Natyashastra
Progress:30.3%
अचञ्चलमकुब्जं चासन्नगात्रमथापि च । नात्युच्चं चलपादञ्च सौष्ठवाङ्गं प्रयोजयेत् ॥ ९१॥
The limbs should be steady, not bent, close to the body, neither too upright nor with unsteady feet—this is how Sauṣṭhava (graceful poise) should be applied.
english translation
acaJcalamakubjaM cAsannagAtramathApi ca । nAtyuccaM calapAdaJca sauSThavAGgaM prayojayet ॥ 91॥
hk transliteration by Sanscriptकटी कर्णसमा यत्र कूर्परांसशिरस्तथा । समुन्नतमुरश्चैव सौष्ठवं नाम तद्भवेत् ॥ ९२॥
When the waist is aligned with the ears, along with the elbows, shoulders, and head in their natural position, and the chest is raised, it is known as Sauṣṭhava (graceful poise).
english translation
kaTI karNasamA yatra kUrparAMsazirastathA । samunnatamurazcaiva sauSThavaM nAma tadbhavet ॥ 92॥
hk transliteration by Sanscriptनहि सौष्ठवहीनाङ्गः शोभते नाट्यनृत्तयोः । अत्र नित्यं प्रयत्नो हि विधेयो मध्यमोत्तमैः ॥ ९३॥
A body lacking Sauṣṭhava (graceful poise) does not appear beautiful in drama or dance. Hence, constant effort should be made towards it, especially by those of intermediate and superior skill.
english translation
nahi sauSThavahInAGgaH zobhate nATyanRttayoH । atra nityaM prayatno hi vidheyo madhyamottamaiH ॥ 93॥
hk transliteration by Sanscriptनाट्यं नृत्तं च सर्वं हि सौष्ठवे सम्प्रतिष्ठितम् । कटीनामभिचरौ हस्तौ वक्षश्चैव समुन्नतम् ॥ ९४॥
All aspects of Nāṭya (dramatic performance) and Nṛtta (pure dance) are based on Sauṣṭhava (graceful poise). It is characterized by the hands moving near the waist and the chest being raised.
english translation
nATyaM nRttaM ca sarvaM hi sauSThave sampratiSThitam । kaTInAmabhicarau hastau vakSazcaiva samunnatam ॥ 94॥
hk transliteration by Sanscriptवैष्णवं स्थानमित्यङ्गं चतुरश्रमुदाहृतम् । परिमार्जनमादानं सन्धानं मोक्षणम् तथा ॥ ९५॥
The Vaiṣṇava Sthāna (a specific posture) is described as having Caturaśra (a square or balanced stance) of the limbs. The four actions related to the bow (Dhanus) are Parimārjana (preparing by bending the bow), Ādāna (taking the arrow), Sandhāna (aiming), and Mokṣaṇa (releasing the arrow).
english translation
vaiSNavaM sthAnamityaGgaM caturazramudAhRtam । parimArjanamAdAnaM sandhAnaM mokSaNam tathA ॥ 95॥
hk transliteration by Sanscript1.
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:30.3%
अचञ्चलमकुब्जं चासन्नगात्रमथापि च । नात्युच्चं चलपादञ्च सौष्ठवाङ्गं प्रयोजयेत् ॥ ९१॥
The limbs should be steady, not bent, close to the body, neither too upright nor with unsteady feet—this is how Sauṣṭhava (graceful poise) should be applied.
english translation
acaJcalamakubjaM cAsannagAtramathApi ca । nAtyuccaM calapAdaJca sauSThavAGgaM prayojayet ॥ 91॥
hk transliteration by Sanscriptकटी कर्णसमा यत्र कूर्परांसशिरस्तथा । समुन्नतमुरश्चैव सौष्ठवं नाम तद्भवेत् ॥ ९२॥
When the waist is aligned with the ears, along with the elbows, shoulders, and head in their natural position, and the chest is raised, it is known as Sauṣṭhava (graceful poise).
english translation
kaTI karNasamA yatra kUrparAMsazirastathA । samunnatamurazcaiva sauSThavaM nAma tadbhavet ॥ 92॥
hk transliteration by Sanscriptनहि सौष्ठवहीनाङ्गः शोभते नाट्यनृत्तयोः । अत्र नित्यं प्रयत्नो हि विधेयो मध्यमोत्तमैः ॥ ९३॥
A body lacking Sauṣṭhava (graceful poise) does not appear beautiful in drama or dance. Hence, constant effort should be made towards it, especially by those of intermediate and superior skill.
english translation
nahi sauSThavahInAGgaH zobhate nATyanRttayoH । atra nityaM prayatno hi vidheyo madhyamottamaiH ॥ 93॥
hk transliteration by Sanscriptनाट्यं नृत्तं च सर्वं हि सौष्ठवे सम्प्रतिष्ठितम् । कटीनामभिचरौ हस्तौ वक्षश्चैव समुन्नतम् ॥ ९४॥
All aspects of Nāṭya (dramatic performance) and Nṛtta (pure dance) are based on Sauṣṭhava (graceful poise). It is characterized by the hands moving near the waist and the chest being raised.
english translation
nATyaM nRttaM ca sarvaM hi sauSThave sampratiSThitam । kaTInAmabhicarau hastau vakSazcaiva samunnatam ॥ 94॥
hk transliteration by Sanscriptवैष्णवं स्थानमित्यङ्गं चतुरश्रमुदाहृतम् । परिमार्जनमादानं सन्धानं मोक्षणम् तथा ॥ ९५॥
The Vaiṣṇava Sthāna (a specific posture) is described as having Caturaśra (a square or balanced stance) of the limbs. The four actions related to the bow (Dhanus) are Parimārjana (preparing by bending the bow), Ādāna (taking the arrow), Sandhāna (aiming), and Mokṣaṇa (releasing the arrow).
english translation
vaiSNavaM sthAnamityaGgaM caturazramudAhRtam । parimArjanamAdAnaM sandhAnaM mokSaNam tathA ॥ 95॥
hk transliteration by Sanscript