Natyashastra
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ऊरूद्वृत्तं ततः कुर्यादक्षिप्तं स्वस्तिकं ततः । नितम्बं करि हस्तं च कटिच्छिन्नं च योगतः ॥ १७६॥
Then perform Ūrūdvṛtta, followed by Ākṣipta, and then the Svastika. After that, execute Nitamba, Karihasta, and Kaṭicchinna in succession.
english translation
UrUdvRttaM tataH kuryAdakSiptaM svastikaM tataH । nitambaM kari hastaM ca kaTicchinnaM ca yogataH ॥ 176॥
hk transliteration by Sanscriptस्थिरहस्तो भवेदेष त्वङ्गहारो हरप्रियः । तलपुष्पापविद्धे द्वे वर्तितं संनिकुट्टिकम् ॥ १७७॥
The steady hand becomes the beloved gesture of the body, known as the Aṅgahāra (a gesture of the body). In the Talapuṣpapuṭa and Apaviddha positions, the hands are placed in the Vartita and Sannikuttika positions.
english translation
sthirahasto bhavedeSa tvaGgahAro harapriyaH । talapuSpApaviddhe dve vartitaM saMnikuTTikam ॥ 177॥
hk transliteration by Sanscriptऊरूद्वृत्तं तथाक्षिप्तमुरोमण्डलमेव च । नितम्बं करिहस्तं च कटिच्छिन्नं तथैव च ॥ १७८॥
Then, the Ūrūdvṛtta, Ākṣipta, Uromaṇḍala, Nitamba, Karihasta, and Kaṭicchinna gestures should be assumed in succession.
english translation
UrUdvRttaM tathAkSiptamuromaNDalameva ca । nitambaM karihastaM ca kaTicchinnaM tathaiva ca ॥ 178॥
hk transliteration by Sanscriptएष पर्यस्तको नाम ह्यङ्गहारो हरोद्भवः । अलपल्लवसूचीं च कृत्वा विक्षिप्तमेव च ॥१७९॥
This is called the Paryaṣṭaka, which originates from Hara. After performing the Alapallava and Sūcī gestures, it is then followed by the scattered (Vikṣipta) position.
english translation
eSa paryastako nAma hyaGgahAro harodbhavaH । alapallavasUcIM ca kRtvA vikSiptameva ca ॥179॥
hk transliteration by Sanscriptआवर्तितं ततः कुर्यात्तथैअव च निकुट्टकम् । ऊरूद्वृत्तं तथाक्षिप्तमुरोमण्डलमेव च ॥ १८०॥
Then, one should perform the Āvartita, followed by the Nikuṭṭaka, Ūrūdvṛtta, and Uromaṇḍala gestures in sequence.
english translation
AvartitaM tataH kuryAttathaiava ca nikuTTakam । UrUdvRttaM tathAkSiptamuromaNDalameva ca ॥ 180॥
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
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
12.
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:10.1%
ऊरूद्वृत्तं ततः कुर्यादक्षिप्तं स्वस्तिकं ततः । नितम्बं करि हस्तं च कटिच्छिन्नं च योगतः ॥ १७६॥
Then perform Ūrūdvṛtta, followed by Ākṣipta, and then the Svastika. After that, execute Nitamba, Karihasta, and Kaṭicchinna in succession.
english translation
UrUdvRttaM tataH kuryAdakSiptaM svastikaM tataH । nitambaM kari hastaM ca kaTicchinnaM ca yogataH ॥ 176॥
hk transliteration by Sanscriptस्थिरहस्तो भवेदेष त्वङ्गहारो हरप्रियः । तलपुष्पापविद्धे द्वे वर्तितं संनिकुट्टिकम् ॥ १७७॥
The steady hand becomes the beloved gesture of the body, known as the Aṅgahāra (a gesture of the body). In the Talapuṣpapuṭa and Apaviddha positions, the hands are placed in the Vartita and Sannikuttika positions.
english translation
sthirahasto bhavedeSa tvaGgahAro harapriyaH । talapuSpApaviddhe dve vartitaM saMnikuTTikam ॥ 177॥
hk transliteration by Sanscriptऊरूद्वृत्तं तथाक्षिप्तमुरोमण्डलमेव च । नितम्बं करिहस्तं च कटिच्छिन्नं तथैव च ॥ १७८॥
Then, the Ūrūdvṛtta, Ākṣipta, Uromaṇḍala, Nitamba, Karihasta, and Kaṭicchinna gestures should be assumed in succession.
english translation
UrUdvRttaM tathAkSiptamuromaNDalameva ca । nitambaM karihastaM ca kaTicchinnaM tathaiva ca ॥ 178॥
hk transliteration by Sanscriptएष पर्यस्तको नाम ह्यङ्गहारो हरोद्भवः । अलपल्लवसूचीं च कृत्वा विक्षिप्तमेव च ॥१७९॥
This is called the Paryaṣṭaka, which originates from Hara. After performing the Alapallava and Sūcī gestures, it is then followed by the scattered (Vikṣipta) position.
english translation
eSa paryastako nAma hyaGgahAro harodbhavaH । alapallavasUcIM ca kRtvA vikSiptameva ca ॥179॥
hk transliteration by Sanscriptआवर्तितं ततः कुर्यात्तथैअव च निकुट्टकम् । ऊरूद्वृत्तं तथाक्षिप्तमुरोमण्डलमेव च ॥ १८०॥
Then, one should perform the Āvartita, followed by the Nikuṭṭaka, Ūrūdvṛtta, and Uromaṇḍala gestures in sequence.
english translation
AvartitaM tataH kuryAttathaiava ca nikuTTakam । UrUdvRttaM tathAkSiptamuromaNDalameva ca ॥ 180॥
hk transliteration by Sanscript