नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XI. 74 ] THE CĀRĪ MOVEMENTS 203

65-66. (Uses) : The Maṇḍala Sthāna should be assumed in the use of weapons like the bow and the thunderbolt, riding of elephants, and mimicking large birds.

66-67. Ālīḍha : The right foot in the Maṇḍala Sthāna drawn five Tālas apart [from the other foot] will make the Ālīḍha Sthāna. Rudra is its presiding deity.

67-69. (Uses) : This Sthāna should be assumed in all acts relating to the Heroic and the Furious Sentiments, duel of wrestlers and in the representation of enemies, an attack [on them], and release of missiles.

69-70. Pratyālīḍha : When the right foot is bent and the left foot is put forward in the Ālīḍha Sthāna the Pratyālīḍha Sthāna will be produced.

70-71. (Uses) : The missiles made ready for throwing from the Ālīḍha Sthāna are to be [actually] thrown from the Pratyālīḍha Sthāna. The actor should use various weapons from this Sthāna.

The four Nyāyas in using weapons

71-72. There are four Nyāyas (ways) of using weapons (lit. releasing missiles), viz. Bhārata, Sāttvata, Vārṣagaṇya, and Kaiśika.

72-73. In the Bhārata [Nyāya the weapon] should strike (lit. cut) at the waist, in the Sāttvatta at the foot, in the Vārṣagaṇya at the breast and in the Kaiśika at the head.

73-74. In these Nyāyas arising out of the various Cārīs, the actors should walk about [on the stage] at [the time of] using weapons.

74-75. The Nyāyas (way) are so called¹ because fights [on the stage] are nīyante (carried on) with the Aṅgahāras relating to the Nyāyas and arising out of them.

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65-66 (B.X.66-67, G.66).	66-67 (B.X.67-68, G.67).
67-69 (B.X.68-70, G.68-69).	69-70 (B.X.70-71, G.70).
70-71 (B.X.71-72, G.71).	71-72 (B.X.72-73, G.72).
72-73 (B.X.73-74, G.73).	73-74 (B.X.74-75, G.74).
74-75 (B.X.75-76 G.75).	¹ prakīrtitāḥ B. reads pravartitaḥ.