Natyashastra
Progress:20.5%
विस्फारितोभयपुटा भयकम्पिततारका । निष्क्रान्तमध्या दृष्टिस्तु भयभावे भयान्विता ॥ ६१॥
Bhayānvita: The Glance in which the eyes are widely opened, the eyeballs are mobile in fear and are away from the centre ॥ of the eye॥, is called Bhayānvitā (awestricken); it is used in fear.
english translation
visphAritobhayapuTA bhayakampitatArakA । niSkrAntamadhyA dRSTistu bhayabhAve bhayAnvitA ॥ 61॥
hk transliteration by Sanscriptसंकोचितपुटाध्यामा दृष्टिर्मीलिततारका । पक्ष्मोद्देशात् समुद्विग्ना जुगुप्सायां जुगुप्सिता ॥ ६२॥
Jugupsitā: The Glance in which eyelids are contracted but not joined together, and the eyeballs are covered and are turning away from the object coming in view (lit. the place in view) is called Jugupsitā (disgusting); it is used in disgust.
english translation
saMkocitapuTAdhyAmA dRSTirmIlitatArakA । pakSmoddezAt samudvignA jugupsAyAM jugupsitA ॥ 62॥
hk transliteration by Sanscriptभृशमुद्वृत्ततारा च नष्टोभयपुटान्विता । समा विकसिता दृष्टिर्विस्मिता विस्मये स्मृता ॥ ६३॥
Vismitā: The level Glance which is fully blown and in which eyeballs are throughly turned up and the two eyelids are motionless, is called Vismitā (astonished); it is used in astonishment.
english translation
bhRzamudvRttatArA ca naSTobhayapuTAnvitA । samA vikasitA dRSTirvismitA vismaye smRtA ॥ 63॥
hk transliteration by Sanscriptस्थायिभावाश्रया ह्येता विज्ञेयाः दृष्टयो बुधैः । संचारिणीनां दृष्टीनां सम्प्रवक्ष्यामि लक्षणम् ॥ ६४॥
These are the Glances relating to the Dominant States, that I have just defined. I shall now explain the characteristics of the Glances in the Transitory States.
english translation
sthAyibhAvAzrayA hyetA vijJeyAH dRSTayo budhaiH । saMcAriNInAM dRSTInAM sampravakSyAmi lakSaNam ॥ 64॥
hk transliteration by Sanscriptसमतारा समपुटा निष्कम्पा शून्यदर्शना । बाह्यार्थाग्राहिणी ध्यामा शून्या दृष्टिः प्रकीर्तिता ॥ ६५॥
Śūnyā: The Glance which is weak and motionless and in which the eyeballs and the eyelids are in ordinary position (lit. level), and which turns to the space and is not attentive to external objects is called Śūnyā (vacant).
english translation
samatArA samapuTA niSkampA zUnyadarzanA । bAhyArthAgrAhiNI dhyAmA zUnyA dRSTiH prakIrtitA ॥ 65॥
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:20.5%
विस्फारितोभयपुटा भयकम्पिततारका । निष्क्रान्तमध्या दृष्टिस्तु भयभावे भयान्विता ॥ ६१॥
Bhayānvita: The Glance in which the eyes are widely opened, the eyeballs are mobile in fear and are away from the centre ॥ of the eye॥, is called Bhayānvitā (awestricken); it is used in fear.
english translation
visphAritobhayapuTA bhayakampitatArakA । niSkrAntamadhyA dRSTistu bhayabhAve bhayAnvitA ॥ 61॥
hk transliteration by Sanscriptसंकोचितपुटाध्यामा दृष्टिर्मीलिततारका । पक्ष्मोद्देशात् समुद्विग्ना जुगुप्सायां जुगुप्सिता ॥ ६२॥
Jugupsitā: The Glance in which eyelids are contracted but not joined together, and the eyeballs are covered and are turning away from the object coming in view (lit. the place in view) is called Jugupsitā (disgusting); it is used in disgust.
english translation
saMkocitapuTAdhyAmA dRSTirmIlitatArakA । pakSmoddezAt samudvignA jugupsAyAM jugupsitA ॥ 62॥
hk transliteration by Sanscriptभृशमुद्वृत्ततारा च नष्टोभयपुटान्विता । समा विकसिता दृष्टिर्विस्मिता विस्मये स्मृता ॥ ६३॥
Vismitā: The level Glance which is fully blown and in which eyeballs are throughly turned up and the two eyelids are motionless, is called Vismitā (astonished); it is used in astonishment.
english translation
bhRzamudvRttatArA ca naSTobhayapuTAnvitA । samA vikasitA dRSTirvismitA vismaye smRtA ॥ 63॥
hk transliteration by Sanscriptस्थायिभावाश्रया ह्येता विज्ञेयाः दृष्टयो बुधैः । संचारिणीनां दृष्टीनां सम्प्रवक्ष्यामि लक्षणम् ॥ ६४॥
These are the Glances relating to the Dominant States, that I have just defined. I shall now explain the characteristics of the Glances in the Transitory States.
english translation
sthAyibhAvAzrayA hyetA vijJeyAH dRSTayo budhaiH । saMcAriNInAM dRSTInAM sampravakSyAmi lakSaNam ॥ 64॥
hk transliteration by Sanscriptसमतारा समपुटा निष्कम्पा शून्यदर्शना । बाह्यार्थाग्राहिणी ध्यामा शून्या दृष्टिः प्रकीर्तिता ॥ ६५॥
Śūnyā: The Glance which is weak and motionless and in which the eyeballs and the eyelids are in ordinary position (lit. level), and which turns to the space and is not attentive to external objects is called Śūnyā (vacant).
english translation
samatArA samapuTA niSkampA zUnyadarzanA । bAhyArthAgrAhiNI dhyAmA zUnyA dRSTiH prakIrtitA ॥ 65॥
hk transliteration by Sanscript