siva.sh

siva.sh/natyashastra/4/316

316

कृत्वैकं परिवर्तं तु गानस्याभिनयस्य च । पुनः पादनिवृत्तिं तु भाण्डवाद्येन योजयेत् ॥३१६॥

After performing one transformation (parivarta) of the song and the dance, the performer should return to the foot's completion and accompany it with the instrumental music. The drumming should be used to mark the end of the foot.

english translation

kRtvaikaM parivartaM tu gAnasyAbhinayasya ca | punaH pAdanivRttiM tu bhANDavAdyena yojayet ||316||

siva.sh/natyashastra/4/317

317

अऽङ्गवस्तुनिवृतौ तु वर्णान्तरनिवृत्तिषु । तथोपस्थापने चैव भाण्डवाद्यं प्रयोजयेत् ॥ ३१७॥

When there is a return to the bodily actions and a cessation of the changes in the verse, the instrumental music should be employed for the arrangement (of the scene) and the setup.

english translation

a'GgavastunivRtau tu varNAntaranivRttiSu | tathopasthApane caiva bhANDavAdyaM prayojayet || 317||

siva.sh/natyashastra/4/318

318

येऽपि चान्तरमार्गास्स्युः तन्त्रिवाक्करणैः कृताः । तेषु सूची प्रयोक्तव्या भाण्डेन सह ताण्डवे ॥ ३१८॥

Those who are also the intermediate paths, created by the speech and actions of the performers, should be accompanied by the Sūcī (signal) along with the drum during the Tāṇḍava.

english translation

ye'pi cAntaramArgAssyuH tantrivAkkaraNaiH kRtAH | teSu sUcI prayoktavyA bhANDena saha tANDave || 318||

siva.sh/natyashastra/4/319

319

महेश्वरस्य चरितं य इदं सम्प्रयोजयेत् सर्वपापविशुद्धात्मा शिवलोकं स गच्छति ॥ ३१९॥

One who performs this dance, which is the story of Mahādeva (Śiva), with devotion, will have his soul purified of all sins and will reach the abode of Śiva.

english translation

mahezvarasya caritaM ya idaM samprayojayet sarvapApavizuddhAtmA zivalokaM sa gacchati || 319||

siva.sh/natyashastra/4/320

320

एवमेष विधिः सृ(र्दृ)ष्टस्ताण्डवस्य प्रयोगतः । भूयः किं कथ्यतामन्यन्नाट्यवेदविधिं प्रति ॥ ३२०॥

Thus, this is the method for performing the Tāṇḍava, as prescribed. Now, tell me, what more should be discussed regarding the rules of Nāṭyaveda?

english translation