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)
10.
अध्याय १०
Cari Movements
•
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:36.3%
पार्श्वक्रान्तः पुनर्वाम आक्षिप्तो दक्षिणस्तथा । समावर्त्य त्रिकं चैव दण्डपादं प्रसारयेत् ॥ २६॥
sanskrit
Perform Pārśvakrānta with the left foot and Ākṣipta with the right. Then rotate the Trika and extend the Daṇḍapāda.
english translation
pArzvakrAntaH punarvAma AkSipto dakSiNastathA | samAvartya trikaM caiva daNDapAdaM prasArayet || 26||
hk transliteration by Sanscriptसूचीवामपदं दद्यात् त्रिकं तु परिवर्तयेत् । भुजङ्गत्रासितश्चाद्यो वामोऽतिक्रान्त एव च ॥ २७॥
sanskrit
Place the left foot in Sūcī, rotate the Trika, perform Bhujanga-Trāsita as the first movement, followed by Atikrānta with the left foot.
english translation
sUcIvAmapadaM dadyAt trikaM tu parivartayet | bhujaGgatrAsitazcAdyo vAmo'tikrAnta eva ca || 27||
hk transliteration by Sanscriptएष चारीप्रयोगस्तु विहृते मण्डले भवेत् । सूचीमाद्यक्रमं कृत्वा चाऽपक्रान्तं च वामकम् ॥ २८॥
sanskrit
This application of Cārī takes place within the executed Maṇḍala, beginning with the Sūcī posture, followed by the initial sequence, and then the leftward Apakrānta movement.
english translation
eSa cArIprayogastu vihRte maNDale bhavet | sUcImAdyakramaM kRtvA cA'pakrAntaM ca vAmakam || 28||
hk transliteration by Sanscriptपार्श्वक्रान्तस्ततश्चाद्योऽप्यलातश्चैव वामकः । भ्रान्त्वा चारीभिरेताभिः पर्यायेणाथ मण्डलम् ॥ २९॥
sanskrit
Next is the Pārśvakrānta movement, followed by the initial stance and the leftward Alāta. The Maṇḍala is completed by sequentially rotating with these Cārīs.
english translation
pArzvakrAntastatazcAdyo'pyalAtazcaiva vAmakaH | bhrAntvA cArIbhiretAbhiH paryAyeNAtha maNDalam || 29||
hk transliteration by Sanscriptषट्संख्यं सप्तसंख्यं च ललितैः पादविक्रमैः । अधिकुर्यादपक्रान्तमतिक्रान्तं च वामकम् ॥ ३०॥
sanskrit
Using six and seven sequential graceful foot movements, one should execute the Apakrānta and Atikrānta on the left side.
english translation
SaTsaMkhyaM saptasaMkhyaM ca lalitaiH pAdavikramaiH | adhikuryAdapakrAntamatikrAntaM ca vAmakam || 30||
hk transliteration by SanscriptNatyashastra
Progress:36.3%
पार्श्वक्रान्तः पुनर्वाम आक्षिप्तो दक्षिणस्तथा । समावर्त्य त्रिकं चैव दण्डपादं प्रसारयेत् ॥ २६॥
sanskrit
Perform Pārśvakrānta with the left foot and Ākṣipta with the right. Then rotate the Trika and extend the Daṇḍapāda.
english translation
pArzvakrAntaH punarvAma AkSipto dakSiNastathA | samAvartya trikaM caiva daNDapAdaM prasArayet || 26||
hk transliteration by Sanscriptसूचीवामपदं दद्यात् त्रिकं तु परिवर्तयेत् । भुजङ्गत्रासितश्चाद्यो वामोऽतिक्रान्त एव च ॥ २७॥
sanskrit
Place the left foot in Sūcī, rotate the Trika, perform Bhujanga-Trāsita as the first movement, followed by Atikrānta with the left foot.
english translation
sUcIvAmapadaM dadyAt trikaM tu parivartayet | bhujaGgatrAsitazcAdyo vAmo'tikrAnta eva ca || 27||
hk transliteration by Sanscriptएष चारीप्रयोगस्तु विहृते मण्डले भवेत् । सूचीमाद्यक्रमं कृत्वा चाऽपक्रान्तं च वामकम् ॥ २८॥
sanskrit
This application of Cārī takes place within the executed Maṇḍala, beginning with the Sūcī posture, followed by the initial sequence, and then the leftward Apakrānta movement.
english translation
eSa cArIprayogastu vihRte maNDale bhavet | sUcImAdyakramaM kRtvA cA'pakrAntaM ca vAmakam || 28||
hk transliteration by Sanscriptपार्श्वक्रान्तस्ततश्चाद्योऽप्यलातश्चैव वामकः । भ्रान्त्वा चारीभिरेताभिः पर्यायेणाथ मण्डलम् ॥ २९॥
sanskrit
Next is the Pārśvakrānta movement, followed by the initial stance and the leftward Alāta. The Maṇḍala is completed by sequentially rotating with these Cārīs.
english translation
pArzvakrAntastatazcAdyo'pyalAtazcaiva vAmakaH | bhrAntvA cArIbhiretAbhiH paryAyeNAtha maNDalam || 29||
hk transliteration by Sanscriptषट्संख्यं सप्तसंख्यं च ललितैः पादविक्रमैः । अधिकुर्यादपक्रान्तमतिक्रान्तं च वामकम् ॥ ३०॥
sanskrit
Using six and seven sequential graceful foot movements, one should execute the Apakrānta and Atikrānta on the left side.
english translation
SaTsaMkhyaM saptasaMkhyaM ca lalitaiH pAdavikramaiH | adhikuryAdapakrAntamatikrAntaM ca vAmakam || 30||
hk transliteration by Sanscript