Natyashastra
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तदा स्थितं भवेद्युग्मं तस्य पातविधिस्त्वयम् । शम्यापि द्विकला कार्या तालोऽपि द्विकलः स्मृतः ॥ २५६॥
Then it becomes even (in rhythm), and this is said to be the rule of its beats. The Shamya should be of two Kalās, and the Tāla too is regarded as of two Kalās.
english translation
tadA sthitaM bhavedyugmaM tasya pAtavidhistvayam । zamyApi dvikalA kAryA tAlo'pi dvikalaH smRtaH ॥ 256॥
hk transliteration by Sanscriptचतुष्कलः सन्निपातः प्रवृत्तमत इष्यते । अस्य तु द्विकला शम्या तथैवैककला पुनः ॥ २५७॥
The Sannipāta consists of four Kalās and is considered to belong to the Pravṛtta type. In this, the Shamya has two Kalās, and the Tāla again has one Kalā.
english translation
catuSkalaH sannipAtaH pravRttamata iSyate । asya tu dvikalA zamyA tathaivaikakalA punaH ॥ 257॥
hk transliteration by Sanscriptचञ्चत्पुटश्च तालादिः सन्निपातस्ततः परम् । स्थितं तालेन कर्तव्यं महाजनिकमस्य तु ॥ २५८॥
The Tāla begins with a quick movement (Cañcatpuṭa), followed by the Sannipāta. The stationary part (Sthita) should be performed with the Tāla, which in this case is of the Mahājanika type.
english translation
caJcatpuTazca tAlAdiH sannipAtastataH param । sthitaM tAlena kartavyaM mahAjanikamasya tu ॥ 258॥
hk transliteration by Sanscriptचञ्चत्पुटश्च तालादिः सन्निपातस्ततः परम् । स्थितं तालेन कर्तव्यं महाजनिकमस्य तु ॥ २५८॥
The Tāla begins with a quick movement (Cañcatpuṭa), followed by the Sannipāta. The stationary part (Sthita) should be performed with the Tāla, which in this case is of the Mahājanika type.
english translation
caJcatpuTazca tAlAdiH sannipAtastataH param । sthitaM tAlena kartavyaM mahAjanikamasya tu ॥ 258॥
hk transliteration by Sanscriptनिवृत्ततालः कर्तव्यः प्रवृत्तस्यापि तत्त्वतः । अत्र तालविधिः श्रेष्ठः प्रायः समुपवर्तनम् ॥ २५९॥
The Nivṛtta Tāla (ending rhythm) should be performed even for one that has been commenced. In this context, the proper rule of Tāla is that it generally involves a return movement (Samupavartana).
english translation
nivRttatAlaH kartavyaH pravRttasyApi tattvataH । atra tAlavidhiH zreSThaH prAyaH samupavartanam ॥ 259॥
hk transliteration by Sanscriptआप्तमुद्धटकः कार्यः परिवर्तक एव च । युग्मे हि मिश्रतालत्वाद्युग्मे ह्यन्तः प्रयुज्यते ॥ २६०॥
Before it, the Udghaṭṭaka (raising movement) and the Parivartaka (turning movement) should be performed. Since the Yugma is of a mixed Tāla, it should be applied in the concluding (Anta) part.
english translation
AptamuddhaTakaH kAryaH parivartaka eva ca । yugme hi mizratAlatvAdyugme hyantaH prayujyate ॥ 260॥
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:88.0%
तदा स्थितं भवेद्युग्मं तस्य पातविधिस्त्वयम् । शम्यापि द्विकला कार्या तालोऽपि द्विकलः स्मृतः ॥ २५६॥
Then it becomes even (in rhythm), and this is said to be the rule of its beats. The Shamya should be of two Kalās, and the Tāla too is regarded as of two Kalās.
english translation
tadA sthitaM bhavedyugmaM tasya pAtavidhistvayam । zamyApi dvikalA kAryA tAlo'pi dvikalaH smRtaH ॥ 256॥
hk transliteration by Sanscriptचतुष्कलः सन्निपातः प्रवृत्तमत इष्यते । अस्य तु द्विकला शम्या तथैवैककला पुनः ॥ २५७॥
The Sannipāta consists of four Kalās and is considered to belong to the Pravṛtta type. In this, the Shamya has two Kalās, and the Tāla again has one Kalā.
english translation
catuSkalaH sannipAtaH pravRttamata iSyate । asya tu dvikalA zamyA tathaivaikakalA punaH ॥ 257॥
hk transliteration by Sanscriptचञ्चत्पुटश्च तालादिः सन्निपातस्ततः परम् । स्थितं तालेन कर्तव्यं महाजनिकमस्य तु ॥ २५८॥
The Tāla begins with a quick movement (Cañcatpuṭa), followed by the Sannipāta. The stationary part (Sthita) should be performed with the Tāla, which in this case is of the Mahājanika type.
english translation
caJcatpuTazca tAlAdiH sannipAtastataH param । sthitaM tAlena kartavyaM mahAjanikamasya tu ॥ 258॥
hk transliteration by Sanscriptचञ्चत्पुटश्च तालादिः सन्निपातस्ततः परम् । स्थितं तालेन कर्तव्यं महाजनिकमस्य तु ॥ २५८॥
The Tāla begins with a quick movement (Cañcatpuṭa), followed by the Sannipāta. The stationary part (Sthita) should be performed with the Tāla, which in this case is of the Mahājanika type.
english translation
caJcatpuTazca tAlAdiH sannipAtastataH param । sthitaM tAlena kartavyaM mahAjanikamasya tu ॥ 258॥
hk transliteration by Sanscriptनिवृत्ततालः कर्तव्यः प्रवृत्तस्यापि तत्त्वतः । अत्र तालविधिः श्रेष्ठः प्रायः समुपवर्तनम् ॥ २५९॥
The Nivṛtta Tāla (ending rhythm) should be performed even for one that has been commenced. In this context, the proper rule of Tāla is that it generally involves a return movement (Samupavartana).
english translation
nivRttatAlaH kartavyaH pravRttasyApi tattvataH । atra tAlavidhiH zreSThaH prAyaH samupavartanam ॥ 259॥
hk transliteration by Sanscriptआप्तमुद्धटकः कार्यः परिवर्तक एव च । युग्मे हि मिश्रतालत्वाद्युग्मे ह्यन्तः प्रयुज्यते ॥ २६०॥
Before it, the Udghaṭṭaka (raising movement) and the Parivartaka (turning movement) should be performed. Since the Yugma is of a mixed Tāla, it should be applied in the concluding (Anta) part.
english translation
AptamuddhaTakaH kAryaH parivartaka eva ca । yugme hi mizratAlatvAdyugme hyantaH prayujyate ॥ 260॥
hk transliteration by Sanscript