Natyashastra
Progress:10.6%
ऊरूद्वृत्तं ततः कुर्यादाक्षिप्तं पुनरेव हि । नितम्बं करिहस्तं च कटिच्छिन्नं तथैव च ॥ २०१॥
Then one should perform the Ūrūdvṛtta (raised thighs), followed by the Ākṣipta (thrown movement), then the Nitamba (hip movement), the Karihasta (elephant's trunk), and finally the Kaṭicchinna (waist-cut).
english translation
UrUdvRttaM tataH kuryAdAkSiptaM punareva hi । nitambaM karihastaM ca kaTicchinnaM tathaiva ca ॥ 201॥
hk transliteration by Sanscriptपार्श्वस्वस्तिक इत्येष ह्यङ्गहारः प्रकीर्तितः । वृश्चिकं करणं कृत्वा लताख्यं हस्तमेव च ॥ २०२॥
This is declared to be the Aṅgahāra known as Pārśvasvastika. Having performed the Vṛścika Karaṇa and the hand gesture known as Latā,
english translation
pArzvasvastika ityeSa hyaGgahAraH prakIrtitaH । vRzcikaM karaNaM kRtvA latAkhyaM hastameva ca ॥ 202॥
hk transliteration by Sanscriptतमेव च करं भूयो नासाग्रे सन्निकुञ्चयेत् । तमेवोद्वेष्टितं कृत्वा नितम्बं परिवर्तयेत् ॥ २०३॥
And again, that hand should be bent at the tip of the nose. Having turned back the same hand, one should rotate the hip.
english translation
tameva ca karaM bhUyo nAsAgre sannikuJcayet । tamevodveSTitaM kRtvA nitambaM parivartayet ॥ 203॥
hk transliteration by Sanscriptकरिहस्तं कटिच्छिन्नं वृश्चिकापसृते भवेत् । कृत्वा नूपुरपादं तु तथाक्षिप्तकमेव च ॥ २०४॥
In the movement known as Vṛścikāpasṛta, the hand assumes the Karīhasta and the waist takes the form of Kaṭicchinna. The Nūpurapāda is performed, followed by the Ākṣiptaka.
english translation
karihastaM kaTicchinnaM vRzcikApasRte bhavet । kRtvA nUpurapAdaM tu tathAkSiptakameva ca ॥ 204॥
hk transliteration by Sanscriptपरिच्छिन्नं च कर्तव्यं सूचीपादं तथैव च । नितम्बं करिहस्तं चाप्युरोमण्डलकं तथा ॥ २०५ ॥
The Paricchinna movement should be performed, along with the Sūcīpāda. The hip movement, the Karīhasta (elephant’s trunk gesture), and the circular motion of the chest (Uromaṇḍala) should also be executed.
english translation
paricchinnaM ca kartavyaM sUcIpAdaM tathaiva ca । nitambaM karihastaM cApyuromaNDalakaM tathA ॥ 205 ॥
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:10.6%
ऊरूद्वृत्तं ततः कुर्यादाक्षिप्तं पुनरेव हि । नितम्बं करिहस्तं च कटिच्छिन्नं तथैव च ॥ २०१॥
Then one should perform the Ūrūdvṛtta (raised thighs), followed by the Ākṣipta (thrown movement), then the Nitamba (hip movement), the Karihasta (elephant's trunk), and finally the Kaṭicchinna (waist-cut).
english translation
UrUdvRttaM tataH kuryAdAkSiptaM punareva hi । nitambaM karihastaM ca kaTicchinnaM tathaiva ca ॥ 201॥
hk transliteration by Sanscriptपार्श्वस्वस्तिक इत्येष ह्यङ्गहारः प्रकीर्तितः । वृश्चिकं करणं कृत्वा लताख्यं हस्तमेव च ॥ २०२॥
This is declared to be the Aṅgahāra known as Pārśvasvastika. Having performed the Vṛścika Karaṇa and the hand gesture known as Latā,
english translation
pArzvasvastika ityeSa hyaGgahAraH prakIrtitaH । vRzcikaM karaNaM kRtvA latAkhyaM hastameva ca ॥ 202॥
hk transliteration by Sanscriptतमेव च करं भूयो नासाग्रे सन्निकुञ्चयेत् । तमेवोद्वेष्टितं कृत्वा नितम्बं परिवर्तयेत् ॥ २०३॥
And again, that hand should be bent at the tip of the nose. Having turned back the same hand, one should rotate the hip.
english translation
tameva ca karaM bhUyo nAsAgre sannikuJcayet । tamevodveSTitaM kRtvA nitambaM parivartayet ॥ 203॥
hk transliteration by Sanscriptकरिहस्तं कटिच्छिन्नं वृश्चिकापसृते भवेत् । कृत्वा नूपुरपादं तु तथाक्षिप्तकमेव च ॥ २०४॥
In the movement known as Vṛścikāpasṛta, the hand assumes the Karīhasta and the waist takes the form of Kaṭicchinna. The Nūpurapāda is performed, followed by the Ākṣiptaka.
english translation
karihastaM kaTicchinnaM vRzcikApasRte bhavet । kRtvA nUpurapAdaM tu tathAkSiptakameva ca ॥ 204॥
hk transliteration by Sanscriptपरिच्छिन्नं च कर्तव्यं सूचीपादं तथैव च । नितम्बं करिहस्तं चाप्युरोमण्डलकं तथा ॥ २०५ ॥
The Paricchinna movement should be performed, along with the Sūcīpāda. The hip movement, the Karīhasta (elephant’s trunk gesture), and the circular motion of the chest (Uromaṇḍala) should also be executed.
english translation
paricchinnaM ca kartavyaM sUcIpAdaM tathaiva ca । nitambaM karihastaM cApyuromaNDalakaM tathA ॥ 205 ॥
hk transliteration by Sanscript