Natyashastra
Progress:34.4%
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॥
hk transliteration by Sanscriptकदाचिदुपविष्टस्तु 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॥
hk transliteration by Sanscriptउन्मत्तो 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॥
hk transliteration by Sanscriptबद्धां 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॥
hk transliteration by Sanscriptबाह्यभ्रमरकं 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॥
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:34.4%
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॥
hk transliteration by Sanscriptकदाचिदुपविष्टस्तु 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॥
hk transliteration by Sanscriptउन्मत्तो 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॥
hk transliteration by Sanscriptबद्धां 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॥
hk transliteration by Sanscriptबाह्यभ्रमरकं 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॥
hk transliteration by Sanscript