7. Dance in Somesvara’s Manasollasa

In the Rgveda we see references to dance and to a 173 female dancer. In the Mahabharata, we find that while the Pandavas were in the forest, wandering Arjuna reached the world of Indra who was his patron and friend. While he was at the court, Indra asked him to get instruction in dancing from the master expert Citrasena, the Gandharva, suggesting that knowledge of dancing may prove useful to him. After his return to his brothers, when the Pandavas had to pass a year incongnito, Arjuna was given the role of a tutor-master of dance. He was employed in the court of King Virata to teach the art of dancing to 174 the king's daughter Uttara. 173. rgveda 1. 92.4. adhi pesamti vapate nrturivasoti vaksa useva barjaham | sul falaraza gaara quant mat a qyi zyar gitada: 1 174. mahabharata virataparva || .8. • gayami nrtyamyatha vadayami bhadro'smi nrtte kusalo'smi gite | tvamuttarayah parivatsva mam svayam bhavami devya naradeva nartakah ||

259 Kalidasa says in his Raghuvansa that Agnivarna was 175 Bharata's an expert in the gestures and postures. Natya-sastra is a very vast work and it deals with dance, music, some aspects of poetics and rhetorics, prosody, literary theory of drama and all the aspects of hisrionics connected with the stage representation of drama. In the book 'Bharatanatya and its Costumes', C.S. Ghurye says "It is evident that royalty, both male and female, used to be well-versed in dancing very early in 176 " the history of Indian culture. Further the author Ghurye says, "It is worthy of note that during the centuries, the study of not only dramaturgy but also of dance had spread over a large part of the country. 177 The important authority after Bharata is sarigadeva, who was an important officer at the Yadava court of 175 kalidasa raghuvamsa 19.14. sa svayam prahatapuskarah krti lolamalyavalayom haranmanah | nartakirabhinaya tila cinih pasrvavartisu gurusvalajjayat || 176. G.S.Ghurye. 'Bharatanatya and its Costumes ' (Popular Book Depot, Bombay, 1958) p.3. 177. Op.cit. p.89.

260 Devagiri about the middle of the twelfth century A.D. His Sangitaratnakara has a whole chapter, which forms the seventh and the last, devoted to an exposition of dancing. It is styled 'Nartanadhyaya'. In the same way Somesvara's Manasollasa also has Nrtya-Vinoda or the enjoyment from dance. • First of all Somesvara mentions in his Manasollasa Bhava, varieties of Anga, movements of Drsti and so on. He opines that the dance can be performed at the time of Utsava, Jaya, Harsa, Kama, Tyaga, vilasa, vivada, and Pariksa for the sake of entertainment. 178 Somesvara mentions these following functions. Utsava means celebration of marriage, child-birth etc. Harsa means victory. Sensuous enjoyment is called Kama. Enjoyment of dance is called vilasa. Vivada is the dispute regarding superiority. Lastly examining the Panditya is called 180 Pariksa (4.18.2841-2848). 178. utsave 'pi jaye harse kame tyage vilasake | vivade'tha pariksyayam karyam nrtyam vinodane || 4. 16.2740. 179. kalidasa, malavikagnimitra . 1. aka . haradatta ganadasaryoh kalahah | 180. vivahaputrajanmadibhutamatrvasantakam | evamadinimittottha janairutsamvasamjnitah || 4.18.951. jayascaprapyate yatra taddvayaranadisu | santosajanakah samyagvijayah parikirtitah || 4. 18.953. nrtyam vidyagame samyak pravinyam vidyate na va | priyaloko hi tasyaitat pariksa sa prakirtita || 4.18.957-958.

261 Somesvara describes six types of dance. They are as follows: - (1) Natya, (2) Lasya, (3) randava, (4) Laghava, (5) visama and (6) Vikkata. 181 Further, Somesvara gives the description of all these six types of dance (4.18.2851- 2856). It is clear that male dancers perform the Tandava and female dancers/perform the Lasya. 182 3 183 In Manasollasa Somesvara says that there are six types of dancers, namely (1) Nartaki, (Nata, (3) Nar tala, (4) Vaitalika, (5) Carana and (6) Kollatika. Further he tells about good Nartakis. Lovely or elegant young women of pleasing complexion and having round and lofty breasts are good Nartakis. 184 181. natyam lasyam tamdavam ca laghavam visamam tatha | vikatam ceti nirdistam nartanam satpakarakam || 4.18.959960. 182. tatra vyaktamudaranca lalityena vivarjitam | purusaih prayasah klrptam nrtyam tandavamiritam || 4.18.962-963. 183. nartakah satpakarah syurnartaki natanartakau | vaitalikascaranasca tatha kollatika api || 4.18.966-967. 184. surupa taruni tanvi yama carupayodhara | maharastra pragalbha sarasa citte nartaki sa prasasyate || 4.18.967-968. C£. sivatatva ratnakarah 6.3.32 latagurjara saurastrasamudbhavah | uttamah syurvararoha nrttabhinayakarmani ||

262 Defining the essential nature of Natya, Bharata has made the following statements. 'Natya in this world is an imitation (anukarana) of life. 185 He also says, 'Natya world. ,186 is a representation of the emotional states of this entire The comparative superiority of natya over other arts, in respect of the skill involved in its composition and presentation and its appeal on various levels and to varied tastes is similarly voucned for by Kalidasa 187 and by the later popular opinion which nolds drama to be the most charming of literary creations. For this Somesvara gives the definition of Natya. He tells "All types of Abhinaya and dance leading to Rasa are called Natya. 11 189 185. bharatanatya sastra ) 1. 117. saptadvipanukaranam natyametad bhavisyati | Cf. Sivatattva Ratnakara, by Basavaraja of Keladi, VI Kallola, IIIrd Chapter. Here the author mentions dancing, its origin, history, varieties etc. Suitability of dancers as regards their age, colour, form, appearance, etc. are also described. 186. tadeva . 1. 107. trailokyasyasya sarvasya natyam bhavanukirtanam | 187. kalidasa malavikagnimitra . 1.4. natyam bhinnaruverjanasya bahudha'pyekam samaradhanam | kavyesu natakam ramyam || 188. sivatatva ratnakara 6.30 16. desanrttam tadeva syatsarvalokanura janam | vicitre bhavacitrarthacitra citropasobhite || 189. aharyaiva cikaiscaiva satvikaisangikai rasah | vyajyante'bhinayairnrtyaistannayamiti kathyate || 4.18.960-961. 188

263 Further Somesvara describes the Bhavas. Here the ancient Sastrakaras have divided them into three types namely Vibhava, Anubhava and Vyabhicaribhava. The first Vibnava, is a stimulus, the natural equivalent of a cause that affects a person and produces certain reactions in a real situation of life, like a beautiful girl affecting a young man emotionally. The consequences that follow are the Anubhavas, the physical reactions that the emotional impact produces. At the same time, a person affected in this way goes through a variety of mental states which accompany this experience and which are part of it. They are Vyabhicaribhavas; so called because they are part of the experience, indicative of it. They are transitory states of mind like doubt, jealousy, impatience etc., which accompany an experience of the emotion of love, in the illustration chosen here. When an experience is presented through such an apparatus and in the medium of art, it becomes an enjoyable, a relishable experience. In real life every experience may not be pleasant or enjoyable. art makes it so. But the medium of Somesvara further mentions varieties of Abhinaya

l 264 for dance. 190 He mentions different movements of Siras (head), Skandha (shoulder), Vaksa (chest), Jathara (stomach), Danta (teeth), Jihva (tongue) and so on. He speaks about Netra (eye), Nasika (nose), Kapola (cheek) etc. Abhinaya is the only mode of communicating from The word is a dramatic experience to the spectators. formed/the root 'ni', preceded by the preposition abhi. Abhinaya is the means to carry the poet's content and its aesthetic and philosophic significance towards the spectators; it employs the mode of direct presentation visual and aural perception, in virtue of the intoned speeches, gestures, movements, facial expressions and physical poses, make-up and costume etc. Thereby it enables the spectators to be aware of the rich meaning gu that the poet's words carry and to take the experience directly. It follows that the calibre and quality of Abhinaya would be judged by how successfully the dramatic presentation is made and how effectively the poet's content is carried home, so that a correct and adequate response is evoked. Abhinaya is divided into four kinds, 190. upanganyevamuktani namalaksmaprayojanaih | pratyangani nirupyante vistarena maya'dhuna || 4.18.1130. CE. sivatatva ratnakara 6.3.49-55.

265 + namely (1) Vacikabhinaya, (2) Angikabhinaya, (3) Aharyabhinaya and (4) Sattvikabhinaya. Vacikabhinaya is connected with the recitation and delivery of speeches in a dramatic performance. The Havabhavas or Anubhavas of which Somesvara speaks in the context of dance are very important in the Angikabhinaya. They represent physical reactions to an emotional experience and they are rendered in stage performance through physical manifestation and varied movements of the body. Here Somesvara has divided the limbs into three types: 191 In a total (1) Anga, (2) Upanga and (3) Pratyanga. dramatic performance, an actor or dancer will have to use his entire body, showing the Abhinaya of the major and the minor limbs. Head, shoulder, chest, stomach and waist are the Angas; and the Upangas are eyes, eyebows, nose, cheeks, lips, chin, teeth and tongue. Hands, wrists, arms, knees, thighs and toes are the Pratyangas. Somesvara has mentioned thirteen types of headmovements. He speaks of the head movements like ! 91. anganyupanganyuktani pratyangasahitani ca || 4. 18.977. bu 192. lolitam ceti vijneyam trayodasavidham sirah || 4.18.980. sivatatva ratnakara 6.4.5. iti trayodasavidham sirah proktam manisibhih |

266 Akampita, Kampita, Drta, Vidnuta, etc. the use of which 193 Thus, slowly can be made in dramatic performance. shaking the head upwards and downwards is Akampita Siras and such a head movement is to be used in showing awareness and understanding, in asking a question, in natural 194 conversation, for indication and invitation. 195 Further Somesvara says that there are five movements of the shoulder, namely (1) Ucchrita, (2) Srasta, (3) Ekanta, (4) Samlagna and (5) Lola. There are 'five movements of the chest. They are (1) abhugna, (2) Nirbhugna, (3) vyakamp 1 ta, (4) Utprasarita and (5) Sama. -------- 196 Low chest, 193. kriyastesam pravaksyami viniyogena samyutah | akampitam kampitam ca drutam vidhutameva ca || 4.18.978. 194. adhacordhva sanaih kampadbhavedakampitam sirah || 4. 18.980. 195. ucchritah prasta ekantah samlagno lola eva ca | skandhah-pancavidhah prokto nrtye natye ca kovidai || madatsamunnatah skandhah ucchritah parikirtitah | t 'adhogato bhavasamstah ilesa samlagna ucyate || krodhatsumucchritah skandhah ekantah parikirtitah | skandhah pracalitah khyato lola ityabhisamjnaya || 4.18 1000-1002. 19 . 196. abhugnam caiva nirbhugnam vyakampitamathapi va | + utprasari samam ceti vaksah pancavidham smrtam || • 4.18.1005-1006. • sivatatva hunakara . 6.6.2. samamudrahitam caiva nibhugnam ca prakampitam | abhugnam ceti vijneyam vaksah pancavidham bhavet || 1

287 with back raised and shoulders contracted, is indicative of cold, rain or shame; the opposite, chest expanded and steady, back drawn in, is indicative of stupefaction, astonishment at seeing something, pride, truthful assertion, and so on. Somesvara mentions these five types of . gestures. At the time of grief, sorrow, shyness, pain, and fear is used Abhugna. At the time of vanity or pride is used Nirbhugna, and so on. Similarly Somesvara gives five varieties of the movements of Jathara and five of Kati. The Manasollasa further describes glances or drsti. It regards the natya as firmly based on them. This is natural. The eyes are, in a way an open window on the mental state of a person; and when words are inadequate or withdrawn, the eyes would often convey the inner wr intent of a speaker. The drama and dance technique lay particular emphasis on the most effective use of eyes The Manasollasa describes thirty six and eyebrows. types of glances and groups them in the context of emotions, sentiments and particular mental states. 197 197. sattrimsad drstayah proktah sopayogah, salaksanah | bhulokamalladevena sarvabhaumena dhimata || 4.18 1084. . bharatanatya sastra . ' 8.41-55. • 1

t 268 For instance attentive, levelled eyes, looking through corners, with arched eyebrows, and the glance born of 198 joy and pleasure is Kanta drsti. When the eyes are slightly contracted at the centre, pupils steady and exuding sweetness and desire, and eyebrow joyfully 1 arched, it is a glance born of the emotion of love. In a pathetic state, the eye-lids will rise upward, the pupils will be agitated and trembling, attention will be fixed on the tip of the nose and tears will trickle down. This is Karuna drsti. To express the sense of the the marvellous, the tips of the eyelashes will be contracted, the corners of the eye-sockets will be expanded, the pupils will be rolling in an upword movement, the glance will be sort but full of wonder. This is Adbhuta drsti. Rolling pupils and their sideward or upward movement will be suitable to express Vira or Raudra sentiment; as looking sideways through the corner of the eye is appropriate for Srigara. It is easy to see that the movements of eyebrows could be very eloquent. 198. rasabhinayahinesu bhavesu sahaja mata | kanta bhayanaka caiva hasya ca karuna tatha || adbhuta ca tatha raudri vira bibhatsaya saha | drstayah parikirtitah Pat zarautzatect good: great: 11 4.18.1039-1040.

a '' 269 In the context of anger, doubt, graceful or pleasurable sensation at the sight of or listening to some one, a person would raise one eyebrow; while in an experience of love, pleasurable touch, charm and softness, the eyebrows would have changes in many varieties, that is, somewhat raised elongated and sweet. In this way Somesvara's Manasollasa describes different kinds of gaze, movements of eyelids and eyebrows. (4.18.1020-1084). Further Somesvara discusses natural positions of the nose. He divides the gesture of the nose into six types. This nose can be contracted or held in a natural position; the nostrils may be closely touching or expanded; held back and let loose as in heaving a sigh; steady or quivering. In a similar way Somesvara tells about chin. 199 He divides the gesture of the chin into eight types. Drooping chin touching it with tongue, its agitation in • gnashing of teeth etc. are the positions of the chin. zuan Further he tells about the movements of teeth. He divides 200 teeth-gesture into five types. Here he mentions the 199. vyadirgha sithila vakra nanabhavasamanvita | pracala prasphura caiva lola cetyastadha hanuh || 4.18.1107. 200. mardanah khandanascaiva karttana dharanastatha | 11 niskarsanasca vijneya dantah pancavidha budhaih || : 11 4.18.1115.

270 use of teeth-gestures at the time of gesticulating the act of eating etc. Next Somesvara tells about tonguegesture. It is also of five types, namely (1) Rjvi, (2) vakra 201 (3) Nata, (4) Lola and (5) Pronnata. In this way Somesvara discusses Anga and Upanga gestures. Further Somesvara gives detailed information about Pratyanga gesture. While the minor limbs can be effectively used in the subtle acting by a trained and skilful actor, the gestures and movements of hands and feet are more obvious and will have to be used by almost every actor or dancer. But their use also requires proper training and understanding. Somesvara's Manasollasa describes eight positions of a hand. 203 202 Further he describes four In this way Somesvara mention positions of wrist. 204 totally sixtyfour symbolic gestures. These hand poses 201. rjvi vakra nata lola pronnata ceti pancadha || jihva prokta pravaksyami tasya laksna mayoditam || 4.8.1121. 202. saralah pronnato nyancah kuncito lalitastatha | lolitoscalito bahuh paravrttastathastamah || 4.18.1132. 203. akuncito nikuncasca bhramitasca samastatha | caturdha manibandho'tha namatah kathito maya || 4.18 1141 • 204. catuhsastikarah prokta natyasyabhinayam prati | 4. 18.1157. cha. sivatatva ratnakara . 6.5.100 evam karascatussastirnadanrttopayoginah ||

271 are, of course, connected with mental states; but they are also to be used to express certain things and ideas; and when these pertain to dramatic context, the hand-poses inevitably acquire a symbolic value and significance, as in a pure dance made. For instance, a raised palm, with all the fingers evenly held up and touching and the thumb drawn in, is known as the Pataka hand pose of 205 gesture. It can convey several things like applying a stroke, pushing, holding up something or the states of joy, encouragement etc. Somesvara explains the hand gesture, such as Mrgasira, Adhomrgasira, Padmakosa, Marala, Kapardaka, Sukatunda, Bhramara, and so on. (4.18.1172-1271). 207 206 Next Somesvara describes knee-gesture. He divides it into seven types. Unnata knee-gesture is used at the time of Gaja, Asva and Parvatarohana. Nata knee-gesture 205. samhata javogulyastarjanimulasamsthitih | agustho yasya ca gracah sa patakah karo matah || 4.18.1158. 206. ztaf galat agt ngtat Hur: T: || 4.18.1191. 207. lalityamdolanadini karmanyesi prayojanam | | evam samasatah proktascatuh sastih kara maya || 4.18.1271.

272 is used at the time of falling down and pranama. Kuncita knee-gesture is used at the time of Asana. At the time of walking Ardhakuncita knee-gesture is used. Samhata kneegesture is used at the time of Lajja. Vivrta knee-gesture is used at the time of mounting upon an elephant etc. Lastly he says that Sama knee-gesture is used at the time of standing erect. 208 After this knee-gesture, Somesvara mentions thigh gesture. He divides thigh-gesture into five types, namely Nisrta, Paravrta, Tirascina, Kampita, and Bahihkranta. 209 It goes without saying that the movements of sides, legs and feet are not single but co-ordinated movements. 4 208. iti saptavidham janu karma casya nigadyate || 4.18.1280. janu-karma 209. nihsrta ca paravrtta tirascina ca kampita | bahihkranta ca vijneya jajhya pancavidha budhaih || puratonirgata jaisa nihsunetyabhidhiyate | pascadvata paravrtta tirascina tu parsvaga || recitakampita jneya bahih kamnta bahirgata | evam laksanamakhyatam viniyogo'pi kathyate || 4. 18.1284-1286.

273 Specialized foot movements have particular relevance in Abhinaya. Somesvara's elaborate description of Angikabhinaya suggests that in a dramatic spectacle natural and realistic acting will be used wherever possible. But where imagination must aid make-believe, stylised and suggestive abhinaya will have to be used. That is why, certain poses, gestures, movements and gaits are prescribed. Further Somesvara opines that a king himself should 210 dance with Rasa, and Bhava, and attractively. Lastly, he says that a dance should be performed in a palace, house, court-yard, park or field for the sake of entertainment. It can be seen that somesvara is well-versed in all types of Nrtya. He might have obtained this knowledge from his mother, already mentioned in the first chapter as a Nrtya-vidyadhari. It is evident that, royalty, both male and female, used to be well-versed in dancing very early in the history of the Calukya period. has described both music and dance. Somesvara 210. pasyetsabhagato bhuyo nrtyakautuka hetave | svayam va nartanam kuryadrasabhavasamanvitam || 4.18.1401. 21. harmye va grhamadhye va praigane va manohare | udyane sadvale sthane kuryannrtyavinodanam || 4.18.1405.

274 Thus Manasollasa gives adequate information on all important aspects related to fine arts like sculpture, painting, architecture, music and dance.