Natyashastra
Progress:35.2%
मन्मथेर्ष्योद्भवं कोपं तर्जन्यङ्गुलिमोटनम् । निषेधगर्वगाम्भीर्यमौनं मानावलम्बनम् ॥ १६६॥
Anger arising from jealousy in love, twisting of the forefinger, prohibition, pride, profundity, silence, and adopting a resentful attitude (māna) — all these should be represented from this posture.
english translation
manmatherSyodbhavaM kopaM tarjanyaGgulimoTanam । niSedhagarvagAmbhIryamaunaM mAnAvalambanam ॥ 166॥
hk transliteration by Sanscriptस्थानेऽस्मिन् संविधातव्यं दिगन्तरनिरूपणम् । समो यत्र स्थितो वामस्त्र्यश्रः पक्षस्थितोऽपरः ॥ १६७॥
In this posture should also be represented the act of looking toward the horizon. Here, the left foot is placed evenly (Sama), while the other (right) foot is obliquely set to the side (Tryaśra).
english translation
sthAne'smin saMvidhAtavyaM digantaranirUpaNam । samo yatra sthito vAmastryazraH pakSasthito'paraH ॥ 167॥
hk transliteration by Sanscriptसमुन्नतकटिर्वामस्त्ववहित्थं तु तद्भवेत् । पुरो विचलितस्त्र्यश्रस्तदन्योपसृतः समः ॥ १६८॥
In this posture called Avahittha, the left hip is raised. The right foot (placed forward) is obliquely set (Tryaśra), and the other (left foot brought near) is placed evenly (Sama).
english translation
samunnatakaTirvAmastvavahitthaM tu tadbhavet । puro vicalitastryazrastadanyopasRtaH samaH ॥ 168॥
hk transliteration by Sanscriptपादस्तालान्तरन्यस्तस्त्रिकमीषत्समुन्नतम् । पाणिर्लताख्यो यत्रैकस्तदन्यस्तु नितम्बगः ॥ १६९॥
In this posture, one foot is placed at a distance of one Tāla, the hip is slightly raised, one hand is held in the Latā gesture, and the other rests on the hip.
english translation
pAdastAlAntaranyastastrikamISatsamunnatam । pANirlatAkhyo yatraikastadanyastu nitambagaH ॥ 169॥
hk transliteration by Sanscriptअवहित्थं समाख्यातं स्थानमागमभूषणैः । स्त्रीणामेतत् स्मृतं स्थानं संलापे तु स्वभावजे ॥ १७०॥
This posture is called Avahittha, marked by natural grace and ornamentation. It is considered a natural posture for women, especially during conversation.
english translation
avahitthaM samAkhyAtaM sthAnamAgamabhUSaNaiH । strINAmetat smRtaM sthAnaM saMlApe tu svabhAvaje ॥ 170॥
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:35.2%
मन्मथेर्ष्योद्भवं कोपं तर्जन्यङ्गुलिमोटनम् । निषेधगर्वगाम्भीर्यमौनं मानावलम्बनम् ॥ १६६॥
Anger arising from jealousy in love, twisting of the forefinger, prohibition, pride, profundity, silence, and adopting a resentful attitude (māna) — all these should be represented from this posture.
english translation
manmatherSyodbhavaM kopaM tarjanyaGgulimoTanam । niSedhagarvagAmbhIryamaunaM mAnAvalambanam ॥ 166॥
hk transliteration by Sanscriptस्थानेऽस्मिन् संविधातव्यं दिगन्तरनिरूपणम् । समो यत्र स्थितो वामस्त्र्यश्रः पक्षस्थितोऽपरः ॥ १६७॥
In this posture should also be represented the act of looking toward the horizon. Here, the left foot is placed evenly (Sama), while the other (right) foot is obliquely set to the side (Tryaśra).
english translation
sthAne'smin saMvidhAtavyaM digantaranirUpaNam । samo yatra sthito vAmastryazraH pakSasthito'paraH ॥ 167॥
hk transliteration by Sanscriptसमुन्नतकटिर्वामस्त्ववहित्थं तु तद्भवेत् । पुरो विचलितस्त्र्यश्रस्तदन्योपसृतः समः ॥ १६८॥
In this posture called Avahittha, the left hip is raised. The right foot (placed forward) is obliquely set (Tryaśra), and the other (left foot brought near) is placed evenly (Sama).
english translation
samunnatakaTirvAmastvavahitthaM tu tadbhavet । puro vicalitastryazrastadanyopasRtaH samaH ॥ 168॥
hk transliteration by Sanscriptपादस्तालान्तरन्यस्तस्त्रिकमीषत्समुन्नतम् । पाणिर्लताख्यो यत्रैकस्तदन्यस्तु नितम्बगः ॥ १६९॥
In this posture, one foot is placed at a distance of one Tāla, the hip is slightly raised, one hand is held in the Latā gesture, and the other rests on the hip.
english translation
pAdastAlAntaranyastastrikamISatsamunnatam । pANirlatAkhyo yatraikastadanyastu nitambagaH ॥ 169॥
hk transliteration by Sanscriptअवहित्थं समाख्यातं स्थानमागमभूषणैः । स्त्रीणामेतत् स्मृतं स्थानं संलापे तु स्वभावजे ॥ १७०॥
This posture is called Avahittha, marked by natural grace and ornamentation. It is considered a natural posture for women, especially during conversation.
english translation
avahitthaM samAkhyAtaM sthAnamAgamabhUSaNaiH । strINAmetat smRtaM sthAnaM saMlApe tu svabhAvaje ॥ 170॥
hk transliteration by Sanscript