1.
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
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:16.1%
91
वामपादेन वेधस्तु कर्तव्यो नृत्तयोक्तृभिः । द्वितालान्तरविष्कम्भो विक्षेपो दक्षिणस्य च ॥ ९१॥
The piercing with the left foot should be performed by the dancers. The space between the two Tālas is the extension of the right foot.
english translation
vAmapAdena vedhastu kartavyo nRttayoktRbhiH | dvitAlAntaraviSkambho vikSepo dakSiNasya ca || 91||
92
ततः पञ्चपदीं गच्छेदतिक्रान्तैः पदरथ । ततोऽभिवादनं कुर्याद्देवतानां यथादिशम् ॥९२॥
Then, one should proceed to the five-footed position, having passed beyond the footpath. Afterward, one should offer salutations to the deities in their respective directions.
tataH paJcapadIM gacchedatikrAntaiH padaratha | tato'bhivAdanaM kuryAddevatAnAM yathAdizam ||92||
93
वन्देत प्रथमं पूर्वां दिशं शक्राधिदैवताम् । द्वितीयां दक्षिणामाशां वन्देत यमदेवताम् ॥ ९३॥
He should first salute the eastern direction, with Indra as its presiding deity, and then the southern direction, with Yama as its presiding deity.
vandeta prathamaM pUrvAM dizaM zakrAdhidaivatAm | dvitIyAM dakSiNAmAzAM vandeta yamadevatAm || 93||
94
वन्देत पश्चिमामाशां ततो वरुणदैवताम् । चतुर्थीमुत्तरामाशां वन्देत धनदाश्रयाम् ॥ ९४॥
Then, he should salute the western direction, presided over by Varuṇa, and the fourth direction, the northern one, which is associated with Kubera.
vandeta pazcimAmAzAM tato varuNadaivatAm | caturthImuttarAmAzAM vandeta dhanadAzrayAm || 94||
95
दिशां तु वन्दनं कृत्वा वामवेधं प्रयोजयेत् । दक्षिणेन च कर्तव्यं विक्षेपपरिवर्तनम् ॥९५॥
After bowing to the directions, one should perform the left-sided piercing. The scattering and turning should be done with the right foot.
dizAM tu vandanaM kRtvA vAmavedhaM prayojayet | dakSiNena ca kartavyaM vikSepaparivartanam ||95||
Chapter 5
Verses 86-90
Verses 96-100
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Natyashastra
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