Natyashastra
Progress:86.6%
त्र्यवरैकादशपरा विदार्यः परिकीर्तिताः । चतुर्विंशतिरेतासां प्रणामं परमं स्मृतम् ॥ १८६॥
Vidārīs in a song are said to be three in the minimum and eleven in the maximum, ॥ but॥ their highest number may ॥ in rare cases॥ be twenty-four.
english translation
tryavaraikAdazaparA vidAryaH parikIrtitAH । caturviMzatiretAsAM praNAmaM paramaM smRtam ॥ 186॥
hk transliteration by Sanscriptअध्यर्द्वाद्धि तृतीयाच्च सन्निपाताः प्रमाणतः । उल्लोप्यके विदारी तु स्मृता वैहायसे तथा ॥ १८७॥
But in case of the Ullopyaka and the Vaihāyasa ॥ the number of॥ Vidārīs will be half as much more in the third Sannipāta.
english translation
adhyardvAddhi tRtIyAcca sannipAtAH pramANataH । ullopyake vidArI tu smRtA vaihAyase tathA ॥ 187॥
hk transliteration by Sanscriptविवधेन तु तत्कार्यो युग्मवृत्तेन चैव हि । न ह्यर्धसन्निपाते तु भवेदङ्गसमापनम् ॥ १८८॥
They are to be performed there with the Vivadha or the twofold Vṛtta, and the Aṅga will not come to a close in a half of the Sannipāta.
english translation
vivadhena tu tatkAryo yugmavRttena caiva hi । na hyardhasannipAte tu bhavedaGgasamApanam ॥ 188॥
hk transliteration by Sanscriptगीतानि ससमद्रोकोल्लोप्यके च परान्तकम् । प्रकर्यो वैणकं चैव रोविन्दकमथोत्तरम् ॥ १८९॥
The songs are to be performed with complete Vidārīs, and also in the Ullopyaka and at the end; similarly, the Prakarī, Vaiṇaka, and the Rovindaka as well as the Uttara are to be observed.
english translation
gItAni sasamadrokollopyake ca parAntakam । prakaryo vaiNakaM caiva rovindakamathottaram ॥ 189॥
hk transliteration by Sanscriptद्विविधं मद्रकं तत्र चतुर्वस्तु त्रिवस्तु च । शीर्षकेण समायुक्तं तच्च ज्ञेयं त्रिवस्तुकम् ॥ १९०॥
There are two kinds of Madraka there, and it contains four Vastus and three Vastus; combined with the Śīrṣaka, it is to be understood as the three-Vastu section.
english translation
dvividhaM madrakaM tatra caturvastu trivastu ca । zIrSakeNa samAyuktaM tacca jJeyaM trivastukam ॥ 190॥
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:86.6%
त्र्यवरैकादशपरा विदार्यः परिकीर्तिताः । चतुर्विंशतिरेतासां प्रणामं परमं स्मृतम् ॥ १८६॥
Vidārīs in a song are said to be three in the minimum and eleven in the maximum, ॥ but॥ their highest number may ॥ in rare cases॥ be twenty-four.
english translation
tryavaraikAdazaparA vidAryaH parikIrtitAH । caturviMzatiretAsAM praNAmaM paramaM smRtam ॥ 186॥
hk transliteration by Sanscriptअध्यर्द्वाद्धि तृतीयाच्च सन्निपाताः प्रमाणतः । उल्लोप्यके विदारी तु स्मृता वैहायसे तथा ॥ १८७॥
But in case of the Ullopyaka and the Vaihāyasa ॥ the number of॥ Vidārīs will be half as much more in the third Sannipāta.
english translation
adhyardvAddhi tRtIyAcca sannipAtAH pramANataH । ullopyake vidArI tu smRtA vaihAyase tathA ॥ 187॥
hk transliteration by Sanscriptविवधेन तु तत्कार्यो युग्मवृत्तेन चैव हि । न ह्यर्धसन्निपाते तु भवेदङ्गसमापनम् ॥ १८८॥
They are to be performed there with the Vivadha or the twofold Vṛtta, and the Aṅga will not come to a close in a half of the Sannipāta.
english translation
vivadhena tu tatkAryo yugmavRttena caiva hi । na hyardhasannipAte tu bhavedaGgasamApanam ॥ 188॥
hk transliteration by Sanscriptगीतानि ससमद्रोकोल्लोप्यके च परान्तकम् । प्रकर्यो वैणकं चैव रोविन्दकमथोत्तरम् ॥ १८९॥
The songs are to be performed with complete Vidārīs, and also in the Ullopyaka and at the end; similarly, the Prakarī, Vaiṇaka, and the Rovindaka as well as the Uttara are to be observed.
english translation
gItAni sasamadrokollopyake ca parAntakam । prakaryo vaiNakaM caiva rovindakamathottaram ॥ 189॥
hk transliteration by Sanscriptद्विविधं मद्रकं तत्र चतुर्वस्तु त्रिवस्तु च । शीर्षकेण समायुक्तं तच्च ज्ञेयं त्रिवस्तुकम् ॥ १९०॥
There are two kinds of Madraka there, and it contains four Vastus and three Vastus; combined with the Śīrṣaka, it is to be understood as the three-Vastu section.
english translation
dvividhaM madrakaM tatra caturvastu trivastu ca । zIrSakeNa samAyuktaM tacca jJeyaM trivastukam ॥ 190॥
hk transliteration by Sanscript