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
11.
अध्याय ११
Maṇḍala movements
•
अध्याय १२
Different Gaits (gati)
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:37.4%
एवं व्यायामसंयोगे कार्यं मण्डलकल्पनम् । अतः परं प्रवक्ष्यामि गतीस्तु प्रकृतिस्थिताः ॥ १॥
Thus, through the combination of exercises the formation of Maṇḍalas is accomplished. Now, I shall further explain the gaits that are inherent to different characters.
english translation
evaM vyAyAmasaMyoge kAryaM maNDalakalpanam | ataH paraM pravakSyAmi gatIstu prakRtisthitAH || 1||
hk transliteration by Sanscriptतत्रोपवहनं कृत्वा भाण्डवाद्यपुरस्कृतम् । यथामार्गरसोपेतं प्रकृतीनां प्रवेशने ॥ २॥
There, after performing the overture, accompanied by drum and other musical instruments, according to the Mārga adopted, the entrance of the characters is made.
english translation
tatropavahanaM kRtvA bhANDavAdyapuraskRtam | yathAmArgarasopetaM prakRtInAM pravezane || 2||
hk transliteration by Sanscriptध्रुवायां सम्प्रयुक्तायां पटे चैवापकर्षिते । कार्यः प्रवेशः पात्राणां नानार्थरससम्भवः ॥ ३॥
With the Dhruvā-songs properly performed and the curtain drawn aside, the entrance of the characters, who are to create various Sentiments, should take place.
english translation
dhruvAyAM samprayuktAyAM paTe caivApakarSite | kAryaH pravezaH pAtrANAM nAnArtharasasambhavaH || 3||
hk transliteration by Sanscriptस्थानं तु वैष्णवं कृत्वा ह्युत्तमे मध्यमे तथा । समुन्नतं समं चैव चतुरस्रमुरस्तथा ॥ ४॥
Assuming the Vaiṣṇava posture for superior and middling characters, with the chest raised, the body held in the Sama and Caturasra stance.
english translation
sthAnaM tu vaiSNavaM kRtvA hyuttame madhyame tathA | samunnataM samaM caiva caturasramurastathA || 4||
hk transliteration by Sanscriptबाहुशीर्षे प्रसन्ने च नात्युत्क्षिप्ते च कारयेत् । ग्रीवाप्रदेशः कर्तव्यो मयूराञ्चितमस्तकः ॥ ५॥
The region of the shoulders and head should be kept at ease and not excessively raised; the neck should be held in a manner with the head gracefully bent like that of a peacock.
english translation
bAhuzIrSe prasanne ca nAtyutkSipte ca kArayet | grIvApradezaH kartavyo mayUrAJcitamastakaH || 5||
hk transliteration by SanscriptNatyashastra
Progress:37.4%
एवं व्यायामसंयोगे कार्यं मण्डलकल्पनम् । अतः परं प्रवक्ष्यामि गतीस्तु प्रकृतिस्थिताः ॥ १॥
Thus, through the combination of exercises the formation of Maṇḍalas is accomplished. Now, I shall further explain the gaits that are inherent to different characters.
english translation
evaM vyAyAmasaMyoge kAryaM maNDalakalpanam | ataH paraM pravakSyAmi gatIstu prakRtisthitAH || 1||
hk transliteration by Sanscriptतत्रोपवहनं कृत्वा भाण्डवाद्यपुरस्कृतम् । यथामार्गरसोपेतं प्रकृतीनां प्रवेशने ॥ २॥
There, after performing the overture, accompanied by drum and other musical instruments, according to the Mārga adopted, the entrance of the characters is made.
english translation
tatropavahanaM kRtvA bhANDavAdyapuraskRtam | yathAmArgarasopetaM prakRtInAM pravezane || 2||
hk transliteration by Sanscriptध्रुवायां सम्प्रयुक्तायां पटे चैवापकर्षिते । कार्यः प्रवेशः पात्राणां नानार्थरससम्भवः ॥ ३॥
With the Dhruvā-songs properly performed and the curtain drawn aside, the entrance of the characters, who are to create various Sentiments, should take place.
english translation
dhruvAyAM samprayuktAyAM paTe caivApakarSite | kAryaH pravezaH pAtrANAM nAnArtharasasambhavaH || 3||
hk transliteration by Sanscriptस्थानं तु वैष्णवं कृत्वा ह्युत्तमे मध्यमे तथा । समुन्नतं समं चैव चतुरस्रमुरस्तथा ॥ ४॥
Assuming the Vaiṣṇava posture for superior and middling characters, with the chest raised, the body held in the Sama and Caturasra stance.
english translation
sthAnaM tu vaiSNavaM kRtvA hyuttame madhyame tathA | samunnataM samaM caiva caturasramurastathA || 4||
hk transliteration by Sanscriptबाहुशीर्षे प्रसन्ने च नात्युत्क्षिप्ते च कारयेत् । ग्रीवाप्रदेशः कर्तव्यो मयूराञ्चितमस्तकः ॥ ५॥
The region of the shoulders and head should be kept at ease and not excessively raised; the neck should be held in a manner with the head gracefully bent like that of a peacock.
english translation
bAhuzIrSe prasanne ca nAtyutkSipte ca kArayet | grIvApradezaH kartavyo mayUrAJcitamastakaH || 5||
hk transliteration by Sanscript