Natyashastra
Progress:87.9%
द्विकलाश्च पुनः शम्या(स्)तालश्चैककलः स्मृतः । ततः शम्या ततस्तालः सन्निपातस्ततः परम् ॥ २५१॥
The Śamyā consists of two Kalās, while the Tāla is said to be of one Kalā. Then follows the Śamyā, thereafter the Tāla, and finally the Sannipāta.
english translation
dvikalAzca punaH zamyA(s)tAlazcaikakalaH smRtaH । tataH zamyA tatastAlaH sannipAtastataH param ॥ 251॥
hk transliteration by Sanscriptशाखेयं प्रतिशाखा तु नित्यमन्यपदा स्मृता । यद्यस्य भवेदन्तस्तदन्ताहरणं बुधैः ॥ २५२॥
The Śākhā and Pratiśākhā are always regarded as anyapadā (variant forms). Whatever forms the end of each is considered its conclusion by the learned.
english translation
zAkheyaM pratizAkhA tu nityamanyapadA smRtA । yadyasya bhavedantastadantAharaNaM budhaiH ॥ 252॥
hk transliteration by Sanscriptयथाक्षरेण नियमात्संहार्यं पञ्चपाणिना । स्वतालेनाथ हीनस्य संहारः परिकीर्त्यते ॥ २५३॥
According to the rule of syllables, the conclusion should be made with the use of five fingers. The conclusion of an incomplete Tāla is said to be performed with its own Tāla.
english translation
yathAkSareNa niyamAtsaMhAryaM paJcapANinA । svatAlenAtha hInasya saMhAraH parikIrtyate ॥ 253॥
hk transliteration by Sanscriptद्विप्रकारनिवृत्तश्च त्र्यंशोऽथ त्रिविधस्तथा । त्र्यस्रश्च चतुरस्रश्च मिश्रश्चापि प्रकीर्तितः ॥ २५४॥
There are two kinds of conclusions, each consisting of three parts. These are declared to be of three types — Tryasra (triple time), Caturasra (quadruple time), and Miśra (mixed time).
english translation
dviprakAranivRttazca tryaMzo'tha trividhastathA । tryasrazca caturasrazca mizrazcApi prakIrtitaH ॥ 254॥
hk transliteration by Sanscriptस्थितप्रवृत्ते तस्याङ्गे महाजनिकमेव च । स्यात्पञ्चपाणितालेन तदन्ताहरणं यदा ॥ २५५॥
When its limb is either stationary or in motion, and is performed with the Mahājanika measure, its conclusion should be made with the Tāla of five beats.
english translation
sthitapravRtte tasyAGge mahAjanikameva ca । syAtpaJcapANitAlena tadantAharaNaM yadA ॥ 255॥
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:87.9%
द्विकलाश्च पुनः शम्या(स्)तालश्चैककलः स्मृतः । ततः शम्या ततस्तालः सन्निपातस्ततः परम् ॥ २५१॥
The Śamyā consists of two Kalās, while the Tāla is said to be of one Kalā. Then follows the Śamyā, thereafter the Tāla, and finally the Sannipāta.
english translation
dvikalAzca punaH zamyA(s)tAlazcaikakalaH smRtaH । tataH zamyA tatastAlaH sannipAtastataH param ॥ 251॥
hk transliteration by Sanscriptशाखेयं प्रतिशाखा तु नित्यमन्यपदा स्मृता । यद्यस्य भवेदन्तस्तदन्ताहरणं बुधैः ॥ २५२॥
The Śākhā and Pratiśākhā are always regarded as anyapadā (variant forms). Whatever forms the end of each is considered its conclusion by the learned.
english translation
zAkheyaM pratizAkhA tu nityamanyapadA smRtA । yadyasya bhavedantastadantAharaNaM budhaiH ॥ 252॥
hk transliteration by Sanscriptयथाक्षरेण नियमात्संहार्यं पञ्चपाणिना । स्वतालेनाथ हीनस्य संहारः परिकीर्त्यते ॥ २५३॥
According to the rule of syllables, the conclusion should be made with the use of five fingers. The conclusion of an incomplete Tāla is said to be performed with its own Tāla.
english translation
yathAkSareNa niyamAtsaMhAryaM paJcapANinA । svatAlenAtha hInasya saMhAraH parikIrtyate ॥ 253॥
hk transliteration by Sanscriptद्विप्रकारनिवृत्तश्च त्र्यंशोऽथ त्रिविधस्तथा । त्र्यस्रश्च चतुरस्रश्च मिश्रश्चापि प्रकीर्तितः ॥ २५४॥
There are two kinds of conclusions, each consisting of three parts. These are declared to be of three types — Tryasra (triple time), Caturasra (quadruple time), and Miśra (mixed time).
english translation
dviprakAranivRttazca tryaMzo'tha trividhastathA । tryasrazca caturasrazca mizrazcApi prakIrtitaH ॥ 254॥
hk transliteration by Sanscriptस्थितप्रवृत्ते तस्याङ्गे महाजनिकमेव च । स्यात्पञ्चपाणितालेन तदन्ताहरणं यदा ॥ २५५॥
When its limb is either stationary or in motion, and is performed with the Mahājanika measure, its conclusion should be made with the Tāla of five beats.
english translation
sthitapravRtte tasyAGge mahAjanikameva ca । syAtpaJcapANitAlena tadantAharaNaM yadA ॥ 255॥
hk transliteration by Sanscript