Natyashastra
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कुर्यादुत्तरतालेन ताले निर्वहणं बुधः । एतदासीनपादस्य विधानं परिकीर्तितम् ॥ ३०६॥
A wise performer should execute the conclusion with the succeeding time-measure (uttaratāla). Thus is described the procedure for the seated posture (āsīnapādya).
english translation
kuryAduttaratAlena tAle nirvahaNaM budhaH । etadAsInapAdasya vidhAnaM parikIrtitam ॥ 306॥
hk transliteration by Sanscriptस्यात्पुष्पगण्डिका नाम यदङ्गं तन्निबोधत । तत्रैकं पौरुषं श्लोकं समवृत्तं प्रयोजयेत् ॥ ३०७॥
Now listen about that limb which is called Pushpagandika. In this, one verse composed in the samavrtta metre, of a masculine nature, should be employed.
english translation
syAtpuSpagaNDikA nAma yadaGgaM tannibodhata । tatraikaM pauruSaM zlokaM samavRttaM prayojayet ॥ 307॥
hk transliteration by Sanscriptचतुर्भिः सन्निपातैश्च ज्ञेयं चन्चूपुटाश्रयम् । पादे पादे तथेष्टं च वाद्यं नृत्यं तथैव च ॥ ३०८॥
It should be known that the Chanchupuṭāśraya consists of four combinations (of movements). At the end of each quarter (pāda), instrumental music and dance, as desired, should also be performed.
english translation
caturbhiH sannipAtaizca jJeyaM cancUpuTAzrayam । pAde pAde tatheSTaM ca vAdyaM nRtyaM tathaiva ca ॥ 308॥
hk transliteration by Sanscriptततश्चान्ये स्मृतं वृत्ते खञ्जनर्कुटसञ्ज्ञिते । अन्ते निर्वहणे चास्य शीर्षकं पञ्चपाणिना ॥ ३०९॥
Next comes another metre called Khañjana and Arkuṭa. At its conclusion, during the closing movement, the head movement (śīrṣaka) is to be performed with the five hand gestures (pañcapāṇinā).
english translation
tatazcAnye smRtaM vRtte khaJjanarkuTasaJjJite । ante nirvahaNe cAsya zIrSakaM paJcapANinA ॥ 309॥
hk transliteration by Sanscriptआविद्धशर्याङ्गहारैरुद्धतैस्तत्प्रयोजयेत् । ज्योत्स्नायां मन्दिरायां वा सलिले दर्पणेऽपि वा ॥ ३१०॥
It should be performed with vigorous movements of the body resembling those of one struck by arrows. It is to be enacted in moonlight, in a pavilion, in water, or even before a mirror.
english translation
AviddhazaryAGgahArairuddhataistatprayojayet । jyotsnAyAM mandirAyAM vA salile darpaNe'pi vA ॥ 310॥
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:89.0%
कुर्यादुत्तरतालेन ताले निर्वहणं बुधः । एतदासीनपादस्य विधानं परिकीर्तितम् ॥ ३०६॥
A wise performer should execute the conclusion with the succeeding time-measure (uttaratāla). Thus is described the procedure for the seated posture (āsīnapādya).
english translation
kuryAduttaratAlena tAle nirvahaNaM budhaH । etadAsInapAdasya vidhAnaM parikIrtitam ॥ 306॥
hk transliteration by Sanscriptस्यात्पुष्पगण्डिका नाम यदङ्गं तन्निबोधत । तत्रैकं पौरुषं श्लोकं समवृत्तं प्रयोजयेत् ॥ ३०७॥
Now listen about that limb which is called Pushpagandika. In this, one verse composed in the samavrtta metre, of a masculine nature, should be employed.
english translation
syAtpuSpagaNDikA nAma yadaGgaM tannibodhata । tatraikaM pauruSaM zlokaM samavRttaM prayojayet ॥ 307॥
hk transliteration by Sanscriptचतुर्भिः सन्निपातैश्च ज्ञेयं चन्चूपुटाश्रयम् । पादे पादे तथेष्टं च वाद्यं नृत्यं तथैव च ॥ ३०८॥
It should be known that the Chanchupuṭāśraya consists of four combinations (of movements). At the end of each quarter (pāda), instrumental music and dance, as desired, should also be performed.
english translation
caturbhiH sannipAtaizca jJeyaM cancUpuTAzrayam । pAde pAde tatheSTaM ca vAdyaM nRtyaM tathaiva ca ॥ 308॥
hk transliteration by Sanscriptततश्चान्ये स्मृतं वृत्ते खञ्जनर्कुटसञ्ज्ञिते । अन्ते निर्वहणे चास्य शीर्षकं पञ्चपाणिना ॥ ३०९॥
Next comes another metre called Khañjana and Arkuṭa. At its conclusion, during the closing movement, the head movement (śīrṣaka) is to be performed with the five hand gestures (pañcapāṇinā).
english translation
tatazcAnye smRtaM vRtte khaJjanarkuTasaJjJite । ante nirvahaNe cAsya zIrSakaM paJcapANinA ॥ 309॥
hk transliteration by Sanscriptआविद्धशर्याङ्गहारैरुद्धतैस्तत्प्रयोजयेत् । ज्योत्स्नायां मन्दिरायां वा सलिले दर्पणेऽपि वा ॥ ३१०॥
It should be performed with vigorous movements of the body resembling those of one struck by arrows. It is to be enacted in moonlight, in a pavilion, in water, or even before a mirror.
english translation
AviddhazaryAGgahArairuddhataistatprayojayet । jyotsnAyAM mandirAyAM vA salile darpaNe'pi vA ॥ 310॥
hk transliteration by Sanscript