Bharata Muni
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MAY THERE BE GOOD
NĀṬYA ŚĀSTRA /THE SCIENCE OF THEATRE/,
applied by the enlightened Bharata
So, the fourth chapter in Bharata’s “Nāṭyaśāstra”:
1/ Having thus completed the ritual of worship, I asked the Progenitor: “O lord, command quickly, what performance should be shown?”
2/ Then the Blessed One said to me: “Prepare a performance called ‘The Churning of Amrita’, which gives strength and satisfies the gods.
3/ O wise one, this must be performed precisely in the “samavakāra” style, previously described by me, which mysteriously aids in matters of material gain, heartfelt desires, and religious duty.
4/ And after the performance, both the gods and the dānavas (demons) were equally satisfied with what they saw, with the action itself, and with its execution.
5/ After some time, the Great Lotus-Born One said to me: “Now we must show ‘Nāṭya’ to the Three-Eyed One, the Greatest in Spirit.”
6/ And so, having come together with the gods to the abode of the mighty-bodied one,
The progenitor, after praising Śiva, spoke thus:
7/ “O best of gods, show mercy, look and listen to this ‘samavakāra’ that has been created by me.”
8/ “Let us see this!” — with these words the king of the gods /Śiva/ replied to the subduer of rebels /Brahmā/. And then the Blessed One said to me: “Prepare yourself, O great-minded one!”
9/ And on the summit of the Himalayas, surrounded by a multitude of nāgas, in a beautiful mountain valley with a waterfall and mango trees growing everywhere,
10/ here, O most righteous of the twice-born, was shown that first scene created earlier, the “Burning of Tripura,” called “dima” /depiction of the siege/.
11/ The multitude of bhūtas was satisfied with the seen action and its performance, and the great god /Śiva/, very pleased, spoke thus to the Progenitor:
12/ “Ah, Nāṭya, what has been created by you is good, O great-minded one! It leads to
to glory, prosperity and virtue, it augments wisdom!
13/ She reminded me of the dance performed by me at the end of time, full of various postures /karaṇa/ and adorned with compositions of their combinations /aṅgahāra/.
14/ The first scene, as performed by you, is correct.
and it will be called “śuddha” /pure/. However, you can combine it with
15/ “vardhamānaka” (Vardhamānaka), “gīta” and “mahāgīta” for greater benefit of the performance,
16/ and then it will be called “citra” /mixed/.” Hearing the Great Lord’s speech, the Self-Existent One replied:
17/ “O best of gods, we would like to see the performance of dance compositions.” Then the Lord of the universe, having called Tandu, asked him
18/ to tell for Bharata how the compositions (Aṅgahāras) are applied. Here are the explanations that Tandu, great in spirit, gave regarding their performance,
19/ and here I will tell you about the combination of postures in composition together with “recaka”: known are “sthirahasta” /Sthirahasta, firm hand/ and “paryastaka” /Paryastaka, scattering, being around/,
20/ “sucividdha” /needle prick/, as well as “apaviddha” /thrusting/, “akṣiptaka” /attraction/. Also learn the traditional “uddhattita” /hop/.
21/ and known as “viśkambha” /support/, as well as “aparājitā” /invincible/,
and also “viśkambhapasṛta” /elusive support/, and “mattakrīḍā” /intoxicating play/,
22/ “svastikarecita” /divided cross/ and “parśvasvastika” /cross to the side/, named “vṛścikāpasṛta” /escaping scorpion/ and the following “bhramara” /bee/,
23/ “mattakhalītaka” /movement of passion/, as well as “madadvilasita” /agitation of passion/, “gatimandālaka” /circular movement/, and also learn “paricchinna” /limitation/,
24/ “parivṛttacēcita” /separate rotation/, and there is also “vaiśākha-rēcita” /separated branches/, and “parāvṛtta” /turn/ learn, and “ālātaka” /firebrand/,
25/ as well as the one called “parśvacheda” /side cut/ and “vidyudbhrānta” /whirling lightning/, and there is also “urudvṛtta” /thigh movement/, as well as “ālīḍha” /bending/,
26/ learn also “recita” /separation/ and the traditional “accūrita” /cutting/, and “akṣiptarecita” /separate throwing/, and the next “sambhrānta” /whirling/,
27/ and “apasarpa” /retreat/ learn, and also “ardhanikuttaka” /half-fall/. These are the thirty-two pose compositions, called “aṅgahāra” (Aṅgahāra).
28/ Now I will speak about the basic postures /karaṇa/, of which these compositions /aṅgahāra/ consist, and about how the hands and feet of the performers should move in the transition from one posture to another.
29/ O twice-born ones, I shall tell you the truth about the very postures and their compositions. And thus, as all compositions consist of postures,
30/ I will name them and give their description. The pose (Karaṇa) in dance should be called the simultaneous movement of hands and feet.
31/ Two dance poses make up one dance “mātṛkā” /Mātṛkā, a magic letter/. A composition, however, may consist of two, three, or four such letters.
32/ Of three postures is formed “kalāpaka” /Kalāpaka, a knot/, of four – “śaṇḍaka” /Śaṇḍaka, a multitude/, and of five is obtained “saṃghātaka” /Saṃghātaka, a whole/.
33/ Here are also reported compositions consisting of six, seven, eight, or nine postures.
34/ I will speak about the changing positions of the hands and feet in these postures. First, “talapuṣpapuṭa” /Talapuṣpapuṭa, flowers in the palm/, “vartita” /Vartita, turn/ and “valitoru” /Valitoru, fold of the thigh/,
35/ “apaviddha” /Apaviddha, removal/, “samanakha” /nails at one level/, “līna” “adherence”, “svastikarecita” /divided cross/, as well as “mandalasvastika” /circle and cross/ and also “nikuttaka” /fall/
36/ and “ardhanikuṭṭa” /half-fall/, also “katicchinna” /slanted hip/, “ardharecita” /half-divided/, and “vakṣaḥsvastika” /cross at the chest”/,
37/ “unmattaka” /mad/, “svastika” /cross/, as well as “pṛṣṭhasvastika” /cross from the side/, “diksvastika” /cross in the cardinal directions/, “ālāta” /firebrand/, and “kaṭisama” /at the level of the hip/,
38/ also “ākṣipta-recita” /attraction-separation/ and “vikṣiptākṣiptaka” /throwing-attraction/, as well as “ardhasvastika” /half-cross/ is indicated, and the next is “añcita” /bent/,
39/ mentions “bhujaṅgatrāsita” /Bhujaṅgatrāsita, a frightened snake/, and also “ūrdhvajānu” /knee raised upward/, “nikuñcita” /fallen/, “mattali” /intoxicated/ and “ardhamattali” /half-intoxicated/,
40–55/ Recikanikuṭṭita (Recita-), Padāpaviddhaka (movement of the harrow?), Valita (turn), Ghūrṇita (Ghūrṇita), Lalita ](https://www.wisdomlib.org/definition/lalita#natyashastra) (see ch. 8), Daṇḍapakṣa (Daṇḍapakṣa), Bhujaṅgatrāsitarecita (Bhujaṅgatrastarecita), Nūpura (Nūpura), Vaiśākharecita (Vaiśākharecita), Bhramaraka (Bhramaraka), Catura (Catura), Bhujaṅgāñcita (ka), Daṇḍakarecita (Daṇḍakarecita), Vṛścikakuṭita (Vṛścikakuṭṭita), Kaṭibhrānta (Kaṭibhrānta), Lātavṛścika (Latāvṛścika), Chinna (Chinna), Vyāśikarecita (Vṛścikarecita), Vyāṃsita (Vyaṃsita), Pārśvanikuṭṭana-kuṭṭaka (Pārśvanikuṭṭana-kuṭṭaka), Lātaśatilaka (Latāṭatilaka), Krāntaka (Krāntaka), Kuñcita, Cakramāṇḍala (Cakramaṇḍala), Uromāṇḍala (Uromaṇḍala), Akṣipta (Ākṣipta), Tālavilāsita (Talavilāsita), Argala (Argala), Vikṣipta (Vikṣipta), Āvṛtta (Āvarta) (Āvarta), Dolapāda (Dolapāda), Nivṛtta (Nivṛtta), Vinivṛtta (Vinivṛtta), Pārśvakrānta (Parśvakrānta), Niśumbhita (Niśumbhita), Vidyudbhrānta (Vidyudbhrānta), Atikrānta (Ātikrānta), Vivartitaka (Vivartitaka), Gajakrīḍita (Gajakrīḍita), Tālasasphoṭita (Talasaṃsphoṭita), Garuḍaplutaka (Garuḍaplutaka), Gaṇḍasūcī (Gaṇḍasūcī), Parivṛtta (Parivṛtta), Pārśvajānu (Pārśvajānu), Gṛdhrāvalīnaka (Gṛdhrāvalīnaka), Saṃnata (Sannata) Sūcī, Ardhasūcī (Ardhasūci), Sūcividdha (Sūcīviddha), Apakrānta (Apakrānta), Mayūralalita (Mayūralalita), Sarpita (Sarpita), Daṇḍapāda (Daṇḍapāda), Hariṇapluta (Hariṇapluta), Preṅkholita (Preṅkholita), Nitamba (Nitamba), Sthalita (Skhalita), Karihasta (Karihasta), Prasarpita (-pitaka), Siṃhavikrīḍita (Siṃhāvikrīḍita), Siṃhakarṣita (Siṃhākarṣita), Udvṛtta (Udvṛtta), Upasṛta (Upasṛta), Tālasaṃghaṭṭita (Talasaṃghaṭṭita), Janita, Avahiṭṭhaka (Avahitthaka), Niveśa (Niveśa), Elakakrīḍita (Elakākrīḍita), Uruvṛtta (Urūdvṛtta), Madasthalita (Madaskhalita), Viṣṇukrānta (Viṣṇukrānta), Sambhrānta (Saṃbhrānta), Viṣkambha (Viṣkambha), Udghaṭṭita (Udghaṭṭa) (Udghaṭṭa), Vṛṣabhakrīḍita (Vṛṣabhakrīḍita), Lolitaka (Lolita) (Lolita), Nāgāsarpita (Nāgāpasarpita), Śakaṭāsya (Śakaṭāsya), Gaṅgāvataraṇa (Gaṅgāvataraṇa).
56/ [These Karaṇas will be used] in dance, fights, martial arts, walking, and also in movements in general. The movements of the feet prescribed for exercises in sthānas (Sthānas, standing postures, see ch. 11) and cārīs (Cārīs, dance steps, see ch. 10) are also applicable to these karaṇas.
57/ And the application of Nṛtta-hastas (“dance hands”, see ch. 9), prescribed for dances, is usually implied in the Karaṇas.
58/ During the discussion of leg movements, I will consider the cārīs suitable for [depicting] a fight. The master [of dramatic art] should apply them in any case according to his theatrical talents.
59/ In Karana, the left hand should generally be held at the chest, and the right hand should follow the [right] foot.
60/ Listen [now] about the movement of hands and feet in dance in relation to the movements of the hips, sides, thighs, as well as the chest, back, and abdomen.
61/ The sthānas, cārīs and nṛtta-hastas mentioned [earlier] are known as Mātṛkās (Mātṛkās), the variations of which are called Karaṇas.
Description of Karaṇas
62/ ① Talapuṣpapuṭa (Talapuṣpapuṭa) — left hand in Puṣpapuṭa (Puṣpapuṭa), feet — Agratalasañcara, side — Sannata (Nata).
63/ ② Vartita (Vartita) — Vyāvṛtta (Vyavṛtta) (= Vyāvartita) and Parivartita (Parivartita), wrists bent, then hands placed on the hips.
64/ ③ Valitoru (Valitoru) — the hands of Śukatuṇḍa (Śukatuṇḍa) perform Vyāvartita and Parivartita-karaṇa (Parivartita-karaṇa), while the thighs perform Valita.
65/ ④ Apaviddha (Apaviddha) — [strong] hand with the Śukatuṇḍa gesture falls onto the [right] thigh, the left hand is held at the chest.
66/ ⑤ Samanakha (Samanakha) — the feet in the Samankha position (translator’s note: this word is not found anywhere else, so it is unclear what this pose is, but there is a suggestion that it is simply the natural standing position of the feet) touch each other, both arms hang down, the body is in a natural posture.
67/ ⑥ Līna (Līna) — two hands in Patāka (Patāka), joined together in the Añjali pose, at the chest, head raised high, shoulders bent.
68/ ⑦ Svastikarecita (Svastikarecita) — two hands with the Recita and Aviddha (Āviddha) gestures, joined together in the form of a Svastika, then separated and held at the thigh.
69/ ⑧ Mandalasvastika (Maṇḍalasvastika) — two hands join in the Svastika gesture with palms turned upward in a similar manner, and the body in Mandala Sthāna (posture) (translator’s note: there is an example from the Kumbakonam temple).
70/ ⑨ Nikuttaka (Nikuṭṭaka) — each of the hands should move up and down, alternately between the head and the other hand, and the legs should also move in a similar manner.
71/ ⑩ Ardhanikūṭaka (Ardhanikuṭṭaka) — arms with the Alapallava (Alapallava) gesture inclined toward the shoulders, while the legs move up and down.
72/ ⑪ Katichchinna (Kaṭicchinna) — the thighs alternately in the Chhinna (Chinna) pose, two hands in Pallava (Pallava) alternately and repeatedly held at the head.
73/ ⑫ Ardha-recita (Ardharecita) — the hand with the Suci-mukha gesture (Sūcimukha) moves freely, the legs alternately move up and down, the side (flank) in the Sannata pose (i.e., Nata).
74/ ⑬ Vakṣaḥsvastika (Vakṣaḥsvastikā) — two legs crossed over each other in the shape of a Svastika, two arms in the Recita position, brought together in a similar manner on the bent chest (nikuñcita, nikuñcita).
75/ ⑭ Unmatta (Unmatta) — legs — Añcita, arms — Recita.
76/ ⑮ Svastika (Svastika) — arms and legs respectively crossed in the form of a Svastika (translator’s note: example).
77/ ⑯ Pṛṣṭhasvastika (Pṛṣṭhasvastika) — two hands, after being raised up and down, join like a svastika; the two legs also join like a svastika with Apakrāntā (Apakrānta) and Ardhasūci (Ardhasūcī) cārī.
78/ ⑰ Dikṣvāstika (Diksvastika) — a turn sideways and forward in the course of a single (literally connected) movement, and the formation of a Svastika with the hands and feet.
79/ ⑱ Ālāta (Alāta) — after performing Ālāta-cārī, lowering the hand from [the level of] the shoulder, then performing Ūrdhvajānu (Ūrdhvajānu) cārī.
80/ ⑲ Katisama (Kaṭisama) — the legs should be separated; after Svastika Karana, place two arms: one on the navel, and the other on the thigh, and the sides in the Udvāhīta pose (udvāhīta, also not found anywhere else in the source text, the word उद्वाहित means “raised”).
81/ ⑳ Akśiptarecita (Ākṣiptarecita) — left hand on the heart, right hand — Recita, raised upward and to the sides, and then both hands — Recita with the gestures of Apaviddha (Aviddhaka, Āviddhaka).
82/ ㉑ Vikṣiptakṣiptaka (Vikṣiptākṣiptaka) — the arms and legs are first thrown upward, then cast down again.
83/ ㉒ Ardhasvastika (Ardhasvastika) — two legs create a Svastika, the right hand for the Karihasta gesture, and the left rests on the chest.
84/ ㉓ Añcita — in Ardhasvastika, the Karihasta should alternately be in the movement of Vyāvartita (Vyāvṛtta) and Parivartita, and then bend toward the tip of the nose.
85/ ㉔ Bhujaṅgatrasita (Bhujaṅgatrāsita) — a foot in the Kuñcita position should be raised upward (the left one on the ground), the hips should perform the oblique movement Nivartana (Nivṛtta). (translator’s note: better to look at the picture)
86/ ㉕ Ūrdhvajānu (Ūrdhvajānu) — the foot in Kuñcita should be raised upward, the knee should be lifted (literally extended) at chest level, and the two arms should be in harmony with the dance.
87/ ㉖ Nikuñcita — the legs move as in Vṛścika-karaṇa (Vṛścika), two arms bent at the sides, the right hand rests on the tip of the nose.
88/ ㉗ Mataḷḷi (Matalli) — execution of a rotational movement with throwing back both legs (left and right) and movement of the arms in the movements Udveṣṭita (Udveṣṭita) and Apaviddha.
89/ ㉘ Ardhamatallī (Ardhamatalli) — move the legs away from the position in Sthalita-karaṇa (Skhalita-karaṇa), the left hand in Recita, then place it on the hip.
90/ ㉙ Recitanikuttita (Recitanikuṭṭita) — the right hand should be Recita, the left leg Udghattita (= Nikuttita), and the left hand with the Dola gesture (Dolā).
91/ ㉚ Pādapaviddhaka (Pādāpaviddhaka) — the hands in Katakāmukhī (Kaṭakāmukha) are pressed with the back side to the navel, the feet should be in Sūcī, and [then] Apakrānta Cārī.
92/ ㉛ Valita (Valita) — the hands should be in Apaviddha, the feet should be in Sūci Cārī Trika (Sūcī Cārī Trika), turned [into Bhramarī Cārī].
93/ ㉜ Ghūrṇita (Ghūrṇita) — the left hand in Valita and rotating, the right hand with the Dola gesture, and both feet drawn apart from the Svastika position.
94/ ㉝ Lalita (Lalita) — the left hand with the Karihasta gesture, the right again turned to the side (apavartita), both feet moving up and down.
95/ ㉞ Daṇḍapakṣa (Daṇḍapakṣa) — performing Ūrdhvajānu Cārī, place the hands in Lāṭa (Latā) on the knees.
96/ ㉟ Bhujaṅgatatrastarecita (Bhujaṅgatrastarecita) — the legs should be in Bhujaṅga-trasta-cārī, the two arms should be in Recita and moved to the left side. (translator’s note: example)
97/ ㊱ Nupura (Nūpura) — The trika (trikāsthi, sacrum) should be elegantly turned, [in Bhramarī Cārī] the two hands show, respectively, the gestures Lata and Recita, and Nupurapāda Cārī (Nūpurapāda Cārī) with the feet.
98/ ㊲ Vaiśākharecita (Vaiśākharecita) — the hands and feet should be Recita, as well as the thighs and neck, and the whole body in Vaiśākha Sthāna (posture).
99/ ㊳ Bhramaraka (Bhramaraka) — svastika legs in Askipṭa Cārī, arms in Udveṣṭita movement, and Trika turned to the side [in Bhramarī Cārī].
100/ ㊴ Caturā — the left hand with the Añcita gesture (i.e., Alapallava), the right hand with the Caturā gesture, the right leg in the Kuṭṭita position (i.e., Udghaṭṭita).
101/ ㊵ Bhujaṅgāñcita — legs in Bhujaṅgātrāsita Cārī, right hand in Recita, left hand with the Lata gesture.
102/ ㊶ Daṇḍakarecita — the arms and legs should be freely flung in all directions, like a staff (daṇḍa, daṇḍa), and the same arms and legs should then be brought into the Recita position.
103/ ㊷ Vṛścikakuttita (Vṛścikakuṭṭita) — assuming the Vṛścika-karaṇa (Vṛścika-karaṇa), the hands move with Nikuttita (Nikuṭṭita).
104/ ㊸ Katibhrānta (Kaṭibhrānta) — Sūci Cārī, right hand with the Apaviddha (Aviddha) gesture and rotating hip.
105/ ㊹ Latavṛścika (Latāvṛścika) — the foot should be in Añcita and turned back, and the left hand — with the Lata gesture, the palm and fingers bent and turned upward.
106/ ㊺ Chinna (Chinna) — hold the hand in Alapadma on the hip in the Chinna pose, the body in Vaiśākha Sthāna (the Vaiśākha pose).
107/ ㊻ Vṛścikarecitā — assuming the Vṛścika-karaṇa, the two hands in the form of a svastika gradually become Recitā and show the gesture of Viprakīrṇa.
108/ ㊼ Vṛścika (Vṛścika) — both arms are bent and held at the shoulders, and one leg is bent and turned back.
109/ ㊽ Vyamsita — in Alidha Sthāna (Ālīḍha Sthāna), two hands should be Recita and held at the chest, and then move up and down with the Viprakīrṇa gesture.
110/ ㊾ Pārśvanikuṭṭaka (Pārśvanikuṭṭaka) — the arms in svastika should be held to one side, and the legs — in Nikuttita.
111/ ㊿ Lalāṭṭilaka (Lalāṭatilaka) — after assuming the Vṛścika-karaṇa, one should make a mark (tilaka) on the forehead with the big toe.
112/ ⑤① Krantaka — bending the leg Kuñcita behind the back, Atikrānta Cārī (Atikrāntā Cārī), then both arms sharply lower downward.
113/ ⑤② Kuñcita — the foot at the beginning in Añcita, and the left hand is held on the left side with the palm facing up.
114/ ⑤③ Chakramandala (Cakramaṇḍala) — internal Apaviddha (Addita, per AG) Cārī with a bent body and held between two hanging straight arms.
115/ ⑤④ Uromandala (Uromaṇḍala) — two legs are extended from the Svastika pose and used in Apaviddha (Addita) Cārī, while the arms are in the Uromandala gesture.
116/ ⑤⑤ Akṣipta (Ākṣipta) — in this Karaṇa, the arms and legs move actively. (translator’s note: the knees are bent, and the legs below are crossed in a svastika; the dancer looks to the left, the left hand is on the hip, and the right hand is in sūci)
117/ ⑤⑥ Talavilasita (Talavilasita) — a foot with the big toe and its underside turned upward and raised high to the side, with bent palms.
118/ ⑤⑦ Argala — the legs are stretched back and held at a distance of two and a half tālas (palms) from each other, and the arms move in accordance with them.
119/ ⑤⑧ Vikṣipta (Vikṣipta) — to throw the arms and legs back or to the sides equally.
120/ ⑤⑨ Āvarta — legs in Kuñcita are extended forward, and both arms move swiftly, as befits dance.
121/ ⑥⓪ Dolapāda — legs raised upward in Kuñcita, and two arms sway from side to side, as befits a dance.
122/ ⑥① Nivritta (Nivṛtta) — first the arms and legs are thrown out, the Trika turns, and both arms assume Recita.
123/ ⑥② Vinivṛtta (Vinivṛtta) — observance of Sūcī Cārī, the Trika must be turned, and the hands must be Recitā.
124/ ⑥③ Pārśvakrānta (Pārśvakrānta) — execution of the Pārśvakrānta-cārī, throwing the arms forward and moving them in accordance with the dance.
125/ ⑥④ Niśumbhita (Niśumbhita) — foot bent backward, chest raised high, and hand held at the center of the forehead (tilaka). (translator’s note: here and in the next karaṇa, cf. with AG’s commentary)
126/ ⑥⑤ Vidyudbhrānta (Vidyudbhrānta) — the foot is turned back, and two hands in the Mandalaviddha gesture are extended very close to the head.
127/ ⑥⑥ Atikrānta (Atikrānta) — while performing the Atikrānta-cārī, both arms are extended forward, as befits the dance.
128/ ⑥⑦ Vivartitaka — arms and legs thrown outward, Trika turned, and arms in Recita.
129/ ⑥⑧ Gajakrīḍita (Gajākrīḍita) — the left arm is bent and brought to the [left] ear, the right hand is in the Lata gesture, and the feet are in Dolapada Cārī.
130/ ⑥⑨ Talasaṃsphoṭita (Talasaṃsphoṭita) (translator’s note: see also AG’s commentary) — the foot should be quickly raised and extended forward, both hands show the Talasaṃsphoṭita gesture (translator’s note: BM gives no definition anywhere in the text).
131/ ⑦⓪ Garudaplutaka (Garuḍaplutaka) — both legs are extended backward, the two arms — right and left — should be, respectively, with the gestures Lata and Recita, and the chest is raised upward.
132/ ⑦① Gandasuchi — feet in Sūchi position, side in Unnata position, one hand on the chest, and the other bent and touching the cheek.
133/ ⑦② Parivṛtta (Parivṛtta) — arms raised in the gesture Apaveṣṭita (Apaveṣṭita), legs in the position Sūci, Trika turned (in Bhramarī Cārī).
134/ ⑦③ Pārśvajānu (Pārśvajānu) — one leg in Sama position, the opposite thigh raised, one hand in Muṣṭi at the chest.
135/ ⑦④ Gṛdhravalīnaka (Gṛdhrāvalīnaka) — one leg extended backward, one knee slightly bent, two arms outstretched.
136/ ⑦⑤ Sannata – after the jump, both legs should be extended forward in the shape of a Svastika, and both hands should show the Sannata gesture (i.e., Dola, according to the AG).
137/ ⑦⑥ Suchī — the foot in Kuñcita should be raised and placed forward on the ground, and the two hands should be in harmony with the performance.
138/ ⑦⑦ Ardhasūci — the hand in Alapadma rests on the head, the right leg is in the Sūci [cārī] position.
139/ ⑦⑧ Sucividdha (Sūcīviddha) — one foot in Sūci Cārī is placed on the heel of the other foot, and the two hands are placed, respectively, on the waist and the chest.
140/ ⑦⑨ Apakrānta (Apakrānta) — after performing Valita with the hip, one should perform Apakrānta Cārī, moving both hands in harmony with the execution.
141/ ⑧⓪ Mayūralalita (Mayūralalita) — after accepting Vṛścika-cārī (Vṛścika Cārī) with both hands into Recita, the Trika is turned [into Bhramarī-cārī].
142/ ⑧① Sarpita (Sarpita) — two legs should be carried from the position Añcita, the head — by the gesture Parivāhita (Parivāhita), and two arms — in the position Recita.
143/ ⑧② Daṇḍapāda — after Nūpura-cārī (Nūpura Cārī) one should perform Daṇḍapāda-cārī (Daṇḍapāda) and quickly show the hand Aviddhi (Āviddha).
144/ ⑧③ Harinapluta (Hariṇapluta) — after performing Atikrānta-cārī, the dancer jumps and stops, and then one of the shins bends and is tossed upward.
145/ ⑧④ Preṅkholitaka — after performing Dolapada-cārī (=krama – position), one must jump and allow the Trika to unfold into Bhramarī-cārī and come to the test.
146/ ⑧⑤ Nitamba (Nitamba) — first the hands should be raised upward, the fingers should be directed upward, and then perform Buddha-chari.
147/ ⑧⑥ Sphalita (Skhalita) — after performing Dolapada Cārī, turn the hands with the Recitā gesture in harmony with the dance.
148/ ⑧⑦ Kṛhasta (Krihasta) — place the left hand on the chest, with the palm of the other hand perform Proḍveśita-tala (Prodveṣṭita-tala), feet — Añcita.
149/ ⑧⑧ Prasarpitaka (Prasarpitaka) — one hand should be Recita, the other — the gesture Lata, and the feet — Samsarpitatala (= Talasañcara, Talasañcara).
150/ ⑧⑨ Siṃhavikrīḍita (Siṃhavikrīḍita) — after performing Ālāta-cārī, one must move quickly and follow the feet with the hands.
151/ ⑨⓪ Siṃhakarṣita (Siṃhākarṣita) — extend one leg back, bend the arms and turn them forward, then bend them again.
152/ ⑨① Udvṛtta (Udvṛtta) — one must sharply move the arms, legs, and the entire body (literally tossing upward), and then perform the Udvṛtta-cārī.
153/ ⑨② Upasṛtaka (Upasṛtaka) — the execution of Akṣipta-cārī and hands in harmony with this Cārī.
154/ ⑨③ Talasaṃghaṭṭita (Talasaṃghaṭṭita) — perform Dolapada Cari, the two palms touch each other, and the left hand is in Recita.
155/ ⑨④ Janita (Janita) — one hand is placed on the chest, the other hangs freely, and the Talāgrasaṃsthitā (Janita according to AG) Cārī is performed.
156/ ⑨⑤ Avahitthaka (Avahitthaka) — after performing Janita-karaṇa, we raise our arms with spread fingers, and then slowly lower them.
157/ ⑨⑥ Niveśa (Niveśa) — two hands will lie on the chest, which should be in Nirbhugna (Nirbhugna), and the dancer should assume Mandala Sthāna (posture).
158/ ⑨⑦ Elakakridita (Elakākrīḍita) — a jump on the feet in Talasañcara (Talasañcara, see ch. X, śl. 46) and a descent to the ground with a bent and turned body.
159/ ⑨⑧ Urdhvṛtta (Ūrūdvṛtta) — with the hand we perform Āvṛtta (Vyāvartita), and then bend it and place it on the thigh, with the shins we perform Añcita and Uddhṛtta.
160/ ⑨⑨ Madasthalitaka (Madaskhalitaka) — two arms lowered downward, the head takes the Parivāhita position, the right and left legs are turned in Aviddha-cārī.
161/ ①⓪⓪ Viṣṇukrānta (Viṣṇukrānta) — the foot is extended forward and bent, as if in walking, and the arms are in Recita.
162/ ①⓪① Sambhrānta (Saṃbhrānta) — a hand with the Āvartita (Vyāvartita) movement, placed on the thigh, then in Aviddha.
163/ ①⓪② Viṣkambha (Viṣkambha) — the hand should be in Apaviddha, Sūci Cārī, the foot should be in Nikuttita, and the left hand on the chest.
164/ ①⓪③ Udghaṭṭa (Udghaṭṭa) — the legs should be in Udghaṭṭita movements, and the arms in the Tālasaṅghaṭṭita movement should be positioned on both sides.
165/ ①⓪④ Vṛṣabhakrīḍita (Vṛṣabhakrīḍita) — after performing Ālāta-cārī, both hands should become Recitā, and then the positions of Kuñcita and Añcita should be assumed.
166/ ①⓪⑤ Lolita — the hands on both sides will be in Recita and Ancita, and the head — in Lolita and Vartita.
167/ ①⓪⑥ Nāgapasarpita (Nagāpasarpita) — to move the feet from the Svastika pose, the head — Parivāhita, and the hand — Recita.
168/ ①⓪⑦ Śakatāsya (Śakaṭāsya) — starting from stillness of the body, advancing the foot in Tālasañcāra and making the chest Udvāhitā.
–
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Nāṭyaśāstra chapter 4 part 2, dance technique: aṅgahāras, śl. 170-245 Bharata Muni
| ← Chapter 4 part 1 | Chapter 4 part 3 → |
Angaharas (Aṅgahāras)
171-173. ① Sthirahasta (Sthirahasta) — extending both arms and raising them upward, entering Samapada Sthānu (Samapāda Sthāna), the left arm extended upward from shoulder level, then taking Pratyālīḍha Sthāna (Pratyālīḍha Sthāna), followed by the sequential execution of Nikuttita, Urdhvṛtta, Akṣipta, Svastika, Nitamba, Karihasta, and Katicchinna (Kaṭicchinna) karaṇas.
174-176. ② Paryastaka (Paryastaka) — execution of the Talapuṣpapuṭa, Apaviddha and Vartitā karaṇas, then assuming Pratyālīḍha Sthāna, then assuming the karaṇas Nikuttaka, Urdhvavṛtta, Akṣipta, Uromaṇḍala, Nitamba, Karihasta, Kaṭicchinna.
176-178. ③ Sucividdha (Sūcīviddha) — after performing the gestures of Alapallava (Alapadma) and Suci (-mukha), taking one after another the karanas Vikṣipta, Āvartita, Nikuttaka, Urdhvṛtta, Akṣipta, Uromaṇḍala, Karihasta and Kaṭicchinna.
178-180. ④ Apaviddha (Apaviddha) — Apaviddha and Sucividdha karaṇas, then they perform the Udveṣṭita-karaṇa with the hands and turn the Trika, showing with the hands the gestures of Uromandalaka, and assume the Katicchinna-karaṇa.
180-182. ⑤ Akṣiptaka (Ākṣiptaka) — taking successively Nupura, Vikṣipta, Alātaka, Akṣipta, Uromaṇḍala, Nitamba, Karihasta and Katicchinna Karaṇas.
182-184. ⑥ Udghaṭṭita (Udghaṭṭita) — the movement of the hands of Udveṣṭita and Apaviddha (Aviddha) and of both feet so that they become Nikuttita, and again their change into the gesture of Uromandala, and then the sequential adoption of the Karaṇas of Nitamba, Karihasta, and Katicchinna.
184-187. ⑦ Viśkambha (Viṣkambha) — the hands alternately become Udveṣṭita, the legs successively turn into Nikuttita and bend, then Urdhvavṛtta-karaṇa is performed, the hands become Caturasra (Caturasra, nowhere defined in the NŚ, according to AG: two hands in katakāmukha are extended forward eight aṅguli (fingers) from the chest, both shoulders and elbows are at the same level) and the legs Nikuttaka, then in Bhujaṅgatrāsita-karaṇa the hands become Udveṣṭita, then Cchinna and Bhramaraka karaṇas are performed while the Trika is in motion, then Karihasta and Katicchinna karaṇas are adopted.
187-190. ⑧ Aparājitā (Aparājita) — beginning in the Daṇḍapāda-karaṇa, the hands perform the movements Vikṣipta and Akṣipta, then assuming the Vyāṁsita-karaṇa, the left hand moves together with the left leg, then the hands — Caturasra, and the legs — the movement Nikuttaka, executing the Bhujaṅgatrāsita-karaṇa and the hands — the Udveṣṭita movement, then successively assuming two Nikuttakas (i.e., Nikutta and Ardhanikutta): Akṣipta, Uromaṇḍala, Karihasta, and Katicchinna karaṇas.
190-192. ⑨ Viśkambhāprasṛta (Viṣkambhāpasṛta) — beginning with the Karaṇas in Kuttita and Bhujaṅgatraśita, the hand in Recita to show the Patāka gesture, then successively assume Akṣiptaka, Uromaṇḍala, the Lata gesture, the Katiccheda Karaṇas (translator’s note: here it is unclear what Kaṭiccheda karaṇa is, it looks like an error in the original text, most likely it is Katicchinna).
192-195. ⑩ Mattakrīḍā (Mattākrīḍa) — assuming Nūpura-karaṇa with a turn of the Trika, then assuming Bhujaṅgatrasita-karaṇa, assuming the next Recita-karaṇa with the right foot, and then successively assuming Akṣiptakā, Chinna, Bāhyabhramaraka (Bāhyabhramaraka), Uromaṇḍala, Nitamba, Karihasta, Katiccheda (translator’s note: Katicchinna) karaṇas.
196-197. ⑪ Svastikarecita (Svastikarecita) — hands and feet — this is Recita, then take Vṛścika-karaṇa and again repeat this movement of hands and feet, then Nikuttaka-karaṇa and the Lata gesture alternately with the right and left hand, and then Katicchinna-karaṇa.
197-200. ⑫ Parśvasvastika (Pārśvasvastika) — taking (Dik-)svastika on one side, and then Ardhanikuttaka, all this should be repeated sideways, then the hand of Avṛtta (Vyāvartita) should be placed on the thigh, then successively take Urdhvṛtta, Akṣipta, Nitamba, Karihasta and Katicchinna karaṇas.
200-202. ⑬ Vṛścikāpasṛta (Vṛścikāpasṛta) — assuming that in the Vṛścika-karaṇa we hold the Lata position on the nose, after moving the same hand in the Udveṣṭita movement, we then successively perform the Nitamba, Karihasta, and Katicchinna karaṇas.
202-204. ⑭ Bhramara (Bhramara) — we sequentially adopt the Nupurapada, Akṣiptakā, Katicchinna, Sucividdha, Nitamba, Karihasta, Uromaṇḍala, and Katicchinna karaṇas.
204-206. ⑮ Mattasthalitaka (Mattaskhalitaka) — assuming the Matalli-karaṇa, rotating the right hand, bending and placing it near [the right] cheek, then assuming [in sequence] the Apaviddha, Tālasaṃsphoṭitā (Talasaṃsphoṭita), Karihasta, and Katicchinna karaṇas.
206-208. ⑯ Mādavilasita (Madavilasita) — movement with the hands in Dola and the feet in Svastikapasṛta (Svastikāpasṛta), assuming the hand positions Añcita and Valita, and then successively assuming the Karaṇas Tālasaṅghaṭṭita (Talasaṃghaṭṭita), Nikuttaka, Urdhvṛtta, Karihasta, and Katicchinna.
208-210. ⑰ Gatimaṇḍala (Gatimaṇḍala) — after assuming the Maṇḍala Sthāna and performing the hand position of Recita and the feet of Udghaṭṭita, we sequentially assume the Karaṇas of Matalī, Akṣiptā, Uromaṇḍala, and Katiccheda (translator’s note: Katicchinna).
210-212. ⑱ Paricchinna (Paricchinna) — after Samapada Sthāna, taking Paricchinna (i.e., Cinna)-karaṇa, then with the foot Aviddha, taking Bahya Bhramaraka and with the left foot taking Sūci-karaṇa, and then performing [in sequence] Atikrānta, Bhujaṅgatrasitā, Karihasta and Katicchinna karaṇas.
212-216. ⑲ Parivṛttakarecita (Parivṛttakarecita) — holding the head with the hands in a free form of Svastika, then, bending the body, making the left hand Recita, and raising the body, again making the same hand Recita, after that showing the gesture Lata with the hands and successively assuming Vṛścika, Recita, Karihasta, Bhujaṅgatrasita, Akṣiptaka karaṇa, then the feet in Svastika; all this should be repeated after a full turn backward, and then assuming [successively] Karihasta.
216-219. ⑳ Vaiśākharecita (Vaiśākharecita) — along the body with both hands perform Recita, and all this should be repeated with a bent body, then execute Nūpūrapāda Cārī and Bhujaṅgatrāsita, Recita, Maṇḍalasvastika, then bending the shoulder Urdhvṛtta, Akṣipta, Uromaṇḍala, Karihasta and Katicchinna karaṇas.
219-221. ㉑ Paravṛtta (Parāvṛtta) — assuming Janita-karaṇa and placing the foot forward, then assuming Alātaka-karaṇa and turning the Trika, after this [in Bhramarī Cārī] the left arm bent and lay on the cheek, then assuming Katicchinna-karaṇa.
221-223. ㉒ Alātaka (Alātaka) — assuming the Svastika position, Vyāsita (Vyaṃsita) [in the Recita hands], Alātaka, Ūrdhvajānu, Nikun̄cita, Ardhasūci, Vikṣipta, Udvṛtta, Akṣipta, Karihasta and Katicchinna karaṇas one after another.
223-225. ㉓ Parśvaccheda (Pārśvaccheda) — holding the hands in Nikuttita at the chest, performing Urdhvajānu, Akṣipta, Svastika Karaṇas, the Trika must be turned, then assume Uromaṇḍala, Nitamba, Karihasta, and Katicchinna karaṇas.
226-227. ㉔ Vidyudbhrāntā (Vidyudbhrānta) — it is presumed that Sūci-karaṇa is first performed with the left foot, and Vidyudbhrāntā-karaṇa with the right, then Sūci-karaṇa starting with the right foot, and Vidyudbhrāntā with the left foot, after which we assume Cinna-karaṇa, and turn around the Trika, then Lātā and Katicchinna-karaṇa.
227-229. ㉕ Udvṛttaka (Udvṛttaka) — we perform Nūpurapāda Cārī, hanging the right and left arms at the sides, and with them we perform Vikṣipta-karaṇa, with these arms we take [again] Sūcī-karaṇa and turn the Trika [in Bhrāmarī Cārī], and then we take Lāṭā and Katicchinna karaṇas.
229-231. ㉖ Ālīḍha (Ālīḍha) — having taken Vyamsita-karaṇa, striking the hands against the shoulder, and then Nūpura karaṇa, starting with the left foot, then Ālāta and Akṣiptaka karaṇas starting with the right foot, and then making gestures of Uromandala with the hands and performing Karihasta and Kaṭicchinna karaṇas.
231-233. ㉗ Recita (Recita) — performing Recita with the hand, bending it to one side and making [the same] Recita movement, and then repeating this movement after bending the whole body, successively assuming the Nūpurapāda, Bhujaṅgatrasitā, Recitā, Uromaṇḍala, and Katicchinna karaṇas.
234-235. ㉘ Achchurita (Ācchurita) — we take Nupura-chari, turn Trika, take Vyamsita-karana and turn Trika again, then successively take Alataka-karana from the left [side] and the Sūchi, Karihasta and Katicchinna karanas.
236-238. ㉙ Akṣiptarecita (Ākṣiptarecita) — the feet in Svastika should transition into Recita, then the hands in Svastika, then with the same (i.e., Recita) movement they should be separated, and with the same movement of Recita they should be tossed upward, then successively assuming Udvṛtta, Akṣipta, Uromaṇḍala, Nitamba, Karihasta, and Katicchinna karaṇas.
239-241. ㉚ Sambhṛānta (Saṃbhrānta) — we begin from Vikṣipta-karaṇa, throw out the left hand with the Sūcī gesture, place the right hand on the chest, turn the Trika [in Bhramarī Cārī], then successively assume the Nūpura, Akṣipta, Ardhasvastika, Nitamba, Karihasta, Uromaṇḍala, and Katicchinna karaṇas.
242-243. ㉛ Apasarpita (Apasarpita) — we perform Apakrānta-cārī and assume Vyāmsita-karaṇa with hand movements in the manner of Udvestitā, then successively assume Ardhasūcī, Vikṣiptā, Katicchinnā, Udvṛtta Akṣiptakā, Karihasta and [again] Katicchinnā karaṇas.
244-245. ㉜ Ardhanikuṭaka (Ardhanikuṭṭaka) — while quickly performing Nūpura pādika cārī, the hands should move in harmony with the feet, and the Trika — turn [in Bhramarī cārī], then with hands and feet perform the movement Nikuttita, further assuming Uromaṇḍala, Karihasta, Katicchinna and Ardhanikuṭaka-karaṇas.
Continuation – in the following publications https://t.me/natyashastra 🙏
Nāṭyaśāstra chapter 4 part 3, śl. 246-328 Bharata Muni
| ← Chapter 4 part 2 | Chapter 5 → |
Rechakas (Recakas)
I spoke of these thirty-two Aṅgahāras; now I shall describe the four Recakas; please listen to them.
Among the Recakas, the first is the movement of the legs, the second of the waist, the third of the arms, and the fourth of the neck.
The term Rechita [relating to a limb] means moving it separately (i.e., not in any Karaṇa or Kari), or stretching it, or any kind of movement of it separately.
Pāda-recaka — movement from side to side with swaying legs or with legs moving in different ways is called Pāda-recaka.
Kati-recaka — raising of Trika and turning of the waist, as well as its backward deflection, is called Kati-recaka.
Hasta-recaka — raising, throwing out, extending forward, turning, and drawing the arm back is called Hasta-recaka.
Grīva-recaka — Raising, lowering, and tilting the neck to the sides, as well as other movements of it, are called Grīva-recaka.
253-254. Having seen the dance of Śaṅkara (Śiva) with Recakas and Aṅgahāras, Pārvatī also performed the Gentle Dance (literally “danced with gentle forms”), and this dance was followed by playing on such musical instruments as Mṛdaṅga, Bherī, Pataha, Jhañjhā, Dindimā, Gomukha, Paṇava and Dardura (translator’s note: these are various musical instruments, mainly drums).
[Apart from this case] Maheśvara (Śiva) danced in the evening after the cessation (literally, destruction) of Dakṣa’s sacrifice with various Aṅgahāras and in accordance with the correct rhythm (tāla) and tempo (laya).
Gaṇas such as Nandī and Bhadramukha (Bhadramukha), having then seen [during this performance of Śiva] the Piṇḍibandha [various dance forms], gave them names [and imitated them] well.
257-263. The names of the Piṇḍīs (Piṇḍīs), specifically attached to the various gods and goddesses, are as follows: Śiva — Vṛṣa (Vṛṣa), Nandī (Nandī) — Pattisī (Paṭṭisī), Caṇḍikā (Kālī) — Siṁhavāhinī, Viṣṇu — Tārkṣya, Svayambhū — (Brahmā) — Padma (lotus), Śakra (Indra) — Airāvatī, Manmatha — Jhaṣā, Kumāra (Kārtikeya) — Śikhī (peacock), Śrī (Lākṣmī) — Ūlu (owl), Jāhṇavī (Gaṅgā) — Dhārā, Yama — Pyśa, Varuṇa — Nadadī, Dhanada (Kuvera) — Yākṣī, Bala — Hala (plough), Bhogins (serpents) — Sarpa, Gaṇeśvaras (lords of the Gaṇas) — Dakṣayajñavimardinī, [the Piṇḍī] of Śiva, the slayer of Andhaka, will be Raudrī (Raudrī) in his trident form. The Piṇḍīs of the remaining gods and goddesses will be named in like manner (literally marked) by their own emblems.
263-264. Having invented Recakas, Aṅgahāras and Piṇḍīs, Śiva handed them down to the sage Tandu, who, in turn, combined the dance with songs and instrumental music; and therefore this dance is known as Tāṇḍava (i.e., the creation of Tandu).
The sages say
The use of gestures and so on (abhinaya) was invented by experts to manifest the meaning [of songs and speeches in a play], which led to the creation of dance (nṛtta), and what is its nature?
Why is dance created in connection with the songs of Asarita (Āsārita)? It has no relation to their meaning, nor to the reflection of their spirit.
[In answer to these questions] it is said that dance is not prompted by any particular necessity; it came into use simply because it creates beauty.
Since dance by its nature is loved by almost all people, it is praised as auspicious.
He is also praised as the source of entertainment on occasions of marriage, birth of children, reception of a son-in-law, universal festivity, and attainment of prosperity.
Therefore the hosts of Bhūtas always praised the Pratīkṣepas, which are used in songs and in regulating the division of dances.
Śiva (lit. god) was also glad to tell Tandu: “Perform this dance in combination with the singing of songs.”
The classical dance (tāṇḍava) is primarily intended to accompany the worship of gods, but its softer form (sukumāra-prayoga) is associated with erotic sentiments.
Vardhamānaka (class of song)
Now, turning to the discussion of Vardhamānaka, I will describe the rules for performing the Class Dance as it was performed by Tandu.
Since in the performance of Kāla and tempo (laya) attain vṛddhi (increase) through the increase of akṣaras (Akṣaras), this is called Vardhamānaka.
Āsarita
After the arrangement of musical instruments (kutapas), the producers [of performances] should proceed to the performance of Āsarita.
Then, after the performance of Upohana to the accompaniment of drums and stringed instruments, the dancer should come [onto the stage] to the playing of stringed instruments and drums.
This performance of [instrumental] music should be in pure Karana and Jati. And then one should perform cārī with steps to the music.
Having come onto the stage with flowers in her hands, the dancer should assume the Vaiśākha Sthāna (pose) and perform all four Recakas (i.e., for the legs, arms, waist, and neck).
Then she should walk around the stage, scattering flowers from her hands to the gods, and, having bowed to them, use various gestures.
Instrumental music should not be played when there is a song that can be delineated through gestures, but in the performance of Aṅgahāra, drums must be used.
Drumming (literally instrumental music) during the Class Dance should be Sama, Rakta, Vibhakta, and should also be clearly audible, thanks to distinct strokes, and correspond to the various aspects of the dance.
After performing the composition [with her dance], the dancer should exit, and others [like her] should come out [onto the stage] in the same manner.
These dancers will form the Piṇḍī in the proper order, and until all of them are formed, they will perform Paryastaka.
After the formation of [Piṇḍī], these women will leave, and during the formation of Piṇḍī, instrumental music should play, which contains various Oghīs and Karaṇas; it should resemble the music during Paryastaka.
285-287. Then one should again perform this Upohana as before, and Āsārita likewise; also a song should be sung, and the dancer should come onto the stage as described above, and she should delineate [the meaning of the song in the second Āsārita with an appropriate gesture] and render the subject (vastu) into dance.
After the conclusion of Āsarita, the dancer must exit, and then another dancer must come onto the stage and perform a similar presentation.
Thus, at every step [of the action], the rules of Āsarita must be observed by both singers and performers of instrumental music.
290 [In all these performances] the first part of the song should be sung once, the second — twice, the third — three times, the fourth — four times.
Piṇḍīs have four varieties: Piṇḍī [properly], Śṛṅkhalikā (Śṛṅkhalikā), Lātābandha (Latābandha), and Bhedyaka (Bhedyaka).
The name Piṇḍi or Piṇḍibandha comes from the fact that it represents a piṇḍi (lump); a cluster (gulma) is called Śṛṅkhalikā, and that which is held together [as if] by a net is Lātabandha; and Bhedyaka must be a dance of individual dancers.
Piṇḍibandhu should be applied in the first (literally, “the shortest Āsārita”), Śṛṅkhala — in Lāyantāra, Latābandha — in the middle, and Bhedyaka — in the longest (i.e., Āsārita).
The origin [of piṇḍī] is twofold: Yantra and Bhadrāsana (Bhadrāsana). They should be mastered and properly applied by the producers [of plays]. (translator’s note: here compare with AG)
Chandaka
296-297. Now I will speak about dance and instrumental music that should accompany songs consisting of Vastu, as well as (the Aṅgas). During the performance of this song and music, a dancer should come onto the stage; at this time all drums should sound and all string instruments should play together with Kṣepa and Pratikṣepa.
First of all, all the words of the song must be depicted with gestures, and then the same must be shown through dance.
The instructions given above regarding dance, the use of gestures, and instrumental music apply equally to the content of songs in Āsarita.
Such is the rule regarding songs consisting of Vastu. Now hear the description of Aṅgas songs.
The rules of dance, gesture usage, and instrumental music, applicable to the words [of songs], apply equally to the Chandakas consisting of their Aṅgas (members).
During Mukha and Upohana, instrumental music should be played with heavy and light akṣaras (strokes), keeping them clearly distinguishable (literally: separate).
If certain parts of a song are repeated, the parts sung first should be indicated with gestures, while the rest should be rendered in dance.
304-305. When certain parts of a song are repeated within its composition, instrumental music must follow them, observing the rule of three panis (Pānis) and three kinds of tempo. In such a case, the instrumental music should follow the [appropriate] tempo.
305-308. Tattva, Anugata and Ogha relate to Karaṇa. Thus, Tattva should be applied in slow tempo, Anugata in medium tempo, and Ogha in fast tempo. This is the rule for instrumental music. [Various] parts of a song in the case of Chandaka should be repeated. This is always done in [combination] of dance, gestures and song; in the case of songs composed in a meter (nibaddha), the drum stroke (graha) should be at the end, and when repeating parts [of a large song], this should occur from the very beginning.
Gentle dance
Such should be the procedure for performing the songs of Aśarita. Now let us consider the Gentle Dance, which pertains to the worship of the gods.
The tender dance with erotic feeling [pertains to] the dialogue between a man and a woman when they are in love.
Cases suitable for dancing
Now listen, O brahmins, about the occasions in plays when dance is to be presented during songs.
Experts should apply dance when the main words of the song [in the play], as well as its [ornamental addition, known as] Varna, come to an end, or when any character attains fortune [in the play].
Dance should take place in a play when something connected with love occurs between a married couple, for it (the dance) will be a source of joy.
A dance corresponding to the meaning of the song should also take place in any scene of the performance when the lover is nearby and the action occurs in a suitable season or the like.
Cases when dances are prohibited
Dance should not be applied to the manifestation of a young woman who is angry (khaṇḍitā), deceived (vipralabdhā); or separated [from her beloved] due to a quarrel (kalahāntaritā).
Dance should not be employed either during communication with a friend, or when the beloved is absent, or has gone abroad.
And besides this, when a person realizes the arrival of one of the seasons or something similar from the words of the Messenger and feels anxiety or unease because of it, no dance should be applied.
However, if during the performance of any part of the play the heroine gradually becomes pacified, the dance should be performed to the very end.
If any part of the play is connected with the worship of Śiva (lit. the Deity), there one should perform a dance with energetic Aṅgahāras, which was created by Maheśvara (Śiva) himself.
Any song about love that mentions the relationship between a man and a woman must be accompanied by a dance with tender Aṅgahāras, which were created by Pārvatī (literally the goddess).
Playing the drums
Now I will tell about the rules of drum playing, which must be followed by the four-footed Narkutaka, Hañjaka and Parigitaka.
Drumming should begin with Sannipāta Graha (Sannipāta Graha) at the time when the foot of the Dhruvā (Dhruvā) of the Khañja or Narkuṭa class is being sung.
During Dhruvā, which consists of an even number of feet and an equal number of syllables, one should play Grahā on the drum with the index finger after its [first] foot has been sung.
[After the performance of the Dhruva song with drumming, as indicated above] this song should be repeated with appropriate gestures [to “delineate” it], and it should be sung once more, and at the end of the last foot, the drum should be played.
When one must not play the drums
One should not play the drums at a time when the main song or its varṇas have already ended or are beginning anew.
During Antara-mārga (Antara-mārga), which may be performed by Tāṇḍava or Karaṇa, the Class dance should be accompanied by drums, as well as Sūci Cāṭi.
The one who performs this dance, created by Maheśvara (Śiva), well, will go [after his death] free from all sins to the abode of that deity.
Such are the rules of the Class Dance, arising from its application. Tell me, what more should I say about the rules of Nāṭyaveda?
This ends Chapter IV of Bharata’s Nāṭyaśāstra, which examines the characteristics of class dance.
Continuation – in the following publications https://t.me/natyashastra 🙏