Natyashastra
Progress:89.4%
उत्तमोत्तमकं प्रोक्तं हेलानृत्यविभूषितम् । कोपप्रसादबहुलं सविक्षेपैरुपक्रमैः ॥ ३२६॥
The Uttamottamaka is described as being adorned with graceful dance movements (helā-nṛtya), abounding in expressions of anger and delight, and commenced with various gestures and dramatic beginnings.
english translation
uttamottamakaM proktaM helAnRtyavibhUSitam । kopaprasAdabahulaM savikSepairupakramaiH ॥ 326॥
hk transliteration by Sanscriptसंलापरचितैर्नित्यमुक्तप्रत्युक्तमिष्यते । वज्रार्धेन प्रकर्यास्तु तस्य तालविधिः स्मृतः ॥ ३२७॥
It is always performed through dialogues and counter-dialogues, and its rhythm or time-measure (tāla) is prescribed to be executed in the half measure of the Vajra rhythm.
english translation
saMlAparacitairnityamuktapratyuktamiSyate । vajrArdhena prakaryAstu tasya tAlavidhiH smRtaH ॥ 327॥
hk transliteration by Sanscriptततस्तु शीर्षकं कार्यं संयुक्तं पञ्चपाणिना । उक्तप्रत्युक्तमेवं हि यथोक्तं परिकीर्तितम् ॥ ३२८॥
Then the śīrṣaka (concluding section) should be performed in combination with the pañcapāṇi rhythm. Thus, as stated before, it should consist of dialogues and counter-dialogues.
english translation
tatastu zIrSakaM kAryaM saMyuktaM paJcapANinA । uktapratyuktamevaM hi yathoktaM parikIrtitam ॥ 328॥
hk transliteration by Sanscriptएवमेतद्बुधैर्ज्ञेयं माणं तालप्रमाणतः । तद्गाथापाणिकादीनां सप्तरूपं प्रकीर्तितम् ॥ ३२९॥
Thus, this measure should be understood by the learned according to the standard of rhythm (tāla). The seven forms, beginning with gāthā and pāṇika, are declared in this manner.
english translation
evametadbudhairjJeyaM mANaM tAlapramANataH । tadgAthApANikAdInAM saptarUpaM prakIrtitam ॥ 329॥
hk transliteration by Sanscriptयस्तु तालं न जानाति न स गाता न वादकः । तस्मात्सर्वप्रयत्नेन कार्यं तालावधारणम् ॥ ३३०॥
He who does not know the rhythm (tāla) is neither a singer nor an instrumentalist. Therefore, the understanding and mastery of rhythm should be pursued with all effort.
english translation
yastu tAlaM na jAnAti na sa gAtA na vAdakaH । tasmAtsarvaprayatnena kAryaM tAlAvadhAraNam ॥ 330॥
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:89.4%
उत्तमोत्तमकं प्रोक्तं हेलानृत्यविभूषितम् । कोपप्रसादबहुलं सविक्षेपैरुपक्रमैः ॥ ३२६॥
The Uttamottamaka is described as being adorned with graceful dance movements (helā-nṛtya), abounding in expressions of anger and delight, and commenced with various gestures and dramatic beginnings.
english translation
uttamottamakaM proktaM helAnRtyavibhUSitam । kopaprasAdabahulaM savikSepairupakramaiH ॥ 326॥
hk transliteration by Sanscriptसंलापरचितैर्नित्यमुक्तप्रत्युक्तमिष्यते । वज्रार्धेन प्रकर्यास्तु तस्य तालविधिः स्मृतः ॥ ३२७॥
It is always performed through dialogues and counter-dialogues, and its rhythm or time-measure (tāla) is prescribed to be executed in the half measure of the Vajra rhythm.
english translation
saMlAparacitairnityamuktapratyuktamiSyate । vajrArdhena prakaryAstu tasya tAlavidhiH smRtaH ॥ 327॥
hk transliteration by Sanscriptततस्तु शीर्षकं कार्यं संयुक्तं पञ्चपाणिना । उक्तप्रत्युक्तमेवं हि यथोक्तं परिकीर्तितम् ॥ ३२८॥
Then the śīrṣaka (concluding section) should be performed in combination with the pañcapāṇi rhythm. Thus, as stated before, it should consist of dialogues and counter-dialogues.
english translation
tatastu zIrSakaM kAryaM saMyuktaM paJcapANinA । uktapratyuktamevaM hi yathoktaM parikIrtitam ॥ 328॥
hk transliteration by Sanscriptएवमेतद्बुधैर्ज्ञेयं माणं तालप्रमाणतः । तद्गाथापाणिकादीनां सप्तरूपं प्रकीर्तितम् ॥ ३२९॥
Thus, this measure should be understood by the learned according to the standard of rhythm (tāla). The seven forms, beginning with gāthā and pāṇika, are declared in this manner.
english translation
evametadbudhairjJeyaM mANaM tAlapramANataH । tadgAthApANikAdInAM saptarUpaM prakIrtitam ॥ 329॥
hk transliteration by Sanscriptयस्तु तालं न जानाति न स गाता न वादकः । तस्मात्सर्वप्रयत्नेन कार्यं तालावधारणम् ॥ ३३०॥
He who does not know the rhythm (tāla) is neither a singer nor an instrumentalist. Therefore, the understanding and mastery of rhythm should be pursued with all effort.
english translation
yastu tAlaM na jAnAti na sa gAtA na vAdakaH । tasmAtsarvaprayatnena kAryaM tAlAvadhAraNam ॥ 330॥
hk transliteration by Sanscript