Natyashastra
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यथाक्षरं तु सर्वत्र यथावद्विनिवेशयेत् । शम्यातालः पुनश्चैव शम्यातालमथापि च ॥ ५६॥
In every case, the syllables should be properly placed according to their order; then Śamyā and Tāla again, and once more Śamyā and Tāla.
english translation
yathAkSaraM tu sarvatra yathAvadvinivezayet । zamyAtAlaH punazcaiva zamyAtAlamathApi ca ॥ 56॥
hk transliteration by Sanscriptआद्येऽक्षरे सन्निपातं पञ्चबाणश्च यो भवेत् । तालं शम्यां च तालं च शम्यातालौ ततः परम् ॥ ५७॥
In the first syllable, there should be Sannipāta and the Pañcabāṇa; then Tāla, Śamyā, Tāla, and after that again Śamyā and Tāla.
english translation
Adye'kSare sannipAtaM paJcabANazca yo bhavet । tAlaM zamyAM ca tAlaM ca zamyAtAlau tataH param ॥ 57॥
hk transliteration by Sanscriptएष एव द्वितीयेऽपि पञ्चबाणो विधिः स्मृतः । प्लुतच्छेदेऽपि तस्येष्टः सन्निपातः प्रयोक्तृभिः ॥ ५८॥
The same rule of pañcabāṇa is also considered applicable to the second syllable. Even in the case of a pluta (prolonged syllable) division, the use of sannipāta (combined movement) is favored by performers.
english translation
eSa eva dvitIye'pi paJcabANo vidhiH smRtaH । plutacchede'pi tasyeSTaH sannipAtaH prayoktRbhiH ॥ 58॥
hk transliteration by Sanscriptएवं यथाक्षरं ज्ञेयं कनिष्ठासारितं बुधैः । यथाक्षरस्याक्षरैश्च तालपातान्निबोधत ॥ ५९॥
Thus, the wise should understand the Kaniṣṭhāsārita according to syllables. Now learn the time-measure strokes according to each syllable.
english translation
evaM yathAkSaraM jJeyaM kaniSThAsAritaM budhaiH । yathAkSarasyAkSaraizca tAlapAtAnnibodhata ॥ 59॥
hk transliteration by Sanscriptचकारे तु भवेच्छम्या द्वितीये ताल एव च । पुकारे तु भवेच्छम्या टकारे ताल एव च ॥ ६०॥
On the syllable "cha", there should be a silent (shamya) stroke, and on the second syllable, a tala stroke. On the syllable "pu", there should be a silent (shamya) stroke, and on the syllable "ṭa", a tala stroke.
english translation
cakAre tu bhavecchamyA dvitIye tAla eva ca । pukAre tu bhavecchamyA TakAre tAla eva ca ॥ 60॥
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:84.0%
यथाक्षरं तु सर्वत्र यथावद्विनिवेशयेत् । शम्यातालः पुनश्चैव शम्यातालमथापि च ॥ ५६॥
In every case, the syllables should be properly placed according to their order; then Śamyā and Tāla again, and once more Śamyā and Tāla.
english translation
yathAkSaraM tu sarvatra yathAvadvinivezayet । zamyAtAlaH punazcaiva zamyAtAlamathApi ca ॥ 56॥
hk transliteration by Sanscriptआद्येऽक्षरे सन्निपातं पञ्चबाणश्च यो भवेत् । तालं शम्यां च तालं च शम्यातालौ ततः परम् ॥ ५७॥
In the first syllable, there should be Sannipāta and the Pañcabāṇa; then Tāla, Śamyā, Tāla, and after that again Śamyā and Tāla.
english translation
Adye'kSare sannipAtaM paJcabANazca yo bhavet । tAlaM zamyAM ca tAlaM ca zamyAtAlau tataH param ॥ 57॥
hk transliteration by Sanscriptएष एव द्वितीयेऽपि पञ्चबाणो विधिः स्मृतः । प्लुतच्छेदेऽपि तस्येष्टः सन्निपातः प्रयोक्तृभिः ॥ ५८॥
The same rule of pañcabāṇa is also considered applicable to the second syllable. Even in the case of a pluta (prolonged syllable) division, the use of sannipāta (combined movement) is favored by performers.
english translation
eSa eva dvitIye'pi paJcabANo vidhiH smRtaH । plutacchede'pi tasyeSTaH sannipAtaH prayoktRbhiH ॥ 58॥
hk transliteration by Sanscriptएवं यथाक्षरं ज्ञेयं कनिष्ठासारितं बुधैः । यथाक्षरस्याक्षरैश्च तालपातान्निबोधत ॥ ५९॥
Thus, the wise should understand the Kaniṣṭhāsārita according to syllables. Now learn the time-measure strokes according to each syllable.
english translation
evaM yathAkSaraM jJeyaM kaniSThAsAritaM budhaiH । yathAkSarasyAkSaraizca tAlapAtAnnibodhata ॥ 59॥
hk transliteration by Sanscriptचकारे तु भवेच्छम्या द्वितीये ताल एव च । पुकारे तु भवेच्छम्या टकारे ताल एव च ॥ ६०॥
On the syllable "cha", there should be a silent (shamya) stroke, and on the second syllable, a tala stroke. On the syllable "pu", there should be a silent (shamya) stroke, and on the syllable "ṭa", a tala stroke.
english translation
cakAre tu bhavecchamyA dvitIye tAla eva ca । pukAre tu bhavecchamyA TakAre tAla eva ca ॥ 60॥
hk transliteration by Sanscript