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
6.
अध्याय ६
Sentiments (rasa)
•
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%
भावानिदानीं व्याख्यास्यामः । अत्राह- भावा इति कस्मात् । किं भवन्तीति भावाः किं वा भावयन्तीति भावाः । उच्यते - वागङ्गसत्त्वोपेतान्काव्यार्थान्भावयन्तीति भावा इति । भू इति करणे धातुस्तथा च भावितं वासितं कृतमित्यनर्थान्तरम् । लोकेऽपि च प्रसिद्धम् । अहो ह्यनेन गन्धेन रसेन वा सर्वमेव भावितमिति । तच्च व्याप्त्यर्थम् । श्लोकाश्चात्र- विभावेनाहृतो योऽर्थो ह्यनुभावैस्तु गम्यते । वागङ्गसत्त्वाभिनयैः स भाव इति संज्ञितः ॥ १॥
sanskrit
Now I shall speak of the bhāvas (Psychological States, lit. feelings). An anquiry in this connexion is, “Why are the bhāvas so called? Is it because they bhāvayanti (pervade) and are hence called bhāvas?” It is said in reply that bhāvas are so called, because through Words, Gestures and Representation of the Sattva they bhāvayanti (infuse) the meaning of the play [into the spectators]. Bhāva is an ‘instrument,’ of causation; for words, such as bhāvita, vāsita and kṛta are synonymous. An expression like, ‘O, all these things are bhāvita (pervaded) by one another’s smell or moistened by one another’s juice,’ is current even amongst the common people. Hence the root bhāvaya means ‘to cause to pervade.’ On this point there are the following Ślokas: 1. When the meanings presented by Determinants and Consequents are made to pervade (gamayte) [the heart of the spectators] they are called bhāvas.
english translation
bhAvAnidAnIM vyAkhyAsyAmaH | atrAha- bhAvA iti kasmAt | kiM bhavantIti bhAvAH kiM vA bhAvayantIti bhAvAH | ucyate - vAgaGgasattvopetAnkAvyArthAnbhAvayantIti bhAvA iti | bhU iti karaNe dhAtustathA ca bhAvitaM vAsitaM kRtamityanarthAntaram | loke'pi ca prasiddham | aho hyanena gandhena rasena vA sarvameva bhAvitamiti | tacca vyAptyartham | zlokAzcAtra- vibhAvenAhRto yo'rtho hyanubhAvaistu gamyate | vAgaGgasattvAbhinayaiH sa bhAva iti saMjJitaH || 1||
hk transliteration
Natyashastra
Progress:19.8%
भावानिदानीं व्याख्यास्यामः । अत्राह- भावा इति कस्मात् । किं भवन्तीति भावाः किं वा भावयन्तीति भावाः । उच्यते - वागङ्गसत्त्वोपेतान्काव्यार्थान्भावयन्तीति भावा इति । भू इति करणे धातुस्तथा च भावितं वासितं कृतमित्यनर्थान्तरम् । लोकेऽपि च प्रसिद्धम् । अहो ह्यनेन गन्धेन रसेन वा सर्वमेव भावितमिति । तच्च व्याप्त्यर्थम् । श्लोकाश्चात्र- विभावेनाहृतो योऽर्थो ह्यनुभावैस्तु गम्यते । वागङ्गसत्त्वाभिनयैः स भाव इति संज्ञितः ॥ १॥
sanskrit
Now I shall speak of the bhāvas (Psychological States, lit. feelings). An anquiry in this connexion is, “Why are the bhāvas so called? Is it because they bhāvayanti (pervade) and are hence called bhāvas?” It is said in reply that bhāvas are so called, because through Words, Gestures and Representation of the Sattva they bhāvayanti (infuse) the meaning of the play [into the spectators]. Bhāva is an ‘instrument,’ of causation; for words, such as bhāvita, vāsita and kṛta are synonymous. An expression like, ‘O, all these things are bhāvita (pervaded) by one another’s smell or moistened by one another’s juice,’ is current even amongst the common people. Hence the root bhāvaya means ‘to cause to pervade.’ On this point there are the following Ślokas: 1. When the meanings presented by Determinants and Consequents are made to pervade (gamayte) [the heart of the spectators] they are called bhāvas.
english translation
bhAvAnidAnIM vyAkhyAsyAmaH | atrAha- bhAvA iti kasmAt | kiM bhavantIti bhAvAH kiM vA bhAvayantIti bhAvAH | ucyate - vAgaGgasattvopetAnkAvyArthAnbhAvayantIti bhAvA iti | bhU iti karaNe dhAtustathA ca bhAvitaM vAsitaM kRtamityanarthAntaram | loke'pi ca prasiddham | aho hyanena gandhena rasena vA sarvameva bhAvitamiti | tacca vyAptyartham | zlokAzcAtra- vibhAvenAhRto yo'rtho hyanubhAvaistu gamyate | vAgaGgasattvAbhinayaiH sa bhAva iti saMjJitaH || 1||
hk transliteration