Natyashastra
Progress:37.8%
डिमः समवकारश्च व्यायोगेहामृगौ तथा । एतान्याविद्धसंज्ञानि विज्ञेयानि प्रयोक्तृभिः ॥ ६१॥
The Dima, Samavakara, Vyayoga, and Ihamriga are known as types of plays classified under the Aviddha category and should be recognized as such by the performers.
english translation
DimaH samavakArazca vyAyogehAmRgau tathA । etAnyAviddhasaMjJAni vijJeyAni prayoktRbhiH ॥ 61॥
hk transliteration by Sanscriptएषां प्रयोगः कर्तव्यो दैत्यदानवराक्षसैः । उद्धता ये च पुरुषाः शौर्यवीर्यबलान्विताः ॥ ६२॥
These performances should be enacted by characters such as Daityas, Danavas, Rakshasas, and audacious men endowed with courage, heroism, and strength.
english translation
eSAM prayogaH kartavyo daityadAnavarAkSasaiH । uddhatA ye ca puruSAH zauryavIryabalAnvitAH ॥ 62॥
hk transliteration by Sanscriptनाटकं सप्रकरणं भाणो वीथ्यङ्कनाटिके । सुकुमारप्रयोगाणि मानुषेष्वाश्रितास्तु ये ॥ ६३॥
The drama with its accessories, such as the light-footed movements and performances in the street, should be enacted by humans who are inclined to delicate and refined performances.
english translation
nATakaM saprakaraNaM bhANo vIthyaGkanATike । sukumAraprayogANi mAnuSeSvAzritAstu ye ॥ 63॥
hk transliteration by Sanscriptअथ बाह्यप्रयोगेषु प्रेक्षागृहविवर्जिते । विदिक्ष्वपि भवेद्रङ्गः कदाचिद् भर्तुराज्ञया ॥ ६४॥
In the case of external performances, when the stage is not available, the performance may, at times, be conducted in any direction, as per the command of the king.
english translation
atha bAhyaprayogeSu prekSAgRhavivarjite । vidikSvapi bhavedraGgaH kadAcid bharturAjJayA ॥ 64॥
hk transliteration by Sanscriptपृष्ठ कुतपं नाट्ये युक्ता यतो मुखं भरताः । सा पूर्वा मन्तव्या प्रयोगकाले तु नाट्यज्ञैः ॥ ६५॥
In the drama, the back of the stage is considered to be the direction from which the actors enter. This direction is to be considered as the eastern direction by those knowledgeable in the performance at the time of execution.
english translation
pRSTha kutapaM nATye yuktA yato mukhaM bharatAH । sA pUrvA mantavyA prayogakAle tu nATyajJaiH ॥ 65॥
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:37.8%
डिमः समवकारश्च व्यायोगेहामृगौ तथा । एतान्याविद्धसंज्ञानि विज्ञेयानि प्रयोक्तृभिः ॥ ६१॥
The Dima, Samavakara, Vyayoga, and Ihamriga are known as types of plays classified under the Aviddha category and should be recognized as such by the performers.
english translation
DimaH samavakArazca vyAyogehAmRgau tathA । etAnyAviddhasaMjJAni vijJeyAni prayoktRbhiH ॥ 61॥
hk transliteration by Sanscriptएषां प्रयोगः कर्तव्यो दैत्यदानवराक्षसैः । उद्धता ये च पुरुषाः शौर्यवीर्यबलान्विताः ॥ ६२॥
These performances should be enacted by characters such as Daityas, Danavas, Rakshasas, and audacious men endowed with courage, heroism, and strength.
english translation
eSAM prayogaH kartavyo daityadAnavarAkSasaiH । uddhatA ye ca puruSAH zauryavIryabalAnvitAH ॥ 62॥
hk transliteration by Sanscriptनाटकं सप्रकरणं भाणो वीथ्यङ्कनाटिके । सुकुमारप्रयोगाणि मानुषेष्वाश्रितास्तु ये ॥ ६३॥
The drama with its accessories, such as the light-footed movements and performances in the street, should be enacted by humans who are inclined to delicate and refined performances.
english translation
nATakaM saprakaraNaM bhANo vIthyaGkanATike । sukumAraprayogANi mAnuSeSvAzritAstu ye ॥ 63॥
hk transliteration by Sanscriptअथ बाह्यप्रयोगेषु प्रेक्षागृहविवर्जिते । विदिक्ष्वपि भवेद्रङ्गः कदाचिद् भर्तुराज्ञया ॥ ६४॥
In the case of external performances, when the stage is not available, the performance may, at times, be conducted in any direction, as per the command of the king.
english translation
atha bAhyaprayogeSu prekSAgRhavivarjite । vidikSvapi bhavedraGgaH kadAcid bharturAjJayA ॥ 64॥
hk transliteration by Sanscriptपृष्ठ कुतपं नाट्ये युक्ता यतो मुखं भरताः । सा पूर्वा मन्तव्या प्रयोगकाले तु नाट्यज्ञैः ॥ ६५॥
In the drama, the back of the stage is considered to be the direction from which the actors enter. This direction is to be considered as the eastern direction by those knowledgeable in the performance at the time of execution.
english translation
pRSTha kutapaM nATye yuktA yato mukhaM bharatAH । sA pUrvA mantavyA prayogakAle tu nATyajJaiH ॥ 65॥
hk transliteration by Sanscript