Natyashastra
Progress:83.3%
शम्या चैव हि तालश्च षट्पातस्तस्य कीर्तितः । तालादिस्त्र्यस्रभेदोऽन्यः सम्पत्केष्टकसञ्ज्ञितः ॥ २१॥
Śamyā and Tāla are also included—thus, it is said to consist of six pātas. Another Tryasra variety beginning with Tāla is known as Saṃparkeṣṭaka.
english translation
zamyA caiva hi tAlazca SaTpAtastasya kIrtitaH । tAlAdistryasrabhedo'nyaH sampatkeSTakasaJjJitaH ॥ 21॥
hk transliteration by Sanscriptगुरुपञ्चाक्षराद्यन्तप्लुतमात्रासमन्वितः । त्र्यस्रं सर्वगुरुं कृत्वा निष्कामं त्वत्र योजयेत् ॥ २२॥
The Tryasra known as Saṃparkeṣṭaka consists of five long syllables, including a pluta at the beginning and at the end. When the Tryasra is composed entirely of long syllables, it is called Niṣkrānta and should be applied accordingly.
english translation
gurupaJcAkSarAdyantaplutamAtrAsamanvitaH । tryasraM sarvaguruM kRtvA niSkAmaM tvatra yojayet ॥ 22॥
hk transliteration by Sanscriptशम्याद्वयं ततस्तेषु उद्बद्धः कथितो बुधैः । व्युदस्य युग्मतो ये च पञ्चताला भवन्ति हि ॥ २३॥
In these, when two Śamyās are followed in succession, it is known as Udbaddha according to the wise. And excluding that, the remaining five are considered to be the paired (Yugmato) types of Tālas.
english translation
zamyAdvayaM tatasteSu udbaddhaH kathito budhaiH । vyudasya yugmato ye ca paJcatAlA bhavanti hi ॥ 23॥
hk transliteration by Sanscriptमिश्रा गीतङ्गसंयुक्ता ज्ञेया ह्युद्बद्धकादयः । कलाः पञ्च तथा सप्त पुनर्नव च कीर्तिताः ॥ २४॥
The mixed Tālas such as Udbaddha and the others, combined with parts of songs (gītāṅga), are to be known accordingly. They are said to consist of five, seven, and again nine Kalās.
english translation
mizrA gItaGgasaMyuktA jJeyA hyudbaddhakAdayaH । kalAH paJca tathA sapta punarnava ca kIrtitAH ॥ 24॥
hk transliteration by Sanscriptदशैकादश चैवैते सङ्कीर्णाः समुदाहृताः । न ह्येषामुपयोगोऽस्ति सप्तरूपे ध्रुवासु च ॥ २५॥
Those Tālas which have ten or eleven Kalās are called Saṅkīrṇa (irregular). These, however, are not used in the seven types of Dhruvās (song forms).
english translation
dazaikAdaza caivaite saGkIrNAH samudAhRtAH । na hyeSAmupayogo'sti saptarUpe dhruvAsu ca ॥ 25॥
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:83.3%
शम्या चैव हि तालश्च षट्पातस्तस्य कीर्तितः । तालादिस्त्र्यस्रभेदोऽन्यः सम्पत्केष्टकसञ्ज्ञितः ॥ २१॥
Śamyā and Tāla are also included—thus, it is said to consist of six pātas. Another Tryasra variety beginning with Tāla is known as Saṃparkeṣṭaka.
english translation
zamyA caiva hi tAlazca SaTpAtastasya kIrtitaH । tAlAdistryasrabhedo'nyaH sampatkeSTakasaJjJitaH ॥ 21॥
hk transliteration by Sanscriptगुरुपञ्चाक्षराद्यन्तप्लुतमात्रासमन्वितः । त्र्यस्रं सर्वगुरुं कृत्वा निष्कामं त्वत्र योजयेत् ॥ २२॥
The Tryasra known as Saṃparkeṣṭaka consists of five long syllables, including a pluta at the beginning and at the end. When the Tryasra is composed entirely of long syllables, it is called Niṣkrānta and should be applied accordingly.
english translation
gurupaJcAkSarAdyantaplutamAtrAsamanvitaH । tryasraM sarvaguruM kRtvA niSkAmaM tvatra yojayet ॥ 22॥
hk transliteration by Sanscriptशम्याद्वयं ततस्तेषु उद्बद्धः कथितो बुधैः । व्युदस्य युग्मतो ये च पञ्चताला भवन्ति हि ॥ २३॥
In these, when two Śamyās are followed in succession, it is known as Udbaddha according to the wise. And excluding that, the remaining five are considered to be the paired (Yugmato) types of Tālas.
english translation
zamyAdvayaM tatasteSu udbaddhaH kathito budhaiH । vyudasya yugmato ye ca paJcatAlA bhavanti hi ॥ 23॥
hk transliteration by Sanscriptमिश्रा गीतङ्गसंयुक्ता ज्ञेया ह्युद्बद्धकादयः । कलाः पञ्च तथा सप्त पुनर्नव च कीर्तिताः ॥ २४॥
The mixed Tālas such as Udbaddha and the others, combined with parts of songs (gītāṅga), are to be known accordingly. They are said to consist of five, seven, and again nine Kalās.
english translation
mizrA gItaGgasaMyuktA jJeyA hyudbaddhakAdayaH । kalAH paJca tathA sapta punarnava ca kIrtitAH ॥ 24॥
hk transliteration by Sanscriptदशैकादश चैवैते सङ्कीर्णाः समुदाहृताः । न ह्येषामुपयोगोऽस्ति सप्तरूपे ध्रुवासु च ॥ २५॥
Those Tālas which have ten or eleven Kalās are called Saṅkīrṇa (irregular). These, however, are not used in the seven types of Dhruvās (song forms).
english translation
dazaikAdaza caivaite saGkIrNAH samudAhRtAH । na hyeSAmupayogo'sti saptarUpe dhruvAsu ca ॥ 25॥
hk transliteration by Sanscript