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:12.2%
231
लताख्यं सकटिच्छिन्नं कुर्तादुद्वृत्तके सदा । आलीढव्यंसितौ हस्तौ बाहुशीर्षे निकुट्टयेत् ॥ २३१॥
The vine-like (hand) should always be cut off at the waist, and the hands should be raised and bent, with the arms and head shaken.
english translation
latAkhyaM sakaTicchinnaM kurtAdudvRttake sadA | AlIDhavyaMsitau hastau bAhuzIrSe nikuTTayet || 231||
232
नूपुरश्चरणो वामस्तथालातश्च दक्षिणः । तेनैवाक्षिप्तकं कुर्यादुरोमण्डलकौ करौ ॥२३२॥
The anklet is the left foot, and the bell is the right foot. With that, one should make the two arm circles.
nUpurazcaraNo vAmastathAlAtazca dakSiNaH | tenaivAkSiptakaM kuryAduromaNDalakau karau ||232||
233
करिहस्तं कटिच्छिन्नमालीढे सम्प्रयोजयेत् । हस्तं तु रेचितं कृत्वा पार्श्वमानस्य रेचयेत् ॥ २३३॥
The hand should be extended, and the waist should be bent in the pose of the elephant's trunk. The hand should be extended, and the side of the body should be stretched.
karihastaM kaTicchinnamAlIDhe samprayojayet | hastaM tu recitaM kRtvA pArzvamAnasya recayet || 233||
234
पुनस्तेनैव योगेन गात्रमानस्य रेचयेत् । रेचितं करणं कार्यमुरोमण्डलमेव च ॥ २३४॥
Again, by that very posture, one should extend the body. The extended posture should be done, as well as the chest circle.
punastenaiva yogena gAtramAnasya recayet | recitaM karaNaM kAryamuromaNDalameva ca || 234||
235
कटिच्छिन्नं तु कर्तव्यमङ्गहारे तु रेचिते । नूपुरं चरणं कृत्वा त्रिकं तु परिवर्तयेत् ॥२३५॥
The waist should be cut off in the posture, and the extended posture should be performed. Having made the anklet foot, the three should be turned.
kaTicchinnaM tu kartavyamaGgahAre tu recite | nUpuraM caraNaM kRtvA trikaM tu parivartayet ||235||
Chapter 4
Verses 226-230
Verses 236-240
Library
Natyashastra
verses
verse
sanskrit
translation
english