1.
अध्याय १
Origin of Drama
2.
अध्याय २
Description of the Playhouse
•
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)
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:5.4%
1
सर्वलक्षणसंपन्ने कृते नाट्यगृहे शुभे । गावो वसेयुः सप्ताहं सह जप्यपरैर्द्विजैः ॥ १॥
In an auspicious playhouse endowed with all the characteristics, cows should dwell for a week, along with Brahmins who are chanting proper Mantras.
english translation
sarvalakSaNasaMpanne kRte nATyagRhe zubhe | gAvo vaseyuH saptAhaM saha japyaparairdvijaiH || 1||
2
ततोऽधिवासयेद्वेश्म रङ्गपीठं तथैव च । मन्त्रपूतेन तोयेन प्रोक्षिताङ्गो निशागमे ॥ २॥
Then, he should consecrate the playhouse and the stage, and after purifying his body with water sanctified by Mantras, sprinkle it during the night.
tato'dhivAsayedvezma raGgapIThaM tathaiva ca | mantrapUtena toyena prokSitAGgo nizAgame || 2||
3
यथास्थानान्तरगतो दीक्षितः प्रयतः शुचिः । त्रिरात्रोपोषितो भूत्वा नाट्याचार्योऽहताम्बरः ॥ ३॥
The master of the dramatic art, having been initiated and purified, should fast for three nights, and after that, wearing new clothes, he should proceed with the rituals.
yathAsthAnAntaragato dIkSitaH prayataH zuciH | trirAtropoSito bhUtvA nATyAcAryo'hatAmbaraH || 3||
4
नमस्कृत्य महादेवं सर्वलोकोद्भवं भवम् । जगत्पितामहं चैव विष्णुमिन्द्रं गुहं तथा ॥ ४॥
Having bowed to the great god, the source of all worlds, the lord of the universe, Brahmā, as well as to Viṣṇu, Indra, and Guha.
namaskRtya mahAdevaM sarvalokodbhavaM bhavam | jagatpitAmahaM caiva viSNumindraM guhaM tathA || 4||
5
सरस्वतीं च लक्ष्मीं च सिद्धिं मेधां धृतिं स्मृतिम् । सोमं सूर्यं च मरुतो लोकपालांस्तथाश्विनौ ॥ ५॥
And to Sarasvatī, Lakṣmī, Siddhi, Medhā, Dhṛti, Smṛti, Soma, Sūrya, the Maruts, the Lokapālas, and the Ashvins.
sarasvatIM ca lakSmIM ca siddhiM medhAM dhRtiM smRtim | somaM sUryaM ca maruto lokapAlAMstathAzvinau || 5||
Chapter 2
Verses 101-105
Chapter 3
Verses 6-10
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