"Whether he be surrounded or not by the flamming aureole of the Tiruvasi (Pabhamandala) - the circle of the world which he both fills and oversteps - the King of the Dance is all rhythm and exaltation. The tambourine, which he sounds with one of his right hands, draws all creatures into this rhytmic motion and they dance in his company. The conventionalized locks of flying hair and the blown scarfs tell of the speed of this universal movement, which crystallizes matter and reduces it to powder in turn. One of his left hands holds the fire, which animates and devours the worlds in this cosmic whirl. One of the God's feet is crushing a Titan, for "this dance is danced upon the bodies of the dead", yet one of the right hands is making a gesture of reassurance (abhayamudra), so true it is that, seen from the cosmic point of view ... the very cruelty of this universal determinism is kindly, as the generative principle of the future. And, indeed, on more than one of our bronzes the King of the Dance wears a broad smile. He smiles at death and at life, at pain and at joy, alike, or rather, his smile is death and life, both joy and pain ... From this lofty point of view, in fact, all things fall mto their place, finding their explanation and logical compulsion. Here art is the faithful interpreter of a philosophical concept. The plastic beauty of the rhythm is no more than the expression of an ideal rhythm. The very multiplicity of arms, puzzling as it may seem at first sight, is subject in tum to an inward law, each pair remaining a model of elegance in itself, so that the whole being of the Nataraja thrills with a magnificent harmony in his terrible joy. And as though to stress the point that the dance of the divine actor is indeed a sport, (lila) - the sport of life and death, the sport of creation and destruction, at once infinite and purposeless - the first of the left hands hangs limply from the arm in the careless gesture of the gajahasta (hand as the elephant's trunk). And lastly, as we look at the back view of the statue, are not the steadiness of these shoulders which uphold world, and the majesty of this Jove-like torso, as it were a symbol of the stability and immutability of substance, while the gyration of the legs in its dizzy speed would seem to symbolize the vortex of phenomena."