Natyashastra
Progress:88.1%
विविधैककसंयुक्तपूर्वं पश्चाद्विधः स्मृतः । यथावदन्ततालोऽयं युग्मो मिश्रश्च कीर्तितः ॥ २६१॥
Preceded by the Vivadha combined with the Ekaka, this (Tāla) is known as the Anta Tāla. This Yugma is declared to be both Yugma and mixed.
english translation
vividhaikakasaMyuktapUrvaM pazcAdvidhaH smRtaH । yathAvadantatAlo'yaM yugmo mizrazca kIrtitaH ॥ 261॥
hk transliteration by Sanscriptअतः परं प्रवक्ष्यामि त्र्यस्रतालविधिं प्रति । शम्या तु द्विकला पूर्वं ततस्तालो विधीयते ॥ २६२॥
Now I shall describe the rule of the Tryasra Tāla. First comes the Śamyā of two Kalās, followed by the Tāla.
english translation
ataH paraM pravakSyAmi tryasratAlavidhiM prati । zamyA tu dvikalA pUrvaM tatastAlo vidhIyate ॥ 262॥
hk transliteration by Sanscriptत्रिकलः सन्निपातश्च प्रवृत्तं वाप्यतः परम् । प्रवृत्तमस्य कर्तव्यं यथावत्परिवर्तनम् ॥ २६३॥
Then comes the Sannipāta of three Kalās, followed by the Pravṛtta; and this Pravṛtta should be properly performed with Parivartana.
english translation
trikalaH sannipAtazca pravRttaM vApyataH param । pravRttamasya kartavyaM yathAvatparivartanam ॥ 263॥
hk transliteration by Sanscriptयथा करप्रवृत्तेन विधिवत्पञ्चपाणिना । अस्यापि स्थिततालेन महाजनिकमिष्यते ॥ २६४॥
As with the Pañcapāṇi performed by the proper hand-movements, its Mahājanika too should be executed in the Sthita tāla.
english translation
yathA karapravRttena vidhivatpaJcapANinA । asyApi sthitatAlena mahAjanikamiSyate ॥ 264॥
hk transliteration by Sanscriptनिवृत्ततालः कर्तव्यस्तथात्र विनिवृत्तिमान् । युग्मौजमिश्रतालत्वान्मिश्रोऽप्यन्तः प्रवर्तनम् ॥ २६५॥
Here, the Nivṛtta-tāla should be applied, possessing proper cessation. Because of the combination of Yugma and Oja (odd) Tālas, the mixed Tāla is also used for the inner progression (Anta-pravartana).
english translation
nivRttatAlaH kartavyastathAtra vinivRttimAn । yugmaujamizratAlatvAnmizro'pyantaH pravartanam ॥ 265॥
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:88.1%
विविधैककसंयुक्तपूर्वं पश्चाद्विधः स्मृतः । यथावदन्ततालोऽयं युग्मो मिश्रश्च कीर्तितः ॥ २६१॥
Preceded by the Vivadha combined with the Ekaka, this (Tāla) is known as the Anta Tāla. This Yugma is declared to be both Yugma and mixed.
english translation
vividhaikakasaMyuktapUrvaM pazcAdvidhaH smRtaH । yathAvadantatAlo'yaM yugmo mizrazca kIrtitaH ॥ 261॥
hk transliteration by Sanscriptअतः परं प्रवक्ष्यामि त्र्यस्रतालविधिं प्रति । शम्या तु द्विकला पूर्वं ततस्तालो विधीयते ॥ २६२॥
Now I shall describe the rule of the Tryasra Tāla. First comes the Śamyā of two Kalās, followed by the Tāla.
english translation
ataH paraM pravakSyAmi tryasratAlavidhiM prati । zamyA tu dvikalA pUrvaM tatastAlo vidhIyate ॥ 262॥
hk transliteration by Sanscriptत्रिकलः सन्निपातश्च प्रवृत्तं वाप्यतः परम् । प्रवृत्तमस्य कर्तव्यं यथावत्परिवर्तनम् ॥ २६३॥
Then comes the Sannipāta of three Kalās, followed by the Pravṛtta; and this Pravṛtta should be properly performed with Parivartana.
english translation
trikalaH sannipAtazca pravRttaM vApyataH param । pravRttamasya kartavyaM yathAvatparivartanam ॥ 263॥
hk transliteration by Sanscriptयथा करप्रवृत्तेन विधिवत्पञ्चपाणिना । अस्यापि स्थिततालेन महाजनिकमिष्यते ॥ २६४॥
As with the Pañcapāṇi performed by the proper hand-movements, its Mahājanika too should be executed in the Sthita tāla.
english translation
yathA karapravRttena vidhivatpaJcapANinA । asyApi sthitatAlena mahAjanikamiSyate ॥ 264॥
hk transliteration by Sanscriptनिवृत्ततालः कर्तव्यस्तथात्र विनिवृत्तिमान् । युग्मौजमिश्रतालत्वान्मिश्रोऽप्यन्तः प्रवर्तनम् ॥ २६५॥
Here, the Nivṛtta-tāla should be applied, possessing proper cessation. Because of the combination of Yugma and Oja (odd) Tālas, the mixed Tāla is also used for the inner progression (Anta-pravartana).
english translation
nivRttatAlaH kartavyastathAtra vinivRttimAn । yugmaujamizratAlatvAnmizro'pyantaH pravartanam ॥ 265॥
hk transliteration by Sanscript