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
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%
116
व्याधिग्रस्ते ज्वरार्ते च तपःश्रान्ते क्षुधान्विते । विष्कम्भनकृतप्राणः कृशः क्षामोदरस्तथा ॥ ११६॥
A person afflicted by disease, suffering from fever, exhausted by austerities, or overcome by hunger— whose breath is obstructed, who is emaciated and has a sunken belly—
english translation
vyAdhigraste jvarArte ca tapaHzrAnte kSudhAnvite | viSkambhanakRtaprANaH kRzaH kSAmodarastathA || 116||
117
क्षामस्वरकपोलश्च दीननेत्रस्तथैव च । शनैरुत्क्षेपणं चैव कर्तव्यं हस्तपादयोः ॥ ११७॥
One with a feeble voice and hollow cheeks, with sorrowful eyes — in such a case, the lifting of hands and feet should be done slowly.
kSAmasvarakapolazca dInanetrastathaiva ca | zanairutkSepaNaM caiva kartavyaM hastapAdayoH || 117||
118
कम्पनं चैव गात्राणां क्लेशनं च तथैव च । दूराध्वानं गतस्यापि गतिर्मन्दपदक्रमा ॥ ११८॥
Gait of a person walking a long distance is to consist of slow steps, narrowing of limbs and the rubbing of the knees.
kampanaM caiva gAtrANAM klezanaM ca tathaiva ca | dUrAdhvAnaM gatasyApi gatirmandapadakramA || 118||
119
विकूणनं च गात्रस्य जानुनोश्च विमर्दनम् । स्थूलस्यापि तु कर्तव्या गतिर्देहानुकर्षिणी ॥ ११९॥
There should be twisting of the body and rubbing of the knees, and the Gait of a corpulent person should indicate dragging of the body with effort.
vikUNanaM ca gAtrasya jAnunozca vimardanam | sthUlasyApi tu kartavyA gatirdehAnukarSiNI || 119||
120
समुद्वहनभूयिष्ठा मन्दोत्क्षिप्तपदक्रमा । विष्कम्भगामी च भवेन्निःश्वासबहुलस्तथा ॥ १२०॥
He (the corpulent person) should appear to lift himself up frequently, raise his feet slowly, move with a broad sideways gait, and breathe heavily.
samudvahanabhUyiSThA mandotkSiptapadakramA | viSkambhagAmI ca bhavenniHzvAsabahulastathA || 120||
Chapter 12
Verses 111-115
Verses 121-125
Library
Natyashastra
verses
verse
sanskrit
translation
english