Bharata Muni
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MAY THERE BE GOOD NĀṬYA ŚĀSTRA /THE SCIENCE OF THEATRE/
recorded by the enlightened Bharata.
So, chapter twelve of the Nāṭyaśāstra of Bharata.
1/ I have now described the Cārīs connected with the use of weapons (lit.: “discharge of missiles”). [Now] learn about the Maṇḍalas arising from the combination of Cārīs.
2-3/ Air mandalas: Atikrānta, Vicitra, Lalitasañcāra, Sūcividdha, Daṇḍapāda, Vihṛta, Ālāta(-ka), Vāmaviddha, Lalita and Krānta.
3-5/ The earthly maṇḍalas are Bhramara, Askandita, Āvarta, Samotsārita, Edakakrīḍita, Ādita, Śakaṭāsya, Adhyardha(-ka), Piṣṭakūṭa, and Caśagata. Listen to their description.
6-9/ Atikrānta — the right foot [should move sequentially] in Janita-cārī and [Śakaṭāsya-cārī, and the chest is in the position] Udvāhita, the left foot in Ālāta-cārī and the right foot in Pārśvakrānta-cārī, (then) the left foot in Sūcī-cārī and the right foot in Apakrānta-cārī, [again] the left foot [sequentially] in Sūcī-cārī and [Bhrāmarī-cārī] turning the Trika, (then) the right foot in Udvṛtta-cārī and the left foot in Ālāta-cārī, which should be replaced by Bhrāmarī-cārī, then the left foot in Ālāta-cārī and the right foot in Daṇḍapāda-cārī.
10-13/ Vicita — the right foot [successively] in Janita-cārī and in Tālasañcara (Nikuttana), (then) the left foot in Syandita-cārī, the right foot in Pārśvakrānta-cārī, (further) the left foot in Bhujaṅgatrāsita-cārī and the contracted foot [successively] in Atikrānta and Udvṛtta-cārī, (further) the left foot in Sūcī-cārī, the right foot in Vikṣipta (Akṣipta)-cārī and the left foot in Apakrānta-cārī.
14-17/ Lalitasanchāra — the right foot with raised knee [for movement] in Sūcī-cārī, (then) the left foot in Apakrānta-cārī and the right in Pārśvakrānta-cārī, (then) the left foot [successively] in Sūcī and Bhrāmarī Cārī [the last turn around Trika], and the right foot in Pārśvakrānta Cārī, and the left foot in Atikrānta Cārī, which should then be in Bhrāmarī Cārī.
18-19/ Sucividdha — the left leg [moves] into Sūci and Bhramarī Cārī (with a turn of the Trika), the right leg into Pārśvakrānta Cārī, the left leg into Atikrānta Cārī, then the right leg into Sūci, the left leg into Apakrānta-cārī, and again the right leg into Pārśvakrānta-cārī.
20-22/ Daṇḍapāda — the right foot should move in Janita and Daṇḍapāda Cārī, the left foot in Sūcī and Bhramarī Cārī [the latter by turning the Trika], (next) the right foot in Urdhvṛtta Cārī and the left foot in Ālāta-cārī, (then) the right foot in Pārśvakrānta Cārī and the left foot [successively] in Bhujaṅgatrāsita and Atikrānta Cārī, to meet the right foot in Daṇḍapāda-cārī and the left foot [successively] in Sūcī and Bhramarī Cārī [the latter, turning the Trika].
23-26/ Vikhrita — the right foot [is moved] into Janita-cārī, (then) Nikuttana, (further) the left foot into Syandita-cārī, and the right foot into Urdhvṛtta-cārī, (then) the left foot into Ālāta-cārī and the right foot into Sūcī-cārī, again the left foot into Pārśvakrānta-cārī and the right foot into Akṣipta, Bhramarī [by turning the Trika] and Daṇḍapāda-cārī, (then) the left foot into Sūcī and Bhramarī Cārī [the latter by turning the Trika], further with the right foot into Bhujaṅgatrāsita-kārī and the left foot into Atikrānta-cārī.
27-29/ Alāta — the right foot [is moved] into Sūcī-cārī, and the left foot into Apakrānta-cārī, then the right foot into Pārśvakrānta-cārī, and the left into Alāta-cārī, after moving in turn into these Cārīs six or seven times with graceful steps, again with the right foot into Apakrānta-cārī, and with the left foot [successively] into Atikrānta and Bhramarī-cārī.
30-33/ Vāmaviddha — the right foot [is moved] into Sūci-cārī, the left foot into Apakrānta-cārī, then the right foot into Daṇḍapāda-cārī, and the left into Sūci-cārī, further the right foot into Bhrāmarī [with a turn of the Trika] and Pārśvakrānta Cārī, (then) the left foot into Akṣipta Cārī and the right foot into Daṇḍapāda and Urdhvṛtta Cārī, (then) the left foot [successively] into Sūci, Bhrāmarī [by means of a turn of the Trika] and Ālāta Cārī, (then) the right foot into Prāśvakrānta Cārī, and the left into Atikrānta Cārī.
34-37/ Lalita — the right foot [is moved] into Sūci-cārī, the left foot into Apakrānta-cārī, then the right foot into Pārśvakrānta and Bhujaṅgatrāsita-cārī, (then) the left foot into Atikrānta-cārī and Urdhvṛtta Cārī, further the left foot into Ālāta-cārī, and the right — into Pārśvakrānta-cārī, then the left foot into Atikrānta-cārī, with graceful steps.
38-40/ Krānta — the right foot [is moved] into Sūcī-cārī, the left foot into Apakrānta-cārī, then the right foot into Pārśvakrānta-cārī, the left foot also in the same Cārī (Pārśvakrānta), moving alternately in these Cārīs, in all directions, then the left foot into Sūcī-cārī, and the right into Apakrānta-cārī. This maṇḍala is intended for a natural gait. Therefore it is called Krānta, that is, the goer.
41/ Those were aerial mandalas. Now I will describe the earthly mandalas.
42-44/ Bhrāmarā — the right foot [is placed] in Janita-cārī, and the left foot in Syandita-cārī, then the right foot in Śakaṭāsya-cārī and the left foot is extended, (then) the right foot in Bhrāmarī-cārī [with a turn of the Trika], then the left in Syandita-cārī and the right in Śakaṭāsya-cārī, then the left foot in Apakrānta (Apasarpī)-cārī and Bhrāmarī-cārī, turning the back.
45-47/ Askandita — the right foot [is carried] into Bhramarī Cārī, the left foot into Addita and Bhramarī Cārī [by a turn of the Trika], then the right foot into Urdhvṛtta Cārī, the left foot into Apakrāntā (Apasarita) and Bhramarī Cārī [by a turn of the Trika, then] the right foot into Syanditā Cārī, (further) the left foot into Śakaṭāsya and with it strike the ground forcefully.
48-50/ Āvarta — the right foot [is moved] into Janita-cārī, the left into Tālasañcara (Nikuttana)-cārī, then the right foot into Śakaṭāsya and Urdhvṛtta-cārī, (further) the right foot into Atikrānta (Apasarpī)-cārī, turns back and Chaśagati-cārī, then the right foot into Syanditā-cārī and the left foot into Śakaṭāsya-cārī, further the right foot into [Bhrāmarī-cārī, with a turn of the Trikā) and the left foot into Apakrānta (Apasarpī) Cārī.
51-53/ Samotsārita — having first taken Samapāda Sthāna, then extending both arms with palms upward, (then) performing interrupted movements of Āveṣṭana and Udveṣṭana, [then placing the left hand] on the waist, moving the right hand in the manner of Āvartita [then the right hand should be placed on the waist] and the left hand, moving in the manner of Āvartitā, alternately moving with this Cārī, will give rise to the Samotsārita Maṇḍala.
54-55/ Edakakridita — two feet on the ground (performed sequentially) Sūci and Edakakridita Cārī, (then) quickly into Bhramarī Cārī, turning the Trika, (then) moving (the feet) alternately in Sūci, Edakakridita, Aviddhā Cārī. This gives rise to the Khaṇḍa-maṇḍala named Edakakridita.
56-58/ Addita — the right foot [is moved] in the Udghaṭṭa manner, and then (simply) moves in a circle, then [one should move] in Sandita-kari, and the left foot in Śakaṭāsya-cārī, then the right foot moves back in Apakrānta (Apasarpī) and Caśagati Cārī, (then) the left foot in Addita Cārī and the right foot in Apakrānta (Apasarpita) Cārī, (next) the left foot in Bhramarī Cārī and the right foot in Syandita (Asyandita) Cārīs, and strike the ground fiercely.[4]
59-60/ Śakaṭāsya — the right foot (is moved) into Janita-cārī, then a movement in the manner of Tālasañcara (Nikuttana), then with the same foot into Śakaṭāsya-cārī, and with the left foot into Sandita-cārī, moving thus alternately with Śakaṭāsya Cārī. This Cārī Maṇḍala, called Śakaṭāsya, should be used for depicting battle.
61-62/ Adhyardha — the right foot (moved sequentially) in Janita and Syandita Cārī, then the left foot in Apakrānta (Apasarpita) Cārī, and the right foot in Śakaṭāsya Cārī. By repeating these cārīs, the Cārī Maṇḍala named Adhyardha is performed; it is used to depict hand-to-hand combat.
63-64/ Piṣṭakūṭṭa — the right foot (is moved) in Sūcī-cārī, the left foot in Apakrānta, (then) the right foot in Bhujaṅgatrāsita-cārī and the left foot also in the same cārī. Thus, the movement in Bhujaṅgatrāsita cārī is known as cārī maṇḍala, called Piṣṭakūṭṭa; it is used to depict hand-to-hand combat.
65/ Cāṣagata. The turning of the feet in the Cāṣagata-cārī is called Cārī-Maṇḍala, known as Cāṣagata. It is used to depict hand-to-hand combat.
66/ Here I have briefly described the Mandalas arising from various Cārī. Now I will describe the Sama Cārī.
67/ The use of Sama Cārī is also known as Sama Maṇḍala. [The actor] who uses them should follow the instructions of the leading actor.
68/ These maṇḍalas, intended for depicting battle, should be performed with graceful movements of the limbs and accompanied by [appropriate] instrumental music.
Thus ends Chapter XII of the Nāṭyaśāstra of Bharata, which treats of the execution of the Maṇḍalas.
Continuation – in the following publications https://t.me/natyashastra 🙏