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The text begins with the following heading鈥�

啶呧ぅ 啶多�嵿ぐ啷� 啶︵い啷嵿い啶苦げ啶曕�嬥す啶侧��啶�啷� 啶掂��啶｀ぞ啶掂ぞ啶︵�嵿く啶侧�曕�嵿し啶｀ぎ啷� 啷�

atha 艣r墨 dattilakohal墨ye 惫墨峁嚹伇鼓寤宀獠贡舨拱灬梗a峁嘺m |^[1]

This indicates that this is the beginning of a chapter or of a section of a chapter. But the portion on 惫墨峁嘺 comes much later on in the work.

Following this is a 苍腻苍诲墨 verse, an obeisance to 厂补峁単墨迟补-brahman and then a verse which gives us the names of the authors of this work, and the chapters that would appear in the work.鈥�

啶︵い啷嵿い啶苦げ啶� 啶曕�嬥す啶侧ざ啷嵿�氞�堗�� 啶︵�嵿さ啷� 啶膏�權�嵿�椸��啶むさ啶苦ざ啶距ぐ啶︵�� 啷�
啶むぞ啶�啷嵿く啶距�� 啶囙う啶權�嵿�曕�冟い啶� 啶多ぞ啶膏�嵿い啷嵿ぐ啶� 啶ㄠ�嵿え啷冟い啷嵿い啶侧�曕�嵿し啶｀お啷傕ぐ啷嵿さ啶曕ぎ啷� 啷�
啶ㄠ�冟い啷嵿く啶ㄠぞ啶傕げ啷嵿げ啶曕�嵿し啶｀�權�嵿�曕た啶炧�嵿�� 啶むぞ啶侧ぞ啶ㄠぞ啶傕げ啷嵿げ啶曕�嵿し啶｀え啷嵿い啶ム�� 啷�
啶掂ぞ啶︵�嵿く啶距え啶距�傕げ啷嵿げ啶曕�嵿し啶｀�� 啶氞�堗�� 啶曕�嵿ぐ啶�啶距う啶苦す 啶掂た啶班�氞�嵿く啶む�� 啷�

诲补迟迟颈濒补岣� kohala艣caiva dvau sa峁叢的�迟补vi艣膩radau |
t膩bhy膩峁� ida峁卥峁泃a峁� 艣腻蝉迟谤补峁� n苍峁泃迟补濒补办峁�a峁嘺p奴rvakam ||
苍峁泃测补n膩峁僱濒补办峁�a峁嘺峁卥i帽ca t膩l膩n膩峁僱濒补办峁�a峁嘺ntath膩 |
v膩dy膩n膩峁僱濒补办峁�a峁嘺峁� caiva kram膩diha viracyate ||^[2]

This verse effectively gives us information that Dattila and Kohala are the authors of this work and that the following chapters will be dealt with.

1. 苍峁泃迟补-濒补办峁�a峁嘺;
2. 苍峁泃测补-濒补办峁�a峁嘺;
3. 迟腻濒补-濒补办峁�a峁嘺;
4. 惫腻诲测补-濒补办峁�a峁嘺;

Subsequently, there are verses of benediction to earlier authorities on 苍腻峁瓂补 whose opinions were summarised in this work. This list in itself seems to be an interpolation from 厂补峁単墨迟补ratn膩kara.

Following are the names mentioned:

1. 笔腻谤惫补迟墨辫补迟颈 (艢颈惫补);
2. 叠谤补丑尘腻;
3. Bharata;
4. 碍补艣测补辫补;
5. 艢补办迟颈;
6. 驰腻峁ａ弓颈办补;
7. 艢腻谤诲奴濒补办补;
8. 惭补峁璦峁単补;
9. 狈补苍诲墨;
10. 狈腻谤补诲补;
11. 搁补尘产丑腻;
12. Tumburu;
13. 搁腻惫补苍补;
14. 痴腻测耻nandana (膧帽箩补苍别测补);
15. 惭补迟峁沢耻辫迟补;
16. 罢补峁囜笉耻;
17. 惭补驳丑补惫腻苍;
18. 碍峁�e迟谤补辫腻濒补办补;
19. Kamvala;
20. 础艣惫补迟补谤补;
21. 痴腻测耻;
22. 痴颈艣惫腻惫补蝉耻;
23. 痴颈艣腻办丑颈濒补;
24. Ugrasena;
25. Arjuna;

It can be noted that many names in this list are mythological. The mention of Mat峁沢upta and 惭补迟补峁単补 gives some clues about the date of this work.

M. Ramakrishna Telang says,

鈥淢at峁沢upta who was a poet and writer on poetics, is believed to have lived about the first half of the 6th century being a contemporary of 艢颈濒腻诲颈迟测补 Prat膩pa艣墨la of M膩lva C.E. 550-600.鈥�^[3]

So, this work could not be earlier than the 6th Century C.E. Also, there is a reference to Sage 惭补迟补峁単补, who lived around the 8th Century C.E. This would suggest that 顿补迟迟颈濒补办辞丑补濒墨测补尘 was written sometime after the 8th Century C.E.

Subsequently the mythological account of the origin of 苍腻峁瓂补 is described. According to this work, Bharata was handed this tradition by Brahma. Brahma, in turn taught it to the 驳腻苍诲丑补谤惫补蝉 and 补辫蝉补谤腻蝉. They presented this art in front of Lord 艢补尘产丑耻. He in turn, created some features and taught them to Bharata and 罢补峁囜笉耻. 艢颈惫补 then taught 濒腻蝉测补 to 笔腻谤惫补迟颈. And Bharata taught both 迟腻峁囜笉补惫补 and 濒腻蝉测补 to some sages on earth. 笔腻谤惫补迟墨 taught the 厂补耻谤腻艣峁璻补 ladies. The portion which describes the 辫补谤补尘辫补谤腻 of 苍腻峁瓂补 and the story of how it came to 叠丑奴濒辞办补 is also mentioned in a similar way in 厂补峁単墨迟补ratn膩kara of 艢腻谤峁単补诲别惫补^[4].

The text then mentions that 惫腻诲测补, abhinaya, 驳墨迟补 and rasa came from 峁欢, Yajus, 厂腻尘补 and 础迟丑补谤惫补峁嘺 Veda respectively.

A similar thought has been mentioned by Bharata in his 狈腻峁瓂补艣腻蝉迟谤补 also.

啶溹�椸�嵿ぐ啶距す 啶�啶距�犩�嵿く啶� 啶嬥�椸�嵿さ啷囙う啶距い啷嵿じ啶距ぎ啶�啷嵿く啷� 啶椸��啶むぎ啷囙さ 啶� 啷�
啶�啶溹�佮ぐ啷嵿さ啷囙う啶距う啶�啶苦え啶�啶距え啷� 啶班じ啶距え啶距ぅ啶班�嵿さ啶｀ぞ啶︵お啶� 啷� 啷�.啷оキ 啷�

箩补驳谤腻丑补 辫腻峁环测补峁� 峁沢ved膩ts膩mabhyo 驳墨迟补meva ca |
yajurved膩dabhinay膩n ras膩n膩tharva峁嚹乨api || 1.17 ||

鈥敱纺遽弓y补艣腻蝉迟谤补 of Bharatamuni: 1992: GOS Vol. I: p. 14

The occasions for viewing 苍腻峁瓂补 and 苍峁泃测补 such as 础产丑颈峁�e办补 of kings, birth of a child etc., three types of 苍腻峁瓂补, definition of rasa (Ras膩bhivyakti k膩ra峁嘺m) are mentioned.

A definition of 苍腻峁瓂补 (狈补谤迟补苍腻苍-苍腻峁瓂补m) is found subsequently. This definition of 苍腻峁瓂补 makes it out to be a form which is danced. The view of 苍腻峁瓂补 in the time of Bharata, was that it was a dramatic presentation. The tradition of Bharata prohibits over usage of 驳墨迟补 and 苍峁泃测补 during a performance of 苍腻峁瓂补. Therefore this definition seems to belong to a period later than Bharata or perhaps, even Kohala.

The following technical aspects on dance are dealt with.

i. Abhinaya鈥�

Four types of abhinaya namely 腻峁単颈办补, 惫腻肠颈办补, 腻丑腻谤测补 and 蝉腻迟惫颈办补 are explained with definitions.

ii. Dharmi鈥�

Lokadharmi and 狈腻峁瓂补诲丑补谤尘颈 have been defined.

iii. 膧峁単颈办补鈥�

Two types of 腻峁単颈办补 namely 迟腻峁囜笉补惫补 and 濒腻蝉测补 are cited. 罢腻峁囜笉补惫补 is a form which is used with 驳墨迟补s and dhruvas and gives importance to 办补谤补峁嘺蝉 and 补峁単补丑腻谤补蝉. The 尝腻蝉测补 form is marked by soft and gentle body movements. Three types of 狈峁泃迟补 viz. 惫颈峁�a尘补m, 惫颈办补峁璦m and laghu are described with definitions. Kunjunni Raja interprets these as follows鈥斺�極f these, dancing round and round with ropes and the like is 惫颈峁�a尘补. That which is ludicrous in form, dress, and movement is considered to be 惫颈办补峁璦. That which is constituted by 补帽肠颈迟补 and other minor 办补谤补峁嘺蝉 is known as laghu鈥�^[5].

iv. 膧峁単颈办腻产丑颈苍补测补鈥�

The author states that only 腻峁単颈办腻产丑颈苍补测补 will be dealt with in this work. 艣腻办丑补, 补峁卥耻谤补 and 苍峁泃迟补 are listed as the three aspects of 腻峁単颈办腻产丑颈苍补测补 and explained with definitions.

v. 础峁単补 鈥�

Six 补峁単补蝉/ parts of the body are mentioned namely 艣颈谤补, hasta, 惫补办峁�a, 辫腻谤艣惫补, 办补峁�墨t补峁璦 and 辫腻诲补. vi. Other technical aspects such as 辫谤补迟测补峁単补-s, adhikas and 耻辫腻峁単补蝉 are listed with their varieties.

vii. 尝补办峁�a峁嘺鈥�

尝补办峁�a峁嘺蝉 for 辫腻迟谤补, 耻辫腻诲丑测腻测补, 苍补峁璦 and 蝉补产丑腻 have been explained.

viii. 艢iro-濒补办峁�a峁嘺鈥�

There is a detailed explanation of the different types of head movements.

1. dhuta;
2. vidhuta;
3. 补诲丑奴迟补;
4. av补诲丑奴迟补;
5. kampita;
6. 腻办补尘辫颈迟补;
7. 耻诲惫腻丑颈迟补;
8. 辫补谤颈惫腻丑颈迟补;
9. 耻帽肠颈迟补;
10. nih补帽肠颈迟补;
11. 辫补谤腻惫峁泃迟补;
12. 耻迟办峁�i辫迟补;
13. adhomukha;
14. lolita;
15. 迟颈谤测补峁卪补迟辞苍苍补迟补;
16. skandhentata;
17. 腻谤腻迟谤颈办补;
18. sama;
19. 辫腻谤艣惫腻产丑奴尘耻办补;

ix. Hasta-濒补办峁�a峁嘺鈥�

The different varieties of hand gestures/ movements are listed. These are further classified into 蝉补峁儁耻迟补 hasta-s, A蝉补峁儁耻迟补 hastas and 苍峁泃迟补 hastas

础蝉补峁儁耻迟补-丑补蝉迟补蝉:

1. 辫补迟腻办补;
2. tri辫补迟腻办补;
3. ardhacandra;
4. 办补谤迟补谤墨尘耻办丑补;
5. 补谤腻濒补;
6. 尘耻峁ａ弓颈;
7. 艣颈办丑补谤补;
8. kapittha;
9. 办补峁璦办腻尘耻办丑补;
10. 艣耻办补迟耻峁囜笉补办补;
11. 办腻峁単奴濒补;
12. 辫补诲尘补办辞艣补;
13. alapallava;
14. 蝉奴肠墨尘耻办丑补;
15. sarpa艣颈谤补;
16. catura;
17. 尘峁沢补艣墨谤峁�a;
18. 丑补峁僺腻办丑测补;
19. 丑补峁僺补辫补办峁�a;
20. bhramara;
21. mukula;
22. 奴谤峁嘺苍腻产丑补;
23. 蝉补苍诲补峁兣沘;
24. 迟腻尘谤补肠奴岣峚;

厂补峁儁耻迟补-丑补蝉迟补蝉:

1. 补帽箩补濒颈;
2. kapota;
3. 办补谤办补峁璦;
4. svastika;
5. 岣峯濒补;
6. 耻迟蝉补峁単补;
7. 办补峁璦办腻惫补谤诲丑补尘腻苍补办补;
8. 苍颈峁�a诲丑补;
9. makara;
10. 惫补谤诲丑补尘腻苍补;

While listing the 蝉补峁儁耻迟补-hastas, only five are found. Later on, while explaining the 蝉补峁儁耻迟补hastas, details of ten can be seen.

But, the end of the 蝉补峁儁耻迟补-hasta section also bears the following statement鈥�

啶囙い啶� 啶︵い啷嵿い啶苦げ啶曕�嬥す啶侧��啶�啷� 啶む�嵿ぐ啶�啷嬥う啶� 啶膏�傕く啷佮い啶灌じ啷嵿い啶距��

iti dattilakohal墨ye 迟谤补测辞诲补艣补 蝉补峁儁耻迟补hast膩岣�

Which implies that there are 13 蝉补峁儁耻迟补 hastas. Unfortunately, only ten of these are available in this work.

This section also bears a reference to 叠丑补峁�峁�补 Abhinavagupta^[6]. This goes to prove that the work could not pre-date the 11th century C.E.

Following the subject of dance, 迟腻濒补 is dealt with in detail. This section begins with the definition of 迟腻濒补.

啶むぞ啶侧じ啷嵿い啶侧お啷嵿ぐ啶むた啶粪�嵿�犩ぞ啶�啶距ぎ啶苦い啶� 啶оぞ啶む�嬥ぐ啷嵿�� 啶掂た啶膏�嵿ぎ啷冟い啶� 啷�
啶椸��啶むえ啷嵿え啷冟い啷嵿く啶ㄠ�嵿い啶ム�� 啶掂ぞ啶︵�嵿く啶ㄠ�嵿い啷嵿ぐ啶�啶ㄠ�嵿い啶距げ啷� 啶�啷嵿ぐ啶むた啶粪�嵿�犩た啶むぎ啷� 啷�

迟腻濒补stalaprati峁ａ弓h膩y膩miti dh膩tordha 惫颈蝉尘峁泃补岣� |
驳墨迟补n苍峁泃测补ntath膩 惫腻诲测补ntrayant膩le prati峁ａ弓hitam ||^[7]

The same verse is seen in 厂补峁単墨迟补ratn膩kara. But the reading of the verse seen in 顿补迟迟颈濒补办辞丑补濒墨测补尘 appears to have many errors. This verse also finds place (with a few minor changes) in the text of 罢腻濒补濒补办峁�a苍补尘 (R7979).

This is followed by a list 120 诲别艣墨 迟腻濒补s. 罢腻濒补 is said to be of two types鈥�尘腻谤驳补 and 诲别艣墨. Subsequently, the concept of 办谤颈测腻 is explained, giving the two classes namely 蝉补艣补产诲补 and 苍颈艣艣补产诲补 along with their varieties and the manifestation of these 办谤颈测腻s.

1. Sa艣abda-办谤颈测腻s鈥�膧惫腻辫补, 狈颈峁�k谤腻尘补, 狈颈办峁�e辫补, Candrave艣aka;
2. Ni艣艣abda-办谤颈测腻s鈥�Dhruva, 艢补尘测补, 罢腻濒补, 厂补苍苍颈辫腻迟补;

In the list of 蝉补艣补产诲补 kriyas, a 苍颈办峁�e辫补 and a 肠补苍诲谤补惫别艣补办补 are found. In 厂补峁単墨迟补ratn膩kara, these 办谤颈测腻s have been called 惫颈办峁�e辫补 and 辫谤补惫别艣补办补 respectively. Later 濒补办峁�a峁嘺granthas have also followed 艢腻谤峁単补诲别惫补鈥檚 terminology. These readings are perhaps the result of scribal errors and such like.

Next, the concept of 尘腻谤驳补 is defined and explained.

M膩rga is of four types viz.

1. dhruva,
2. citra,
3. 惫腻谤迟颈办补 and
4. 诲补办峁�i峁嘺.

The number of 尘腻迟谤补蝉 for each of the 尘腻谤驳补s is given.

The 诲别艣墨-办谤颈测腻s have been enumerated after this. They are鈥�

1. 诲丑谤耻惫补办腻,
2. 蝉补谤辫颈峁嚹�,
3. 办峁涐梗测腻,
4. 辫补诲尘颈苍墨,
5. 惫颈办峁�i辫迟腻,
6. 惫颈蝉补谤箩颈迟腻,
7. 辫补迟腻办腻 and
8. 辫补迟颈迟腻.

The concept of 办补濒腻 is dealt with in detail explaining the ekakala, dvikala and 肠补迟耻峁�k补濒补 forms of the 尘腻谤驳补 迟腻濒补s. 

Varieties of [the following] are enumerated under the head 尘腻谤驳补迟腻濒补-濒补办峁�a峁嘺:

1. laya (vilamba, madhya and druta),
2. yati (蝉补尘腻, 蝉谤辞迟辞驳补迟腻 and 驳辞辫耻肠肠丑腻) and
3. graha (sama, 补迟墨迟补 and 补苍腻驳补迟补) 

Next the concept of 驳墨迟补ka is described.

The [following] varieties of 驳墨迟补ka are explained followed by a description of ekakala madraka, namely鈥�

1. madraka,
2. 补辫补谤腻苍迟补办补,
3. ullopya,
4. 辫谤补办补谤峁�a^[8],
5. 辞惫别峁嘺办补,
6. rovindaka and
7. uttara

Dvikala and 肠补迟耻峁�k补濒补 madraka are not to be found in this work.

The above section on 迟腻濒补 is followed by the portion on 惫腻诲测补. It is interesting to note that at the beginning of the text, the statement 鈥�V墨峁嚹伇鼓寤宀獠贡舨拱灬梗a峁嘺m鈥� is found. But the actual treatment of 惫腻诲测补 is seen only towards the end of this manuscript after dealing with 苍峁泃测补 and 迟腻濒补. The classification of instruments into tata (string), 蝉耻峁Ｄ玶补 (wind), avanaddha (skin) and ghana (metal) is dealt with at the outset. The text gives a list of the names of instruments under each of these classes.

Yet another classification of instruments according to their application is found. These are鈥�

1. 艣耻峁�k补,
2. 驳墨迟腻苍耻驳补,
3. 苍峁泃迟腻苍耻驳补
4. and 驳墨迟补苍峁泃迟腻苍耻驳补.

The divine nature of instruments is then explained with details of their connections with celestial beings.

The next subject taken up is the 濒补办峁�a峁嘺 of the structure of musical instruments. This has been treated in detail. Further, the playing technique of 惫墨峁嚹� has also been described elaborately.

The work concludes with the following colophon.鈥�

啶囙い啶� 啶多�嵿ぐ啷� 啶︵い啷嵿い啶苦げ啶曕�嬥す啶侧��啶�啷� 啶掂��啶｀ぞ啶掂ぞ啶︵�嵿く啶侧�曕�嵿し啶｀�� 啶膏ぎ啶距お啷嵿い啶�啷峽啶椸�嵿げ啷峗啶ㄠ�嬥い啷�:啷┼ギ啷�啷�啷�啷�:}

iti 艣r墨 dattilakohal墨ye 惫墨峁嚹伇鼓寤宀獠贡舨拱灬梗a峁嘺峁� 蝉补尘腻ptam^[9]

Footnotes and references:

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[1]:

顿补迟迟颈濒补办辞丑补濒墨测补尘: ORI-SVU: Acc no. 7561: Fol. 1

[2]:

顿补迟迟颈濒补办辞丑补濒墨测补尘: ORI-SVU: Acc no. 7561: Fol. 1.

[3]:

厂补峁単墨迟补makaranda of 狈腻谤补诲补: 1920: Intro: p.ix

[4]:

厂补峁単墨迟补ratn膩kara of 艢腻谤峁単补诲别惫补: 1953: Vol. IV: V. 7.4-8: p.3

[5]:

Sa峁儾的�迟补ratn膩kara of 艢腻谤峁単补诲别惫补: 1976: Vol. IV: p.4

[6]:

顿补迟迟颈濒补办辞丑补濒墨测补尘: ORI-SVU: Acc no. 7561: Fol. 9

[7]:

ibid.: Fol. 19

[8]:

In works like 厂补峁単墨迟补ratn膩kara, this variety of 驳墨迟补ka is called 辫谤补办补谤墨

[9]:

顿补迟迟颈濒补办辞丑补濒墨测补尘: ORI-SVU: Acc no. 7561: Fol.29