Natyashastra
Progress:33.1%
पुनश्च करुणे कार्या गतिः स्थिरपदैरथ । बाष्पाम्बुरुद्धनयनः सन्नगात्रस्तथैव च ॥ ६१॥
Moreover, in the Pathetic Sentiment (karuṇa), the Gait should be performed with steady steps, eyes filled with tears, and limbs weakened (or drooping) accordingly.
english translation
punazca karuNe kAryA gatiH sthirapadairatha । bASpAmburuddhanayanaH sannagAtrastathaiva ca ॥ 61॥
hk transliteration by Sanscriptउत्क्षिप्तपातितकरस्तथा सस्वनरोदनः । गच्छेत्तथाध्यधिकया प्रत्यग्राप्रियसंश्रये ॥ ६२॥
With arms alternately raised and lowered, and with loud weeping, one should walk using the Adhyardhikā Cārī, especially in connection with a fresh or recent calamity.
english translation
utkSiptapAtitakarastathA sasvanarodanaH । gacchettathAdhyadhikayA pratyagrApriyasaMzraye ॥ 62॥
hk transliteration by Sanscriptएषा स्त्रीणां प्रयोक्तव्या नीचसत्त्वे तथैव च । उत्तमानां तु कर्तव्या सधैर्या बाष्पसङ्गता ॥ ६३॥
This (Gait) is to be used for women and persons of the inferior type; but in the case of superior characters, it should be performed with patience and with tears in the eyes.
english translation
eSA strINAM prayoktavyA nIcasattve tathaiva ca । uttamAnAM tu kartavyA sadhairyA bASpasaGgatA ॥ 63॥
hk transliteration by Sanscriptनिःश्वासैरायतोत्सृष्टैस्तथैवोर्ध्वनिरीक्षितैः । न तत्र सौष्ठवं कार्यं न प्रमाणं तथाविधम् ॥ ६४॥
With deep sighs, extended upward glances, and upward-directed looks — in such cases, there should be no Sauṣṭhava (poise or elegance) of the body, nor should there be any fixed measure (of movement).
english translation
niHzvAsairAyatotsRSTaistathaivordhvanirIkSitaiH । na tatra sauSThavaM kAryaM na pramANaM tathAvidham ॥ 64॥
hk transliteration by Sanscriptमध्यानामपि सत्त्वज्ञा गतिर्योज्या विधानतः । उरःपातहतोत्साहः शोकव्याकुलचेतनः ॥ ६५॥
For characters of the middling type also, the Gait should be applied according to rules: with the chest drooping, enthusiasm lost, and the mind agitated by grief.
english translation
madhyAnAmapi sattvajJA gatiryojyA vidhAnataH । uraHpAtahatotsAhaH zokavyAkulacetanaH ॥ 65॥
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:33.1%
पुनश्च करुणे कार्या गतिः स्थिरपदैरथ । बाष्पाम्बुरुद्धनयनः सन्नगात्रस्तथैव च ॥ ६१॥
Moreover, in the Pathetic Sentiment (karuṇa), the Gait should be performed with steady steps, eyes filled with tears, and limbs weakened (or drooping) accordingly.
english translation
punazca karuNe kAryA gatiH sthirapadairatha । bASpAmburuddhanayanaH sannagAtrastathaiva ca ॥ 61॥
hk transliteration by Sanscriptउत्क्षिप्तपातितकरस्तथा सस्वनरोदनः । गच्छेत्तथाध्यधिकया प्रत्यग्राप्रियसंश्रये ॥ ६२॥
With arms alternately raised and lowered, and with loud weeping, one should walk using the Adhyardhikā Cārī, especially in connection with a fresh or recent calamity.
english translation
utkSiptapAtitakarastathA sasvanarodanaH । gacchettathAdhyadhikayA pratyagrApriyasaMzraye ॥ 62॥
hk transliteration by Sanscriptएषा स्त्रीणां प्रयोक्तव्या नीचसत्त्वे तथैव च । उत्तमानां तु कर्तव्या सधैर्या बाष्पसङ्गता ॥ ६३॥
This (Gait) is to be used for women and persons of the inferior type; but in the case of superior characters, it should be performed with patience and with tears in the eyes.
english translation
eSA strINAM prayoktavyA nIcasattve tathaiva ca । uttamAnAM tu kartavyA sadhairyA bASpasaGgatA ॥ 63॥
hk transliteration by Sanscriptनिःश्वासैरायतोत्सृष्टैस्तथैवोर्ध्वनिरीक्षितैः । न तत्र सौष्ठवं कार्यं न प्रमाणं तथाविधम् ॥ ६४॥
With deep sighs, extended upward glances, and upward-directed looks — in such cases, there should be no Sauṣṭhava (poise or elegance) of the body, nor should there be any fixed measure (of movement).
english translation
niHzvAsairAyatotsRSTaistathaivordhvanirIkSitaiH । na tatra sauSThavaM kAryaM na pramANaM tathAvidham ॥ 64॥
hk transliteration by Sanscriptमध्यानामपि सत्त्वज्ञा गतिर्योज्या विधानतः । उरःपातहतोत्साहः शोकव्याकुलचेतनः ॥ ६५॥
For characters of the middling type also, the Gait should be applied according to rules: with the chest drooping, enthusiasm lost, and the mind agitated by grief.
english translation
madhyAnAmapi sattvajJA gatiryojyA vidhAnataH । uraHpAtahatotsAhaH zokavyAkulacetanaH ॥ 65॥
hk transliteration by Sanscript