PART TWO

TRANSLATION &

CRITICAL EDITION

HASTAMUDRAD~PIKA

CHAPTER 1

When the ring finger of the hand is bent and the other fingers

are extended straight away, it is PatZkahasta.

The Patakahasta is used to indicate the Sun, a king, elephant,

lion, ox, crocodile, decoration, creeper, flag, wave, path, the mythical

world below the earth (Pgtalarn), the Earth, the buttocks, bowl, palace,

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evening, after-noon, cloud, ant-hill, thigh, servant, foot, wheel, seat,

lightning, gate-tower, coldness, vehicle, serenity, crookedlcurved, door,

pillow, trench, foot, bolt [These are samyutahastas - shown with both the

hands].

Asamyutahastus are - day, going, tongue, forehead, body, 'like

this ' , noise, messenger, sand bank and tender leaves.

If the edges of the thumb and the forefinger are touched each

other, and the other fingers are stretched out,it is Mudrlkhya.

Meanings shown by Mudrgkhya are - increase, movement, the

heaven, the ocean, denselheavily intermingled / entangled, forgetting,

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all, to inform, thing, death, meditation, sacred thread worn by the

Brahmins, straight 1 truth - These are samyutahastas.

Asumyutahastas are the mind, thought desire, self, knowledge,

failure, shyness, creation, remembrance, life, reason, only / itself, that

which is coming into being 1 next, negative and the meaning of dative

case.

In Mudrakhya, if the middle finger touches the root of the

thumb, it is Kataka.

Visnu, K ~ s n a , Balariima, arrow, gold, silver, a female demon,

sleep, main woman, Goddess Laksmi, ~ i n 2 , star, garland, blue lotus,

ghost like, crown, trench, news about, chariot, cornbined/union - These

are samyutahastas.

Flower, mirror, woman, sacrifice, sweat, a little, which ,

quiver , f r ag ran t 1 f ragrance - These are a s a m y u t a h a s t a s .

When the side of the forefinger touches the thumb and all other

fingers are bent, it is known as Musci.

Charioteer, salvation, beauty, goodness, ghost, binding, worthiness,

status, ankle, pulling, whisk, Lord Yama (Deity in charge of death) mud,

medicinal herb, bow, swing, charity, circumambulation, mining, giving

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up I sacrifice, spear, valour, heat, scatterlto sow, to give birth - these are

samyutuhastas

Asamyuta Musti . . is used to show synonyms of in vain, to indicate

superlative, synonyms of shame, minister, violation, suffering, to give

permission, victory, bow, we, one, worn out, to steal, related to food.

When the little finger is raised, other these fingers are slightly

bent and the forefinger touches the thumb, the mudrfi is ~ a r t a c m u k h a .

Sin, weariness, Brahmin, fame, forehead of an elephant, house,

observing austerities I holiness 1 purity, bank, dynasty, hunger, to hear, to

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eat, pregnancy, symbol of summing up, hunting, you [addressing an equal

or one above], word, difference in time, plural, we, man, face, verbal or

physical expression amounting to hatred, child, mangoose - these meanings

are s h o w n by ~ a r t a r i m u k h a . Out of these, the f i rs t sixteen are

samyutahastas and the rest are asamyutahastas.

When the forefinger is bent like an eyebrow and the thumb

touches the ring finger, which is bent, and other fingers are bent, the

hnsta is $ukatunda.

Only two meanings are shown in this mudri i . Both are

samyutahustas. They are angle - hook and (bird).

When the ring finger and the little finger are bent and the thumb

is placed on the ring finger, the hasta is Kapittha.

Net, deubt,the tail of a peacock, k r l , to touch, to retreat,

outside, back, to descend,to put step - These are the samyuta Kapitthas.

There are no asamyutahastus.

The hasta is known as Hamsapksa when all the fingers are

stretched out as such.

Forty-two samyutahastas are there. They are - The moon, air,

God of love similar to Cupid, dwellers of the Heaven, mountain, valley,

always, relatives, stone, comfort, the chest, the breast, cloth, to take, to

lie, to lay, to fall, people, to beat, to cover, to spread, to protect, to come,

salutation, to bathe, sandal, to embrace, to follow, to protect, to send,

club (mace), cheek, shoulder, hair, humble, blessing, sage, like thislas

mentioned, fish, to worship and tortoise.

You (pl), sword, anger, now, I, "in front of", white axe, flames,

to call, approximationlbeing near to, to oppose - These are the eleven

asamyutahastus

In Kapitthahasta, if the forefinger and the middle finger are

stretched out apart from each other, it is ~ikharahasta.

The meanings shown are to walk, feet, eyes, to see, way, to

search, ears, to drink. There is no asamyutahasta here.

If the tips of the forefinger, the thumb and the middle finger

are joined with some movement and the ring finger and the little finger

are stretched out apart from each other, it is Hamsgsyahasta.

Glance, softness, dust , whi te , blue, red, mercy 1 p i ty I

compassion, group of hair (as a line), beginning of rain, hair, line, the

three folds of the abdomen are the meanings shown by this hasta.

Out of these, the first eight are samyutahastas and the rest four

are asamyutahastas.

If all the fingers are stretched out without touching one

another and the bottom of the palm is bent, then the hasta is AGal i .

Heavy rain, vomiting, fire flow loud noise, light, hair, ear ring,

heat, anxiety, always, river, bath, flow, blood are the samyutahastas and

branch of a tree and anger are the asamyutahastas said by the scholars of

Nalyakiistra.

If the fore finger and the thumb are stretched out and the other

fingers are bent slightly, the hasta is Ardhacandra

There are nine samyutahas tas and four asarnyutahastas.

Samyutahustuu are - 'if so ' , 'for what ' , distress, sky, highly virtuous,

great / divine luck and similar positive subjects 1 God, remembrance,

grass and hair of men.

Asumyutahastas are - to set out, smile, contempt, 'what ' .

If the ring finger the thumb and the middle f inger are bent so

as their tips are about to touch one another, the hasta is Mukura.

A large canine tooth, separation, the ankle, the hip, the Veda,

brother, pillar, mortar, the fast one, devil and well nourished are the eleven

sumyutahastas.

Disagreeable, bee, ray, anger, good, bangle, neck, a bracelet

for the upper arm, negation are the nine asamyutahastas.

If the forefinger is bent at the middle, it is Bhramarahasta.

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There are five samyutahastas and four asamyutahastas.

Samyutahastas are - wing, song, water, umbrella and ears of an elephant.

Gandharva (demi Gods who are expert singers), to come into

being, fear, to cry - these are the asamyutahustas.

If the middle finger and ring finger are bent and the thumb is

placed on it and the little finger is also bent, then the hasta is ~ C d r n u k h a .

There are ten samyutuhustus and sixteen asamyutahastus.

Divided /broken, to jump, world, Laksmana, fall,one/different,

month, eye brows, split and coir are the samyutahastas.

Asamyutahustas are - one, expression to mean what happened

which should not have happened, to indicate dead body, anyonelanything

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else, plural, to hear, knowledge, ago, he, these people, country, a little,

witness, to refuse, ask to come to fight with [as a command], and ask to

go [as a command].

If the thumb touches the root of the ring finger, the hasta is Pallava.

There are n i n e samyutahastas and s ix samyu tahas tas .

Samyutahastas are - Vajrayudha, peak, ears of a cow, length of the eyes,

buffalo, a long wooden cylindrical weapon, spear, horn and to rotate.

Asamyutahastas are distance, pledge, smoke, tail, cane and

different types of grains.

The sages say that it is Tripatakahasta if the thumb is slightly

bent and it touches the root of the fore finger.

The sunset, 'etc.', expression to addresslto accuse a person,

d r ink ing , body, to beg are the samyu tahas tas . There are n o

asamyutahastas.

If both the middle finger and the ring finger and slightly bent

and the tip of the thumb touches the middle of the middle finger, the

huvta is ~ ? g a i T r ? a .

Only two meanings are shown by ~ ~ ~ a ' s l r s a and that are

samyutuhustas. They are deer and The Supreme Being.

l % w l - F W r r ~ ~ ~ s R w*ml

5wwmFdrsqcid W%m:11'~

If the middle of the Tripataka is bent inwards, it is Sarpakiras.

The meanings shown by this mudrii are - poison, serpent and

hood.

If the forefinger touches the middle line of the thumb and the

other fingers are gradually bent and held slightly upwards the hasta is

Vardhamgnaka.

Large ear studs of women, chain of gems, the elbow joint1 knee,

an ascetic, a huge drum and mahout are the samyutahastas.

Swirling , (converging in a definite direction generally downward), the

naval and well are asarnyutahastus.

If the thumb touches the middle line of the two finger and the

other fingers are bent and held slightly upwards then the hasta i s Ari!a.

There are only five meanings, which are sumyutahastas. They

are ignorant, tree, cut ends of plant parts, and bud (the fifth one is not

clear).

If the fingers are held in the form a spider the husta in known

as Urnanabha.

Horse, fruit, tiger, butter, snow, very / many 1 all superlatives

and lo tus are s h o w n i n th is has ta as s a m y u t a . There are n o

asurny utohastas.

If the ends of a l l the f ingers are joined together, then

the hasta is Mukul>a.

Fox, monkey, withering / drooping / becoming weak, to forget are

the samyuta Muku1ahastas.

If the thumb is inserted in between the middle finger and the

fore finger and the other fingers are bent, the it is Katakiimukhahasta.

Garb, servant, valiant, a strong man (a wrestler), releasing the

arrow and to tie are the samyutamudriis.

'There is no usamyutamudrti for Katakgmukha.

Harnsapak?a is used to address and 6ukatund.a is used to show assurance

or affirmity.

THUS THE FIRST CHAPTER OF

HASTALAKSANADIPIKA COMES TO AN END.

CHAPTER 11

Proximity and time - the enemy of god and a demon - lake and

water - the lord of ocean (Varuna) and the ocean - beauty and ornament -

mind and intellect - cruel and enemy - soldier and the kudra - person of

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divine qualities and traits and foot - sigh and stuttering of words due to

emotion - victory and strength - the heavenly reward of holy or virtuous

actions and virtue - darkness and night - stability I firmness and decision

-nectar and liquor - a little and a drop of water - flame and smoke - the

elder brother and Bhima - Nakula and Bharata - Arjuna and Laksmana I

Satrughna and Sahadeva - protection and action - flag-post and stick -

proud and youth - fainting 1 lipothymy and helplessness - the mythical

world under the earth (Pstala) and cave - month and a lunar fortnight -

assembly and country - coir and happiness - to touch and affair / case -

blessed and majestic - noise and musical instrument - worship and

devotion - relative and support - width and bed - agitated and embarrassment

- spy and journey -wealth and gold - image 1 idol and hamlet - doubt and

opposite - the earth and to retreat - ago and 'that' (words mean 'that') -

cow and South - washer man and servant - eye brow and breast - the cut

end portion of a plant and a needle - thin and withering - these meanings

are shown in similar mudms. The rest may be interpreted according to

the will.

21. TNN % r w s ~ a ~ c h * q 22. T N N + M & ~ ~ :

Widowhood, copulation, battle, kri Rarna, giving away a

virgin in marriag - these five meanings are shown by both Kafaka and

Musti.

23. T N N M

24. T N N T Y : .... %~~undersimilarmudr~s

25. TNN

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Brahma should be shown by both Kataka and Harnsapaksa, kiva

should be shown by both and Hamsapaksa and Vidyzdhara

(Celestial being) should be shown by both ~artarTmukha and Musii.

Yaksa (celestial beeings who are subordinates of Kubera, the

deity of wealth) should be shown by both Hamsapaksa and Mu@, the

middle part should be shown by both Ardhacandra and Mu$, h s t r a

should be shown by ~ar ta f imukha and Kataka, the dawn should be shown

by Hamsasya and Pataka. \

Month and cow - Pataka and Kataka, Girl 1 virgin - ~ a r t a < m u k a

and Kataka hrhalsa ( A mark on the chest of Lord Visnu) Sikhara and

Afij ali.

The lower lip - Vardhamanaka and Hamsasya torture / violence1

kill ing and obstacle- Patgka and Musti. .

sugr;va , Aigada and B ~ G - Patiika and Mukuia, the monkeys

like Hanfimgn - Hamsapaksa in both the hands.

Residence - Pataka and ~ a r t a A m u k h a . R2vana - Aiijali and

Kataka. Yajfia - Pallava and Musfi. Truth and Dharma - Kataka and Mu$$,

(Remembrance - Kafaka and Mudrakhya) Father and commander in -

chief - Mudrakhya and Mugi .

Mother and female friend - Kataka and Hamspaksa, s ign I

symbol - Mudrakhya and Pataka, pleasant / pertaining to the heart -

Harnsapaksa and Pataka.

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Matter, wife, wedding - Mukula Musti, Garuda - a variety of Sikhara,

rice - a variety of Mukula.

Gem - Vardhamgna and Anjali, play - KaIaka and ~ Z j a l i ,

distruction I annihilation - a variety of Mu@, the middle - Sikhara and

Hamsapaksa.

Beaut i fu l - ~ i i c i m u k h a and Aiijali, son and grandson -

JSartaXrnukha and Mudrikhya, daughter - Kataka and ~ i i s m u k h a .

Nectar - Vardhambaka and Hamsapaksa, hand, a way out - Pallava and

MudrZkhy a.

Feminine gender should always be accompanied with Kapka.

Beautiful woman - Kataka and Mukura.

Royal hirer - Pataka and ~ a r t a r h u k h a , sorrow - Hamsapksa in

both the hands close together, Happiness - Hamsapaksa and Mudrgkhya.

Valour - Musti in both the hands close together conch, step, flute - two

~ a r t a s m u k h a s close to each other.

The knot of the wearing garment (of woman) - two Mudrgkhyas

together. Nose - Vardhamana, Platform - HamsBsya, curl of hair and

sediments I husk I chaff - Hamsapak~a. Two (in number) should be shown

by both Sikhara and ~0c;rnukha always. Almost all mixed mudriis are

explained here as it is said in the 'Ns.

Lord, father, g u r u , - play I romantic game, dance, festival,

courage I bravery, beginning, a person of divine qualities and traits -

sign / symbol, f ru i t , novel/new - affection, love, trust / belief-sin,

offence I fault, defect 1 fault - Garuda, swan, Jadayu (name of a bird in

Ramayana), vilambita, krama, manda - these are shown in yhe same hasta.

Disaoppointment, disease and sorrow are similar mudrd.~.

THE SECOND CHAPTER OF THE HLD ENDS WITH THIS.

For noble heroes (and heroines) in ordinary situations i.e. when

they are not under the spell of ordinary emotions like love, anger etc.

lndala is used.

On certain occasions, even some middling characters have

Indala. But sometimes they have the riiga ~eGpaiicarna.

For evil characters and for children, ~et ipai icarna is employed.

While enacting in nvasthii ~ n t a ; raga is used. (avauthd means

the enactment of a story where the character deviates from his real

nature. This riiga is usually employed in nirvahapas'lokas). Ve(5dh5li is

used in ' tvara' and in bhaydnakarasa.

The rZga BhinnapaTicama is used in excessive joy. SAk3mara

is used in unexpected happiness.

On almost all occasion of Srngara Arta is used. ~ a u r a l T is the

summit of Arta. It is used at the height of vipralamhha.

The rizga Muddha is used in the l ~ n g ~ r a of the demons.

Their (of the demons) vipralambha in its extreme and i1-7

Rgma's sarnbhdgaipgiira are in ~ura!Tnda!a.

In hcisya and bibhatsarasas, ~ a i k i k ; is used. In krddha (anger)

and raudrarasas, Tarka is used.

~ i r a t a r k a is used in virarasa. The riigu Dukkhagandhara is used

in dukkha (grief) and in karuna (pathos).

DZna raga is used in adbhutarasa, and sometimes in bhayiinaka.

Gha~tan ta r i is used on occasions of reporting the death of evil persons.

Tontu i s used i n s'i?ntaasa and bhaktibhdva. Monkeys in

ordinary situations, have Korakkurifiji rrZiga.

~uranTru is used in the descriptions of rainy season, and morning.

Srikanthi is used at the end of an act, at the killing of evil

persons, in the descriptions of noon and dust, and in bhuktibhzvu.

DhruvatZja i s used along with the ragas Muddha , Arta,

~ r r a t a r k a , cetIpa6cama D2na and Korakkuriiij i.

For the ragas krrkanth;, Toqtu, ~ u r a n l r u ~ a i i i k T , Indala,

Bhinnapaiicama and DukkhagZndhBra, ekntEtia is used.

For the riigas G hattantari, Tarka Antar i vilambitamatraka

tripatfitdia should be there.

Those who know about tdlas say that VelSldhii!i is combined

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with madhyamamdtrd. For Srlk2rnara and ~ a u r a j i utidvutatripald is used.

Vilambitamfitraka is used along with ~ura!Tnda!a

CRITICAL NOTES:-

While edition some deviations are noticed and are noted here.

PATAKA :- a ~ < & ~ is given that text. But according to the

TNN it is 'rfitc~?qwt;cc~&k'. This reading s e e m s ra t iona l because i n

'7TTTWMV8h7 'm' i s men t ioned - Therefore to avoid repetition it

is omitted.

MUST1 :- 'am' is replaced by 'm' i n the TNN. It is accepted.

S U K A T U N ~ A :- '&s'-*Mm7 is given in the text. The

T N N reading is 'm'. The stage p r a c t i c e f o l l o w s the T N N

read ing . There fo re i t i s accepted here also.

KAP1TTHA:- The TNN reading 'p9 and '-' are accepted for

translation.

HAMSAPAKSA:- The TNN readings 'm' and 'm' are accepted.

ARALA:- One word is missing in the version. The TNN reads it as 'm' - blossom of flower. Instead of ' m a ' the TNN reads ' ~ w ' . It is

accepted for translation.

SIMILAR MUDRAS:-'&' is the TNN reading for 'm'. It is accepted

MIXED MUDRAS:- Instead WXWVWWTW6' of the TNN reads '-

m'. This reading is accepted.

According to the TNN reading 'TV: . . . . . . . .,%WTT ' should come

under similar mudrds. It is quite appropriate also. The order of delineation

coincides with the TNN reading.

In several places elongation of the last, letter of the word

'Pataka' is seen. It may be due to the influence of Malayalam.

Among the misrarnudriis (=h8' is used instead of 'm' (TNN)

and '* ' is used instead of 'm' (TNN). The TNN versions are accepted)

In describing svaras also the HLD deviates from the NKD in

several case. But not much deviation is found as in the case of the mudrds.

The omissions and false readings may be result of the mistakes

occured while copying , preparing translations, transliterations etc.