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:14.6%
आसारितविधौ स स्याद्गीतानां वस्तुकेष्वपि । एवं वस्तुनिबन्धानां गीतकानां विधिः स्मृतः ॥ २९६॥
sanskrit
In the method of Āsārita, this should be the rule for songs that are bound by subject matter. Thus, the method for songs bound by subject matter is remembered.
english translation
AsAritavidhau sa syAdgItAnAM vastukeSvapi | evaM vastunibandhAnAM gItakAnAM vidhiH smRtaH || 296||
hk transliteration by Sanscriptशृणुताङ्गनिबद्धानां गीतानामपि लक्षणम् । य एव वस्तुकविधिर्नृत्ताभिनयवादिते ॥ २९७॥
sanskrit
Listen now to the description of songs that are bound by limbs (Aṅga), which also follow the method of dance, acting, and instrumental music according to the subject matter.
english translation
zaRNutAGganibaddhAnAM gItAnAmapi lakSaNam | ya eva vastukavidhirnRttAbhinayavAdite || 297||
hk transliteration by Sanscriptतमेवाङ्गनिबद्धेषु च्छन्दकेष्वपि योजयेत् । वाद्यं गुर्वक्षरकृतं तथाल्पाक्षरमेव च ॥ २९८॥
sanskrit
In the same way, the instrumental music should be applied to the songs bound by limbs (Aṅga) in the meters (Chandakas), with both heavy (guru) and light (alpa) syllables being played.
english translation
tamevAGganibaddheSu cchandakeSvapi yojayet | vAdyaM gurvakSarakRtaM tathAlpAkSarameva ca || 298||
hk transliteration by Sanscriptमुखे सोपोहने कुर्याद्वर्णानां विप्रकर्षतः । यदा गीतिवशादङ्गं भूयो भूयो निवर्तते ॥ २९९॥
sanskrit
In the beginning, during the Upohana, the variations of the syllables (Varṇas) should be performed according to their respective emphasis. When the limbs (Aṅga) return repeatedly under the influence of the song, they should be executed again and again.
english translation
mukhe sopohane kuryAdvarNAnAM viprakarSataH | yadA gItivazAdaGgaM bhUyo bhUyo nivartate || 299||
hk transliteration by Sanscriptतत्राद्यमभिनेयं स्याच्छेषं नृत्तेन योजयेत् । यदा गीतिवशादङ्गं भूयो भूयो निवर्तते ॥ ३००॥
sanskrit
The first part should be represented through gestures, and the remaining part should be accompanied by dance. When the limbs (Aṅga) return again and again due to the influence of the song, they should be repeated accordingly.
english translation
tatrAdyamabhineyaM syAccheSaM nRttena yojayet | yadA gItivazAdaGgaM bhUyo bhUyo nivartate || 300||
hk transliteration by SanscriptNatyashastra
Progress:14.6%
आसारितविधौ स स्याद्गीतानां वस्तुकेष्वपि । एवं वस्तुनिबन्धानां गीतकानां विधिः स्मृतः ॥ २९६॥
sanskrit
In the method of Āsārita, this should be the rule for songs that are bound by subject matter. Thus, the method for songs bound by subject matter is remembered.
english translation
AsAritavidhau sa syAdgItAnAM vastukeSvapi | evaM vastunibandhAnAM gItakAnAM vidhiH smRtaH || 296||
hk transliteration by Sanscriptशृणुताङ्गनिबद्धानां गीतानामपि लक्षणम् । य एव वस्तुकविधिर्नृत्ताभिनयवादिते ॥ २९७॥
sanskrit
Listen now to the description of songs that are bound by limbs (Aṅga), which also follow the method of dance, acting, and instrumental music according to the subject matter.
english translation
zaRNutAGganibaddhAnAM gItAnAmapi lakSaNam | ya eva vastukavidhirnRttAbhinayavAdite || 297||
hk transliteration by Sanscriptतमेवाङ्गनिबद्धेषु च्छन्दकेष्वपि योजयेत् । वाद्यं गुर्वक्षरकृतं तथाल्पाक्षरमेव च ॥ २९८॥
sanskrit
In the same way, the instrumental music should be applied to the songs bound by limbs (Aṅga) in the meters (Chandakas), with both heavy (guru) and light (alpa) syllables being played.
english translation
tamevAGganibaddheSu cchandakeSvapi yojayet | vAdyaM gurvakSarakRtaM tathAlpAkSarameva ca || 298||
hk transliteration by Sanscriptमुखे सोपोहने कुर्याद्वर्णानां विप्रकर्षतः । यदा गीतिवशादङ्गं भूयो भूयो निवर्तते ॥ २९९॥
sanskrit
In the beginning, during the Upohana, the variations of the syllables (Varṇas) should be performed according to their respective emphasis. When the limbs (Aṅga) return repeatedly under the influence of the song, they should be executed again and again.
english translation
mukhe sopohane kuryAdvarNAnAM viprakarSataH | yadA gItivazAdaGgaM bhUyo bhUyo nivartate || 299||
hk transliteration by Sanscriptतत्राद्यमभिनेयं स्याच्छेषं नृत्तेन योजयेत् । यदा गीतिवशादङ्गं भूयो भूयो निवर्तते ॥ ३००॥
sanskrit
The first part should be represented through gestures, and the remaining part should be accompanied by dance. When the limbs (Aṅga) return again and again due to the influence of the song, they should be repeated accordingly.
english translation
tatrAdyamabhineyaM syAccheSaM nRttena yojayet | yadA gItivazAdaGgaM bhUyo bhUyo nivartate || 300||
hk transliteration by Sanscript