Natyashastra
Progress:34.5%
विपर्ययगतैर्हस्तैः पद्भ्यां सह गतिर्भवेत् । त्रिविधा तु गतिः कार्या खञ्जपङ्गुकवामनैः ॥ १३१॥
With the hands moving contrary to the feet, gait should be performed. The gait should be of three types for the lame, the crippled, and the dwarfs.
english translation
viparyayagatairhastaiH padbhyAM saha gatirbhavet । trividhA tu gatiH kAryA khaJjapaGgukavAmanaiH ॥ 131॥
hk transliteration by Sanscriptविकलाङ्गप्रयोगेण कुहकाभिनयं प्रति । एकः खञ्जगतौ नित्यं स्तब्धो वै चरणो भवेत् ॥ १३२॥
In the representation of physical deformities for the Comic Sentiment, one type of lame gait is when one foot always remains stiff.
english translation
vikalAGgaprayogeNa kuhakAbhinayaM prati । ekaH khaJjagatau nityaM stabdho vai caraNo bhavet ॥ 132॥
hk transliteration by Sanscriptतथा द्वितीयः कार्यस्तु पादोऽग्रतलसञ्चरः । स्तब्धेनोत्थापनं कार्यमङ्गस्य चरणेन तु ॥ १३३॥
The second type of lame gait should involve the Agratalasañcara foot movement, where the body is lifted using the stiff foot.
english translation
tathA dvitIyaH kAryastu pAdo'gratalasaJcaraH । stabdhenotthApanaM kAryamaGgasya caraNena tu ॥ 133॥
hk transliteration by Sanscriptगमनेन निषण्णः स्यादन्येन चरणेन तु । इतरेण निषीदेच्च क्रमेणानेन वै व्रजेत् ॥ १३४॥
In walking, one should sit down (lower the body) on one foot and rest on the other; by alternately setting the feet in this manner, the movement (gait) should be performed.
english translation
gamanena niSaNNaH syAdanyena caraNena tu । itareNa niSIdecca krameNAnena vai vrajet ॥ 134॥
hk transliteration by Sanscriptएषा खञ्जगतिः कार्या तलशल्यक्षतेषु च । पादेनाग्रतलस्थेन ह्यञ्चितेन व्रजेत्तथा ॥ १३५॥
This limping gait is to be used for those with a thorn injury on the sole of the foot. One should walk with the front part of the foot touching the ground and the foot slightly bent.
english translation
eSA khaJjagatiH kAryA talazalyakSateSu ca । pAdenAgratalasthena hyaJcitena vrajettathA ॥ 135॥
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:34.5%
विपर्ययगतैर्हस्तैः पद्भ्यां सह गतिर्भवेत् । त्रिविधा तु गतिः कार्या खञ्जपङ्गुकवामनैः ॥ १३१॥
With the hands moving contrary to the feet, gait should be performed. The gait should be of three types for the lame, the crippled, and the dwarfs.
english translation
viparyayagatairhastaiH padbhyAM saha gatirbhavet । trividhA tu gatiH kAryA khaJjapaGgukavAmanaiH ॥ 131॥
hk transliteration by Sanscriptविकलाङ्गप्रयोगेण कुहकाभिनयं प्रति । एकः खञ्जगतौ नित्यं स्तब्धो वै चरणो भवेत् ॥ १३२॥
In the representation of physical deformities for the Comic Sentiment, one type of lame gait is when one foot always remains stiff.
english translation
vikalAGgaprayogeNa kuhakAbhinayaM prati । ekaH khaJjagatau nityaM stabdho vai caraNo bhavet ॥ 132॥
hk transliteration by Sanscriptतथा द्वितीयः कार्यस्तु पादोऽग्रतलसञ्चरः । स्तब्धेनोत्थापनं कार्यमङ्गस्य चरणेन तु ॥ १३३॥
The second type of lame gait should involve the Agratalasañcara foot movement, where the body is lifted using the stiff foot.
english translation
tathA dvitIyaH kAryastu pAdo'gratalasaJcaraH । stabdhenotthApanaM kAryamaGgasya caraNena tu ॥ 133॥
hk transliteration by Sanscriptगमनेन निषण्णः स्यादन्येन चरणेन तु । इतरेण निषीदेच्च क्रमेणानेन वै व्रजेत् ॥ १३४॥
In walking, one should sit down (lower the body) on one foot and rest on the other; by alternately setting the feet in this manner, the movement (gait) should be performed.
english translation
gamanena niSaNNaH syAdanyena caraNena tu । itareNa niSIdecca krameNAnena vai vrajet ॥ 134॥
hk transliteration by Sanscriptएषा खञ्जगतिः कार्या तलशल्यक्षतेषु च । पादेनाग्रतलस्थेन ह्यञ्चितेन व्रजेत्तथा ॥ १३५॥
This limping gait is to be used for those with a thorn injury on the sole of the foot. One should walk with the front part of the foot touching the ground and the foot slightly bent.
english translation
eSA khaJjagatiH kAryA talazalyakSateSu ca । pAdenAgratalasthena hyaJcitena vrajettathA ॥ 135॥
hk transliteration by Sanscript