Natyashastra
Progress:88.9%
वृत्तमेकप्रथमे द्वे योजयेत्पञ्चपाणिना । ततः परं ते भूयोऽपि युग्मतालेन वा स्मृते ॥ ३०१॥
In the first section, one should join one or two metrical compositions with the five-hand measure; thereafter, they may again be accompanied by a paired rhythm.
english translation
vRttamekaprathame dve yojayetpaJcapANinA । tataH paraM te bhUyo'pi yugmatAlena vA smRte ॥ 301॥
hk transliteration by Sanscriptअवसानं तु कर्तव्यं त्वरितं पञ्चपाणिना । द्विकलेनेति कर्तव्यं स्थितपाठ्यं प्रयोक्तृभिः ॥ ३०२॥
The conclusion should be performed swiftly with the five-hand measure, and the standing recitation should be rendered by the performers in two time-units.
english translation
avasAnaM tu kartavyaM tvaritaM paJcapANinA । dvikaleneti kartavyaM sthitapAThyaM prayoktRbhiH ॥ 302॥
hk transliteration by Sanscriptउपोह्य तालं त्र्यस्रं वा वृत्त्या तैस्तैः समैस्तथा । आसीनपाद्यं युञ्जीत सर्वभवैस्तु पौरुषैः ॥ ३०३॥
The seated song should be accompanied by a rhythm in triple time or by movements of equal measure, and it should be performed with all the masculine (energetic) gestures.
english translation
upohya tAlaM tryasraM vA vRttyA taistaiH samaistathA । AsInapAdyaM yuJjIta sarvabhavaistu pauruSaiH ॥ 303॥
hk transliteration by Sanscriptएवं चतुर्भिः पादैस्तु समैरर्थवशानुगैः । आसीनपाद्यं कर्तव्यं विधिवत्पञ्चपाणिना ॥ ३०४॥
Thus, the seated song should be properly performed with four verses (pādas) of equal rhythm, accompanied by appropriate meaning, and executed according to rule with the five hand-beats (pañcapāṇi-tāla).
english translation
evaM caturbhiH pAdaistu samairarthavazAnugaiH । AsInapAdyaM kartavyaM vidhivatpaJcapANinA ॥ 304॥
hk transliteration by Sanscriptअतीतयुग्मतलेन श्लोकः कार्यस्ततः परम् । अष्टादश द्वादश वा पदानि तु ततः पुनः ॥ ३०५॥
Next, the verse should be performed with the beat of the past pair (i.e., the preceding double time-measure), consisting of either eighteen or twelve syllabic units (padas).
english translation
atItayugmatalena zlokaH kAryastataH param । aSTAdaza dvAdaza vA padAni tu tataH punaH ॥ 305॥
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:88.9%
वृत्तमेकप्रथमे द्वे योजयेत्पञ्चपाणिना । ततः परं ते भूयोऽपि युग्मतालेन वा स्मृते ॥ ३०१॥
In the first section, one should join one or two metrical compositions with the five-hand measure; thereafter, they may again be accompanied by a paired rhythm.
english translation
vRttamekaprathame dve yojayetpaJcapANinA । tataH paraM te bhUyo'pi yugmatAlena vA smRte ॥ 301॥
hk transliteration by Sanscriptअवसानं तु कर्तव्यं त्वरितं पञ्चपाणिना । द्विकलेनेति कर्तव्यं स्थितपाठ्यं प्रयोक्तृभिः ॥ ३०२॥
The conclusion should be performed swiftly with the five-hand measure, and the standing recitation should be rendered by the performers in two time-units.
english translation
avasAnaM tu kartavyaM tvaritaM paJcapANinA । dvikaleneti kartavyaM sthitapAThyaM prayoktRbhiH ॥ 302॥
hk transliteration by Sanscriptउपोह्य तालं त्र्यस्रं वा वृत्त्या तैस्तैः समैस्तथा । आसीनपाद्यं युञ्जीत सर्वभवैस्तु पौरुषैः ॥ ३०३॥
The seated song should be accompanied by a rhythm in triple time or by movements of equal measure, and it should be performed with all the masculine (energetic) gestures.
english translation
upohya tAlaM tryasraM vA vRttyA taistaiH samaistathA । AsInapAdyaM yuJjIta sarvabhavaistu pauruSaiH ॥ 303॥
hk transliteration by Sanscriptएवं चतुर्भिः पादैस्तु समैरर्थवशानुगैः । आसीनपाद्यं कर्तव्यं विधिवत्पञ्चपाणिना ॥ ३०४॥
Thus, the seated song should be properly performed with four verses (pādas) of equal rhythm, accompanied by appropriate meaning, and executed according to rule with the five hand-beats (pañcapāṇi-tāla).
english translation
evaM caturbhiH pAdaistu samairarthavazAnugaiH । AsInapAdyaM kartavyaM vidhivatpaJcapANinA ॥ 304॥
hk transliteration by Sanscriptअतीतयुग्मतलेन श्लोकः कार्यस्ततः परम् । अष्टादश द्वादश वा पदानि तु ततः पुनः ॥ ३०५॥
Next, the verse should be performed with the beat of the past pair (i.e., the preceding double time-measure), consisting of either eighteen or twelve syllabic units (padas).
english translation
atItayugmatalena zlokaH kAryastataH param । aSTAdaza dvAdaza vA padAni tu tataH punaH ॥ 305॥
hk transliteration by Sanscript