Natyashastra
Progress:33.6%
विभ्रान्ता वाप्युदात्ता वा विभ्रान्तनिभृतापि वा । शकटास्यस्थितैः पादैरतिक्रान्तैस्तथैव च ॥ ८६॥
Whether wandering or devoted, or appearing as if wandering, With feet placed in the Śakaṭā stance and moving with Atikrāntā steps, likewise.
english translation
vibhrAntA vApyudAttA vA vibhrAntanibhRtApi vA । zakaTAsyasthitaiH pAdairatikrAntaistathaiva ca ॥ 86॥
hk transliteration by Sanscriptकार्या पाशुपतानां च गतिरुद्धतगामिनी । अन्धकारेऽथ याने च गतिः कार्या प्रयोक्तृभिः ॥ ८७॥
Gait ॥ of a person॥ walking in darkness or Gait of a blind ॥ man॥ should consist of feet gliding over the ground and hands groping for the way.
english translation
kAryA pAzupatAnAM ca gatiruddhatagAminI । andhakAre'tha yAne ca gatiH kAryA prayoktRbhiH ॥ 87॥
hk transliteration by Sanscriptभूमौ विसर्पितैः पादैर्हस्तैर्मार्गप्रदर्शिभिः । रथस्थस्यापि कर्तव्या गतिश्चूर्णपदैरथ ॥ ८८॥
On the ground, the feet and hands should move as if feeling the way. Even the gait of one seated in a chariot should be performed with short steps.
english translation
bhUmau visarpitaiH pAdairhastairmArgapradarzibhiH । rathasthasyApi kartavyA gatizcUrNapadairatha ॥ 88॥
hk transliteration by Sanscriptसमपादं तथा स्थानं कृत्वा रथगतिं व्रजेत् । धनुर्गृहीत्वा चैकेन तथा चैकेन कूबरम् ॥ ८९॥
Assuming the Samapāda posture, one should imitate the gait of a chariot rider. With one hand, the bow should be held, and with the other, the chariot’s shaft (kūbera).
english translation
samapAdaM tathA sthAnaM kRtvA rathagatiM vrajet । dhanurgRhItvA caikena tathA caikena kUbaram ॥ 89॥
hk transliteration by Sanscriptसूतश्चास्य भवेदेवं प्रतोदप्रग्रहाकुलः । वाहनानि विचित्राणि कर्तव्यानि विभागशः ॥ ९०॥
The charioteer too should be portrayed as eager and busy, and the various types of animals pulling the chariot should be represented in detail and order.
english translation
sUtazcAsya bhavedevaM pratodapragrahAkulaH । vAhanAni vicitrANi kartavyAni vibhAgazaH ॥ 90॥
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:33.6%
विभ्रान्ता वाप्युदात्ता वा विभ्रान्तनिभृतापि वा । शकटास्यस्थितैः पादैरतिक्रान्तैस्तथैव च ॥ ८६॥
Whether wandering or devoted, or appearing as if wandering, With feet placed in the Śakaṭā stance and moving with Atikrāntā steps, likewise.
english translation
vibhrAntA vApyudAttA vA vibhrAntanibhRtApi vA । zakaTAsyasthitaiH pAdairatikrAntaistathaiva ca ॥ 86॥
hk transliteration by Sanscriptकार्या पाशुपतानां च गतिरुद्धतगामिनी । अन्धकारेऽथ याने च गतिः कार्या प्रयोक्तृभिः ॥ ८७॥
Gait ॥ of a person॥ walking in darkness or Gait of a blind ॥ man॥ should consist of feet gliding over the ground and hands groping for the way.
english translation
kAryA pAzupatAnAM ca gatiruddhatagAminI । andhakAre'tha yAne ca gatiH kAryA prayoktRbhiH ॥ 87॥
hk transliteration by Sanscriptभूमौ विसर्पितैः पादैर्हस्तैर्मार्गप्रदर्शिभिः । रथस्थस्यापि कर्तव्या गतिश्चूर्णपदैरथ ॥ ८८॥
On the ground, the feet and hands should move as if feeling the way. Even the gait of one seated in a chariot should be performed with short steps.
english translation
bhUmau visarpitaiH pAdairhastairmArgapradarzibhiH । rathasthasyApi kartavyA gatizcUrNapadairatha ॥ 88॥
hk transliteration by Sanscriptसमपादं तथा स्थानं कृत्वा रथगतिं व्रजेत् । धनुर्गृहीत्वा चैकेन तथा चैकेन कूबरम् ॥ ८९॥
Assuming the Samapāda posture, one should imitate the gait of a chariot rider. With one hand, the bow should be held, and with the other, the chariot’s shaft (kūbera).
english translation
samapAdaM tathA sthAnaM kRtvA rathagatiM vrajet । dhanurgRhItvA caikena tathA caikena kUbaram ॥ 89॥
hk transliteration by Sanscriptसूतश्चास्य भवेदेवं प्रतोदप्रग्रहाकुलः । वाहनानि विचित्राणि कर्तव्यानि विभागशः ॥ ९०॥
The charioteer too should be portrayed as eager and busy, and the various types of animals pulling the chariot should be represented in detail and order.
english translation
sUtazcAsya bhavedevaM pratodapragrahAkulaH । vAhanAni vicitrANi kartavyAni vibhAgazaH ॥ 90॥
hk transliteration by Sanscript