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:37.2%
आद्यं तु जनितं कृत्वा तेनैव च निकुट्टकम् । स एव शकटास्यश्च वामश्चास्कन्दितो भवेत् ॥ ६१॥
sanskrit
By first performing the generated movement, one should create a ‘Nikuttaka’ with it. The same movement is also the one where the leftward side is lifted and is performed with an upward motion.
english translation
AdyaM tu janitaM kRtvA tenaiva ca nikuTTakam | sa eva zakaTAsyazca vAmazcAskandito bhavet || 61||
hk transliteration
विज्ञेयं शकटास्यं तु व्यायामे युद्धमण्डलम् । पादैश्च शकटास्यस्थैः पर्यायेणाथ मण्डलम् ॥ ६२॥
sanskrit
The 'Shakatāsya' movement should be recognized as a part of the exercise and combat circle. It is performed in the same manner with the feet placed in the 'Shakatāsya' position, following the circular pattern in a sequence.
english translation
vijJeyaM zakaTAsyaM tu vyAyAme yuddhamaNDalam | pAdaizca zakaTAsyasthaiH paryAyeNAtha maNDalam || 62||
hk transliteration
आद्यस्तु जनितो भूत्वा स एवास्कन्दितो भवेत् । अपसर्पी पुनर्वामः शकटास्यश्च दक्षिणः ॥ ६३॥
sanskrit
The first movement is generated, and then it should be performed with an ascent. The retreating movement should follow with the left side (Vāmā) and the 'Shakatāsya' on the right (Dakṣiṇa).
english translation
Adyastu janito bhUtvA sa evAskandito bhavet | apasarpI punarvAmaH zakaTAsyazca dakSiNaH || 63||
hk transliteration
भ्रान्त्वा चारीभिरेताभिः पर्यायेणाथ मण्डलम् । अध्यर्धमेतद्विज्ञेयं नियुद्धे चापि मण्डलम् ॥ ६४॥
sanskrit
By performing the movements in a circular manner, the sequence should be completed with alternating rotations. Half of this can be understood as the technique for combat, which is also known as the combat circle (yudhha maṇḍalam).
english translation
bhrAntvA cArIbhiretAbhiH paryAyeNAtha maNDalam | adhyardhametadvijJeyaM niyuddhe cApi maNDalam || 64||
hk transliteration
सूचीमाद्यक्रमं कृत्वा ह्यपक्रान्तं च वामकम् । भुजङ्गत्रासितश्चाद्य एवमेव तु वामकः ॥ ६५॥
sanskrit
By performing the initial movement with the pointed finger, the reverse motion becomes the left position. The first movement, which induces a snake-like fear, also becomes the left position.
english translation
sUcImAdyakramaM kRtvA hyapakrAntaM ca vAmakam | bhujaGgatrAsitazcAdya evameva tu vAmakaH || 65||
hk transliteration
Natyashastra
Progress:37.2%
आद्यं तु जनितं कृत्वा तेनैव च निकुट्टकम् । स एव शकटास्यश्च वामश्चास्कन्दितो भवेत् ॥ ६१॥
sanskrit
By first performing the generated movement, one should create a ‘Nikuttaka’ with it. The same movement is also the one where the leftward side is lifted and is performed with an upward motion.
english translation
AdyaM tu janitaM kRtvA tenaiva ca nikuTTakam | sa eva zakaTAsyazca vAmazcAskandito bhavet || 61||
hk transliteration
विज्ञेयं शकटास्यं तु व्यायामे युद्धमण्डलम् । पादैश्च शकटास्यस्थैः पर्यायेणाथ मण्डलम् ॥ ६२॥
sanskrit
The 'Shakatāsya' movement should be recognized as a part of the exercise and combat circle. It is performed in the same manner with the feet placed in the 'Shakatāsya' position, following the circular pattern in a sequence.
english translation
vijJeyaM zakaTAsyaM tu vyAyAme yuddhamaNDalam | pAdaizca zakaTAsyasthaiH paryAyeNAtha maNDalam || 62||
hk transliteration
आद्यस्तु जनितो भूत्वा स एवास्कन्दितो भवेत् । अपसर्पी पुनर्वामः शकटास्यश्च दक्षिणः ॥ ६३॥
sanskrit
The first movement is generated, and then it should be performed with an ascent. The retreating movement should follow with the left side (Vāmā) and the 'Shakatāsya' on the right (Dakṣiṇa).
english translation
Adyastu janito bhUtvA sa evAskandito bhavet | apasarpI punarvAmaH zakaTAsyazca dakSiNaH || 63||
hk transliteration
भ्रान्त्वा चारीभिरेताभिः पर्यायेणाथ मण्डलम् । अध्यर्धमेतद्विज्ञेयं नियुद्धे चापि मण्डलम् ॥ ६४॥
sanskrit
By performing the movements in a circular manner, the sequence should be completed with alternating rotations. Half of this can be understood as the technique for combat, which is also known as the combat circle (yudhha maṇḍalam).
english translation
bhrAntvA cArIbhiretAbhiH paryAyeNAtha maNDalam | adhyardhametadvijJeyaM niyuddhe cApi maNDalam || 64||
hk transliteration
सूचीमाद्यक्रमं कृत्वा ह्यपक्रान्तं च वामकम् । भुजङ्गत्रासितश्चाद्य एवमेव तु वामकः ॥ ६५॥
sanskrit
By performing the initial movement with the pointed finger, the reverse motion becomes the left position. The first movement, which induces a snake-like fear, also becomes the left position.
english translation
sUcImAdyakramaM kRtvA hyapakrAntaM ca vAmakam | bhujaGgatrAsitazcAdya evameva tu vAmakaH || 65||
hk transliteration