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:15.8%
यस्मादभिनयस्त्वत्र प्रथमं ह्यवतार्यते । रङ्गद्वारमतो ज्ञेयं वागङ्गाभिनयात्मकम् ॥ २६॥
sanskrit
Here, it is understood that the first stage of performance (Abhinaya) is introduced with the entrance at the stage door, which is associated with vocal and physical expression (Vanganga Abhinaya).
english translation
yasmAdabhinayastvatra prathamaM hyavatAryate | raGgadvAramato jJeyaM vAgaGgAbhinayAtmakam || 26||
hk transliteration by Sanscriptशृङ्गारस्य प्रचरणाच्चारी सम्परिकीर्तिता । रौद्रप्रचरणाच्चापि महाचारीति कीर्तिता ॥ २७॥
sanskrit
The term "Chari" is described as associated with the performance of the erotic (Shṛṅgāra) and the fierce (Raudra) emotions, with the highly expressive movements being specifically termed as "Mahācāri."
english translation
zaRGgArasya pracaraNAccArI samparikIrtitA | raudrapracaraNAccApi mahAcArIti kIrtitA || 27||
hk transliteration by Sanscriptविदूषकः सूत्रधारस्तथा वै पारिपार्श्वकः । यत्र कुर्वन्ति सञ्जल्पं तच्चापि त्रिगतं मतम् ॥ २८॥
sanskrit
The Vidūṣaka, Sūtradhāra, and Pāripārśvika are involved in the dialogue or conversation (Sañjalpa), and this conversation is considered a part of the three-fold process (Tri-gata).
english translation
vidUSakaH sUtradhArastathA vai pAripArzvakaH | yatra kurvanti saJjalpaM taccApi trigataM matam || 28||
hk transliteration by Sanscriptउपक्षेपेण काव्यस्य हेतुयुक्तिसमाश्रया । सिद्धेनामन्त्रणा या तु विज्ञेया स प्ररोचना ॥ २९॥
sanskrit
The conversation that is based on reason and supported by the purpose of the narrative, which is achieved through a proper invocation, is known as Praroçanā (stimulus).
english translation
upakSepeNa kAvyasya hetuyuktisamAzrayA | siddhenAmantraNA yA tu vijJeyA sa prarocanA || 29||
hk transliteration by Sanscriptअतः परं प्रवक्ष्यामि ह्याश्रावणविधिक्रियाम् । बहिर्गीतविधौ सम्यगुत्पत्तिं कारणं तथा ॥ ३०॥
sanskrit
Now, I will explain the method of the recital, the correct origin, and the cause in the context of external singing.
english translation
ataH paraM pravakSyAmi hyAzrAvaNavidhikriyAm | bahirgItavidhau samyagutpattiM kAraNaM tathA || 30||
hk transliteration by SanscriptNatyashastra
Progress:15.8%
यस्मादभिनयस्त्वत्र प्रथमं ह्यवतार्यते । रङ्गद्वारमतो ज्ञेयं वागङ्गाभिनयात्मकम् ॥ २६॥
sanskrit
Here, it is understood that the first stage of performance (Abhinaya) is introduced with the entrance at the stage door, which is associated with vocal and physical expression (Vanganga Abhinaya).
english translation
yasmAdabhinayastvatra prathamaM hyavatAryate | raGgadvAramato jJeyaM vAgaGgAbhinayAtmakam || 26||
hk transliteration by Sanscriptशृङ्गारस्य प्रचरणाच्चारी सम्परिकीर्तिता । रौद्रप्रचरणाच्चापि महाचारीति कीर्तिता ॥ २७॥
sanskrit
The term "Chari" is described as associated with the performance of the erotic (Shṛṅgāra) and the fierce (Raudra) emotions, with the highly expressive movements being specifically termed as "Mahācāri."
english translation
zaRGgArasya pracaraNAccArI samparikIrtitA | raudrapracaraNAccApi mahAcArIti kIrtitA || 27||
hk transliteration by Sanscriptविदूषकः सूत्रधारस्तथा वै पारिपार्श्वकः । यत्र कुर्वन्ति सञ्जल्पं तच्चापि त्रिगतं मतम् ॥ २८॥
sanskrit
The Vidūṣaka, Sūtradhāra, and Pāripārśvika are involved in the dialogue or conversation (Sañjalpa), and this conversation is considered a part of the three-fold process (Tri-gata).
english translation
vidUSakaH sUtradhArastathA vai pAripArzvakaH | yatra kurvanti saJjalpaM taccApi trigataM matam || 28||
hk transliteration by Sanscriptउपक्षेपेण काव्यस्य हेतुयुक्तिसमाश्रया । सिद्धेनामन्त्रणा या तु विज्ञेया स प्ररोचना ॥ २९॥
sanskrit
The conversation that is based on reason and supported by the purpose of the narrative, which is achieved through a proper invocation, is known as Praroçanā (stimulus).
english translation
upakSepeNa kAvyasya hetuyuktisamAzrayA | siddhenAmantraNA yA tu vijJeyA sa prarocanA || 29||
hk transliteration by Sanscriptअतः परं प्रवक्ष्यामि ह्याश्रावणविधिक्रियाम् । बहिर्गीतविधौ सम्यगुत्पत्तिं कारणं तथा ॥ ३०॥
sanskrit
Now, I will explain the method of the recital, the correct origin, and the cause in the context of external singing.
english translation
ataH paraM pravakSyAmi hyAzrAvaNavidhikriyAm | bahirgItavidhau samyagutpattiM kAraNaM tathA || 30||
hk transliteration by Sanscript