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:20.1%
शोको नाम इष्टजनवियोगविभवनाशवधबन्धदुःखानुभनवनादिभिर्विभावैः समुत्पद्यते। तस्यास्रपातपरिदेवितविलपितवैवर्ण्यस्वरभेदस्रस्तगात्रताभूमि- पतनसस्वनरुदिताक्रन्दितदीर्घनिःश्वसितजडतोन्मादमोहमरणादिभिरनुभा- वैरभिनयः प्रयोक्तव्यः । रुदितमत्र त्रिविधम् - आनन्दजमार्तिजमीर्ष्यासमुद्भवं चेति । भवन्ति चात्रार्याः - [आनन्देऽप्यार्तिकृतं त्रिविधं रुदितं सदा बुधैर्ज्ञेयम् । तस्य त्वभिनययोगान्विभावगतितः प्रवक्ष्यामि ॥] हर्षोत्फुल्लकपोलं सानुस्मरणादपाङ्गविसृतास्रम् । रोमाञ्चगात्रमनिभृतमानन्दसमुद्भवं भवति ॥ ११॥
sanskrit
Sorrow (śoka) is caused by Determinants such as death of the beloved one, loss of wealth, experience of sorrow due to any one’s murder or captivity and the like. It is to be represented on the stage by Consequents such as shedding tears, lamentation, bewailing, change of colour, loss of voice, looseness of limbs, falling on the ground, crying, deep breathing, paralysis, insanity, death and the like. Weeping here (i.e. in a play) is of three kinds: [weeping) of joy, [weeping] of affliction and [weeping] due to jealousy. On these points there are traditional Āryās: 11. Weeping in which the cheeks are blooming in joy, the body is horripilating, there are words of remembrance, and tears are not concealed, is called weeping of joy
english translation
zoko nAma iSTajanaviyogavibhavanAzavadhabandhaduHkhAnubhanavanAdibhirvibhAvaiH samutpadyate| tasyAsrapAtaparidevitavilapitavaivarNyasvarabhedasrastagAtratAbhUmi- patanasasvanaruditAkranditadIrghaniHzvasitajaDatonmAdamohamaraNAdibhiranubhA- vairabhinayaH prayoktavyaH | ruditamatra trividham - AnandajamArtijamIrSyAsamudbhavaM ceti | bhavanti cAtrAryAH - [Anande'pyArtikRtaM trividhaM ruditaM sadA budhairjJeyam | tasya tvabhinayayogAnvibhAvagatitaH pravakSyAmi ||] harSotphullakapolaM sAnusmaraNAdapAGgavisRtAsram | romAJcagAtramanibhRtamAnandasamudbhavaM bhavati || 11||
hk transliteration
Natyashastra
Progress:20.1%
शोको नाम इष्टजनवियोगविभवनाशवधबन्धदुःखानुभनवनादिभिर्विभावैः समुत्पद्यते। तस्यास्रपातपरिदेवितविलपितवैवर्ण्यस्वरभेदस्रस्तगात्रताभूमि- पतनसस्वनरुदिताक्रन्दितदीर्घनिःश्वसितजडतोन्मादमोहमरणादिभिरनुभा- वैरभिनयः प्रयोक्तव्यः । रुदितमत्र त्रिविधम् - आनन्दजमार्तिजमीर्ष्यासमुद्भवं चेति । भवन्ति चात्रार्याः - [आनन्देऽप्यार्तिकृतं त्रिविधं रुदितं सदा बुधैर्ज्ञेयम् । तस्य त्वभिनययोगान्विभावगतितः प्रवक्ष्यामि ॥] हर्षोत्फुल्लकपोलं सानुस्मरणादपाङ्गविसृतास्रम् । रोमाञ्चगात्रमनिभृतमानन्दसमुद्भवं भवति ॥ ११॥
sanskrit
Sorrow (śoka) is caused by Determinants such as death of the beloved one, loss of wealth, experience of sorrow due to any one’s murder or captivity and the like. It is to be represented on the stage by Consequents such as shedding tears, lamentation, bewailing, change of colour, loss of voice, looseness of limbs, falling on the ground, crying, deep breathing, paralysis, insanity, death and the like. Weeping here (i.e. in a play) is of three kinds: [weeping) of joy, [weeping] of affliction and [weeping] due to jealousy. On these points there are traditional Āryās: 11. Weeping in which the cheeks are blooming in joy, the body is horripilating, there are words of remembrance, and tears are not concealed, is called weeping of joy
english translation
zoko nAma iSTajanaviyogavibhavanAzavadhabandhaduHkhAnubhanavanAdibhirvibhAvaiH samutpadyate| tasyAsrapAtaparidevitavilapitavaivarNyasvarabhedasrastagAtratAbhUmi- patanasasvanaruditAkranditadIrghaniHzvasitajaDatonmAdamohamaraNAdibhiranubhA- vairabhinayaH prayoktavyaH | ruditamatra trividham - AnandajamArtijamIrSyAsamudbhavaM ceti | bhavanti cAtrAryAH - [Anande'pyArtikRtaM trividhaM ruditaM sadA budhairjJeyam | tasya tvabhinayayogAnvibhAvagatitaH pravakSyAmi ||] harSotphullakapolaM sAnusmaraNAdapAGgavisRtAsram | romAJcagAtramanibhRtamAnandasamudbhavaM bhavati || 11||
hk transliteration