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:18.9%
प्रयुज्य रङ्गान्निष्क्रामेत्सूत्रधार्ः सहानुगः । (देवपार्थिवरङ्गानामाशीर्वचनसंयुताम् ॥ कवेर्नामगुणोपेतां वस्तूपक्षेपरूपिकाम् । लघुवर्णपदोपेतां वृत्तैश्चित्रैरलङ्कृताम् ॥ अन्तर्यवनिकासंस्थः कुर्यादाश्रावणां ततः । आश्रावनावसाने च नान्दीं कृत्वा स सूत्रधृत् ॥ पुनः प्रविश्य रङ्गं तु कुर्यात्प्रस्तावनां ततः ।) प्रयुज्य विधिनैवं तु पूर्वरऽगं प्रयोगतः ॥ १६१॥
sanskrit
The sutradhara, accompanied by his assistants, should exit the stage, utilizing the prologue of the divine and royal stages, with the auspicious utterance. The poet should compose a work endowed with a name and qualities, structured in an appropriate form with a simple and succinct style, and adorned with various meters and imagery. Standing at the back of the stage, he should make an announcement, and after completing the announcement, he should make a Nandi. Then, after entering the stage once again, he should perform the opening speech. In this manner, the prologue should be employed with the prescribed procedures, according to the principles of the preliminary acts.
english translation
prayujya raGgAnniSkrAmetsUtradhArH sahAnugaH | (devapArthivaraGgAnAmAzIrvacanasaMyutAm || kavernAmaguNopetAM vastUpakSeparUpikAm | laghuvarNapadopetAM vRttaizcitrairalaGkRtAm || antaryavanikAsaMsthaH kuryAdAzrAvaNAM tataH | AzrAvanAvasAne ca nAndIM kRtvA sa sUtradhRt || punaH pravizya raGgaM tu kuryAtprastAvanAM tataH |) prayujya vidhinaivaM tu pUrvara'gaM prayogataH || 161||
hk transliteration by Sanscriptस्थापकः प्रविशेत्तत्र सूत्रधारगुणाकृतिः । स्थानं तु वैष्णवं कृत्वा सौष्ठवाङ्गपुरस्कृतम् ॥ १६२॥
sanskrit
The stage manager should enter there, embodying the qualities of the sutradhara, and he should create a Vaishnava space, adorned with graceful and well-proportioned features.
english translation
sthApakaH pravizettatra sUtradhAraguNAkRtiH | sthAnaM tu vaiSNavaM kRtvA sauSThavAGgapuraskRtam || 162||
hk transliteration by Sanscriptप्रविश्य रङ्गं तैरेव सूत्रधारपदैर्व्रजेत् । श्थापक्स्य प्रवेशे तु कर्तव्यऽर्थानुगा ध्रुवा ॥ १६३॥
sanskrit
Entering the stage, he should follow the same steps as the sutradhara. Upon the entrance of the stage manager, the meaning should be in accordance with the purpose. The Dhruva (steady part) should be performed.
english translation
pravizya raGgaM taireva sUtradhArapadairvrajet | zthApaksya praveze tu kartavya'rthAnugA dhruvA || 163||
hk transliteration by Sanscriptत्र्यश्रा वा चतुरश्रा वा तज्ज्ञैर्मध्यलयान्विता । कुर्यादनन्तरं चारीं देवरह्मणशंसिनीम् ॥ १६४॥
sanskrit
The dance should either be triangular or square, with the middle beat incorporated. Then, the dancer should perform the dance that praises the gods and Brahmins.
english translation
tryazrA vA caturazrA vA tajjJairmadhyalayAnvitA | kuryAdanantaraM cArIM devarahmaNazaMsinIm || 164||
hk transliteration by Sanscriptसुवाक्यमधुरैः श्लोकेर्नानाभसवरसान्वितैः । प्रसाद्य रङ्गं विधिवत्कवेर्नाम च कीर्तयेत् ॥ १६५॥
sanskrit
Having pleased the audience with sweet verses, composed of good words and full of various flavors, the poet should duly proclaim his name.
english translation
suvAkyamadhuraiH zlokernAnAbhasavarasAnvitaiH | prasAdya raGgaM vidhivatkavernAma ca kIrtayet || 165||
hk transliteration by SanscriptNatyashastra
Progress:18.9%
प्रयुज्य रङ्गान्निष्क्रामेत्सूत्रधार्ः सहानुगः । (देवपार्थिवरङ्गानामाशीर्वचनसंयुताम् ॥ कवेर्नामगुणोपेतां वस्तूपक्षेपरूपिकाम् । लघुवर्णपदोपेतां वृत्तैश्चित्रैरलङ्कृताम् ॥ अन्तर्यवनिकासंस्थः कुर्यादाश्रावणां ततः । आश्रावनावसाने च नान्दीं कृत्वा स सूत्रधृत् ॥ पुनः प्रविश्य रङ्गं तु कुर्यात्प्रस्तावनां ततः ।) प्रयुज्य विधिनैवं तु पूर्वरऽगं प्रयोगतः ॥ १६१॥
sanskrit
The sutradhara, accompanied by his assistants, should exit the stage, utilizing the prologue of the divine and royal stages, with the auspicious utterance. The poet should compose a work endowed with a name and qualities, structured in an appropriate form with a simple and succinct style, and adorned with various meters and imagery. Standing at the back of the stage, he should make an announcement, and after completing the announcement, he should make a Nandi. Then, after entering the stage once again, he should perform the opening speech. In this manner, the prologue should be employed with the prescribed procedures, according to the principles of the preliminary acts.
english translation
prayujya raGgAnniSkrAmetsUtradhArH sahAnugaH | (devapArthivaraGgAnAmAzIrvacanasaMyutAm || kavernAmaguNopetAM vastUpakSeparUpikAm | laghuvarNapadopetAM vRttaizcitrairalaGkRtAm || antaryavanikAsaMsthaH kuryAdAzrAvaNAM tataH | AzrAvanAvasAne ca nAndIM kRtvA sa sUtradhRt || punaH pravizya raGgaM tu kuryAtprastAvanAM tataH |) prayujya vidhinaivaM tu pUrvara'gaM prayogataH || 161||
hk transliteration by Sanscriptस्थापकः प्रविशेत्तत्र सूत्रधारगुणाकृतिः । स्थानं तु वैष्णवं कृत्वा सौष्ठवाङ्गपुरस्कृतम् ॥ १६२॥
sanskrit
The stage manager should enter there, embodying the qualities of the sutradhara, and he should create a Vaishnava space, adorned with graceful and well-proportioned features.
english translation
sthApakaH pravizettatra sUtradhAraguNAkRtiH | sthAnaM tu vaiSNavaM kRtvA sauSThavAGgapuraskRtam || 162||
hk transliteration by Sanscriptप्रविश्य रङ्गं तैरेव सूत्रधारपदैर्व्रजेत् । श्थापक्स्य प्रवेशे तु कर्तव्यऽर्थानुगा ध्रुवा ॥ १६३॥
sanskrit
Entering the stage, he should follow the same steps as the sutradhara. Upon the entrance of the stage manager, the meaning should be in accordance with the purpose. The Dhruva (steady part) should be performed.
english translation
pravizya raGgaM taireva sUtradhArapadairvrajet | zthApaksya praveze tu kartavya'rthAnugA dhruvA || 163||
hk transliteration by Sanscriptत्र्यश्रा वा चतुरश्रा वा तज्ज्ञैर्मध्यलयान्विता । कुर्यादनन्तरं चारीं देवरह्मणशंसिनीम् ॥ १६४॥
sanskrit
The dance should either be triangular or square, with the middle beat incorporated. Then, the dancer should perform the dance that praises the gods and Brahmins.
english translation
tryazrA vA caturazrA vA tajjJairmadhyalayAnvitA | kuryAdanantaraM cArIM devarahmaNazaMsinIm || 164||
hk transliteration by Sanscriptसुवाक्यमधुरैः श्लोकेर्नानाभसवरसान्वितैः । प्रसाद्य रङ्गं विधिवत्कवेर्नाम च कीर्तयेत् ॥ १६५॥
sanskrit
Having pleased the audience with sweet verses, composed of good words and full of various flavors, the poet should duly proclaim his name.
english translation
suvAkyamadhuraiH zlokernAnAbhasavarasAnvitaiH | prasAdya raGgaM vidhivatkavernAma ca kIrtayet || 165||
hk transliteration by Sanscript