Agnipurana 340

English (machine translation) 340

Language: English

340.6 — 2 parts
340.16 — 4 parts
340.20 — 3 parts

340.1

Agni said: / They regard the specific movement in the major limbs and minor limbs, and the action of these two, / as the origin of bodily expression; the former usually belongs to women:

340.2

līlā, vilāsa, vicchitti, vibhrama, kilakiñcita, / moṭṭāyita, kuṭṭamita, vivvoka, and likewise lalita,

340.3

vikṛta, krīḍita, and keli—thus it is twelvefold. / Līlā is the imitation of the gestures of a beloved person upon the disappearance of reserve.

340.4

Vilāsa is considered by the wise to be displaying some slight distinction [in movement]. / The mingling of laughter, weeping, and the like is kilakiñcita.

340.5

Any transformation [of haughty indifference] is vivvoka; lalita is [graceful movement] arising from delicacy. / Head, hands, chest, flanks, waist, and feet in order—

340.6

they recognise these as the major limbs; the creeper-like brows and the like are the minor limbs.

340.6.p2

[Variant reading 'saṅkṣiptakarapātau ca' in manuscript ja]
[Page 212]

340.6_2

Without the action of the major and minor limbs produced by effort,

340.7

a performance is nowhere prominent, and it is sometimes oblique. / [The movements of the head are:] ākampita, kampita, dhūta, and vidhūta,

340.8

parivāhita, ādhūta, avadhūta, and acita, / nikuñcita, parāvṛtta, utkṣipta, and adhogata.

340.9

and Lalita: thus the [movements of the] head should be known as thirteenfold. / The movement of the brows is known to be of seven kinds: dropping, knitting the brows, and the like.

340.10

Gaze is threefold, tied to the rasas, enduring states, and transitory states; / [the gaze] consists of thirty-six divisions, and that arising from the rasas is of eight kinds.

340.11

The movement of the pupils is of nine kinds, such as rolling and trembling; / the nose should be known as sixfold, and breathing is considered ninefold.

340.12

Lip action is sixfold, chin action is of seven kinds; / the mouth, [classified as] foul and so forth, is sixfold, and the neck is considered ninefold.

340.13

A hand gesture is broadly declared to be single-handed or combined: / Patāka, Tripatāka, and likewise Kartarīmukha,

340.14

Ardhacandra, Arāla, Śukatuṇḍa as well, / Muṣṭi, Śikhara, Kapittha, Khaṭakāmukha,

340.15

Sūcyāsya, Padmakośa, Sarpaśīrṣa, Mṛgaśīrṣa, / Kāṅgūla, Alapadma, Catura, and Bhramara,

340.16.p2

[Apparatus note: 1. Ākalpitaṃ kalpitañca, in manuscript kha.]

340.16.p3

[Apparatus note: 2. Kāṅgūlakālapadmau, in manuscript ña.]

340.16.p4

[Editorial note: The two readings kāṃmūlakālapadmau and kāṅgūlakālapadmau are not correct.]

340.16_2

Ūrṇanābha, and Tāmracūḍa: these are the twenty-four

340.17

single hand gestures that are taught; the combined [gestures] are thirteen: / Añjali, Kapota, Karkaṭa, and Svastika,

340.18

Kaṭakāvardhamāna, Utsaṅga, Niṣadha, / Dola, Puṣpapuṭa, and Makara,

340.19

Gajadanta, Avahittha, and Vardhamāna are the other hands. / The chest is of five kinds: bent, dancing, and so forth.

The belly is threefold: slender, depressed, and full. / The actions of the flanks are five, the actions of the calves are of five kinds, / and the actions of the feet in dance and drama are declared to be manifold.

340.20.p1

Thus in the great Agni Purāṇa, in [the section on] poetics, the three hundred and fortieth chapter, entitled "The Description of Bodily Actions in Dance and the Like."

340.20.p3

Now, the three hundred and forty-first chapter:

340.20.p4

Description of dramatic representation and the like.

Other recensions (1)

Agnipurāṇa (Nag Publishers edition, Delhi) — Sanskrit

Linked texts (1)

Agnipurāṇa — Vyāsa, Sanskrit