Natyashastra
Progress:36.4%
उपाध्यायस्य नृपतेर्गुरूणामग्रतो बुधैः । भूम्यासनं तथा कार्यमथवा काष्ठमासनम् ॥ २२६॥
The preceptor, the king, the gurus, and the wise elders should be seated in front, either on the ground or on wooden seats.
english translation
नौनागरथयानेषु भूमिकाष्ठासनेषु च । सहासनं न दुष्येत गुरूपाध्यायपार्थिवैः ॥ २२७॥
In city carriages and wooden seats, no one should sit alongside the gurus, preceptors, or kings.
english translation
आकुञ्चितं समं चैव प्रसारितविवर्तने । उद्वाहितं नतं चैव शयने कर्म कीर्त्यते ॥ २२८॥
A posture that is either contracted or straight, extended or bent, raised or lowered, is to be observed while lying down.
english translation
सर्वैराकुञ्चितैरङ्गैः शय्याविद्धे तु जानुनी । स्थानमाकुञ्चितं नाम शीतार्तानां प्रयोजयेत् ॥ २२९॥
With all limbs drawn in and the knees tucked into the bed, the posture known as Ākuñcita is to be used for depicting those afflicted by cold.
english translation
उत्तानितमुखं चैव स्रस्तमुक्तकरं तथा । समं नाम प्रसुप्तस्य स्थानकं संविधीयते ॥ २३०॥
Lying on the back with the face turned upward, and the arms loosened and relaxed— this posture is called *Sama* and is to be used to represent someone in deep sleep.
english translation
1.
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:36.4%
उपाध्यायस्य नृपतेर्गुरूणामग्रतो बुधैः । भूम्यासनं तथा कार्यमथवा काष्ठमासनम् ॥ २२६॥
The preceptor, the king, the gurus, and the wise elders should be seated in front, either on the ground or on wooden seats.
english translation
नौनागरथयानेषु भूमिकाष्ठासनेषु च । सहासनं न दुष्येत गुरूपाध्यायपार्थिवैः ॥ २२७॥
In city carriages and wooden seats, no one should sit alongside the gurus, preceptors, or kings.
english translation
आकुञ्चितं समं चैव प्रसारितविवर्तने । उद्वाहितं नतं चैव शयने कर्म कीर्त्यते ॥ २२८॥
A posture that is either contracted or straight, extended or bent, raised or lowered, is to be observed while lying down.
english translation
सर्वैराकुञ्चितैरङ्गैः शय्याविद्धे तु जानुनी । स्थानमाकुञ्चितं नाम शीतार्तानां प्रयोजयेत् ॥ २२९॥
With all limbs drawn in and the knees tucked into the bed, the posture known as Ākuñcita is to be used for depicting those afflicted by cold.
english translation
उत्तानितमुखं चैव स्रस्तमुक्तकरं तथा । समं नाम प्रसुप्तस्य स्थानकं संविधीयते ॥ २३०॥
Lying on the back with the face turned upward, and the arms loosened and relaxed— this posture is called *Sama* and is to be used to represent someone in deep sleep.
english translation