Natyashastra
Progress:83.8%
एष त्र्यस्रे कलापाते विकल्पोऽङ्गुलिभिः कृतः । कनिष्ठाङ्गुलिनिष्क्रामे प्रवेशश्च तथा भवेत् ॥ ४६॥
This is the variation of the three-beat measure performed with the fingers— The little finger moves out and also enters in.
english translation
eSa tryasre kalApAte vikalpo'GgulibhiH kRtaH । kaniSThAGguliniSkrAme pravezazca tathA bhavet ॥ 46॥
hk transliteration by Sanscriptकनिष्ठानामिकास्थाने तालो ज्ञेयस्तृतीयके । शम्यापातश्चतुर्थी स्यान्निष्क्रामो मध्यमाकृतः ॥ ४७॥
In the third beat, the beat is to be made at the place of the little and ring fingers; In the fourth, the staff is struck down, and in the fifth, the middle finger is moved out.
english translation
kaniSThAnAmikAsthAne tAlo jJeyastRtIyake । zamyApAtazcaturthI syAnniSkrAmo madhyamAkRtaH ॥ 47॥
hk transliteration by Sanscriptषष्ठतालस्तथा ज्ञेयो निष्क्रामस्तर्जनीकृतः । शम्याष्टमी ततस्तालो नवमी तु कला स्मृता ॥ ४८॥
The sixth beat is to be known as the one where the index finger is moved out; The eighth is marked by a strike of the staff, and the ninth is considered a fractional beat (kalā).
english translation
SaSThatAlastathA jJeyo niSkrAmastarjanIkRtaH । zamyASTamI tatastAlo navamI tu kalA smRtA ॥ 48॥
hk transliteration by Sanscriptकनिष्ठिकाप्रवेशस्तु दशमी तु कला भवेत् । निष्क्रामश्चैव तर्जन्यास्तदनन्तरमिश्यते ॥ ४९॥
The tenth is the entry of the little finger and is regarded as a fractional beat (kalā); Thereafter, the movement out of the index finger is considered.
english translation
kaniSThikApravezastu dazamI tu kalA bhavet । niSkrAmazcaiva tarjanyAstadanantaramizyate ॥ 49॥
hk transliteration by Sanscriptसन्निपातस्तथा ते च कलाद्वादशकं भवेत् । एषतो वापविक्षेपव्यवधानश्च पण्डितैः ॥ ५०॥
The combination (of all finger movements) is said to make up twelve kalās (fractions of a tāla); Thereafter come the withdrawal, the spreading, and the pause—according to the learned.
english translation
sannipAtastathA te ca kalAdvAdazakaM bhavet । eSato vApavikSepavyavadhAnazca paNDitaiH ॥ 50॥
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:83.8%
एष त्र्यस्रे कलापाते विकल्पोऽङ्गुलिभिः कृतः । कनिष्ठाङ्गुलिनिष्क्रामे प्रवेशश्च तथा भवेत् ॥ ४६॥
This is the variation of the three-beat measure performed with the fingers— The little finger moves out and also enters in.
english translation
eSa tryasre kalApAte vikalpo'GgulibhiH kRtaH । kaniSThAGguliniSkrAme pravezazca tathA bhavet ॥ 46॥
hk transliteration by Sanscriptकनिष्ठानामिकास्थाने तालो ज्ञेयस्तृतीयके । शम्यापातश्चतुर्थी स्यान्निष्क्रामो मध्यमाकृतः ॥ ४७॥
In the third beat, the beat is to be made at the place of the little and ring fingers; In the fourth, the staff is struck down, and in the fifth, the middle finger is moved out.
english translation
kaniSThAnAmikAsthAne tAlo jJeyastRtIyake । zamyApAtazcaturthI syAnniSkrAmo madhyamAkRtaH ॥ 47॥
hk transliteration by Sanscriptषष्ठतालस्तथा ज्ञेयो निष्क्रामस्तर्जनीकृतः । शम्याष्टमी ततस्तालो नवमी तु कला स्मृता ॥ ४८॥
The sixth beat is to be known as the one where the index finger is moved out; The eighth is marked by a strike of the staff, and the ninth is considered a fractional beat (kalā).
english translation
SaSThatAlastathA jJeyo niSkrAmastarjanIkRtaH । zamyASTamI tatastAlo navamI tu kalA smRtA ॥ 48॥
hk transliteration by Sanscriptकनिष्ठिकाप्रवेशस्तु दशमी तु कला भवेत् । निष्क्रामश्चैव तर्जन्यास्तदनन्तरमिश्यते ॥ ४९॥
The tenth is the entry of the little finger and is regarded as a fractional beat (kalā); Thereafter, the movement out of the index finger is considered.
english translation
kaniSThikApravezastu dazamI tu kalA bhavet । niSkrAmazcaiva tarjanyAstadanantaramizyate ॥ 49॥
hk transliteration by Sanscriptसन्निपातस्तथा ते च कलाद्वादशकं भवेत् । एषतो वापविक्षेपव्यवधानश्च पण्डितैः ॥ ५०॥
The combination (of all finger movements) is said to make up twelve kalās (fractions of a tāla); Thereafter come the withdrawal, the spreading, and the pause—according to the learned.
english translation
sannipAtastathA te ca kalAdvAdazakaM bhavet । eSato vApavikSepavyavadhAnazca paNDitaiH ॥ 50॥
hk transliteration by Sanscript