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:35.2%
21
यः समैः संहितो गच्छेत्तत्र कार्यो लयाश्रयः । चतुष्कलोऽथ द्विकलस्तथैवैककलः पुनः ॥ २१॥
When one walks along with equals, the tempo to be followed should be four Kalās, or two Kalās, or one Kalā accordingly.
english translation
yaH samaiH saMhito gacchettatra kAryo layAzrayaH | catuSkalo'tha dvikalastathaivaikakalaH punaH || 21||
22
अथ मध्यमनीचैस्तु गच्छेद्यः परिवारितः । चतुष्कलमथार्धं च तथा चैककलं पुनः ॥ २२॥
But when accompanied by those of middling or inferior status, the tempo should be four Kalās, or two Kalās, or one Kalā accordingly.
atha madhyamanIcaistu gacchedyaH parivAritaH | catuSkalamathArdhaM ca tathA caikakalaM punaH || 22||
23
दैत्यदानवयक्षाणां नृपपन्नगरक्षसाम् । चतुस्तालप्रमाणेन कर्तव्याथ गतिर्बुधैः ॥ २३॥
Wise actors should perform the gait with a step length of four Tālas for demons, Dānavas, Yakṣas, kings, and Rākṣasas.
daityadAnavayakSANAM nRpapannagarakSasAm | catustAlapramANena kartavyAtha gatirbudhaiH || 23||
24
दिवौकसां तु सर्वेषां मध्यमा गतिरिष्यते । तत्रापि चोद्धता ये तु तेषां देवैः समा गतिः ॥ २४॥
For all other celestial beings, the gait should be of medium length; but those among them who are majestic should have a gait equal to that of the gods.
divaukasAM tu sarveSAM madhyamA gatiriSyate | tatrApi coddhatA ye tu teSAM devaiH samA gatiH || 24||
25
ऋषय ऊचुः - यदा मनुष्या राजानस्तेषां देवगतिः कथम् । अत्रोच्यते कथं नैषा गती राज्ञां भविष्यति ॥ २५॥
The sages said: When kings are human beings, how can they have the gait of gods? How then will this gait be suitable for kings?
RSaya UcuH - yadA manuSyA rAjAnasteSAM devagatiH katham | atrocyate kathaM naiSA gatI rAjJAM bhaviSyati || 25||
Chapter 12
Verses 16-20
Verses 26-30
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Natyashastra
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