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
Maṇḍala movements
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)
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
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लयस्य वर्धनाच्चापि वर्धमानकमुच्यते । कृत्त्वा कुतपविन्यासं यथावद्द्विजसत्तमाः ॥ २७१॥
sanskrit
The Vardhamānaka is also called so due to the increase of tempo. After setting the musical instruments as prescribed, the procedure is followed accordingly by the expert performers.
english translation
layasya vardhanAccApi vardhamAnakamucyate | kRttvA kutapavinyAsaM yathAvaddvijasattamAH || 271||
hk transliteration by Sanscriptआसारितप्रयोगस्तु ततः कार्यः प्रयोक्तृभिः । तत्र तूपोहनं कृत्त्वा तन्त्रीगानसमन्वितम् ॥ २७२॥
sanskrit
The Āsārita should be performed thereafter by the practitioners. First, the Upohana should be performed, accompanied by stringed instruments and singing.
english translation
AsAritaprayogastu tataH kAryaH prayoktRbhiH | tatra tUpohanaM kRttvA tantrIgAnasamanvitam || 272||
hk transliteration by Sanscriptकार्यः प्रवेशो नर्तक्या भाण्डवाद्यसमन्वितः । विशुद्धकरणायां तु जात्यां वाद्यं प्रयोजयेत् ॥२७३॥
sanskrit
The dancer should enter the stage accompanied by musical instruments, and the music should be played in pure Karaṇa and Jāti.
english translation
kAryaH pravezo nartakyA bhANDavAdyasamanvitaH | vizuddhakaraNAyAM tu jAtyAM vAdyaM prayojayet ||273||
hk transliteration by Sanscriptगत्या वाद्यानुसारिण्या तस्याश्चारीं प्रयोजयेत् । वैशाखस्थानकेनेह सर्वरेचकचारिणी ॥ २७४॥
sanskrit
The dancer, moving in accordance with the music, should perform a Cārī, and in the Vaiśākha Sthāna posture, she should execute all the Recakas.
english translation
gatyA vAdyAnusAriNyA tasyAzcArIM prayojayet | vaizAkhasthAnakeneha sarvarecakacAriNI || 274||
hk transliteration by Sanscriptपुष्पाञ्जलिधरा भूत्वा प्रविशेद्रङ्गमण्डपम् । पुष्पाञ्जलिं विसृज्याथ रङ्गपीठं परीत्य च ॥ २७५॥
sanskrit
Holding a flower offering, she should enter the stage, and after scattering the flowers, she should circumambulate the stage.
english translation
puSpAJjalidharA bhUtvA pravizedraGgamaNDapam | puSpAJjaliM visRjyAtha raGgapIThaM parItya ca || 275||
hk transliteration by SanscriptNatyashastra
Progress:14.0%
लयस्य वर्धनाच्चापि वर्धमानकमुच्यते । कृत्त्वा कुतपविन्यासं यथावद्द्विजसत्तमाः ॥ २७१॥
sanskrit
The Vardhamānaka is also called so due to the increase of tempo. After setting the musical instruments as prescribed, the procedure is followed accordingly by the expert performers.
english translation
layasya vardhanAccApi vardhamAnakamucyate | kRttvA kutapavinyAsaM yathAvaddvijasattamAH || 271||
hk transliteration by Sanscriptआसारितप्रयोगस्तु ततः कार्यः प्रयोक्तृभिः । तत्र तूपोहनं कृत्त्वा तन्त्रीगानसमन्वितम् ॥ २७२॥
sanskrit
The Āsārita should be performed thereafter by the practitioners. First, the Upohana should be performed, accompanied by stringed instruments and singing.
english translation
AsAritaprayogastu tataH kAryaH prayoktRbhiH | tatra tUpohanaM kRttvA tantrIgAnasamanvitam || 272||
hk transliteration by Sanscriptकार्यः प्रवेशो नर्तक्या भाण्डवाद्यसमन्वितः । विशुद्धकरणायां तु जात्यां वाद्यं प्रयोजयेत् ॥२७३॥
sanskrit
The dancer should enter the stage accompanied by musical instruments, and the music should be played in pure Karaṇa and Jāti.
english translation
kAryaH pravezo nartakyA bhANDavAdyasamanvitaH | vizuddhakaraNAyAM tu jAtyAM vAdyaM prayojayet ||273||
hk transliteration by Sanscriptगत्या वाद्यानुसारिण्या तस्याश्चारीं प्रयोजयेत् । वैशाखस्थानकेनेह सर्वरेचकचारिणी ॥ २७४॥
sanskrit
The dancer, moving in accordance with the music, should perform a Cārī, and in the Vaiśākha Sthāna posture, she should execute all the Recakas.
english translation
gatyA vAdyAnusAriNyA tasyAzcArIM prayojayet | vaizAkhasthAnakeneha sarvarecakacAriNI || 274||
hk transliteration by Sanscriptपुष्पाञ्जलिधरा भूत्वा प्रविशेद्रङ्गमण्डपम् । पुष्पाञ्जलिं विसृज्याथ रङ्गपीठं परीत्य च ॥ २७५॥
sanskrit
Holding a flower offering, she should enter the stage, and after scattering the flowers, she should circumambulate the stage.
english translation
puSpAJjalidharA bhUtvA pravizedraGgamaNDapam | puSpAJjaliM visRjyAtha raGgapIThaM parItya ca || 275||
hk transliteration by Sanscript