1.
अध्याय १
Origin of Drama
•
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
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:3.2%
(प्रेक्षागृहाणां सर्वेषां प्रशस्तं मध्यमं स्मृतम् । तत्र पाठ्यं च गेयं च सुखश्राव्यतरं भवेत् ॥ प्रेक्षागृहाणां सर्वेषां त्रिप्रकारो विधिः स्मृतः । विकृष्टश्चतुरस्रश्च त्र्यस्रश्चैव प्रयोक्तृभिः ॥ कनीयस्तु स्मृतं त्र्यस्रं चतुरस्रं तु मध्यमम् । ज्येष्ठं विकृष्टं विज्ञेयं नाट्यवेदप्रयोक्तृभिः ॥) प्रमाणं यच्च निर्दिष्टं लक्षणं विश्वकर्मणा । प्रेक्षागृहाणां सर्वेषां तच्चैव हि निबोधत ॥ १२॥
sanskrit
In all theatres, the middle type is considered the best. There, the recitation and singing should be pleasant and easily audible. In all theatres, three types of constructions are prescribed: the raised (vikṛṣṭa), the quadrilateral (caturasra), and the triangular (tryasra), as mentioned by the practitioners. For the inferior type, the triangular construction is prescribed, the quadrilateral type is prescribed for the middle, and the raised type is considered the superior, according to the practitioners of the art of theatre. The measurement and characteristics for all types of theatres, as prescribed by Viśvakarman, should be carefully understood.
english translation
(prekSAgRhANAM sarveSAM prazastaM madhyamaM smRtam | tatra pAThyaM ca geyaM ca sukhazrAvyataraM bhavet || prekSAgRhANAM sarveSAM triprakAro vidhiH smRtaH | vikRSTazcaturasrazca tryasrazcaiva prayoktRbhiH || kanIyastu smRtaM tryasraM caturasraM tu madhyamam | jyeSThaM vikRSTaM vijJeyaM nATyavedaprayoktRbhiH ||) pramANaM yacca nirdiSTaM lakSaNaM vizvakarmaNA | prekSAgRhANAM sarveSAM taccaiva hi nibodhata || 12||
hk transliteration
Natyashastra
Progress:3.2%
(प्रेक्षागृहाणां सर्वेषां प्रशस्तं मध्यमं स्मृतम् । तत्र पाठ्यं च गेयं च सुखश्राव्यतरं भवेत् ॥ प्रेक्षागृहाणां सर्वेषां त्रिप्रकारो विधिः स्मृतः । विकृष्टश्चतुरस्रश्च त्र्यस्रश्चैव प्रयोक्तृभिः ॥ कनीयस्तु स्मृतं त्र्यस्रं चतुरस्रं तु मध्यमम् । ज्येष्ठं विकृष्टं विज्ञेयं नाट्यवेदप्रयोक्तृभिः ॥) प्रमाणं यच्च निर्दिष्टं लक्षणं विश्वकर्मणा । प्रेक्षागृहाणां सर्वेषां तच्चैव हि निबोधत ॥ १२॥
sanskrit
In all theatres, the middle type is considered the best. There, the recitation and singing should be pleasant and easily audible. In all theatres, three types of constructions are prescribed: the raised (vikṛṣṭa), the quadrilateral (caturasra), and the triangular (tryasra), as mentioned by the practitioners. For the inferior type, the triangular construction is prescribed, the quadrilateral type is prescribed for the middle, and the raised type is considered the superior, according to the practitioners of the art of theatre. The measurement and characteristics for all types of theatres, as prescribed by Viśvakarman, should be carefully understood.
english translation
(prekSAgRhANAM sarveSAM prazastaM madhyamaM smRtam | tatra pAThyaM ca geyaM ca sukhazrAvyataraM bhavet || prekSAgRhANAM sarveSAM triprakAro vidhiH smRtaH | vikRSTazcaturasrazca tryasrazcaiva prayoktRbhiH || kanIyastu smRtaM tryasraM caturasraM tu madhyamam | jyeSThaM vikRSTaM vijJeyaM nATyavedaprayoktRbhiH ||) pramANaM yacca nirdiSTaM lakSaNaM vizvakarmaNA | prekSAgRhANAM sarveSAM taccaiva hi nibodhata || 12||
hk transliteration