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:14.9%
[ दूत्याश्रयं यदा तु स्यादृतुकालादि दर्शनम् । औत्सुक्यचिन्तासंबद्धं न नृत्तं तत्र योजयेत् ॥] यस्मिन्नङ्गे प्रसादं तु गृह्नीयान्नायिका क्रमात् । ततःप्रभृति नृत्तं तु शेषेष्वङ्गेषु योजयेत् ॥ ३१०॥
sanskrit
When there is a message from the messenger or when the appearance of a season or similar event is observed, the dance should not be performed if the sentiment is associated with eagerness or anxiety. In the context of the heroine, when she receives a token of affection, she should hold it in her hand and, from that moment onwards, the dance should be applied to the remaining limbs or movements.
english translation
[ dUtyAzrayaM yadA tu syAdRtukAlAdi darzanam | autsukyacintAsaMbaddhaM na nRttaM tatra yojayet ||] yasminnaGge prasAdaM tu gRhnIyAnnAyikA kramAt | tataHprabhRti nRttaM tu zeSeSvaGgeSu yojayet || 310||
hk transliteration
Natyashastra
Progress:14.9%
[ दूत्याश्रयं यदा तु स्यादृतुकालादि दर्शनम् । औत्सुक्यचिन्तासंबद्धं न नृत्तं तत्र योजयेत् ॥] यस्मिन्नङ्गे प्रसादं तु गृह्नीयान्नायिका क्रमात् । ततःप्रभृति नृत्तं तु शेषेष्वङ्गेषु योजयेत् ॥ ३१०॥
sanskrit
When there is a message from the messenger or when the appearance of a season or similar event is observed, the dance should not be performed if the sentiment is associated with eagerness or anxiety. In the context of the heroine, when she receives a token of affection, she should hold it in her hand and, from that moment onwards, the dance should be applied to the remaining limbs or movements.
english translation
[ dUtyAzrayaM yadA tu syAdRtukAlAdi darzanam | autsukyacintAsaMbaddhaM na nRttaM tatra yojayet ||] yasminnaGge prasAdaM tu gRhnIyAnnAyikA kramAt | tataHprabhRti nRttaM tu zeSeSvaGgeSu yojayet || 310||
hk transliteration