1.
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)
•
अध्याय १०
Cari Movements
11.
अध्याय ११
Maṇḍala movements
12.
अध्याय १२
Maṇḍala movements
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)
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:34.6%
इदमेव विपर्यस्तं प्रणयक्रोध इष्यते । उपालम्भकृते चैव प्रणयोद्वेगयोस्तथा ॥ ५६॥
sanskrit
This very (posture), when reversed, is to be used in the anger of love. It is also employed in the administration of rebuke, as well as in love and distress.
english translation
idameva viparyastaM praNayakrodha iSyate | upAlambhakRte caiva praNayodvegayostathA || 56||
hk transliteration by Sanscriptशङ्कासूयोग्रताचिन्तामतिस्मृतिषु चैव हि । दैन्ये चपलतायोगे गर्वाभीष्टेषु शक्तिषु ॥ ५७॥
sanskrit
It is also to be used in apprehension, grief, intense thought, deep recollection, as well as in dejection, fickleness, pride, and in desired acts of power.
english translation
zaGkAsUyogratAcintAmatismRtiSu caiva hi | dainye capalatAyoge garvAbhISTeSu zaktiSu || 57||
hk transliteration by Sanscriptशृङ्गाराद्भुतबीभत्सवीरप्राधान्ययोजितम् । समपादे समौ पादौ तालमात्रान्तरस्थितौ ॥ ५८॥
sanskrit
It is to be assumed when the Erotic, the Marvellous, the Odious, and the Heroic Sentiments are predominant, with both feet placed evenly in the Samapāda posture, positioned one Tāla apart.
english translation
zaRGgArAdbhutabIbhatsavIraprAdhAnyayojitam | samapAde samau pAdau tAlamAtrAntarasthitau || 58||
hk transliteration by Sanscriptस्वभावसौष्ठवोपेतौ ब्रह्मा चात्राधिदैवतम् । अनेन कार्यं स्थानेन विप्रमङ्गलधारणम् ॥ ५९॥
sanskrit
With natural elegance and grace, Brahmā is the presiding deity of this (Samapāda) stance. This stance is to be used in rituals for accepting blessings from Brahmins.
english translation
svabhAvasauSThavopetau brahmA cAtrAdhidaivatam | anena kAryaM sthAnena vipramaGgaladhAraNam || 59||
hk transliteration by Sanscriptरूपणे पक्षिणां चैव वरं कौतुकमेव च । स्वस्थानं स्यन्दनस्थानां विमानस्थायिनामपि ॥ ६०॥
sanskrit
It is to be used in imitating birds, displaying excellence, and in acts of amusement. It is also employed for those standing in their own place, those seated in chariots, and those positioned in aerial cars (vimānas).
english translation
rUpaNe pakSiNAM caiva varaM kautukameva ca | svasthAnaM syandanasthAnAM vimAnasthAyinAmapi || 60||
hk transliteration by SanscriptNatyashastra
Progress:34.6%
इदमेव विपर्यस्तं प्रणयक्रोध इष्यते । उपालम्भकृते चैव प्रणयोद्वेगयोस्तथा ॥ ५६॥
sanskrit
This very (posture), when reversed, is to be used in the anger of love. It is also employed in the administration of rebuke, as well as in love and distress.
english translation
idameva viparyastaM praNayakrodha iSyate | upAlambhakRte caiva praNayodvegayostathA || 56||
hk transliteration by Sanscriptशङ्कासूयोग्रताचिन्तामतिस्मृतिषु चैव हि । दैन्ये चपलतायोगे गर्वाभीष्टेषु शक्तिषु ॥ ५७॥
sanskrit
It is also to be used in apprehension, grief, intense thought, deep recollection, as well as in dejection, fickleness, pride, and in desired acts of power.
english translation
zaGkAsUyogratAcintAmatismRtiSu caiva hi | dainye capalatAyoge garvAbhISTeSu zaktiSu || 57||
hk transliteration by Sanscriptशृङ्गाराद्भुतबीभत्सवीरप्राधान्ययोजितम् । समपादे समौ पादौ तालमात्रान्तरस्थितौ ॥ ५८॥
sanskrit
It is to be assumed when the Erotic, the Marvellous, the Odious, and the Heroic Sentiments are predominant, with both feet placed evenly in the Samapāda posture, positioned one Tāla apart.
english translation
zaRGgArAdbhutabIbhatsavIraprAdhAnyayojitam | samapAde samau pAdau tAlamAtrAntarasthitau || 58||
hk transliteration by Sanscriptस्वभावसौष्ठवोपेतौ ब्रह्मा चात्राधिदैवतम् । अनेन कार्यं स्थानेन विप्रमङ्गलधारणम् ॥ ५९॥
sanskrit
With natural elegance and grace, Brahmā is the presiding deity of this (Samapāda) stance. This stance is to be used in rituals for accepting blessings from Brahmins.
english translation
svabhAvasauSThavopetau brahmA cAtrAdhidaivatam | anena kAryaM sthAnena vipramaGgaladhAraNam || 59||
hk transliteration by Sanscriptरूपणे पक्षिणां चैव वरं कौतुकमेव च । स्वस्थानं स्यन्दनस्थानां विमानस्थायिनामपि ॥ ६०॥
sanskrit
It is to be used in imitating birds, displaying excellence, and in acts of amusement. It is also employed for those standing in their own place, those seated in chariots, and those positioned in aerial cars (vimānas).
english translation
rUpaNe pakSiNAM caiva varaM kautukameva ca | svasthAnaM syandanasthAnAM vimAnasthAyinAmapi || 60||
hk transliteration by Sanscript