•
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
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91
स्तम्भेषु मत्तवारण्याः स्थापिता परिपालने । भूतयक्षपिशाश्च गुह्यकाश्च महाबलाः ॥ ९१॥
The wild elephants were placed on the pillars for protection, along with powerful spirits, ghosts, and hidden beings.
english translation
stambheSu mattavAraNyAH sthApitA paripAlane | bhUtayakSapizAzca guhyakAzca mahAbalAH || 91||
92
जर्जरे तु विनिक्षिप्तं वज्रं दैत्यनिबर्हणम् । तत्पर्वसु विनिक्षिप्ताः सुरेन्द्रा ह्यमितौजसः ॥ ९२॥
The thunderbolt, which destroys the demons, was placed in the decayed state. On the festival days, the powerful gods, the lords of the heavens, were also placed there.
jarjare tu vinikSiptaM vajraM daityanibarhaNam | tatparvasu vinikSiptAH surendrA hyamitaujasaH || 92||
93
शिरःपर्वस्थितो ब्रह्मा द्वितीये शङ्करस्तथा । तृतीये च स्थितो विष्णुश्चतुर्थे स्कन्द एव च ॥ ९३॥
Brahma was positioned on the head, Shiva on the second part, Vishnu on the third, and Skanda on the fourth.
ziraHparvasthito brahmA dvitIye zaGkarastathA | tRtIye ca sthito viSNuzcaturthe skanda eva ca || 93||
94
पञ्चमे च महानागाः शेषवासुकितक्षकाः । एवं विघ्नविनाशाय स्थापिता जर्जरे सुराः ॥ ९४॥
In the fifth place, the great serpents, Shesha, Vasuki, and Takshaka, were positioned. Thus, the gods were established to destroy the obstacles.
paJcame ca mahAnAgAH zeSavAsukitakSakAH | evaM vighnavinAzAya sthApitA jarjare surAH || 94||
95
रङ्गपीठस्य मध्ये तु स्वयं ब्रह्मा प्रतिष्ठितः । इष्ट्यर्थं रङ्गमध्ये तु क्रियते पुष्पमोक्षणम् ॥ ९५॥
In the center of the stage, Brahma himself was seated. For the purpose of worship, the offering of flowers is performed in the middle of the stage.
raGgapIThasya madhye tu svayaM brahmA pratiSThitaH | iSTyarthaM raGgamadhye tu kriyate puSpamokSaNam || 95||
Chapter 1
Verses 86-90
Verses 96-100
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Natyashastra
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