siva.sh

siva.sh/natyashastra/4/271

271

लयस्य वर्धनाच्चापि वर्धमानकमुच्यते । कृत्त्वा कुतपविन्यासं यथावद्द्विजसत्तमाः ॥ २७१॥

The Vardhamānaka is also called so due to the increase of tempo. After setting the musical instruments as prescribed, the procedure is followed accordingly by the expert performers.

english translation

layasya vardhanAccApi vardhamAnakamucyate | kRttvA kutapavinyAsaM yathAvaddvijasattamAH || 271||

siva.sh/natyashastra/4/272

272

आसारितप्रयोगस्तु ततः कार्यः प्रयोक्तृभिः । तत्र तूपोहनं कृत्त्वा तन्त्रीगानसमन्वितम् ॥ २७२॥

The Āsārita should be performed thereafter by the practitioners. First, the Upohana should be performed, accompanied by stringed instruments and singing.

english translation

AsAritaprayogastu tataH kAryaH prayoktRbhiH | tatra tUpohanaM kRttvA tantrIgAnasamanvitam || 272||

siva.sh/natyashastra/4/273

273

कार्यः प्रवेशो नर्तक्या भाण्डवाद्यसमन्वितः । विशुद्धकरणायां तु जात्यां वाद्यं प्रयोजयेत् ॥२७३॥

The dancer should enter the stage accompanied by musical instruments, and the music should be played in pure Karaṇa and Jāti.

english translation

kAryaH pravezo nartakyA bhANDavAdyasamanvitaH | vizuddhakaraNAyAM tu jAtyAM vAdyaM prayojayet ||273||

siva.sh/natyashastra/4/274

274

गत्या वाद्यानुसारिण्या तस्याश्चारीं प्रयोजयेत् । वैशाखस्थानकेनेह सर्वरेचकचारिणी ॥ २७४॥

The dancer, moving in accordance with the music, should perform a Cārī, and in the Vaiśākha Sthāna posture, she should execute all the Recakas.

english translation

gatyA vAdyAnusAriNyA tasyAzcArIM prayojayet | vaizAkhasthAnakeneha sarvarecakacAriNI || 274||

siva.sh/natyashastra/4/275

275

पुष्पाञ्जलिधरा भूत्वा प्रविशेद्रङ्गमण्डपम् । पुष्पाञ्जलिं विसृज्याथ रङ्गपीठं परीत्य च ॥ २७५॥

Holding a flower offering, she should enter the stage, and after scattering the flowers, she should circumambulate the stage.

english translation

puSpAJjalidharA bhUtvA pravizedraGgamaNDapam | puSpAJjaliM visRjyAtha raGgapIThaM parItya ca || 275||