Natyashastra
Progress:10.3%
पुनस्तैनैव योगेन वामपार्श्वे भवेदथ । उरोमण्डलकौ हस्तौ नितम्बं करिहस्तकम् ॥ १८६॥
Again, using the same method, it is performed on the left side. The chest circle, the two hands, the hips, and the elephant's trunk are to be expressed.
english translation
punastainaiva yogena vAmapArzve bhavedatha । uromaNDalakau hastau nitambaM karihastakam ॥ 186॥
hk transliteration by Sanscriptकर्तव्यं सकटिच्छिन्नं नृत्ये तूद्धट्टिते सदा । पर्यायोद्वेष्टितौ हस्तौ पादौ चैव निकुट्टितौ ॥ १८७॥
The hands should be turned in a circular motion, and the feet should be turned, with the hip cutting always performed in the dance.
english translation
kartavyaM sakaTicchinnaM nRtye tUddhaTTite sadA । paryAyodveSTitau hastau pAdau caiva nikuTTitau ॥ 187॥
hk transliteration by Sanscriptकुञ्चितावञ्चितौअ चैव ह्यूरूद्वृत्तं तथैव च । चतुरश्रं करं कृत्वा पादेन च निकुट्टकम् ॥ १८८॥
The knees are bent and turned aside, and the thighs are raised. The hand should be shaped squarely, and with the foot, the Nikuṭṭaka should be performed.
english translation
kuJcitAvaJcitaua caiva hyUrUdvRttaM tathaiva ca । caturazraM karaM kRtvA pAdena ca nikuTTakam ॥ 188॥
hk transliteration by Sanscriptभुजङ्गत्रासितं चैव करं चोद्विष्टितं पुनः । परिच्छिन्नं च कर्तव्यं त्रिकं भ्रमरकेण तु ॥ १८९॥
The hand should be raised again, with the fingers spread out. The three fingers should be joined together with the thumb, and the Bhramaraka movement should follow with the Trika.
english translation
bhujaGgatrAsitaM caiva karaM codviSTitaM punaH । paricchinnaM ca kartavyaM trikaM bhramarakeNa tu ॥ 189॥
hk transliteration by Sanscriptकरिहस्तं कटिच्छिन्नं विष्कम्भे परिकीर्तितम् । दण्डपादं करं चैव विक्षिप्याक्षिप्य चैव हि ॥ १९०॥
The Karihasta and Kaṭicchinna are described in Viṣkambha. The Dandapāda and the hand are to be extended and retracted.
english translation
karihastaM kaTicchinnaM viSkambhe parikIrtitam । daNDapAdaM karaM caiva vikSipyAkSipya caiva hi ॥ 190॥
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:10.3%
पुनस्तैनैव योगेन वामपार्श्वे भवेदथ । उरोमण्डलकौ हस्तौ नितम्बं करिहस्तकम् ॥ १८६॥
Again, using the same method, it is performed on the left side. The chest circle, the two hands, the hips, and the elephant's trunk are to be expressed.
english translation
punastainaiva yogena vAmapArzve bhavedatha । uromaNDalakau hastau nitambaM karihastakam ॥ 186॥
hk transliteration by Sanscriptकर्तव्यं सकटिच्छिन्नं नृत्ये तूद्धट्टिते सदा । पर्यायोद्वेष्टितौ हस्तौ पादौ चैव निकुट्टितौ ॥ १८७॥
The hands should be turned in a circular motion, and the feet should be turned, with the hip cutting always performed in the dance.
english translation
kartavyaM sakaTicchinnaM nRtye tUddhaTTite sadA । paryAyodveSTitau hastau pAdau caiva nikuTTitau ॥ 187॥
hk transliteration by Sanscriptकुञ्चितावञ्चितौअ चैव ह्यूरूद्वृत्तं तथैव च । चतुरश्रं करं कृत्वा पादेन च निकुट्टकम् ॥ १८८॥
The knees are bent and turned aside, and the thighs are raised. The hand should be shaped squarely, and with the foot, the Nikuṭṭaka should be performed.
english translation
kuJcitAvaJcitaua caiva hyUrUdvRttaM tathaiva ca । caturazraM karaM kRtvA pAdena ca nikuTTakam ॥ 188॥
hk transliteration by Sanscriptभुजङ्गत्रासितं चैव करं चोद्विष्टितं पुनः । परिच्छिन्नं च कर्तव्यं त्रिकं भ्रमरकेण तु ॥ १८९॥
The hand should be raised again, with the fingers spread out. The three fingers should be joined together with the thumb, and the Bhramaraka movement should follow with the Trika.
english translation
bhujaGgatrAsitaM caiva karaM codviSTitaM punaH । paricchinnaM ca kartavyaM trikaM bhramarakeNa tu ॥ 189॥
hk transliteration by Sanscriptकरिहस्तं कटिच्छिन्नं विष्कम्भे परिकीर्तितम् । दण्डपादं करं चैव विक्षिप्याक्षिप्य चैव हि ॥ १९०॥
The Karihasta and Kaṭicchinna are described in Viṣkambha. The Dandapāda and the hand are to be extended and retracted.
english translation
karihastaM kaTicchinnaM viSkambhe parikIrtitam । daNDapAdaM karaM caiva vikSipyAkSipya caiva hi ॥ 190॥
hk transliteration by Sanscript