Natyashastra
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?? सन्निपातो यदा भवेत् । अन्त्या कला द्विमात्रा तु तदा ज्ञेया प्रयोक्तृभिः ॥ १५१॥
The Sannipāta without an end (?) occurs at the end, then the final Kalā should known as being made up of two mātrās.
english translation
?? sannipAto yadA bhavet । antyA kalA dvimAtrA tu tadA jJeyA prayoktRbhiH ॥ 151॥
hk transliteration by Sanscriptएवमेतन्मया प्रोक्तं वर्धमानस्य लक्षणम् । आसारितानां वक्ष्यामि विस्तारं लघुलक्षणम् ॥ १५२॥
This is the characteristics of the Vardhamāna as described by me. I shall now give a tabular view of the brief characteristics of the Āsārita.
english translation
evametanmayA proktaM vardhamAnasya lakSaNam । AsAritAnAM vakSyAmi vistAraM laghulakSaNam ॥ 152॥
hk transliteration by Sanscriptअन्यूनायां कलायां तु ध्रुवं प्राज्ञो निवेदयेत् । अथ तालाक्षरवशास्त्वेषां ये तांश्च (वशाच्छेषानन्तांश्च) योजयेत् ॥ १५३॥
In a deficient Kalā, the wise should apply the Dhruva Tāla. Then, according to the strength or weakness of the remaining syllables, they should combine the appropriate Tālas and syllables.
english translation
anyUnAyAM kalAyAM tu dhruvaM prAjJo nivedayet । atha tAlAkSaravazAstveSAM ye tAMzca (vazAccheSAnantAMzca) yojayet ॥ 153॥
hk transliteration by Sanscriptप्लुते लघ्वक्षरे चैव ध्रुवे साम्यं न विद्यते । न विद्यते त्रिभिः पातैः समत्वमुपदिश्यते ॥ १५४॥
In the Pluta (prolonged) and short syllables, there is no Sāmya (equality or balance) in the Dhruva Tāla. Equality is not prescribed by three Pātas.
english translation
plute laghvakSare caiva dhruve sAmyaM na vidyate । na vidyate tribhiH pAtaiH samatvamupadizyate ॥ 154॥
hk transliteration by Sanscriptतालैश्च सन्निपातैश्च शम्याभिश्च ध्रुवेण च । कनिष्ठासारितं कार्यं मध्यमं ज्येष्ठमेव च ॥ १५५॥
By means of the Tālas, the Sannipātas, the Śamyās, and the Dhruva, the short Āsārita is to be performed; the medium and the long Āsārita likewise.
english translation
tAlaizca sannipAtaizca zamyAbhizca dhruveNa ca । kaniSThAsAritaM kAryaM madhyamaM jyeSThameva ca ॥ 155॥
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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?? सन्निपातो यदा भवेत् । अन्त्या कला द्विमात्रा तु तदा ज्ञेया प्रयोक्तृभिः ॥ १५१॥
The Sannipāta without an end (?) occurs at the end, then the final Kalā should known as being made up of two mātrās.
english translation
?? sannipAto yadA bhavet । antyA kalA dvimAtrA tu tadA jJeyA prayoktRbhiH ॥ 151॥
hk transliteration by Sanscriptएवमेतन्मया प्रोक्तं वर्धमानस्य लक्षणम् । आसारितानां वक्ष्यामि विस्तारं लघुलक्षणम् ॥ १५२॥
This is the characteristics of the Vardhamāna as described by me. I shall now give a tabular view of the brief characteristics of the Āsārita.
english translation
evametanmayA proktaM vardhamAnasya lakSaNam । AsAritAnAM vakSyAmi vistAraM laghulakSaNam ॥ 152॥
hk transliteration by Sanscriptअन्यूनायां कलायां तु ध्रुवं प्राज्ञो निवेदयेत् । अथ तालाक्षरवशास्त्वेषां ये तांश्च (वशाच्छेषानन्तांश्च) योजयेत् ॥ १५३॥
In a deficient Kalā, the wise should apply the Dhruva Tāla. Then, according to the strength or weakness of the remaining syllables, they should combine the appropriate Tālas and syllables.
english translation
anyUnAyAM kalAyAM tu dhruvaM prAjJo nivedayet । atha tAlAkSaravazAstveSAM ye tAMzca (vazAccheSAnantAMzca) yojayet ॥ 153॥
hk transliteration by Sanscriptप्लुते लघ्वक्षरे चैव ध्रुवे साम्यं न विद्यते । न विद्यते त्रिभिः पातैः समत्वमुपदिश्यते ॥ १५४॥
In the Pluta (prolonged) and short syllables, there is no Sāmya (equality or balance) in the Dhruva Tāla. Equality is not prescribed by three Pātas.
english translation
plute laghvakSare caiva dhruve sAmyaM na vidyate । na vidyate tribhiH pAtaiH samatvamupadizyate ॥ 154॥
hk transliteration by Sanscriptतालैश्च सन्निपातैश्च शम्याभिश्च ध्रुवेण च । कनिष्ठासारितं कार्यं मध्यमं ज्येष्ठमेव च ॥ १५५॥
By means of the Tālas, the Sannipātas, the Śamyās, and the Dhruva, the short Āsārita is to be performed; the medium and the long Āsārita likewise.
english translation
tAlaizca sannipAtaizca zamyAbhizca dhruveNa ca । kaniSThAsAritaM kAryaM madhyamaM jyeSThameva ca ॥ 155॥
hk transliteration by Sanscript