Natyashastra
Progress:86.5%
एकैकं तु विदार्येका ते तु मद्विविधः स्मृतः । षट्परं त्र्यवरं वृत्तं द्व्यङ्गं सहरसं च तत् ॥ १८१॥
The Ekaka consists of one Vidārī, and the Vivadha of two and the Vṛtta not less than three and not more than six Vidārīs.
english translation
ekaikaM tu vidAryekA te tu madvividhaH smRtaH । SaTparaM tryavaraM vRttaM dvyaGgaM saharasaM ca tat ॥ 181॥
hk transliteration by Sanscriptविवधैककयोः प्रायो मद्रके तु प्रयोजनम् । प्रवर्याश्चापि वस्व(स्त्व)र्धे पादे रोविन्दकस्य च ॥ १८२॥
The Vivadha and Ekaka are generally employed in the Madraka. They are also used in the first half of each Vastu and in each quarter of the Rovindaka.
english translation
vivadhaikakayoH prAyo madrake tu prayojanam । pravaryAzcApi vasva(stva)rdhe pAde rovindakasya ca ॥ 182॥
hk transliteration by Sanscriptरोविन्दकोत्तराभ्यां तु वृत्तमुल्लोपके तथा । पाणिकायां बहिर्गीता लास्ये चैवं प्रकीर्तितम् ॥ १८३॥
In the Rovindaka, as well as in Uttara and Ullopyaka, the Vṛtta is employed. It is also used in Pāṇikā, Bahirgītas, and Lāsya, as has been stated.
english translation
rovindakottarAbhyAM tu vRttamullopake tathA । pANikAyAM bahirgItA lAsye caivaM prakIrtitam ॥ 183॥
hk transliteration by Sanscriptप्रवृत्तमवगाढं च द्विविधं सृत्व(वृत्त)मुच्यते । आरोहित्वादवगाढं प्रवृत्तमवरोहतः ॥ १८४॥
The Vṛtta is of two kinds: Pravṛtta and Avagāḍha. The Avagāḍha arises from an ascending sequence, while the Pravṛtta arises from a descending sequence.
english translation
pravRttamavagADhaM ca dvividhaM sRtva(vRtta)mucyate । ArohitvAdavagADhaM pravRttamavarohataH ॥ 184॥
hk transliteration by Sanscriptआरोहणं च द्विविधं तथा चैवावरोहणम् । न्यासापन्यासविहितं मार्गान्नटकृतं तथा ॥ १८५॥
Ascending and descending are each of two types: one type is prescribed in relation to the Nyāsa and Apanyāsa notes, and the other is applied within the Mārgāntara.
english translation
ArohaNaM ca dvividhaM tathA caivAvarohaNam । nyAsApanyAsavihitaM mArgAnnaTakRtaM tathA ॥ 185॥
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:86.5%
एकैकं तु विदार्येका ते तु मद्विविधः स्मृतः । षट्परं त्र्यवरं वृत्तं द्व्यङ्गं सहरसं च तत् ॥ १८१॥
The Ekaka consists of one Vidārī, and the Vivadha of two and the Vṛtta not less than three and not more than six Vidārīs.
english translation
ekaikaM tu vidAryekA te tu madvividhaH smRtaH । SaTparaM tryavaraM vRttaM dvyaGgaM saharasaM ca tat ॥ 181॥
hk transliteration by Sanscriptविवधैककयोः प्रायो मद्रके तु प्रयोजनम् । प्रवर्याश्चापि वस्व(स्त्व)र्धे पादे रोविन्दकस्य च ॥ १८२॥
The Vivadha and Ekaka are generally employed in the Madraka. They are also used in the first half of each Vastu and in each quarter of the Rovindaka.
english translation
vivadhaikakayoH prAyo madrake tu prayojanam । pravaryAzcApi vasva(stva)rdhe pAde rovindakasya ca ॥ 182॥
hk transliteration by Sanscriptरोविन्दकोत्तराभ्यां तु वृत्तमुल्लोपके तथा । पाणिकायां बहिर्गीता लास्ये चैवं प्रकीर्तितम् ॥ १८३॥
In the Rovindaka, as well as in Uttara and Ullopyaka, the Vṛtta is employed. It is also used in Pāṇikā, Bahirgītas, and Lāsya, as has been stated.
english translation
rovindakottarAbhyAM tu vRttamullopake tathA । pANikAyAM bahirgItA lAsye caivaM prakIrtitam ॥ 183॥
hk transliteration by Sanscriptप्रवृत्तमवगाढं च द्विविधं सृत्व(वृत्त)मुच्यते । आरोहित्वादवगाढं प्रवृत्तमवरोहतः ॥ १८४॥
The Vṛtta is of two kinds: Pravṛtta and Avagāḍha. The Avagāḍha arises from an ascending sequence, while the Pravṛtta arises from a descending sequence.
english translation
pravRttamavagADhaM ca dvividhaM sRtva(vRtta)mucyate । ArohitvAdavagADhaM pravRttamavarohataH ॥ 184॥
hk transliteration by Sanscriptआरोहणं च द्विविधं तथा चैवावरोहणम् । न्यासापन्यासविहितं मार्गान्नटकृतं तथा ॥ १८५॥
Ascending and descending are each of two types: one type is prescribed in relation to the Nyāsa and Apanyāsa notes, and the other is applied within the Mārgāntara.
english translation
ArohaNaM ca dvividhaM tathA caivAvarohaNam । nyAsApanyAsavihitaM mArgAnnaTakRtaM tathA ॥ 185॥
hk transliteration by Sanscript