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:14.4%
भाण्डवाद्यकृते चैव तथा गानकृतेऽपि च । एका तु प्रथमं योज्या द्वे द्वितीयं तथैव च ॥ २८६॥
sanskrit
The same applies to both drum music and singing: one dancer should be assigned to the first, two to the second, and similarly for the others.
english translation
bhANDavAdyakRte caiva tathA gAnakRte'pi ca | ekA tu prathamaM yojyA dve dvitIyaM tathaiva ca || 286||
hk transliteration by Sanscriptतिस्रो वस्तु तृतीयं तु चतस्रस्तु चतुर्थकम् । पिण्डीनां विधयश्चैव चत्वारः सम्प्रकीर्तिताः ॥ २८७॥
sanskrit
Three dancers should be employed for the third (type), and four for the fourth. The four types of Piṇḍīs have been described as well.
english translation
tisro vastu tRtIyaM tu catasrastu caturthakam | piNDInAM vidhayazcaiva catvAraH samprakIrtitAH || 287||
hk transliteration by Sanscriptपिण्डी शृङ्खलिका चैव लताबन्धोऽथ भेद्यकः । पिण्डीबन्धस्तु पिण्डत्वाद्गुल्मः शृङ्खलिका भवेत् ॥ २८८॥
sanskrit
The Piṇḍī, Śṛṅkhalikā, Latābandha, and Bhedyaka are the four types. The Piṇḍībandha is called so because of its lump-like nature, and the Śṛṅkhalikā is a cluster (gulma).
english translation
piNDI zaRGkhalikA caiva latAbandho'tha bhedyakaH | piNDIbandhastu piNDatvAdgulmaH zaRGkhalikA bhavet || 288||
hk transliteration by Sanscriptजालोपनद्धा च लता सनृत्तो भेद्यकः स्मृतः । पिण्डीबन्धः कनिष्ठे तु शृङ्खला तु लयान्तरे ॥ २८९॥
sanskrit
The Latā (vine) is considered to be bound by a net, and the dance performed by Bhedyaka is regarded as a separate individual dance. The Piṇḍībandha is applied in the shortest Āsārita, while the Śṛṅkhalā is used during the Layāntara.
english translation
jAlopanaddhA ca latA sanRtto bhedyakaH smRtaH | piNDIbandhaH kaniSThe tu zaRGkhalA tu layAntare || 289||
hk transliteration by Sanscriptमध्यमे च लताबन्धो ज्येष्ठे चैवाथ भेद्यकः । पिण्डीनां विविधा योनिर्यन्त्रं भद्रासनं तथा ॥ २९०॥
sanskrit
In the middle, the Latābandha is used, while the Bhedyaka is applied in the longest Āsārita. The Piṇḍīs have diverse origins: Yantra and Bhadrāsana.
english translation
madhyame ca latAbandho jyeSThe caivAtha bhedyakaH | piNDInAM vividhA yoniryantraM bhadrAsanaM tathA || 290||
hk transliteration by SanscriptNatyashastra
Progress:14.4%
भाण्डवाद्यकृते चैव तथा गानकृतेऽपि च । एका तु प्रथमं योज्या द्वे द्वितीयं तथैव च ॥ २८६॥
sanskrit
The same applies to both drum music and singing: one dancer should be assigned to the first, two to the second, and similarly for the others.
english translation
bhANDavAdyakRte caiva tathA gAnakRte'pi ca | ekA tu prathamaM yojyA dve dvitIyaM tathaiva ca || 286||
hk transliteration by Sanscriptतिस्रो वस्तु तृतीयं तु चतस्रस्तु चतुर्थकम् । पिण्डीनां विधयश्चैव चत्वारः सम्प्रकीर्तिताः ॥ २८७॥
sanskrit
Three dancers should be employed for the third (type), and four for the fourth. The four types of Piṇḍīs have been described as well.
english translation
tisro vastu tRtIyaM tu catasrastu caturthakam | piNDInAM vidhayazcaiva catvAraH samprakIrtitAH || 287||
hk transliteration by Sanscriptपिण्डी शृङ्खलिका चैव लताबन्धोऽथ भेद्यकः । पिण्डीबन्धस्तु पिण्डत्वाद्गुल्मः शृङ्खलिका भवेत् ॥ २८८॥
sanskrit
The Piṇḍī, Śṛṅkhalikā, Latābandha, and Bhedyaka are the four types. The Piṇḍībandha is called so because of its lump-like nature, and the Śṛṅkhalikā is a cluster (gulma).
english translation
piNDI zaRGkhalikA caiva latAbandho'tha bhedyakaH | piNDIbandhastu piNDatvAdgulmaH zaRGkhalikA bhavet || 288||
hk transliteration by Sanscriptजालोपनद्धा च लता सनृत्तो भेद्यकः स्मृतः । पिण्डीबन्धः कनिष्ठे तु शृङ्खला तु लयान्तरे ॥ २८९॥
sanskrit
The Latā (vine) is considered to be bound by a net, and the dance performed by Bhedyaka is regarded as a separate individual dance. The Piṇḍībandha is applied in the shortest Āsārita, while the Śṛṅkhalā is used during the Layāntara.
english translation
jAlopanaddhA ca latA sanRtto bhedyakaH smRtaH | piNDIbandhaH kaniSThe tu zaRGkhalA tu layAntare || 289||
hk transliteration by Sanscriptमध्यमे च लताबन्धो ज्येष्ठे चैवाथ भेद्यकः । पिण्डीनां विविधा योनिर्यन्त्रं भद्रासनं तथा ॥ २९०॥
sanskrit
In the middle, the Latābandha is used, while the Bhedyaka is applied in the longest Āsārita. The Piṇḍīs have diverse origins: Yantra and Bhadrāsana.
english translation
madhyame ca latAbandho jyeSThe caivAtha bhedyakaH | piNDInAM vividhA yoniryantraM bhadrAsanaM tathA || 290||
hk transliteration by Sanscript