Natyashastra
Progress:37.7%
एकीभूताः पुनस्त्वेता नाटकादौ भवन्ति हि । अवेक्ष्य वृत्तिबाहुल्यं तत्तत्कर्म समाचरेत् ॥ ५६॥
These activities, once unified, are applied at the beginning of a drama. Observing the predominance of specific modes, one should execute the corresponding actions accordingly.
english translation
ekIbhUtAH punastvetA nATakAdau bhavanti hi । avekSya vRttibAhulyaM tattatkarma samAcaret ॥ 56॥
hk transliteration by Sanscriptसार्थे बाहुल्यमेकस्य शेषाणामथ बुद्धिमान् । येषामन्यस्य बाहुल्यं प्रवृत्तिं पूरयेत्तदा ॥ ५७॥
When one mode is predominant in meaning, a wise director should include elements of the others. When the predominance of another mode arises, the corresponding activity should then be fulfilled.
english translation
sArthe bAhulyamekasya zeSANAmatha buddhimAn । yeSAmanyasya bAhulyaM pravRttiM pUrayettadA ॥ 57॥
hk transliteration by Sanscriptप्रयोगो द्विविधश्चैव विज्ञेयो नाटकाश्रयः । सुकुमारस्तथाविद्धो नाट्ययुक्तिसमाश्रयः ॥ ५८॥
The performance in drama is understood to be of two types: gentle and vigorous, both rooted in the principles of dramatic technique.
english translation
prayogo dvividhazcaiva vijJeyo nATakAzrayaH । sukumArastathAviddho nATyayuktisamAzrayaH ॥ 58॥
hk transliteration by Sanscriptयत्त्वाविद्धाङ्गहारन्तु च्छेद्यभेद्याहवात्मकम् । मायेन्द्रजालबहुलं पुस्तनेपथ्यसंयुतम् ॥ ५९॥
That which includes forceful movements, acts of cutting and breaking, elements of battle, illusions, magical displays, and is enriched with props and backstage arrangements.
english translation
yattvAviddhAGgahArantu cchedyabhedyAhavAtmakam । mAyendrajAlabahulaM pustanepathyasaMyutam ॥ 59॥
hk transliteration by Sanscriptपुरुषैर्बहुभिर्युक्तमल्पस्त्रीकं तथैव च । सात्त्वत्यारभटीयुक्तं नाट्यमाविद्धसंज्ञितम् ॥ ६०॥
A performance involving numerous men, with minimal presence of women, characterized by the use of Sāttvatī and Ārabhaṭī styles, is termed as Āviddha Nāṭya.
english translation
puruSairbahubhiryuktamalpastrIkaM tathaiva ca । sAttvatyArabhaTIyuktaM nATyamAviddhasaMjJitam ॥ 60॥
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:37.7%
एकीभूताः पुनस्त्वेता नाटकादौ भवन्ति हि । अवेक्ष्य वृत्तिबाहुल्यं तत्तत्कर्म समाचरेत् ॥ ५६॥
These activities, once unified, are applied at the beginning of a drama. Observing the predominance of specific modes, one should execute the corresponding actions accordingly.
english translation
ekIbhUtAH punastvetA nATakAdau bhavanti hi । avekSya vRttibAhulyaM tattatkarma samAcaret ॥ 56॥
hk transliteration by Sanscriptसार्थे बाहुल्यमेकस्य शेषाणामथ बुद्धिमान् । येषामन्यस्य बाहुल्यं प्रवृत्तिं पूरयेत्तदा ॥ ५७॥
When one mode is predominant in meaning, a wise director should include elements of the others. When the predominance of another mode arises, the corresponding activity should then be fulfilled.
english translation
sArthe bAhulyamekasya zeSANAmatha buddhimAn । yeSAmanyasya bAhulyaM pravRttiM pUrayettadA ॥ 57॥
hk transliteration by Sanscriptप्रयोगो द्विविधश्चैव विज्ञेयो नाटकाश्रयः । सुकुमारस्तथाविद्धो नाट्ययुक्तिसमाश्रयः ॥ ५८॥
The performance in drama is understood to be of two types: gentle and vigorous, both rooted in the principles of dramatic technique.
english translation
prayogo dvividhazcaiva vijJeyo nATakAzrayaH । sukumArastathAviddho nATyayuktisamAzrayaH ॥ 58॥
hk transliteration by Sanscriptयत्त्वाविद्धाङ्गहारन्तु च्छेद्यभेद्याहवात्मकम् । मायेन्द्रजालबहुलं पुस्तनेपथ्यसंयुतम् ॥ ५९॥
That which includes forceful movements, acts of cutting and breaking, elements of battle, illusions, magical displays, and is enriched with props and backstage arrangements.
english translation
yattvAviddhAGgahArantu cchedyabhedyAhavAtmakam । mAyendrajAlabahulaM pustanepathyasaMyutam ॥ 59॥
hk transliteration by Sanscriptपुरुषैर्बहुभिर्युक्तमल्पस्त्रीकं तथैव च । सात्त्वत्यारभटीयुक्तं नाट्यमाविद्धसंज्ञितम् ॥ ६०॥
A performance involving numerous men, with minimal presence of women, characterized by the use of Sāttvatī and Ārabhaṭī styles, is termed as Āviddha Nāṭya.
english translation
puruSairbahubhiryuktamalpastrIkaM tathaiva ca । sAttvatyArabhaTIyuktaM nATyamAviddhasaMjJitam ॥ 60॥
hk transliteration by Sanscript