narration, enacting, characters, their languages, characteristic features etc. This chapter also narrates different types of acting which are included in koodiyattam on special occasions. For example, how to act on stage without dialogue such things like capital city, mountain, trees, garden, hermitage, seasons, heaven etc. are given presicely. Famous Abhinayas (acting) such as Kailasoddhārana (lifting of Kailasa), Pārvatī Viraha (separation of Pārvatī) etc. are also included in this chapter. Details of wearing different costumes and different types of abhinaya are also given here. The third chapter Mudra-Taalaprakarana gives elaborate narration of Mudras (movements of hands and fingers), their names and their usage in Abhinaya. Different Taalas used in Koodiyattam are also described here. The usage of different Taalas according to different Swaras (Rāgas) and different contexts is the next point discussed in this chapter. The fourth chapter, Swaraprakarana deals with different Swaras (Ragas) used in Koodiyattam they are 20 in number which are called Muddan, Shreekantthi, Thondu, Aarthan, Indalam, Muralindalam, Veladhuli, Danam, Veeratarkan, Tarkan, Korakkurunji, Paurali, Poraneeru, Dukkhagandharam, Chetipanchamam, Bhinnapanchamam, Shreekamaram, Kaishiki, Ghattanthari and Anthari. Details of their usage in abhinaya according to Rasas, Characters, Contexts etc. are also narrated with suitable examples. The fifth chapter which is called Rasaprakarana deals with Satwika-Abhinaya (Satwikābhinaya)- the most important one among the four types of Abhinayas. Topics such as Nātya, Nritya, Nritta, Rasa, Bhava, Vibhava, Anubhāva, Satwikabhāva, Vyabhicharibhāva, their enacting, movements of eyes for different Rasas and Bhavas etc. are also discussed here . Some examples of Rasābhinaya (Rasa-Abhinaya) are also given. Thus this chapter gives a clear picture of the theory and practice regarding Rasābhinaya. The minute details of Netrābhinaya- enacting with eyes, eyes only are given here by the greatest master of Netrābhinaya. The sixth chapter Abhyāsaprakarana deals with practical training in Koodiyattam. Here the author gives twenty one types of eye movement which are to be practiced by a Koodiyattam artist who specialises in Rasābhinaya. These are very important for Koodiyattam artist as well as artists from other classical art forms. Special duties of Chakiars (actors), Nangiarammas (actresses) and Nambiars (drummers who play Mizhavu) are also narrated here in detail . Drishtāntaprakarana the seventh chapter contains examples of different types of abhinaya, narrations of different types of stories and conversations etc. used in Koodiyattams. Peculiarities of languages to be used in different contexts by different characters are also given here. The last chapter Vaisheshikaprakarana gives Slokas used as benedictory