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:15.7%
कलापातविभागार्थं भवेदासारितक्रिया । कीर्तनाद्देवतानां च ज्ञेयो गीतविधिस्तथा ॥ २१॥
sanskrit
For the division of the movements, the action of creating a path should be performed. The method of chanting, which is dedicated to the deities, is also to be understood as the method of singing.
english translation
kalApAtavibhAgArthaM bhavedAsAritakriyA | kIrtanAddevatAnAM ca jJeyo gItavidhistathA || 21||
hk transliteration
[अतः परं प्रवक्ष्यमि ह्युत्थापनविधिक्रियाम् ।] यस्मादुत्थापयन्त्यत्र प्रयोगं नान्दिपाठकाः । पूर्वमेव तु रङ्गेऽस्मिंस्तस्मादुत्थापनं स्मृतम् ॥ २२॥
sanskrit
Therefore, I will now explain the method of the rising action. Since it is the Nandi reciters who raise the performance, the rising action is considered to be in the same manner as previously in this stage.
english translation
[ataH paraM pravakSyami hyutthApanavidhikriyAm |] yasmAdutthApayantyatra prayogaM nAndipAThakAH | pUrvameva tu raGge'smiMstasmAdutthApanaM smRtam || 22||
hk transliteration
यस्माच्च लोकपालानां परिवृत्य चतुर्दिशम् । वन्दनानि प्रकुर्वन्ति तस्माच्च परिवर्तनम् ॥ २३॥
sanskrit
Since the guardians of the world (Lokapalas) are surrounded on all four directions and perform salutations, therefore, the change (or transformation) is performed accordingly.
english translation
yasmAcca lokapAlAnAM parivRtya caturdizam | vandanAni prakurvanti tasmAcca parivartanam || 23||
hk transliteration
आशीर्वचनसंयुक्ता नित्यं यस्मात्प्रयुज्यते । देवद्विजनृपादीनां तस्मान्नान्दीति संज्ञिता ॥ २४॥
sanskrit
It is always used with blessings, and thus it is known as "Nandi," because it is associated with the gods, Brahmins, and rulers.
english translation
AzIrvacanasaMyuktA nityaM yasmAtprayujyate | devadvijanRpAdInAM tasmAnnAndIti saMjJitA || 24||
hk transliteration
अत्र शुष्काक्षरैरेव ह्यवकृष्टा ध्रुवा यतः । तस्माच्छुष्कावकृष्टेयं जर्जरश्लोकदर्शिता ॥ २५॥
sanskrit
Here, it is firmly established that the phrase "Shushkavakrishta" (dry utterance) refers to a withered or decayed verse, as it is shown by the worn-out sloka.
english translation
atra zuSkAkSaraireva hyavakRSTA dhruvA yataH | tasmAcchuSkAvakRSTeyaM jarjarazlokadarzitA || 25||
hk transliteration
Natyashastra
Progress:15.7%
कलापातविभागार्थं भवेदासारितक्रिया । कीर्तनाद्देवतानां च ज्ञेयो गीतविधिस्तथा ॥ २१॥
sanskrit
For the division of the movements, the action of creating a path should be performed. The method of chanting, which is dedicated to the deities, is also to be understood as the method of singing.
english translation
kalApAtavibhAgArthaM bhavedAsAritakriyA | kIrtanAddevatAnAM ca jJeyo gItavidhistathA || 21||
hk transliteration
[अतः परं प्रवक्ष्यमि ह्युत्थापनविधिक्रियाम् ।] यस्मादुत्थापयन्त्यत्र प्रयोगं नान्दिपाठकाः । पूर्वमेव तु रङ्गेऽस्मिंस्तस्मादुत्थापनं स्मृतम् ॥ २२॥
sanskrit
Therefore, I will now explain the method of the rising action. Since it is the Nandi reciters who raise the performance, the rising action is considered to be in the same manner as previously in this stage.
english translation
[ataH paraM pravakSyami hyutthApanavidhikriyAm |] yasmAdutthApayantyatra prayogaM nAndipAThakAH | pUrvameva tu raGge'smiMstasmAdutthApanaM smRtam || 22||
hk transliteration
यस्माच्च लोकपालानां परिवृत्य चतुर्दिशम् । वन्दनानि प्रकुर्वन्ति तस्माच्च परिवर्तनम् ॥ २३॥
sanskrit
Since the guardians of the world (Lokapalas) are surrounded on all four directions and perform salutations, therefore, the change (or transformation) is performed accordingly.
english translation
yasmAcca lokapAlAnAM parivRtya caturdizam | vandanAni prakurvanti tasmAcca parivartanam || 23||
hk transliteration
आशीर्वचनसंयुक्ता नित्यं यस्मात्प्रयुज्यते । देवद्विजनृपादीनां तस्मान्नान्दीति संज्ञिता ॥ २४॥
sanskrit
It is always used with blessings, and thus it is known as "Nandi," because it is associated with the gods, Brahmins, and rulers.
english translation
AzIrvacanasaMyuktA nityaM yasmAtprayujyate | devadvijanRpAdInAM tasmAnnAndIti saMjJitA || 24||
hk transliteration
अत्र शुष्काक्षरैरेव ह्यवकृष्टा ध्रुवा यतः । तस्माच्छुष्कावकृष्टेयं जर्जरश्लोकदर्शिता ॥ २५॥
sanskrit
Here, it is firmly established that the phrase "Shushkavakrishta" (dry utterance) refers to a withered or decayed verse, as it is shown by the worn-out sloka.
english translation
atra zuSkAkSaraireva hyavakRSTA dhruvA yataH | tasmAcchuSkAvakRSTeyaM jarjarazlokadarzitA || 25||
hk transliteration