Natyashastra

siva.sh/natyashastra/4/301

त्रिपाणिलयसंयुक्तं तत्र वाद्यं प्रयोजयेत् । यथा लयस्तथा वाद्यं कर्तव्यमिह वादकैः ॥ ३०१॥

sanskrit

The music should be played with three types of tempo (Pāni), and the instrumental music should follow the same rhythm as the dance, in the manner prescribed by the musicians.

english translation

tripANilayasaMyuktaM tatra vAdyaM prayojayet | yathA layastathA vAdyaM kartavyamiha vAdakaiH || 301||

hk transliteration

siva.sh/natyashastra/4/302

[ ततं चानुगतं चापि ओघं च करणान्वितम् । स्थिरे तत्त्वं (तं) प्रयोक्तव्यं मध्ये चानुगतं भवेत् ॥ भूयश्चौघः प्रयोक्तव्यस्त्वेष वाद्यगतो विधिः । छन्दोगीतकमासाद्य त्वङ्गानि परिवर्तयेत् ॥ एष कार्यो विधिर्नित्यं नृत्ताभिनयवादिते । यानि वस्तुनिबद्धानि तेषामन्ते ग्रहो भवेत् ॥ अङ्गानां तु परावृत्तावादावेव ग्रहो मतः ॥] एवमेष विधिः कार्यो गीतेष्वासारितेष्वपि । देवस्तुत्याश्रयं ह्येतत्सुकुमारं निबोधत ॥ ३०२॥

sanskrit

The music should be accompanied by Ogha (quick tempo) and Anugata (moderate tempo) in accordance with the Karanas (dance movements). The first foot of the music should be played in a steady rhythm, while the Anugata follows the same tempo as the dance. In the case of a repeating Ogha, this is the method prescribed for the instrumental music. After performing the chant or song, the gestures and dance movements should be adjusted accordingly. This is the prescribed rule for dance, song, and music performances. When songs are connected with specific subjects, the music should conclude at the end, and the gestures should reflect this. When there is a reversal or change of limbs, the gestures should also adapt accordingly. This method is to be followed for the performance of songs in the Āsārita. The prescribed rule is applied when the song is intended for the praise of the gods and has a delicate, refined approach.

english translation

[ tataM cAnugataM cApi oghaM ca karaNAnvitam | sthire tattvaM (taM) prayoktavyaM madhye cAnugataM bhavet || bhUyazcaughaH prayoktavyastveSa vAdyagato vidhiH | chandogItakamAsAdya tvaGgAni parivartayet || eSa kAryo vidhirnityaM nRttAbhinayavAdite | yAni vastunibaddhAni teSAmante graho bhavet || aGgAnAM tu parAvRttAvAdAveva graho mataH ||] evameSa vidhiH kAryo gIteSvAsAriteSvapi | devastutyAzrayaM hyetatsukumAraM nibodhata || 302||

hk transliteration

siva.sh/natyashastra/4/303

स्त्रीपुंसयोस्तु संलापो यस्तु कामसमुद्भवः । तज्ज्ञेयं सुकुमारं हि श‍ृङ्गाररससम्भवम् ॥ ३०३॥

sanskrit

The conversation between a man and a woman that arises from love is to be understood as a delicate and refined expression, originating from the sentiment of erotic love (śṛṅgāra rasa).

english translation

strIpuMsayostu saMlApo yastu kAmasamudbhavaH | tajjJeyaM sukumAraM hi za‍RGgArarasasambhavam || 303||

hk transliteration

siva.sh/natyashastra/4/304

यस्यां यस्यामवस्थायां नृत्तं योज्यं प्रयोक्तृभिः । तत्सर्वंं सम्प्रवक्ष्यामि तच्च मे श‍ृणुत द्विजाः ॥ ३०४॥

sanskrit

I will now explain the dance that should be applied in each of the given conditions. Listen carefully, O Brahmins, to this.

english translation

yasyAM yasyAmavasthAyAM nRttaM yojyaM prayoktRbhiH | tatsarvaMM sampravakSyAmi tacca me za‍RNuta dvijAH || 304||

hk transliteration

siva.sh/natyashastra/4/305

अङ्गवस्तुनिवृत्तौ तु तथा वर्णनिवृत्तिषु । तथा चाभुदयस्थाने नृत्तं तज्ज्ञः प्रयोजयेत् ॥ ३०५॥

sanskrit

In the cases where the body and subject matter are concluded, and also in the cessation of the descriptive parts, dance should be applied by the knowledgeable practitioner in the place of flourishing (or success).

english translation

aGgavastunivRttau tu tathA varNanivRttiSu | tathA cAbhudayasthAne nRttaM tajjJaH prayojayet || 305||

hk transliteration

siva.sh/natyashastra/4/301

त्रिपाणिलयसंयुक्तं तत्र वाद्यं प्रयोजयेत् । यथा लयस्तथा वाद्यं कर्तव्यमिह वादकैः ॥ ३०१॥

sanskrit

The music should be played with three types of tempo (Pāni), and the instrumental music should follow the same rhythm as the dance, in the manner prescribed by the musicians.

english translation

tripANilayasaMyuktaM tatra vAdyaM prayojayet | yathA layastathA vAdyaM kartavyamiha vAdakaiH || 301||

hk transliteration

siva.sh/natyashastra/4/302

[ ततं चानुगतं चापि ओघं च करणान्वितम् । स्थिरे तत्त्वं (तं) प्रयोक्तव्यं मध्ये चानुगतं भवेत् ॥ भूयश्चौघः प्रयोक्तव्यस्त्वेष वाद्यगतो विधिः । छन्दोगीतकमासाद्य त्वङ्गानि परिवर्तयेत् ॥ एष कार्यो विधिर्नित्यं नृत्ताभिनयवादिते । यानि वस्तुनिबद्धानि तेषामन्ते ग्रहो भवेत् ॥ अङ्गानां तु परावृत्तावादावेव ग्रहो मतः ॥] एवमेष विधिः कार्यो गीतेष्वासारितेष्वपि । देवस्तुत्याश्रयं ह्येतत्सुकुमारं निबोधत ॥ ३०२॥

sanskrit

The music should be accompanied by Ogha (quick tempo) and Anugata (moderate tempo) in accordance with the Karanas (dance movements). The first foot of the music should be played in a steady rhythm, while the Anugata follows the same tempo as the dance. In the case of a repeating Ogha, this is the method prescribed for the instrumental music. After performing the chant or song, the gestures and dance movements should be adjusted accordingly. This is the prescribed rule for dance, song, and music performances. When songs are connected with specific subjects, the music should conclude at the end, and the gestures should reflect this. When there is a reversal or change of limbs, the gestures should also adapt accordingly. This method is to be followed for the performance of songs in the Āsārita. The prescribed rule is applied when the song is intended for the praise of the gods and has a delicate, refined approach.

english translation

[ tataM cAnugataM cApi oghaM ca karaNAnvitam | sthire tattvaM (taM) prayoktavyaM madhye cAnugataM bhavet || bhUyazcaughaH prayoktavyastveSa vAdyagato vidhiH | chandogItakamAsAdya tvaGgAni parivartayet || eSa kAryo vidhirnityaM nRttAbhinayavAdite | yAni vastunibaddhAni teSAmante graho bhavet || aGgAnAM tu parAvRttAvAdAveva graho mataH ||] evameSa vidhiH kAryo gIteSvAsAriteSvapi | devastutyAzrayaM hyetatsukumAraM nibodhata || 302||

hk transliteration

siva.sh/natyashastra/4/303

स्त्रीपुंसयोस्तु संलापो यस्तु कामसमुद्भवः । तज्ज्ञेयं सुकुमारं हि श‍ृङ्गाररससम्भवम् ॥ ३०३॥

sanskrit

The conversation between a man and a woman that arises from love is to be understood as a delicate and refined expression, originating from the sentiment of erotic love (śṛṅgāra rasa).

english translation

strIpuMsayostu saMlApo yastu kAmasamudbhavaH | tajjJeyaM sukumAraM hi za‍RGgArarasasambhavam || 303||

hk transliteration

siva.sh/natyashastra/4/304

यस्यां यस्यामवस्थायां नृत्तं योज्यं प्रयोक्तृभिः । तत्सर्वंं सम्प्रवक्ष्यामि तच्च मे श‍ृणुत द्विजाः ॥ ३०४॥

sanskrit

I will now explain the dance that should be applied in each of the given conditions. Listen carefully, O Brahmins, to this.

english translation

yasyAM yasyAmavasthAyAM nRttaM yojyaM prayoktRbhiH | tatsarvaMM sampravakSyAmi tacca me za‍RNuta dvijAH || 304||

hk transliteration

siva.sh/natyashastra/4/305

अङ्गवस्तुनिवृत्तौ तु तथा वर्णनिवृत्तिषु । तथा चाभुदयस्थाने नृत्तं तज्ज्ञः प्रयोजयेत् ॥ ३०५॥

sanskrit

In the cases where the body and subject matter are concluded, and also in the cessation of the descriptive parts, dance should be applied by the knowledgeable practitioner in the place of flourishing (or success).

english translation

aGgavastunivRttau tu tathA varNanivRttiSu | tathA cAbhudayasthAne nRttaM tajjJaH prayojayet || 305||

hk transliteration