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:3.5%
[प्रेक्षागृहाणां सर्वेषां त्रिप्रकारो विधिः स्मृतः । विकृष्टश्चतुरस्रश्च त्र्यस्रश्चैव प्रयोक्तृभिः ॥) कनीयस्तु स्मृतं त्र्यस्रं चतुरस्रं तु मध्यमम् । ज्येष्ठं विकृष्टं विज्ञेयं नाट्यवेदप्रयोक्तृभिः ]॥ देवानां मानसी सृष्टिर्गृहेषूपवनेषु च । यत्नभावाभिनिष्पन्नाः सर्वे भावा हि मानुषा ॥ २२॥
sanskrit
In all playhouses, there are three types of construction methods remembered: the distorted (vikṛṣṭa), quadrangular (caturasra), and triangular (tryasra) designs, as stated by practitioners. The triangular type is considered the smallest, the quadrangular type is the medium, and the distorted type is the largest, to be known by those who practice the science of drama. The divine creation exists in houses and gardens, where all the emotions, born from effort and feeling, are present in human beings.
english translation
[prekSAgRhANAM sarveSAM triprakAro vidhiH smRtaH | vikRSTazcaturasrazca tryasrazcaiva prayoktRbhiH ||) kanIyastu smRtaM tryasraM caturasraM tu madhyamam | jyeSThaM vikRSTaM vijJeyaM nATyavedaprayoktRbhiH ]|| devAnAM mAnasI sRSTirgRheSUpavaneSu ca | yatnabhAvAbhiniSpannAH sarve bhAvA hi mAnuSA || 22||
hk transliteration by SanscriptNatyashastra
Progress:3.5%
[प्रेक्षागृहाणां सर्वेषां त्रिप्रकारो विधिः स्मृतः । विकृष्टश्चतुरस्रश्च त्र्यस्रश्चैव प्रयोक्तृभिः ॥) कनीयस्तु स्मृतं त्र्यस्रं चतुरस्रं तु मध्यमम् । ज्येष्ठं विकृष्टं विज्ञेयं नाट्यवेदप्रयोक्तृभिः ]॥ देवानां मानसी सृष्टिर्गृहेषूपवनेषु च । यत्नभावाभिनिष्पन्नाः सर्वे भावा हि मानुषा ॥ २२॥
sanskrit
In all playhouses, there are three types of construction methods remembered: the distorted (vikṛṣṭa), quadrangular (caturasra), and triangular (tryasra) designs, as stated by practitioners. The triangular type is considered the smallest, the quadrangular type is the medium, and the distorted type is the largest, to be known by those who practice the science of drama. The divine creation exists in houses and gardens, where all the emotions, born from effort and feeling, are present in human beings.
english translation
[prekSAgRhANAM sarveSAM triprakAro vidhiH smRtaH | vikRSTazcaturasrazca tryasrazcaiva prayoktRbhiH ||) kanIyastu smRtaM tryasraM caturasraM tu madhyamam | jyeSThaM vikRSTaM vijJeyaM nATyavedaprayoktRbhiH ]|| devAnAM mAnasI sRSTirgRheSUpavaneSu ca | yatnabhAvAbhiniSpannAH sarve bhAvA hi mAnuSA || 22||
hk transliteration by Sanscript