Natyashastra
Progress:10.8%
उद्घट्टितेन पादेन मत्तल्लिकरणं भवेत् । आक्षिप्तं करणं चैव ह्युरोमण्डलमेव च ॥ २११॥
The foot should be raised, and the Madallikaraṇa gesture should be performed. The drawn-in gesture (Ākṣipta) and the chest circle (Uromandala) should also be made.
english translation
udghaTTitena pAdena mattallikaraNaM bhavet । AkSiptaM karaNaM caiva hyuromaNDalameva ca ॥ 211॥
hk transliteration by Sanscriptकटिच्छिन्नं तथा चैव भवेत्तु गतिमण्डले । समपादं प्रयुज्याथ परिच्छिन्नं त्वनन्तरम् ॥ २१२॥
The waist should be cut off in the circle of movement. Then, after applying the even-footed stance, the circumscribed movement should follow.
english translation
kaTicchinnaM tathA caiva bhavettu gatimaNDale । samapAdaM prayujyAtha paricchinnaM tvanantaram ॥ 212॥
hk transliteration by Sanscriptआविद्धेन तु पादेन बाह्यभ्रमरकं तथा । वामसूच्या त्वतिक्रान्तं भुजङ्गत्रासितं तथा ॥ २१३॥
With the foot turned out, the external bee posture should be performed, and with the left index finger, the overstepping gesture should be made, followed by the frightened serpent posture.
english translation
Aviddhena tu pAdena bAhyabhramarakaM tathA । vAmasUcyA tvatikrAntaM bhujaGgatrAsitaM tathA ॥ 213॥
hk transliteration by Sanscriptकरिहस्तं कटिच्छिन्नं परिच्छिन्ने विधीयते । शिरसस्तूपरि स्थाप्यौ स्वस्तिअकौ विच्युतौ करौ । २१४॥
The elephant hand, cut at the waist, is prescribed for the one with a limited body. After placing the two hands above the head, the hands are removed.
english translation
karihastaM kaTicchinnaM paricchinne vidhIyate । zirasastUpari sthApyau svastiakau vicyutau karau । 214॥
hk transliteration by Sanscriptततः सव्यं करं चापि गात्रमानम्य रेचयेत् । पुनरुत्थापयेत्तत्र गात्रमुन्नम्य रेचितम् ॥ २१५॥
Then, bending the left hand, one should extend it. Again, raising it there, one should extend the body with the raised posture.
english translation
tataH savyaM karaM cApi gAtramAnamya recayet । punarutthApayettatra gAtramunnamya recitam ॥ 215॥
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:10.8%
उद्घट्टितेन पादेन मत्तल्लिकरणं भवेत् । आक्षिप्तं करणं चैव ह्युरोमण्डलमेव च ॥ २११॥
The foot should be raised, and the Madallikaraṇa gesture should be performed. The drawn-in gesture (Ākṣipta) and the chest circle (Uromandala) should also be made.
english translation
udghaTTitena pAdena mattallikaraNaM bhavet । AkSiptaM karaNaM caiva hyuromaNDalameva ca ॥ 211॥
hk transliteration by Sanscriptकटिच्छिन्नं तथा चैव भवेत्तु गतिमण्डले । समपादं प्रयुज्याथ परिच्छिन्नं त्वनन्तरम् ॥ २१२॥
The waist should be cut off in the circle of movement. Then, after applying the even-footed stance, the circumscribed movement should follow.
english translation
kaTicchinnaM tathA caiva bhavettu gatimaNDale । samapAdaM prayujyAtha paricchinnaM tvanantaram ॥ 212॥
hk transliteration by Sanscriptआविद्धेन तु पादेन बाह्यभ्रमरकं तथा । वामसूच्या त्वतिक्रान्तं भुजङ्गत्रासितं तथा ॥ २१३॥
With the foot turned out, the external bee posture should be performed, and with the left index finger, the overstepping gesture should be made, followed by the frightened serpent posture.
english translation
Aviddhena tu pAdena bAhyabhramarakaM tathA । vAmasUcyA tvatikrAntaM bhujaGgatrAsitaM tathA ॥ 213॥
hk transliteration by Sanscriptकरिहस्तं कटिच्छिन्नं परिच्छिन्ने विधीयते । शिरसस्तूपरि स्थाप्यौ स्वस्तिअकौ विच्युतौ करौ । २१४॥
The elephant hand, cut at the waist, is prescribed for the one with a limited body. After placing the two hands above the head, the hands are removed.
english translation
karihastaM kaTicchinnaM paricchinne vidhIyate । zirasastUpari sthApyau svastiakau vicyutau karau । 214॥
hk transliteration by Sanscriptततः सव्यं करं चापि गात्रमानम्य रेचयेत् । पुनरुत्थापयेत्तत्र गात्रमुन्नम्य रेचितम् ॥ २१५॥
Then, bending the left hand, one should extend it. Again, raising it there, one should extend the body with the raised posture.
english translation
tataH savyaM karaM cApi gAtramAnamya recayet । punarutthApayettatra gAtramunnamya recitam ॥ 215॥
hk transliteration by Sanscript