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
Different Gaits (gati)
13.
अध्याय १३
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%
101
निःसंज्ञो निष्प्रकम्पश्च स्थितः शून्यजडाकृतिः । स्कन्नगात्रतया चैव स्तम्भं त्वभिनयेद्बुधः ॥ १०१॥
Paralysis should be represented on the stage by being inactive, motionless, dispirited like an inert object, senseless, and stiff-bodied.
english translation
niHsaMjJo niSprakampazca sthitaH zUnyajaDAkRtiH | skannagAtratayA caiva stambhaM tvabhinayedbudhaH || 101||
102
व्यजनग्रहणाच्चापि स्वेदापनयनेन च । स्वेदस्याभिनयो योज्यस्तथा वाताभिलाषतः ॥ १०२॥
Perspiration should be represented on the stage by taking up a fan, wiping off sweat and looking for breeze.
vyajanagrahaNAccApi svedApanayanena ca | svedasyAbhinayo yojyastathA vAtAbhilASataH || 102||
103
मुहुः कण्टिकितत्वेन तथोल्लुकसनेन च । पुलकेन च रोमाञ्चं गात्रस्पर्शेन दर्शयेत् ॥ १०३॥
Horripilation should be represented on the stage by repeated thrills, hairs standing on the end, and by touching the body.
muhuH kaNTikitatvena tathollukasanena ca | pulakena ca romAJcaM gAtrasparzena darzayet || 103||
104
स्वरभेदोऽभिनेतव्यो भिन्नगद्गदनिस्वनैः । वेपनात्स्फुरणात्कम्पाद्वेपथुं सम्प्रदर्शयेत् ॥ १०४॥
Change of Voice should be represented by broken and choking voice, and Trembling by quivering, throbbing and shivering.
svarabhedo'bhinetavyo bhinnagadgadanisvanaiH | vepanAtsphuraNAtkampAdvepathuM sampradarzayet || 104||
105
मुखवर्णपरावृत्त्या नाडीपीडनयोगतः । वैवर्ण्यमभिनेतव्यं प्रयत्नात्तद्धि दुष्करम् ॥ १०५॥
Change of Colour should be represented by alteration of colour of the face by putting pressure on the artery, and this is dependent on the limbs.
mukhavarNaparAvRttyA nADIpIDanayogataH | vaivarNyamabhinetavyaM prayatnAttaddhi duSkaram || 105||
Chapter 7
Verses 96-100
Verses 106-110
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