Natyashastra
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प्रस्तारेण कलानां शम्यातालान्तरोपेतम् । पूर्वं शम्या कार्या द्विकलस्तालः कलाद्वयं शम्या ॥ १५६॥
In the arrangement of Kalās marked by intervals of Śamyā and Tāla, the sequence should begin with a Śamyā, followed by a Tāla of two Kalās, and then again a Śamyā of two Kalās.
english translation
prastAreNa kalAnAM zamyAtAlAntaropetam । pUrvaM zamyA kAryA dvikalastAlaH kalAdvayaM zamyA ॥ 156॥
hk transliteration by Sanscriptपुनरेककस्तालस्त्रिकलः स्यात्सन्निपातश्च । त्रिकलोऽन्यस्मिंस्तालः शम्यैकः ??कलाद्वये तालः ॥ १५७॥
Next, there should be one Tāla of a single Kalā, followed by a Sannipāta of three Kalās; then another Tāla of three Kalās, one Śamyā, and after two Kalās, another Tāla.
english translation
punarekakastAlastrikalaH syAtsannipAtazca । trikalo'nyasmiMstAlaH zamyaikaH ??kalAdvaye tAlaH ॥ 157॥
hk transliteration by Sanscriptद्विकला च पुनः शम्या तालो द्विकलश्च कर्तव्यः ॥ १५८॥
Then again there should be a Śamyā of two Kalās, followed by a Tāla of two Kalās.
english translation
dvikalA ca punaH zamyA tAlo dvikalazca kartavyaH ॥ 158॥
hk transliteration by Sanscriptत्रिकलश्च सन्निपातो भूयो विधिरेष कर्तव्यः । द्वादश कलास्तृतीये तस्यान्ते सन्निपातश्च ॥ १५९॥
The Sannipāta should then consist of three Kalās, and this rule is to be followed again; in the third ॥ section॥ there should be twelve Kalās, ending with a Sannipāta.
english translation
trikalazca sannipAto bhUyo vidhireSa kartavyaH । dvAdaza kalAstRtIye tasyAnte sannipAtazca ॥ 159॥
hk transliteration by Sanscriptप्रथमस्त्वष्टकलः स्याद्द्वादशकलिकौ तथापरौ ज्ञेयौ । अन्त्यश्च सन्निपातो मध्यस्यासारितस्योक्तः ॥ १६०॥
The first section should consist of eight Kalās, the next two of twelve Kalās each, and the last should end with a Sannipāta — this is said to be the structure of the medium Āsārita.
english translation
prathamastvaSTakalaH syAddvAdazakalikau tathAparau jJeyau । antyazca sannipAto madhyasyAsAritasyoktaH ॥ 160॥
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
Progress:86.0%
प्रस्तारेण कलानां शम्यातालान्तरोपेतम् । पूर्वं शम्या कार्या द्विकलस्तालः कलाद्वयं शम्या ॥ १५६॥
In the arrangement of Kalās marked by intervals of Śamyā and Tāla, the sequence should begin with a Śamyā, followed by a Tāla of two Kalās, and then again a Śamyā of two Kalās.
english translation
prastAreNa kalAnAM zamyAtAlAntaropetam । pUrvaM zamyA kAryA dvikalastAlaH kalAdvayaM zamyA ॥ 156॥
hk transliteration by Sanscriptपुनरेककस्तालस्त्रिकलः स्यात्सन्निपातश्च । त्रिकलोऽन्यस्मिंस्तालः शम्यैकः ??कलाद्वये तालः ॥ १५७॥
Next, there should be one Tāla of a single Kalā, followed by a Sannipāta of three Kalās; then another Tāla of three Kalās, one Śamyā, and after two Kalās, another Tāla.
english translation
punarekakastAlastrikalaH syAtsannipAtazca । trikalo'nyasmiMstAlaH zamyaikaH ??kalAdvaye tAlaH ॥ 157॥
hk transliteration by Sanscriptद्विकला च पुनः शम्या तालो द्विकलश्च कर्तव्यः ॥ १५८॥
Then again there should be a Śamyā of two Kalās, followed by a Tāla of two Kalās.
english translation
dvikalA ca punaH zamyA tAlo dvikalazca kartavyaH ॥ 158॥
hk transliteration by Sanscriptत्रिकलश्च सन्निपातो भूयो विधिरेष कर्तव्यः । द्वादश कलास्तृतीये तस्यान्ते सन्निपातश्च ॥ १५९॥
The Sannipāta should then consist of three Kalās, and this rule is to be followed again; in the third ॥ section॥ there should be twelve Kalās, ending with a Sannipāta.
english translation
trikalazca sannipAto bhUyo vidhireSa kartavyaH । dvAdaza kalAstRtIye tasyAnte sannipAtazca ॥ 159॥
hk transliteration by Sanscriptप्रथमस्त्वष्टकलः स्याद्द्वादशकलिकौ तथापरौ ज्ञेयौ । अन्त्यश्च सन्निपातो मध्यस्यासारितस्योक्तः ॥ १६०॥
The first section should consist of eight Kalās, the next two of twelve Kalās each, and the last should end with a Sannipāta — this is said to be the structure of the medium Āsārita.
english translation
prathamastvaSTakalaH syAddvAdazakalikau tathAparau jJeyau । antyazca sannipAto madhyasyAsAritasyoktaH ॥ 160॥
hk transliteration by Sanscript