Natyashastra
Progress:23.5%
अस्यैव चाङ्गुलीभ्यामधोमुखप्रस्थितोत्थितचलाभ्याम् । लघुपवनस्रोतोभुजगभ्रमरादिकान् कुर्यात् ॥ ३१॥
With this very hand, by moving its fingers downward and then raising them in a flowing motion, one can represent the flight of small birds, a stream, a snake, bees, and similar movements.
english translation
asyaiva cAGgulIbhyAmadhomukhaprasthitotthitacalAbhyAm । laghupavanasrotobhujagabhramarAdikAn kuryAt ॥ 31॥
hk transliteration by Sanscriptअश्रुप्रमार्जने तिलकविरचनं रोचनयालम्भकं च त्रिपताकानामिकया स्पर्शनमलकस्य कार्यञ्च ॥ ३२॥
For wiping off tears, drawing a Tilaka, applying collyrium, and touching the hair, the third finger of the Tripatāka hand should be used.
english translation
azrupramArjane tilakaviracanaM rocanayAlambhakaM ca tripatAkAnAmikayA sparzanamalakasya kAryaJca ॥ 32॥
hk transliteration by Sanscriptस्वस्तिकौ त्रिपताकौ तु गुरूणां पादवन्दने । विच्युतौ चलितावस्थौ कार्यावुद्वाहदर्शने ॥ ३३॥
Two Tripatāka hands held in the Svastika position are used for adoration of the feet of venerable persons. When separated and moved, they represent a marriage ceremony.
english translation
svastikau tripatAkau tu gurUNAM pAdavandane । vicyutau calitAvasthau kAryAvudvAhadarzane ॥ 33॥
hk transliteration by Sanscriptपरस्पराग्रसंश्लिष्टौ कर्तव्यौ नृपदर्शने । तिर्यक् स्वस्तिकस्म्बद्धौ स्यातां तौ ग्रहदर्शने ॥ ३४॥
Two Tripatāka hands with their tips joined together are to be used for representing a king. When obliquely forming a Svastika, they indicate planets.
english translation
parasparAgrasaMzliSTau kartavyau nRpadarzane । tiryak svastikasmbaddhau syAtAM tau grahadarzane ॥ 34॥
hk transliteration by Sanscriptतपस्विदर्शने कार्यावूर्ध्वौ चापि पराङ्मुखौ । परस्पराभिमुखौ च कर्तव्यौ वरदर्शने ॥ ३५॥
To indicate an ascetic, two Tripatāka hands should be raised with palms turned forward. For representing a bridegroom, they should face each other.
english translation
tapasvidarzane kAryAvUrdhvau cApi parAGmukhau । parasparAbhimukhau ca kartavyau varadarzane ॥ 35॥
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:23.5%
अस्यैव चाङ्गुलीभ्यामधोमुखप्रस्थितोत्थितचलाभ्याम् । लघुपवनस्रोतोभुजगभ्रमरादिकान् कुर्यात् ॥ ३१॥
With this very hand, by moving its fingers downward and then raising them in a flowing motion, one can represent the flight of small birds, a stream, a snake, bees, and similar movements.
english translation
asyaiva cAGgulIbhyAmadhomukhaprasthitotthitacalAbhyAm । laghupavanasrotobhujagabhramarAdikAn kuryAt ॥ 31॥
hk transliteration by Sanscriptअश्रुप्रमार्जने तिलकविरचनं रोचनयालम्भकं च त्रिपताकानामिकया स्पर्शनमलकस्य कार्यञ्च ॥ ३२॥
For wiping off tears, drawing a Tilaka, applying collyrium, and touching the hair, the third finger of the Tripatāka hand should be used.
english translation
azrupramArjane tilakaviracanaM rocanayAlambhakaM ca tripatAkAnAmikayA sparzanamalakasya kAryaJca ॥ 32॥
hk transliteration by Sanscriptस्वस्तिकौ त्रिपताकौ तु गुरूणां पादवन्दने । विच्युतौ चलितावस्थौ कार्यावुद्वाहदर्शने ॥ ३३॥
Two Tripatāka hands held in the Svastika position are used for adoration of the feet of venerable persons. When separated and moved, they represent a marriage ceremony.
english translation
svastikau tripatAkau tu gurUNAM pAdavandane । vicyutau calitAvasthau kAryAvudvAhadarzane ॥ 33॥
hk transliteration by Sanscriptपरस्पराग्रसंश्लिष्टौ कर्तव्यौ नृपदर्शने । तिर्यक् स्वस्तिकस्म्बद्धौ स्यातां तौ ग्रहदर्शने ॥ ३४॥
Two Tripatāka hands with their tips joined together are to be used for representing a king. When obliquely forming a Svastika, they indicate planets.
english translation
parasparAgrasaMzliSTau kartavyau nRpadarzane । tiryak svastikasmbaddhau syAtAM tau grahadarzane ॥ 34॥
hk transliteration by Sanscriptतपस्विदर्शने कार्यावूर्ध्वौ चापि पराङ्मुखौ । परस्पराभिमुखौ च कर्तव्यौ वरदर्शने ॥ ३५॥
To indicate an ascetic, two Tripatāka hands should be raised with palms turned forward. For representing a bridegroom, they should face each other.
english translation
tapasvidarzane kAryAvUrdhvau cApi parAGmukhau । parasparAbhimukhau ca kartavyau varadarzane ॥ 35॥
hk transliteration by Sanscript