Natyashastra
Progress:88.4%
उवेणके द्वितीयोऽपि तस्यैव प्रतिशाखया । अनित्यः शीर्षके तालो माषघातस्ततः परम् ॥ २७६॥
In the Oveṇaka, the second Pāda should correspond to the Pratiśākhā of the same (Aparāntaka). The Tāla in the head (Śīrṣaka) is not fixed, and after that comes the Māṣaghāta.
english translation
uveNake dvitIyo'pi tasyaiva pratizAkhayA । anityaH zIrSake tAlo mASaghAtastataH param ॥ 276॥
hk transliteration by Sanscriptमाषघातो द्वादशकलस्तस्य पातविधिः स्व(स्त्व)यम् । कर्तव्या द्विकला शम्या तालो द्विकल एव च ॥ २७७॥
The Māṣaghāta consists of twelve Kalās, and its rule of Pāta is as follows: there should be a Śamyā of two Kalās, and a Tāla also of two Kalās.
english translation
mASaghAto dvAdazakalastasya pAtavidhiH sva(stva)yam । kartavyA dvikalA zamyA tAlo dvikala eva ca ॥ 277॥
hk transliteration by Sanscriptपुनश्च द्विकलस्तालः शम्या च द्विकला पुनः । ततश्चैककलस्तालसन्निपातः कलात्रये ॥ २७८॥
Then again there should be a Tāla of two Kalās, followed by a Śamyā of two Kalās. After that, there should be a Tāla of one Kalā, and a Sannipāta extending over three Kalās.
english translation
punazca dvikalastAlaH zamyA ca dvikalA punaH । tatazcaikakalastAlasannipAtaH kalAtraye ॥ 278॥
hk transliteration by Sanscriptप्रायेण माषघातश्च विवधाङ्गः प्रकीर्तितः । सन्निपातश्च पश्चार्धः कदाचिदुपवर्तनम् ॥ २७९॥
Generally, the Māṣaghāta is said to be a limb of the Vivadha, and at its end there should be a Sannipāta, and sometimes an Upavartana.
english translation
prAyeNa mASaghAtazca vivadhAGgaH prakIrtitaH । sannipAtazca pazcArdhaH kadAcidupavartanam ॥ 279॥
hk transliteration by Sanscriptतस्य स्यात्कलिकेनैव तच्चोघं पञ्चपाणिना । सन्धिर्यथाक्षरेणैव कर्तव्यः पञ्चपाणिना ॥ २८०॥
Its Ogha should be composed of the Pañcapāṇiḥ of one Kalā, and the Sandhi should be performed with the literal Pañcapāṇiḥ.
english translation
tasya syAtkalikenaiva taccoghaM paJcapANinA । sandhiryathAkSareNaiva kartavyaH paJcapANinA ॥ 280॥
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:88.4%
उवेणके द्वितीयोऽपि तस्यैव प्रतिशाखया । अनित्यः शीर्षके तालो माषघातस्ततः परम् ॥ २७६॥
In the Oveṇaka, the second Pāda should correspond to the Pratiśākhā of the same (Aparāntaka). The Tāla in the head (Śīrṣaka) is not fixed, and after that comes the Māṣaghāta.
english translation
uveNake dvitIyo'pi tasyaiva pratizAkhayA । anityaH zIrSake tAlo mASaghAtastataH param ॥ 276॥
hk transliteration by Sanscriptमाषघातो द्वादशकलस्तस्य पातविधिः स्व(स्त्व)यम् । कर्तव्या द्विकला शम्या तालो द्विकल एव च ॥ २७७॥
The Māṣaghāta consists of twelve Kalās, and its rule of Pāta is as follows: there should be a Śamyā of two Kalās, and a Tāla also of two Kalās.
english translation
mASaghAto dvAdazakalastasya pAtavidhiH sva(stva)yam । kartavyA dvikalA zamyA tAlo dvikala eva ca ॥ 277॥
hk transliteration by Sanscriptपुनश्च द्विकलस्तालः शम्या च द्विकला पुनः । ततश्चैककलस्तालसन्निपातः कलात्रये ॥ २७८॥
Then again there should be a Tāla of two Kalās, followed by a Śamyā of two Kalās. After that, there should be a Tāla of one Kalā, and a Sannipāta extending over three Kalās.
english translation
punazca dvikalastAlaH zamyA ca dvikalA punaH । tatazcaikakalastAlasannipAtaH kalAtraye ॥ 278॥
hk transliteration by Sanscriptप्रायेण माषघातश्च विवधाङ्गः प्रकीर्तितः । सन्निपातश्च पश्चार्धः कदाचिदुपवर्तनम् ॥ २७९॥
Generally, the Māṣaghāta is said to be a limb of the Vivadha, and at its end there should be a Sannipāta, and sometimes an Upavartana.
english translation
prAyeNa mASaghAtazca vivadhAGgaH prakIrtitaH । sannipAtazca pazcArdhaH kadAcidupavartanam ॥ 279॥
hk transliteration by Sanscriptतस्य स्यात्कलिकेनैव तच्चोघं पञ्चपाणिना । सन्धिर्यथाक्षरेणैव कर्तव्यः पञ्चपाणिना ॥ २८०॥
Its Ogha should be composed of the Pañcapāṇiḥ of one Kalā, and the Sandhi should be performed with the literal Pañcapāṇiḥ.
english translation
tasya syAtkalikenaiva taccoghaM paJcapANinA । sandhiryathAkSareNaiva kartavyaH paJcapANinA ॥ 280॥
hk transliteration by Sanscript