Natyashastra
Progress:83.2%
षट्कलोऽष्टकलश्चैव तालो ह्यस्मात्प्रवर्तते । द्विप्रकारः पुनश्चायं निःशब्दः शब्दवांस्तथा ॥ १६॥
From this (Sannipātādi), Tālas of six and eight Kalās arise. This Tāla again is of two kinds — one without sound (silent) and the other with sound.
english translation
SaTkalo'STakalazcaiva tAlo hyasmAtpravartate । dviprakAraH punazcAyaM niHzabdaH zabdavAMstathA ॥ 16॥
hk transliteration by Sanscriptअनयोर्मिश्रब्ःअवं तु मिश्रस्तालः प्रकीर्तितः । शम्यातालप्रवेशेन ?? विधीयते ॥ १७॥
A combination of these two is known as the mixed Tāla. It is formed through the arrangement of Śamyā, Tāla, and Praveśa.
english translation
anayormizrabHavaM tu mizrastAlaH prakIrtitaH । zamyAtAlapravezena ?? vidhIyate ॥ 17॥
hk transliteration by Sanscriptषट्पितापुत्रककृतः पञ्चपाणिरुदाहृतः । आद्यं प्लुतं द्वितीयं च लघु यत्राक्षरं भवेत् ॥ १८॥
That which is formed as Ṣaṭpitāputraka is called Pañcapāṇi. In it, the first syllable is prolonged (pluta), and the second syllable is short (laghu).
english translation
SaTpitAputrakakRtaH paJcapANirudAhRtaH । AdyaM plutaM dvitIyaM ca laghu yatrAkSaraM bhavet ॥ 18॥
hk transliteration by Sanscriptतृतीयं च चतुर्थं च गुरूणि पञ्चमं लघु । प्लुतान्तः षट्पितापुत्रो गुरुलाघवसंयुतः ॥ १९॥
The third and fourth syllables are long, the fifth is short, and it ends with a pluta syllable. This is the Ṣaṭpitāputraka, composed of a combination of long and short syllables.
english translation
tRtIyaM ca caturthaM ca gurUNi paJcamaM laghu । plutAntaH SaTpitAputro gurulAghavasaMyutaH ॥ 19॥
hk transliteration by Sanscriptपञ्चपाणिः स विज्ञेयः षट्पातस्तु षदक्षरः । सन्निपातस्ततस्तालः शम्या तालस्तथैव च ॥ २०॥
This is known as the Pañcapāṇi, consisting of six pātas and six syllables. The pātas are: Sannipāta, then Tāla, Śamyā, Tāla, and again Śamyā and Tāla.
english translation
paJcapANiH sa vijJeyaH SaTpAtastu SadakSaraH । sannipAtastatastAlaH zamyA tAlastathaiva ca ॥ 20॥
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:83.2%
षट्कलोऽष्टकलश्चैव तालो ह्यस्मात्प्रवर्तते । द्विप्रकारः पुनश्चायं निःशब्दः शब्दवांस्तथा ॥ १६॥
From this (Sannipātādi), Tālas of six and eight Kalās arise. This Tāla again is of two kinds — one without sound (silent) and the other with sound.
english translation
SaTkalo'STakalazcaiva tAlo hyasmAtpravartate । dviprakAraH punazcAyaM niHzabdaH zabdavAMstathA ॥ 16॥
hk transliteration by Sanscriptअनयोर्मिश्रब्ःअवं तु मिश्रस्तालः प्रकीर्तितः । शम्यातालप्रवेशेन ?? विधीयते ॥ १७॥
A combination of these two is known as the mixed Tāla. It is formed through the arrangement of Śamyā, Tāla, and Praveśa.
english translation
anayormizrabHavaM tu mizrastAlaH prakIrtitaH । zamyAtAlapravezena ?? vidhIyate ॥ 17॥
hk transliteration by Sanscriptषट्पितापुत्रककृतः पञ्चपाणिरुदाहृतः । आद्यं प्लुतं द्वितीयं च लघु यत्राक्षरं भवेत् ॥ १८॥
That which is formed as Ṣaṭpitāputraka is called Pañcapāṇi. In it, the first syllable is prolonged (pluta), and the second syllable is short (laghu).
english translation
SaTpitAputrakakRtaH paJcapANirudAhRtaH । AdyaM plutaM dvitIyaM ca laghu yatrAkSaraM bhavet ॥ 18॥
hk transliteration by Sanscriptतृतीयं च चतुर्थं च गुरूणि पञ्चमं लघु । प्लुतान्तः षट्पितापुत्रो गुरुलाघवसंयुतः ॥ १९॥
The third and fourth syllables are long, the fifth is short, and it ends with a pluta syllable. This is the Ṣaṭpitāputraka, composed of a combination of long and short syllables.
english translation
tRtIyaM ca caturthaM ca gurUNi paJcamaM laghu । plutAntaH SaTpitAputro gurulAghavasaMyutaH ॥ 19॥
hk transliteration by Sanscriptपञ्चपाणिः स विज्ञेयः षट्पातस्तु षदक्षरः । सन्निपातस्ततस्तालः शम्या तालस्तथैव च ॥ २०॥
This is known as the Pañcapāṇi, consisting of six pātas and six syllables. The pātas are: Sannipāta, then Tāla, Śamyā, Tāla, and again Śamyā and Tāla.
english translation
paJcapANiH sa vijJeyaH SaTpAtastu SadakSaraH । sannipAtastatastAlaH zamyA tAlastathaiva ca ॥ 20॥
hk transliteration by Sanscript