Natyashastra
Progress:35.7%
उदात्तललितैर्गात्रैः पादैर्लीलासमन्वितैः । या पूर्वमेवाभिहिता ह्युत्तमानां गतिर्मया ॥ १९१॥
With graceful and elegant limbs, and steps full of playfulness, the Gait previously described by me for persons of the superior type— that very Gait should be applied here.
english translation
udAttalalitairgAtraiH pAdairlIlAsamanvitaiH । yA pUrvamevAbhihitA hyuttamAnAM gatirmayA ॥ 191॥
hk transliteration by Sanscriptस्त्रीणां कापुरुषाणां च ततोऽर्धार्धं तु योजयेत् । मध्यमोत्तमनीचानां नृणां यद् गतिचेष्टितम् ॥ १९२॥
For women and effeminate men, half of that (i.e., the time and style of the superior Gait) should be applied. The Gaits and movements prescribed for men of superior, middling, and inferior types are to be applied accordingly.
english translation
strINAM kApuruSANAM ca tato'rdhArdhaM tu yojayet । madhyamottamanIcAnAM nRNAM yad gaticeSTitam ॥ 192॥
hk transliteration by Sanscriptस्त्रीणां तदेव कर्तव्या ललितैः पदविक्रमैः । बालानामपि कर्तव्या स्वच्छन्दपदविक्रमा ॥ १९३॥
For women, the same Gait is to be performed, but with graceful foot movements. For children as well, the Gait should be with free and unrestrained steps.
english translation
strINAM tadeva kartavyA lalitaiH padavikramaiH । bAlAnAmapi kartavyA svacchandapadavikramA ॥ 193॥
hk transliteration by Sanscriptन तस्याः सौष्ठवं कार्यं न प्रमाणं प्रयोक्तृभिः । तृतीया प्रकृतिः कार्या नाम्ना चैव नपुंसका ॥ १९४॥
No Sauṣṭhava (refined grace) or fixed measurement is to be applied in their case; the third type, known by the name *napuṃsaka* (hermaphrodite), should be represented accordingly.
english translation
na tasyAH sauSThavaM kAryaM na pramANaM prayoktRbhiH । tRtIyA prakRtiH kAryA nAmnA caiva napuMsakA ॥ 194॥
hk transliteration by Sanscriptनरस्वभावमुत्सृज्य स्त्रीगतिं तत्र योजयेत् । विपर्ययः प्रयोक्तव्यः पुरुषस्त्रीनपुंसके ॥ १९५॥
Abandoning the natural (original) character of a man, the feminine gait should be applied in such a case. The appropriate reversal of gait should be represented when a man, woman, or hermaphrodite changes role.
english translation
narasvabhAvamutsRjya strIgatiM tatra yojayet । viparyayaH prayoktavyaH puruSastrInapuMsake ॥ 195॥
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:35.7%
उदात्तललितैर्गात्रैः पादैर्लीलासमन्वितैः । या पूर्वमेवाभिहिता ह्युत्तमानां गतिर्मया ॥ १९१॥
With graceful and elegant limbs, and steps full of playfulness, the Gait previously described by me for persons of the superior type— that very Gait should be applied here.
english translation
udAttalalitairgAtraiH pAdairlIlAsamanvitaiH । yA pUrvamevAbhihitA hyuttamAnAM gatirmayA ॥ 191॥
hk transliteration by Sanscriptस्त्रीणां कापुरुषाणां च ततोऽर्धार्धं तु योजयेत् । मध्यमोत्तमनीचानां नृणां यद् गतिचेष्टितम् ॥ १९२॥
For women and effeminate men, half of that (i.e., the time and style of the superior Gait) should be applied. The Gaits and movements prescribed for men of superior, middling, and inferior types are to be applied accordingly.
english translation
strINAM kApuruSANAM ca tato'rdhArdhaM tu yojayet । madhyamottamanIcAnAM nRNAM yad gaticeSTitam ॥ 192॥
hk transliteration by Sanscriptस्त्रीणां तदेव कर्तव्या ललितैः पदविक्रमैः । बालानामपि कर्तव्या स्वच्छन्दपदविक्रमा ॥ १९३॥
For women, the same Gait is to be performed, but with graceful foot movements. For children as well, the Gait should be with free and unrestrained steps.
english translation
strINAM tadeva kartavyA lalitaiH padavikramaiH । bAlAnAmapi kartavyA svacchandapadavikramA ॥ 193॥
hk transliteration by Sanscriptन तस्याः सौष्ठवं कार्यं न प्रमाणं प्रयोक्तृभिः । तृतीया प्रकृतिः कार्या नाम्ना चैव नपुंसका ॥ १९४॥
No Sauṣṭhava (refined grace) or fixed measurement is to be applied in their case; the third type, known by the name *napuṃsaka* (hermaphrodite), should be represented accordingly.
english translation
na tasyAH sauSThavaM kAryaM na pramANaM prayoktRbhiH । tRtIyA prakRtiH kAryA nAmnA caiva napuMsakA ॥ 194॥
hk transliteration by Sanscriptनरस्वभावमुत्सृज्य स्त्रीगतिं तत्र योजयेत् । विपर्ययः प्रयोक्तव्यः पुरुषस्त्रीनपुंसके ॥ १९५॥
Abandoning the natural (original) character of a man, the feminine gait should be applied in such a case. The appropriate reversal of gait should be represented when a man, woman, or hermaphrodite changes role.
english translation
narasvabhAvamutsRjya strIgatiM tatra yojayet । viparyayaH prayoktavyaH puruSastrInapuMsake ॥ 195॥
hk transliteration by Sanscript