Natyashastra
Progress:37.0%
भारते त्वथ हैमे वा हरिवर्ष इलावृते । रम्ये किंपुरुषे वापि कुरुषूत्तरकेषु वा ॥ २१॥
In Bharata, in Hemavanta, in the regions of Hari, in the Ilāvṛta, in the delightful Kimpuruṣa, or in the Kurukṣetra, it should be depicted accordingly.
english translation
bhArate tvatha haime vA harivarSa ilAvRte । ramye kiMpuruSe vApi kuruSUttarakeSu vA ॥ 21॥
hk transliteration by Sanscriptदिव्यानां छन्दगमनं सर्ववर्षेषु कीर्तितम् । भारते मानुषाणाञ्च गमनं संविधीयते ॥ २२॥
The movement of divine beings is described as occurring in all seasons, while the movement of humans is specifically prescribed in Bharata.
english translation
divyAnAM chandagamanaM sarvavarSeSu kIrtitam । bhArate mAnuSANAJca gamanaM saMvidhIyate ॥ 22॥
hk transliteration by Sanscriptगच्छेद्यदि विकृष्टस्तु देशकालवशान्नरः । अङ्कच्छेदे तमन्यस्मिन् निर्दिशेद्धि प्रवेशके ॥ २३॥
If a person, due to the influence of place and time, is led astray, the entrance guide should direct him to another position with a gesture of the hand.
english translation
gacchedyadi vikRSTastu dezakAlavazAnnaraH । aGkacchede tamanyasmin nirdizeddhi pravezake ॥ 23॥
hk transliteration by Sanscriptअह्नः प्रमाणं गत्वा तु कार्यलाभं विनिर्दिशेद् । तथालाभे तु कार्यस्य अङ्कच्छेदो विधीयते ॥ २४॥
After determining the time of the day, the entrance guide should indicate the success of the task. If the task is accomplished, then the guide should make a hand gesture to signal the end of the task.
english translation
ahnaH pramANaM gatvA tu kAryalAbhaM vinirdized । tathAlAbhe tu kAryasya aGkacchedo vidhIyate ॥ 24॥
hk transliteration by Sanscriptक्षणो मुहूर्तो यानो वा दिवसो वापि नाटके । एकाङ्के स विधातव्यो बीजस्यार्थवशानुगः ॥ २५॥
In a play, whether it is a moment, an auspicious period, or a day, the entrance guide should designate the time and purpose in accordance with the action of the scene.
english translation
kSaNo muhUrto yAno vA divaso vApi nATake । ekAGke sa vidhAtavyo bIjasyArthavazAnugaH ॥ 25॥
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
12.
अध्याय १२
Different Gaits (gati)
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:37.0%
भारते त्वथ हैमे वा हरिवर्ष इलावृते । रम्ये किंपुरुषे वापि कुरुषूत्तरकेषु वा ॥ २१॥
In Bharata, in Hemavanta, in the regions of Hari, in the Ilāvṛta, in the delightful Kimpuruṣa, or in the Kurukṣetra, it should be depicted accordingly.
english translation
bhArate tvatha haime vA harivarSa ilAvRte । ramye kiMpuruSe vApi kuruSUttarakeSu vA ॥ 21॥
hk transliteration by Sanscriptदिव्यानां छन्दगमनं सर्ववर्षेषु कीर्तितम् । भारते मानुषाणाञ्च गमनं संविधीयते ॥ २२॥
The movement of divine beings is described as occurring in all seasons, while the movement of humans is specifically prescribed in Bharata.
english translation
divyAnAM chandagamanaM sarvavarSeSu kIrtitam । bhArate mAnuSANAJca gamanaM saMvidhIyate ॥ 22॥
hk transliteration by Sanscriptगच्छेद्यदि विकृष्टस्तु देशकालवशान्नरः । अङ्कच्छेदे तमन्यस्मिन् निर्दिशेद्धि प्रवेशके ॥ २३॥
If a person, due to the influence of place and time, is led astray, the entrance guide should direct him to another position with a gesture of the hand.
english translation
gacchedyadi vikRSTastu dezakAlavazAnnaraH । aGkacchede tamanyasmin nirdizeddhi pravezake ॥ 23॥
hk transliteration by Sanscriptअह्नः प्रमाणं गत्वा तु कार्यलाभं विनिर्दिशेद् । तथालाभे तु कार्यस्य अङ्कच्छेदो विधीयते ॥ २४॥
After determining the time of the day, the entrance guide should indicate the success of the task. If the task is accomplished, then the guide should make a hand gesture to signal the end of the task.
english translation
ahnaH pramANaM gatvA tu kAryalAbhaM vinirdized । tathAlAbhe tu kAryasya aGkacchedo vidhIyate ॥ 24॥
hk transliteration by Sanscriptक्षणो मुहूर्तो यानो वा दिवसो वापि नाटके । एकाङ्के स विधातव्यो बीजस्यार्थवशानुगः ॥ २५॥
In a play, whether it is a moment, an auspicious period, or a day, the entrance guide should designate the time and purpose in accordance with the action of the scene.
english translation
kSaNo muhUrto yAno vA divaso vApi nATake । ekAGke sa vidhAtavyo bIjasyArthavazAnugaH ॥ 25॥
hk transliteration by Sanscript