Natyashastra

siva.sh/natyashastra/31/316

त्र्यङ्गविच्छेदकं विन्द्याद्युक्तं प्रक्रीडितादिभिः । अनिष्ठुरश्लक्ष्णपदं गान्धारीजातिमाश्रितम् ॥ ३१६॥

sanskrit

It should be composed of three parts (tryaṅga-vicchedaka), accompanied by playful movements and the like. Its words should be neither harsh nor too smooth, and it should be based on the Gāndhārī musical mode (jāti).

english translation

tryaGgavicchedakaM vindyAdyuktaM prakrIDitAdibhiH । aniSThurazlakSNapadaM gAndhArIjAtimAzritam ॥ 316॥

hk transliteration by Sanscript

siva.sh/natyashastra/31/317

चञ्चत्पुटेन योक्तव्यं त्रिमूढं द्विकलेन तु । चतुःषष्टिः सन्निपातास्तस्मिंश्चैव प्रकीर्तिताः ॥ ३१७॥

sanskrit

It should be performed with the Chanchatpuṭa rhythm; the Trimūḍha pattern should be rendered in double time (dvikalena). In it, sixty-four rhythmic combinations (sannipāta) are said to be employed.

english translation

caJcatpuTena yoktavyaM trimUDhaM dvikalena tu । catuHSaSTiH sannipAtAstasmiMzcaiva prakIrtitAH ॥ 317॥

hk transliteration by Sanscript

siva.sh/natyashastra/31/318

यथा मार्गकलोपेता विदारी विवधान्वितः । अङ्गहारान्सविष्कम्भान्नैव चात्र प्रयोजयेत् ॥ ३१८॥

sanskrit

When accompanied by movements along the stage-path (mārga) and various rhythmic patterns (kalā), it is known as Vidārī. In this form, no aṅgahāras or interludes (viṣkambhas) should be employed.

english translation

yathA mArgakalopetA vidArI vivadhAnvitaH । aGgahArAnsaviSkambhAnnaiva cAtra prayojayet ॥ 318॥

hk transliteration by Sanscript

siva.sh/natyashastra/31/319

केवलं पौरुषैर्भावैर्वाक्यं नाम्नापि तेन यत् । नर्कुटं खञ्जकं चैव त्रिविधं न प्रयोजयेत् ॥ ३१९॥

sanskrit

The composition known by that name should be expressed only through masculine sentiments. The three types—Narkuṭa, Khāñjaka, and others—should not be employed in it.

english translation

kevalaM pauruSairbhAvairvAkyaM nAmnApi tena yat । narkuTaM khaJjakaM caiva trividhaM na prayojayet ॥ 319॥

hk transliteration by Sanscript

siva.sh/natyashastra/31/320

सैन्धवीमाश्रितं भाषां ज्ञेयं सैन्धवकं बुधैः । रूपवाद्यादिसंयुक्तं युग्मतालकृतं तथा ॥ ३२०॥

sanskrit

The wise recognize the composition called Saindhavaka as one based on the Saindhavī dialect. It is accompanied by gestures and instrumental music, and performed in double rhythm.

english translation

saindhavImAzritaM bhASAM jJeyaM saindhavakaM budhaiH । rUpavAdyAdisaMyuktaM yugmatAlakRtaM tathA ॥ 320॥

hk transliteration by Sanscript

siva.sh/natyashastra/31/316

त्र्यङ्गविच्छेदकं विन्द्याद्युक्तं प्रक्रीडितादिभिः । अनिष्ठुरश्लक्ष्णपदं गान्धारीजातिमाश्रितम् ॥ ३१६॥

sanskrit

It should be composed of three parts (tryaṅga-vicchedaka), accompanied by playful movements and the like. Its words should be neither harsh nor too smooth, and it should be based on the Gāndhārī musical mode (jāti).

english translation

tryaGgavicchedakaM vindyAdyuktaM prakrIDitAdibhiH । aniSThurazlakSNapadaM gAndhArIjAtimAzritam ॥ 316॥

hk transliteration by Sanscript

siva.sh/natyashastra/31/317

चञ्चत्पुटेन योक्तव्यं त्रिमूढं द्विकलेन तु । चतुःषष्टिः सन्निपातास्तस्मिंश्चैव प्रकीर्तिताः ॥ ३१७॥

sanskrit

It should be performed with the Chanchatpuṭa rhythm; the Trimūḍha pattern should be rendered in double time (dvikalena). In it, sixty-four rhythmic combinations (sannipāta) are said to be employed.

english translation

caJcatpuTena yoktavyaM trimUDhaM dvikalena tu । catuHSaSTiH sannipAtAstasmiMzcaiva prakIrtitAH ॥ 317॥

hk transliteration by Sanscript

siva.sh/natyashastra/31/318

यथा मार्गकलोपेता विदारी विवधान्वितः । अङ्गहारान्सविष्कम्भान्नैव चात्र प्रयोजयेत् ॥ ३१८॥

sanskrit

When accompanied by movements along the stage-path (mārga) and various rhythmic patterns (kalā), it is known as Vidārī. In this form, no aṅgahāras or interludes (viṣkambhas) should be employed.

english translation

yathA mArgakalopetA vidArI vivadhAnvitaH । aGgahArAnsaviSkambhAnnaiva cAtra prayojayet ॥ 318॥

hk transliteration by Sanscript

siva.sh/natyashastra/31/319

केवलं पौरुषैर्भावैर्वाक्यं नाम्नापि तेन यत् । नर्कुटं खञ्जकं चैव त्रिविधं न प्रयोजयेत् ॥ ३१९॥

sanskrit

The composition known by that name should be expressed only through masculine sentiments. The three types—Narkuṭa, Khāñjaka, and others—should not be employed in it.

english translation

kevalaM pauruSairbhAvairvAkyaM nAmnApi tena yat । narkuTaM khaJjakaM caiva trividhaM na prayojayet ॥ 319॥

hk transliteration by Sanscript

siva.sh/natyashastra/31/320

सैन्धवीमाश्रितं भाषां ज्ञेयं सैन्धवकं बुधैः । रूपवाद्यादिसंयुक्तं युग्मतालकृतं तथा ॥ ३२०॥

sanskrit

The wise recognize the composition called Saindhavaka as one based on the Saindhavī dialect. It is accompanied by gestures and instrumental music, and performed in double rhythm.

english translation

saindhavImAzritaM bhASAM jJeyaM saindhavakaM budhaiH । rUpavAdyAdisaMyuktaM yugmatAlakRtaM tathA ॥ 320॥

hk transliteration by Sanscript