Natyashastra
Progress:15.5%
आद्यं चतुर्थमन्त्यं च सप्तमं दशमं गुरु । लघु शेषं ध्रुवापादे चतुर्विंशतिके भवेत् ॥ १२६॥
The first, fourth, seventh, tenth, and last are heavy. The rest are light. This is in the case of the twenty-four-syllabled (composition).
english translation
AdyaM caturthamantyaM ca saptamaM dazamaM guru । laghu zeSaM dhruvApAde caturviMzatike bhavet ॥ 126॥
hk transliteration by Sanscript(यथा-) पादतलाहतिपातितशैलं क्षोभितभूतसमग्रसमुद्रम् । ताण्डवनृत्यमिदं प्रलयान्ते पातु जगत्सुखदायि हरस्य ॥ १२७॥
(As in:) The mountain struck by the blow of the foot, the entire ocean of elements agitated, this dance at the end of the dissolution—may it protect the world, granting happiness to Hara.
english translation
(yathA-) pAdatalAhatipAtitazailaM kSobhitabhUtasamagrasamudram । tANDavanRtyamidaM pralayAnte pAtu jagatsukhadAyi harasya ॥ 127॥
hk transliteration by Sanscriptभाण्डोन्मुखेन कर्तव्यं पादविक्षेपणं ततः । सूचीं कृत्वा पुनः कुर्याद्विक्षेपपरिवर्तनम् ॥ १२८॥
Then the foot should be extended forward with the face turned towards the vessel. Forming the shape of a needle (with the body or gesture), one should again perform the movements of throwing and turning.
english translation
bhANDonmukhena kartavyaM pAdavikSepaNaM tataH । sUcIM kRtvA punaH kuryAdvikSepaparivartanam ॥ 128॥
hk transliteration by Sanscriptअतिक्रान्तैः सललितैः पादैर्द्रुतलयान्वितैः । त्रितालान्तरमुत्क्षेपैर्गच्छेत्पञ्चपदीं ततः ॥ १२९॥
Then, with steps that are graceful and quick, accompanied by the rhythm of three tālas in between, one should proceed with the five-footed gait (pañcapadī).
english translation
atikrAntaiH salalitaiH pAdairdrutalayAnvitaiH । tritAlAntaramutkSepairgacchetpaJcapadIM tataH ॥ 129॥
hk transliteration by Sanscriptतत्रापि वामवेधस्तु विक्षेपो दक्षिणस्य च । तैरेव च पदैः कार्यं प्राङ्मुखेनापसर्पणम् ॥ १३०॥
There also, the piercing motion on the left side is paired with a sweeping movement on the right. Using those very same steps, one should retreat while facing east.
english translation
tatrApi vAmavedhastu vikSepo dakSiNasya ca । taireva ca padaiH kAryaM prAGmukhenApasarpaNam ॥ 130॥
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:15.5%
आद्यं चतुर्थमन्त्यं च सप्तमं दशमं गुरु । लघु शेषं ध्रुवापादे चतुर्विंशतिके भवेत् ॥ १२६॥
The first, fourth, seventh, tenth, and last are heavy. The rest are light. This is in the case of the twenty-four-syllabled (composition).
english translation
AdyaM caturthamantyaM ca saptamaM dazamaM guru । laghu zeSaM dhruvApAde caturviMzatike bhavet ॥ 126॥
hk transliteration by Sanscript(यथा-) पादतलाहतिपातितशैलं क्षोभितभूतसमग्रसमुद्रम् । ताण्डवनृत्यमिदं प्रलयान्ते पातु जगत्सुखदायि हरस्य ॥ १२७॥
(As in:) The mountain struck by the blow of the foot, the entire ocean of elements agitated, this dance at the end of the dissolution—may it protect the world, granting happiness to Hara.
english translation
(yathA-) pAdatalAhatipAtitazailaM kSobhitabhUtasamagrasamudram । tANDavanRtyamidaM pralayAnte pAtu jagatsukhadAyi harasya ॥ 127॥
hk transliteration by Sanscriptभाण्डोन्मुखेन कर्तव्यं पादविक्षेपणं ततः । सूचीं कृत्वा पुनः कुर्याद्विक्षेपपरिवर्तनम् ॥ १२८॥
Then the foot should be extended forward with the face turned towards the vessel. Forming the shape of a needle (with the body or gesture), one should again perform the movements of throwing and turning.
english translation
bhANDonmukhena kartavyaM pAdavikSepaNaM tataH । sUcIM kRtvA punaH kuryAdvikSepaparivartanam ॥ 128॥
hk transliteration by Sanscriptअतिक्रान्तैः सललितैः पादैर्द्रुतलयान्वितैः । त्रितालान्तरमुत्क्षेपैर्गच्छेत्पञ्चपदीं ततः ॥ १२९॥
Then, with steps that are graceful and quick, accompanied by the rhythm of three tālas in between, one should proceed with the five-footed gait (pañcapadī).
english translation
atikrAntaiH salalitaiH pAdairdrutalayAnvitaiH । tritAlAntaramutkSepairgacchetpaJcapadIM tataH ॥ 129॥
hk transliteration by Sanscriptतत्रापि वामवेधस्तु विक्षेपो दक्षिणस्य च । तैरेव च पदैः कार्यं प्राङ्मुखेनापसर्पणम् ॥ १३०॥
There also, the piercing motion on the left side is paired with a sweeping movement on the right. Using those very same steps, one should retreat while facing east.
english translation
tatrApi vAmavedhastu vikSepo dakSiNasya ca । taireva ca padaiH kAryaM prAGmukhenApasarpaNam ॥ 130॥
hk transliteration by Sanscript