Natyashastra
Progress:28.5%
एवं पादस्य जङ्घाया ऊर्वोः कट्यास्तथैव च । समानकरणे चेष्टा सा चारीत्यभिधीयते ॥ १॥
Moving thus simultaneously feet, shanks and the hip is Cārī.
english translation
विधानोपगताश्चार्यो व्यायच्छन्ते परस्परम् । यस्मादङ्गसमायुक्तास्तस्माद्व्यायाम उच्यते ॥ २॥
As the Cārīs prescribed by rules and connected with [different] limbs relate to (vyāyacchante from vyā-yam = stretch out to) one another, they constitute (lit. are called) a vyayāma (system).
english translation
एकपादप्रचारो यः सा चारीत्यभिसंज्ञिता । द्विपादक्रमणं यत्तु करणं नाम तद्भवेत् ॥ ३॥
Cārī: The movement [mainly] with a single foot, is called the Cārī. Karaṇa: The two feet moving [together] is called the Karaṇa.
english translation
करणानां समायोगः खण्डमित्यभिधीयते । खण्डैस्त्रिभिश्चतुर्भिर्वा संयुक्तं मण्डलं भवेत् ॥ ४॥
Khaṇḍa: A combination of the [three] Karaṇas is called the Khaṇḍa. Maṇḍala: Three or four Khaṇḍas combine to make up the Maṇḍala.
english translation
चारीभिः प्रसृतं नृत्तं चारीभिश्चेष्टितं तथा । चारीभिः शस्त्रमोक्षश्च चार्यो युद्धे च कीर्तिताः ॥ ५॥
From the Cārīs proceed dance as well as movements [in general] and release of missiles; and [the stage] fighting [in general] should be made with the Cārīs.
english translation
1.
अध्याय १
Origin Of Drama
2.
अध्याय २
Description Of The Playhouse
3.
अध्याय ३
Pūjā To The Gods Of The Stage
4.
अध्याय ४
Description Of The Class Dance
5.
अध्याय ५
Preliminaries Of A Play
6.
अध्याय ६
Sentiments (rasa)
7.
अध्याय ७
Emotional And Other States (bhāva)
8.
अध्याय ८
Gestures Of Minor Limbs (upāṅga)
9.
अध्याय ९
Gestures Of Major Limbs (aṅga)
अध्याय १०
Cari Movements
11.
अध्याय ११
Maṇḍala Movements
12.
अध्याय १२
Different Gaits (gati)
13.
अध्याय १३
Different Gaits (gati)
14.
अध्याय १४
Zones (kakṣyā) And Local Usages (pravṛtti)
15.
अध्याय १५
Verbal Representation (vācika) And Prosody (chandaḥśāstra)
16.
अध्याय १६
Metrical Patterns (chandas)
17.
अध्याय १७
Diction Of A Play (lakṣaṇa)
18.
अध्याय १८
Rules On The Use Of Languages (bhāṣā)
19.
अध्याय १९
Modes Of Address (nāman) And Intonation (kāku)
20.
अध्याय २०
Ten Kinds Of Play (daśarūpa)
21.
अध्याय २१
Limbs Of Segments (sandhi)
22.
अध्याय २२
Styles (vṛtti)
23.
अध्याय २३
Costumes And Make-up (nepathya)
24.
अध्याय २४
Harmonious Representation (sāmānyābhinaya)
25.
अध्याय २५
Dealings With Courtezans (veśyā)
26.
अध्याय २६
Varied Representation (citrābhinaya)
27.
अध्याय २७
Success In Dramatic Production (siddhi)
28.
अध्याय २८
On The Instrumental Music (ātodya)
29.
अध्याय २९
On Stringed Instruments (tata)
30.
अध्याय ३०
On Hollow Instruments (suṣira)
31.
अध्यायः ३१
On The Time-measure (tāla)
32.
अध्यायः ३२
The Dhruvā Songs
33.
अध्यायः ३३
On Covered Instruments (avanaddha)
34.
अध्याय ३४
Types Of Characters (prakṛti)
35.
अध्याय ३५
Distribution Of Roles (bhūmikā)
36.
अध्याय ३६
Descent Of Drama On The Earth
37.
अध्याय ३७
Adhyaya 37
Progress:28.5%
एवं पादस्य जङ्घाया ऊर्वोः कट्यास्तथैव च । समानकरणे चेष्टा सा चारीत्यभिधीयते ॥ १॥
Moving thus simultaneously feet, shanks and the hip is Cārī.
english translation
विधानोपगताश्चार्यो व्यायच्छन्ते परस्परम् । यस्मादङ्गसमायुक्तास्तस्माद्व्यायाम उच्यते ॥ २॥
As the Cārīs prescribed by rules and connected with [different] limbs relate to (vyāyacchante from vyā-yam = stretch out to) one another, they constitute (lit. are called) a vyayāma (system).
english translation
एकपादप्रचारो यः सा चारीत्यभिसंज्ञिता । द्विपादक्रमणं यत्तु करणं नाम तद्भवेत् ॥ ३॥
Cārī: The movement [mainly] with a single foot, is called the Cārī. Karaṇa: The two feet moving [together] is called the Karaṇa.
english translation
करणानां समायोगः खण्डमित्यभिधीयते । खण्डैस्त्रिभिश्चतुर्भिर्वा संयुक्तं मण्डलं भवेत् ॥ ४॥
Khaṇḍa: A combination of the [three] Karaṇas is called the Khaṇḍa. Maṇḍala: Three or four Khaṇḍas combine to make up the Maṇḍala.
english translation
चारीभिः प्रसृतं नृत्तं चारीभिश्चेष्टितं तथा । चारीभिः शस्त्रमोक्षश्च चार्यो युद्धे च कीर्तिताः ॥ ५॥
From the Cārīs proceed dance as well as movements [in general] and release of missiles; and [the stage] fighting [in general] should be made with the Cārīs.
english translation