1.
अध्याय १
Origin of Drama
2.
अध्याय २
Description of the Playhouse
3.
अध्याय ३
Pūjā to the Gods of the Stage
•
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:7.8%
1
एवं तु पूजनं कृत्वा मया प्रोक्तः पितामहः । आज्ञापय प्रभो क्षिप्रं कः प्रयोगः प्रयुज्यताम् ॥ १॥
Thus, after completing the worship, I said to Brahmā, "Command me quickly as to which performance should be undertaken."
english translation
evaM tu pUjanaM kRtvA mayA proktaH pitAmahaH | AjJApaya prabho kSipraM kaH prayogaH prayujyatAm || 1||
2
ततोऽस्म्युक्तो भगवता योजयामृतमन्थनम् । एतदुत्साहजननं सुरप्रीतिकरं तथा ॥ २॥
Then I was instructed by the Lord, "Perform the Amṛta-manthana (churning of nectar), as it inspires effort and brings delight to the gods."
tato'smyukto bhagavatA yojayAmRtamanthanam | etadutsAhajananaM suraprItikaraM tathA || 2||
3
योऽयं समवकारस्तु धर्मकामार्थसाधकः । मया प्राग्ग्रथितो विद्वन्स प्रयोगः प्रयुज्यताम् ॥ ३॥
This Samavakāra, which I have earlier composed, is conducive to the fulfillment of dharma (duty), kāma (desire), and artha (wealth). O learned one, let it now be performed.
yo'yaM samavakArastu dharmakAmArthasAdhakaH | mayA prAggrathito vidvansa prayogaH prayujyatAm || 3||
4
तस्मिन्समवकारे तु प्रयुक्ते देवदानवाः । हृष्टाः समभवन्सर्वे कर्मभावानुदर्शनात् ॥ ४॥
When that Samavakāra was performed, all the gods and demons became delighted upon witnessing the representation of actions and emotions.
tasminsamavakAre tu prayukte devadAnavAH | hRSTAH samabhavansarve karmabhAvAnudarzanAt || 4||
5
कस्यचित्वथ कालस्य मामाहाम्बुजसम्भवः नाट्यं सन्दर्शयामोऽद्य त्रिनेत्राय महात्मने ॥ ५॥
After some time, the lotus-born Brahmā said to me, "Today, we shall present the Nāṭya before the great three-eyed Mahātmā (Lord Śiva)."
kasyacitvatha kAlasya mAmAhAmbujasambhavaH nATyaM sandarzayAmo'dya trinetrAya mahAtmane || 5||
Chapter 3
Verses 101-105
Chapter 4
Verses 6-10
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