanakale jaya jaya raṅgādhidevate devi ǁ

Word to word meaning

Devi raṅg-ādhidevate – O Goddess, the presiding deity of the stage

Bharatakula bhāgya kalike – O Goddess of fortune of the profession of the actors/ dancers

Bhāvarasa-ānanda pariṇata-ākarē – who transformers the bhāvas into rasānanda

Jagat eka mohana kale – who alone can charm the entire world

Jaya Jaya – Jaya Jaya

Gist of the Sloka

O Goddess! The presiding deity of the stage. O Goddess of fortune of the profession of the actors/ dancers. The one who transforms the emotion into aesthetic pleasure and the one who alone can charm the entire world. Victory to thee.

PUṢPĀÑJALIḤ

(Preliminary Rituals)

Vighnānāṃ nāśanaṃ kartum bhūtānāṃ rakṣaṇāya ca ǀ

Devānāṃ tuṣṭye capi prekṣakāṇāṃ vibhūteye ǁ

Śreyase nāyakasyātra pātrasaṃrakṣaṇāyaṇ ǀ

Ācāryaśikṣāsiddhyarthaṃ puṣpāñjalimathārabhet ǁ

Word to word meaning

Vighnānāṃ nāśanaṃ kartum – to destry obstacles

bhūtānāṃ rakṣaṇāya (ca) – to protectliving beings

Devānāṃ tuṣṭye (ca-api) – to please the gods

prekṣakāṇāṃ vibhūteye – to bring prosperity to the spectators

nāyakasyā śreyase – for the safety of the sabhanayaka

pātra saṃrakṣaṇāya – for the protection of the dancer

Ācārya śikṣā-siddhi-arthaṃ – for the success of the training given by the Ācārya (Guru)

puṣpāñjalim ārabhet – puṣpāñjalim ārabhet

Gist of the Sloka

puṣpāñjali offering of flowers) should begin then, to destroy the obstacles, to protect the living beings, to please the gods, to bring prosperity to the spectators, for the safety of the sabhānāyaka, for the protection of the dancer, and the success of the training given by the Ācārya

ŚIROBBEDĀḤ

(Classification of head movements)

Slokam:

Samamudvāhitamadhommukhamālolitaṃ dhutam

Kampitaṃ ca Parāvṛttamutkṣiptaṃ parivāhitam ||

Word to word meaning

Samam, udvāhitam, adhomukham, ālolitaṃ dhutam

Samam – level

Udvāhitam – raised up

Adhomukham – bent down

ālolitaṃ – rolling

dhutam – shaken = moved from left to right

kampitaṃ ca – nodding= moved up and down

Parāvṛttam – turned away

utkṣiptaṃ – raised up from a side

parivāhitam – tossed on both the sides

Śirṣaṃ navadhā kathitaṃ nāṭya-śāstra viśāradaiḥ = thus, head movements are said to be nine fold by the experts of Nātya Śāstra.

Samam (level), udvāhitam (raised up), adhomukham (bent down), ālolitaṃ (rolling), dhutam (shaken = moved from left to right), kampitam (nodding = moved up and down), Parāvṛttam (turned away), utkṣiptaṃ (raised up from a side), parivāhitam (tossed on both the sides)- these are the nine head movements according to the experts of Nātya Śāstra

1. SAMAŚIRAḤ

Slokam:

Niścalaṃ samamākhyātaṃ tannatyunnativarjitam ||

Word to word meaning

Yat nati-unnati varjitam – without raising and lowering,

niścalaṃ samam āikhyātam – keeping the head motionless is called Sama Śiras.

When the head is neither bent nor raised, and is motionless, it is called Sama Śiras.

Viniyoga (Application)

Slokam:

Nṛtyārambhe japādau ca garve praṇayakopayoḥ |

Stambhane niṣkriyatve ca samaśirṣamudāhṛtam ǁ

Word to word meaning

Nṛtya – ārambhe – beginning of nṛtya

Japādau ca garve – prayer etc., pride

Pranaya – affection

Kopayoḥ – anger

Stambhane – paralysis

Nişkriyatve ca – inaction

Sama śirṣam udāhṛtam – to denote the above, Sama śirṣa is recommended.

Beginning of nṛtya, prayer etc., pride, affection, anger, paralysis, inaction- to denote the above, Sama Śiras. is recommended.

2. UDVĀHITA ŚIRAḤ

Slokam:

Udvāhitaśiro jñeyamūrdhvabhāgonnatānanam |

Word to word meaning

Ūrdhvabhāga- unnata – ānanam, Udvāhita śiraḥ jñeyam – when the head is raised up (looking up steadily) it is Udvāhita Śiras.

When the head is raised up, it is Udvāhita Śiras.

Viniyoga (Application)

Slokam:

Dhvaje candre ca gagane parvate vyomagāmiṣu ||

Tuṅgavastuni saṃyojyamudvāhitaśiro budhaiḥ |

Word to word meaning

Dhvaje – flag

candre (ca) – moon

gagane – sky

parvate – mountain

vyomagāmişu – things in the air

tuṅgavastuni – tall objects

Udvāhita śiraḥ saṃyojyam budhaiḥ – to denote the above, Udvāhita Śiras is used by the wise.

Flag, moon, sky, mountain, birds or things in the air, tall objects to denote the above, Udvāhita Śiras is employed by the wise.

3. ADHOMUKHA ŚIRAḤ

Slokam:

Adhastānnamitaṃ vaktra madhomukhamīritam ||

Word to word meaning

Adhastat namitam vaktram, adhomukham iritam – when the face is bent down, it is considered as Adhomukha Śiras.

When the face is bent down, it is considered Adhomukha Śiras.

Viniyoga (Application)

Slokam:

Lajjā-kheda-praṇāmeṣu duścintāmūrchayoḥ tathā |

Adhaḥsthitārthanirdeśe yujyate ‘mbunimajjane ||

Word to word meaning

Lajjā – shyness or modesty

Kheda – sorrow

praṇāmeşu – bowing

duścintā – evil thought

mūrchayoḥ – fainting

adhaḥsthitaarthanirdeśe – showing or looking at the objects on the earth

ambu-nimajjane – a plunge into the water to denote the above, Adhomukha Śiras is used.

Shyness or modesty, sorrow, bowing, evil thought, fainting, showing or looking at objects on the earth, and a plunge into the water to denote the above, Adhomukha Śiras is used.

4. ĀLOLITA ŚIRAḤ

Slokam:

Maṇḍalākāramudbhrāntamālolitaṃ śiro bhavet |

Word to word meaning

Maņḍala-ākāram udbhrāntam, ālolitaṃ śiraḥ bhavet – when the head is moved in a circle, it is ālolita Śiras

When the head is moved in a circle, it is Ālolita Śiras.

Viniyoga (Application)

Slokam:

Nidrodvega grahāveśamadamūrchāsu tanmatam ||

Bhramaṇe vikaṭoddāmahāsye cālolitaṃ śiraḥ |

Word to word meaning

Nidrā udvega – sleepiness

Graha- āveśa – excitement

Mada – mūrchāsu – state of having been possessed by evil spirits

Tat-matam- intoxi – intoxication and fainting

Bhramaņe – whirling about

ikata uddāma hāsye ca – unfair and uncontrollable laughter.

This Śiras is used to denote sleepiness, excitement, state of having been possessed by evil spirits, intoxi- cation and fainting. Ālolita Śiras is also used to denote whirling about, unfair and uncontrollable laughter.

5. DHUTA ŚIRAḤ

Slokam:

Vāmadakṣiṇabhāgeṣu calitaṃ tat dhutaṃ śiraḥ ||

Word to word meaning

Vāma – dakṣina bhāgeṣu calitaṃ, tat-dhutam śirah – when the head is turned from left to the right side, it is Dhuta Śiras.

When the head is turned from left to right and from right to left, it is Dhuta Śiras.

Viniyoga (Application)

Slokam:

Nāstitivacane bhūyaḥ pārśvadeśāvalokane |

Janāśvāse vismaye ca viṣāde-nīpsite tathā ||

Śitārte jvarite bhite sadyaḥpitāsave tathā |

Yuddhe yatne niṣedhādāvamarṣe svāṅgavikṣaṇe ||

Pārśvāhvāne ca tasyoktaḥ prayogo bharatādibhiḥ |

Word to word meaning

Nāsti- iti vacane – denial or to say ‘No’

bhūyaḥ pārśvadeśa avalokane – looking towards sides repeatedly

jana-āśvāse (ca), – empathizing with people

vismaye – astonishment

anipsite (tathā) – dismay/ fear indifference

śitārte, – biting cold

jvarite – fever

bhite sadyaḥ-pita-āsave – first stage of drinking liquor;

yuddhe – preparing for battle

yatne – rejection

nisedhede ca amarṣe – indignant anger

sva-anga vikṣaṇe, – glancing at one’s own limbs

pārśva-āhvāne ca – summoning from both sides

tasya prayogaḥ, bharata-ādibhiḥ – uktaḥ to denote the above aspects, Dhuta Śiras is prescribed by Bharata and others

Denial or to say ‘No’, looking towards sides repeatedly, empathizing with people, astonishment, dismay, indifference, biting cold, fever, first stage of drinking liquor, preparing for battle, endeavour, denial, indignant anger, glancing at one’s own limbs, summoning from both sides- to denote the above aspects, Dhuta Siras is prescribed by Bharata and others.

6. KAMPITA ŚIRAḤ

Slokam:

Ūrdhvādhobhāgacalitaṃ tacchiraḥ kampitaṃ bhave ǀ

Word to word meaning

Ūrdhva-adhobhāga calitaṃ, tat-śirah kampitam bhayet – shaking the head up and down is Kampita Śiras.

Shaking the head up and down is Kampita Śiras.

Viniyoga (Application)

Slokam:

Roṣe tiṣṭheti vacane praśne saṅkhyopahūtayoḥ |

Āvāhane tarjane ca kampitaṃ viniyujyate ǁ

Word to word meaning

Roṣe – indignation / anger

tişṭhha-iti vacane ca – asking to sit

praśne – questioning

saṅkhyopahūtayoḥ – ennumerate

āvāhane – ummoning

tarjane – cautioning;

Kampitam viniyujyate to denote the above aspects, Kampita Śiras is used.

Indignation, asking to sit, questioning, ennumerate, summoning, cautioning – to denote the above aspects Kampita Śiras is used.

7. PARĀVṚTA ŚIRAḤ

Slokam:

Parāṅmukhikṛtaṃ śirṣaṃ parāivṛttamitiritam |

Word to word meaning

Śirṣaṃ, Parāṅmukhikṛtaṃ Parāvṛttam, iti, iritam – when the head is turned aside, it becomes Parāvṛtta Śiras

When the head is turned aside, it becomes Parāvṛtta Śiras.

Viniyoga (Application)

Slokam:

Tat kāryai kopalajjādikṛte vaktrāpasaraṇe ||

Anādarai kace tūṇyāṃ Parāvṛttaśiro bhavet |

Word to word meaning

Tat kāryam – to say ‘that is to be done’

kopa-lajjā-adikṛte – expressing anger

vaktra – apasaraņe – shyness etc

Anādarai – to turn the face aside

Kace – aversion

tūṅyāṃ – to see one’s own hair and quiver

Parāvṛtta śiraḥ bhavet – to denote the above aspects, Parāvṛtta śiras is useful

To say that is to be done’, expressing anger, shyness etc., to turn the face aside, aversion, to sec one’s own hair and quiver- to denote the above aspects, Paravṛtta ŝiras is useful.

8. UTKṢIPTA ŚIRAḤ

Slokam:

Pārśvordhvabhāgacalitamutkṣiptaṃ kathyate śiraḥ ||

Word to word meaning

Pārśva = ūrdhvabhāga calitam śiraḥ, utkṣiptaṃ kathyate – when the head is raised from a side, it is called utkṣipta śiras.

When the head is raised from a side, it is called utkṣipta śiras

Viniyoga (Application)

Slokam:

Gṛhāņāgacchetyādyarthasūcane pariśoṣaņe |

Aṅgikāre prayoktavyamutkṣiptaṃ nāma

śirṣakam ||

Word to word meaning

Gṛhāṇa- āgaccha – iti – adi – arthasūcane – saying ‘take this’, , ‘come here’ etc

pariśoṣaṇe – cheriṣing or supporting

aṅgikāre – to accept / agree / consent

utkṣiptam nāma śirṣakam prayoktam – in denoting the above śiras called Utkṣiptam is to be used.

Saying “take this’, ‘come here’ etc., cherishing or supporting, assent in denoting the above śiras called Utkṣiptam is to be used.

9. PARIVĀHITA ŚIRAḤ

Slokam:

Pārśvayoścāmaramiva tataṃ cet parivāhitam |

Word to word meaning

Cāmaram-iva Pārśvayoḥ nataṃ cet parivāhitam – if the head is moved from side to side like a fan it is considered as Parivāhita śiras.

If the head is moved from side to side like a fan, it is considered as Parivāhita śiras.

Viniyoga (Application)

Slokam:

Mohe ca virahe stotre santoṣe

cānumāndane || Vicāre ca prayoktavyaṃ

parivāhitaśirṣakam |

Word to word meaning

Mohe ca – passion

Virahe – yearning for the beloved

stotre – praise

santoṣe cā – pleasure

anumāndane – gratification

Vicāre ca – sorrow or reflection

parivāhita śirşakam prayoktavyaṃ – in denoting the above, Parivāhita śiras is to be used.

Passion, yearning for the beloved, praise, pleasure, gratification, sorrow or reflection – in denoting the above, Parivāhita śiras is to be used.

Dṛṣṭi Bhedāḥ (Classification of Glances)

Slokam:

Samamālokitam sācī prālokitanimīlite || Ullokitānuvṛtte ca tathā caivāvalokitam |

Ityaṣṭau dṛṣṭibhedāḥ syuḥ kīrtitāḥ pūrvasūribhiḥ ||

Word to word meaning

Samam – ālokitam, sācī, prālokita-nimīlite. Ullokita – ānuvṛtte (ca) (tathā-ca-evā), avalokitam = samam, ālokitam, sāci, prālokitam, nimilitam, Ullokitam – ānuvṛttam and avalokitam; ityaṣṭau dṛṣṭibhedāh syuḥ kīrtitāḥ pūrvasüribhiḥ= thus there are eight drsti bhedas as explained by ancient scholars.

Samam, ālokitam, sāci, prālokitam, nimilitam, ullokitam, ānuvṛttam and avalokitam are eight dṛṣṭi bhedas as explained by ancient scholars.

1. Samadṛṣṭiḥ

Slokam:

Vīkṣaṇaṃ suranārīvat sānandam samavikṣaṇam

Word to word meaning

Sānandam suranārīvat vīksanam sama vikṣaṇaṃ = gazing without winking and with pleasant face, like a celestial woman is Sama dṛśṭi.

Gazing without winking and with pleasant face like a celestial woman is Sama dṛśṭi.

Viniyoga (Application)

Slokam:

Nāṭyārambhe tulāyāṃ cāpyabhyacintāviniścaye ||

Āścarye devatārūpe samadṛṣṭirudāhṛtā |

Word to word meaning

Nātya-ārambhe – beginning of dance

tulāyāṃ – balancing

ca-api anya cintāviniścaye – thinking of some other matter

āścarye – surprise

devatārūpe – image of god

sama drsti udāhrtā – in denoting the above, Sama dṛṣṭi is recommended.

Beginning of dance, balancing, thinking of some other matter, surprise, image of god- in denoting these, Sama dṛṣṭi is recommended.

2. Ālokitadṛṣṭiḥ

Slokam:

Ālokitaṃ bhavedāśubhramaṇaṃ sphuṭavīkṣaṇam ||

Word to word meaning

Āśubhramaņaṃ sphuṭa vikṣaṇam ālokitaṃ bhavet = swiftly turning with a sharp glance is Ālokita dṛṣṭi.

Swiftly turning with a sharp glance is Ālokita dṛṣṭi.

Viniyoga (Application)

Slokam:

Kuālacakrabhramaṇe sarvavastupradarśane |

Yāñcāyāṃ ca prayoktavyamālokitanirīkṣaṇam ||

Word to word meaning

Kulāla cakrabhramaṇe – turning of potter’s wheel

Sarvavastupradarśane – showing all objects around

Yāñcāyāṃ (ca) – begging

ālokitanirīkṣaṇam prayoktavyam – in denoting the above, Ālokita dṛṣṭi is used.

In denoting the turning of potter’s wheel, showing all objects around and begging Ālokita dṛṣṭi is to be used.

03. Sācidṛṣṭiḥ

Slokam:

Svasthāne tiryagākāramapāṅgavalanaṃ kramāt |

Sācīdṛṣṭiriti jñeyā nāṭуaśāstraviśāradaiḥ ||

Word to word meaning

Svasthāne, kramāt, tiryak-ākāra, mapāṅgavalanaṃ – looking out of the corners of the eyes obliquely without moving the head

Sāci dṛṣṭi iti nāṭya śāstra viśiradaiḥ jñeyā – it is to be considered as Sāci dṛṣṭi by the experts on Nātya Śāstra.

Sācidṛṣṭi by the experts on Nātya Śāstra is looking out of the corners of the eyes obliquely without moving the head.

Viniyoga (Application)

Slokam:

Iṅgite śmaśrusaṃsparśe śaralakṣye śuke smṛtau |

Sūcanāyāṃ ca kāryāṇāṃ nāṭye sācīnirīkṣaṇam ||

Word to word meaning

Iṅgite – intention

Śmaśru saṃsparśe, – twirling the moustache

śaralakṣye – aiming an arrow

smṛte – parrot

kāryāṇām – remembrance

Sūcanāyāṃ ca – suggesting the work to be done,

nāṭye – nāṭya;

sāci nirikṣaņam – to denote the above aspects, Sāci dṛṣṭi is to be used

In denoting intention, twirling the moustache, aiming an arrow, parrot, remembrance, suggesting the work to be done, and nāṭya Sāci dṛṣṭi is used.

04. Pralokitadṛṣṭiḥ

Slokam:

Pralokitaṃ parijñeyaṃ calanaṃ pārśvabhāgayoḥ |

Word to word meaning

Calanam pārśva bhāgayoḥ, – When the glance turns form side to side

Pralokitaṃ parijñeyam nāṭya; – it becomes to denote Pralokita dṛṣṭi

When the glance turns form side to side, it becomes to denote Pralokita dṛṣṭi

Viniyoga (Application)

Slokam:

Ubhayoḥ pārśvayorvastu nirdeśe ca prasañjite ||

Calane boddhijāḍye ca pralokitanirīkṣaṇam |

Word to word meaning

Ubhayoḥ pārśvayoḥ rvastu – pointing objects on both sides

nirdeśe – speaking about them

calane, – moving

buddhijāḍye ca – a mental affliction

pralokita nirīkṣaṇam – to denote the above, Pralokita dṛṣṭi is used.

In denoting pointing objects on both sides, speaking about them, moving, and a mental affliction, Pralokita dṛṣṭi is used.

Viniyoga (Application)

Slokam:

Dṛṣṭerardhavikāśena nimīlitā dṛṣṭirīritā ||

Word to word meaning

Dṛṣṭeḥ – arardhavikāśe, nimilitā dṛṣṭiḥ iritā – looking with the eyes half open, becomes Nimilitā dṛṣṭi

Looking with the eyes half open becomes Nimilitā dṛṣṭi

Viniyoga (Application)

Slokam:

Āśīviṣe pāravaśye jape dhyāne namaskṛtau |

Ummāde sūkṣmadṛṣṭau ca nimīlitā dṛṣṭirīritā ||

Word to word meaning

Āśiviṣe – blessing

Pāravaśye – pleasurable self absorption

Jape – prayer

Dhyāne – meditation

namaskṛtau – obeisance

Unmāde – madness

sūkṣma dṛṣṭau – keen insight

nimilitā dṛṣṭiḥ iritā – in denoting the above, Nimilitā dṛṣṭi is prescribed.

In denoting blessing, pleasurable self absorption, prayer, meditation, obeisance, madness and keen insight, Nimilitā dṛṣṭi is prescribed.

06. Ullokitadṛṣṭiḥ

Slokam:

Ullokitamiti jñeyamūrdhva bhāge vilokanam |

Word to word meaning

Ūrdhva bhāge vilokanam ullokitam iti jñeyam – looking up steadily is considered Ullokita dṛṣṭi.

Looking up steadily is Ullokita dṛṣṭi

Viniyoga (Application)

Slokam:

Dhvajāgre gopure devamaṇḍale pūrvajanmani ||

Aunnatye candrikādāvapyullokitanirikṣaṇam |

Word to word meaning

Dhvaja-agre – top of a flag

gopure, – temple tower

devamaṇḍale – realm of devatas

pūrvajanmani – thinking of previous lives

aunnatye – height

candrika- ādau api – moonlight etc

uliokita nirikṣaṇam – to denote the above, Ullokita dṛṣṭi. is considered.

Viniyoga (Application)

Slokam:

Kopadṛṣṭau priyāmantre anuvṛttanirīkṣaṇam |

Word to word meaning

Kopadṛṣṭau – angry looks

priya āmantre (api) – friendly or affectionate invitation/greetings

anuvṛtta nirīkṣaṇam – Anuvṛtta dṛṣṭi is used

Anuvṛtta dṛṣṭi is used in angry looks and friendly or affectionate invitation / greetings

07. Anuvṛttadṛṣṭiḥ

Slokam:

Ūrdhvādho vīkṣaṇaṃ vegādanuvṛttamitiritam ||

Word to word meaning

Vegāt Ūrdhva-adho – nirikṣaṇaṃ anuvṛttam iti, iritam – glancing quickly up and down is Anuvṛttadṛṣṭiḥ

Glancing quickly up and down is Anuvṛttadṛṣṭiḥ.

08. Avalokitaṛṣṭiḥ

Slokam:

Adhastāddarśanaṃ yattadavalokitamucyate ||

Word to word meaning

Yat adhastāt darśanaṃ tat avalokitam ucyate – where there is looking downwards there is Avalokitadṛṣṭiḥ

Where there is looking downwards there is Avalokita dṛṣṭi.

Viniyoga (Application)

Slokam:

Chāyāloke vicāre caryāyāṃ paṭhanaśrame |

Svāṅgāvalokane yāne ‘pyavalokitamucyate ||

Word to word meaning

Chāyā-āloke – looking at a shadow

vicāre ca – reflecting

caryāyāṃ – working

paṭhana śrame – fatigue due to study

Svānga- avalokane – looking at one’s own body

yāne api avalokitam ucyate – in denoting the above aspects, Avalokita dṛṣṭi is prescribed.

Looking at a shadow, reflecting, working, fatigue due to study, looking at one’s own body-in denoting the above aspects, Avalokita dṛṣṭi is prescribed.

Bhrū Bhedāḥ (Classification of the movements of Eye-brows)

Slokam:

Sahajā patitokṣipta caturā recitā tathā |

Kuñciteti śadeva’atra bhrū cāturyavati kriyāḥ ||

Word to word meaning

Sahajā patita-utkṣipta caturā recitā (tathā), Kuñcitā – sahaja, patita utkṣipta, caturā recita, kuñcita

śadeva, (atra), bhrū cāturyavati kriyāḥ – these are the six charming movements of the eye-brows.

The following are the six charming movements of the eyebrows:

Sahaja
Patita
Utkṣipta
Cantura
Recita
Kuñcita

01. Sahaja Bhrū Viniyoga

Slokam:

Sahajā syāt svabhāvabhrūḥ vikāra rahitā mukhe |

Sahajādiṣu yujyeta iti bhāvavido viduḥ ||

Word to word meaning

Mukhe vikāra-rahita, svabhāvabhrū, sahajā syāt – the natural eyebrow in a smooth face is Sahaja bhrū.

Sahaja-ādiṣu, yujyeta, iti bhāvavidah viduḥ – experts on emotions know that this bhrū is to be used in denoting natural disposition.

The natural eyebrow in a smooth face is Sahaja bhrū. Experts on emotions know that this bhrū is to be used in denoting natural disposition.

02. Patita Bhrū Viniyoga

Slokam:

Acañcalabhrūyugaṃ ca patanāt patitamatā ǀ

Jugupsāyāṃ vismaye ca asūуāyām bhavedasau ǁ

Word to word meaning

Acañcala – bhrū – yugaṃ (ca), patanāt, patitamatā – when the eyebrows being at rest are made to droop. Then it is Patita bhrūn.

Jugupsāyāṃ – disgust

vismaye (ca) – astonishment

asūyāyām bhāvet – jealousy

When the eyebrows are at rest and then droped, it is Patita bhrū. This bhrū indicates disgust, astonish-ment and jealousy.

03. Utkṣipta Bhrū Viniyoga

Slokam:

Ēkāvā sā dvitīyā vā yadukṣipta vatītarāṃ |

Utkṣiptā sā bhavet strīṇām kope satyavacasyapi ||

Śṛṅgāra-bhāve līlāyām bhrūreṣā viniyujyate |

Word to word meaning

Yat ekā vā sā dvitīyā vā, yadukṣipta vatītāraṃ, sā, utkṣiptā bhavet – when either one or both the eyebrows are raised up, it is Utkṣipta bhrū.

Strīṇāṃ kope – women’s anger

satyavacasya (api) – telling the truth

śṛṅgara-bhāve – feelings of love

līlāyām esha – dalliance

bhrū viniyujyat – to denote the above, this bhrū is used.

When either one or both the eyebrows are raised up, it is Utkṣipta bhrū. Women’s anger, telling the truth, feelings of love and dalliance to denote the above, this bhrū is used.

04. Catura Bhrū Viniyoga

Slokam:

Dvitīyasahitā stokā sphuritā madamantarā ||

Caturā mukhasaṃsparśe hṛdanānde ca saṃbhrame |

Word to word meaning

Dvitīyasahitā, stokā sphuritā madamantarā, Caturā – both the eyes, faintly quiver due to intoxication or cleverness – such a bhrū is called Catura bhrū.

Mukha – saṃsparśe – touching one’s face

hṛda-anānde (ca) saṃbhrame – heart’s bliss and excitement.

Moving both the eyebrows in a pleasing manner is Catura bhrū.

This is used to denote the following: touching one’s face, heart’s bliss and excitement.

05. Recita Bhrū Viniyoga

Slokam:

Lāvaṇya madhurākṣiptā yadyekā recitā

matā || Rahasya śravaṇe sādhukalane

padavikṣaṇe |

Word to word meaning

Ēkā lāvaṇya-madhurā, ākṣiptā yadi, recitā matā = when one eyebrow is cast down with grace and sweetness, it is Recita bhrū

Rahasya śravaṇe – listening to a secret

sādhu-kālane – saying “well done” etc

padavikṣaṇe – looking at a place

When one eyebrow is cast down with grace and sweetness, it becomes Recita bhrū.

This bhrū is used to denote the following : listening to a secret, saying sādhu (in appreciation) and looking a particular place.

05. Kuncita Bhrū Viniyoga

Slokam:

Ēkāvā sā dvitīyā vā kuñcitā kuñcitā matā ||

Mottāyite kuttamite vilāse kilikiñcite |

Word to word meaning

Ēkā vā, dvitīyā vā, kuñcitā, sā kuñcitā matā = when one eyebrow or both the eyebrows are arched (or bent), it becomes Kuñcitā bhrū

Mottāyite – involuntary expression of affection of a woman towards an absent lover

Kuttāmite – feigned displeasure of a lover’s endearments or caress

vilāse – pleasure at seeing the beloved

kilikiñcite – hysteries

When one eye brow or both the eye brows are arched bent, it becomes Kuñcita bhrū.

This bhrū is used to denote involuntary expression of affection of a woman towards an absent lover, feigned displeasure of a lover’s endearments or caress, pleasure at seeing the beloved

Dvādaśa Hasta Prāṇām (12 movements of Hands)

Slokam:

Prasāraṇam kuñcitam ca recitaṃ puṅkhitaṃ tathā |

Apaveṣṭitakaṃ cāpi preritodveṣṭite tathā ||

Vyāvṛtaḥ parivṛttaśca saṅketaḥ taḍanamantram |

Cihnaṃ padāthatīka prāṇā dvādaśa hastajāḥ ||

Word to word meaning

Prasāraṇam kuñcitam (ca), recitaṃ, puṅkhitaṃ, (tathā) apaveṣṭitakaṃ (ca api) preritodveṣṭite (tathā), vyavṛtaḥ, parivṛttaḥ (ca), saṅketaḥ (tat-anamantram), cihnaṃ, padārthika-iti, prāṇā dvādaśa hastajāḥ = the lives or movements of the hastas are twelve.

Prasāraṇam 2. Kuñcitam 3. Recitaṃ, 4. Puṅkhitaṃ 5. Apaveṣṭita(ka)ṃ

6. Parivṛttaḥ 7. Udveṣṭitam 8. Vyavṛttam 9. Parivṛttam 10. Saṅketam

The lives or movements of the hastas are twelve.

Prasāraṇam
Kuñcitam
Recitaṃ
Puṅkhitaṃ
Apaveṣṭita(ka)ṃ
Parivṛttaḥ
Udveṣṭitam
Vyavṛttam
Parivṛttam
Saṅketam
Cihnaṃ
Padārthatīka

01. Praśaraṇam

Slokam:

Prasaraṇāmiti jñeya-maṅgulinām prasāraṇāt |

Word to word meaning

Angulinām prasāraṇāt, prasāraṇam, iti jñeyam = extending/stretching the fingers is Prasāraṇam.

When the fingers are extended, it is Prasāraṇam

02. Kuñcitam

Slokam:

Kuñcana-daṅgulīnām (ca) kuñcitam samudritaṃ ||

Word to word meaning

Angulinām (ca), kuncanāt, kuñcitam samudritam = bending the fingers (towards palm) is said to be kuñcitam.

Bending the fingers towards palm is kuñcitam.

03. Recitam

Slokam:

Aṃgulīnām pracālanāt recitam parikīrtitam |

Word to word meaning

Aṃgulīnām pracālanāt, recitam, parkīrtitam = quick movement or separation or fingers is Recitam

Quick movement or separation of fingers is Recitam.

04. Puṃkhitam

Slokam:

Purobhāge kuñcito vā recito vā prasāritaḥ ||

Yo hastastu patākādiḥ nāmnā-asau puṃkhito bhavet |

Word to word meaning

Yah, patāka – ādihastāh (tu) purobhāge, kuncitah vā, recitah vā, prasāritah, asou, pumkhitah, nāmna, bhavet

When Patāka hasta bends or moves quickly or stretches forward, it is known as Pumkhitam.

05. Apaveṣṭhita(ka)ṃ

Slokam:

Adhastāt gamanam yasya hastasya nāmnā apaveṣṭhitaḥ ||

Word to word meaning

Yashya hastasya adhastāt, gamanam, nāmnā apaveṣṭhita(ka)m = when the hand is directed downwards, it is apaveṣṭhita(ka)m.

When the hand is stretched downwards, it is Apaveṣṭhitakam.

06. Preritaṃ

Slokam:

Paścāt-bhāge kuñcito vā recito vā prasāritaḥ |

Yo hastaḥ kathitaḥ so’ayama preritaḥ pūrvāsūribhiḥ ||

Word to word meaning

Yah hastaḥ, pascāt-bhāge, kuñcitah, va, recitah, vā, prasāritah, sah, ayam, purvarūribhih preritah kathitah = when the hand, at the back, bends or moves quickly or is stretched it is recognized as Preritam by the ancient scholars.

If the hand placed at the back bends or moves quickly or is stretched it is considered as preritam.

07. Udveṣṭitaṃ

Slokam:

Hastānā-mūrddhvabhāge yadagamanam cāsti nartane |

Tadudveṣṭiṭa mityāhuḥ bharatāgama veditaḥ ||

Word to word meaning

Nartane, hastānām ūrdhvabhāge, yet gamanam (ca), asti, tat-udveshtitam-iti bharata-āgama- veditaḥ ahuh = in dance, when the hand is directed upwards, it is known, by the experts on Nātya as Udveṣṭitaṃ.

If the hand, is directed upwards in Nātya, it is Udveṣṭitaṃ.

08. Vyāvṛtta(ka)m

Slokam:

Udagrataḥ pārśvabhāge hasto vyāvṛttako bhavet |

Word to word meaning

Hastah, pārsvabhāge Udagrataḥ, vyāvṛttakah bhavet = when the hand is raised up from a side, it is Vyāvṛtta(ka)m.

When the hand is raised up from a side, it is Vyāvṛtta(ka)m.

09. Parivṛttaṃ

Slokam:

Pārśvabhyām ca purobhāge yo hasto naṭane kṛtaḥ ||

Parivṛttaḥ samākhyātaḥ nāmnā hastaviśāradaiḥ |

Word to word meaning

Natane, pārsvābhyām, purobhāge, yah hastaḥ kṛtaḥ, nāmnā, Parivṛttaḥ, hasta-viśāradaiḥ, samākhyātaḥ = in Nāṭya, when the hand is brought forward from the sides, it is considered Parivṛttaṃ as by the experts on hand movements.

If the hand is brought forward from the sides in Nāṭya, it is Parivṛttam.

10. Saṃketaṃ

Slokam:

Ūhāvidhāna racanā vīnā sthūloktipūrvakam ||

Yo hasto niyamam prāptaḥ saḥ saṃketaḥ udāhṛtaḥ |

Word to word meaning

Yah hastah, sthūla-uktipūrvakam, ūhāvidhāna-racana vinā, niyamam prāptah, sah, samketah udāhrtah = when the hand is able to communicate the meaning of a suggestion, without depending on the words, it is Saṃketaṃ.

When the hand communicates the meaning of a suggestion, without depending on the words, it is Saṃketaṃ.

11. Cihnaṃ

Slokam:

Pratyakṣāṇām parokṣāṇām vastūnām nāṭyakarmaṇi ||

Sthāvaratvam jaṅgamatva mīyūṣāmapi tadṛṣam |

Tadākāra prakaṭanam tanmukhasya nirīkṣaṇam ||

Tat-sthānā darśanam ca-api tat-dhvajānām ca darśanām |

Tadāyudha-prakaṭanam tadagratārtha nivedanam ||

Tadavyāpta darśanam cāpi tacceṣṭā darśanam tathā |

Aṣṭa lakṣaṇa mityeccihna mityābhidhīyate ||

Word to word meaning

When the hand communicates the meaning of a suggestion, without depending on the words, it is Saṃketaṃ.

Nātya karmani = in the process of nātya/nrtya;

pratyakshāṇām, parokshāṇām = whether visible or not;

sthāvaratvam, jangamatvam vastūnām-iyushām, (api) tadṛṣam = whether the objects are stationary or moving, and such other objects, to show/reveal/communicate:

tat-ākāra prakaṭanam = their form

tat-mukhasya nirīkṣaṇam = their face

tat-sthāna darśanam dhvajānām = their dwelling place

tat-dhvajānām darśanam = their banners

tat-āyudha prākaṭanam = their weapons

tat-agratārtha nivedana = their virtues

tat-vyāpta darśanam = their range

tat-ceṣṭa darśanam = their actions

aṣṭa lakṣanamiti, etat cinham, iti, abhidhīyate = that which is having the above eight characteristics is known as Cihnam.

The hasta prāna known as cihnam will depict the following eight aspects, in nātyam-nrtyam – whether the objects are visible or unseen, whether stationary or moving or such other objects:

their forms, 2. their faces, 3. their dwelling places, 4. their banners, 5. their weapons, 6. their virtues, 7. their ranges and 8. their actions

12. Padārthatīka

Slokam:

Padānām kaṭhitānām syādartha nirvāhatā yadi |

lyam padārthatīketi kathiṭā bharatādibhiḥ ||

Word to word meaning

Kathitānām padānām, artha-nirvāhata syāt yadi = when the meanings of the words uttered are com- municated through the hands;

iyam pada-artha-tikā-iti, kathitā, bharata-ādibhiḥ = it is considered as padārthatīka by Bharata and other writers.

When the meanings of the libretto rendered are communicated through the hands, it is known as a Padārthatīka.

Hasta Bhedāḥ

Slokam:

Athedānīm tu hastānām lakṣaṇam procyate mayā |

Asamyutāḥ samyutaśca dvedhā hastā prakīrtitaḥ ||

Tatrāsaṃyutā hastānāmādau lakṣaṇa mucyate |

Word to word meaning

Athedānīm tu hastānām lakṣaṇam procyate mayā = the two hastas Asamyuta and Samyuta;

Asamyutāḥ samyutaśca dvedhā hastā prakīrtitaḥ = Hands are of two types, Asamyuta and Samyuta

Tatrāsaṃyutā hastānāmādau lakṣaṇa mucyate = Now, at first the characteristics of Asamyuta hastas will be described.

Atha-idanim (tu), hastānām, lakshanam, mayā, procyate = now, the characteristics of the hastas, will be described.

Reference;

Abhinaya Darpanam of Nandikeswara
Translation: Prof. P.S.R. Appa Rao

Abhinaya Darpanam An Illustrated Translation
Anita Vallabh Ph. D