Natyashastra
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नारदाद्याश्च गन्धर्वा गानयोगे नियोजिताः । एवं नाट्यमिदं सम्यग्बुद्ध्वा सर्वैः सुतैः सह ॥ ५१॥
The Gandharvas, including Nārada and others, were engaged in singing. Thus, after comprehending this dramatic art thoroughly, I, along with my sons, approached Brahmā.
english translation
nAradAdyAzca gandharvA gAnayoge niyojitAH । evaM nATyamidaM samyagbuddhvA sarvaiH sutaiH saha ॥ 51॥
hk transliteration by Sanscriptस्वातिनारदसंयुक्तो वेदवेदाङ्गकारणम् । उपस्थितोऽहं ब्रह्माणं प्रयोगार्थं कृताञ्जलिः ॥ ५२॥
Accompanied by Svāti and Nārada, who were involved in the study of the Vedas and their limbs, I approached Brahmā, with folded hands, for the purpose of the performance.
english translation
svAtinAradasaMyukto vedavedAGgakAraNam । upasthito'haM brahmANaM prayogArthaM kRtAJjaliH ॥ 52॥
hk transliteration by Sanscriptनाट्यस्य ग्रहणं प्राप्तं ब्रूहि किं करवाण्यहम् । एतत्तु वचनं श्रुत्वा प्रत्युवाच पितामहः ॥ ५३॥
Upon receiving the knowledge of the drama, I asked, "What should I do?" After hearing this, Brahmā, the grandfather, replied.
english translation
nATyasya grahaNaM prAptaM brUhi kiM karavANyaham । etattu vacanaM zrutvA pratyuvAca pitAmahaH ॥ 53॥
hk transliteration by Sanscriptमहानयं प्रयोगस्य समयः प्रत्युपस्थितः । अयं ध्वजमहः श्रीमान् महेन्द्रस्य प्रवर्तते ॥ ५४॥
The great time for the performance has arrived. The magnificent banner of Mahendra (Indra) is now in motion.
english translation
mahAnayaM prayogasya samayaH pratyupasthitaH । ayaM dhvajamahaH zrImAn mahendrasya pravartate ॥ 54॥
hk transliteration by Sanscriptअत्रेदानीमयं वेदो नाट्यसंज्ञः प्रयुज्यताम् । ततस्तस्मिन्ध्वजमहे निहतासुरदानवे ॥ ५५॥
Now, let this Veda, known as the Nāṭya-veda, be employed here. Then, in that great banner, the demons and Daityas who were slain.
english translation
atredAnImayaM vedo nATyasaMjJaH prayujyatAm । tatastasmindhvajamahe nihatAsuradAnave ॥ 55॥
hk transliteration by Sanscriptअध्याय 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)
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
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नारदाद्याश्च गन्धर्वा गानयोगे नियोजिताः । एवं नाट्यमिदं सम्यग्बुद्ध्वा सर्वैः सुतैः सह ॥ ५१॥
The Gandharvas, including Nārada and others, were engaged in singing. Thus, after comprehending this dramatic art thoroughly, I, along with my sons, approached Brahmā.
english translation
nAradAdyAzca gandharvA gAnayoge niyojitAH । evaM nATyamidaM samyagbuddhvA sarvaiH sutaiH saha ॥ 51॥
hk transliteration by Sanscriptस्वातिनारदसंयुक्तो वेदवेदाङ्गकारणम् । उपस्थितोऽहं ब्रह्माणं प्रयोगार्थं कृताञ्जलिः ॥ ५२॥
Accompanied by Svāti and Nārada, who were involved in the study of the Vedas and their limbs, I approached Brahmā, with folded hands, for the purpose of the performance.
english translation
svAtinAradasaMyukto vedavedAGgakAraNam । upasthito'haM brahmANaM prayogArthaM kRtAJjaliH ॥ 52॥
hk transliteration by Sanscriptनाट्यस्य ग्रहणं प्राप्तं ब्रूहि किं करवाण्यहम् । एतत्तु वचनं श्रुत्वा प्रत्युवाच पितामहः ॥ ५३॥
Upon receiving the knowledge of the drama, I asked, "What should I do?" After hearing this, Brahmā, the grandfather, replied.
english translation
nATyasya grahaNaM prAptaM brUhi kiM karavANyaham । etattu vacanaM zrutvA pratyuvAca pitAmahaH ॥ 53॥
hk transliteration by Sanscriptमहानयं प्रयोगस्य समयः प्रत्युपस्थितः । अयं ध्वजमहः श्रीमान् महेन्द्रस्य प्रवर्तते ॥ ५४॥
The great time for the performance has arrived. The magnificent banner of Mahendra (Indra) is now in motion.
english translation
mahAnayaM prayogasya samayaH pratyupasthitaH । ayaM dhvajamahaH zrImAn mahendrasya pravartate ॥ 54॥
hk transliteration by Sanscriptअत्रेदानीमयं वेदो नाट्यसंज्ञः प्रयुज्यताम् । ततस्तस्मिन्ध्वजमहे निहतासुरदानवे ॥ ५५॥
Now, let this Veda, known as the Nāṭya-veda, be employed here. Then, in that great banner, the demons and Daityas who were slain.
english translation
atredAnImayaM vedo nATyasaMjJaH prayujyatAm । tatastasmindhvajamahe nihatAsuradAnave ॥ 55॥
hk transliteration by Sanscript