Natyashastra
Progress:35.4%
विश्रामेष्वथ देवानां नराणां चार्थयोगतः । स्थानकं तावदेव स्याद्यावच्चेष्टा प्रवर्तते ॥ १७६॥
In the case of taking rest by gods or men, depending on the context, that posture (Sthāna) should be maintained only until any movement begins.
english translation
vizrAmeSvatha devAnAM narANAM cArthayogataH । sthAnakaM tAvadeva syAdyAvacceSTA pravartate ॥ 176॥
hk transliteration by Sanscriptभग्नं च स्थानकं नृत्ते चारी चेत्समुपस्थिता । एवं स्थानविधिः कार्यः स्त्रीणां नृणामथापि च ॥ १७७॥
In dance, the posture (Sthāna) is considered broken when a Cārī (leg movement) is introduced. Thus, this is the rule regarding postures to be observed for both women and men.
english translation
bhagnaM ca sthAnakaM nRtte cArI cetsamupasthitA । evaM sthAnavidhiH kAryaH strINAM nRNAmathApi ca ॥ 177॥
hk transliteration by Sanscriptपुनश्चासां प्रवक्ष्यामि गतिं प्रकृतिसंस्थिताम् । कृत्वावहित्थं स्थानं तु वामं चाधोमुखं करम् ॥ १७८॥
Now I shall again describe the gait of women in accordance with their natural disposition: assuming the Avahittha posture, the left hand should be held facing downward.
english translation
punazcAsAM pravakSyAmi gatiM prakRtisaMsthitAm । kRtvAvahitthaM sthAnaM tu vAmaM cAdhomukhaM karam ॥ 178॥
hk transliteration by Sanscriptनाभिप्रदेशे विन्यस्य सव्यं च खटकामुखम् । ततः सललितं पादं तालमात्रसमुत्थितम् ॥ १७९॥
Placing the left hand in the Kaṭakāmukha gesture near the navel region, then gracefully raising the foot up to the measure of one tāla.
english translation
nAbhipradeze vinyasya savyaM ca khaTakAmukham । tataH salalitaM pAdaM tAlamAtrasamutthitam ॥ 179॥
hk transliteration by Sanscriptदक्षिणं वामपादस्य बाह्यपार्श्वे विनिक्षिपेत् । तेनैव समकालं च लताख्यं वामकं भुजम् ॥ १८०॥
The right foot is to be placed outside and beside the left foot, and at the same time, the left arm is to be moved gracefully in the Latā (creeper-like) gesture.
english translation
dakSiNaM vAmapAdasya bAhyapArzve vinikSipet । tenaiva samakAlaM ca latAkhyaM vAmakaM bhujam ॥ 180॥
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:35.4%
विश्रामेष्वथ देवानां नराणां चार्थयोगतः । स्थानकं तावदेव स्याद्यावच्चेष्टा प्रवर्तते ॥ १७६॥
In the case of taking rest by gods or men, depending on the context, that posture (Sthāna) should be maintained only until any movement begins.
english translation
vizrAmeSvatha devAnAM narANAM cArthayogataH । sthAnakaM tAvadeva syAdyAvacceSTA pravartate ॥ 176॥
hk transliteration by Sanscriptभग्नं च स्थानकं नृत्ते चारी चेत्समुपस्थिता । एवं स्थानविधिः कार्यः स्त्रीणां नृणामथापि च ॥ १७७॥
In dance, the posture (Sthāna) is considered broken when a Cārī (leg movement) is introduced. Thus, this is the rule regarding postures to be observed for both women and men.
english translation
bhagnaM ca sthAnakaM nRtte cArI cetsamupasthitA । evaM sthAnavidhiH kAryaH strINAM nRNAmathApi ca ॥ 177॥
hk transliteration by Sanscriptपुनश्चासां प्रवक्ष्यामि गतिं प्रकृतिसंस्थिताम् । कृत्वावहित्थं स्थानं तु वामं चाधोमुखं करम् ॥ १७८॥
Now I shall again describe the gait of women in accordance with their natural disposition: assuming the Avahittha posture, the left hand should be held facing downward.
english translation
punazcAsAM pravakSyAmi gatiM prakRtisaMsthitAm । kRtvAvahitthaM sthAnaM tu vAmaM cAdhomukhaM karam ॥ 178॥
hk transliteration by Sanscriptनाभिप्रदेशे विन्यस्य सव्यं च खटकामुखम् । ततः सललितं पादं तालमात्रसमुत्थितम् ॥ १७९॥
Placing the left hand in the Kaṭakāmukha gesture near the navel region, then gracefully raising the foot up to the measure of one tāla.
english translation
nAbhipradeze vinyasya savyaM ca khaTakAmukham । tataH salalitaM pAdaM tAlamAtrasamutthitam ॥ 179॥
hk transliteration by Sanscriptदक्षिणं वामपादस्य बाह्यपार्श्वे विनिक्षिपेत् । तेनैव समकालं च लताख्यं वामकं भुजम् ॥ १८०॥
The right foot is to be placed outside and beside the left foot, and at the same time, the left arm is to be moved gracefully in the Latā (creeper-like) gesture.
english translation
dakSiNaM vAmapAdasya bAhyapArzve vinikSipet । tenaiva samakAlaM ca latAkhyaM vAmakaM bhujam ॥ 180॥
hk transliteration by Sanscript