Natyashastra
Progress:10.2%
करिहस्तं कटिच्छिन्नं सूचीविद्धो भवेदयम् । अपविद्धं तु करणं सूचीविद्धं तथैव च ॥ १८१॥
This is the Karihasta, the Kaṭicchinna, the Sūcividdha, and the Apaviddha, with the Karana called Sūcividdha.
english translation
karihastaM kaTicchinnaM sUcIviddho bhavedayam । apaviddhaM tu karaNaM sUcIviddhaM tathaiva ca ॥ 181॥
hk transliteration by Sanscriptउद्वेष्टितेन हस्तेन त्रिकं तु परिवर्तयेत् । उरोमण्डलकौ हस्तौ कटिच्छिन्नं तथैव च ॥ १८२॥
With the hand raised, one should rotate the Trika. The two hands should form the Uromandala, and the Kaṭicchinna should be performed in the same manner.
english translation
udveSTitena hastena trikaM tu parivartayet । uromaNDalakau hastau kaTicchinnaM tathaiva ca ॥ 182॥
hk transliteration by Sanscriptअपविद्धोऽङ्गहाराश्च विज्ञेयोऽयं प्रयोक्तृभिः । करणं नूपुरं कृत्वा विक्षिप्तालातके पुनः ॥ १८३॥
This should be understood by the performers as a discarded gesture. After making the anklet gesture, one should perform the Vikṣipta and Alātaka gestures again, symbolizing the whirling firebrand.
english translation
apaviddho'GgahArAzca vijJeyo'yaM prayoktRbhiH । karaNaM nUpuraM kRtvA vikSiptAlAtake punaH ॥ 183॥
hk transliteration by Sanscriptपुनराक्षिप्तकं कुर्यादुरोमण्डलकं तथा । नितम्बं करिहस्तं च कटिच्छिन्नं तथैव च ॥ १८४॥
Again, one should perform the Ākṣipta, the Uromandala, the Nitamba (buttocks), the Karihasta (elephant's trunk), and the Kaṭicchinna (broken waist) gestures.
english translation
punarAkSiptakaM kuryAduromaNDalakaM tathA । nitambaM karihastaM ca kaTicchinnaM tathaiva ca ॥ 184॥
hk transliteration by Sanscriptआक्षिप्तकः स विज्ञेयो ह्यङ्गहारः प्रयोक्तृभिः । उद्वेष्टितापविद्धस्तु करः पादो निकुट्टितः ॥ १८५॥
The Ākṣiptaka gesture should be known by the performers. The hand is raised and then dropped, while the foot is turned in the Nikuṭṭita position.
english translation
AkSiptakaH sa vijJeyo hyaGgahAraH prayoktRbhiH । udveSTitApaviddhastu karaH pAdo nikuTTitaH ॥ 185॥
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:10.2%
करिहस्तं कटिच्छिन्नं सूचीविद्धो भवेदयम् । अपविद्धं तु करणं सूचीविद्धं तथैव च ॥ १८१॥
This is the Karihasta, the Kaṭicchinna, the Sūcividdha, and the Apaviddha, with the Karana called Sūcividdha.
english translation
karihastaM kaTicchinnaM sUcIviddho bhavedayam । apaviddhaM tu karaNaM sUcIviddhaM tathaiva ca ॥ 181॥
hk transliteration by Sanscriptउद्वेष्टितेन हस्तेन त्रिकं तु परिवर्तयेत् । उरोमण्डलकौ हस्तौ कटिच्छिन्नं तथैव च ॥ १८२॥
With the hand raised, one should rotate the Trika. The two hands should form the Uromandala, and the Kaṭicchinna should be performed in the same manner.
english translation
udveSTitena hastena trikaM tu parivartayet । uromaNDalakau hastau kaTicchinnaM tathaiva ca ॥ 182॥
hk transliteration by Sanscriptअपविद्धोऽङ्गहाराश्च विज्ञेयोऽयं प्रयोक्तृभिः । करणं नूपुरं कृत्वा विक्षिप्तालातके पुनः ॥ १८३॥
This should be understood by the performers as a discarded gesture. After making the anklet gesture, one should perform the Vikṣipta and Alātaka gestures again, symbolizing the whirling firebrand.
english translation
apaviddho'GgahArAzca vijJeyo'yaM prayoktRbhiH । karaNaM nUpuraM kRtvA vikSiptAlAtake punaH ॥ 183॥
hk transliteration by Sanscriptपुनराक्षिप्तकं कुर्यादुरोमण्डलकं तथा । नितम्बं करिहस्तं च कटिच्छिन्नं तथैव च ॥ १८४॥
Again, one should perform the Ākṣipta, the Uromandala, the Nitamba (buttocks), the Karihasta (elephant's trunk), and the Kaṭicchinna (broken waist) gestures.
english translation
punarAkSiptakaM kuryAduromaNDalakaM tathA । nitambaM karihastaM ca kaTicchinnaM tathaiva ca ॥ 184॥
hk transliteration by Sanscriptआक्षिप्तकः स विज्ञेयो ह्यङ्गहारः प्रयोक्तृभिः । उद्वेष्टितापविद्धस्तु करः पादो निकुट्टितः ॥ १८५॥
The Ākṣiptaka gesture should be known by the performers. The hand is raised and then dropped, while the foot is turned in the Nikuṭṭita position.
english translation
AkSiptakaH sa vijJeyo hyaGgahAraH prayoktRbhiH । udveSTitApaviddhastu karaH pAdo nikuTTitaH ॥ 185॥
hk transliteration by Sanscript