siva.sh

siva.sh/natyashastra/13/36

दृष्ट्या हि सूचितो भावः पुनरङ्गैर्विभाव्यते । एवं कक्ष्याविभागस्तु मया प्रोक्तो द्विजोत्तमाः ॥ ३६॥

The emotion indicated through the gaze is further elaborated through the limbs. Thus, the division of the categories has been explained by me, O best of the Brahmins.

english translation

dRSTyA hi sUcito bhAvaH punaraGgairvibhAvyate | evaM kakSyAvibhAgastu mayA prokto dvijottamAH || 36||

siva.sh/natyashastra/13/37

पुनश्चैव प्रवक्ष्यामि प्रवृत्तीनान्तु लक्षणम् । चतुर्विधा प्रवृत्तिश्च प्रोक्ता नाट्यप्रयोगतः । आवन्ती दाक्षिणात्या च पाञ्चाली चोढ्रमागधी ॥ ३७॥

I will now explain the types of actions, which are defined in four categories based on the usage in theatrical performance: Avanti, Dakshinātya, Pāñchālī, and Uḍhramāgadhī.

english translation

punazcaiva pravakSyAmi pravRttInAntu lakSaNam | caturvidhA pravRttizca proktA nATyaprayogataH | AvantI dAkSiNAtyA ca pAJcAlI coDhramAgadhI || 37||

siva.sh/natyashastra/13/38

अत्राह प्रवृत्तिरिति कस्मात् ? उच्यते पृथिव्यां नानादेशवेषभाषाचारवार्ताः प्रख्यापयतीति वृत्तिः । प्रवृत्तिश्च निवेदने । अत्राह - यथा पृथिव्यां बहवो देशाः सन्ति , कथमासां चतुर्विधत्वम् उपपन्नं, समानलक्षणश्चासां प्रयोग उच्यते , सत्यमेतत् । समानलक्षण आसां प्रयोगः । किन्तु नानादेशवेषभाषाचारो लोक इति कृत्वा लोकानुमतेन वृत्तिसंश्रितस्य नाट्यस्य वृत्तीनां मया चतुर्विधत्वमभिहितं भारती सात्त्वती कैशिक्यारभटी चेति । वृत्तिसंश्रितैश्च प्रयोगैरभिहिता देशाः । यतः प्रवृत्तिचतुष्टयमभिनिर्वृत्तं प्रयोगश्चोत्पादितः । तत्र दाक्षिणात्यास्तावत् बहुनृत्तगीतवाद्या कैशिकीप्रायाः चतुरमधुरललिताङ्गाभिनयाश्च । तद्यथा - महेन्द्रो मलयः सह्यो मेकलः पालमञ्जरः । एतेषु ये श्रिता देशाः स ज्ञेयो दक्षिणापथः ॥ ३८॥

Why is it said here that the movement is fourfold? It is stated that there are many regions in the world, and the activity of these regions is made known through the different costumes, languages, and stories they use. The movement, therefore, is explained through performance. It is said that the activity in question is fourfold due to the fact that the regions, though they have different costumes, languages, and customs, have a common pattern of performance that is established through the approval of the people. This fourfold nature of the movement is explained by me through Bharati, Sattvata, Kaishiki, and Arbhati. The regions associated with these movements are thus described. The movement is characterized by four types of performances based on four regional styles. For example, in the Dakṣiṇātya region, there are dances and songs of a sweet and delicate nature. These are represented by the following: Mahendra, Malaya, Sahya, and Mekala. These regions are known as the Southern Path.

english translation

atrAha pravRttiriti kasmAt ? ucyate pRthivyAM nAnAdezaveSabhASAcAravArtAH prakhyApayatIti vRttiH | pravRttizca nivedane | atrAha - yathA pRthivyAM bahavo dezAH santi , kathamAsAM caturvidhatvam upapannaM, samAnalakSaNazcAsAM prayoga ucyate , satyametat | samAnalakSaNa AsAM prayogaH | kintu nAnAdezaveSabhASAcAro loka iti kRtvA lokAnumatena vRttisaMzritasya nATyasya vRttInAM mayA caturvidhatvamabhihitaM bhAratI sAttvatI kaizikyArabhaTI ceti | vRttisaMzritaizca prayogairabhihitA dezAH | yataH pravRtticatuSTayamabhinirvRttaM prayogazcotpAditaH | tatra dAkSiNAtyAstAvat bahunRttagItavAdyA kaizikIprAyAH caturamadhuralalitAGgAbhinayAzca | tadyathA - mahendro malayaH sahyo mekalaH pAlamaJjaraH | eteSu ye zritA dezAH sa jJeyo dakSiNApathaH || 38||

siva.sh/natyashastra/13/39

कोसलाग्ग्स्तोशलाश्चैव कलिङ्गा यवना खसाः । द्रविडान्ध्रमहाराष्ट्रा वैष्णा वै वानवासजाः ॥ ३९॥

The people of Kosala, Anga, Kalinga, Yavana, Khasa, Dravida, Andhra, Maharashtra, Vaishnava, and those from the forest regions are also mentioned.

english translation

kosalAggstozalAzcaiva kaliGgA yavanA khasAH | draviDAndhramahArASTrA vaiSNA vai vAnavAsajAH || 39||

siva.sh/natyashastra/13/40

दक्षिणस्य समुद्रस्य तथा विन्ध्यस्य चान्तरे । ये देशास्तेषु युञ्जीत दाक्षिणात्यां तु नित्यशः ॥ ४०॥

Those regions between the Southern Sea and the Vindhya Mountains should be included in the Southern part, which is to be used constantly.

english translation

dakSiNasya samudrasya tathA vindhyasya cAntare | ye dezAsteSu yuJjIta dAkSiNAtyAM tu nityazaH || 40||