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:14.5%
शिक्षायोगस्तथा चैव प्रयोक्तव्यः प्रयोक्तृभिः । एवं प्रयोगः कर्तव्यो वर्धमाने तपोधनाः ॥ २९१॥
sanskrit
The method of instruction should also be used by the practitioners. Thus, this practice should be performed by the performers in the Vardhamāna with due diligence.
english translation
zikSAyogastathA caiva prayoktavyaH prayoktRbhiH | evaM prayogaH kartavyo vardhamAne tapodhanAH || 291||
hk transliteration by Sanscriptगीतानां छन्दकानां च भूयो वक्ष्याम्यहं विधिम् । यानि वस्तुनिबद्धानि यानि चाङ्गिकृतानि तु ॥ २९२॥
sanskrit
I will now describe the method for the songs and the Chandakas, both those which are bound to the subject matter (vastu) and those created through the limbs (āṅga).
english translation
gItAnAM chandakAnAM ca bhUyo vakSyAmyahaM vidhim | yAni vastunibaddhAni yAni cAGgikRtAni tu || 292||
hk transliteration by Sanscriptगीतानि तेषां वक्ष्यामि प्रयोगं नृत्तवाद्ययोः । तत्रावतरणं कार्यं नर्तक्याः सार्वभाण्डिकम् ॥ २९३॥
sanskrit
I will describe the method of performance for these songs, both in dance and instrumental music. There, the entry (of the dancer) should be made in the universal (or general) manner for all performances.
english translation
gItAni teSAM vakSyAmi prayogaM nRttavAdyayoH | tatrAvataraNaM kAryaM nartakyAH sArvabhANDikam || 293||
hk transliteration by Sanscriptक्षेपप्रतिक्षेपकृतं भाण्डोपोहनसंस्कृतम् । प्रथमं त्वभिनेयं स्यद्गीतके सर्ववस्तुकम् ॥ २९४ ॥
sanskrit
The instrumental music, which involves Kṣepa (acceleration) and Pratikṣepa (deceleration), should be performed in a well-prepared manner. First, the entire subject of the song should be expressed through gestures in relation to all the elements of the song.
english translation
kSepapratikSepakRtaM bhANDopohanasaMskRtam | prathamaM tvabhineyaM syadgItake sarvavastukam || 294 ||
hk transliteration by Sanscriptतदेव च पुनर्वस्तु नृत्तीनापि प्रदर्शेयत् । यो विधिः पूर्वमुक्तस्तु नृत्ताभिनयवादिते ॥ २९५॥
sanskrit
The same subject matter should again be presented through dance, as it was previously conveyed through gestures, dance, and instrumental music according to the method described earlier.
english translation
tadeva ca punarvastu nRttInApi pradarzeyat | yo vidhiH pUrvamuktastu nRttAbhinayavAdite || 295||
hk transliteration by SanscriptNatyashastra
Progress:14.5%
शिक्षायोगस्तथा चैव प्रयोक्तव्यः प्रयोक्तृभिः । एवं प्रयोगः कर्तव्यो वर्धमाने तपोधनाः ॥ २९१॥
sanskrit
The method of instruction should also be used by the practitioners. Thus, this practice should be performed by the performers in the Vardhamāna with due diligence.
english translation
zikSAyogastathA caiva prayoktavyaH prayoktRbhiH | evaM prayogaH kartavyo vardhamAne tapodhanAH || 291||
hk transliteration by Sanscriptगीतानां छन्दकानां च भूयो वक्ष्याम्यहं विधिम् । यानि वस्तुनिबद्धानि यानि चाङ्गिकृतानि तु ॥ २९२॥
sanskrit
I will now describe the method for the songs and the Chandakas, both those which are bound to the subject matter (vastu) and those created through the limbs (āṅga).
english translation
gItAnAM chandakAnAM ca bhUyo vakSyAmyahaM vidhim | yAni vastunibaddhAni yAni cAGgikRtAni tu || 292||
hk transliteration by Sanscriptगीतानि तेषां वक्ष्यामि प्रयोगं नृत्तवाद्ययोः । तत्रावतरणं कार्यं नर्तक्याः सार्वभाण्डिकम् ॥ २९३॥
sanskrit
I will describe the method of performance for these songs, both in dance and instrumental music. There, the entry (of the dancer) should be made in the universal (or general) manner for all performances.
english translation
gItAni teSAM vakSyAmi prayogaM nRttavAdyayoH | tatrAvataraNaM kAryaM nartakyAH sArvabhANDikam || 293||
hk transliteration by Sanscriptक्षेपप्रतिक्षेपकृतं भाण्डोपोहनसंस्कृतम् । प्रथमं त्वभिनेयं स्यद्गीतके सर्ववस्तुकम् ॥ २९४ ॥
sanskrit
The instrumental music, which involves Kṣepa (acceleration) and Pratikṣepa (deceleration), should be performed in a well-prepared manner. First, the entire subject of the song should be expressed through gestures in relation to all the elements of the song.
english translation
kSepapratikSepakRtaM bhANDopohanasaMskRtam | prathamaM tvabhineyaM syadgItake sarvavastukam || 294 ||
hk transliteration by Sanscriptतदेव च पुनर्वस्तु नृत्तीनापि प्रदर्शेयत् । यो विधिः पूर्वमुक्तस्तु नृत्ताभिनयवादिते ॥ २९५॥
sanskrit
The same subject matter should again be presented through dance, as it was previously conveyed through gestures, dance, and instrumental music according to the method described earlier.
english translation
tadeva ca punarvastu nRttInApi pradarzeyat | yo vidhiH pUrvamuktastu nRttAbhinayavAdite || 295||
hk transliteration by Sanscript