CHAPTER ELEVEN

THE CĀRĪ MOVEMENTS

Definitions

1. As the Cārīs prescribed by rules and connected with [different] limbs relate to (vyāyacchante from vyā-yam, stretch out to) one another they constitute (lit. are called) a vyāyāma (System)¹.

2. Cārī : The movement [mainly] with a single foot, is called the Cārī.

   Karaṇa¹ : The two feet moving [together] is called the Karaṇa.

3. Khaṇḍa : A combination of the [three] Karaṇas is called the Khaṇḍa.

   Maṇḍala : Three or four Khaṇḍas combine to make up the Maṇḍala.

Uses of the Cārī

4. From the Cārīs proceed dance as well as movements [in general] and release of missiles ; and [the stage] fighting [in general] should be made with the Cārīs.

5. Whatever has been described as Histrionic Representation (nāṭya) is included in the Cārīs, and no part of it can take place without the same.

6. Hence I shall described the rules of the Cārīs which are to be used in dance, ordinary movements and fights [on the stage].

The thirtytwo Cārīs

7-9. The following sixteen are the earthly (bhaumī) Cārīs : Samapādā, Sthitāvartā, Śakaṭāsyā, Adhyardhikā, Cāṣagati, Vicyavā,

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1 (B.X.2, G.2). ¹ B.G. read one additional couplet before this.
2 (B.X.3, G 3). ¹ This karaṇa should be distinguished from that mentioned in NŚ. IV. 30, 34-75, 63ff.
3 (B.X.4, G.4).
4 (B.X.5, G.5). 5 (B.X.6, G.6). 6 (B.X.7, G.7).
7-9 (B.X.8-10, G.8-10).

198 THE NATYASASTRA [ XI. 10

Eḍakākrīḍitā, Baddhā, Urūdvṛttā, Aḍḍitā, Utsyanditā,¹ Janitā, Syanditā², Apasyanditā³, Samotsarita-matalli and Matalli.

10-12. The aerial (ākāśikī) Cārīs are sixteen in number. They are as follows: Atikrāntā, Apakrāntā, Pārśvakrāntā, Ūrdhvajānu, Sūcī, Nūpurapādikā, Dolapādā, Ākṣiptā, Āviddhā, Udvṛttā, Vidyudbhrāntā, Alātā, Bhujaṅgatrasitā, Hariṇaplutā, Daṇḍā and Bhramarī.

The earthly Cārīs

13. Samapādā - the two feet close together, the nails [of the toes] meeting, and standing on the spot¹.

14. Sthitāvartā—one Agratalasañcara foot drawn up to cross the remaing foot and this movement repeated with another foot after separating the two.

15. Śakaṭāsyā—the body held upright, one Agratalasañcara foot put forward and the breast being Udvāhita.

16. Adhyardhikā—the left foot on the back (i.e. heel) of the right one, the latter to be drawn away [a Tāla and half a part].¹

17. Cāṣagati—the right foot put forward and then drawn back and at the same time left foot drawn back and put forward afterwards.

18. Vicyavā—seperating the feet from the Samapādā position and striking the ground with their fore part.

19. Eḍakākrīḍitā—jumping up and down with the Talasañcara feet.

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¹ G. reads these names as Utspanditā, Apaspanditā and Spanditā and B. as Utspanditā, Syandita, and Apasyanditā. I have been taken the root syand as the basis of all these names. Mss. erratically give syand and spand.
² see note 1 above.
³ ibid.
10-12 (B.X.11-13, G.11-13).
13 (B.X.14, G 14). ¹ On the appropriateness of this name Ag. writes : ननु समपादा कथं वा चारीत्याह – स्थानसंश्रयेति यदा समपाद एव स्थानान्तरं गच्छति तदा चरणचारी भवत्येव योग्यतया तथा व्यपदेशादिति भावः.
14 (B.X.15, G.15). 15 (B.X.16, G.16).
16 (B.X.17, G.17). ¹ The exact measure (1½ tāla) is given by Ag,
17 (B.X.18, G.18). 18 (B.X.19, G.19). 19 (B.X.20, G.20).

-XI. 31 ] THE CARI MOVEMEMTS 199

20. Baddhā—The sideways movement of the thighs when the two shanks are crossed.

21. Urudvṛttā—the heel of a Talasañcara foot placed outwards, one of the shanks to be slightly bent and the thigh turned up.

22. Aḍḍitā—one Agratalasañcara foot rubbing against the fore part or the back of another foot.

23. Utsyanditā—the two feet to move gradually side-ways (lit. in and out) in the manner of the Recaka.

24. Janitā—a Muṣṭi hand held on the breast and another hand moved round, and the feet to be Talasañcara.

25. Syanditā—one foot put forward five Tālas away from the other.

Apasyanditā—the reverse of the Syanditā Cārī (i.e. another foot being put forward five Tālas away from the other).

26. Samotsarita-matalli—going back with a circular move-ment and the feet being of the Talasañcara kind.

27. Mattalī—going back with a circular movement and hands being Udveṣṭita and motionless.

28. These are the Cārīs used in pesonal combat as well as in the Karaṇas. I shall now describe the aerial Cārīs.

The aerial Cārīs

29. Atikrāntā—a Kuñcita foot thrown up, put forward and caused to fall on the ground.

30. Apakrāntā—the Valana posture of the two thighs, a Kuñcita foot raised and thrown down sideways.

31. Pārśvakrāntā—one foot Kuñcita and another thrown up and brought near the side.

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20 (B.X.21, G.21),	21 (B.X.22, G.22).	22 (B.X.23, G.23).
23 (B.X.24, G.24).	24 (B.X.25, G.25).	25 (B.X.26, G.26).
26 (B.X.27, G.27).	27 (BX.28, G.28).	28 (B.X.29, G.29).
29 (B.X.30, G.30).	30 (B.X.31, G.31).	31 (B.X.32, Ġ.32).

200 THE NATYASASTRA [ XI. 32-

32. Ūrdhvajānu—throwing up a Kuñcita foot and its knee brought up to the level of the breast, and the remaining knee without movement and then this second foot thrown up in the manner of the first, and the first foot kept motionless.

33. Sūcī—a Kuñcita foot thrown up and brought above the knee of the remaining foot and then to let it fall on its fore part.

34. Nūpurapādikā—one Añcita foot raised up and taken behind another foot and then quickly caused to fall on the ground.

35. Dolapādā—one Kuñcita foot thrown up and moved from side to side and then caused to fall on the ground as an Añcita foot,

36. Ākṣiptā—one Kuñcita foot thrown off and then placing it quickly on an Añcita foot by crossing the shank of the remaining leg.

37. Āviddhā—one Kuñcita foot from the Svastika position stretching and falling on the ground quickly as an Añcita foot.

38. Udvṛttā—the (Kuñcita) foot of the Āviddha Cārī taken round [the thigh of the remaining leg] and thrown up and then caused to fall [on the ground].

39. Vidyudbhrāntā—one foot turned to the back and after touching its top part to be stretched and the head moved in a circle.

40. Alātā—one foot stretched backwards and then put in and afterwards caused to fall in its heel.

41. Bhujaṅgatrasitā—one Kuñcita foot thrown up and the waist and the knee being turned round and the thigh [of the remaining foot] to be turned round too.

42. Hariṇaplutā—the foot in the Atikrāntā Cārī to be caused to fall on the ground after a jump and the shank of an Añcita foot to be put in the Kṣiptā posture.

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32 (B.X.33, G.33).	33 (B.X.34, G.34).	34 (B.X.35, G.35).
35 (B.X.36, G 36).	36 (B.X 37, G.37).	37 (B X 38, G.38).
38 (B.X.39, G.39).	39 (B.X.40, G.40).	40 (B.X.41, G.41).
41 (B.X.42, G.42).	42 (B.X.43, G.43).

.XI. 53] THE CARI MOVEMENTS 201

43. Daṇḍapāda : the foot in the Nūpura— [pādikā] Cārī to be stretched and quickly to turn.

44. Bhramari : the foot in the Atikrāntā Cārī to be thrown up and the entire body turned round (lit. the Trika turned round) and then the second foot to be moved on its sole.

45. These are the aerial Cārīs, consisting of graceful movements of the limbs. These are to be applied in the release of weapons like an arrow and the thunderbolt (vajra).

46. O, Brahmins, in all these cases the two hands should, according to the circumstances, either precede, go simultaneously with or follow the feet.

47. Where the foot [moves], there the hand [should follow] and where the hand [moves], there the entire body. [Hence] after taking a step, all the minor limbs should be made use of.

48. When in course of a Cārī a foot comes to rest on the ground the [corresponding] hand should be moved round and brought on the waist.

49. I have finished describing the Cārīs consisting of graceful movements of the limbs. I shall now speak of the Sthānas (standing posture) to be used in the release of missiles of all kinds.

The Sthānas

50. The six Sthānas (standing posture) for men are Vaiṣṇava, Sampāda, Vaiśākha, Maṇḍala, Ālīḍha, and Pratyālīḍha.

51-52. **Vaiṣṇava—**the feet two Tālas and a half apart, one foot in the natural posture and another obliquely placed with toes pointing sideways and the shank bent (āñcita) and limbs with the Sauṣṭhava. Viṣṇu is the presiding deity of this Sthāna.

53. (Uses) : From this Sthāna persons of the superior and the middling types should carry on their ordinary (lit. natural) conversation in connexion with the various duties.

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43 (B.X.44, G.44)
44 (B.X 45, G.45).
45 (B.X.46, G.46).
46 (B.X.47, G.47).
47 (B.X.48, G.48).
48 (B.X.49, G.49).
49 (B.X.50, G.50).
50 (B.X.51, G.51).
51-52 (B.X.52-53, G.52-53).
53 (B.X.54, G.54).

26

202 THE NATYASASTRA [ XI. 54-

54. It should also be assumed in throwing a disc, holding a bow, in patient and stately movement of the limbs and in anger.

55-57. On being reversed it is to be used in anger of love. And similarly in the administration of rebuke, and in love, distress, apprehension, envy, cruelty, assurance, and recollection, it is to be assumed when the Erotic, the Marvellous, the Odious and the Heroic Sentiments are prominently introduced.

57-58. Samapāda—the feet in the natural posture and kept one Tāla apart and the body with the natural Sauṣṭhava. Brahman is its presiding deity.

58-60. (Uses) : It should be assumed in accepting blessings from the Brahmins¹, and in mimicking birds. The bridegroom at the marriage ceremony, persons in the sky, chariot and aerial car (vimāna), persons² of marked sects (liṅgasthā) and persons practising vows are also to assume this.

60-62. Vaiśākha—the two feet three Tālas and a half apart and the thighs without motion ; [besides this] the two feet to be obliquely placed pointing sideways. Kārtikeya (Skanda) is its presiding deity.

62-64. (Uses) : This Sthāna should be assumed in riding horses, and in exercise, exit [from any place], mimicking large birds, practice of bending the bow and in the Recakas [of the feet].

64-65. Maṇḍala : It relates to Indra (i.e. its presiding deity is Indra). In it the feet are four Tālas apart and they are obliquely placed and turned sideways, the waist and the knee are in the natural position.

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54 (B.X. 55, G.55).
55-57 (B.X.56-58, G 56-57).
57-58 (B.X.58-59, G.58).
58-60 (B.X.59-61, G.59-60). ¹ vipramaṅgala—vipraiḥ yan maṅgalāśīrvacanādi (Ag.).
² liṅgasthān—śaivādyāḥ vratasthā ūrdhvakāyādi prajñāṅgāḥ (?) (Ag.).
60-62 (B.X.61-63, G.61-62).
62-64 (B.X.63-65, G.63-64),
64-65 (B.X.65-66, G.65).

-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.

204 THE NĀṬYAŚĀSTRA [ XI. 75-

75-79. Bhārata : Putting forward the shield with the left hand and taking the sword (lit. weapon) the actor should walk about on the stage. Stretching the hand forward fully and then drawing it back he should move the shield at his back from side to side and flourish the sword (lit. weapon) around his head, and it should also be turned round [about the wrist] near the cheek. And again the hands holding the sword and the shield should be flourished gracefully around the head.

80-81. Sāttvata : I shall now speak of walking about in the Sāttvata Nyāya. In it the same flourishing (i.e. as in Bhārata) of the sword and the shield holds good, but this (the flourishing of the weapon) should take place at one's back.

81-82. Vārṣagaṇya . The walking about in the Vārṣagaṇya Nyāya will be similar to that in the Sāttvata, and the sword (lit. weapon) and the shield also should be flourished similarly, but these should go round the head.

83-84. Kaiśika : The flourishing of the sword (lit. weapon) near the breast or the shoulder which is to take place in the Bhārata [Nyāya] will hold good in case of the Kaiśika. But [in the latter] the sword (lit. weapon) should be made to strike only after being flourished over the head.

84-85. With these graceful movements of the limbs weapons like the bow, the thunderbolt and the sword are to be flourished at the time of their use.

85-87. In the stage-fight there should be no [actual] piercing, cutting or flow of blood and the actual striking. The use of weapons (lit. release of missiles) should be done with its mimicry, or the cutting off [of any one's limb] should be represented, according rules, by the use of gestures and postures only.

78-88. The exercise should be performed in the Aṅgahāras

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76-79 (B.X.76-80, G.76-80). 80-81 (B.X.81-82, G.80-81).
81-82 (B.X.82-83, G.82-83) 83-84 (B.X.84-85, G.83-84).
84-85 (B.X.85-86, G.85). 85-87 (B.X.76-88, G.76-87).
•87-88 (B.X.88-89, G.88). ¹ B.G. read one additional couplet after this.

.XI. 94 ] THE CĀRĪ MOVEMENTS [ 205

embellished with the Sauṣṭhava and accompanied by music with [proper] tempo and Tāla.

The Sauṣṭhava

88-91. *Those performing the exercises [in Aṅgahāras] should take care of the Sauṣṭhava, for the limbs without it (Sauṣṭhava) create no beauty (lit. do not shine) in drama or dance. The Sauṣṭhava of limbs is to be presented by being still, unbent, at ease, not very upright and not much bent. When the waist and the ears as well as the elbow, the shoulder and the head are in their natural position (sama) and the breast is raised it will be the Sauṣṭhava [of the body].*¹

The Caturasra

91-92. Caturasara : The Vaiṣṇava Sthāna with the two hands moving about at the waist and the navel together with the breast raised, is called the Caturasra of the limbs.

The four acts relating to the bow

92-93. There are four acts relating to the bow, viz. preparing (parimārjana), taking an arrow (ādāna), taking an aim (sandhāna) and shooting (mokṣaṇa).

93-94. The preparing (parimārjana)¹ is the bending [of the bow], taking (grahaṇa) is the pulling out of [the arrow], taking an aim (sandhāna) is to put the arrow to the bow, and shooting (mokṣaṇa) is the release [of the arrow].

The method of exercise

94-95. One should perform exercise [in the Aṅgahāras and Cārīs] on the floor as well as [high up] in the air and should have beforehand get one's body massaged with the [sesamum] oil or barely gruel.

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88-91 (B.X.89b, 91-93, G.89b 90-92). ¹ B.G. read one additional couplet after this.
91-92 (B.X.94-95, G.94).   92-93 (B.X.95-96, G.95).
93-94 (B.X.96-97, G.96).   ¹ G. reads sammārjana.
94-95 (B.X.97-98, G.97).

206 THE NATYASASTRA [ XI. 95-

95-96. The floor is the proper place (lit. mother) for exercise. Hence one should resort to the floor, and stretching oneself over it one should take exercise.

Health and nourishment of persons taking exercise

96-99. For the strength of body one should take [proper] snuff and get oneself purged [lit. resort to the rule regard-ing the abdomen], take agreeable food, [meat-] juice and drink. For vitality is dependent on one's nourishment and the exercise is dependent on vitality. Hence one should be careful about one's nourishment. When the body is not cleansed and one is very tired, hungry, thirsty, has drunk too much [water], eaten too much, one should not take exercise. The wise [teacher] should give training in exercise to his pupil who has a graceful body and square breast and is not covered with [much] garment.

100. These are the rules regarding the Cāris in connexion with the exercise of [the limbs]. I shall hereafter speak of the different Maṇḍalas.

Here ends Chapter XI of Bharata's Nāṭyaśāstra which treats of the Rule of Cāris.

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95-96 (B.X.98-99, G.98).
96-99 (B.X.99-102, G.99-102). 100 (B.X.103, G.103).

CHAPTER TWELVE

THE MAṆḌALA MOVEMENTS

The Maṇḍalas

1. I have now properly described the Cārīs in connexion with the use of weapons (lit. release of missiles). [Now] learn about the Maṇḍalas arising out of a combination of the Cārīs.

2-3. The aerial Maṇḍalas are: Atikrānta, Vicitra, Lalitasañcara, Sūcividdba, Daṇḍapāda, Vihṛta, Alāta, Vāmaviddha, Lalita and Krānta¹.

3-5. The earthly Maṇḍalas are Bhramara, Āskandita¹, Āvarta, Samotsarita, Eḍakākrīḍita, Aḍḍita, Śakaṭāsya, and Cāṣagata. [Now] listen about their description.²

The aerial Maṇḍalas

6-9. Atikrānta—the right foot [to be moved successively] in the Janitā Cārī and [the Śakaṭāsyā Cārī in which the breast is] Udvāhita, the left foot in the Alātā Cārī and the right foot in the Pārśvakrāntā Cārī. (next) the left foot in the Sūcī Cārī and the right foot in the Apakrāntā Cārī, [again] the left foot [successively] in the Sūcī Cārī and [the Bhramarī Cārī by] turning the Trika¹, (then) the right foot in the Udvṛtta Cārī and the left foot in the Alātā Cārī which should be changed (lit. divided) to the Bhramarī Cārī, again this left foot in the Alātā Cārī and the right foot in the Daṇḍapādā Cārī.

10-13. Vicitra—the right foot [successively to be moved] in the Janitā Cārī and in the Talasañcara¹ (Nikuṭṭana), manner

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1 (B.XI.1, G.1).
2-3 (B.XI.2-3, G.2-3). ¹ B. adds one additional hemistich after this.
3-5 (B.XI.4-6, G.3-5). ¹ Mss. sometimes gives this name as āspandita which seems to be a corruption for āskandita. See the Cārī of this name XI. 7-9.
² B. reads 5b. differently.
6-9 (B.XI.7, 8b-11, G.6-2). ¹ See Ag.
10-13 (B.XI.11b-12a, 13a, 13-15, G.10-13). ¹ See Ag.

208 THE NATYASASTRA [ XII. 14-

(then) the left foot in the Syanditā Cārī, the right foot in the Pārśvakrāntā Cārī², (again) the left foot in the Bhujaṅgatrasitā Cārī and the right foot [successively] in the Atikrānā and Udvṛttā Cārīs, (next) the left foot in the Sūcī Cārī, the right foot in the Vikṣitpā (Ākṣiptā) Cārī and the left foot in the Apakrāntā Cārī.

14-17. Lalitasañcāra—the right foot with the knee raised [to move] in the Sūcī Cārī, (next) the left foot in the Apakrānta Cārī and the right one in the Pārśvakrāntā Cārī (again) the left foot [successively] in the Sūcī and the Bhramari Cāsīs [this latter by turning round the Trika] and the right foot in the Pārśvakrāntā Cārī and the left foot in the Atikrāntā Cārī which to be changed (lit. divided) into the Bhramari Cārī¹.

18-19. Sūcīviddha—the left foot [to be moved] in the Sūcī and the Bhramari Cārīs [the latter by turning the Trika round], the right foot in the Pārśvakrāntā Cārī the left foot in the Atikrāntā Cārī, next the right foot in the Sūcī, the left foot in the Apakrāntā Crāi and the right foot again in the Pārśvakrāntā Cārī.

20-22. Daṇḍapāda—the right foot to be moved in the Janitā and the Daṇḍapāda Cārīs, the left foot in the Sūcī and the Bhramari Cārīs [the latter by turning the Trika], (next) the right foot in the Ūrūdvṛttā Cārī and the left foot in the Alātā Cārī, (again) the right foot in the Pārśvakrāntā Cārī and the left foot [successively] in the Bhujaṅgatrastā and the Atikrāntā Cārīs to meet the right foot in the Daṇḍapādā Cārī and the left foot [successively] in the Sūcī and the Bhramari Cārīs [the latter by turning the Trika].

23-26. Vihṛta—the right foot [to be moved] in the Janitā Cārī (then) its Nikuṭṭana, (next) the left foot in the Syanditā Cārī and the right foot in the Ūrūdvṛttā Cārī, (then) the left foot in the Alātā Cārī and the right foot in the Sūcī Cārī, again the left

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• B. reads one additional hemistich after 10.
  14-17 (B.XI.16-17, 19, G.14-16, 18). ¹ B.G. reads one additional couplet after 16.
  • 18-19 (B.XI.20-21, G.19-20). 20-22 (B.XI-22-24, G.21-23).
  23-26 (B.XI.25-28, G.24-27).

-XII. 38 ] THE MANDALA MOVEMENTS 209

foot in the Pārśvakrāntā Cārī and the right foot in the Ākṣiptā and the Bhramarī [this by turning the Trika] and the Daṇḍapādā Cārīs, (then) the left foot in the Sūcī and the Bhramarī Cārīs [the latter by turning the Trika] again the right foot in the Bhujaṅgatrasitā Cārī and the left foot in the Atikrāntā Cārī.

27-29. Alāta—the right foot [to be moved] in the Sūcī Cārī and the left foot in the Apakrāntā Cārī, then the right foot in the Pārśvakrāntā Cārī and the left foot in the Alātā Cārī, after moving by turn in the these [two] Cārīs six or seven times with graceful steps, again the right foot in the Aprakrāntā Cārī and the left foot [successively] in the Atikrāntā and the Bhramarī Cārīs.

30-33. Vāmaviddha—the right foot [to be moved] in the Sūcī Cārī, the left foot in the Apakrāntā Cārī, (then) the right foot in the Daṇḍapādā Cārī and the left foot in the Sūcī Cārī and right foot in the Bhramarī [this by turning the Trika] and the Pārśvakrāntā, Cārīs, (next) the left foot in the Ākṣiptā Cārī and the right foot in the Daṇḍapādā and the Ūrūdvṛttā Cārīs, (then) the left foot [successively] in the Sūcī, the Bhramarī [this by turning the Trika] and the Alātā Cārīs, (next) the right foot in the Pārśvakrāntā Cārī and the left foot in the Atikrāntā Cārī.

34-37. Lalita—the right foot [to be moved] in the Sūcī Cārī and the left foot in the Apakrāntā Cārī, (then) the right foot in the Pārśvakrāntā and the Bhujaṅgatrasitā Cārīs, (then) the left foot in the Atikrāntā Cārī and the Ūrūdvṛttā Cārīs the left foot and the Alātā Cārī, and the right foot in the Pārśvakrāntā Cārī, next the left foot in the Atikrāntā Cārī with graceful steps.

38-40. Krānta—the right foot [to be moved] in the Sūcī Cārī and the left foot in the Apakrāntā Cārī, then the right foot in the Pārśvakrāntā Cārī and the left foot too in the same Cārī (Pārśvakrama), moving round alternately in these Cārīs in all directions, again the left foot in the Sūcī Cārī and the right foot in the

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27-29 (B.XI.29-30, 31b-32a, G.28-30).
30-33 (B.XI.32b-36a, G.31-34).
34-37 (B.XI 36b-37a, 38-40a, G.35-37). ¹ G. omits 35a and 36b.
38-40 (B.XI.40b-43a, G.38-40).

27

210	THE NATYASASTRA	[ XII. 41-

Apakrāntā Cārī. This Maṇḍala is prescribed for the natural gait. Hence it is called Krānta i.e. going.

41. These are the aerial Maṇḍalas. Now I shall describe those on the earth.

The earthly Maṇḍalas

42-44. Bhramara—the right foot [to be moved] in the Janitā Cārī and the left foot in the Skanditā (Āskanditā) Cārī, then the right foot in the Śakaṭāsyā Cārī and the left foot to be stretched, (next) the right foot in the Bhramarī Cārī [by turning the Trika], again the left foot in the Skanditā (Āskanditā) Cārī and the right foot in the Śakaṭāsyā Cārī, then the left foot in the Apakrāntā (Apasarpi) Cārī and the Bhramarī Cārī by turning about the back.

45-47. Āskanditā—the right foot [to be moved] in the Bhramarī Cārī and the left foot in the Aḍḍitā and the Bhramarī Cārīs [the latter by turning the Trika], then the right foot in the Ūrūdvṛttā Cārī and the left foot in the Apakrāntā (Apasarpitā) and the Bhramarī Cārīs [the latter by turning the Trika then] the right foot in the Skanditā Cārī, (next) the left foot in the Śakaṭāsyā and the same foot to violently strike the ground.

48-50. Āvarta—the right foot [to be moved] in the Janitā Cārī and the left foot in the Talasañcara (Nikuṭṭaka) Cārī, then the right foot in the Śakaṭāsyā and the Ūrūdvṛttā Cārī, (next) the right foot the Atikrāntā (Apasarpi) Cārī turning backwards and the Cāṣagati Cārī, then the right foot in the Skanditā (Āskanditā) Cārī and the left foot in the Śakaṭāsyā Cārī, again the right foot in the Bhramarī Cārī with the Trika turned round, and the left foot in the Apakrāntā (Apsarpi) Cārī.

51-53. Samotsaritā—assuming first of all the Samapāda Sthāna, then stretching the two hands with their palms turned upwards, (next) their intermittant Āveṣṭana and Udveṣṭana movements, [then putting the left hand] on the waist, the right hand moved in the Āvartita manner [next the right hand to be put on

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41 (B.XI.43b-44a, G.41).
42-44 (B.XI.44b-47a, G.42-44). 45-47 (B.XI.47b-50a, G.45-47).
48-50 (B.XI 50b-53a, G.48-50). 51-53 (B.XI.53b-56a, G.51-53).

-XII. 63 ] THE MANDALA MOVEMENTS 211

on the waist] and the left hand moved in the Āvartita manner, moving round alternately with this Cārī will rise to the Samotsarita Maṇḍala.

54-55. Eḍakākrīḍita—the two feet on the ground [to be moved successively] in the Sūcī and the Eḍakākrīḍita Cārīs, (next) the swift moving Bhramarī Cārī by turning the Trika, (then) moving [the feet] round alternately in the Sūcī and the Āviddha Cārīs. This will give rise to the Khaṇḍa-maṇḍala named Eḍakākrīḍita.

56-58. Aḍḍita—the right foot [to be moved] in the Udghaṭṭita manner and then [simply] moved round, next [to be moved] in the Syanditā (Āsyanditā) Cārī and the left foot in the Śakaṭāsyā Cārī, next the right foot to be moved backwards in the Apakrāntā (Apasarpi) and the Cāṣagati Cārīs, (then) the left foot in the Aḍḍitā Cārī and the right foot in the Apakrāntā (Apasarpitā) Cārī. (next, the left foot in the Bhramarī Cārī and the right foot in the Syanditā (Āsyanditā) Cārī and to violently strike the ground.¹

59-60. Śakaṭāsya—The right foot [to be moved] in the Janitā Cārī and next it to move in the Talasañcara (Nikuṭṭaka) manner, the same foot in the Śakaṭāsyā Cārī and the left foot in the Syanditā (Āsyanditā) Cārī, moving round in this manner alternately with the Śakaṭāsyā Cārī. This Cārī Maṇḍala named the Śakaṭāsya is to be used in fight.

61-62. Adhyardha—the right fooot [to be moved successively] in the Janitā and Syanditā Cārīs, then the left foot in the Apakrāntā (Apasarpitā) Cārī and the right foot in the Śakaṭāsyā Cārī. Moving around alternately in these Cārīs, will be the Cārī Maṇḍala named the Adhyardha to be used in personal combat.

63-64. Piṣṭakuṭṭa—The right foot [to be moved] in the Sūcī Cārī and the left foot in the Apakrāntā [then] the right foot in

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54-55 (B.XI.56b-58a, G.54-55). ¹ This khaṇḍamaṇḍala seems to be another name for eḍakākrīḍita.

56-58 (B.XI.58b-61a, G.56-58). ¹ āsphoṭana—padatalena bhūmi-tāḍana (Ag.).

59-60 (B.XI.61b-63a, G.59-60). 61-62 B.XI.63b-65a, G.61-62).

63-64 (B.XI.65b-67a, G.63-64).

212 THE NATYASASTRA [ XII. 65-

the Bhujaṅgatrasitā Cārī and the left foot too in the same Cārī. Thus going round in the Bhujaṅgatrāsitā Cārī is known as the Cārī Maṇḍala named the Piṣṭakuṭṭa known to be used in personal combat.

65. Cāṣagata—Going round with feet in the Cāṣagatā Cārī is called the Cārī Maṇḍala named Cāṣagata. It to be used in personal combat.

66. Here I have described in brief the Maṇḍalas arising out of the various Cārīs. Now I shall describe the Sama Cārīs.

67. The use of the Sama Cārīs are known as Sama Maṇḍalas. [An actor] using them is to follow the instruction of the master actor (ācāryabuddhi).

68. These Maṇḍalas to be used in fight and personal combat, are to be performed with sportiveness and graceful movements of limbs, and should be accompanied by [suitable] instrumental music.

Here ends Chapter XII of Bharata's Nāṭyaśāstra, which treats of the Rules about the Maṇḍalas.

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65 (B.XI.67b-68a, G.65). 66 (B.XI.68b-69a, G.66).
67 (B.XI.69b-70a, G.67). 68 (B.XI.79b-71a, G.68).

CHAPTER THIRTEEN

THE DIFFERENT GAITS

1. So much about the formation of the Maṇḍalas by a combination of the Systems of Cārī (cārī-vyāyāma). I shall hereafter describe the Gaits suitable for (lit. existing in) different characters [in a play].

Entrance of dramatis personae

2-3. After the Upavahana in accompaniment of drums and other musical instruments has been performed by observing Kalās suitable to the Mārga [adopted in it], and the Dhruvās [to be sung] at the entrance of dramatis personae, have commenced and the curtain has been drawn away, the actors who are to develop the Sentiments in the various items [of a play] should enter (lit. be made to enter) the stage.

Posture for superior and middling characters at the entrance

4-7. In case of characters of the superior and the middling types [the actor] should assume the Vaiṣṇava Sthāna, his breast being raised, Sama and Caturasra, shoulders at rest and not raised very much, the neck as graceful as that of a peacock, the shoulders eight Aṅgulas apart from the ears, the chin four Aṅgulas apart from the breast, and the two hands (the right and the left) respectively at the navel and at the left waist.

The interval of their feet

8-9. [In the posture described above] the interval between the two feet [of the actor] should be two Tālas and a half. Steps

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1 (B.XII.1, G.1). ¹ On the Gait Ag. says : "The Gait is to be prescribed with a view to the person, Sentiment, situation, place and occasion".
2-3 (B.XII.2-3, G.2-3). ¹ - It seems that upavahana gave rise to upohana (Pkt.) which afterwards was adopted in its place; for upohana see NŚ. (Ch) XXXI. 235ff. It is defined by Ag. as follows : upohyante samāsa-vyāsataḥ padakalātālasamabhihitāḥ svarā yasminn aṅge tat tathoktam (I.p.186).
4-7 (B.XII.4-7, G.4-7).
8-9 (B.XII.8-9, G.8-9).

214 THE NĀṬYAŚĀSTRA [ XIII. 9-

that he will take should according to his own measure [of the hand] be four or two Tālas or one Tāla wide.

9-10. In case of [characters such as] gods and kings the steps should be four Tālas wide, of the middling [type of characters] two Tālas, and of women and persons of the inferior type one Tāla wide.

The time for their steps

10-11. [And the time required for the steps should be] four or two Kalās or one Kalā only. [Steps] of the superior [characters] should take four Kalās, those of the middling type two Kalās and those of the inferior type one Kalā only.

The tempo of their Gait

12. An expert in the theatrical art should apply three kinds of tempos—slow, medium and quick—to the Gait [of different characters] according to their nature.

13. The Gait of the superior [characters should be] slow, that of the middling [characters should have] the medium [tempo, while the Gait of] the inferior [characters should be] quick and copious. [Thus] should be applied the three tempos according to the spirit [of the different characters].

14. So much about the rules regarding the timing and tempo [of the steps]. O the sinless ones, listen now about the manner of taking steps [suitable to different characters].

The natural Gait

15. In his natural [Gait] a superior [character] is to raise his knee up to the height of the waist and in case of Cārīs to be used in fighting the same (i.e. the knee) is to be raised up to the height of the breast.

16-19. With the graceful steps of the Pārśvakrāntā Cārī and

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9-10 (B.XII.9-10, G.9-10). 10-11 (B.XII.10-11, G.10-11).
12 (B.XII.12, G.12). ¹ B. reads layam budhaḥ
13 (B.XII.13, G.13). ¹ sattvam—cittavṛttiḥ (Ag.).
14 (B.XII.14, G.14). 15 (B.XII.15, G.15).
16-19 (B.XII.16-19, G.16-19).

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