Natyashastra
Progress:7.7%
नृत्ये युद्धे नियुद्धे च तथ गतिपरिक्रमे । गतिप्रचारे वक्ष्यामि युद्धचारीविकल्पनम् ॥ ५६॥
In dance, combat, duels, and similarly in walking and general movements, I shall now describe the variations of the movements used in warfare.
english translation
nRtye yuddhe niyuddhe ca tatha gatiparikrame । gatipracAre vakSyAmi yuddhacArIvikalpanam ॥ 56॥
hk transliteration by Sanscriptयत्र तत्रापि संयोज्यमाचार्यैर्नाट्यशक्तिनः । प्रायेण करणे कार्यो वामो वक्षःस्थितः करः ॥ ५७॥
Wherever required, experts in dramatic art should skillfully apply these movements. In general, during a Karaṇa, the left hand should be positioned on the chest.
english translation
yatra tatrApi saMyojyamAcAryairnATyazaktinaH । prAyeNa karaNe kAryo vAmo vakSaHsthitaH karaH ॥ 57॥
hk transliteration by Sanscriptचरणस्यानुगश्चापि दक्षिणस्तु भवेत्करः । हस्तपादप्रचारन्तु कटिपार्श्वोरुसंयुतम् ॥ ५८॥
The right hand should follow the movement of the right foot. The movement of hands and feet should be coordinated with the hips, sides, and thighs.
english translation
caraNasyAnugazcApi dakSiNastu bhavetkaraH । hastapAdapracArantu kaTipArzvorusaMyutam ॥ 58॥
hk transliteration by Sanscriptउरःपृष्ठोदरोपेतं वक्ष्यमाणं निबोधत । यानि स्थानानि याश्चार्यो नृत्यहस्तास्तथैव च ॥ ५९॥
Listen to the chest, back, and belly-related (movements) that will be described, as well as the places and the teachers dance gestures.
english translation
uraHpRSThodaropetaM vakSyamANaM nibodhata । yAni sthAnAni yAzcAryo nRtyahastAstathaiva ca ॥ 59॥
hk transliteration by Sanscriptसा मातृकेति विज्ञेया तद्योगात्करणं भवेत् । कटी कर्णसमा यत्र कोर्परांसशिरस्तथा ॥ ६०॥
These are known as Mātṛkās, and through their combinations, the Karaṇas arise, where the hip, ears, elbows, shoulders, and head are aligned.
english translation
sA mAtRketi vijJeyA tadyogAtkaraNaM bhavet । kaTI karNasamA yatra korparAMsazirastathA ॥ 60॥
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:7.7%
नृत्ये युद्धे नियुद्धे च तथ गतिपरिक्रमे । गतिप्रचारे वक्ष्यामि युद्धचारीविकल्पनम् ॥ ५६॥
In dance, combat, duels, and similarly in walking and general movements, I shall now describe the variations of the movements used in warfare.
english translation
nRtye yuddhe niyuddhe ca tatha gatiparikrame । gatipracAre vakSyAmi yuddhacArIvikalpanam ॥ 56॥
hk transliteration by Sanscriptयत्र तत्रापि संयोज्यमाचार्यैर्नाट्यशक्तिनः । प्रायेण करणे कार्यो वामो वक्षःस्थितः करः ॥ ५७॥
Wherever required, experts in dramatic art should skillfully apply these movements. In general, during a Karaṇa, the left hand should be positioned on the chest.
english translation
yatra tatrApi saMyojyamAcAryairnATyazaktinaH । prAyeNa karaNe kAryo vAmo vakSaHsthitaH karaH ॥ 57॥
hk transliteration by Sanscriptचरणस्यानुगश्चापि दक्षिणस्तु भवेत्करः । हस्तपादप्रचारन्तु कटिपार्श्वोरुसंयुतम् ॥ ५८॥
The right hand should follow the movement of the right foot. The movement of hands and feet should be coordinated with the hips, sides, and thighs.
english translation
caraNasyAnugazcApi dakSiNastu bhavetkaraH । hastapAdapracArantu kaTipArzvorusaMyutam ॥ 58॥
hk transliteration by Sanscriptउरःपृष्ठोदरोपेतं वक्ष्यमाणं निबोधत । यानि स्थानानि याश्चार्यो नृत्यहस्तास्तथैव च ॥ ५९॥
Listen to the chest, back, and belly-related (movements) that will be described, as well as the places and the teachers dance gestures.
english translation
uraHpRSThodaropetaM vakSyamANaM nibodhata । yAni sthAnAni yAzcAryo nRtyahastAstathaiva ca ॥ 59॥
hk transliteration by Sanscriptसा मातृकेति विज्ञेया तद्योगात्करणं भवेत् । कटी कर्णसमा यत्र कोर्परांसशिरस्तथा ॥ ६०॥
These are known as Mātṛkās, and through their combinations, the Karaṇas arise, where the hip, ears, elbows, shoulders, and head are aligned.
english translation
sA mAtRketi vijJeyA tadyogAtkaraNaM bhavet । kaTI karNasamA yatra korparAMsazirastathA ॥ 60॥
hk transliteration by Sanscript