Natyashastra

siva.sh/natyashastra/4/246

पादस्य चानुगौ हस्तौ त्रिकं च परिवर्तयेत् । निकुट्य करपादं चाप्युरोमण्डलकं पुनः ॥ २४६॥

sanskrit

The hands should follow the foot, and the Trika should be rotated. Then, placing the hand and foot together, one should perform the chest circle again.

english translation

pAdasya cAnugau hastau trikaM ca parivartayet | nikuTya karapAdaM cApyuromaNDalakaM punaH || 246||

hk transliteration by Sanscript

siva.sh/natyashastra/4/247

करिहस्तं कटिच्छिन्नं कार्यमर्धनिकुट्टके । द्वात्रिंशदेते सम्प्रोक्ता ह्यङ्गहारा द्विजोत्तमाः ॥ २४७॥

sanskrit

The hand should be like the elephant’s trunk, and the half-bent posture should be performed. These thirty-two Aṅgahāras have been explained, O best of the Brahmins..

english translation

karihastaM kaTicchinnaM kAryamardhanikuTTake | dvAtriMzadete samproktA hyaGgahArA dvijottamAH || 247||

hk transliteration by Sanscript

siva.sh/natyashastra/4/248

चतुरो रेचकांश्चापि गदतो मे निबोधत । पादरेचक एकः स्यात् द्वितीयः कटिरेचकः ॥ २४८॥

sanskrit

Four Recakas are also described, listen carefully. The first is the foot-recaka, and the second is the waist-recaka.

english translation

caturo recakAMzcApi gadato me nibodhata | pAdarecaka ekaH syAt dvitIyaH kaTirecakaH || 248||

hk transliteration by Sanscript

siva.sh/natyashastra/4/249

कररेचकस्तृतीयस्तु चतुर्थः कण्ठरेचकः । [रेचिताख्यः पृथग्भावे वलने चाभिधीयते ॥ उद्वाहनात्पृथग्भावाच्चलनाच्चापि रेचकः । पार्श्वात्पार्श्वे तु गमनं स्खलितैश्चलितैः पदैः ॥ विविधैश्चैव पादस्य पादरेचक उच्यते । त्रिकस्योद्वर्तनं चैव छटीवलनमेव च ॥ तथाऽपसर्पणं चैव कटिरेचक उच्यते । उद्वर्तनं परिक्षेपो विक्षेपः परिवर्तनम् ॥ विसर्पणं च हस्तस्य हस्तरेचक उच्यते । उद्वाहनं सन्नमनं तथा पार्श्वस्य सन्नतिः ॥ भ्रमणं चापि विज्ञेयो ग्रीवाया रेचको बुधैः । ] रेचकैरङ्गहारैश्च नृत्यन्तं वीक्ष्य शङ्करम् ॥ २४९॥

sanskrit

The third Recaka is that of the hand, and the fourth is that of the neck. The term Recita refers to the separate movement or turning of a limb, which is also known as a twisting movement. The upward movement, the separate movement, the side-to-side movement, and the wavering movement of the feet are called foot Recakas. The turning of the waist, drawing it back, and rotating it are referred to as waist Recakas. The movement of the hands in raising, throwing out, placing forward, turning, or drawing back is called hand Recaka. For the neck, the upward movement, bending, and sideways bending are considered neck Recakas. When observing Śiva dancing with Recakas and Aṅgahāras, Pārvatī also performed a delicate dance, accompanied by musical instruments such as the Mṛdaṅga, Bherī, Paṭaha, Jhañjhā, Diṇḍima, Gomukha, Paṇava, and Dardura. After the destruction of Dakṣa’s sacrifice, Śiva danced in the evening, performing various Aṅgahāras in synchronization with the proper time and rhythm. The Gaṇas like Nandī and Bhadramukha, observing Śiva’s performance, named different dance forms and imitated them. The Piṇḍīs associated with different gods and goddesses are as follows: - Śiva: Vṛṣa - Nandī: Paṭṭisī - Caṇḍikā (Kālī): Siṃhavāhinī - Viṣṇu: Tārkṣya - Svayambhu (Brahmā): Padma - Śakra (Indra): Airāvatī - Manmatha: Jhaṣā - Kumāra (Kārtikeya): Śikhī (peacock) - Śrī (Lākṣmī): Ūlu (owl) - Jāhṇavī (Gaṅgā): Dhārā - Yama: Pāśa - Varuṇa: Nadī - Dhanada (Kuvera): Yākṣī - Bala (Rāma): Hala (plough) - Bhogins (serpents): Sarpa - Ganeśvaras: Dakṣayajñavimardinī The Piṇḍī of Śiva, the killer of Andhaka, will be Raudrī in the form of his trident. Similarly, the Piṇḍīs of the remaining gods and goddesses are named after their respective banners. After Śiva created these Recakas, Aṅgahāras, and Piṇḍīs, he passed them on to the sage Taṇḍu, who combined them into a dance with songs and instrumental music. This dance came to be known as Tāṇḍava, the dance created by Taṇḍu.

english translation

kararecakastRtIyastu caturthaH kaNTharecakaH | [recitAkhyaH pRthagbhAve valane cAbhidhIyate || udvAhanAtpRthagbhAvAccalanAccApi recakaH | pArzvAtpArzve tu gamanaM skhalitaizcalitaiH padaiH || vividhaizcaiva pAdasya pAdarecaka ucyate | trikasyodvartanaM caiva chaTIvalanameva ca || tathA'pasarpaNaM caiva kaTirecaka ucyate | udvartanaM parikSepo vikSepaH parivartanam || visarpaNaM ca hastasya hastarecaka ucyate | udvAhanaM sannamanaM tathA pArzvasya sannatiH || bhramaNaM cApi vijJeyo grIvAyA recako budhaiH | ] recakairaGgahAraizca nRtyantaM vIkSya zaGkaram || 249||

hk transliteration by Sanscript

siva.sh/natyashastra/4/250

सुकुमारप्रयोगेण नृत्यन्तीं चैव पार्वतीम् । मृदङ्गभेरीपटहैर्भाण्डडिण्डिमगोमुखैः ॥२५०॥

sanskrit

Pārvatī, performing the dance with delicate movements, was accompanied by the sounds of mṛdaṅga, bherī, paṭaha, bhāṇḍa, diṇḍima, and gomukha instruments.

english translation

sukumAraprayogeNa nRtyantIM caiva pArvatIm | mRdaGgabherIpaTahairbhANDaDiNDimagomukhaiH ||250||

hk transliteration by Sanscript

siva.sh/natyashastra/4/246

पादस्य चानुगौ हस्तौ त्रिकं च परिवर्तयेत् । निकुट्य करपादं चाप्युरोमण्डलकं पुनः ॥ २४६॥

sanskrit

The hands should follow the foot, and the Trika should be rotated. Then, placing the hand and foot together, one should perform the chest circle again.

english translation

pAdasya cAnugau hastau trikaM ca parivartayet | nikuTya karapAdaM cApyuromaNDalakaM punaH || 246||

hk transliteration by Sanscript

siva.sh/natyashastra/4/247

करिहस्तं कटिच्छिन्नं कार्यमर्धनिकुट्टके । द्वात्रिंशदेते सम्प्रोक्ता ह्यङ्गहारा द्विजोत्तमाः ॥ २४७॥

sanskrit

The hand should be like the elephant’s trunk, and the half-bent posture should be performed. These thirty-two Aṅgahāras have been explained, O best of the Brahmins..

english translation

karihastaM kaTicchinnaM kAryamardhanikuTTake | dvAtriMzadete samproktA hyaGgahArA dvijottamAH || 247||

hk transliteration by Sanscript

siva.sh/natyashastra/4/248

चतुरो रेचकांश्चापि गदतो मे निबोधत । पादरेचक एकः स्यात् द्वितीयः कटिरेचकः ॥ २४८॥

sanskrit

Four Recakas are also described, listen carefully. The first is the foot-recaka, and the second is the waist-recaka.

english translation

caturo recakAMzcApi gadato me nibodhata | pAdarecaka ekaH syAt dvitIyaH kaTirecakaH || 248||

hk transliteration by Sanscript

siva.sh/natyashastra/4/249

कररेचकस्तृतीयस्तु चतुर्थः कण्ठरेचकः । [रेचिताख्यः पृथग्भावे वलने चाभिधीयते ॥ उद्वाहनात्पृथग्भावाच्चलनाच्चापि रेचकः । पार्श्वात्पार्श्वे तु गमनं स्खलितैश्चलितैः पदैः ॥ विविधैश्चैव पादस्य पादरेचक उच्यते । त्रिकस्योद्वर्तनं चैव छटीवलनमेव च ॥ तथाऽपसर्पणं चैव कटिरेचक उच्यते । उद्वर्तनं परिक्षेपो विक्षेपः परिवर्तनम् ॥ विसर्पणं च हस्तस्य हस्तरेचक उच्यते । उद्वाहनं सन्नमनं तथा पार्श्वस्य सन्नतिः ॥ भ्रमणं चापि विज्ञेयो ग्रीवाया रेचको बुधैः । ] रेचकैरङ्गहारैश्च नृत्यन्तं वीक्ष्य शङ्करम् ॥ २४९॥

sanskrit

The third Recaka is that of the hand, and the fourth is that of the neck. The term Recita refers to the separate movement or turning of a limb, which is also known as a twisting movement. The upward movement, the separate movement, the side-to-side movement, and the wavering movement of the feet are called foot Recakas. The turning of the waist, drawing it back, and rotating it are referred to as waist Recakas. The movement of the hands in raising, throwing out, placing forward, turning, or drawing back is called hand Recaka. For the neck, the upward movement, bending, and sideways bending are considered neck Recakas. When observing Śiva dancing with Recakas and Aṅgahāras, Pārvatī also performed a delicate dance, accompanied by musical instruments such as the Mṛdaṅga, Bherī, Paṭaha, Jhañjhā, Diṇḍima, Gomukha, Paṇava, and Dardura. After the destruction of Dakṣa’s sacrifice, Śiva danced in the evening, performing various Aṅgahāras in synchronization with the proper time and rhythm. The Gaṇas like Nandī and Bhadramukha, observing Śiva’s performance, named different dance forms and imitated them. The Piṇḍīs associated with different gods and goddesses are as follows: - Śiva: Vṛṣa - Nandī: Paṭṭisī - Caṇḍikā (Kālī): Siṃhavāhinī - Viṣṇu: Tārkṣya - Svayambhu (Brahmā): Padma - Śakra (Indra): Airāvatī - Manmatha: Jhaṣā - Kumāra (Kārtikeya): Śikhī (peacock) - Śrī (Lākṣmī): Ūlu (owl) - Jāhṇavī (Gaṅgā): Dhārā - Yama: Pāśa - Varuṇa: Nadī - Dhanada (Kuvera): Yākṣī - Bala (Rāma): Hala (plough) - Bhogins (serpents): Sarpa - Ganeśvaras: Dakṣayajñavimardinī The Piṇḍī of Śiva, the killer of Andhaka, will be Raudrī in the form of his trident. Similarly, the Piṇḍīs of the remaining gods and goddesses are named after their respective banners. After Śiva created these Recakas, Aṅgahāras, and Piṇḍīs, he passed them on to the sage Taṇḍu, who combined them into a dance with songs and instrumental music. This dance came to be known as Tāṇḍava, the dance created by Taṇḍu.

english translation

kararecakastRtIyastu caturthaH kaNTharecakaH | [recitAkhyaH pRthagbhAve valane cAbhidhIyate || udvAhanAtpRthagbhAvAccalanAccApi recakaH | pArzvAtpArzve tu gamanaM skhalitaizcalitaiH padaiH || vividhaizcaiva pAdasya pAdarecaka ucyate | trikasyodvartanaM caiva chaTIvalanameva ca || tathA'pasarpaNaM caiva kaTirecaka ucyate | udvartanaM parikSepo vikSepaH parivartanam || visarpaNaM ca hastasya hastarecaka ucyate | udvAhanaM sannamanaM tathA pArzvasya sannatiH || bhramaNaM cApi vijJeyo grIvAyA recako budhaiH | ] recakairaGgahAraizca nRtyantaM vIkSya zaGkaram || 249||

hk transliteration by Sanscript

siva.sh/natyashastra/4/250

सुकुमारप्रयोगेण नृत्यन्तीं चैव पार्वतीम् । मृदङ्गभेरीपटहैर्भाण्डडिण्डिमगोमुखैः ॥२५०॥

sanskrit

Pārvatī, performing the dance with delicate movements, was accompanied by the sounds of mṛdaṅga, bherī, paṭaha, bhāṇḍa, diṇḍima, and gomukha instruments.

english translation

sukumAraprayogeNa nRtyantIM caiva pArvatIm | mRdaGgabherIpaTahairbhANDaDiNDimagomukhaiH ||250||

hk transliteration by Sanscript