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siva.sh/natyashastra/12/126

126

नृत्यत्यपि च संहृष्टो वादयत्यपि वा पुनः । कदाचिद्धावति जवात् कदाचिदवतिष्ठते ॥ १२६॥

He sometimes dances in delight, and at other times drums (on something); sometimes he runs swiftly, and sometimes he stands still.

english translation

nRtyatyapi ca saMhRSTo vAdayatyapi vA punaH | kadAciddhAvati javAt kadAcidavatiSThate || 126||

siva.sh/natyashastra/12/127

127

कदाचिदुपविष्टस्तु शयानः स्यात् कदाचन । नानाचीरधरश्चैव रथ्यास्वनियतालयः ॥ १२७॥

Sometimes he is seated, and sometimes lying down; he wears rags of various kinds and resides irregularly on public roads.

english translation

kadAcidupaviSTastu zayAnaH syAt kadAcana | nAnAcIradharazcaiva rathyAsvaniyatAlayaH || 127||

siva.sh/natyashastra/12/128

128

उन्मत्तो भवति ह्येवं तस्यैतां कारयेद् गतिम् । स्थित्वा नूपुरपादेन दण्डपादं प्रसारयेत् ॥ १२८॥

Such is the behavior of a lunatic, and his Gait should be made accordingly. Standing first with the Nūpura foot, he should then extend the foot in Daṇḍapāda manner.

english translation

unmatto bhavati hyevaM tasyaitAM kArayed gatim | sthitvA nUpurapAdena daNDapAdaM prasArayet || 128||

siva.sh/natyashastra/12/129

129

बद्धां चारीं तथा चैव कृत्वा स्वस्तिकमेव च । अनेन चारीयोगेन परिभ्राम्य तु मण्डलम् ॥ १२९॥

After performing the Baddhā Cārī and the Svastika posture, he should, using this combination of Cārīs, circle around the stage in a Maṇḍala pattern.

english translation

baddhAM cArIM tathA caiva kRtvA svastikameva ca | anena cArIyogena paribhrAmya tu maNDalam || 129||

siva.sh/natyashastra/12/130

130

बाह्यभ्रमरकं चैव रङ्गकोणे प्रसारयेत् । त्रिकं सुललितं कृत्वा लताख्यं हस्तमेव च ॥ १३०॥

Then he should extend the outward Bhramara Maṇḍala towards a corner of the stage, gracefully twist the waist (Trika), and display the hand gesture called Latā.

english translation

bAhyabhramarakaM caiva raGgakoNe prasArayet | trikaM sulalitaM kRtvA latAkhyaM hastameva ca || 130||