Natyashastra
Progress:35.3%
निश्चये परितोषे च वितर्के चिन्तने तथा । विलासलीलाविब्वोकशृंगारात्मनिरूपणे ॥ १७१॥
In determination, satisfaction, deliberation, and reflection, as well as in expressing playfulness, sportiveness, and the Erotic Sentiment, this posture is to be used.
english translation
nizcaye paritoSe ca vitarke cintane tathA । vilAsalIlAvibvokazaRMgArAtmanirUpaNe ॥ 171॥
hk transliteration by Sanscriptस्थानमेतत्प्रयोक्तव्यं भर्तुर्मार्गविलोकने । पादः समस्थितश्चैक एकश्चाग्रतलाञ्चितः ॥ १७२॥
This posture should be used while looking out for the husband’s arrival. One foot is to be placed firmly on the ground, and the other is to be bent at the forepart.
english translation
sthAnametatprayoktavyaM bharturmArgavilokane । pAdaH samasthitazcaika ekazcAgratalAJcitaH ॥ 172॥
hk transliteration by Sanscriptसूचीविद्धमविद्धं वा तदश्वक्रान्तमुच्यते । स्खलितं घूर्णितं चैव गलिताम्बरधारणम् ॥ १७३॥
Whether pierced like a needle (sūcīviddha) or unpierced, this is called the Aśvakrānta posture. It includes slipping, swaying, and the adjustment of garments that have come loose.
english translation
sUcIviddhamaviddhaM vA tadazvakrAntamucyate । skhalitaM ghUrNitaM caiva galitAmbaradhAraNam ॥ 173॥
hk transliteration by Sanscriptकुसुमस्तबकादानं परिरक्षणमेव च । वित्रासनं सललितं तरुशाखावलम्बनम् ॥ १७४॥
Plucking a cluster of flowers, offering protection, gracefully sitting down, and holding on to the branch of a tree—these actions are to be performed \॥ from the Aśvakrānta posture॥.
english translation
kusumastabakAdAnaM parirakSaNameva ca । vitrAsanaM salalitaM taruzAkhAvalambanam ॥ 174॥
hk transliteration by Sanscriptस्थानेऽस्मिन् संविधानीयं स्त्रीणामेतत्प्रयोक्तृभिः । शाखावलम्बने कार्यं स्तबकग्रहणे तथा ॥ १७५॥
In this posture (Aśvakrānta), women should be represented accordingly by actors—especially while holding onto a tree branch or when plucking a flower cluster.
english translation
sthAne'smin saMvidhAnIyaM strINAmetatprayoktRbhiH । zAkhAvalambane kAryaM stabakagrahaNe tathA ॥ 175॥
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:35.3%
निश्चये परितोषे च वितर्के चिन्तने तथा । विलासलीलाविब्वोकशृंगारात्मनिरूपणे ॥ १७१॥
In determination, satisfaction, deliberation, and reflection, as well as in expressing playfulness, sportiveness, and the Erotic Sentiment, this posture is to be used.
english translation
nizcaye paritoSe ca vitarke cintane tathA । vilAsalIlAvibvokazaRMgArAtmanirUpaNe ॥ 171॥
hk transliteration by Sanscriptस्थानमेतत्प्रयोक्तव्यं भर्तुर्मार्गविलोकने । पादः समस्थितश्चैक एकश्चाग्रतलाञ्चितः ॥ १७२॥
This posture should be used while looking out for the husband’s arrival. One foot is to be placed firmly on the ground, and the other is to be bent at the forepart.
english translation
sthAnametatprayoktavyaM bharturmArgavilokane । pAdaH samasthitazcaika ekazcAgratalAJcitaH ॥ 172॥
hk transliteration by Sanscriptसूचीविद्धमविद्धं वा तदश्वक्रान्तमुच्यते । स्खलितं घूर्णितं चैव गलिताम्बरधारणम् ॥ १७३॥
Whether pierced like a needle (sūcīviddha) or unpierced, this is called the Aśvakrānta posture. It includes slipping, swaying, and the adjustment of garments that have come loose.
english translation
sUcIviddhamaviddhaM vA tadazvakrAntamucyate । skhalitaM ghUrNitaM caiva galitAmbaradhAraNam ॥ 173॥
hk transliteration by Sanscriptकुसुमस्तबकादानं परिरक्षणमेव च । वित्रासनं सललितं तरुशाखावलम्बनम् ॥ १७४॥
Plucking a cluster of flowers, offering protection, gracefully sitting down, and holding on to the branch of a tree—these actions are to be performed \॥ from the Aśvakrānta posture॥.
english translation
kusumastabakAdAnaM parirakSaNameva ca । vitrAsanaM salalitaM taruzAkhAvalambanam ॥ 174॥
hk transliteration by Sanscriptस्थानेऽस्मिन् संविधानीयं स्त्रीणामेतत्प्रयोक्तृभिः । शाखावलम्बने कार्यं स्तबकग्रहणे तथा ॥ १७५॥
In this posture (Aśvakrānta), women should be represented accordingly by actors—especially while holding onto a tree branch or when plucking a flower cluster.
english translation
sthAne'smin saMvidhAnIyaM strINAmetatprayoktRbhiH । zAkhAvalambane kAryaM stabakagrahaNe tathA ॥ 175॥
hk transliteration by Sanscript