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
5.
अध्याय ५
Preliminaries of a Play
•
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:20.6%
तत्र रसानेव तावदादावभिव्याख्यास्यामः । न हि रसादृते कश्चिदर्थः प्रवर्तते । तत्र विभावानुभावव्यभिचारिसंयोगाद्रसनिष्पत्तिः । को दृष्टान्तः । अत्राह - यथा हि नानाव्यञ्जनौषधिद्रव्यसंयोगाद्रसनिष्पत्तिः तथा नानाभावोपगमाद्रसनिष्पत्तिः । यथा हि - गुडादिभिर्द्रव्यैर्व्यञ्जनैरौषधिभिश्च षाडवादयो रसा निर्वर्त्यन्ते तथा नानाभावोपगता अपि स्थायिनो भावा रसत्वमाप्नुवन्तीति । अत्राह - रस इति कः पदार्थः । उच्यते - आस्वाद्यत्वात् । कथमास्वाद्यते रसः । यथा हि नानाव्यञ्जनसंस्कृतमन्नं भुञ्जान रसानास्वादयन्ति सुमनसः पुरुष हर्षादींश्चाधिगच्छन्ति तथा नानाभावाभिनयव्यञ्जितान् वागङ्गसत्तोपेतान् स्थायिभावानास्वादयन्ति सुमनसः प्रेक्षकाः हर्षादींश्चाधिगच्छन्ति । तस्मान्नाट्यरसा इत्यभिव्याख्याताः । अत्रानुवंश्यौ श्लोकौ भवतः - यथा बहुद्रव्ययुतैर्व्यञ्जनैर्बहुभिर्युतम् । आस्वादयन्ति भुञ्जाना भक्तं भक्तविदो जनाः ॥ ३२॥
sanskrit
To begin with, the sentiments (rasas) will be explained, as no meaning is conveyed without rasa. The realization of rasa arises from the combination of determinants (vibhāvas), consequents (anubhāvas), and transitory states (vyabhicāri bhāvas). What is an analogy for this? It is said: Just as the realization of flavors (rasa) occurs from the combination of various condiments, medicinal substances, and ingredients, similarly, the realization of sentiments occurs from the combination of various emotional states (bhāvas). For instance, flavors like sweetness and others are produced by combining substances such as jaggery, condiments, and medicines. In the same way, emotional states, when combined, lead to the transformation of stable states (sthāyin) into sentiments (rasas). The question arises: What is the essence of rasa? It is said: It is that which can be savored. How is rasa savored? Just as individuals savor flavors by consuming food prepared with various condiments, experiencing joy and other emotions, so too do discerning spectators relish the stable states represented through the gestures, expressions, and speech of actors, experiencing joy and other emotions in turn. Thus, dramatic sentiments (nāṭyarasa) are defined. Here, two illustrative verses are cited: "Just as those who are knowledgeable in food savor dishes prepared with a variety of substances and condiments..."
english translation
tatra rasAneva tAvadAdAvabhivyAkhyAsyAmaH | na hi rasAdRte kazcidarthaH pravartate | tatra vibhAvAnubhAvavyabhicArisaMyogAdrasaniSpattiH | ko dRSTAntaH | atrAha - yathA hi nAnAvyaJjanauSadhidravyasaMyogAdrasaniSpattiH tathA nAnAbhAvopagamAdrasaniSpattiH | yathA hi - guDAdibhirdravyairvyaJjanairauSadhibhizca SADavAdayo rasA nirvartyante tathA nAnAbhAvopagatA api sthAyino bhAvA rasatvamApnuvantIti | atrAha - rasa iti kaH padArthaH | ucyate - AsvAdyatvAt | kathamAsvAdyate rasaH | yathA hi nAnAvyaJjanasaMskRtamannaM bhuJjAna rasAnAsvAdayanti sumanasaH puruSa harSAdIMzcAdhigacchanti tathA nAnAbhAvAbhinayavyaJjitAn vAgaGgasattopetAn sthAyibhAvAnAsvAdayanti sumanasaH prekSakAH harSAdIMzcAdhigacchanti | tasmAnnATyarasA ityabhivyAkhyAtAH | atrAnuvaMzyau zlokau bhavataH - yathA bahudravyayutairvyaJjanairbahubhiryutam | AsvAdayanti bhuJjAnA bhaktaM bhaktavido janAH || 32||
hk transliteration by SanscriptNatyashastra
Progress:20.6%
तत्र रसानेव तावदादावभिव्याख्यास्यामः । न हि रसादृते कश्चिदर्थः प्रवर्तते । तत्र विभावानुभावव्यभिचारिसंयोगाद्रसनिष्पत्तिः । को दृष्टान्तः । अत्राह - यथा हि नानाव्यञ्जनौषधिद्रव्यसंयोगाद्रसनिष्पत्तिः तथा नानाभावोपगमाद्रसनिष्पत्तिः । यथा हि - गुडादिभिर्द्रव्यैर्व्यञ्जनैरौषधिभिश्च षाडवादयो रसा निर्वर्त्यन्ते तथा नानाभावोपगता अपि स्थायिनो भावा रसत्वमाप्नुवन्तीति । अत्राह - रस इति कः पदार्थः । उच्यते - आस्वाद्यत्वात् । कथमास्वाद्यते रसः । यथा हि नानाव्यञ्जनसंस्कृतमन्नं भुञ्जान रसानास्वादयन्ति सुमनसः पुरुष हर्षादींश्चाधिगच्छन्ति तथा नानाभावाभिनयव्यञ्जितान् वागङ्गसत्तोपेतान् स्थायिभावानास्वादयन्ति सुमनसः प्रेक्षकाः हर्षादींश्चाधिगच्छन्ति । तस्मान्नाट्यरसा इत्यभिव्याख्याताः । अत्रानुवंश्यौ श्लोकौ भवतः - यथा बहुद्रव्ययुतैर्व्यञ्जनैर्बहुभिर्युतम् । आस्वादयन्ति भुञ्जाना भक्तं भक्तविदो जनाः ॥ ३२॥
sanskrit
To begin with, the sentiments (rasas) will be explained, as no meaning is conveyed without rasa. The realization of rasa arises from the combination of determinants (vibhāvas), consequents (anubhāvas), and transitory states (vyabhicāri bhāvas). What is an analogy for this? It is said: Just as the realization of flavors (rasa) occurs from the combination of various condiments, medicinal substances, and ingredients, similarly, the realization of sentiments occurs from the combination of various emotional states (bhāvas). For instance, flavors like sweetness and others are produced by combining substances such as jaggery, condiments, and medicines. In the same way, emotional states, when combined, lead to the transformation of stable states (sthāyin) into sentiments (rasas). The question arises: What is the essence of rasa? It is said: It is that which can be savored. How is rasa savored? Just as individuals savor flavors by consuming food prepared with various condiments, experiencing joy and other emotions, so too do discerning spectators relish the stable states represented through the gestures, expressions, and speech of actors, experiencing joy and other emotions in turn. Thus, dramatic sentiments (nāṭyarasa) are defined. Here, two illustrative verses are cited: "Just as those who are knowledgeable in food savor dishes prepared with a variety of substances and condiments..."
english translation
tatra rasAneva tAvadAdAvabhivyAkhyAsyAmaH | na hi rasAdRte kazcidarthaH pravartate | tatra vibhAvAnubhAvavyabhicArisaMyogAdrasaniSpattiH | ko dRSTAntaH | atrAha - yathA hi nAnAvyaJjanauSadhidravyasaMyogAdrasaniSpattiH tathA nAnAbhAvopagamAdrasaniSpattiH | yathA hi - guDAdibhirdravyairvyaJjanairauSadhibhizca SADavAdayo rasA nirvartyante tathA nAnAbhAvopagatA api sthAyino bhAvA rasatvamApnuvantIti | atrAha - rasa iti kaH padArthaH | ucyate - AsvAdyatvAt | kathamAsvAdyate rasaH | yathA hi nAnAvyaJjanasaMskRtamannaM bhuJjAna rasAnAsvAdayanti sumanasaH puruSa harSAdIMzcAdhigacchanti tathA nAnAbhAvAbhinayavyaJjitAn vAgaGgasattopetAn sthAyibhAvAnAsvAdayanti sumanasaH prekSakAH harSAdIMzcAdhigacchanti | tasmAnnATyarasA ityabhivyAkhyAtAH | atrAnuvaMzyau zlokau bhavataH - yathA bahudravyayutairvyaJjanairbahubhiryutam | AsvAdayanti bhuJjAnA bhaktaM bhaktavido janAH || 32||
hk transliteration by Sanscript