Natyashastra
Progress:84.1%
एवं चञ्चूपुटे ज्ञेयं पञ्चपाणेरतः परम् । षडारे सन्निपातः स्यात्पिङ्कारे तल एव च ॥ ६१॥
Thus, in the word chancuputa, the strokes should be understood after the fifth syllable. At the syllable shadara there should be a sannipata (combined stroke), and at the syllable pinka a tala stroke.
english translation
evaM caJcUpuTe jJeyaM paJcapANerataH param । SaDAre sannipAtaH syAtpiGkAre tala eva ca ॥ 61॥
hk transliteration by Sanscriptतकारे तु भवेच्छम्या एकारे ताल एव च । त्रकारे तु भवेच्छम्या ककारे ताल एव च ॥ ६२॥
At the syllable ta there should be a shamya, and at the syllable e there should be a tala. At the syllable tra there should be a shamya, and at the syllable ka there should be a tala.
english translation
takAre tu bhavecchamyA ekAre tAla eva ca । trakAre tu bhavecchamyA kakAre tAla eva ca ॥ 62॥
hk transliteration by Sanscriptद्वितीयेऽप्येवमेव स्यात्सन्निपातस्ततः परम् । गुर्वक्षराणां विश्लेषादेवमेव तु मध्यमम् ॥ ६३॥
In the second also it should be the same, followed thereafter by a sannipāta. By the separation of long syllables, in the same way occurs the madhyama.
english translation
dvitIye'pyevameva syAtsannipAtastataH param । gurvakSarANAM vizleSAdevameva tu madhyamam ॥ 63॥
hk transliteration by Sanscriptविश्लेषितानामेषां तु द्विर्भावे या कला भवेत् । पातान्ते सा प्रयोक्तव्या यथावदनुपूर्वशः ॥ ६४॥
For these separated syllables, the unit of time that arises when they occur twice, that should be applied at the end of a pāta, in proper sequence.
english translation
vizleSitAnAmeSAM tu dvirbhAve yA kalA bhavet । pAtAnte sA prayoktavyA yathAvadanupUrvazaH ॥ 64॥
hk transliteration by Sanscriptद्विर्भावान्मध्यमस्येव ज्येष्थमित्यभिधीयते । मध्यमस्य विधनेन न्यसेच्च द्विगुणाः कलाः ॥ ६५॥
From the duplication arises what is called Jyeṣṭha, just like the Madhyama. By the rule of the Madhyama, one should apply it, but with the units of time doubled.
english translation
dvirbhAvAnmadhyamasyeva jyeSthamityabhidhIyate । madhyamasya vidhanena nyasecca dviguNAH kalAH ॥ 65॥
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:84.1%
एवं चञ्चूपुटे ज्ञेयं पञ्चपाणेरतः परम् । षडारे सन्निपातः स्यात्पिङ्कारे तल एव च ॥ ६१॥
Thus, in the word chancuputa, the strokes should be understood after the fifth syllable. At the syllable shadara there should be a sannipata (combined stroke), and at the syllable pinka a tala stroke.
english translation
evaM caJcUpuTe jJeyaM paJcapANerataH param । SaDAre sannipAtaH syAtpiGkAre tala eva ca ॥ 61॥
hk transliteration by Sanscriptतकारे तु भवेच्छम्या एकारे ताल एव च । त्रकारे तु भवेच्छम्या ककारे ताल एव च ॥ ६२॥
At the syllable ta there should be a shamya, and at the syllable e there should be a tala. At the syllable tra there should be a shamya, and at the syllable ka there should be a tala.
english translation
takAre tu bhavecchamyA ekAre tAla eva ca । trakAre tu bhavecchamyA kakAre tAla eva ca ॥ 62॥
hk transliteration by Sanscriptद्वितीयेऽप्येवमेव स्यात्सन्निपातस्ततः परम् । गुर्वक्षराणां विश्लेषादेवमेव तु मध्यमम् ॥ ६३॥
In the second also it should be the same, followed thereafter by a sannipāta. By the separation of long syllables, in the same way occurs the madhyama.
english translation
dvitIye'pyevameva syAtsannipAtastataH param । gurvakSarANAM vizleSAdevameva tu madhyamam ॥ 63॥
hk transliteration by Sanscriptविश्लेषितानामेषां तु द्विर्भावे या कला भवेत् । पातान्ते सा प्रयोक्तव्या यथावदनुपूर्वशः ॥ ६४॥
For these separated syllables, the unit of time that arises when they occur twice, that should be applied at the end of a pāta, in proper sequence.
english translation
vizleSitAnAmeSAM tu dvirbhAve yA kalA bhavet । pAtAnte sA prayoktavyA yathAvadanupUrvazaH ॥ 64॥
hk transliteration by Sanscriptद्विर्भावान्मध्यमस्येव ज्येष्थमित्यभिधीयते । मध्यमस्य विधनेन न्यसेच्च द्विगुणाः कलाः ॥ ६५॥
From the duplication arises what is called Jyeṣṭha, just like the Madhyama. By the rule of the Madhyama, one should apply it, but with the units of time doubled.
english translation
dvirbhAvAnmadhyamasyeva jyeSthamityabhidhIyate । madhyamasya vidhanena nyasecca dviguNAH kalAH ॥ 65॥
hk transliteration by Sanscript