Natyashastra
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इष्टघ्राणे तथोच्छ्वासे दीर्घोच्छ्वासां प्रयोजयेत् । विकूणिता च कर्तव्या जुगुप्सायामसूयादिषु ॥ १३६॥
Socchvāsā (deep nose movement) should be employed during the perception of a pleasant fragrance or deep breathing. Vikūṇitā (wrinkled nose movement) should be used in situations of disgust, envy, and similar emotions.
english translation
iSTaghrANe tathocchvAse dIrghocchvAsAM prayojayet । vikUNitA ca kartavyA jugupsAyAmasUyAdiSu ॥ 136॥
hk transliteration by Sanscriptकार्या शेषु भावेषु तज्ञैः स्वाभाविका तथा । क्षामं फुल्लं च घूर्णं च कम्पितं कुञ्चितं समम् ॥ १३७॥
In the remaining emotional states, the natural (svābhāvikā) type should be employed by the experts, along with the depressed (kṣāma), blown (phulla), full (pūrṇa), trembling (kampita), contracted (kuñcita), and natural (sama) types.
english translation
kAryA zeSu bhAveSu tajJaiH svAbhAvikA tathA । kSAmaM phullaM ca ghUrNaM ca kampitaM kuJcitaM samam ॥ 137॥
hk transliteration by Sanscriptषड्विधं गण्डमुद्दिष्टं तस्य लक्षणमुच्यते । क्षामं चावनतं ज्ञेयं फुल्लं विकसितं भवेत् ॥ १३८॥
The cheeks are described as being of six types, and their characteristics are stated as follows: The depressed (kṣāma) type is to be understood as sunken, while the blown (phulla) type is considered as expanded.
english translation
SaDvidhaM gaNDamuddiSTaM tasya lakSaNamucyate । kSAmaM cAvanataM jJeyaM phullaM vikasitaM bhavet ॥ 138॥
hk transliteration by Sanscriptविततं घूर्णमत्रोक्तं कम्पितं स्फुरितं भवेत् । स्यात् कुञ्चितं संकुञ्चितं समं प्राकृतमुच्यते ॥ १३९॥
The expanded (ghūrṇa) type is described as spread out, while the trembling (kampita) type is characterized by throbbing. The contracted (kuñcita) type is narrowed, and the natural (sama) type is described as being in its natural state.
english translation
vitataM ghUrNamatroktaM kampitaM sphuritaM bhavet । syAt kuJcitaM saMkuJcitaM samaM prAkRtamucyate ॥ 139॥
hk transliteration by Sanscriptगण्डयोर्लक्षणं प्रोक्तं विनियोगं निबोधत । क्षामं दुःखेषु कर्तव्यं प्रहर्षे फुल्लमेव च ॥ १४०॥
Cheeks have been described. Now listen about their uses. Kṣāma (depressed)—in sorrow. Phulla (blown)—in joy.
english translation
gaNDayorlakSaNaM proktaM viniyogaM nibodhata । kSAmaM duHkheSu kartavyaM praharSe phullameva ca ॥ 140॥
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
5.
अध्याय ५
Preliminaries of a Play
6.
अध्याय ६
Sentiments (rasa)
7.
अध्याय ७
Emotional and other States (bhāva)
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:22.0%
इष्टघ्राणे तथोच्छ्वासे दीर्घोच्छ्वासां प्रयोजयेत् । विकूणिता च कर्तव्या जुगुप्सायामसूयादिषु ॥ १३६॥
Socchvāsā (deep nose movement) should be employed during the perception of a pleasant fragrance or deep breathing. Vikūṇitā (wrinkled nose movement) should be used in situations of disgust, envy, and similar emotions.
english translation
iSTaghrANe tathocchvAse dIrghocchvAsAM prayojayet । vikUNitA ca kartavyA jugupsAyAmasUyAdiSu ॥ 136॥
hk transliteration by Sanscriptकार्या शेषु भावेषु तज्ञैः स्वाभाविका तथा । क्षामं फुल्लं च घूर्णं च कम्पितं कुञ्चितं समम् ॥ १३७॥
In the remaining emotional states, the natural (svābhāvikā) type should be employed by the experts, along with the depressed (kṣāma), blown (phulla), full (pūrṇa), trembling (kampita), contracted (kuñcita), and natural (sama) types.
english translation
kAryA zeSu bhAveSu tajJaiH svAbhAvikA tathA । kSAmaM phullaM ca ghUrNaM ca kampitaM kuJcitaM samam ॥ 137॥
hk transliteration by Sanscriptषड्विधं गण्डमुद्दिष्टं तस्य लक्षणमुच्यते । क्षामं चावनतं ज्ञेयं फुल्लं विकसितं भवेत् ॥ १३८॥
The cheeks are described as being of six types, and their characteristics are stated as follows: The depressed (kṣāma) type is to be understood as sunken, while the blown (phulla) type is considered as expanded.
english translation
SaDvidhaM gaNDamuddiSTaM tasya lakSaNamucyate । kSAmaM cAvanataM jJeyaM phullaM vikasitaM bhavet ॥ 138॥
hk transliteration by Sanscriptविततं घूर्णमत्रोक्तं कम्पितं स्फुरितं भवेत् । स्यात् कुञ्चितं संकुञ्चितं समं प्राकृतमुच्यते ॥ १३९॥
The expanded (ghūrṇa) type is described as spread out, while the trembling (kampita) type is characterized by throbbing. The contracted (kuñcita) type is narrowed, and the natural (sama) type is described as being in its natural state.
english translation
vitataM ghUrNamatroktaM kampitaM sphuritaM bhavet । syAt kuJcitaM saMkuJcitaM samaM prAkRtamucyate ॥ 139॥
hk transliteration by Sanscriptगण्डयोर्लक्षणं प्रोक्तं विनियोगं निबोधत । क्षामं दुःखेषु कर्तव्यं प्रहर्षे फुल्लमेव च ॥ १४०॥
Cheeks have been described. Now listen about their uses. Kṣāma (depressed)—in sorrow. Phulla (blown)—in joy.
english translation
gaNDayorlakSaNaM proktaM viniyogaM nibodhata । kSAmaM duHkheSu kartavyaM praharSe phullameva ca ॥ 140॥
hk transliteration by Sanscript