•
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
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)
31.
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:1.6%
76
प्रयोगे प्रस्तुते ह्येवं स्फीते शक्रमहे पुनः । त्रासं सञ्जनयन्ति स्म विघ्नाः शेषास्तु नृत्यताम् ॥७६॥
As the performance flourished once more during the grand festival of Shakra, the remaining obstacles began to instill fear among those performing the dance.
english translation
prayoge prastute hyevaM sphIte zakramahe punaH | trAsaM saJjanayanti sma vighnAH zeSAstu nRtyatAm ||76||
77
दृष्ट्वा तेषां व्यवसितं दैत्यानां विप्रकारजम् । उपस्थितोऽहं ब्रह्माणं सुतैः सर्वैः समन्वितः ॥७७॥
Seeing the resolve of the demons causing disruptions, I, along with all my sons, approached Brahma.
dRSTvA teSAM vyavasitaM daityAnAM viprakArajam | upasthito'haM brahmANaM sutaiH sarvaiH samanvitaH ||77||
78
निश्चिता भगवन्विघ्ना नाट्यस्यास्य विनाशने । अस्य रक्षाविधिं सम्यगाज्ञापय सुरेश्वर ॥७८॥
O Lord, the obstacles have resolved to destroy this performance. Please ordain a proper method for its protection, O Lord of the gods.
nizcitA bhagavanvighnA nATyasyAsya vinAzane | asya rakSAvidhiM samyagAjJApaya surezvara ||78||
79
ततश्च विश्वकर्माणं ब्रह्मोवाच प्रयत्नतः । कुरु लक्षणसम्पन्नं नाट्यवेश्म महामते ॥७९॥
Then Brahma said to Vishvakarma, "O wise one, with great effort, construct a theater hall endowed with all auspicious features."
tatazca vizvakarmANaM brahmovAca prayatnataH | kuru lakSaNasampannaM nATyavezma mahAmate ||79||
80
ततोऽचिरेण कालेन विश्वकर्मा महच्छुभम् । सर्वलक्षणसम्पन्नं कृत्वा नाट्यगृहं तु सः ॥८०॥
Then, shortly thereafter, Vishvakarma constructed a grand and auspicious theater hall, endowed with all the desired features.
tato'cireNa kAlena vizvakarmA mahacchubham | sarvalakSaNasampannaM kRtvA nATyagRhaM tu saH ||80||
Chapter 1
Verses 71-75
Verses 81-85
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