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:35.2%
सात्वते च प्रवक्ष्यामि प्रविचारं यथाविधिः । स एव प्रविचारस्तु खड्गखेटकयोः स्मृतः ॥ ८१॥
sanskrit
I shall now describe the proper movement in the Sāttvata method. The same movement of the sword and shield is to be followed here.
english translation
sAtvate ca pravakSyAmi pravicAraM yathAvidhiH | sa eva pravicArastu khaDgakheTakayoH smRtaH || 81||
hk transliteration by Sanscriptकेवलं पृष्ठतः शस्त्रं कर्तव्यं खलु सात्वते । गतिश्च वार्षगण्येऽपि सात्वतेन क्रमेण तु ॥ ८२॥
sanskrit
Only the weapon should be moved behind in the Sāttvata method. The movement in the Vārṣagaṇya method follows the same pattern as in the Sāttvata.
english translation
kevalaM pRSThataH zastraM kartavyaM khalu sAtvate | gatizca vArSagaNye'pi sAtvatena krameNa tu || 82||
hk transliteration by Sanscriptशस्त्रखेटकयोश्चापि भ्रमणं संविधीयते । शिरः परिगमस्तद्वच्छस्त्रस्येह भवेत्तथा ॥ ८३॥
sanskrit
The circling of the weapon and the shield is also prescribed. Similarly, the weapon should be moved around the head in this method.
english translation
zastrakheTakayozcApi bhramaNaM saMvidhIyate | ziraH parigamastadvacchastrasyeha bhavettathA || 83||
hk transliteration by Sanscriptउरस्युद्वेष्टनं कार्यं शस्त्रस्यांशेऽथवा पुनः । भारते प्रविचारोऽयं कर्तव्यः स तु कैशिके ॥ ८४॥
sanskrit
The weapon should be flourished near the chest or the shoulder. This mode of movement prescribed in the Bhārata Nyāya should also be followed in the Kaiśika Nyāya.
english translation
urasyudveSTanaM kAryaM zastrasyAMze'thavA punaH | bhArate pravicAro'yaM kartavyaH sa tu kaizike || 84||
hk transliteration by Sanscriptविभ्रमय्य तथा शस्त्रं केवलं मूर्ध्नि पातयेत् । प्रविचारा प्रयोक्तव्या ह्येवमेतेऽङ्गलीलया ॥ ८५॥
sanskrit
After skillfully flourishing the weapon, it should be made to strike only on the head. These movements should be performed with graceful limb gestures.
english translation
vibhramayya tathA zastraM kevalaM mUrdhni pAtayet | pravicArA prayoktavyA hyevamete'GgalIlayA || 85||
hk transliteration by SanscriptNatyashastra
Progress:35.2%
सात्वते च प्रवक्ष्यामि प्रविचारं यथाविधिः । स एव प्रविचारस्तु खड्गखेटकयोः स्मृतः ॥ ८१॥
sanskrit
I shall now describe the proper movement in the Sāttvata method. The same movement of the sword and shield is to be followed here.
english translation
sAtvate ca pravakSyAmi pravicAraM yathAvidhiH | sa eva pravicArastu khaDgakheTakayoH smRtaH || 81||
hk transliteration by Sanscriptकेवलं पृष्ठतः शस्त्रं कर्तव्यं खलु सात्वते । गतिश्च वार्षगण्येऽपि सात्वतेन क्रमेण तु ॥ ८२॥
sanskrit
Only the weapon should be moved behind in the Sāttvata method. The movement in the Vārṣagaṇya method follows the same pattern as in the Sāttvata.
english translation
kevalaM pRSThataH zastraM kartavyaM khalu sAtvate | gatizca vArSagaNye'pi sAtvatena krameNa tu || 82||
hk transliteration by Sanscriptशस्त्रखेटकयोश्चापि भ्रमणं संविधीयते । शिरः परिगमस्तद्वच्छस्त्रस्येह भवेत्तथा ॥ ८३॥
sanskrit
The circling of the weapon and the shield is also prescribed. Similarly, the weapon should be moved around the head in this method.
english translation
zastrakheTakayozcApi bhramaNaM saMvidhIyate | ziraH parigamastadvacchastrasyeha bhavettathA || 83||
hk transliteration by Sanscriptउरस्युद्वेष्टनं कार्यं शस्त्रस्यांशेऽथवा पुनः । भारते प्रविचारोऽयं कर्तव्यः स तु कैशिके ॥ ८४॥
sanskrit
The weapon should be flourished near the chest or the shoulder. This mode of movement prescribed in the Bhārata Nyāya should also be followed in the Kaiśika Nyāya.
english translation
urasyudveSTanaM kAryaM zastrasyAMze'thavA punaH | bhArate pravicAro'yaM kartavyaH sa tu kaizike || 84||
hk transliteration by Sanscriptविभ्रमय्य तथा शस्त्रं केवलं मूर्ध्नि पातयेत् । प्रविचारा प्रयोक्तव्या ह्येवमेतेऽङ्गलीलया ॥ ८५॥
sanskrit
After skillfully flourishing the weapon, it should be made to strike only on the head. These movements should be performed with graceful limb gestures.
english translation
vibhramayya tathA zastraM kevalaM mUrdhni pAtayet | pravicArA prayoktavyA hyevamete'GgalIlayA || 85||
hk transliteration by Sanscript