Bharata Muni
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MAY THERE BE GOOD NĀṬYA ŚĀSTRA /THE SCIENCE OF THEATRE/
recorded by the enlightened Bharata.
So, chapter eleven in the Nāṭyaśāstra of Bharata.
1/ Thus, the simultaneous movement of the feet, shins, and thighs is a Cārī.
2/ Since the Carīs prescribed by the rules and connected with [different] parts of the body relate to one another (vyāyacchante from vyā-yam = to extend), they constitute vyāyāma (a system).
3/ Cārī: Movement [primarily] with one leg is called Cārī.
Karaṇa: Two feet moving [together] are called Karaṇa.
4/ Khaṇḍa: A combination of [three] Karaṇas is called Khaṇḍa.
Mandala: Three or four Khaṇḍas combine to form a Mandala.
5/ From Cārī come dance, as well as movements [in general] and the release of arrows; scenes of battle [in general] are performed with the use of Cārī.
6/ Everything that has been described as a Theatrical Performance is included in Carī, and no part of it can take place without it.
7/ Therefore, I will describe the rules of Cārī, which should be used in dance, ordinary movements, and fights [on stage].
8-10/ The following sixteen are the earthly (bhau-mi) cārīs: Samapāda, Sthitāvarta, Śakaṭāsya, Adhyardhikā, Caṣagati, Vicyavā, Edakākrīḍita, Baddhā, Ūrdhvavṛtta, Addita, Utsyanditā, Janitā, Syanditā, Apasyanditā, Samotsāritamātaṅgī and Mātaṅgī.
11-13/ There are sixteen aerial (ākāśikī) cārīs. They are Atikrānta, Apakrānta, Pārśvakrānta, Ūrdhvajānu, Sūcī, Nūpurapādikā, Dolāpāda, Akṣipta, Aviddhā, Udvṛtta, Vidyudbhrānta, Alāta, Bhujaṅgatrāsita, Hariṇapluta, Daṇḍa and Bhramarī.
14/ Samapāda — two feet together, the tips [of the toes] meet and remain in place.
15/ Sthitavarta — one foot of Agra-talasañcara is extended so as to cross the remaining foot, and this movement is repeated with the other leg after they are separated.
16/ Śakaṭāsya — the body is held straight, one leg of Agratālasañcara is extended forward, and the chest is Udvāhita.
17/ Adhyardhika — the left foot is placed on the heel of the right, the right is drawn back [a distance of Tāla (palm) and half a part].
18/ Chāśagati — the right foot is extended forward and then drawn back, while at the same time the left foot is drawn back and then extended forward.
19/ Vicchyava — bringing the feet out of the samapada position and striking the ground with the front part.
20/ Edakakridita — jumps up and down on the feet in Talasanchara.
21/ Baddha — movement of the hips to the sides while crossing the two shins.
22/ Urdhvṛtta — the heel of the foot in talasancāra is turned outward, one of the shins is slightly bent, and the thigh is rotated upward.
23/ Addita — friction of one foot’s agra-tala-sanchara against the front or back part of the other foot.
24/ Utsandita — two legs gradually move sideways (literally inward and outward) in the manner of Recaka.
25/ Janita — the hand in Muṣṭi is held at the chest, the other hand moves around, and the feet are in Talasañcara.
26/ Syandita — one foot (translator’s note: apparently, the right one) is extended forward five Tālas from the other.
Apāsyandita — the reverse of Syandita Cārī (i.e., the other foot is extended forward five tālas from the other).
27/ Samocārita-mātalli — return backwards with circular movements of the feet of the Tālasañcāra type.
28/ Mataḷḷi — a backward movement in a circular motion, the arms in Udveṣṭita, motionless.
29/ These are the Cārīs used in personal combat, as well as in Karaṇas. Now I will describe the aerial Cārīs.
30/ Atikrānta — the foot in Kuñcita, thrown upward, extended forward, and lowered to the ground.
31/ Apakrānta — the pose of Valana with two hips, the foot Kuñcita is raised and thrown to the side.
32/ Pārśvakrānta — one leg is kuñcita, the other is raised upward and brought to the side.
33/ Ūrdhvajānu — tossing the kuñcita leg upward, its knee reaching chest level, while the other knee remains motionless; then this second leg is tossed upward in the same way as the first, while the first foot remains still.
34/ Suci — the foot of Kuñcita is tossed upward and rises above the knee of the remaining foot, then descends onto its front part.
33/ Nupurapadikā — one foot, with Añcita, is raised and directed behind the other foot, and then quickly lowered to the ground.
36/ Dolapāda — one foot in Kuñcita is tossed upward and moves from side to side, then descends to the ground as an Añcita foot.
37/ Akṣipta — one foot from Kuncita is thrown out, and then quickly placed on the foot of Añcita, crossing the shin of the remaining leg.
38/ Avidha — one foot in Kuñcita from the Svastika position extends and quickly lowers to the ground, like the foot in Añcita.
39/ Udvṛtta — (Kuñcita) foot of the Aviddha Cārī, “embracing” [the thigh of the remaining leg] and thrown upward, then falling [to the ground].
40/ Vidyudbhrānta — one leg is turned back and, after touching its upper part, straightened, while the head moves in a circle.
41/ Ālāta — one leg is extended backward, then [brought back] and after that lowered onto the heel.
42/ Bhujaṅgatrāsita — one foot is raised upward in Kuñcita, the waist and knee are turned, and the thigh [of the other leg] is also turned.
43/ In Harinapluta, the foot in Atikrānta-cārī should fall to the ground after the jump, and the shin of the Añcita leg should be placed in the Kṣipta posture.
44/ Daṇḍapāda: the foot in Nūpura-[padika] Cārī should be extended and quickly turned.
45/ Bhramarī: the foot in Atikrānta-cārī should be tossed upward and the whole body turned (literally: turn the Trika), and then move the second foot onto its sole.
46/ These are aerial cārīs, consisting of graceful movements of the limbs. They should be applied in [the representation of] the release of weapons, such as the arrow and the thunderbolt (vajra).
47/ O brahmins, in all these cases the two hands should, depending on the circumstances, either precede the feet, move simultaneously with them, or follow them.
48/ Where the foot moves, the hand should follow, and where the hand moves, there the whole body. Therefore, after you take a step, all the other limbs should be engaged.
49/ When during a Cārī the foot stops on the ground, the [corresponding] hand should be turned and placed on the waist.
50/ I have finished describing the Cārīs, which consist of graceful movements of the limbs. Now I will speak of the Sthānas (standing postures), which may be used in [the presentation of] the discharge of missiles of all kinds.
51/ The six Sthānas (standing poses) for men are Vaiṣṇava, Sampāda, Vaiśākha, Maṇḍala, Ālīḍha and Pratyālīḍha.
52-53/ Vaiṣṇava — feet at a distance of two and a half Tālas from each other, one in a natural pose, the other inclined, toes directed sideways, shins bent (Añcita), and limbs in Sauṣṭhava. Viṣṇu is the main deity of this Sthāna.
54/ (Usage): From this Sthāna, characters of the higher and middle types should conduct their ordinary (lit.: natural) conversation in connection with various duties.
55/ [This pose] should also be used in discus-throwing, in holding a bow, and in patient and majestic movement of the limbs, and in anger.
56-58/ In the inverted position it should be used in the anger of love. And likewise in depicting reproach, as well as love, suffering, apprehension, envy, cruelty, confidence, and recollection; it should also be used to show the Erotic, Marvelous, Odious, and Heroic sentiments.
59-60/ Samapāda — legs in a natural stance and one Tāla apart, with the body in natural Sauṣṭhava. Brahmā is its presiding deity.
61-63/ (Usage): It should be used when receiving blessings from brahmins and when imitating birds. The bridegroom at a wedding ceremony, people in the sky, on chariots and flying vehicles (vimāna), followers of certain sects (liṅgastha), and people practicing vows are also depicted with this sthāna.
63-65/ Vaiśākha — two feet at a distance of three and a half Tālas from each other, and the thighs are motionless; [besides this] the two feet should be placed at an angle and directed to the sides. Skanda (Kārtikeya) is its presiding deity.
65-66/ (Usage): This Sthāna should be used for depicting riding on horses and exercises, exiting [from any place], imitating large birds, and practicing archery.
65-66/ Maṇḍala: refers to Indra (i.e., its presiding deity is Indra). In it, the feet are placed at a distance of four Tālas from each other, inclined and turned to the sides, while the waist and knee remain in a natural position.
66-67/ (Application): Mandala-sthāna should be adopted when depicting weapons such as the bow and the thunderbolt, in controlling elephants, and in imitating large birds.
67-68/ Alīḍha: The right foot in Mandala Sthāna, separated from the other foot by five Tālas, forms the Alīḍha Sthāna; Rudra (Śiva) is its presiding deity.
68-70/ (Usage): This Sthāna should be employed in all actions connected with Heroic and Furious Sentiments, duels of wrestlers, and the depiction of enemies, attacking [them], and releasing missiles.
70-71/ Pratyālīḍha: When the right leg is bent and the left leg is extended forward in Ālīḍha Sthāna, Pratyālīḍha arises.
71-72/ (Usage): After aiming from Ālīḍha Sthāna, the missile should [actually] be released from Pratyālīḍha Sthāna. The actor discharges various [projectile] weapons from this Sthāna.
72-73/ There are four nyāyas (methods) of using weapons (literally “releasing missiles”), namely: Bhārata, Sāttvata, Varṣagaṇya, and Kaiśika.
73-74/ In Bharata [Nāṭya, the weapon] should strike (lit.: cut) at the waist, in Sāttvata — at the leg, in Vārṣagaṇya — at the chest, and in Kaiśikī — at the head.
74-75/ In these nyāyas, arising from various Cārīs, the actors should walk [across the stage] during the use of weapons.
75-76/ Nyāya (lit.: path) are so called because the fights [on stage] represent niyante (occurring) with Aṅgahāras pertaining to the Nyāyas and arising from them.
76-80/ Bharata: Having raised the shield with the left hand and taken up the weapon, the actor should walk about the stage. Fully extending the arm forward and then drawing it back, he should move the shield behind his back from side to side and brandish the weapon around his head, as well as turn it [with the wrist] near the cheek. And again, the hands holding the weapon and the shield should gracefully embrace the head.
81-82/ Sattvata: Now I will speak about movement in Sattvata Nyāya. In it, the same swing of weapon and shield is preserved (i.e., as in Bharata), but this (swing of the weapon) should occur behind the back.
82-83/ Varśagānya. Walking in Varśagānya Nyāya is analogous to gait in Sattvata; weapons and shield should also be used analogously, but they must move around the head.
84-85/ Kaiśika: The brandishing of weapons near the chest or shoulder, which is to take place in Bhārata [Nya], will also hold force in the case of Kaiśika. But [in this case], the weapon should be struck only after it has been raised above the head.
85-86/ These graceful movements of the limbs should be used to depict the use of weapons such as the bow, the thunderbolt, and the sword.
86-88/ In stage combat there should be no [real] thrusting, cutting, or bleeding blows. The use of weapons (lit.: the release of projectiles) should be depicted through pantomime, and the severing [of any limb] should be represented, according to the rules, only by means of gestures and postures.
87/ These actions should be performed in Aṅgahāras, adorned with Sauṣṭhava and accompanied by music with [the correct] tempo and Tāla.
89-92/ Those who perform actions [in the Aṅgahāras] should attend to Sauṣṭhava (statuesqueness), since limbs without it (Sauṣṭhava) do not create beauty (literally: do not shine) in drama or dance. Sauṣṭhava [the perfect position] of the limbs should be presented as motionless, extended, relaxed, not very straight, and not strongly bent. When the waist and ears, as well as the elbows, shoulders, and head, are in their natural position (Sama), and the chest is raised, this will be Sauṣṭhava [of the body].
92-93/ Caturasra: Vaiṣṇava Sthāna with two hands moving at [the level of] the waist and navel together with the raised chest is called Caturasra of the limbs.
93-94/ There are four actions relating to the bow, namely: preparation (parimārjana), taking the arrow (ādāna), aiming (sandhāna), and shooting (mokṣaṇa).
94-95/ Preparation (parimarjana) is the drawing [of the bow], taking (grahaṇa) is the pulling out [of the arrow], aiming (sandhāna) is the placing of the arrow on the bow, and shooting (mokṣaṇa) is the release [of the arrow].
95-96/ Exercises [in Aṅgahāras and Cārīs] should be performed both on the ground and [high] in the air, having first massaged the body with [sesame] oil or barley porridge.
96-97/ The floor is a suitable place (literally “mother”) for exercises. Therefore, one should resort to the floor and, positioning oneself on it, perform the exercises.
97-99/ To strengthen the body, one should take [the proper] nasal medicine and purify oneself [lit.: resort to the rule regarding the belly], consume fatty food (abundantly saturated with oil), sugarcane juice, and sherbet. For vital force depends on nourishment, and exercises depend on vital force. Therefore, one should pay careful attention to one’s nourishment. When the intestines are not cleansed and a person is very tired, hungry, thirsty, has drunk too much [water], has eaten too much, he should not engage in physical exercises. The wise [teacher] should teach exercises to his student, who has a graceful body and a square chest and is not covered by clothing.
100/ These are the rules regarding Cārī in connection with exercises. Next, I will speak about the various Maṇḍalas.
This ends chapter XI of Bharata’s Nāṭyaśāstra, which discusses the execution of Cārī.
Continuation – in the following publications https://t.me/natyashastra 🙏