Natyashastra
Progress:8.3%
प्रयोगवशगौ हस्तावूर्ध्वजानु प्रकीर्तितम् । वृश्चिकं चरणं कृत्वा करं पार्श्वे निकुञ्चयेत् ॥ ८६॥
Ūrdhvajānu—a Kuñcita foot to be thrown up, and the knee to be held up (lit. stretched) on a level with the chest, and the two hands to be in harmony with the dance.
english translation
prayogavazagau hastAvUrdhvajAnu prakIrtitam । vRzcikaM caraNaM kRtvA karaM pArzve nikuJcayet ॥ 86॥
hk transliteration by Sanscriptनासाग्रे दक्षिणं चैव ज्ञेयं तत्तु निकुञ्चितम् । वामदक्षिणपादाभ्यां घूर्णमानोपसर्पणैः ॥८७॥
Nikuñcita—feet to be moved as in the Vṛścika-karaṇa, two hands to be bent at the sides, the right hand to be held at the tip of the nose.
english translation
nAsAgre dakSiNaM caiva jJeyaM tattu nikuJcitam । vAmadakSiNapAdAbhyAM ghUrNamAnopasarpaNaiH ॥87॥
hk transliteration by Sanscriptउद्वेष्टितापविद्धैश्च हस्तैर्मत्तल्ल्युदाहृतम् । स्स्खलितापसृतौ पादौ वामहस्तश्च रेचितः ॥ ८८॥
Matalli—making a whirling movement while throwing back the two feet (left and right), and moving hands in the Udveṣṭita and Apaviddha movement.
english translation
udveSTitApaviddhaizca hastairmattallyudAhRtam । sskhalitApasRtau pAdau vAmahastazca recitaH ॥ 88॥
hk transliteration by Sanscriptसव्यहस्तः कटिस्थः स्यादर्धमत्तल्लि तत्स्मृतम् । रेचितो दक्षिणो हस्तः पादः सव्यो निकुट्टितः ॥ ८९॥
Ardhamatalli—feet to be drawn away from the position in the Skhalita-karaṇa, left hand Recita, and afterwards to be put on the hip.
english translation
savyahastaH kaTisthaH syAdardhamattalli tatsmRtam । recito dakSiNo hastaH pAdaH savyo nikuTTitaH ॥ 89॥
hk transliteration by Sanscriptदोला चैव भवेद्वामस्तद्रेचितनिकुट्टितम् । कार्यौ नाभितटे हस्तौ प्राङ्मुखौ खटकामुखौ ॥ ९०॥
Recitanikuṭṭita—the right hand to be Recita, left foot Udghaṭṭita (= Nikuṭṭita), and the left hand with Dolā gesture.
english translation
dolA caiva bhavedvAmastadrecitanikuTTitam । kAryau nAbhitaTe hastau prAGmukhau khaTakAmukhau ॥ 90॥
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:8.3%
प्रयोगवशगौ हस्तावूर्ध्वजानु प्रकीर्तितम् । वृश्चिकं चरणं कृत्वा करं पार्श्वे निकुञ्चयेत् ॥ ८६॥
Ūrdhvajānu—a Kuñcita foot to be thrown up, and the knee to be held up (lit. stretched) on a level with the chest, and the two hands to be in harmony with the dance.
english translation
prayogavazagau hastAvUrdhvajAnu prakIrtitam । vRzcikaM caraNaM kRtvA karaM pArzve nikuJcayet ॥ 86॥
hk transliteration by Sanscriptनासाग्रे दक्षिणं चैव ज्ञेयं तत्तु निकुञ्चितम् । वामदक्षिणपादाभ्यां घूर्णमानोपसर्पणैः ॥८७॥
Nikuñcita—feet to be moved as in the Vṛścika-karaṇa, two hands to be bent at the sides, the right hand to be held at the tip of the nose.
english translation
nAsAgre dakSiNaM caiva jJeyaM tattu nikuJcitam । vAmadakSiNapAdAbhyAM ghUrNamAnopasarpaNaiH ॥87॥
hk transliteration by Sanscriptउद्वेष्टितापविद्धैश्च हस्तैर्मत्तल्ल्युदाहृतम् । स्स्खलितापसृतौ पादौ वामहस्तश्च रेचितः ॥ ८८॥
Matalli—making a whirling movement while throwing back the two feet (left and right), and moving hands in the Udveṣṭita and Apaviddha movement.
english translation
udveSTitApaviddhaizca hastairmattallyudAhRtam । sskhalitApasRtau pAdau vAmahastazca recitaH ॥ 88॥
hk transliteration by Sanscriptसव्यहस्तः कटिस्थः स्यादर्धमत्तल्लि तत्स्मृतम् । रेचितो दक्षिणो हस्तः पादः सव्यो निकुट्टितः ॥ ८९॥
Ardhamatalli—feet to be drawn away from the position in the Skhalita-karaṇa, left hand Recita, and afterwards to be put on the hip.
english translation
savyahastaH kaTisthaH syAdardhamattalli tatsmRtam । recito dakSiNo hastaH pAdaH savyo nikuTTitaH ॥ 89॥
hk transliteration by Sanscriptदोला चैव भवेद्वामस्तद्रेचितनिकुट्टितम् । कार्यौ नाभितटे हस्तौ प्राङ्मुखौ खटकामुखौ ॥ ९०॥
Recitanikuṭṭita—the right hand to be Recita, left foot Udghaṭṭita (= Nikuṭṭita), and the left hand with Dolā gesture.
english translation
dolA caiva bhavedvAmastadrecitanikuTTitam । kAryau nAbhitaTe hastau prAGmukhau khaTakAmukhau ॥ 90॥
hk transliteration by Sanscript