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देवाभिगमने चैव रुषितानां प्रसादने । शोके चाक्रन्दने तीव्रे मृतानां चैव दर्शने ॥ २११॥
In approaching a deity, in pacifying those who are angry, in intense lamentation during sorrow, and in seeing the dead, this posture should be adopted.
english translation
त्रासने च कुसत्त्वानां नीचानां चैव याचने । होमयज्ञक्रियायां च प्रेष्याणां चैव कारयेत् ॥ २१२॥
In frightening timid persons, in begging by the lowly, during sacrificial offerings and rituals, and by servants as well, this posture is to be used.
english translation
मुनीनां नियमेष्वेष भवेदासनजो विधिः । तथासनविधिः कार्यो विविधो नाटकाश्रयः ॥ २१३॥
This sitting posture is to be observed by ascetics during their austerities. Similarly, various types of sitting postures are to be adopted according to the context of the drama.
english translation
स्त्रीणां च पुरुषाणां च बाह्यश्चाभ्यन्तरस्तथा । आभ्यन्तरस्तु नृपतेर्बाह्यो बाह्यगतस्य च ॥ २१४॥
For women and men, there are two kinds of seats—public and private. The private seat is meant for the king, while the public one is for those who are outside (i.e., not part of the inner circle).
english translation
देवानां नृपतीनां च दद्यात् सिंहासनं द्विजः । पुरोधसाममात्यानां भवेद्वेत्रासनं तथा ॥ २१५॥
For gods and kings, the Brāhmaṇa (stage manager) should assign the lion-seat (siṁhāsana). For priests (purohitas) and ministers (amātyas), the cane-seat (vetra-āsana) should be given.
english translation