Natyashastra
Progress:88.8%
शरीरतालकर्तव्यः प्रकारोऽपि विशेषतः । द्विकलेनैव कर्तव्यो विशेषात्पञ्चपाणिना ॥ २९६॥
The Śarīra Tāla should be applied, its type being particularly specified. It is to be performed with two Kalās, especially according to the Pañcapāṇiḥ.
english translation
zarIratAlakartavyaH prakAro'pi vizeSataH । dvikalenaiva kartavyo vizeSAtpaJcapANinA ॥ 296॥
hk transliteration by Sanscriptकला द्वादश निर्दिष्टं प्रमाणं चास्य तत्त्वतः । रोविन्दकशरीरं तु षट्कलोपोहनं स्मृतम् ॥ २९७॥
The twelve Kalās are prescribed, and its measure is thus defined. The body of the Rovindaka is to be performed with six Kalās of Upohana.
english translation
kalA dvAdaza nirdiSTaM pramANaM cAsya tattvataH । rovindakazarIraM tu SaTkalopohanaM smRtam ॥ 297॥
hk transliteration by Sanscriptविवधं वापि वृत्तं वा तस्यादौ परिकीर्तिता । आकारवृत्तपरुषोऽत्र स्याच्चतुष्कं त्रिकमेव ॥ २९८॥
Whether it is a Vivadha or a Vṛtta, it is described at the beginning. Here, the Ākāra Vṛtta, being firm, will be of four Kalās or three.
english translation
vivadhaM vApi vRttaM vA tasyAdau parikIrtitA । AkAravRttaparuSo'tra syAccatuSkaM trikameva ॥ 298॥
hk transliteration by Sanscriptगद्यं त्रिवाक्यं स्याच्चतुर्वाक्यं गता स्मृता । कार्यं तथा निर्वहणं प्रत्येकं परिधानके ॥ २९९॥
Prose may consist of three sentences, while metrical passages (Gatā) are said to have four. The performance and execution of each should be carried out in the Paridhānaka section.
english translation
gadyaM trivAkyaM syAccaturvAkyaM gatA smRtA । kAryaM tathA nirvahaNaM pratyekaM paridhAnake ॥ 299॥
hk transliteration by Sanscriptइत्येतत्प्रथमं त्वङ्गं लास्ये गेयपदं स्मृतम् । स्थितपादस्य वक्ष्यामि विधानं चाप्यतः परम् ॥ ३००॥
Thus, this is said to be the first limb in the Lāsya, known as the Geyapada (the song-section). Next, I shall describe the rule concerning the Sthitapāda (the standing posture).
english translation
ityetatprathamaM tvaGgaM lAsye geyapadaM smRtam । sthitapAdasya vakSyAmi vidhAnaM cApyataH param ॥ 300॥
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:88.8%
शरीरतालकर्तव्यः प्रकारोऽपि विशेषतः । द्विकलेनैव कर्तव्यो विशेषात्पञ्चपाणिना ॥ २९६॥
The Śarīra Tāla should be applied, its type being particularly specified. It is to be performed with two Kalās, especially according to the Pañcapāṇiḥ.
english translation
zarIratAlakartavyaH prakAro'pi vizeSataH । dvikalenaiva kartavyo vizeSAtpaJcapANinA ॥ 296॥
hk transliteration by Sanscriptकला द्वादश निर्दिष्टं प्रमाणं चास्य तत्त्वतः । रोविन्दकशरीरं तु षट्कलोपोहनं स्मृतम् ॥ २९७॥
The twelve Kalās are prescribed, and its measure is thus defined. The body of the Rovindaka is to be performed with six Kalās of Upohana.
english translation
kalA dvAdaza nirdiSTaM pramANaM cAsya tattvataH । rovindakazarIraM tu SaTkalopohanaM smRtam ॥ 297॥
hk transliteration by Sanscriptविवधं वापि वृत्तं वा तस्यादौ परिकीर्तिता । आकारवृत्तपरुषोऽत्र स्याच्चतुष्कं त्रिकमेव ॥ २९८॥
Whether it is a Vivadha or a Vṛtta, it is described at the beginning. Here, the Ākāra Vṛtta, being firm, will be of four Kalās or three.
english translation
vivadhaM vApi vRttaM vA tasyAdau parikIrtitA । AkAravRttaparuSo'tra syAccatuSkaM trikameva ॥ 298॥
hk transliteration by Sanscriptगद्यं त्रिवाक्यं स्याच्चतुर्वाक्यं गता स्मृता । कार्यं तथा निर्वहणं प्रत्येकं परिधानके ॥ २९९॥
Prose may consist of three sentences, while metrical passages (Gatā) are said to have four. The performance and execution of each should be carried out in the Paridhānaka section.
english translation
gadyaM trivAkyaM syAccaturvAkyaM gatA smRtA । kAryaM tathA nirvahaNaM pratyekaM paridhAnake ॥ 299॥
hk transliteration by Sanscriptइत्येतत्प्रथमं त्वङ्गं लास्ये गेयपदं स्मृतम् । स्थितपादस्य वक्ष्यामि विधानं चाप्यतः परम् ॥ ३००॥
Thus, this is said to be the first limb in the Lāsya, known as the Geyapada (the song-section). Next, I shall describe the rule concerning the Sthitapāda (the standing posture).
english translation
ityetatprathamaM tvaGgaM lAsye geyapadaM smRtam । sthitapAdasya vakSyAmi vidhAnaM cApyataH param ॥ 300॥
hk transliteration by Sanscript