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:35.4%
31
चतुरर्धकलं वा स्यात् तदर्धकलमेव च । अवस्थान्तरमासाद्य कुर्याद् गतिविचेष्टितम् ॥ ३१॥
The duration of the gait may be four, two, one, or even half a Kalā; upon a change of condition, the gait should be suitably adjusted.
english translation
caturardhakalaM vA syAt tadardhakalameva ca | avasthAntaramAsAdya kuryAd gativiceSTitam || 31||
32
ज्येष्ठे चतुष्कलं ह्यत्र मध्यमे द्विकलं भवेत् । द्विकला चोत्तमे यत्र मध्ये त्वेककला भवेत् ॥ ३२॥
Here, the gait of the superior is four Kalās, that of the middling is two Kalās, and that of the inferior is one Kalā.
jyeSThe catuSkalaM hyatra madhyame dvikalaM bhavet | dvikalA cottame yatra madhye tvekakalA bhavet || 32||
33
कलिकं मध्यमे यत्र नीचेष्वर्धकलं भवेत् । एवमर्धार्धहीनं तु जडानां सम्प्रयोजयेत् ॥ ३३॥
Where the gait of the middling is one Kalā, that of the inferior should be half a Kalā; thus, half and quarter measures are applied for the dull or heavy characters.
kalikaM madhyame yatra nIceSvardhakalaM bhavet | evamardhArdhahInaM tu jaDAnAM samprayojayet || 33||
34
ज्वरार्ते च क्षुधार्ते च तपःश्रान्ते भयान्विते । विस्मिते चावहित्थे च तथौत्सुक्यसमन्विते ॥ ३४॥
In fever, hunger, exhaustion from penance, and fear; in astonishment, grief, and eagerness as well.
jvarArte ca kSudhArte ca tapaHzrAnte bhayAnvite | vismite cAvahitthe ca tathautsukyasamanvite || 34||
35
शृङ्गारे चैव शोके च स्वच्छन्दगमने तथा । गतिः स्थितलया कार्याधिकलान्तरपातिता ॥ ३५॥
In love and sorrow, and also in easy walking, the gait should be slow, with steps falling at intervals longer than four Kalās.
zaRGgAre caiva zoke ca svacchandagamane tathA | gatiH sthitalayA kAryAdhikalAntarapAtitA || 35||
Chapter 12
Verses 26-30
Verses 36-40
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Natyashastra
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