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:36.7%
91
द्रुतैश्चूर्णपदैश्चैव गन्तव्यं रङ्गमण्डले । विमानस्थस्य कर्तव्या ह्येषैव स्यन्दिनी गतिः ॥ ९१॥
With quick, short steps one must move about the stage; this is the flowing gait to be used for one seated in a celestial vehicle (vimāna).
english translation
drutaizcUrNapadaizcaiva gantavyaM raGgamaNDale | vimAnasthasya kartavyA hyeSaiva syandinI gatiH || 91||
92
आरोढुमुद्वहेद् गात्रं किञ्चित् स्यादुन्मुखस्थितम् । अस्यैव वैपरीत्येन कुर्याच्चाप्यवरोहणम् ॥ ९२॥
He should lift and raise the leg a little while standing with the face upward. Conversely, he should also perform the act of descending (getting down) in the same manner.
AroDhumudvahed gAtraM kiJcit syAdunmukhasthitam | asyaiva vaiparItyena kuryAccApyavarohaNam || 92||
93
अधोऽवलोकनैश्चैव मण्डलावर्तनेन च । आकाशगमने चैव कर्तव्या नाट्ययोक्तृभिः ॥ ९३॥
While moving through the sky, the actor should look downward and move in a circular manner (around the stage).
adho'valokanaizcaiva maNDalAvartanena ca | AkAzagamane caiva kartavyA nATyayoktRbhiH || 93||
94
स्थानेन समपादेन तथा चूर्णपदैरपि । व्योम्नश्चावतरेद्यस्तु तस्यैतां कारयेत् गतिम् ॥ ९४॥
From the Samapāda stance and with short steps, one descending from the sky should perform this kind of gait.
sthAnena samapAdena tathA cUrNapadairapi | vyomnazcAvataredyastu tasyaitAM kArayet gatim || 94||
95
ऋज्वायतोन्नतनतैः कुटिलावर्तितैरथ । भ्रश्यतश्च तथाकाशादपविद्धभुजा गतिः ॥ ९५॥
The gait with straight, stretched, bent, and twisted movements, And unsteady steps—this is the gait of one with scattered arms, falling from the sky.
RjvAyatonnatanataiH kuTilAvartitairatha | bhrazyatazca tathAkAzAdapaviddhabhujA gatiH || 95||
Chapter 12
Verses 86-90
Verses 96-100
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