Natyashastra
Progress:28.3%
पार्ष्णिर्यस्याञ्चिता भूमौ पादमग्रतलं तथा । अङ्गुल्यश्चाञ्चिताः सर्वाः स पादस्त्वञ्चितः स्मृतः ॥ २७६॥
The foot whose outer edge (heel side) and the entire front part of the foot, along with all the toes, are raised is called Añcita (spread).
english translation
pArSNiryasyAJcitA bhUmau pAdamagratalaM tathA । aGgulyazcAJcitAH sarvAH sa pAdastvaJcitaH smRtaH ॥ 276॥
hk transliteration by Sanscriptपादाग्रतलसञ्चारे वर्तितोद्वर्तिते तथा । एव पादाहते कार्यो नानाभ्रमरकेषु च ॥ २७७॥
In movements involving the forepart of the foot—whether extended or raised—the foot is used in striking and in various types of Bhramarī (circular or buzzing) movements.
english translation
pAdAgratalasaJcAre vartitodvartite tathA । eva pAdAhate kAryo nAnAbhramarakeSu ca ॥ 277॥
hk transliteration by Sanscriptउत्क्षिप्ता यस्य पार्ष्णी स्यादङ्गुल्यः कुङ्चितास्तथा । तथा कुञ्चितमध्यश्च स पादं कुञ्चितः स्मृतः ॥ २७८॥
The foot is called kuñcita (contracted) when its outer edge is raised, the toes are bent, and the middle part is also bent.
english translation
utkSiptA yasya pArSNI syAdaGgulyaH kuGcitAstathA । tathA kuJcitamadhyazca sa pAdaM kuJcitaH smRtaH ॥ 278॥
hk transliteration by Sanscriptउदत्तगमने चैव वर्तितोद्वर्तिते तथा । उत्क्षिप्ता तु भवेत्पार्ष्णिरङ्गुष्ठाग्रेण संस्थितः ॥ २७९॥
In the elevated gait, during the raising and lowering movements, the foot is thrown up with the outer edge of the big toe touching the ground.
english translation
udattagamane caiva vartitodvartite tathA । utkSiptA tu bhavetpArSNiraGguSThAgreNa saMsthitaH ॥ 279॥
hk transliteration by Sanscriptवामश्चैव स्वभावस्थः सूचीपादः प्रकीर्तितः । नृत्ते नूपुरकरणे प्रयोगस्तस्य कीर्त्यते ॥ २८०॥
The left foot, naturally positioned, is called the "Sūchīpāda" (needle-like foot). Its use is mentioned in dancing and in the application of ankle bells (nūpura).
english translation
vAmazcaiva svabhAvasthaH sUcIpAdaH prakIrtitaH । nRtte nUpurakaraNe prayogastasya kIrtyate ॥ 280॥
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:28.3%
पार्ष्णिर्यस्याञ्चिता भूमौ पादमग्रतलं तथा । अङ्गुल्यश्चाञ्चिताः सर्वाः स पादस्त्वञ्चितः स्मृतः ॥ २७६॥
The foot whose outer edge (heel side) and the entire front part of the foot, along with all the toes, are raised is called Añcita (spread).
english translation
pArSNiryasyAJcitA bhUmau pAdamagratalaM tathA । aGgulyazcAJcitAH sarvAH sa pAdastvaJcitaH smRtaH ॥ 276॥
hk transliteration by Sanscriptपादाग्रतलसञ्चारे वर्तितोद्वर्तिते तथा । एव पादाहते कार्यो नानाभ्रमरकेषु च ॥ २७७॥
In movements involving the forepart of the foot—whether extended or raised—the foot is used in striking and in various types of Bhramarī (circular or buzzing) movements.
english translation
pAdAgratalasaJcAre vartitodvartite tathA । eva pAdAhate kAryo nAnAbhramarakeSu ca ॥ 277॥
hk transliteration by Sanscriptउत्क्षिप्ता यस्य पार्ष्णी स्यादङ्गुल्यः कुङ्चितास्तथा । तथा कुञ्चितमध्यश्च स पादं कुञ्चितः स्मृतः ॥ २७८॥
The foot is called kuñcita (contracted) when its outer edge is raised, the toes are bent, and the middle part is also bent.
english translation
utkSiptA yasya pArSNI syAdaGgulyaH kuGcitAstathA । tathA kuJcitamadhyazca sa pAdaM kuJcitaH smRtaH ॥ 278॥
hk transliteration by Sanscriptउदत्तगमने चैव वर्तितोद्वर्तिते तथा । उत्क्षिप्ता तु भवेत्पार्ष्णिरङ्गुष्ठाग्रेण संस्थितः ॥ २७९॥
In the elevated gait, during the raising and lowering movements, the foot is thrown up with the outer edge of the big toe touching the ground.
english translation
udattagamane caiva vartitodvartite tathA । utkSiptA tu bhavetpArSNiraGguSThAgreNa saMsthitaH ॥ 279॥
hk transliteration by Sanscriptवामश्चैव स्वभावस्थः सूचीपादः प्रकीर्तितः । नृत्ते नूपुरकरणे प्रयोगस्तस्य कीर्त्यते ॥ २८०॥
The left foot, naturally positioned, is called the "Sūchīpāda" (needle-like foot). Its use is mentioned in dancing and in the application of ankle bells (nūpura).
english translation
vAmazcaiva svabhAvasthaH sUcIpAdaH prakIrtitaH । nRtte nUpurakaraNe prayogastasya kIrtyate ॥ 280॥
hk transliteration by Sanscript