Natyashastra
Progress:34.7%
कार्यहास्यं तु विज्ञेयमसंबद्धप्रभाषणात् । अनर्थकैर्विकारैश्च तथा चाश्लीलभाषितैः ॥ १४१॥
Laughter caused by speech (vākya-hāsya) is to be understood as arising from incoherent talking, meaningless distortions, and the use of obscene language.
english translation
kAryahAsyaM tu vijJeyamasaMbaddhaprabhASaNAt । anarthakairvikAraizca tathA cAzlIlabhASitaiH ॥ 141॥
hk transliteration by Sanscriptचीरचर्ममशीभस्मगैरिकाद्यैस्तु मण्डितः । यस्तादृशो भवेद्विप्रा हास्यो नेपथ्यजस्तु सः ॥ १४२॥
A person adorned with rags, animal skins, lamp-black, ashes, or red ochre, O Brāhmaṇas, is considered to cause laughter due to costume and make-up (nepathyaja hāsya).
english translation
cIracarmamazIbhasmagairikAdyaistu maNDitaH । yastAdRzo bhavedviprA hAsyo nepathyajastu saH ॥ 142॥
hk transliteration by Sanscriptतस्मात्तु प्रकृतिं ज्ञात्वा भावः कार्यस्तु तत्त्वतः । गतिप्रचारं विभजेत् नानावस्थान्तरात्मकम् ॥ १४३॥
Hence, after understanding the character's nature properly, the actor should present the appropriate emotion genuinely, and distinguish the movement and Gait according to the various states or situations involved.
english translation
tasmAttu prakRtiM jJAtvA bhAvaH kAryastu tattvataH । gatipracAraM vibhajet nAnAvasthAntarAtmakam ॥ 143॥
hk transliteration by Sanscriptस्वभावजायां विन्यस्य कुटिलं वामके करे । तदा दक्षिणहस्ते च कुर्याच्चतुरकं पुनः ॥ १४४॥
Holding the Kuṭila gesture in his left hand in accordance with his natural disposition, he should then make the Catura gesture with his right hand.
english translation
svabhAvajAyAM vinyasya kuTilaM vAmake kare । tadA dakSiNahaste ca kuryAccaturakaM punaH ॥ 144॥
hk transliteration by Sanscriptपार्श्वमेकं शिरश्चैव हस्तोऽथ चरणस्तथा । पर्यायशः सन्नमयेल्लयतालवशानुगः ॥ १४५॥
He should alternately lower one side of the body, the head, a hand, and a foot, all in accordance with proper tempo and rhythm (laya and tāla).
english translation
pArzvamekaM zirazcaiva hasto'tha caraNastathA । paryAyazaH sannamayellayatAlavazAnugaH ॥ 145॥
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)
9.
अध्याय ९
Gestures of Major Limbs (aṅga)
10.
अध्याय १०
Cari Movements
11.
अध्याय ११
Maṇḍala movements
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:34.7%
कार्यहास्यं तु विज्ञेयमसंबद्धप्रभाषणात् । अनर्थकैर्विकारैश्च तथा चाश्लीलभाषितैः ॥ १४१॥
Laughter caused by speech (vākya-hāsya) is to be understood as arising from incoherent talking, meaningless distortions, and the use of obscene language.
english translation
kAryahAsyaM tu vijJeyamasaMbaddhaprabhASaNAt । anarthakairvikAraizca tathA cAzlIlabhASitaiH ॥ 141॥
hk transliteration by Sanscriptचीरचर्ममशीभस्मगैरिकाद्यैस्तु मण्डितः । यस्तादृशो भवेद्विप्रा हास्यो नेपथ्यजस्तु सः ॥ १४२॥
A person adorned with rags, animal skins, lamp-black, ashes, or red ochre, O Brāhmaṇas, is considered to cause laughter due to costume and make-up (nepathyaja hāsya).
english translation
cIracarmamazIbhasmagairikAdyaistu maNDitaH । yastAdRzo bhavedviprA hAsyo nepathyajastu saH ॥ 142॥
hk transliteration by Sanscriptतस्मात्तु प्रकृतिं ज्ञात्वा भावः कार्यस्तु तत्त्वतः । गतिप्रचारं विभजेत् नानावस्थान्तरात्मकम् ॥ १४३॥
Hence, after understanding the character's nature properly, the actor should present the appropriate emotion genuinely, and distinguish the movement and Gait according to the various states or situations involved.
english translation
tasmAttu prakRtiM jJAtvA bhAvaH kAryastu tattvataH । gatipracAraM vibhajet nAnAvasthAntarAtmakam ॥ 143॥
hk transliteration by Sanscriptस्वभावजायां विन्यस्य कुटिलं वामके करे । तदा दक्षिणहस्ते च कुर्याच्चतुरकं पुनः ॥ १४४॥
Holding the Kuṭila gesture in his left hand in accordance with his natural disposition, he should then make the Catura gesture with his right hand.
english translation
svabhAvajAyAM vinyasya kuTilaM vAmake kare । tadA dakSiNahaste ca kuryAccaturakaM punaH ॥ 144॥
hk transliteration by Sanscriptपार्श्वमेकं शिरश्चैव हस्तोऽथ चरणस्तथा । पर्यायशः सन्नमयेल्लयतालवशानुगः ॥ १४५॥
He should alternately lower one side of the body, the head, a hand, and a foot, all in accordance with proper tempo and rhythm (laya and tāla).
english translation
pArzvamekaM zirazcaiva hasto'tha caraNastathA । paryAyazaH sannamayellayatAlavazAnugaH ॥ 145॥
hk transliteration by Sanscript