Natyashastra
Progress:89.5%
अङ्गभूता हि तालस्य यतिपाणिलयाः स्मृताः । त्रयो लयास्तु विज्ञेया द्रुतमध्यविलम्बिते ॥ ३३१॥
The evenness of syllables and words in metre, produced by the alternation of kalās (time-units and sub-units), is called mānasa laya — the mental or internal rhythm.
english translation
aGgabhUtA hi tAlasya yatipANilayAH smRtAH । trayo layAstu vijJeyA drutamadhyavilambite ॥ 331॥
hk transliteration by Sanscriptछन्दोक्षरपदानां हि समत्वं यत्प्रकीर्तितम् । कलाकलान्तरकृतः स लयो मानसञ्ज्ञितः ॥ ३३२॥
The evenness of syllables and words in metre, produced by the alternation of kalās (time-units and sub-units), is called mānasa laya — the mental or internal rhythm.
english translation
chandokSarapadAnAM hi samatvaM yatprakIrtitam । kalAkalAntarakRtaH sa layo mAnasaJjJitaH ॥ 332॥
hk transliteration by Sanscriptश्रोतोगता च गोपुच्छासमा चात्र विधाय च । लयप्रवृत्तवर्णानामक्षराणामथापि वा ॥ ३३३॥
The three kinds—Śrotogatā (flowing forward), Gopucchā (tapering like a cow’s tail), and Samā (even)—are to be applied here, referring to the arrangement of syllables that follow the course of rhythm and tempo.
english translation
zrotogatA ca gopucchAsamA cAtra vidhAya ca । layapravRttavarNAnAmakSarANAmathApi vA ॥ 333॥
hk transliteration by Sanscriptनियमो या(यो) यतिः स्यात्तु गीतवाद्यसमाश्रयः । समपाणिश्च विज्ञेयो ह्यवपाणिस्तथैव च ॥ ३३४॥
The rule known as Yati (pause or rhythmic division) applies equally to song and instrumental music. It is recognized as of two kinds — Sama-pāṇi (equal or balanced beat) and Avapāṇi (uneven or descending beat).
english translation
niyamo yA(yo) yatiH syAttu gItavAdyasamAzrayaH । samapANizca vijJeyo hyavapANistathaiva ca ॥ 334॥
hk transliteration by Sanscriptतथैवोपरिपाणिश्च गीतवाद्यसमाश्रयः । लये नयं समं वाद्यं समपाणिः प्रकीर्त्यते ॥ ३३५॥
Similarly, Uparipāṇi (the upper beat) also applies equally to vocal and instrumental music. When the instrumental time (laya) is kept evenly in rhythm, it is called Samapāṇi (the even beat).
english translation
tathaivoparipANizca gItavAdyasamAzrayaH । laye nayaM samaM vAdyaM samapANiH prakIrtyate ॥ 335॥
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:89.5%
अङ्गभूता हि तालस्य यतिपाणिलयाः स्मृताः । त्रयो लयास्तु विज्ञेया द्रुतमध्यविलम्बिते ॥ ३३१॥
The evenness of syllables and words in metre, produced by the alternation of kalās (time-units and sub-units), is called mānasa laya — the mental or internal rhythm.
english translation
aGgabhUtA hi tAlasya yatipANilayAH smRtAH । trayo layAstu vijJeyA drutamadhyavilambite ॥ 331॥
hk transliteration by Sanscriptछन्दोक्षरपदानां हि समत्वं यत्प्रकीर्तितम् । कलाकलान्तरकृतः स लयो मानसञ्ज्ञितः ॥ ३३२॥
The evenness of syllables and words in metre, produced by the alternation of kalās (time-units and sub-units), is called mānasa laya — the mental or internal rhythm.
english translation
chandokSarapadAnAM hi samatvaM yatprakIrtitam । kalAkalAntarakRtaH sa layo mAnasaJjJitaH ॥ 332॥
hk transliteration by Sanscriptश्रोतोगता च गोपुच्छासमा चात्र विधाय च । लयप्रवृत्तवर्णानामक्षराणामथापि वा ॥ ३३३॥
The three kinds—Śrotogatā (flowing forward), Gopucchā (tapering like a cow’s tail), and Samā (even)—are to be applied here, referring to the arrangement of syllables that follow the course of rhythm and tempo.
english translation
zrotogatA ca gopucchAsamA cAtra vidhAya ca । layapravRttavarNAnAmakSarANAmathApi vA ॥ 333॥
hk transliteration by Sanscriptनियमो या(यो) यतिः स्यात्तु गीतवाद्यसमाश्रयः । समपाणिश्च विज्ञेयो ह्यवपाणिस्तथैव च ॥ ३३४॥
The rule known as Yati (pause or rhythmic division) applies equally to song and instrumental music. It is recognized as of two kinds — Sama-pāṇi (equal or balanced beat) and Avapāṇi (uneven or descending beat).
english translation
niyamo yA(yo) yatiH syAttu gItavAdyasamAzrayaH । samapANizca vijJeyo hyavapANistathaiva ca ॥ 334॥
hk transliteration by Sanscriptतथैवोपरिपाणिश्च गीतवाद्यसमाश्रयः । लये नयं समं वाद्यं समपाणिः प्रकीर्त्यते ॥ ३३५॥
Similarly, Uparipāṇi (the upper beat) also applies equally to vocal and instrumental music. When the instrumental time (laya) is kept evenly in rhythm, it is called Samapāṇi (the even beat).
english translation
tathaivoparipANizca gItavAdyasamAzrayaH । laye nayaM samaM vAdyaM samapANiH prakIrtyate ॥ 335॥
hk transliteration by Sanscript