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)
36.
अध्याय ३६
Descent of Drama on the Earth
•
अध्याय ३७
adhyAya 37
Progress:99.7%
16
तत्र गत्वा प्रयुज्यन्तां प्रयोगान् वसुधातले । न शक्यं चान्यथा कर्तुं वचनं पार्थिवस्य हि ॥ १६ ॥
Having gone there, let them apply the remedies on the earth. For it is not possible to act otherwise than according to the words of the king.
english translation
tatra gatvA prayujyantAM prayogAn vasudhAtale | na zakyaM cAnyathA kartuM vacanaM pArthivasya hi || 16 ||
17
अस्माकं चैव सर्वेषां नहुषस्य महात्मनः । आत्मोपदेशसिद्धं हि नाट्यं प्रोक्तं स्वयंभुवा ॥ १७ ॥
It is the drama that was declared by the Self-existent One, for the instruction of ourselves and all the great souls, including Nahusha.
asmAkaM caiva sarveSAM nahuSasya mahAtmanaH | AtmopadezasiddhaM hi nATyaM proktaM svayaMbhuvA || 17 ||
18
शेषमुत्तरतन्त्रेण कोहलस्तु करिष्यति । प्रयोगः कारिकाश्चैव निरुक्तानि तथैव च ॥ १८ ॥
The remainder will be completed by Kohaṭa in the next Tantra, including the application, the verses, and the definitions.
zeSamuttaratantreNa kohalastu kariSyati | prayogaH kArikAzcaiva niruktAni tathaiva ca || 18 ||
19
अप्सरोभिरिदं सार्धं क्रीडनीयकहेतुकम् । अधिष्ठितं मया स्वर्गे स्वातिना नारदेन च ॥ १९ ॥
This place is occupied by me in heaven, along with the celestial nymphs, for the purpose of recreation. It is also inhabited by Svāti and Nārada.
apsarobhiridaM sArdhaM krIDanIyakahetukam | adhiSThitaM mayA svarge svAtinA nAradena ca || 19 ||
20
ततश्च वसुधां गत्वा नहुषस्य गृहे द्विजाः । स्त्रीणां प्रयोगं बहुधा बद्धवन्तो यथाक्रमम् ॥ २० ॥
Then, O Brāhmaṇas, having descended to the earth, they bound the women in various ways in the house of Nahuṣa, according to the prescribed order.
tatazca vasudhAM gatvA nahuSasya gRhe dvijAH | strINAM prayogaM bahudhA baddhavanto yathAkramam || 20 ||
Chapter 37
Verses 11-15
Verses 21-25
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