Natyashastra
Progress:35.6%
स्थवीयसीनामेतासां सम्प्रवक्ष्याम्यहं गतिम् । कृत्वापविद्धं स्थानन्तु वामं न्यस्य कटीतटे ॥ १८६॥
Now I shall describe the gait of aged women. Assuming the Apaviddha Sthāna, the left hand is to be placed on the waist.
english translation
sthavIyasInAmetAsAM sampravakSyAmyahaM gatim । kRtvApaviddhaM sthAnantu vAmaM nyasya kaTItaTe ॥ 186॥
hk transliteration by Sanscriptआद्यं चारालमुत्तानं कुर्यान्नाभिस्तनान्तरे । न निषण्णं न च स्तब्धं न चापि परिवाहितम् ॥ १८७॥
The first (right) hand should be in the Arāla gesture, held up between the navel and the breasts; the body should neither be relaxed, nor stiff, nor swinging.
english translation
AdyaM cArAlamuttAnaM kuryAnnAbhistanAntare । na niSaNNaM na ca stabdhaM na cApi parivAhitam ॥ 187॥
hk transliteration by Sanscriptकृत्वा गात्रं ततो गच्छेत्तेनैवेह क्रमेण तु । प्रेष्याणामपि कर्तव्या गतिरुद्भ्रान्तगामिनी ॥ १८८॥
Then, having composed the body accordingly, one should walk following the same sequence. The gait of handmaids too should be performed as distracted and wavering in movement.
english translation
kRtvA gAtraM tato gacchettenaiveha krameNa tu । preSyANAmapi kartavyA gatirudbhrAntagAminI ॥ 188॥
hk transliteration by Sanscriptक्वचिदुन्नमितैर्गात्रैः आविद्धभुजविक्रमा । स्थानं कृत्वावहित्थं च वामं चाधोमुखं भुजम् ॥ १८९॥
At times with limbs slightly raised and arms swinging in circular motion, after assuming the Avahittha posture and placing the left arm pointing downward.
english translation
kvacidunnamitairgAtraiH AviddhabhujavikramA । sthAnaM kRtvAvahitthaM ca vAmaM cAdhomukhaM bhujam ॥ 189॥
hk transliteration by Sanscriptनाभिप्रदेशे विन्यस्य सव्यं च खटकामुखम् । अर्धनारीगतिः कार्या स्त्रीपुंसाभ्यां विमिश्रिता ॥ १९०॥
Placing the Kaṭakāmukha hand gesture on the region of the navel with the left hand, the Gait of the half-woman, which is a mixture of male and female traits, should be performed.
english translation
nAbhipradeze vinyasya savyaM ca khaTakAmukham । ardhanArIgatiH kAryA strIpuMsAbhyAM vimizritA ॥ 190॥
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:35.6%
स्थवीयसीनामेतासां सम्प्रवक्ष्याम्यहं गतिम् । कृत्वापविद्धं स्थानन्तु वामं न्यस्य कटीतटे ॥ १८६॥
Now I shall describe the gait of aged women. Assuming the Apaviddha Sthāna, the left hand is to be placed on the waist.
english translation
sthavIyasInAmetAsAM sampravakSyAmyahaM gatim । kRtvApaviddhaM sthAnantu vAmaM nyasya kaTItaTe ॥ 186॥
hk transliteration by Sanscriptआद्यं चारालमुत्तानं कुर्यान्नाभिस्तनान्तरे । न निषण्णं न च स्तब्धं न चापि परिवाहितम् ॥ १८७॥
The first (right) hand should be in the Arāla gesture, held up between the navel and the breasts; the body should neither be relaxed, nor stiff, nor swinging.
english translation
AdyaM cArAlamuttAnaM kuryAnnAbhistanAntare । na niSaNNaM na ca stabdhaM na cApi parivAhitam ॥ 187॥
hk transliteration by Sanscriptकृत्वा गात्रं ततो गच्छेत्तेनैवेह क्रमेण तु । प्रेष्याणामपि कर्तव्या गतिरुद्भ्रान्तगामिनी ॥ १८८॥
Then, having composed the body accordingly, one should walk following the same sequence. The gait of handmaids too should be performed as distracted and wavering in movement.
english translation
kRtvA gAtraM tato gacchettenaiveha krameNa tu । preSyANAmapi kartavyA gatirudbhrAntagAminI ॥ 188॥
hk transliteration by Sanscriptक्वचिदुन्नमितैर्गात्रैः आविद्धभुजविक्रमा । स्थानं कृत्वावहित्थं च वामं चाधोमुखं भुजम् ॥ १८९॥
At times with limbs slightly raised and arms swinging in circular motion, after assuming the Avahittha posture and placing the left arm pointing downward.
english translation
kvacidunnamitairgAtraiH AviddhabhujavikramA । sthAnaM kRtvAvahitthaM ca vAmaM cAdhomukhaM bhujam ॥ 189॥
hk transliteration by Sanscriptनाभिप्रदेशे विन्यस्य सव्यं च खटकामुखम् । अर्धनारीगतिः कार्या स्त्रीपुंसाभ्यां विमिश्रिता ॥ १९०॥
Placing the Kaṭakāmukha hand gesture on the region of the navel with the left hand, the Gait of the half-woman, which is a mixture of male and female traits, should be performed.
english translation
nAbhipradeze vinyasya savyaM ca khaTakAmukham । ardhanArIgatiH kAryA strIpuMsAbhyAM vimizritA ॥ 190॥
hk transliteration by Sanscript