Natyashastra
Progress:32.2%
पार्श्वक्रान्तैः सललितैः पादैर्वाद्यान्वितैरथ । रङ्गकोणोन्मुखं गच्छेत् सम्यक् पञ्चपदानि च ॥ १६॥
With graceful steps of the Pārśvakrāntā Cārī, accompanied by musical instruments, he should proceed properly toward the corner of the stage, taking five steps.
english translation
pArzvakrAntaiH salalitaiH pAdairvAdyAnvitairatha । raGgakoNonmukhaM gacchet samyak paJcapadAni ca ॥ 16॥
hk transliteration by Sanscriptवामवेधं ततः कुर्याद्विक्षेपं दक्षिणेन तु । परिवृत्य द्वितीयं तु गच्छेत् कोणं ततः परम् ॥ १७॥
Then, placing the left foot forward, he should throw the right foot outward, turn around, and proceed toward the second corner of the stage.
english translation
vAmavedhaM tataH kuryAdvikSepaM dakSiNena tu । parivRtya dvitIyaM tu gacchet koNaM tataH param ॥ 17॥
hk transliteration by Sanscriptतत्रापि वामवेधस्तु विक्षेपो दक्षिणेन च । ततो भाण्डोन्मुखो गच्छेत् तान्येव तु पदानि च ॥ १८॥
There too, he should place the left foot forward and throw the right foot outward, then proceed facing the musicians, taking those very same steps.
english translation
tatrApi vAmavedhastu vikSepo dakSiNena ca । tato bhANDonmukho gacchet tAnyeva tu padAni ca ॥ 18॥
hk transliteration by Sanscriptएवं गतागतैः कृत्वा पदानामिह विंशतिम् । वामवेधं ततः कुर्यात् विक्षेपं दक्षिणस्य च ॥ १९॥
Having thus completed twenty steps with the described movements, he should then place the left foot forward and throw the right foot outward.
english translation
evaM gatAgataiH kRtvA padAnAmiha viMzatim । vAmavedhaM tataH kuryAt vikSepaM dakSiNasya ca ॥ 19॥
hk transliteration by Sanscriptरङ्गे विकृष्टे भरतेन कार्यो गतागतैः पादगतिप्रचारः । त्र्यश्रस्त्रिकोणे चतुरस्ररङ्गे गतिप्रचारश्चतुरस्र एव ॥ २०॥
On an oblong stage, Bharata should perform elaborate footwork with going and turning steps, while on a triangular stage the footwork should be of the Tryasra type, and on a square stage, the footwork should be of the Caturasra type.
english translation
raGge vikRSTe bharatena kAryo gatAgataiH pAdagatipracAraH । tryazrastrikoNe caturasraraGge gatipracArazcaturasra eva ॥ 20॥
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:32.2%
पार्श्वक्रान्तैः सललितैः पादैर्वाद्यान्वितैरथ । रङ्गकोणोन्मुखं गच्छेत् सम्यक् पञ्चपदानि च ॥ १६॥
With graceful steps of the Pārśvakrāntā Cārī, accompanied by musical instruments, he should proceed properly toward the corner of the stage, taking five steps.
english translation
pArzvakrAntaiH salalitaiH pAdairvAdyAnvitairatha । raGgakoNonmukhaM gacchet samyak paJcapadAni ca ॥ 16॥
hk transliteration by Sanscriptवामवेधं ततः कुर्याद्विक्षेपं दक्षिणेन तु । परिवृत्य द्वितीयं तु गच्छेत् कोणं ततः परम् ॥ १७॥
Then, placing the left foot forward, he should throw the right foot outward, turn around, and proceed toward the second corner of the stage.
english translation
vAmavedhaM tataH kuryAdvikSepaM dakSiNena tu । parivRtya dvitIyaM tu gacchet koNaM tataH param ॥ 17॥
hk transliteration by Sanscriptतत्रापि वामवेधस्तु विक्षेपो दक्षिणेन च । ततो भाण्डोन्मुखो गच्छेत् तान्येव तु पदानि च ॥ १८॥
There too, he should place the left foot forward and throw the right foot outward, then proceed facing the musicians, taking those very same steps.
english translation
tatrApi vAmavedhastu vikSepo dakSiNena ca । tato bhANDonmukho gacchet tAnyeva tu padAni ca ॥ 18॥
hk transliteration by Sanscriptएवं गतागतैः कृत्वा पदानामिह विंशतिम् । वामवेधं ततः कुर्यात् विक्षेपं दक्षिणस्य च ॥ १९॥
Having thus completed twenty steps with the described movements, he should then place the left foot forward and throw the right foot outward.
english translation
evaM gatAgataiH kRtvA padAnAmiha viMzatim । vAmavedhaM tataH kuryAt vikSepaM dakSiNasya ca ॥ 19॥
hk transliteration by Sanscriptरङ्गे विकृष्टे भरतेन कार्यो गतागतैः पादगतिप्रचारः । त्र्यश्रस्त्रिकोणे चतुरस्ररङ्गे गतिप्रचारश्चतुरस्र एव ॥ २०॥
On an oblong stage, Bharata should perform elaborate footwork with going and turning steps, while on a triangular stage the footwork should be of the Tryasra type, and on a square stage, the footwork should be of the Caturasra type.
english translation
raGge vikRSTe bharatena kAryo gatAgataiH pAdagatipracAraH । tryazrastrikoNe caturasraraGge gatipracArazcaturasra eva ॥ 20॥
hk transliteration by Sanscript