Natyashastra
Progress:10.9%
लताख्यौ च करौ कृत्वा वृश्चिकं सम्प्रयोजयेत् । रेचितं करिहस्तं च भुजङ्गत्रासितं तथा ॥ २१६॥
Having made the hands called creepers, one should apply the scorpion. The raised elephant hand, the frightened serpent.
english translation
latAkhyau ca karau kRtvA vRzcikaM samprayojayet । recitaM karihastaM ca bhujaGgatrAsitaM tathA ॥ 216॥
hk transliteration by Sanscriptआक्षिप्तकं प्रयुञ्जीत स्वस्तिकं पादमेव च । पराङ्ग्मुखविधिर्भूय एवमेव भवेदिह ॥ २१७॥
One should employ the Akshiptaka gesture, the Svastika posture, and the foot as prescribed. The method of facing away should be done in the same manner as described previously.
english translation
AkSiptakaM prayuJjIta svastikaM pAdameva ca । parAGgmukhavidhirbhUya evameva bhavediha ॥ 217॥
hk transliteration by Sanscriptकरिहस्तं कटिच्छिन्नं परिवृत्तकरेचिती । रेचितौ सह गात्रेण ह्यपविद्धौ करौ यदा ॥ २१८॥
When the hands are bent and extended with the waist bent, and the arms are extended with the body, it is called the Karahasta. When the hands are bent and extended in the same manner, along with the body, this is also referred to as Karahasta.
english translation
karihastaM kaTicchinnaM parivRttakarecitI । recitau saha gAtreNa hyapaviddhau karau yadA ॥ 218॥
hk transliteration by Sanscriptपुनस्तेनैव देशेन गात्रमुन्नम्य रेचयेत् । कुर्यान्नूपुरपादं च भुजङ्गत्रासितं तथा ॥ २१९॥
Again, raising the body from that same position, one should exhale. One should also perform the anklet foot and the frightened serpent.
english translation
punastenaiva dezena gAtramunnamya recayet । kuryAnnUpurapAdaM ca bhujaGgatrAsitaM tathA ॥ 219॥
hk transliteration by Sanscriptरेचितं मण्डलं चैव बाहुशीर्षे निकुञ्चयेत् । ऊरूद्वृत्तं तथाक्षिप्तमुरोमण्डलमेव च ॥ २२०॥
The circular movement should be performed with the arms and head bent, the thighs raised and extended, and the chest in a circular form.
english translation
recitaM maNDalaM caiva bAhuzIrSe nikuJcayet । UrUdvRttaM tathAkSiptamuromaNDalameva ca ॥ 220॥
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:10.9%
लताख्यौ च करौ कृत्वा वृश्चिकं सम्प्रयोजयेत् । रेचितं करिहस्तं च भुजङ्गत्रासितं तथा ॥ २१६॥
Having made the hands called creepers, one should apply the scorpion. The raised elephant hand, the frightened serpent.
english translation
latAkhyau ca karau kRtvA vRzcikaM samprayojayet । recitaM karihastaM ca bhujaGgatrAsitaM tathA ॥ 216॥
hk transliteration by Sanscriptआक्षिप्तकं प्रयुञ्जीत स्वस्तिकं पादमेव च । पराङ्ग्मुखविधिर्भूय एवमेव भवेदिह ॥ २१७॥
One should employ the Akshiptaka gesture, the Svastika posture, and the foot as prescribed. The method of facing away should be done in the same manner as described previously.
english translation
AkSiptakaM prayuJjIta svastikaM pAdameva ca । parAGgmukhavidhirbhUya evameva bhavediha ॥ 217॥
hk transliteration by Sanscriptकरिहस्तं कटिच्छिन्नं परिवृत्तकरेचिती । रेचितौ सह गात्रेण ह्यपविद्धौ करौ यदा ॥ २१८॥
When the hands are bent and extended with the waist bent, and the arms are extended with the body, it is called the Karahasta. When the hands are bent and extended in the same manner, along with the body, this is also referred to as Karahasta.
english translation
karihastaM kaTicchinnaM parivRttakarecitI । recitau saha gAtreNa hyapaviddhau karau yadA ॥ 218॥
hk transliteration by Sanscriptपुनस्तेनैव देशेन गात्रमुन्नम्य रेचयेत् । कुर्यान्नूपुरपादं च भुजङ्गत्रासितं तथा ॥ २१९॥
Again, raising the body from that same position, one should exhale. One should also perform the anklet foot and the frightened serpent.
english translation
punastenaiva dezena gAtramunnamya recayet । kuryAnnUpurapAdaM ca bhujaGgatrAsitaM tathA ॥ 219॥
hk transliteration by Sanscriptरेचितं मण्डलं चैव बाहुशीर्षे निकुञ्चयेत् । ऊरूद्वृत्तं तथाक्षिप्तमुरोमण्डलमेव च ॥ २२०॥
The circular movement should be performed with the arms and head bent, the thighs raised and extended, and the chest in a circular form.
english translation
recitaM maNDalaM caiva bAhuzIrSe nikuJcayet । UrUdvRttaM tathAkSiptamuromaNDalameva ca ॥ 220॥
hk transliteration by Sanscript