Natyashastra
Progress:36.1%
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
devAbhigamane caiva ruSitAnAM prasAdane । zoke cAkrandane tIvre mRtAnAM caiva darzane ॥ 211॥
hk transliteration by Sanscriptत्रासने 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
trAsane ca kusattvAnAM nIcAnAM caiva yAcane । homayajJakriyAyAM ca preSyANAM caiva kArayet ॥ 212॥
hk transliteration by Sanscriptमुनीनां 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
munInAM niyameSveSa bhavedAsanajo vidhiH । tathAsanavidhiH kAryo vividho nATakAzrayaH ॥ 213॥
hk transliteration by Sanscriptस्त्रीणां 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
strINAM ca puruSANAM ca bAhyazcAbhyantarastathA । Abhyantarastu nRpaterbAhyo bAhyagatasya ca ॥ 214॥
hk transliteration by Sanscriptदेवानां 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
devAnAM nRpatInAM ca dadyAt siMhAsanaM dvijaH । purodhasAmamAtyAnAM bhavedvetrAsanaM tathA ॥ 215॥
hk transliteration by Sanscript1.
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:36.1%
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
devAbhigamane caiva ruSitAnAM prasAdane । zoke cAkrandane tIvre mRtAnAM caiva darzane ॥ 211॥
hk transliteration by Sanscriptत्रासने 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
trAsane ca kusattvAnAM nIcAnAM caiva yAcane । homayajJakriyAyAM ca preSyANAM caiva kArayet ॥ 212॥
hk transliteration by Sanscriptमुनीनां 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
munInAM niyameSveSa bhavedAsanajo vidhiH । tathAsanavidhiH kAryo vividho nATakAzrayaH ॥ 213॥
hk transliteration by Sanscriptस्त्रीणां 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
strINAM ca puruSANAM ca bAhyazcAbhyantarastathA । Abhyantarastu nRpaterbAhyo bAhyagatasya ca ॥ 214॥
hk transliteration by Sanscriptदेवानां 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
devAnAM nRpatInAM ca dadyAt siMhAsanaM dvijaH । purodhasAmamAtyAnAM bhavedvetrAsanaM tathA ॥ 215॥
hk transliteration by Sanscript