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:16.6%
परिवर्ताश्च चत्वारः पाणयस्त्रय एव च । जात्या चैव हि विश्लोका तां च तालेन योजयेत् ॥ ६१॥
sanskrit
"The transitions are four, and the hands are three. The types are also differentiated by their verses, and they should be arranged with the rhythm."
english translation
parivartAzca catvAraH pANayastraya eva ca | jAtyA caiva hi vizlokA tAM ca tAlena yojayet || 61||
hk transliteration by Sanscriptशम्या तु द्विकला कार्या तलो द्विकल एव च । पुनश्चैककला शम्या सन्निपातः कलात्रयम् ॥ ६२॥
sanskrit
"The two parts should be handled as one, and the same for the two beats. Similarly, the single part should be used, and the combination of three parts forms the total rhythm."
english translation
zamyA tu dvikalA kAryA talo dvikala eva ca | punazcaikakalA zamyA sannipAtaH kalAtrayam || 62||
hk transliteration by Sanscriptएवमष्टकलः कार्यः सन्निपातो विचक्षणैः । चत्वारः सन्निपाताश्च परिवर्तः स उच्यते ॥ ६३॥
sanskrit
Thus, the eight parts should be used in combination, with four combinations referred to as the "Sannipāta" (the union of rhythms).
english translation
evamaSTakalaH kAryaH sannipAto vicakSaNaiH | catvAraH sannipAtAzca parivartaH sa ucyate || 63||
hk transliteration by Sanscriptपूर्वं स्थितलयः कार्यः परिवर्तो विचक्षणैः । तृतीये सन्निपाते तु तस्या भाण्डग्रहो भवेत् ॥ ६४॥
sanskrit
Previously, the stationary rhythm should be used, and the change (Parivarta) is observed by the wise. In the third Sannipāta, the vessel (Bhāṇḍa) must be grasped accordingly.
english translation
pUrvaM sthitalayaH kAryaH parivarto vicakSaNaiH | tRtIye sannipAte tu tasyA bhANDagraho bhavet || 64||
hk transliteration by Sanscriptएकस्मिन्परिवर्ते तु गते प्राप्ते द्वितीयके । कार्यं मध्यलये तज्ज्ञैः सूत्रधारप्रवेशनम् ॥ ६५॥
sanskrit
In the first Parivarta, when the second one has been completed, the task should be performed in the middle of the rhythm by those who are knowledgeable, with the entry of the Sutradhara.
english translation
ekasminparivarte tu gate prApte dvitIyake | kAryaM madhyalaye tajjJaiH sUtradhArapravezanam || 65||
hk transliteration by SanscriptNatyashastra
Progress:16.6%
परिवर्ताश्च चत्वारः पाणयस्त्रय एव च । जात्या चैव हि विश्लोका तां च तालेन योजयेत् ॥ ६१॥
sanskrit
"The transitions are four, and the hands are three. The types are also differentiated by their verses, and they should be arranged with the rhythm."
english translation
parivartAzca catvAraH pANayastraya eva ca | jAtyA caiva hi vizlokA tAM ca tAlena yojayet || 61||
hk transliteration by Sanscriptशम्या तु द्विकला कार्या तलो द्विकल एव च । पुनश्चैककला शम्या सन्निपातः कलात्रयम् ॥ ६२॥
sanskrit
"The two parts should be handled as one, and the same for the two beats. Similarly, the single part should be used, and the combination of three parts forms the total rhythm."
english translation
zamyA tu dvikalA kAryA talo dvikala eva ca | punazcaikakalA zamyA sannipAtaH kalAtrayam || 62||
hk transliteration by Sanscriptएवमष्टकलः कार्यः सन्निपातो विचक्षणैः । चत्वारः सन्निपाताश्च परिवर्तः स उच्यते ॥ ६३॥
sanskrit
Thus, the eight parts should be used in combination, with four combinations referred to as the "Sannipāta" (the union of rhythms).
english translation
evamaSTakalaH kAryaH sannipAto vicakSaNaiH | catvAraH sannipAtAzca parivartaH sa ucyate || 63||
hk transliteration by Sanscriptपूर्वं स्थितलयः कार्यः परिवर्तो विचक्षणैः । तृतीये सन्निपाते तु तस्या भाण्डग्रहो भवेत् ॥ ६४॥
sanskrit
Previously, the stationary rhythm should be used, and the change (Parivarta) is observed by the wise. In the third Sannipāta, the vessel (Bhāṇḍa) must be grasped accordingly.
english translation
pUrvaM sthitalayaH kAryaH parivarto vicakSaNaiH | tRtIye sannipAte tu tasyA bhANDagraho bhavet || 64||
hk transliteration by Sanscriptएकस्मिन्परिवर्ते तु गते प्राप्ते द्वितीयके । कार्यं मध्यलये तज्ज्ञैः सूत्रधारप्रवेशनम् ॥ ६५॥
sanskrit
In the first Parivarta, when the second one has been completed, the task should be performed in the middle of the rhythm by those who are knowledgeable, with the entry of the Sutradhara.
english translation
ekasminparivarte tu gate prApte dvitIyake | kAryaM madhyalaye tajjJaiH sUtradhArapravezanam || 65||
hk transliteration by Sanscript