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
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देवस्तुत्याश्रयकृतं यदङ्गं तु भवेदथ । माहेश्वरैरङ्गहारैरुद्धतैस्तत्प्रयोजयेत् ॥३११॥
sanskrit
The dance, which is created for the adoration of the gods, should be performed with vigorous and energetic gestures, according to the guidance of Lord Mahesvara's (Shiva's) gestures.
english translation
devastutyAzrayakRtaM yadaGgaM tu bhavedatha | mAhezvarairaGgahArairuddhataistatprayojayet ||311||
hk transliteration
यत्तु शृङ्गारसंबद्धं गानं स्त्रीपुरुषाश्रयम् । देवीकृतैरङ्गहारैर्ललितैस्तत्प्रयोजयेत् ॥ ३१२॥
sanskrit
The song associated with the romantic sentiment, based on the relationship between a woman and a man, should be performed with graceful gestures created by the goddess, with delicate and charming movements.
english translation
yattu zaRGgArasaMbaddhaM gAnaM strIpuruSAzrayam | devIkRtairaGgahArairlalitaistatprayojayet || 312||
hk transliteration
चतुष्पदा नर्कुटके खञ्जके परिगीतके । विधानं सम्प्रवक्ष्यामि भाण्डवाद्यविधिं प्रति ॥ ३१३॥
sanskrit
I shall now explain the rules regarding the playing of drums in the four-footed Narkuṭaka, Khañjaka, and Parigītaka, in relation to the instrumental music (Bhāṇḍavādya).
english translation
catuSpadA narkuTake khaJjake parigItake | vidhAnaM sampravakSyAmi bhANDavAdyavidhiM prati || 313||
hk transliteration
खञ्जनर्कुटसंयुक्ता भस्वेद्या तु चतुष्पदा । पादान्ते सन्निपाते तु तस्या भाण्डग्रहो भवेत् ॥ ३१४॥
sanskrit
The four-footed drum, which is a combination of Khañja and Narkuṭa, should be played with a stroke at the end of each foot, and the Bhāṇḍa (drum playing) should be performed at the Sannipāta (conjunction) of the beats.
english translation
khaJjanarkuTasaMyuktA bhasvedyA tu catuSpadA | pAdAnte sannipAte tu tasyA bhANDagraho bhavet || 314||
hk transliteration
या ध्रुवा छन्दसा यक्ता समपादा समाक्षरा । तस्याः पादावसाने तु प्रदेशिन्या ग्रहो भवेत् ॥३१५॥
sanskrit
The Dhruvā meter, which consists of equal feet and syllables, should be accompanied by a stroke at the end of each foot, and at the conclusion of its feet, the drummer should use the Grāha (the stroke or gesture) to mark the final position.
english translation
yA dhruvA chandasA yaktA samapAdA samAkSarA | tasyAH pAdAvasAne tu pradezinyA graho bhavet ||315||
hk transliteration
Natyashastra
Progress:15.0%
देवस्तुत्याश्रयकृतं यदङ्गं तु भवेदथ । माहेश्वरैरङ्गहारैरुद्धतैस्तत्प्रयोजयेत् ॥३११॥
sanskrit
The dance, which is created for the adoration of the gods, should be performed with vigorous and energetic gestures, according to the guidance of Lord Mahesvara's (Shiva's) gestures.
english translation
devastutyAzrayakRtaM yadaGgaM tu bhavedatha | mAhezvarairaGgahArairuddhataistatprayojayet ||311||
hk transliteration
यत्तु शृङ्गारसंबद्धं गानं स्त्रीपुरुषाश्रयम् । देवीकृतैरङ्गहारैर्ललितैस्तत्प्रयोजयेत् ॥ ३१२॥
sanskrit
The song associated with the romantic sentiment, based on the relationship between a woman and a man, should be performed with graceful gestures created by the goddess, with delicate and charming movements.
english translation
yattu zaRGgArasaMbaddhaM gAnaM strIpuruSAzrayam | devIkRtairaGgahArairlalitaistatprayojayet || 312||
hk transliteration
चतुष्पदा नर्कुटके खञ्जके परिगीतके । विधानं सम्प्रवक्ष्यामि भाण्डवाद्यविधिं प्रति ॥ ३१३॥
sanskrit
I shall now explain the rules regarding the playing of drums in the four-footed Narkuṭaka, Khañjaka, and Parigītaka, in relation to the instrumental music (Bhāṇḍavādya).
english translation
catuSpadA narkuTake khaJjake parigItake | vidhAnaM sampravakSyAmi bhANDavAdyavidhiM prati || 313||
hk transliteration
खञ्जनर्कुटसंयुक्ता भस्वेद्या तु चतुष्पदा । पादान्ते सन्निपाते तु तस्या भाण्डग्रहो भवेत् ॥ ३१४॥
sanskrit
The four-footed drum, which is a combination of Khañja and Narkuṭa, should be played with a stroke at the end of each foot, and the Bhāṇḍa (drum playing) should be performed at the Sannipāta (conjunction) of the beats.
english translation
khaJjanarkuTasaMyuktA bhasvedyA tu catuSpadA | pAdAnte sannipAte tu tasyA bhANDagraho bhavet || 314||
hk transliteration
या ध्रुवा छन्दसा यक्ता समपादा समाक्षरा । तस्याः पादावसाने तु प्रदेशिन्या ग्रहो भवेत् ॥३१५॥
sanskrit
The Dhruvā meter, which consists of equal feet and syllables, should be accompanied by a stroke at the end of each foot, and at the conclusion of its feet, the drummer should use the Grāha (the stroke or gesture) to mark the final position.
english translation
yA dhruvA chandasA yaktA samapAdA samAkSarA | tasyAH pAdAvasAne tu pradezinyA graho bhavet ||315||
hk transliteration