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:19.8%
अथ करुणो नाम शोकस्थायिभावप्रभवः । स च शापक्लेशविनिपतितेष्टजनविप्रयोगविभवनाशवधबन्धविद्रवोपघात- व्यसनसंयोगादिभिर्विभावैः समुपजायते । तस्याश्रुपातपरिदेवनमुखशोषणवैवर्ण्यस्रस्तगात्रतानिश्श्वास- स्मृतिलोपादिभिरनुभावैरभिनयः प्रयोक्तव्यः । व्यभिचारिणश्चास्य निर्वेदग्लानिचिन्तौत्सुक्यावेगभ्रममोहश्रमभयविषाददैन्यव्याधि- जडतोन्मादापस्मारत्रासालस्यमरणस्तम्भवेपथुवैवर्ण्याश्रु- स्वरभेदादयः । अत्रार्ये भवतः - इष्टवधदर्शनाद्वा विप्रियवचनस्य संश्रवाद्वापि । एभिर्भावविशेषैः करुणो नाम संभवति ॥ १॥
sanskrit
The sentiment known as Karuṇa (Pathetic) originates from the Durable Psychological State (sthāyibhāva) of sorrow (śoka). It arises from Determinants such as affliction caused by a curse, suffering due to misfortune, separation from loved ones, loss of wealth, death, captivity, flight or escape, accidents, and other forms of calamities or misfortunes. This sentiment is portrayed on stage through Consequents like shedding tears, lamentation, dryness of the mouth, pallor or change in complexion, slackness or drooping of limbs, deep sighing, and loss of memory. The Complementary Psychological States associated with the Pathetic Sentiment include indifference, fatigue or langour, anxiety, longing, excitement, delusion, bewilderment, exhaustion, fear, sadness, dejection, illness, paralysis, insanity, epilepsy, tremor or fright, indolence, death, rigidity, trembling, pallor, tears, and a broken voice. These states enrich the portrayal of sorrow and create a vivid emotional impact on stage. The traditional Āryā verse explains that Karuṇa arises from situations such as witnessing the death of a beloved person or hearing deeply unpleasant words or news. These emotional circumstances form the foundation of the Pathetic Sentiment and bring it to life in a dramatic performance.
english translation
atha karuNo nAma zokasthAyibhAvaprabhavaH | sa ca zApaklezavinipatiteSTajanaviprayogavibhavanAzavadhabandhavidravopaghAta- vyasanasaMyogAdibhirvibhAvaiH samupajAyate | tasyAzrupAtaparidevanamukhazoSaNavaivarNyasrastagAtratAnizzvAsa- smRtilopAdibhiranubhAvairabhinayaH prayoktavyaH | vyabhicAriNazcAsya nirvedaglAnicintautsukyAvegabhramamohazramabhayaviSAdadainyavyAdhi- jaDatonmAdApasmAratrAsAlasyamaraNastambhavepathuvaivarNyAzru- svarabhedAdayaH | atrArye bhavataH - iSTavadhadarzanAdvA vipriyavacanasya saMzravAdvApi | ebhirbhAvavizeSaiH karuNo nAma saMbhavati || 1||
hk transliteration
Natyashastra
Progress:19.8%
अथ करुणो नाम शोकस्थायिभावप्रभवः । स च शापक्लेशविनिपतितेष्टजनविप्रयोगविभवनाशवधबन्धविद्रवोपघात- व्यसनसंयोगादिभिर्विभावैः समुपजायते । तस्याश्रुपातपरिदेवनमुखशोषणवैवर्ण्यस्रस्तगात्रतानिश्श्वास- स्मृतिलोपादिभिरनुभावैरभिनयः प्रयोक्तव्यः । व्यभिचारिणश्चास्य निर्वेदग्लानिचिन्तौत्सुक्यावेगभ्रममोहश्रमभयविषाददैन्यव्याधि- जडतोन्मादापस्मारत्रासालस्यमरणस्तम्भवेपथुवैवर्ण्याश्रु- स्वरभेदादयः । अत्रार्ये भवतः - इष्टवधदर्शनाद्वा विप्रियवचनस्य संश्रवाद्वापि । एभिर्भावविशेषैः करुणो नाम संभवति ॥ १॥
sanskrit
The sentiment known as Karuṇa (Pathetic) originates from the Durable Psychological State (sthāyibhāva) of sorrow (śoka). It arises from Determinants such as affliction caused by a curse, suffering due to misfortune, separation from loved ones, loss of wealth, death, captivity, flight or escape, accidents, and other forms of calamities or misfortunes. This sentiment is portrayed on stage through Consequents like shedding tears, lamentation, dryness of the mouth, pallor or change in complexion, slackness or drooping of limbs, deep sighing, and loss of memory. The Complementary Psychological States associated with the Pathetic Sentiment include indifference, fatigue or langour, anxiety, longing, excitement, delusion, bewilderment, exhaustion, fear, sadness, dejection, illness, paralysis, insanity, epilepsy, tremor or fright, indolence, death, rigidity, trembling, pallor, tears, and a broken voice. These states enrich the portrayal of sorrow and create a vivid emotional impact on stage. The traditional Āryā verse explains that Karuṇa arises from situations such as witnessing the death of a beloved person or hearing deeply unpleasant words or news. These emotional circumstances form the foundation of the Pathetic Sentiment and bring it to life in a dramatic performance.
english translation
atha karuNo nAma zokasthAyibhAvaprabhavaH | sa ca zApaklezavinipatiteSTajanaviprayogavibhavanAzavadhabandhavidravopaghAta- vyasanasaMyogAdibhirvibhAvaiH samupajAyate | tasyAzrupAtaparidevanamukhazoSaNavaivarNyasrastagAtratAnizzvAsa- smRtilopAdibhiranubhAvairabhinayaH prayoktavyaH | vyabhicAriNazcAsya nirvedaglAnicintautsukyAvegabhramamohazramabhayaviSAdadainyavyAdhi- jaDatonmAdApasmAratrAsAlasyamaraNastambhavepathuvaivarNyAzru- svarabhedAdayaH | atrArye bhavataH - iSTavadhadarzanAdvA vipriyavacanasya saMzravAdvApi | ebhirbhAvavizeSaiH karuNo nAma saMbhavati || 1||
hk transliteration