siva.sh

siva.sh/natyashastra/4/286

286

भाण्डवाद्यकृते चैव तथा गानकृतेऽपि च । एका तु प्रथमं योज्या द्वे द्वितीयं तथैव च ॥ २८६॥

The same applies to both drum music and singing: one dancer should be assigned to the first, two to the second, and similarly for the others.

english translation

bhANDavAdyakRte caiva tathA gAnakRte'pi ca | ekA tu prathamaM yojyA dve dvitIyaM tathaiva ca || 286||

siva.sh/natyashastra/4/287

287

तिस्रो वस्तु तृतीयं तु चतस्रस्तु चतुर्थकम् । पिण्डीनां विधयश्चैव चत्वारः सम्प्रकीर्तिताः ॥ २८७॥

Three dancers should be employed for the third (type), and four for the fourth. The four types of Piṇḍīs have been described as well.

english translation

tisro vastu tRtIyaM tu catasrastu caturthakam | piNDInAM vidhayazcaiva catvAraH samprakIrtitAH || 287||

siva.sh/natyashastra/4/288

288

पिण्डी श‍ृङ्खलिका चैव लताबन्धोऽथ भेद्यकः । पिण्डीबन्धस्तु पिण्डत्वाद्गुल्मः श‍ृङ्खलिका भवेत् ॥ २८८॥

The Piṇḍī, Śṛṅkhalikā, Latābandha, and Bhedyaka are the four types. The Piṇḍībandha is called so because of its lump-like nature, and the Śṛṅkhalikā is a cluster (gulma).

english translation

piNDI za‍RGkhalikA caiva latAbandho'tha bhedyakaH | piNDIbandhastu piNDatvAdgulmaH za‍RGkhalikA bhavet || 288||

siva.sh/natyashastra/4/289

289

जालोपनद्धा च लता सनृत्तो भेद्यकः स्मृतः । पिण्डीबन्धः कनिष्ठे तु श‍ृङ्खला तु लयान्तरे ॥ २८९॥

The Latā (vine) is considered to be bound by a net, and the dance performed by Bhedyaka is regarded as a separate individual dance. The Piṇḍībandha is applied in the shortest Āsārita, while the Śṛṅkhalā is used during the Layāntara.

english translation

jAlopanaddhA ca latA sanRtto bhedyakaH smRtaH | piNDIbandhaH kaniSThe tu za‍RGkhalA tu layAntare || 289||

siva.sh/natyashastra/4/290

290

मध्यमे च लताबन्धो ज्येष्ठे चैवाथ भेद्यकः । पिण्डीनां विविधा योनिर्यन्त्रं भद्रासनं तथा ॥ २९०॥

In the middle, the Latābandha is used, while the Bhedyaka is applied in the longest Āsārita. The Piṇḍīs have diverse origins: Yantra and Bhadrāsana.

english translation