Natyashastra
Progress:15.4%
वामपल्लवहस्तेन पादैस्तालान्तरोत्थितैः । गच्छेत्पञ्चपदीं चैव सविलासाङ्गचेष्टितैः ॥ १२१॥
With the left hand as a branch, and with feet rising from the space between the palms, one should walk in the five steps, with the movements of the body graceful.
english translation
vAmapallavahastena pAdaistAlAntarotthitaiH । gacchetpaJcapadIM caiva savilAsAGgaceSTitaiH ॥ 121॥
hk transliteration by Sanscriptवामवेधस्तु कर्तव्यो विक्षेपो दक्षिणस्य च । शृङ्गाररससंयुक्तां पठेदार्यां विचक्षणः ॥ १२२॥
The left piercing should be performed, as well as the agitation of the right. One should recite the noble (verses) imbued with the essence of Śṛṅgāra (the erotic sentiment), as a wise person would.
english translation
vAmavedhastu kartavyo vikSepo dakSiNasya ca । zaRGgArarasasaMyuktAM paThedAryAM vicakSaNaH ॥ 122॥
hk transliteration by Sanscriptचारीश्लोकं गदित्वा तु कृत्वा च परिवर्तनम् । तैरेव च पदः कार्यं पश्चिमेनापसर्पणम् ॥ १२३॥
After reciting the Chārī verse, one should perform a transformation. With the same feet, the movement of the westward retreat should be done.
english translation
cArIzlokaM gaditvA tu kRtvA ca parivartanam । taireva ca padaH kAryaM pazcimenApasarpaNam ॥ 123॥
hk transliteration by Sanscriptपारिपार्श्विकहस्ते तु न्यस्य जर्जरमुत्तमम् । महाचारीं ततश्चैव प्रयुञ्जीत यथाविधि ॥ १२४॥
Having placed the excellent Jajjara on the hand of the attendant, one should then employ the Mahācāri according to the prescribed method.
english translation
pAripArzvikahaste tu nyasya jarjaramuttamam । mahAcArIM tatazcaiva prayuJjIta yathAvidhi ॥ 124॥
hk transliteration by Sanscriptचतुरश्रा ध्रुवा तत्र तथा द्रुतलयान्विता । चतुर्भिस्सन्निपातैश्च कला ह्यष्टौ प्रमाणतः ॥ १२५॥
The square is fixed there, and is endowed with a rapid measure, with four placements; the art is thus eightfold in measure.
english translation
caturazrA dhruvA tatra tathA drutalayAnvitA । caturbhissannipAtaizca kalA hyaSTau pramANataH ॥ 125॥
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
4.
अध्याय ४
Description of the Class Dance
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:15.4%
वामपल्लवहस्तेन पादैस्तालान्तरोत्थितैः । गच्छेत्पञ्चपदीं चैव सविलासाङ्गचेष्टितैः ॥ १२१॥
With the left hand as a branch, and with feet rising from the space between the palms, one should walk in the five steps, with the movements of the body graceful.
english translation
vAmapallavahastena pAdaistAlAntarotthitaiH । gacchetpaJcapadIM caiva savilAsAGgaceSTitaiH ॥ 121॥
hk transliteration by Sanscriptवामवेधस्तु कर्तव्यो विक्षेपो दक्षिणस्य च । शृङ्गाररससंयुक्तां पठेदार्यां विचक्षणः ॥ १२२॥
The left piercing should be performed, as well as the agitation of the right. One should recite the noble (verses) imbued with the essence of Śṛṅgāra (the erotic sentiment), as a wise person would.
english translation
vAmavedhastu kartavyo vikSepo dakSiNasya ca । zaRGgArarasasaMyuktAM paThedAryAM vicakSaNaH ॥ 122॥
hk transliteration by Sanscriptचारीश्लोकं गदित्वा तु कृत्वा च परिवर्तनम् । तैरेव च पदः कार्यं पश्चिमेनापसर्पणम् ॥ १२३॥
After reciting the Chārī verse, one should perform a transformation. With the same feet, the movement of the westward retreat should be done.
english translation
cArIzlokaM gaditvA tu kRtvA ca parivartanam । taireva ca padaH kAryaM pazcimenApasarpaNam ॥ 123॥
hk transliteration by Sanscriptपारिपार्श्विकहस्ते तु न्यस्य जर्जरमुत्तमम् । महाचारीं ततश्चैव प्रयुञ्जीत यथाविधि ॥ १२४॥
Having placed the excellent Jajjara on the hand of the attendant, one should then employ the Mahācāri according to the prescribed method.
english translation
pAripArzvikahaste tu nyasya jarjaramuttamam । mahAcArIM tatazcaiva prayuJjIta yathAvidhi ॥ 124॥
hk transliteration by Sanscriptचतुरश्रा ध्रुवा तत्र तथा द्रुतलयान्विता । चतुर्भिस्सन्निपातैश्च कला ह्यष्टौ प्रमाणतः ॥ १२५॥
The square is fixed there, and is endowed with a rapid measure, with four placements; the art is thus eightfold in measure.
english translation
caturazrA dhruvA tatra tathA drutalayAnvitA । caturbhissannipAtaizca kalA hyaSTau pramANataH ॥ 125॥
hk transliteration by Sanscript