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
12.
अध्याय १२
Maṇḍala movements
•
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:43.1%
यतो मुखं भवेद्भाण्डं द्वारं नेपथ्यकस्य च । सा मन्तव्या तु दिक् पूर्वा नाट्ययोगे न नित्यशः ॥ ११॥
sanskrit
The direction where the front of the properties and the backstage door face should be considered as the eastern direction, but it is not to be fixed permanently in theatrical practice.
english translation
yato mukhaM bhavedbhANDaM dvAraM nepathyakasya ca | sA mantavyA tu dik pUrvA nATyayoge na nityazaH || 11||
hk transliteration
निष्क्रामेद्यश्च तस्माद्वै स तेनैव तथा व्रजेत् । यतस्तस्य कृतं तेन पुरुषेण निवेदनम् ॥ १२॥
sanskrit
The one who exits from there should proceed in the same manner, as the introduction made by that person is considered valid.
english translation
niSkrAmedyazca tasmAdvai sa tenaiva tathA vrajet | yatastasya kRtaM tena puruSeNa nivedanam || 12||
hk transliteration
निष्क्रान्तोऽर्थवशाच्चापि प्रविशेद्यदि तद्गृहम् । यतः प्राप्तः स पुरुषस्तेन मार्गेण निष्क्रमेत् ॥ १३॥
sanskrit
If a person, due to necessity, exits and then re-enters the house, they should leave through the same path by which they arrived.
english translation
niSkrAnto'rthavazAccApi pravizedyadi tadgRham | yataH prAptaH sa puruSastena mArgeNa niSkramet || 13||
hk transliteration
अथवार्थवशाच्चापि तेनैव सह गच्छति । तथैव प्रविशेत् गेहमेकाकी सहितोऽपि वा ॥ १४॥
sanskrit
If due to necessity, the person goes along with that same individual, they should enter the house in the same manner, whether alone or accompanied.
english translation
athavArthavazAccApi tenaiva saha gacchati | tathaiva pravizet gehamekAkI sahito'pi vA || 14||
hk transliteration
तयोश्चापि प्रविशतोः कक्ष्यामन्यां विनिर्दिशेत् । परिक्रमेण रङ्गस्य त्वन्या कक्ष्या विधीयते ॥ १५॥
sanskrit
When both enter, a different division of the stage should be indicated for them. Through the circumambulation of the stage, another division of the stage is to be established.
english translation
tayozcApi pravizatoH kakSyAmanyAM vinirdizet | parikrameNa raGgasya tvanyA kakSyA vidhIyate || 15||
hk transliteration
Natyashastra
Progress:43.1%
यतो मुखं भवेद्भाण्डं द्वारं नेपथ्यकस्य च । सा मन्तव्या तु दिक् पूर्वा नाट्ययोगे न नित्यशः ॥ ११॥
sanskrit
The direction where the front of the properties and the backstage door face should be considered as the eastern direction, but it is not to be fixed permanently in theatrical practice.
english translation
yato mukhaM bhavedbhANDaM dvAraM nepathyakasya ca | sA mantavyA tu dik pUrvA nATyayoge na nityazaH || 11||
hk transliteration
निष्क्रामेद्यश्च तस्माद्वै स तेनैव तथा व्रजेत् । यतस्तस्य कृतं तेन पुरुषेण निवेदनम् ॥ १२॥
sanskrit
The one who exits from there should proceed in the same manner, as the introduction made by that person is considered valid.
english translation
niSkrAmedyazca tasmAdvai sa tenaiva tathA vrajet | yatastasya kRtaM tena puruSeNa nivedanam || 12||
hk transliteration
निष्क्रान्तोऽर्थवशाच्चापि प्रविशेद्यदि तद्गृहम् । यतः प्राप्तः स पुरुषस्तेन मार्गेण निष्क्रमेत् ॥ १३॥
sanskrit
If a person, due to necessity, exits and then re-enters the house, they should leave through the same path by which they arrived.
english translation
niSkrAnto'rthavazAccApi pravizedyadi tadgRham | yataH prAptaH sa puruSastena mArgeNa niSkramet || 13||
hk transliteration
अथवार्थवशाच्चापि तेनैव सह गच्छति । तथैव प्रविशेत् गेहमेकाकी सहितोऽपि वा ॥ १४॥
sanskrit
If due to necessity, the person goes along with that same individual, they should enter the house in the same manner, whether alone or accompanied.
english translation
athavArthavazAccApi tenaiva saha gacchati | tathaiva pravizet gehamekAkI sahito'pi vA || 14||
hk transliteration
तयोश्चापि प्रविशतोः कक्ष्यामन्यां विनिर्दिशेत् । परिक्रमेण रङ्गस्य त्वन्या कक्ष्या विधीयते ॥ १५॥
sanskrit
When both enter, a different division of the stage should be indicated for them. Through the circumambulation of the stage, another division of the stage is to be established.
english translation
tayozcApi pravizatoH kakSyAmanyAM vinirdizet | parikrameNa raGgasya tvanyA kakSyA vidhIyate || 15||
hk transliteration