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
Progress:14.2%
प्रणम्य देवताभ्यश्च ततोऽभिनयमाचरेत् । यत्राभिनेयं गीतं स्यात्तत्र वाद्यं न योजयेत् ॥ २७६॥
sanskrit
After bowing to the gods, she should perform the dance. Where the song is being expressed through gestures, instrumental music should not be used there.
english translation
praNamya devatAbhyazca tato'bhinayamAcaret | yatrAbhineyaM gItaM syAttatra vAdyaM na yojayet || 276||
hk transliteration by Sanscriptअङ्गहारप्रयोगे तु भाण्डवाद्यं विधीयते । समं रक्तं विभक्तं च स्फुटं शुद्धप्रहारजम् ॥२७७॥
sanskrit
During the use of Aṅgahāras, instrumental music should be played. It should be even, red, divided, clear, and produced with pure strokes.
english translation
aGgahAraprayoge tu bhANDavAdyaM vidhIyate | samaM raktaM vibhaktaM ca sphuTaM zuddhaprahArajam ||277||
hk transliteration by Sanscriptनृत्ताङ्गग्राहि वाद्यज्ञैर्वाद्यं योज्यं तु ताण्डवे । प्रयुज्य गीतवाद्ये तु निष्क्रामेन्नर्तकी ततः ॥ २७८॥
sanskrit
In the Tāṇḍava dance, the instrumental music should be coordinated with the dance movements, and the music should be understood by those skilled in playing instruments. When the song and music are used, the dancer should exit afterward.
english translation
nRttAGgagrAhi vAdyajJairvAdyaM yojyaM tu tANDave | prayujya gItavAdye tu niSkrAmennartakI tataH || 278||
hk transliteration by Sanscriptअनेनैव विधानेन प्रविशन्त्यपराः पृथक् । अन्याश्चानुक्रमेणाथ पिण्डीं बध्नन्ति याः स्त्रियः ॥ २७९॥
sanskrit
By following this method, other dancers enter one by one. The women, in due order, form Piṇḍīs (dance formations).
english translation
anenaiva vidhAnena pravizantyaparAH pRthak | anyAzcAnukrameNAtha piNDIM badhnanti yAH striyaH || 279||
hk transliteration by Sanscriptतावत्पर्यस्तकः कार्यो यावत्पिण्डी न बध्यते । पिण्डीं बद्ध्वा ततः सर्वा निष्क्रामेयुः स्त्रियस्तु ताः ॥ २८०॥
sanskrit
The Paryastaka should be performed until the Piṇḍī is formed. After the Piṇḍī is formed, all the women should exit.
english translation
tAvatparyastakaH kAryo yAvatpiNDI na badhyate | piNDIM baddhvA tataH sarvA niSkrAmeyuH striyastu tAH || 280||
hk transliteration by SanscriptNatyashastra
Progress:14.2%
प्रणम्य देवताभ्यश्च ततोऽभिनयमाचरेत् । यत्राभिनेयं गीतं स्यात्तत्र वाद्यं न योजयेत् ॥ २७६॥
sanskrit
After bowing to the gods, she should perform the dance. Where the song is being expressed through gestures, instrumental music should not be used there.
english translation
praNamya devatAbhyazca tato'bhinayamAcaret | yatrAbhineyaM gItaM syAttatra vAdyaM na yojayet || 276||
hk transliteration by Sanscriptअङ्गहारप्रयोगे तु भाण्डवाद्यं विधीयते । समं रक्तं विभक्तं च स्फुटं शुद्धप्रहारजम् ॥२७७॥
sanskrit
During the use of Aṅgahāras, instrumental music should be played. It should be even, red, divided, clear, and produced with pure strokes.
english translation
aGgahAraprayoge tu bhANDavAdyaM vidhIyate | samaM raktaM vibhaktaM ca sphuTaM zuddhaprahArajam ||277||
hk transliteration by Sanscriptनृत्ताङ्गग्राहि वाद्यज्ञैर्वाद्यं योज्यं तु ताण्डवे । प्रयुज्य गीतवाद्ये तु निष्क्रामेन्नर्तकी ततः ॥ २७८॥
sanskrit
In the Tāṇḍava dance, the instrumental music should be coordinated with the dance movements, and the music should be understood by those skilled in playing instruments. When the song and music are used, the dancer should exit afterward.
english translation
nRttAGgagrAhi vAdyajJairvAdyaM yojyaM tu tANDave | prayujya gItavAdye tu niSkrAmennartakI tataH || 278||
hk transliteration by Sanscriptअनेनैव विधानेन प्रविशन्त्यपराः पृथक् । अन्याश्चानुक्रमेणाथ पिण्डीं बध्नन्ति याः स्त्रियः ॥ २७९॥
sanskrit
By following this method, other dancers enter one by one. The women, in due order, form Piṇḍīs (dance formations).
english translation
anenaiva vidhAnena pravizantyaparAH pRthak | anyAzcAnukrameNAtha piNDIM badhnanti yAH striyaH || 279||
hk transliteration by Sanscriptतावत्पर्यस्तकः कार्यो यावत्पिण्डी न बध्यते । पिण्डीं बद्ध्वा ततः सर्वा निष्क्रामेयुः स्त्रियस्तु ताः ॥ २८०॥
sanskrit
The Paryastaka should be performed until the Piṇḍī is formed. After the Piṇḍī is formed, all the women should exit.
english translation
tAvatparyastakaH kAryo yAvatpiNDI na badhyate | piNDIM baddhvA tataH sarvA niSkrAmeyuH striyastu tAH || 280||
hk transliteration by Sanscript