Natyashastra
Progress:86.3%
आवापश्च पुनः कार्यः कनीयस्याथ निर्गमः । विक्षेपश्च प्रवेशश्च आवापश्च ततः पुनः ॥ १७१॥
Then again the Āvāpa (drawing in) should be performed, followed by the Nirgama (withdrawal) with the little finger. Next come the Vikṣepa (throw), Praveśa (insertion), and again the Āvāpa (drawing in).
english translation
AvApazca punaH kAryaH kanIyasyAtha nirgamaH । vikSepazca pravezazca AvApazca tataH punaH ॥ 171॥
hk transliteration by Sanscriptअनामिकाकनीयस्योस्ततस्तालो भवेत्पुनः । विक्षेपश्च पुनस्ताभ्यां ततः शम्याः प्रकीर्तिताः ॥ १७२॥
Then again the Tāla should be made with the ring and little fingers; after that, the Vikṣepa should be performed with these two fingers, and then the Śamyās are to be shown.
english translation
anAmikAkanIyasyostatastAlo bhavetpunaH । vikSepazca punastAbhyAM tataH zamyAH prakIrtitAH ॥ 172॥
hk transliteration by Sanscriptआवापस्य कनीयस्यां ततस्तालं नियोजयेत् । विक्षेपश्च प्रवेशश्च पुनरावाप एव च ॥ १७३॥
After the Āvāpa with the little finger, the Tāla should then be applied; next should follow the Vikṣepa, the Praveśa, and again the Āvāpa.
english translation
AvApasya kanIyasyAM tatastAlaM niyojayet । vikSepazca pravezazca punarAvApa eva ca ॥ 173॥
hk transliteration by Sanscriptप्रदेशिन्या च निष्क्रामो विक्षेपश्च पुनः स्मृतः । सन्निपातः पुनश्चैव चतुर्विंशतिको भवेत् ॥ १७४॥
The Niṣkrāma should be made with the forefinger, followed by the Vikṣepa once again, and then the Sannipāta — this completes twenty-four Kalās.
english translation
pradezinyA ca niSkrAmo vikSepazca punaH smRtaH । sannipAtaH punazcaiva caturviMzatiko bhavet ॥ 174॥
hk transliteration by Sanscriptतृतीयः सन्निपातस्य एष एव विधिः स्मृतः । एवं ज्येष्ठस्य विज्ञेयस्तालाङ्गुलिविकल्पितः ॥ १७५॥
This is the prescribed rule for the third Sannipāta. Thus, the arrangement of Tāla through finger movements in the long Āsārita should be understood.
english translation
tRtIyaH sannipAtasya eSa eva vidhiH smRtaH । evaM jyeSThasya vijJeyastAlAGgulivikalpitaH ॥ 175॥
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:86.3%
आवापश्च पुनः कार्यः कनीयस्याथ निर्गमः । विक्षेपश्च प्रवेशश्च आवापश्च ततः पुनः ॥ १७१॥
Then again the Āvāpa (drawing in) should be performed, followed by the Nirgama (withdrawal) with the little finger. Next come the Vikṣepa (throw), Praveśa (insertion), and again the Āvāpa (drawing in).
english translation
AvApazca punaH kAryaH kanIyasyAtha nirgamaH । vikSepazca pravezazca AvApazca tataH punaH ॥ 171॥
hk transliteration by Sanscriptअनामिकाकनीयस्योस्ततस्तालो भवेत्पुनः । विक्षेपश्च पुनस्ताभ्यां ततः शम्याः प्रकीर्तिताः ॥ १७२॥
Then again the Tāla should be made with the ring and little fingers; after that, the Vikṣepa should be performed with these two fingers, and then the Śamyās are to be shown.
english translation
anAmikAkanIyasyostatastAlo bhavetpunaH । vikSepazca punastAbhyAM tataH zamyAH prakIrtitAH ॥ 172॥
hk transliteration by Sanscriptआवापस्य कनीयस्यां ततस्तालं नियोजयेत् । विक्षेपश्च प्रवेशश्च पुनरावाप एव च ॥ १७३॥
After the Āvāpa with the little finger, the Tāla should then be applied; next should follow the Vikṣepa, the Praveśa, and again the Āvāpa.
english translation
AvApasya kanIyasyAM tatastAlaM niyojayet । vikSepazca pravezazca punarAvApa eva ca ॥ 173॥
hk transliteration by Sanscriptप्रदेशिन्या च निष्क्रामो विक्षेपश्च पुनः स्मृतः । सन्निपातः पुनश्चैव चतुर्विंशतिको भवेत् ॥ १७४॥
The Niṣkrāma should be made with the forefinger, followed by the Vikṣepa once again, and then the Sannipāta — this completes twenty-four Kalās.
english translation
pradezinyA ca niSkrAmo vikSepazca punaH smRtaH । sannipAtaH punazcaiva caturviMzatiko bhavet ॥ 174॥
hk transliteration by Sanscriptतृतीयः सन्निपातस्य एष एव विधिः स्मृतः । एवं ज्येष्ठस्य विज्ञेयस्तालाङ्गुलिविकल्पितः ॥ १७५॥
This is the prescribed rule for the third Sannipāta. Thus, the arrangement of Tāla through finger movements in the long Āsārita should be understood.
english translation
tRtIyaH sannipAtasya eSa eva vidhiH smRtaH । evaM jyeSThasya vijJeyastAlAGgulivikalpitaH ॥ 175॥
hk transliteration by Sanscript