Natyashastra
Progress:35.9%
खस्थानां चैव नारीणां समपादं प्रयोजयेत् । उद्धता येऽङ्गहाराः स्युः याश्चार्यो मण्डलानि च ॥ २०१॥
For women who are ascetics or devoted to religious practices, the Samapāda Cārī (gait with feet placed evenly) should be used. Energetic Aṅgahāras (limb movements), and extraordinary Maṇḍalas (circular movements), should be avoided for them.
english translation
khasthAnAM caiva nArINAM samapAdaM prayojayet । uddhatA ye'GgahArAH syuH yAzcAryo maNDalAni ca ॥ 201॥
hk transliteration by Sanscriptतानि नाट्यप्रयोगज्ञैर्न कर्तव्यानि योषिताम् । तथासनविधिः कार्यो नृणां स्त्रीणां विशेषतः ॥ २०२॥
Such energetic movements should not be performed by women, according to those well-versed in dramatic performance. Similarly, the regulation of postures should be observed distinctly for men and women.
english translation
tAni nATyaprayogajJairna kartavyAni yoSitAm । tathAsanavidhiH kAryo nRNAM strINAM vizeSataH ॥ 202॥
hk transliteration by Sanscriptनानाभावसमायुक्तस्तथा च शयनाश्रयः । विष्कम्भिताञ्चितौ पादौ त्रिकं किञ्चित्समुन्नतम् ॥ २०३॥
Associated with various emotional states, and similarly applicable to lying down, ॥ the sitting posture involves॥ the two feet kept apart and slightly bent, the region of the hips (Trika) slightly raised.
english translation
nAnAbhAvasamAyuktastathA ca zayanAzrayaH । viSkambhitAJcitau pAdau trikaM kiJcitsamunnatam ॥ 203॥
hk transliteration by Sanscriptहस्तौ कट्यूरुविन्यस्तौ स्वस्थे स्यादुपवेशने । पादः प्रसारितः किञ्चिदेकश्चैवासनाश्रयः ॥ २०४॥
In sitting at ease, the two hands are to be placed on the hips or thighs, and one foot is to be slightly stretched while the other rests on the seat.
english translation
hastau kaTyUruvinyastau svasthe syAdupavezane । pAdaH prasAritaH kiJcidekazcaivAsanAzrayaH ॥ 204॥
hk transliteration by Sanscriptशिरः पार्श्वनतं चैव सचिन्त उपवेशने । चिबुकोपाश्रितौ हस्तौ बाहुशीर्षाश्रितं शिरः ॥ २०५॥
In sitting with a pensive mood, the head is to be bent to one side. In sorrowful sitting, the hands are to support the chin, or the head is to rest on the shoulder.
english translation
ziraH pArzvanataM caiva sacinta upavezane । cibukopAzritau hastau bAhuzIrSAzritaM ziraH ॥ 205॥
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:35.9%
खस्थानां चैव नारीणां समपादं प्रयोजयेत् । उद्धता येऽङ्गहाराः स्युः याश्चार्यो मण्डलानि च ॥ २०१॥
For women who are ascetics or devoted to religious practices, the Samapāda Cārī (gait with feet placed evenly) should be used. Energetic Aṅgahāras (limb movements), and extraordinary Maṇḍalas (circular movements), should be avoided for them.
english translation
khasthAnAM caiva nArINAM samapAdaM prayojayet । uddhatA ye'GgahArAH syuH yAzcAryo maNDalAni ca ॥ 201॥
hk transliteration by Sanscriptतानि नाट्यप्रयोगज्ञैर्न कर्तव्यानि योषिताम् । तथासनविधिः कार्यो नृणां स्त्रीणां विशेषतः ॥ २०२॥
Such energetic movements should not be performed by women, according to those well-versed in dramatic performance. Similarly, the regulation of postures should be observed distinctly for men and women.
english translation
tAni nATyaprayogajJairna kartavyAni yoSitAm । tathAsanavidhiH kAryo nRNAM strINAM vizeSataH ॥ 202॥
hk transliteration by Sanscriptनानाभावसमायुक्तस्तथा च शयनाश्रयः । विष्कम्भिताञ्चितौ पादौ त्रिकं किञ्चित्समुन्नतम् ॥ २०३॥
Associated with various emotional states, and similarly applicable to lying down, ॥ the sitting posture involves॥ the two feet kept apart and slightly bent, the region of the hips (Trika) slightly raised.
english translation
nAnAbhAvasamAyuktastathA ca zayanAzrayaH । viSkambhitAJcitau pAdau trikaM kiJcitsamunnatam ॥ 203॥
hk transliteration by Sanscriptहस्तौ कट्यूरुविन्यस्तौ स्वस्थे स्यादुपवेशने । पादः प्रसारितः किञ्चिदेकश्चैवासनाश्रयः ॥ २०४॥
In sitting at ease, the two hands are to be placed on the hips or thighs, and one foot is to be slightly stretched while the other rests on the seat.
english translation
hastau kaTyUruvinyastau svasthe syAdupavezane । pAdaH prasAritaH kiJcidekazcaivAsanAzrayaH ॥ 204॥
hk transliteration by Sanscriptशिरः पार्श्वनतं चैव सचिन्त उपवेशने । चिबुकोपाश्रितौ हस्तौ बाहुशीर्षाश्रितं शिरः ॥ २०५॥
In sitting with a pensive mood, the head is to be bent to one side. In sorrowful sitting, the hands are to support the chin, or the head is to rest on the shoulder.
english translation
ziraH pArzvanataM caiva sacinta upavezane । cibukopAzritau hastau bAhuzIrSAzritaM ziraH ॥ 205॥
hk transliteration by Sanscript