5. study of Balaramabharata

BALARAMABHARATA Kerala the Southern most part of India has been famous for its cultivation and preservation of Sanskrit studies. The cultivation of Sanskrit language has flourished in Kerala in unbroken tradition for at least twelve centuries. The growth of Sanskrit literature in Kerala includes almost all its branches Vedic exegesis, philosophy, religion, general literature, grammar, arts and architecture, Mantra and Tantrasastra, astrology, astronomy, poetics and dramaturgy. Though there is a rich collection of Sanskrit works in several of these branches, we have only a few, unique works connected with the stage like the Vyangyavyakhya on Tapatisamvarana and the Subhadradhananjaya of Kulasekhara Varma the Natankusa of unknown authorship and Balaramabharata of Kartika Tirunal Maharaja. While the Vyangyavyakhya discusses in detail how the Sanskrit plays should be staged and the Natanku sa severely criticises the liberties taken by the cakyars in their performance of Sanskrit plays in Kutiyattom, the Balaramabharata deals with the techniques of Indian classical dance and drama in accordance with Bharata's Natyasastra. Since the work is also the result of the practical knowledge of the author about the Kerala stage, it is a rare and unique contribution of Kerala to Sanskrit dramaturgy. The Balarama-bharata details the rules of expressive dance and records the authors views in many places.

The Balarama-bharata brings forward a general accent on the various topics relating to the science of Natya in the introductory portion of the work and then presents a detailed analysis of the various techniques of the Angikabhinaya. THE AUTHOR AND HIS WORK After Bharata's Natyashastra several works on dance and dramaturgy appeared in different parts of India and at different times. The Abhinaya-darpana of Nandikesvara (6th or 7th century A.D.), the Sangita-ratnakara of Sarngadeva (1210 1247 A.D.) the Nrttaratnavali of Jayasenapati (13th Century A.D.) the Sangitaraja of Kumbhakarna Raja (15th Century A.D.) the Sangitamakaranda of Sahaji Raja etc. are some of the major works on Natya from different regions. The Balarama-bharata of Kartika Tirunal Rama Varma Maharaja of Travancore is a valuable contribution to the important subject of Natya, from Kerala. The work is the result not only of the study of numerous previous works but also of the practical knowledge of the author about the subject. The work is, therefore, all the more important for those interested in the scientific studies on Indian theatre techniques. The work bears the significance with the title Balaramabharata (a treatise on dance by Balarama as it was composed by King Balarama Varma) The prefix Bala in the Balarama, the name of the author, was the hereditary epithet denoting submission to Lord Sri Padmanabha, the tutelary deity of Travancore Royal Family, in whom the ruling power of the state was vested. 97

From time immorial, the rulers of Travancore have been patrons of arts and literature. Several of them have also composed works of great merit in Sanskrit, Tamil and Malayalam. They are the descendants of the ancient Cera kings of South India, who gave encouragements to arts and letters. 98 Maharaja Kartika Tirunal Balarama Varma, the author of the present work Balaramabharata, is regarded as one of the greatest and most distinguished sovereigns of Travancore. He was born on 5th Karkatakam 899 Malabar Era (July - August 1724 A.D). As his birth star was Krttika, he was popularly known as Kartika Tirunal. His father was Kerala Varma Koyil Tampuran of Kilimanur and mother, Rani Parvathi Baye. Maharaja Martanda Varma, was his materal uncle. Kartika Tiruna! Maharaja mastered numerous arts and sciences even as a boy and became a votary of the poetic muse and an equally able soldier in battle. He was a great scholar. He attained proficiency in many languages particularly in Sanskrit, Persian, Hindustani and Malayalam. He studied both Portugese and English under a tutor. He is also known to have possessed a working knowledge of Dutch. The Maharaja also had an extra-ordinary talent not only in literature but also in music, dancing and kindred arts. He was a scholar in the philosophies of Yoga and Vedanta. Who the Maharaja's spiritual

preceptor was, is not certain; but in the introductory verses to his Rajasuyam Kathakali, he invokes the blessing of a Reghunathasuri. The same Reghunathasuri is referred to in respectful terms by his nephew Asvati Tirunal in his Srngarasudhakara Bhana. (On the basis of the above facts it is conjectured that Reghunathasuri might have instructed the Maharaja in Yoga and Vedanta philsohies). Even as a prince, Kartika Tirunal Rama Varma assisted his uncle Martanda Varma in all the wars undertaken by him especially those against the East India company and the Rajas of Kayamkulam, Ambalappuzha, Tekkumkur and Vatakkumkur. When the Raja of Ambalappuzha was defeated, he collected all the ancient palm leaf manuscripts preserved in his palace and brought them over to the capital, an incident which shows his interest in culture. In order to make sure Rama Varma's learning in arts and possession of noble qualities, the king asks the pandits and poets in his court whether his nephew knows anything of the various arts that he has learnt and they reply in one voice, kalavan ramacandro'yam akalankadbhutodayah | gunajyotsnavitanena hladayatyakhilam jagat || (This Rama, being the moon, possesses kalas and indeed he rises without any kalanka (black mark). Being the light of the moon, he delights the whole world with his qualities). 99

AS A PATRON OF ARTS AND LITERATURE Kartika Tirunal Maharaja's reputation as a ruler was great; ever greater was the fame that he acquired as a patron of arts and literature, several poets and scholars and experts in arts came to his court and he gave them generous encouragement and support. The following description of Kartika Tirunal's capital city by Dr. E.Easvaran Namputhiri in the introductory portion of the Balarama-bharata reveals this fact- 'His capital city shines with the scholars who are experts in the sastras like Vyakarana and Tarka, with those men who are similar to the preceptor of Devas, (Brhaspati) as well-versed in the Arthasastra, with great poets having gracious qualities and with the experts in eloquence of speech: his exeedingly enjoyable capital city also shines in every direction with pleasing and interesting music, charming flute-playing, sound of lute played by experts and the melodious and pleasant tunes; his court being an abode of Rangalaksmi (Goddess of stage) is glorious-resonant with the 'taka taka' sounds in keeping with tala in the dance by beautiful damsels with good traditional background and training, and pleasant with their dances and gaits, with their movements of feet in accordance with the tempo and displaying the emotions'. All the well-known poets and scholars of this time flocked to his court. Devaraja, the author of Balamartandavijaya who has been referred to as the court-poet of Martanda Varma in the introductory portion of the Balarama-bharata continued to enjoy Kartika Tirunal's patronage as 100

well. Besides him, the Maharaja's own nephew Asvati Tiruna! Rama Varma, one of the greatest poets of that time, Sadasiva Diksita, Kalyana Subrahmanya, Venkatasubrahmanya, Subrahmanya, Pantalam Subrahmanya Sastri, Kuncan Nambiar, Putiyikkal Tampan, Mantavappalli Ittirarissa Menon, Itavettikkattu Narayanan Namputiri the author of Rukminiparinayam Campu, the Brahmin from Tirumandhamkunnu in Malabar who wrote the Catakasandesa, Nilakantha Diksita - the author of Varnanasarasangraha, the Princess Manorama, of the Zamorin's family were all patronised by the Maharaja. THE MAHARAJA AS A POET Kartika Tirunal Maharaja was also a poet of distinction. In Malayalam he is the author of six Kathakali works, (attakkatha) Rajasuyam, Subhadraharanam, Bakavadhom, Gandharvavijayam, Pancalisvayamvaram and Kalyanasaugandhikam, all based on the episodes in the Mahabharata. While a seventh Kathakali work, Narakasuravadhom, based on a story in the Srimad Bhagavata, was in progress of composition, Asvati Tirunal became assosciated with it to its dinstinct advantage. On seeing his talent, Maharaja allowed him to complete the remaining portion of Narakasuravadhom. The golden age of Kathakali art commences with the reign of Kartika Tirunal Maharaja. Among his works already mentioned above are some which are duplications of stories composed by Kottayattu Tampuran. Thus the Bakavadhom, Kalyanasaugandhikam and 101

Subhadraharanam of Kartika Tirunal are known today as 'Southern stories' to differentiate the first two from those written by Kottayattu Tampuran and the third from the one written later by Mantretattu Namputirippad. As regards the literary aspect, his Kathakali works are not on a par with those written by Kottayattu Tampuran. But they are suitable for acting on the stage in accordance with the technique of abhinayas. His Narakasuravadhom is a popular play even today and is very often staged as it presents a few interesting scenes. Like nandi in a Sanskrit drama, in Kathakali also an invocatory part is seen in the beginning. This is called Totayam. An actor in a female role comes to the stage and stands behind the curtain facing the musicians and performs the preliminary dance of invocation. The actor resorts to different forms of foot-steps, the rhythm of which is based on the beating of the drum being played. The song technically called the pada extols the greatness of God. In the Kathakali works of Kottarakkara Tampuran there is no totayam being performed. It was first introduced by Kottayattu Tampuran. Following him Kartika Tirunal also composed another Totayam for his Kathakali works. Kartika Tirunal Maharaja gave generous encouragement not only for the Kathakali performance but also for other forms of art. Tradition says, though not fully substantiated, that once Maharaja witnessed the Dasiyattom performance which came from Tamilnadu and pleased 102

103 with it, he introduced in Kerala a similar art from in the name of Mohiniyattom. No wonder, therefore, being a devotee and expert in such forms of art accompanied by facial expressions and various physical attitudes combined with hastamudras, the Maharaja thought it fit to compose a treatise on the Natya called the Balarama-bharata, in his own name. CONTENTS AND SOURCES OF THE Balarama-bharata The work contains the abhinayas of various parts of the body such as angas, upangas and pratyangas, as the main divisions. Accepting raga and tala as the external means of expressing bhavas, the author deals in detail with the various gestures giving definitions and applications to one and all of them. DIVISION OF CONTENTS. 1. PURVAPITHIKA At the beginnig of the work the author gives us an introductory portion, which contains the mangalacarana or invocatory performance in verse in praise of Unnatanrtta Vinayaka, Nataraja, Parvati in dancing posture and Sri Padmanabha, who appeared as a dancing child before Divakaramuni. The grantharambhapratijna or the statement of the beginning of the work, praises Vanci kingdom with reference to the author's remote ancestors as already been referred elsewhere and a reference to the author himself, and his accomplishments (granthakrtprasasti). This kind of introductory portion at the beginning of a work is generally called purvapithika.

2. UPODGHATA The work proper opens with an invocatory verse in praise of the Goddess Sarasvati. After a discussion on bhava, raga and tala a scientific definition of the Bharata or Natya is given as the next topic. In addition to it, a discussion on the anubandhacatustaya, which is an essential part of the treatment of sastra in Sanskrit, has also been made. This portion is the upodghata and is the second division of the work. The author treats the topics in this section as a mixture of prose and verse. 3. UTTAMANGABHINAYA After the upodghata portion every topic begins with an introductory verse and ends with a concluding verse. This indicates the particular division of the topic. Thus the author gives an introductory verse for uttamangabhinaya (in the sirobhedas) and, at the work by king Rama Varma of Vanci. This may be considered as the third division of the work 104 4. HASTABHINAYA The next topic is the hastabhinaya (hand-poses movements). Though the Natyashastra and other works like Sangita-ratnakara of Sarngadeva and Nrttaratnavali of Jayasenapati classify the hastas into three, namely asamyutahasta (single-hand pose), samyutahasta (combined hand pose) nrttahasta (the hand pose used in pure dance), the author of the Balarama-bharata discusses only the first two varieties and points out that some of these hastas may be used in Nytta also. This is the fourth division of the Balarama-bharata

5. OTHER PRINCIPAL LIMBS The author elucidates the other angas, namely vaksas (the chest) parsvas (the sides of the torso), kati (the waist), sthirapadas and asthirapadas (the feet in two varieties) in one division. 6. RASANIRUPANA The rasas or the sentiments are essentially to be understood for the discussion on the upangas. This rasanirupana portion has been handled by the author in prose following the sastraic method of elucidation. 7. UPANGABHINAYA - DRSTIBHEDAS This section begins with the discussion on the upangabhinaya or the abhinaya of the minor limbs. Since the drstis are extremely important so far as facial expression is concerned, the author gives a separate section for a discussion on the drstis. 8. OTHER UPANGAS All the other minor limbs namely bhrukuti, nasika, kapola, cibuka, adhara, danta, rasana, vadana, mukharaga and the sancaribhavas or the transitory states are dealt with in this division. 9. PRATYANGAS Among the pratyangas such as udara, prstha, uru and janu are dealt with in one division. Thus, it could be seen that the Angikabhinaya or histrionic representation is the main subject of the Balarama-bharata As the expressin of bhava 105

is conveyed through the movements of the body, the Angikabhinaya or histrionic representation is very important and it forms a separate unit due to its technical nature. The Natyashastra gives two types of Angikabhinaya, one being the movements of different parts of the human body and the other being the discussion on the combination of these primary movements. Unlike the other dance treatises such as Srngararatnakara, Bharatarnava etc. the Balarama-bharata deals only with the first type of histrionic representation as the main topic. The author refers to other technicalities such as cari, mandala etc. in the context of the viniyogas (uses) of the particular limbs. Many of the other topics relating to Natya are summed up in upodghata portion which is mainly devoted to a definition of Bharatanatya on the model of other sastras. Thus, an attempt is made here to give a detailed analysis of the contents of the upodghata portion of the Balarama-bharata 106 SOURCES Many earlier texts and authors became the source of the Balarama-bharata Among them the prominent text is Adibharata. ADIBHARATA:- M.R. Kavi in his preface to the first edition of the Natyashastra (Gaekwards Oriental Series) says that there is an earlier work called Dvadasasahasri, which is the source of the present Natyashastra and that this work is simply called Adibharata, which is in the form of a dialogue between Siva and Parvati. He also says that there are fragments of this work. The author of the Balarama-bharata mentions the Adibharata on two occasions. In the

discussion on bhava he says,(p.7) 'it is said that the importance of bhava is discussed in the Adibharata - bhava eva pradhanam iti acaryaih adibharate cintitam iti vadanti | ' Here the remark iti vadanti denotes that the author had not himself seen the Adibharata. Again, while explaining the relation of the hastamudras with the rasas, he quotes the well-known stanza - yatoh etc. and says that it is given in the Adibharata (p.80). This stanza is found in the Abhinaya-darpana of Nandikesvara and is quoted by several authors in their works. This might perhaps, originally have been in the Adibharata. Authors like Kohala, Bharatamuni and the works like Tandavam, Sabdaratnavali (both are manuscripts) and the Sangita-ratnakara of Sarngadeva became the sorces of the Balarama-bharata A discussion on the hand-gestures of the Balarama-bharata is relevant here. In hand-gestures the Balarama-bharata follows the Natyashastra But some deviations are also there. The Natyashastra describes 24 asamyutahastas, 13 samyutahastas and 29 nrttahastas 66 varieties in all. The Balarama-bharata mentions 40 asamyutahastas and 27 samyutahastas altogether 67in number. Among the 40 asamyutahastas the names of 24 hastas are Bharata's and seven are based on the Abhinaya-darpana and the remaining nine are based on other sources. The Balarama-bharata does not enumerate all the nrttahastas of Bharata, but mentions down that some of the hastas can be used as nrttahastas also. 107 The Balarama-bharata describes 40 asamyutahastas taking all those mentioned in the Natyashastra, the Ardhapataka, Mayura, Bana, Simhasya, Udvestita and Apavestita from the Sangitasudhakara and ten other

varieties namely (1) Trisula (2) Kutila (3) Balacandra (4) Niriksana (5) Pralamba (6) Puronnata (7) Caturunnata (8) Purnacandral (9) Silimukha and (10) Bhadra based on oral and other sources. The Balarama-bharata takes all the 13 samyutahastas of Bharata and adds 14 others. They are 1) Anjali 2) Kapota 108 3) Puspaputa 4) Sankalpahasta 5) Tadanapataka 6) Utsangahasta 7) Dolahasta 8) Upacarahasta 9) Abhayavaradahasta 11) Gajadantahasta 10) Makarahasta 12) Kurparasvastika 13) Garudahasta 14) Bharatahasta 15) Katakavartahasta 16) Karkatahasta 17) Vardhamana 19) Subhasobhanahasta 21) Mallayuddhahasta 23) Kartarisvastika 25) Samyutapallava 27) Vistrtapallavahasta. 18) Kalahahasta 20) Padmamukulahasta 22) Patakasvastika 24) Gajamukhahasta 26) Avahitthahasta LINGABHEDA (DIFFERENT GENDERS) OF THE HASTAS The author of the Balarama-bharata divides these asamyuta and samyuta hastas into three groups namely pullinga, strilinga and napumsakalinga.

Among the asamyutahastas, the fifteen hastas the Pataka, Sikhara, Musti, Suci, Mrgasirsa, Hamsasya, Mukula, Bana, Bhadra, Arala, Apavestita, Silimukha, Tamracuda, Mayura and Ardhapataka are pullingahastas; the twelve hastas namely, Tripataka, Hamsapaksa, Kartari, Katakamukha, Trilinga, Purnacanda, Balacandra, Ardhacandra, Udvestita, Sarpasiras, Kutila and Bhramara are strilingahastas and the remaining thirteen hastas namely Padmakosa, Sandamsa, Urnanabha, Alapallava, Puronnata, Catura, Kapittha, Caturunnata, Simhanana, Kangula, Sukatunda, Niriksana and Pralamba are the napumsakalingahastas. Among the samyutahastas, Anjali, Garuda, Dola, Gajamukha, Vistrtapallava, Kurparasvastika, Tadanapataka, Sankalpa, Gajadanta, Varadabhaya and Kapota these eleven hastas are pullingahastas; the nine hastas namely Puspaputa, Bharati, Patakasvastika, Utsanga, Padmamukula, Katakavarta, Subhasobhana, Samyuktapallava and Vardhamana are strilingahastas and the remaining seven namely Makara, Mallayuddha, Kartarisvastika, Upacara, Kalaha, Karkataka and Avahittha are napumsakalingahastas. It seems that this kind of classification of the hastas on the basis of gender is not mentioned elsewhere. The Abhinaya-darpana speaks of the hastas for sage (rsi), race (vamsa), colour (varna) and the guardian deity (devata) etc. and in this way he gives a religious colouring to the hastas. It is perhaps, keeping this in mind that the author of the Balarama-bharata imparts gender to the hastas namely the lingabheda. This attribution of the lingabheda 109

to the hastas is more appropriate than the attribution of rsi, devata etc. because the hastamudras are the words of the comprehensive gesture language. Thus like the words of Sanskrit language, the hastamudras being the words of the entire gesture-language are also classified into three lingas or genders. The Balarama-bharata is mainly intended for the use of Mohiniyattom, Bharatanatyam and Kathakali which were encouraged by the author in his time. A comparison of the mudras of the Hastalaksanadipika (Hasta-Lakshana-Deepika) and those of the Balarama-bharata has been done here and is tabulated along with the mudras of the Natyashastra and the Abhinaya-darpana 110