Natyashastra
Progress:88.6%
पाता नवैकादश वा सम्पिष्टकमुदाहृतम् । वज्रवस्त्रं प्रयोक्तव्यमुपवर्तनमेव च ॥ २८६॥
Nine or eleven Pātas are mentioned as the Sampishṭaka; the Upavartana should be applied in the manner of the Vajratāla.
english translation
pAtA navaikAdaza vA sampiSTakamudAhRtam । vajravastraM prayoktavyamupavartanameva ca ॥ 286॥
hk transliteration by Sanscriptयुक्तविवधवृत्ताभ्यां प्रवेणी द्विविधा स्मृता । पञ्चपाणिः प्रकर्तव्या प्रवेण्या तु यथाक्षरा ॥ २८७॥
Combined with Vivadha and Vṛtta, the Praveṇī is said to be of two kinds. It should be executed with the use of the Pañcapāṇi, according to the arrangement of the syllables.
english translation
yuktavivadhavRttAbhyAM praveNI dvividhA smRtA । paJcapANiH prakartavyA praveNyA tu yathAkSarA ॥ 287॥
hk transliteration by Sanscriptद्विकलो वापि मिश्रो वा प्रयोगोऽङ्गवशानुगः । अन्ते वास्याः प्रकर्तव्यः कदाचिदुपवर्तनम् ॥ २८८॥
Its application should consist of either two Kalās or mixed Kalās, according to the nature of its limbs; and sometimes, the Upavartana should be performed at its conclusion.
english translation
dvikalo vApi mizro vA prayogo'GgavazAnugaH । ante vAsyAH prakartavyaH kadAcidupavartanam ॥ 288॥
hk transliteration by Sanscriptपञ्चपाणिविधानेन यथोक्तेनैव तद्भवेत् । द्वितीयपाततालेन ह्यपपातश्च कीर्त्यते ॥ २८९॥
By following the procedure of the Pañcapāṇi as described, the same form arises; and the fall occurring in the second Pāta of the Tāla is called Apapāta (the secondary fall).
english translation
paJcapANividhAnena yathoktenaiva tadbhavet । dvitIyapAtatAlena hyapapAtazca kIrtyate ॥ 289॥
hk transliteration by Sanscriptवज्रतालेन कर्तव्यं क्रमं संहरणस्य तु । रोविन्दके तु षण्मत्राः पाताश्चैकान्नविंशतिः ॥ २९० ॥
The sequence of withdrawal (Saṃharaṇa) should be performed in the Vajratāla. In the Rovindaka, there are six Mātrās and twenty-one Pātas.
english translation
vajratAlena kartavyaM kramaM saMharaNasya tu । rovindake tu SaNmatrAH pAtAzcaikAnnaviMzatiH ॥ 290 ॥
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:88.6%
पाता नवैकादश वा सम्पिष्टकमुदाहृतम् । वज्रवस्त्रं प्रयोक्तव्यमुपवर्तनमेव च ॥ २८६॥
Nine or eleven Pātas are mentioned as the Sampishṭaka; the Upavartana should be applied in the manner of the Vajratāla.
english translation
pAtA navaikAdaza vA sampiSTakamudAhRtam । vajravastraM prayoktavyamupavartanameva ca ॥ 286॥
hk transliteration by Sanscriptयुक्तविवधवृत्ताभ्यां प्रवेणी द्विविधा स्मृता । पञ्चपाणिः प्रकर्तव्या प्रवेण्या तु यथाक्षरा ॥ २८७॥
Combined with Vivadha and Vṛtta, the Praveṇī is said to be of two kinds. It should be executed with the use of the Pañcapāṇi, according to the arrangement of the syllables.
english translation
yuktavivadhavRttAbhyAM praveNI dvividhA smRtA । paJcapANiH prakartavyA praveNyA tu yathAkSarA ॥ 287॥
hk transliteration by Sanscriptद्विकलो वापि मिश्रो वा प्रयोगोऽङ्गवशानुगः । अन्ते वास्याः प्रकर्तव्यः कदाचिदुपवर्तनम् ॥ २८८॥
Its application should consist of either two Kalās or mixed Kalās, according to the nature of its limbs; and sometimes, the Upavartana should be performed at its conclusion.
english translation
dvikalo vApi mizro vA prayogo'GgavazAnugaH । ante vAsyAH prakartavyaH kadAcidupavartanam ॥ 288॥
hk transliteration by Sanscriptपञ्चपाणिविधानेन यथोक्तेनैव तद्भवेत् । द्वितीयपाततालेन ह्यपपातश्च कीर्त्यते ॥ २८९॥
By following the procedure of the Pañcapāṇi as described, the same form arises; and the fall occurring in the second Pāta of the Tāla is called Apapāta (the secondary fall).
english translation
paJcapANividhAnena yathoktenaiva tadbhavet । dvitIyapAtatAlena hyapapAtazca kIrtyate ॥ 289॥
hk transliteration by Sanscriptवज्रतालेन कर्तव्यं क्रमं संहरणस्य तु । रोविन्दके तु षण्मत्राः पाताश्चैकान्नविंशतिः ॥ २९० ॥
The sequence of withdrawal (Saṃharaṇa) should be performed in the Vajratāla. In the Rovindaka, there are six Mātrās and twenty-one Pātas.
english translation
vajratAlena kartavyaM kramaM saMharaNasya tu । rovindake tu SaNmatrAH pAtAzcaikAnnaviMzatiH ॥ 290 ॥
hk transliteration by Sanscript