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The Audience (蝉补产丑腻).鈥擳he Audience shines like the Wishing-tree, when the Vedas are its branches, scriptures of art and science (艣腻蝉迟谤补蝉) its flowers, and learned men the bees; where men of truth are found, shining with good qualities, famous for righteous conduct, honoured by kings, adorned by the Vedas; where the Ved膩nta is expounded; when distinguished by the sound of voice and lute (惫墨峁嚹�); possessing heroes of renown, ornamented by resplendent princes, shining with royal splendour.

The Seven Limbs of the Audience are men of learning, poets, elders, singers, buffoons, and those who are familiar with history and mythology.

The Chief of the Audience (蝉补产丑腻-n膩yaka).鈥�He who is Chief of the Audience should be wealthy, wise, discriminating, full of gifts, versed in musical lore, omniscient, renowned, of charming presence, knowing the moods (产丑腻惫补蝉) and their expression (丑腻惫补), void of jealousy and like faults, familiar with customary etiquette, sympathetic, a Dh墨rod膩tta 狈腻测补办补, expert in all the arts, clever in statecraft.

The Ministers (mantri).鈥擳hose who shine as royal ministers are men of their word, discerners of good qualities, wealthy, famed, learned in mood (b丑腻惫补), knowing good from evil, fain of the flavour of love, impartial, well-conducted, of good will, learned, devoted servants of the king, and men of culture.

The Stage (ranga).鈥擳he Chief of the Audience, as described, should sit at ease, facing the east, the poets, ministers, and courtiers at his side. The place before him, where dancing is to be done, is called the stage.

The danseuse (辫腻迟谤补) should stand in the middle of the stage, and the dancer (苍补峁璦) near her; on the right the cymbalist (迟腻濒补诲丑腻谤墨); on either side the drummers (尘峁沝补峁単颈办补岣�); the chorus (驳墨迟补办腻谤补岣�) between them; and the drone (艣谤奴迟颈办腻谤补) a little behind. Each of these, and thus ordered, should be present on the stage.

The Danseuse, or Actress (辫腻迟谤补).鈥擨t is understood that the Danseuse (苍补谤迟补办墨) should be very lovely, young, with full round breasts, self-confident, charming, agreeable, dexterous in handling the critical passages,^[1] skilled in steps and rhythms, quite at home on the stage, expert in posing hands and body, graceful in gesture, with wide-open eyes, able to follow song and instruments and rhythm, adorned with costly jewels, with a charming lotus-face, neither very stout nor very thin, nor very tall nor very short.

Disqualifications of a Danseuse.鈥擳he Danseuse (惫别艣测补) should be rejected, whose eyes are (pale) like a flower, whose hair is scanty, whose lips are thick, or breasts pendant, who is very stout or very thin, or very tall or very short, who is humpbacked, or has not a good voice.

The Bells (ki峁卥in墨).鈥擳he Bells should be made of bronze or copper or silver; they should be sweet-toned, well-shaped, dainty, with the asterisms for their presiding deities, tied with an indigo string, with a knot between each pair of bells. At the time of dancing there should be a hundred or two hundred for each foot, or a hundred for the right foot and two hundred for the left.^[2]

The Dancer or Actor (苍补峁璦).鈥擶ise men say the Dancer (or actor) should be handsome, of sweet speech, learned, capable, eloquent, of good birth, learned in the scriptures (艣腻蝉迟谤补蝉) of art and science, of sweet voice, versed in song, instrumental music, and dancing, self-confident, and of ready wit.

Outer Life (bahih pr膩峁嘺) of the Danseuse.鈥擳he following accessories are called the Outer Life of the Danseuse: the drum, cymbals of a good tone, the flute, the chorus, the drone, the lute (惫墨峁嚹�), the bells, and a male singer (驳腻测补办补) of renown.

Inner Life (anta岣� pr膩峁嘺) of the Danseuse.鈥擳he ten factors of the Inner Life of the Danseuse are swiftness, composure, symmetry, versatility, glances, ease, intelligence, confidence, speech, and song.

Vulgar Dancing (n墨ca n膩峁瓂a).鈥擳hose who are versed in the Science of Dancing say that that dancing is vulgar in which the actress does not begin with prayer, etc.

The Fruit of Witnessing Vulgar Dances.鈥擳hose who look upon the dancing of such a vulgar actress will have no children, and will be reborn in animal wombs.

The Course of the Dance (苍腻峁瓂补-办谤补尘补).鈥擶hat is said traditionally by our ancestors must therefore be kept in view. Having made the prayer, etc., the dancing may begin. The song should be sustained in the throat; its meaning must be shown by the hands; the mood (b丑腻惫补) must be shown by the glances; rhythm (迟腻濒补) is marked by the feet. For wherever the hand moves, there the glances follow; where the glances go, the mind follows; where the mind goes, the mood follows; where the mood goes, there is the flavour (rasa).

 

NOTES ON BH膧VA:

B丑腻惫补 is the first touch of emotion in a mind previously at rest; when the emotion becomes more intense, and finds expression in movements of the eyes, eyebrows, etc., it is called 丑腻惫补. The ten 丑腻惫补s or 蝉峁涐箙驳腻谤补-肠别墨峁�膩s are included among the twenty or twenty-eight ornaments (补濒补峁卥腻谤补) of a heroine, as follows:

1. 濒墨濒腻, the imitation of the lover;
2. 惫颈濒腻蝉补, a flutter of delight,
3. vicchitti, rearrangement of dress or jewels to enhance loveliness;
4. vibhrama, confusion or flurry;
5. 办颈濒补办颈帽肠颈迟补, a combination of anger, tears, joy, fear, etc.;
6. 尘辞峁�峁�补测颈迟补, absorption in thoughts of the lover when his name is heard;
7. 办耻峁�峁�补尘颈迟补, feigned anger;
8. bibboka, feigned indifference;
9. lalita, graceful swaying or lolling;
10. 惫颈丑峁泃补, silence imposed by modesty.

These are described in the 鈥淪膩hitya Darpa峁嘺鈥� of Vi艣van膩tha, 鈥淒膩艣ar奴pa鈥� of Dhana峁僯aya, 鈥�叠丑腻蝉补-bhu峁�ana鈥� of 尝腻濒补-candrika, etc. The physical signs expressing the 丑腻惫补s are detailed in subsequent verses of the 鈥淢irror of Gesture,鈥� (e.g. pp. 20, 25). Strictly speaking, b丑腻惫补 is mood or feeling unexpressed, 丑腻惫补 is the emotion which finds expression, 肠别峁ａ弓腻 the gesture that expresses it. Rasa or flavour and 惫测补帽箩补苍腻 or suggestion (transcending the literal meaning) distinguish poetry from prose.

Footnotes and references:

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[1]:

Ku艣ala graha-mok峁�ayoh, lit. expert in grasping and releasing, emphasizing and relaxing the stress of emotion. The actress is not to be swayed by impulse, but perfectly self-possessed, mistress of a studied art, in accordance with the Telugu saying bommale-vale 膩dintsula, 鈥� as if pulling the strings of a puppet鈥�, a phrase also used in speaking of the relation of God to man and the universe.

[2]:

No dancer ties the bells upon her ankles before dancing, without first touching her forehead and eyes with them, and repeating a brief prayer. Investiture with the bells makes the adoption of a professional life inevitable.