1.
अध्याय १
Origin of Drama
2.
अध्याय २
Description of the Playhouse
3.
अध्याय ३
Pūjā to the Gods of the Stage
4.
अध्याय ४
Description of the Class Dance
•
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:18.4%
आद्यं चतुर्थं दशममष्टमं नैधनं गुरु । यस्यास्तु जागते पादे सा त्र्यश्रोत्थापिनी ध्रुवा ॥ १४१॥
sanskrit
The first, fourth, tenth, eighth, and the last are the heavy syllables. The one which has these heavy syllables in the Jagati metre is the Triśara, and it serves to elevate (the metre).
english translation
AdyaM caturthaM dazamamaSTamaM naidhanaM guru | yasyAstu jAgate pAde sA tryazrotthApinI dhruvA || 141||
hk transliteration by Sanscriptवाद्यं गतिप्रचारश्च ध्रुवा तालस्तथैव च । संक्षिप्तान्येव कार्याणि त्र्यश्रे नृत्तप्रवेदिभिः ॥ १४२॥
sanskrit
By those well-versed in the art of dance, the triangular form should be executed with concise elements: the musical accompaniment, the movement of the feet, the dhruva (a specific type of song), and the tāla (a rhythmic cycle).
english translation
vAdyaM gatipracArazca dhruvA tAlastathaiva ca | saMkSiptAnyeva kAryANi tryazre nRttapravedibhiH || 142||
hk transliteration by Sanscriptवाद्यगीतप्रमाणेन कुर्यादङ्गविचेष्टितम् । विस्तीर्णमथ संक्षिप्तं द्विप्रमाणविनिर्मितम् ॥ १४३॥
sanskrit
The movements of the limbs should be executed in alignment with the measure of music and singing, either extensive or concise, fashioned according to the dual measure.
english translation
vAdyagItapramANena kuryAdaGgaviceSTitam | vistIrNamatha saMkSiptaM dvipramANavinirmitam || 143||
hk transliteration by Sanscriptहस्तपादप्रचारस्तु द्विकलः परिकीर्तितः । चतुरश्रे परिक्रान्ते पाताः स्युः षोडशैव तु ॥ १४४॥
sanskrit
The movement of the hands and feet is considered to consist of two kalas (measures). When the square is traversed, there should be sixteen falls.
english translation
hastapAdapracArastu dvikalaH parikIrtitaH | caturazre parikrAnte pAtAH syuH SoDazaiva tu || 144||
hk transliteration by Sanscriptत्र्यश्रे द्वादश पातास्तु भवन्ति करपादयोः । एतत्प्रमाणं विज्ञेयमुभयोः पूर्वरङ्गयोः ॥ १४५॥
sanskrit
There are twelve falls in the triangular formation involving the hands and feet. This measure should be understood as applicable to both the preliminary acts.
english translation
tryazre dvAdaza pAtAstu bhavanti karapAdayoH | etatpramANaM vijJeyamubhayoH pUrvaraGgayoH || 145||
hk transliteration by SanscriptNatyashastra
Progress:18.4%
आद्यं चतुर्थं दशममष्टमं नैधनं गुरु । यस्यास्तु जागते पादे सा त्र्यश्रोत्थापिनी ध्रुवा ॥ १४१॥
sanskrit
The first, fourth, tenth, eighth, and the last are the heavy syllables. The one which has these heavy syllables in the Jagati metre is the Triśara, and it serves to elevate (the metre).
english translation
AdyaM caturthaM dazamamaSTamaM naidhanaM guru | yasyAstu jAgate pAde sA tryazrotthApinI dhruvA || 141||
hk transliteration by Sanscriptवाद्यं गतिप्रचारश्च ध्रुवा तालस्तथैव च । संक्षिप्तान्येव कार्याणि त्र्यश्रे नृत्तप्रवेदिभिः ॥ १४२॥
sanskrit
By those well-versed in the art of dance, the triangular form should be executed with concise elements: the musical accompaniment, the movement of the feet, the dhruva (a specific type of song), and the tāla (a rhythmic cycle).
english translation
vAdyaM gatipracArazca dhruvA tAlastathaiva ca | saMkSiptAnyeva kAryANi tryazre nRttapravedibhiH || 142||
hk transliteration by Sanscriptवाद्यगीतप्रमाणेन कुर्यादङ्गविचेष्टितम् । विस्तीर्णमथ संक्षिप्तं द्विप्रमाणविनिर्मितम् ॥ १४३॥
sanskrit
The movements of the limbs should be executed in alignment with the measure of music and singing, either extensive or concise, fashioned according to the dual measure.
english translation
vAdyagItapramANena kuryAdaGgaviceSTitam | vistIrNamatha saMkSiptaM dvipramANavinirmitam || 143||
hk transliteration by Sanscriptहस्तपादप्रचारस्तु द्विकलः परिकीर्तितः । चतुरश्रे परिक्रान्ते पाताः स्युः षोडशैव तु ॥ १४४॥
sanskrit
The movement of the hands and feet is considered to consist of two kalas (measures). When the square is traversed, there should be sixteen falls.
english translation
hastapAdapracArastu dvikalaH parikIrtitaH | caturazre parikrAnte pAtAH syuH SoDazaiva tu || 144||
hk transliteration by Sanscriptत्र्यश्रे द्वादश पातास्तु भवन्ति करपादयोः । एतत्प्रमाणं विज्ञेयमुभयोः पूर्वरङ्गयोः ॥ १४५॥
sanskrit
There are twelve falls in the triangular formation involving the hands and feet. This measure should be understood as applicable to both the preliminary acts.
english translation
tryazre dvAdaza pAtAstu bhavanti karapAdayoH | etatpramANaM vijJeyamubhayoH pUrvaraGgayoH || 145||
hk transliteration by Sanscript