Karika 42

पुरुषार्थहेतुकमिदं निमित्तनैमित्तिकप्रसङ्गेन।
प्रकृतेर्विभुत्वयोगान्नटवद्व्यवतिष्ठते लिङ्गम्॥ ४२॥

Translation by Henry Thomas Colebrooke (1837): For the sake of soul's wish, that subtile person exhibits (before it), like a dramatic actor, through relation of means and consequence, with the aid of nature's influence.

Translation by John Davies (1881): Formed for the sake of the soul, the liṅga, by the connection of means and their results, and by union with the predominant power of Nature, plays its part like a dramatic actor.

Translation by Ganganath Jha (1896): Formed for the sake of the Spirit's purpose the Astral Body plays its parts like a dramatic actor, on account of the connection of means and consequences, and by union with the predominant power of Nature.

Translation by Nandalal Sinha (1915): Impelled by the purpose of Puruṣa, this Subtile Body appears in different roles, like a dramatic performer, by means of association with instrumental causes and their consequences, through the universal supremacy of Prakṛiti.

Translation by Har Dutt Sharma (1933): For the purpose of the Spirit, the liṅga, through its connection with the means and their results, and with the aid of the might of Nature, acts like an actor.

Translation by Radhanath Phukan (1960): This Liṁga, by virtue of its connection with what may be called causes and their effects, behaves (i.e., migrates) like an actor in a play playing different parts; it does so for the enjoyment and ultimate good of the Puruṣa; all this is possible on account of Prakṛti's all-powerful nature.

Translation by Swami Virupakshananda (1995): Impelled by the purpose of Puruṣa, this subtle body appears in different roles, like a dramatic performer, by means of association with instrumental causes and their effects, through the all-embracing power of Nature.

Translation by G. Srinivasan (recent): The synchronised and coherent state of the nuclear core forms the target potential to attract the oscillatory interactions to synchronize and superposition itself circumferentially, simultaneously, similar to the movements in a dance, which increases and strengthens resonant state of the interactions.