Natyashastra
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यथाक्षरेषु भूयिष्ठं गीतेष्वासारितेषु च । विधिरेष समुद्दिष्टो वर्णतालपदाश्रयः ॥ ११६॥
As the songs (Gītas) and Āsāritas consist mostly of syllables (akṣaras), this rule has been laid down— it is based upon the syllables (varṇa), the time-measure (tāla), and the words (pada).
english translation
yathAkSareSu bhUyiSThaM gIteSvAsAriteSu ca । vidhireSa samuddiSTo varNatAlapadAzrayaH ॥ 116॥
hk transliteration by Sanscriptद्विसङ्ख्याते निवृत्तिस्तु कार्याद्यस्यार्धयोगतः । द्विसङ्ख्यातार्धयोगेन त्रिसङ्ख्यातेऽपि चेष्यते ॥ ११७॥
In the double Āsārita, the repetition (nivṛtti) should be made by adding half ॥ a gaṇa॥ to the original form; and in the triple Āsārita too, it is to be performed by adding half ॥ a gaṇa॥ to the double one.
english translation
dvisaGkhyAte nivRttistu kAryAdyasyArdhayogataH । dvisaGkhyAtArdhayogena trisaGkhyAte'pi ceSyate ॥ 117॥
hk transliteration by Sanscriptन चित्रे द्वित्रिसङ्ख्यातं कदाचिदपि योजयेत् । न च वृत्तित्रिसङ्ख्यातं गीतेष्वासारितेषु च ॥ ११८॥
The double or triple Āsārita should never be employed in the Citra Mārga, nor should the triple one be used in the Vṛtti Mārga in the songs set to Āsārita.
english translation
na citre dvitrisaGkhyAtaM kadAcidapi yojayet । na ca vRttitrisaGkhyAtaM gIteSvAsAriteSu ca ॥ 118॥
hk transliteration by Sanscriptदक्षिणे स्यात्त्रिसङ्ख्यातं द्विसङ्ख्यातं च वार्तिके । चित्रे यथाक्षरं प्रोक्तमिति मार्गविनिश्चयः ॥११९॥
The triple Āsārita should be employed in the Dakṣiṇa Mārga, the double one in the Vārtika Mārga, and the literal (single) one in the Citra Mārga — such is the established rule regarding the Mārgas.
english translation
dakSiNe syAttrisaGkhyAtaM dvisaGkhyAtaM ca vArtike । citre yathAkSaraM proktamiti mArgavinizcayaH ॥119॥
hk transliteration by Sanscriptदक्षिणेनैव गत्वादौ निवृत्तौ वृत्तिवद्व्रजेत् । चित्रवच्च यथान्यायं त्रिसङ्ख्याते विधिः स्मृतः ॥ १२०॥
In the triple Āsārita, the rule is that it should begin with the Dakṣiṇa Mārga, proceed with the Vṛtti Mārga in the repetition, and then follow the Citra Mārga according to proper order.
english translation
dakSiNenaiva gatvAdau nivRttau vRttivadvrajet । citravacca yathAnyAyaM trisaGkhyAte vidhiH smRtaH ॥ 120॥
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)
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)
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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यथाक्षरेषु भूयिष्ठं गीतेष्वासारितेषु च । विधिरेष समुद्दिष्टो वर्णतालपदाश्रयः ॥ ११६॥
As the songs (Gītas) and Āsāritas consist mostly of syllables (akṣaras), this rule has been laid down— it is based upon the syllables (varṇa), the time-measure (tāla), and the words (pada).
english translation
yathAkSareSu bhUyiSThaM gIteSvAsAriteSu ca । vidhireSa samuddiSTo varNatAlapadAzrayaH ॥ 116॥
hk transliteration by Sanscriptद्विसङ्ख्याते निवृत्तिस्तु कार्याद्यस्यार्धयोगतः । द्विसङ्ख्यातार्धयोगेन त्रिसङ्ख्यातेऽपि चेष्यते ॥ ११७॥
In the double Āsārita, the repetition (nivṛtti) should be made by adding half ॥ a gaṇa॥ to the original form; and in the triple Āsārita too, it is to be performed by adding half ॥ a gaṇa॥ to the double one.
english translation
dvisaGkhyAte nivRttistu kAryAdyasyArdhayogataH । dvisaGkhyAtArdhayogena trisaGkhyAte'pi ceSyate ॥ 117॥
hk transliteration by Sanscriptन चित्रे द्वित्रिसङ्ख्यातं कदाचिदपि योजयेत् । न च वृत्तित्रिसङ्ख्यातं गीतेष्वासारितेषु च ॥ ११८॥
The double or triple Āsārita should never be employed in the Citra Mārga, nor should the triple one be used in the Vṛtti Mārga in the songs set to Āsārita.
english translation
na citre dvitrisaGkhyAtaM kadAcidapi yojayet । na ca vRttitrisaGkhyAtaM gIteSvAsAriteSu ca ॥ 118॥
hk transliteration by Sanscriptदक्षिणे स्यात्त्रिसङ्ख्यातं द्विसङ्ख्यातं च वार्तिके । चित्रे यथाक्षरं प्रोक्तमिति मार्गविनिश्चयः ॥११९॥
The triple Āsārita should be employed in the Dakṣiṇa Mārga, the double one in the Vārtika Mārga, and the literal (single) one in the Citra Mārga — such is the established rule regarding the Mārgas.
english translation
dakSiNe syAttrisaGkhyAtaM dvisaGkhyAtaM ca vArtike । citre yathAkSaraM proktamiti mArgavinizcayaH ॥119॥
hk transliteration by Sanscriptदक्षिणेनैव गत्वादौ निवृत्तौ वृत्तिवद्व्रजेत् । चित्रवच्च यथान्यायं त्रिसङ्ख्याते विधिः स्मृतः ॥ १२०॥
In the triple Āsārita, the rule is that it should begin with the Dakṣiṇa Mārga, proceed with the Vṛtti Mārga in the repetition, and then follow the Citra Mārga according to proper order.
english translation
dakSiNenaiva gatvAdau nivRttau vRttivadvrajet । citravacca yathAnyAyaM trisaGkhyAte vidhiH smRtaH ॥ 120॥
hk transliteration by Sanscript