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)
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)
•
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:97.0%
एते स्युर्मध्यमग्रामे भूयः षड्जाश्रिताः पुनः । व्यक्तमुक्ताङ्गुलिकृताः षड्जमध्यमपञ्चमाः ॥ ६ ॥
These are the notes of the Madhyama Grāma, which are predominantly based on Ṣaḍja, and are produced when the finger is fully removed. The notes include Ṣaḍja, Madhyama, and Pañcama.
english translation
ete syurmadhyamagrAme bhUyaH SaDjAzritAH punaH | vyaktamuktAGgulikRtAH SaDjamadhyamapaJcamAH || 6 ||
hk transliteration by Sanscriptऋषभो धैवतश्चापि कम्प्यमानाङ्गुलीकृतौ । अर्धमुक्ताङ्गुलिश्चैव गान्धारोऽथ निषादवान् ॥ ७ ॥
The notes of Ṛṣabha and Dhaivata are produced when the finger is placed in a shaking position. Similarly, Gāndhāra and Niṣāda are produced when the finger is partly (half) removed.
english translation
RSabho dhaivatazcApi kampyamAnAGgulIkRtau | ardhamuktAGgulizcaiva gAndhAro'tha niSAdavAn || 7 ||
hk transliteration by Sanscriptस्वरसाधारणश्चापि काकल्यन्तरसंज्ञया । निषादगान्धारकृतौ षड्जमध्यमयोरपि ॥ ८ ॥
The note called Svarasādhāraṇa, also known as Kākalī, is produced by the combination of Niṣāda and Gāndhāra with Ṣaḍja and Madhyama.
english translation
svarasAdhAraNazcApi kAkalyantarasaMjJayA | niSAdagAndhArakRtau SaDjamadhyamayorapi || 8 ||
hk transliteration by Sanscriptविपर्यया सन्निकर्षे श्रुतिलक्षणसिद्धितः । वैणकण्ठप्रवेशेन सिद्धा एकाश्रिताः स्वराः ॥ ९ ॥
When there is an inversion or close proximity in the Śruti characteristics, the notes, defined by the Śruti classification, are perfected by the entry of the Vīṇā's pitch into the throat, and they become notes dependent on a single pitch.
english translation
viparyayA sannikarSe zrutilakSaNasiddhitaH | vaiNakaNThapravezena siddhA ekAzritAH svarAH || 9 ||
hk transliteration by Sanscriptयं यं गाता स्वरं गच्छेत् तं तं वंशेन वादयेत् । शारीरवैणवंश्यानामेकीभावः प्रशस्यते ॥ १० ॥
The singer should play the flute in accordance with the note that corresponds to the one they are singing. The unison of the human voice, the flute, and the Vīṇā is praised as a harmonious combination.
english translation
yaM yaM gAtA svaraM gacchet taM taM vaMzena vAdayet | zArIravaiNavaMzyAnAmekIbhAvaH prazasyate || 10 ||
hk transliteration by SanscriptNatyashastra
Progress:97.0%
एते स्युर्मध्यमग्रामे भूयः षड्जाश्रिताः पुनः । व्यक्तमुक्ताङ्गुलिकृताः षड्जमध्यमपञ्चमाः ॥ ६ ॥
These are the notes of the Madhyama Grāma, which are predominantly based on Ṣaḍja, and are produced when the finger is fully removed. The notes include Ṣaḍja, Madhyama, and Pañcama.
english translation
ete syurmadhyamagrAme bhUyaH SaDjAzritAH punaH | vyaktamuktAGgulikRtAH SaDjamadhyamapaJcamAH || 6 ||
hk transliteration by Sanscriptऋषभो धैवतश्चापि कम्प्यमानाङ्गुलीकृतौ । अर्धमुक्ताङ्गुलिश्चैव गान्धारोऽथ निषादवान् ॥ ७ ॥
The notes of Ṛṣabha and Dhaivata are produced when the finger is placed in a shaking position. Similarly, Gāndhāra and Niṣāda are produced when the finger is partly (half) removed.
english translation
RSabho dhaivatazcApi kampyamAnAGgulIkRtau | ardhamuktAGgulizcaiva gAndhAro'tha niSAdavAn || 7 ||
hk transliteration by Sanscriptस्वरसाधारणश्चापि काकल्यन्तरसंज्ञया । निषादगान्धारकृतौ षड्जमध्यमयोरपि ॥ ८ ॥
The note called Svarasādhāraṇa, also known as Kākalī, is produced by the combination of Niṣāda and Gāndhāra with Ṣaḍja and Madhyama.
english translation
svarasAdhAraNazcApi kAkalyantarasaMjJayA | niSAdagAndhArakRtau SaDjamadhyamayorapi || 8 ||
hk transliteration by Sanscriptविपर्यया सन्निकर्षे श्रुतिलक्षणसिद्धितः । वैणकण्ठप्रवेशेन सिद्धा एकाश्रिताः स्वराः ॥ ९ ॥
When there is an inversion or close proximity in the Śruti characteristics, the notes, defined by the Śruti classification, are perfected by the entry of the Vīṇā's pitch into the throat, and they become notes dependent on a single pitch.
english translation
viparyayA sannikarSe zrutilakSaNasiddhitaH | vaiNakaNThapravezena siddhA ekAzritAH svarAH || 9 ||
hk transliteration by Sanscriptयं यं गाता स्वरं गच्छेत् तं तं वंशेन वादयेत् । शारीरवैणवंश्यानामेकीभावः प्रशस्यते ॥ १० ॥
The singer should play the flute in accordance with the note that corresponds to the one they are singing. The unison of the human voice, the flute, and the Vīṇā is praised as a harmonious combination.
english translation
yaM yaM gAtA svaraM gacchet taM taM vaMzena vAdayet | zArIravaiNavaMzyAnAmekIbhAvaH prazasyate || 10 ||
hk transliteration by Sanscript