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:5.2%
11
भवद्भिर्नो निशायां तु कर्तव्यः सम्परिग्रहः । साहाय्यं चैव दातव्यमस्मिन्नाट्ये सहानुगैः ॥ ११॥
In this night, with your assistance, the collection should be made, and help should be given in this dramatic performance along with companions.
english translation
bhavadbhirno nizAyAM tu kartavyaH samparigrahaH | sAhAyyaM caiva dAtavyamasminnATye sahAnugaiH || 11||
12
सम्पूज्य सर्वानेकत्र कुतपं सम्प्रयुज्य च । जर्जराय प्रयुञ्जीत पूजां नाट्यप्रसिद्धये ॥ १२॥
Having worshipped all the deities in various places, and having duly performed the rituals, one should offer worship to the Jarjara for the success of the drama.
sampUjya sarvAnekatra kutapaM samprayujya ca | jarjarAya prayuJjIta pUjAM nATyaprasiddhaye || 12||
13
त्वं महेन्द्रप्रहरणं सर्वदानवसूदनम् । निर्मितस्सर्वदेवैश्च सर्वविघ्ननिबर्हण ॥ १३॥
You are the weapon of Mahendra, the destroyer of all demons, created by all the gods, and the remover of all obstacles.
tvaM mahendrapraharaNaM sarvadAnavasUdanam | nirmitassarvadevaizca sarvavighnanibarhaNa || 13||
14
नृपस्य विजयं शंस रिपूणां च पराजयम् । गोब्राह्मणशिवं चैव नाट्यस्य च विवर्धनम् ॥ १४॥
You grant victory to the king, defeat to his enemies, protection to cows, Brahmins, and Shiva, and the prosperity of drama.
nRpasya vijayaM zaMsa ripUNAM ca parAjayam | gobrAhmaNazivaM caiva nATyasya ca vivardhanam || 14||
15
एवं कृत्वा यथान्यायमुपास्यं नाट्यमण्डपे । निशायां तु प्रभातायां पूजनं प्रक्रमेदिह ॥ १५॥
Having done this properly, the worship should be performed in the drama hall at night, and in the morning, the worship should be continued.
evaM kRtvA yathAnyAyamupAsyaM nATyamaNDape | nizAyAM tu prabhAtAyAM pUjanaM prakramediha || 15||
Chapter 3
Verses 6-10
Verses 16-20
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