Natyashastra
Progress:84.5%
बहिर्वा वर्धमाने वा कनिष्ठां न हि दक्षिणे । द्विगुणक्षीर(गुणाक्षर)संयोगादन्यमार्गनियोजनात् ॥ ८१॥
Whether outside the Vardhamāna or within it, the short (bāla) Tāla is never used in the Dakṣiṇa Mārga. This is because, by doubling the syllables (or Kalās) and applying other Mārgas, the Layāntara (tarita) is naturally established.
english translation
bahirvA vardhamAne vA kaniSThAM na hi dakSiNe । dviguNakSIra(guNAkSara)saMyogAdanyamArganiyojanAt ॥ 81॥
hk transliteration by Sanscriptनृत्यकालविशेषाच्च बालादन्यल्लयान्तरम् । तृतीया सद्वितीया च प्रथमा चैव तत्कला ॥ ८२॥
Depending on the particular time of the dance, the short (bāla) Tāla gives rise to the Layāntara. In this, the third, the second, and the first parts each retain all their Kalās intact.
english translation
nRtyakAlavizeSAcca bAlAdanyallayAntaram । tRtIyA sadvitIyA ca prathamA caiva tatkalA ॥ 82॥
hk transliteration by Sanscriptद्विकलं योगमाश्रित्य मध्यमासारितं तु तत् । चतुर्थीमादितः कृत्वा चतस्रः कण्डिका यथा ॥ ८३॥
By adopting a twofold combination, one obtains the medium Āsārita. When the fourth part is taken first, the four parts are arranged in proper order.
english translation
dvikalaM yogamAzritya madhyamAsAritaM tu tat । caturthImAditaH kRtvA catasraH kaNDikA yathA ॥ 83॥
hk transliteration by Sanscriptचतुष्कलो न ?? ज्येष्थमासारितं तु तत् । प्रयोगस्तु यदा त्वेषां पिण्डीबन्धैविकल्पते ॥ ८४॥
When the fourfold combination is used, it constitutes the long Āsārita. Their application, however, occurs only in connection with the Piṇḍībandhas.
english translation
catuSkalo na ?? jyeSthamAsAritaM tu tat । prayogastu yadA tveSAM piNDIbandhaivikalpate ॥ 84॥
hk transliteration by Sanscriptप्रत्येकं तु(त्व)ङ्गिन्यासस्तदा तेषां पृथक्पृथक् । मुखं प्रतिमुखं चैव देहसंहरणं तथा ॥ ८५॥
Each of their applications is to be executed distinctly, with each limb treated separately. The Mukha, Pratimukha, Deha, and Saṃharaṇa are to be observed in this order.
english translation
pratyekaM tu(tva)GginyAsastadA teSAM pRthakpRthak । mukhaM pratimukhaM caiva dehasaMharaNaM tathA ॥ 85॥
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:84.5%
बहिर्वा वर्धमाने वा कनिष्ठां न हि दक्षिणे । द्विगुणक्षीर(गुणाक्षर)संयोगादन्यमार्गनियोजनात् ॥ ८१॥
Whether outside the Vardhamāna or within it, the short (bāla) Tāla is never used in the Dakṣiṇa Mārga. This is because, by doubling the syllables (or Kalās) and applying other Mārgas, the Layāntara (tarita) is naturally established.
english translation
bahirvA vardhamAne vA kaniSThAM na hi dakSiNe । dviguNakSIra(guNAkSara)saMyogAdanyamArganiyojanAt ॥ 81॥
hk transliteration by Sanscriptनृत्यकालविशेषाच्च बालादन्यल्लयान्तरम् । तृतीया सद्वितीया च प्रथमा चैव तत्कला ॥ ८२॥
Depending on the particular time of the dance, the short (bāla) Tāla gives rise to the Layāntara. In this, the third, the second, and the first parts each retain all their Kalās intact.
english translation
nRtyakAlavizeSAcca bAlAdanyallayAntaram । tRtIyA sadvitIyA ca prathamA caiva tatkalA ॥ 82॥
hk transliteration by Sanscriptद्विकलं योगमाश्रित्य मध्यमासारितं तु तत् । चतुर्थीमादितः कृत्वा चतस्रः कण्डिका यथा ॥ ८३॥
By adopting a twofold combination, one obtains the medium Āsārita. When the fourth part is taken first, the four parts are arranged in proper order.
english translation
dvikalaM yogamAzritya madhyamAsAritaM tu tat । caturthImAditaH kRtvA catasraH kaNDikA yathA ॥ 83॥
hk transliteration by Sanscriptचतुष्कलो न ?? ज्येष्थमासारितं तु तत् । प्रयोगस्तु यदा त्वेषां पिण्डीबन्धैविकल्पते ॥ ८४॥
When the fourfold combination is used, it constitutes the long Āsārita. Their application, however, occurs only in connection with the Piṇḍībandhas.
english translation
catuSkalo na ?? jyeSthamAsAritaM tu tat । prayogastu yadA tveSAM piNDIbandhaivikalpate ॥ 84॥
hk transliteration by Sanscriptप्रत्येकं तु(त्व)ङ्गिन्यासस्तदा तेषां पृथक्पृथक् । मुखं प्रतिमुखं चैव देहसंहरणं तथा ॥ ८५॥
Each of their applications is to be executed distinctly, with each limb treated separately. The Mukha, Pratimukha, Deha, and Saṃharaṇa are to be observed in this order.
english translation
pratyekaM tu(tva)GginyAsastadA teSAM pRthakpRthak । mukhaM pratimukhaM caiva dehasaMharaNaM tathA ॥ 85॥
hk transliteration by Sanscript