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
Different Gaits (gati)
•
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
अत्राह प्रवृत्तिरिति कस्मात् ? उच्यते पृथिव्यां नानादेशवेषभाषाचारवार्ताः प्रख्यापयतीति वृत्तिः । प्रवृत्तिश्च निवेदने । अत्राह - यथा पृथिव्यां बहवो देशाः सन्ति , कथमासां चतुर्विधत्वम् उपपन्नं, समानलक्षणश्चासां प्रयोग उच्यते , सत्यमेतत् । समानलक्षण आसां प्रयोगः । किन्तु नानादेशवेषभाषाचारो लोक इति कृत्वा लोकानुमतेन वृत्तिसंश्रितस्य नाट्यस्य वृत्तीनां मया चतुर्विधत्वमभिहितं भारती सात्त्वती कैशिक्यारभटी चेति । वृत्तिसंश्रितैश्च प्रयोगैरभिहिता देशाः । यतः प्रवृत्तिचतुष्टयमभिनिर्वृत्तं प्रयोगश्चोत्पादितः । तत्र दाक्षिणात्यास्तावत् बहुनृत्तगीतवाद्या कैशिकीप्रायाः चतुरमधुरललिताङ्गाभिनयाश्च । तद्यथा - महेन्द्रो मलयः सह्यो मेकलः पालमञ्जरः । एतेषु ये श्रिता देशाः स ज्ञेयो दक्षिणापथः ॥ ३८॥
Why is it said here that the movement is fourfold? It is stated that there are many regions in the world, and the activity of these regions is made known through the different costumes, languages, and stories they use. The movement, therefore, is explained through performance. It is said that the activity in question is fourfold due to the fact that the regions, though they have different costumes, languages, and customs, have a common pattern of performance that is established through the approval of the people. This fourfold nature of the movement is explained by me through Bharati, Sattvata, Kaishiki, and Arbhati. The regions associated with these movements are thus described. The movement is characterized by four types of performances based on four regional styles. For example, in the Dakṣiṇātya region, there are dances and songs of a sweet and delicate nature. These are represented by the following: Mahendra, Malaya, Sahya, and Mekala. These regions are known as the Southern Path.
english translation
atrAha pravRttiriti kasmAt ? ucyate pRthivyAM nAnAdezaveSabhASAcAravArtAH prakhyApayatIti vRttiH | pravRttizca nivedane | atrAha - yathA pRthivyAM bahavo dezAH santi , kathamAsAM caturvidhatvam upapannaM, samAnalakSaNazcAsAM prayoga ucyate , satyametat | samAnalakSaNa AsAM prayogaH | kintu nAnAdezaveSabhASAcAro loka iti kRtvA lokAnumatena vRttisaMzritasya nATyasya vRttInAM mayA caturvidhatvamabhihitaM bhAratI sAttvatI kaizikyArabhaTI ceti | vRttisaMzritaizca prayogairabhihitA dezAH | yataH pravRtticatuSTayamabhinirvRttaM prayogazcotpAditaH | tatra dAkSiNAtyAstAvat bahunRttagItavAdyA kaizikIprAyAH caturamadhuralalitAGgAbhinayAzca | tadyathA - mahendro malayaH sahyo mekalaH pAlamaJjaraH | eteSu ye zritA dezAH sa jJeyo dakSiNApathaH || 38||
hk transliteration by Sanscript