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:37.3%
भुजङ्गत्रासितैर्भ्रान्त्वा पादैरपि च मण्डलम् । पिष्टकुट्टं च विज्ञेयं चारीभिर्मण्डलं बुधैः ॥ ६६॥
sanskrit
By performing the movements with a fear like that of a serpent, and using the feet as well, the form becomes a circle. The scholars recognize this as the "Pishtakutta" formation, which is performed with a variety of movements.
english translation
bhujaGgatrAsitairbhrAntvA pAdairapi ca maNDalam | piSTakuTTaM ca vijJeyaM cArIbhirmaNDalaM budhaiH || 66||
hk transliteration
सर्वैश्चाषगतैः पादैः परिभ्राम्य तु मण्डलम् । एतच्चाषगतं विद्यान्नियुद्धे चापि मण्डलम् ॥ ६७॥
sanskrit
By moving in a circle with all the feet in the manner of a bird, this formation is recognized as the "Chāṣagata" formation, which is also used in combat.
english translation
sarvaizcASagataiH pAdaiH paribhrAmya tu maNDalam | etaccASagataM vidyAnniyuddhe cApi maNDalam || 67||
hk transliteration
नानाचारीसमुत्थानि मण्डलानि समासतः । उक्तान्यतः परं चैव समचारीणि योजयेत् ॥ ६८॥
sanskrit
The various formations arising from different movements should be combined together, as described previously, and arranged in coordinated groups accordingly.
english translation
nAnAcArIsamutthAni maNDalAni samAsataH | uktAnyataH paraM caiva samacArINi yojayet || 68||
hk transliteration
समचारीप्रयोगो यस्तत्समं नाम मण्डलम् । आचार्यबुद्ध्या तानीह कर्तव्यानि प्रयोक्तृभिः ॥ ६९॥
sanskrit
The formation that results from the application of coordinated movements is called a "Samam" (equivalent formation). These formations should be performed by the practitioner with the guidance of the teacher's wisdom.
english translation
samacArIprayogo yastatsamaM nAma maNDalam | AcAryabuddhyA tAnIha kartavyAni prayoktRbhiH || 69||
hk transliteration
एतानि खण्डानि समण्डलानि युद्धे नियुद्धे च परिक्रमे च । लीलाङ्गमाधुर्यपुरस्कृतानि कार्याणि वाद्यानुगतानि तज्ज्ञैः ॥ ७०॥
sanskrit
These segments and formations, which are used in battle, combat, and in circular motions, are accompanied by grace, charm, and sweetness. They are actions performed in accordance with musical accompaniment and should be followed by those who are knowledgeable in the art.
english translation
etAni khaNDAni samaNDalAni yuddhe niyuddhe ca parikrame ca | lIlAGgamAdhuryapuraskRtAni kAryANi vAdyAnugatAni tajjJaiH || 70||
hk transliteration
Natyashastra
Progress:37.3%
भुजङ्गत्रासितैर्भ्रान्त्वा पादैरपि च मण्डलम् । पिष्टकुट्टं च विज्ञेयं चारीभिर्मण्डलं बुधैः ॥ ६६॥
sanskrit
By performing the movements with a fear like that of a serpent, and using the feet as well, the form becomes a circle. The scholars recognize this as the "Pishtakutta" formation, which is performed with a variety of movements.
english translation
bhujaGgatrAsitairbhrAntvA pAdairapi ca maNDalam | piSTakuTTaM ca vijJeyaM cArIbhirmaNDalaM budhaiH || 66||
hk transliteration
सर्वैश्चाषगतैः पादैः परिभ्राम्य तु मण्डलम् । एतच्चाषगतं विद्यान्नियुद्धे चापि मण्डलम् ॥ ६७॥
sanskrit
By moving in a circle with all the feet in the manner of a bird, this formation is recognized as the "Chāṣagata" formation, which is also used in combat.
english translation
sarvaizcASagataiH pAdaiH paribhrAmya tu maNDalam | etaccASagataM vidyAnniyuddhe cApi maNDalam || 67||
hk transliteration
नानाचारीसमुत्थानि मण्डलानि समासतः । उक्तान्यतः परं चैव समचारीणि योजयेत् ॥ ६८॥
sanskrit
The various formations arising from different movements should be combined together, as described previously, and arranged in coordinated groups accordingly.
english translation
nAnAcArIsamutthAni maNDalAni samAsataH | uktAnyataH paraM caiva samacArINi yojayet || 68||
hk transliteration
समचारीप्रयोगो यस्तत्समं नाम मण्डलम् । आचार्यबुद्ध्या तानीह कर्तव्यानि प्रयोक्तृभिः ॥ ६९॥
sanskrit
The formation that results from the application of coordinated movements is called a "Samam" (equivalent formation). These formations should be performed by the practitioner with the guidance of the teacher's wisdom.
english translation
samacArIprayogo yastatsamaM nAma maNDalam | AcAryabuddhyA tAnIha kartavyAni prayoktRbhiH || 69||
hk transliteration
एतानि खण्डानि समण्डलानि युद्धे नियुद्धे च परिक्रमे च । लीलाङ्गमाधुर्यपुरस्कृतानि कार्याणि वाद्यानुगतानि तज्ज्ञैः ॥ ७०॥
sanskrit
These segments and formations, which are used in battle, combat, and in circular motions, are accompanied by grace, charm, and sweetness. They are actions performed in accordance with musical accompaniment and should be followed by those who are knowledgeable in the art.
english translation
etAni khaNDAni samaNDalAni yuddhe niyuddhe ca parikrame ca | lIlAGgamAdhuryapuraskRtAni kAryANi vAdyAnugatAni tajjJaiH || 70||
hk transliteration