Natyashastra
Progress:27.9%
वलनं चैव हि कर्तव्यं स्त्रीणां स्वैरपरिक्रमे । साध्वसे च विषादे च स्तम्भनं तु प्रयोजयेत् ॥२५६॥
Valana (turning) is to be employed in the free and easy movement of women. Stambhana (motionlessness) should be used in fright and despair.
english translation
valanaM caiva hi kartavyaM strINAM svairaparikrame । sAdhvase ca viSAde ca stambhanaM tu prayojayet ॥256॥
hk transliteration by Sanscriptव्यायामे ताण्डवे चैव कार्यमुद्वर्तनं बुधैः । निवर्तनं तु कर्तव्यं सम्भ्रादिपरिभ्रमे ॥ २५७॥
Udvartana (springing up) should be employed in physical exercise and in the Tāṇḍava dance. Vivartana (turning round) is to be used in hurried or bewildered circling movements.
english translation
vyAyAme tANDave caiva kAryamudvartanaM budhaiH । nivartanaM tu kartavyaM sambhrAdiparibhrame ॥ 257॥
hk transliteration by Sanscriptयथादर्शनमन्यच्च लोकाद् ग्राह्यं प्रयोक्तृभिः । इत्यूर्व्रोर्लक्षणं प्रोक्तं जङ्घायास्तु निबोधत ॥ २५८॥
Other movements of the thigh, as seen in popular practice, should also be adopted by performers. Thus the characteristics of the thigh have been described; now listen to those of the shank.
english translation
yathAdarzanamanyacca lokAd grAhyaM prayoktRbhiH । ityUrvrorlakSaNaM proktaM jaGghAyAstu nibodhata ॥ 258॥
hk transliteration by Sanscriptआवर्तितं नतं क्षिप्तमुद्वाहितमथापि च । परिवृत्तं तथा चैव जङ्घाकर्माणि पञ्चधा ॥ २५९॥
The movements of the shank are of five kinds: Āvartita (turned), Nata (bent), Kṣipta (thrown out), Udvāhita (raised), and Parivṛtta (turned back).
english translation
AvartitaM nataM kSiptamudvAhitamathApi ca । parivRttaM tathA caiva jaGghAkarmANi paJcadhA ॥ 259॥
hk transliteration by Sanscriptवामो दक्षिणपार्श्वेन दक्षिणश्चापि वामतः । पादो यत्र व्रजेद्विप्राः तदावर्तितमुच्यते ॥ २६०॥
When the left foot moves towards the right side and the right foot towards the left side, that is called Āvartita (turned), O Brāhmaṇas.
english translation
vAmo dakSiNapArzvena dakSiNazcApi vAmataH । pAdo yatra vrajedviprAH tadAvartitamucyate ॥ 260॥
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)
8.
अध्याय ८
Gestures of Minor Limbs (upāṅga)
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:27.9%
वलनं चैव हि कर्तव्यं स्त्रीणां स्वैरपरिक्रमे । साध्वसे च विषादे च स्तम्भनं तु प्रयोजयेत् ॥२५६॥
Valana (turning) is to be employed in the free and easy movement of women. Stambhana (motionlessness) should be used in fright and despair.
english translation
valanaM caiva hi kartavyaM strINAM svairaparikrame । sAdhvase ca viSAde ca stambhanaM tu prayojayet ॥256॥
hk transliteration by Sanscriptव्यायामे ताण्डवे चैव कार्यमुद्वर्तनं बुधैः । निवर्तनं तु कर्तव्यं सम्भ्रादिपरिभ्रमे ॥ २५७॥
Udvartana (springing up) should be employed in physical exercise and in the Tāṇḍava dance. Vivartana (turning round) is to be used in hurried or bewildered circling movements.
english translation
vyAyAme tANDave caiva kAryamudvartanaM budhaiH । nivartanaM tu kartavyaM sambhrAdiparibhrame ॥ 257॥
hk transliteration by Sanscriptयथादर्शनमन्यच्च लोकाद् ग्राह्यं प्रयोक्तृभिः । इत्यूर्व्रोर्लक्षणं प्रोक्तं जङ्घायास्तु निबोधत ॥ २५८॥
Other movements of the thigh, as seen in popular practice, should also be adopted by performers. Thus the characteristics of the thigh have been described; now listen to those of the shank.
english translation
yathAdarzanamanyacca lokAd grAhyaM prayoktRbhiH । ityUrvrorlakSaNaM proktaM jaGghAyAstu nibodhata ॥ 258॥
hk transliteration by Sanscriptआवर्तितं नतं क्षिप्तमुद्वाहितमथापि च । परिवृत्तं तथा चैव जङ्घाकर्माणि पञ्चधा ॥ २५९॥
The movements of the shank are of five kinds: Āvartita (turned), Nata (bent), Kṣipta (thrown out), Udvāhita (raised), and Parivṛtta (turned back).
english translation
AvartitaM nataM kSiptamudvAhitamathApi ca । parivRttaM tathA caiva jaGghAkarmANi paJcadhA ॥ 259॥
hk transliteration by Sanscriptवामो दक्षिणपार्श्वेन दक्षिणश्चापि वामतः । पादो यत्र व्रजेद्विप्राः तदावर्तितमुच्यते ॥ २६०॥
When the left foot moves towards the right side and the right foot towards the left side, that is called Āvartita (turned), O Brāhmaṇas.
english translation
vAmo dakSiNapArzvena dakSiNazcApi vAmataH । pAdo yatra vrajedviprAH tadAvartitamucyate ॥ 260॥
hk transliteration by Sanscript