Natyashastra
Progress:34.1%
पादैराकुञ्चितैः किञ्चित् तालाभ्यन्तरपातितैः । स्वसौष्ठवसमायुक्तौ तथा हस्तौ पदानुगौ ॥ १११॥
With slightly bent (ākūñcita) feet falling within the measure of a Tāla, and hands endowed with proper bodily grace (sva-sauṣṭhava), the hands too should follow the movement of the feet.
english translation
pAdairAkuJcitaiH kiJcit tAlAbhyantarapAtitaiH । svasauSThavasamAyuktau tathA hastau padAnugau ॥ 111॥
hk transliteration by Sanscriptखटकावर्धमानौ तु कृत्वा विटगतिं व्रजेत् । कञ्चुकीयस्य कर्तव्या वयोवस्थाविशेषतः ॥ ११२॥
By holding the hands in the Kaṭakā-vardhamāna gesture, one should enact the gait of the witty character (Viṭa). The gait of a Kāñcukīya (chamberlain or armour-bearer) should be performed according to his stage of life (i.e., age).
english translation
khaTakAvardhamAnau tu kRtvA viTagatiM vrajet । kaJcukIyasya kartavyA vayovasthAvizeSataH ॥ 112॥
hk transliteration by Sanscriptअवृद्धस्य प्रयोगज्ञो गतिमेवं प्रयोजयेत् । अर्धतालोत्थितैः पादैर्विष्कम्भैः ऋजुभिस्तथा ॥ ११३॥
An expert performer should represent the Gait of a Kāñcukīya who is not old by raising the feet half a Tāla high and taking straightforward, simple steps.
english translation
avRddhasya prayogajJo gatimevaM prayojayet । ardhatAlotthitaiH pAdairviSkambhaiH RjubhistathA ॥ 113॥
hk transliteration by Sanscriptसमुद्वहन्निवाङ्गानि पङ्कलग्न इव व्रजेत् । अथ वृद्धस्य कर्तव्या गतिः कम्पितदेहिका ॥ ११४॥
He should walk as if lifting his limbs with effort, like one stuck in mud. Now, for an old Kāñcukīya, the Gait should be performed with a trembling body.
english translation
samudvahannivAGgAni paGkalagna iva vrajet । atha vRddhasya kartavyA gatiH kampitadehikA ॥ 114॥
hk transliteration by Sanscriptविष्कम्भनकृतप्राणा मन्दोत्क्षिप्तपदक्रमा । कृशस्याप्यभिनेया वै गतिर्मन्दपरिक्रमा ॥ ११५॥
One whose life seems held back by obstruction, who lifts the feet slowly— even when portraying an emaciated (thin/weak) person, the Gait should be performed with slow, hesitant steps.
english translation
viSkambhanakRtaprANA mandotkSiptapadakramA । kRzasyApyabhineyA vai gatirmandaparikramA ॥ 115॥
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)
10.
अध्याय १०
Cari Movements
11.
अध्याय ११
Maṇḍala movements
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:34.1%
पादैराकुञ्चितैः किञ्चित् तालाभ्यन्तरपातितैः । स्वसौष्ठवसमायुक्तौ तथा हस्तौ पदानुगौ ॥ १११॥
With slightly bent (ākūñcita) feet falling within the measure of a Tāla, and hands endowed with proper bodily grace (sva-sauṣṭhava), the hands too should follow the movement of the feet.
english translation
pAdairAkuJcitaiH kiJcit tAlAbhyantarapAtitaiH । svasauSThavasamAyuktau tathA hastau padAnugau ॥ 111॥
hk transliteration by Sanscriptखटकावर्धमानौ तु कृत्वा विटगतिं व्रजेत् । कञ्चुकीयस्य कर्तव्या वयोवस्थाविशेषतः ॥ ११२॥
By holding the hands in the Kaṭakā-vardhamāna gesture, one should enact the gait of the witty character (Viṭa). The gait of a Kāñcukīya (chamberlain or armour-bearer) should be performed according to his stage of life (i.e., age).
english translation
khaTakAvardhamAnau tu kRtvA viTagatiM vrajet । kaJcukIyasya kartavyA vayovasthAvizeSataH ॥ 112॥
hk transliteration by Sanscriptअवृद्धस्य प्रयोगज्ञो गतिमेवं प्रयोजयेत् । अर्धतालोत्थितैः पादैर्विष्कम्भैः ऋजुभिस्तथा ॥ ११३॥
An expert performer should represent the Gait of a Kāñcukīya who is not old by raising the feet half a Tāla high and taking straightforward, simple steps.
english translation
avRddhasya prayogajJo gatimevaM prayojayet । ardhatAlotthitaiH pAdairviSkambhaiH RjubhistathA ॥ 113॥
hk transliteration by Sanscriptसमुद्वहन्निवाङ्गानि पङ्कलग्न इव व्रजेत् । अथ वृद्धस्य कर्तव्या गतिः कम्पितदेहिका ॥ ११४॥
He should walk as if lifting his limbs with effort, like one stuck in mud. Now, for an old Kāñcukīya, the Gait should be performed with a trembling body.
english translation
samudvahannivAGgAni paGkalagna iva vrajet । atha vRddhasya kartavyA gatiH kampitadehikA ॥ 114॥
hk transliteration by Sanscriptविष्कम्भनकृतप्राणा मन्दोत्क्षिप्तपदक्रमा । कृशस्याप्यभिनेया वै गतिर्मन्दपरिक्रमा ॥ ११५॥
One whose life seems held back by obstruction, who lifts the feet slowly— even when portraying an emaciated (thin/weak) person, the Gait should be performed with slow, hesitant steps.
english translation
viSkambhanakRtaprANA mandotkSiptapadakramA । kRzasyApyabhineyA vai gatirmandaparikramA ॥ 115॥
hk transliteration by Sanscript