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
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)
•
अध्याय ३६
Descent of Drama on the Earth
37.
अध्याय ३७
adhyAya 37
Progress:98.3%
11
लोकस्य चरितं नाट्यमित्यवोचस्त्वमीदृशम् । तेषां तु लोकं गुह्यानां निश्चयं वक्तुमर्हसि ॥ ११॥
You have said that the exploits of men constitute drama. Now, you should speak definitively about the hidden aspects of the people involved in drama.
english translation
lokasya caritaM nATyamityavocastvamIdRzam | teSAM tu lokaM guhyAnAM nizcayaM vaktumarhasi || 11||
12
देवस्य कस्य चरितं पूर्वरङ्गे द्विजर्षभ । किमर्थं भुज्यते ह्येष प्रयुक्तः किं करोति वा ॥ १२॥
O best of the Brahmins, whose character is depicted in the Preliminaries (pūrvaraṅga)? For what purpose is it employed, and what does it accomplish when used?
devasya kasya caritaM pUrvaraGge dvijarSabha | kimarthaM bhujyate hyeSa prayuktaH kiM karoti vA || 12||
13
कस्माच्चैव पुनः शौचं सम्यक् चरति सूत्रदृक् । कथमुर्वीतले नाट्यं स्वर्गान्निपतितं विभो ॥ १३॥
Why does the Director perform ablution again, being himself already clean? How did the drama, O Lord, descend from heaven to the earth?
kasmAccaiva punaH zaucaM samyak carati sUtradRk | kathamurvItale nATyaM svargAnnipatitaM vibho || 13||
14
कथं तवायं वंशश्च नटसंज्ञः प्रतिष्ठितः । सर्वमेव यथातत्त्वं कथयस्व महामुने ॥ १४॥
How, O great sage, has this lineage of yours, known as the Nāṭa, been established? Please explain everything as it is, in truth.
kathaM tavAyaM vaMzazca naTasaMjJaH pratiSThitaH | sarvameva yathAtattvaM kathayasva mahAmune || 14||
15
तेषं तु वचनं श्रुत्वा मुनीनां भरतो मुनिः । प्रत्युवाच पुनर्वाक्यं गुह्यार्थाभिनयं प्रति ॥ १५॥
Hearing their words, Bharata, the sage, spoke again in response to them regarding the secret meaning of the drama.
teSaM tu vacanaM zrutvA munInAM bharato muniH | pratyuvAca punarvAkyaM guhyArthAbhinayaM prati || 15||
Chapter 36
Verses 6-10
Verses 16-20
Library
Natyashastra
verses
verse
sanskrit
translation
english