THE AIMS AND 'METHODS OF INDIAN AKT. 45-

is reproduced from an old Tamil craftsman's sketch book, a
figure of Siva as ISTataraja. In order to understand this it
is necessary first to explain the legend and conception of
Siva's appearance as the 4 Dancing Lord.7 The story is
given in the Koyil Puranam, and is familiar to all Saivites.
Siva appeared in disguise amongst a congregation of ten
thousand sages, and in the course of disputation, confuted
them and so angered them thereby, that they endeavoured
by incantations to destroy Him. A fierce tiger was created
in sacrificial fiarnes, and rushed upon Him ; but smiling
gently, He seized it with His sacred hands, and with
the nail of His little finger stripped off its akin, which
He wrapped about Himself as if it had been a silken
cloth. Undiscouragecl by failure, the sages renewed their
offerings, and there was produced a, monstrous serpent,
which He seized and wreathed about His neck. Then He-
began to dance ; but there rushed upon Him a last monster
in the shape of a hideous malignant dwarf. Upon him the
God pressed the tip of His foot, and broke the creature's
back, so that it writhed upon the ground ; and so, His last
foe prostrate, Siva resumed the dance of which the gods
were witnesses. A modern interpretation of this legend
explains that He wraps about Him, as a garment, the tiger
fury of human passion ; the guile and malice of mankind,.
He wears as a necklace, and beneath His feet is for ever
crushed the embodiment of evil. More characteristic of
Indian thought is the symbolism, in terms of the marvellous
grace and rhythm of Indian dancing, the effortless ease
with which the God in His gi-a.ce supports the cosmos ; it
is His sport. The five acts of creation, preservation, destruc-
tion, embodiment and gracious release are His ceaseless
mystic dance. In sacred Tillai, the * New Jerusalem' the
dance shall be revealed; and Tillai is the very centre of the