Natyashastra
Progress:36.5%
एकं भुजमुपाधाय सम्प्रसारितजानुकम् । स्थानं प्रसारितं नाम सुखसुप्तस्य कारयेत् ॥ २३१॥
Resting the head on one arm and stretching the knees — this posture is called Prasārita and should be used to depict someone enjoying a pleasant sleep.
english translation
ekaM bhujamupAdhAya samprasAritajAnukam । sthAnaM prasAritaM nAma sukhasuptasya kArayet ॥ 231॥
hk transliteration by Sanscriptअधोमुखस्थितं चैव विवर्तितमिति स्मृतम् । शस्त्रक्षतमृतोत्क्षिप्तमत्तोन्मत्तेषु कारयेत् ॥ २३२॥
Lying face downwards is known as Vivartita posture. It should be used to represent someone wounded by a weapon, dead, vomiting, intoxicated, or mad.
english translation
adhomukhasthitaM caiva vivartitamiti smRtam । zastrakSatamRtotkSiptamattonmatteSu kArayet ॥ 232॥
hk transliteration by Sanscriptअंसोपरि शिरः कृत्वा कर्पूरक्षोभमेव च । उद्वाहितं तु विज्ञेयं लीलया वेशने प्रभोः ॥ २३३॥
With the head resting on the shoulder and making a slight movement (like brushing off camphor), the posture is known as Udvāhita. It is to be used in sportiveness or on hearing the master's words.
english translation
aMsopari ziraH kRtvA karpUrakSobhameva ca । udvAhitaM tu vijJeyaM lIlayA vezane prabhoH ॥ 233॥
hk transliteration by Sanscriptईषत्प्रसारिते जङ्घे यत्र स्रस्तौ करावुभौ । आलस्यश्रमखेदेषु नतं स्थानं विधीयते ॥ २३४॥
When the shanks (jaṅghā) are slightly extended and both arms are loosely resting, this posture is called Nata. It is to be used in representing laziness, fatigue, or distress.
english translation
ISatprasArite jaGghe yatra srastau karAvubhau । AlasyazramakhedeSu nataM sthAnaM vidhIyate ॥ 234॥
hk transliteration by Sanscriptगतिप्राचारस्तु मयोदितोऽयं नोक्तश्च यः सोऽर्थवशेन साध्यः । अतः परं रङ्गपरिक्रमस्य वक्ष्यामि कक्ष्यां प्रविभागयुक्ताम् ॥ २३५॥
The method of Gait and movement has been explained by me; What remains unsaid is to be inferred and applied as required by context. Now I shall describe the divisions of the stage (raṅga) In relation to its zones (kakṣyā) and their arrangement.
english translation
gatiprAcArastu mayodito'yaM noktazca yaH so'rthavazena sAdhyaH । ataH paraM raGgaparikramasya vakSyAmi kakSyAM pravibhAgayuktAm ॥ 235॥
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:36.5%
एकं भुजमुपाधाय सम्प्रसारितजानुकम् । स्थानं प्रसारितं नाम सुखसुप्तस्य कारयेत् ॥ २३१॥
Resting the head on one arm and stretching the knees — this posture is called Prasārita and should be used to depict someone enjoying a pleasant sleep.
english translation
ekaM bhujamupAdhAya samprasAritajAnukam । sthAnaM prasAritaM nAma sukhasuptasya kArayet ॥ 231॥
hk transliteration by Sanscriptअधोमुखस्थितं चैव विवर्तितमिति स्मृतम् । शस्त्रक्षतमृतोत्क्षिप्तमत्तोन्मत्तेषु कारयेत् ॥ २३२॥
Lying face downwards is known as Vivartita posture. It should be used to represent someone wounded by a weapon, dead, vomiting, intoxicated, or mad.
english translation
adhomukhasthitaM caiva vivartitamiti smRtam । zastrakSatamRtotkSiptamattonmatteSu kArayet ॥ 232॥
hk transliteration by Sanscriptअंसोपरि शिरः कृत्वा कर्पूरक्षोभमेव च । उद्वाहितं तु विज्ञेयं लीलया वेशने प्रभोः ॥ २३३॥
With the head resting on the shoulder and making a slight movement (like brushing off camphor), the posture is known as Udvāhita. It is to be used in sportiveness or on hearing the master's words.
english translation
aMsopari ziraH kRtvA karpUrakSobhameva ca । udvAhitaM tu vijJeyaM lIlayA vezane prabhoH ॥ 233॥
hk transliteration by Sanscriptईषत्प्रसारिते जङ्घे यत्र स्रस्तौ करावुभौ । आलस्यश्रमखेदेषु नतं स्थानं विधीयते ॥ २३४॥
When the shanks (jaṅghā) are slightly extended and both arms are loosely resting, this posture is called Nata. It is to be used in representing laziness, fatigue, or distress.
english translation
ISatprasArite jaGghe yatra srastau karAvubhau । AlasyazramakhedeSu nataM sthAnaM vidhIyate ॥ 234॥
hk transliteration by Sanscriptगतिप्राचारस्तु मयोदितोऽयं नोक्तश्च यः सोऽर्थवशेन साध्यः । अतः परं रङ्गपरिक्रमस्य वक्ष्यामि कक्ष्यां प्रविभागयुक्ताम् ॥ २३५॥
The method of Gait and movement has been explained by me; What remains unsaid is to be inferred and applied as required by context. Now I shall describe the divisions of the stage (raṅga) In relation to its zones (kakṣyā) and their arrangement.
english translation
gatiprAcArastu mayodito'yaM noktazca yaH so'rthavazena sAdhyaH । ataH paraM raGgaparikramasya vakSyAmi kakSyAM pravibhAgayuktAm ॥ 235॥
hk transliteration by Sanscript