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:20.2%
अत्रार्या भवन्ति - भृकुटीकुटिलोत्कटमुखः सन्दष्ठोष्ठः स्पृशन्करेण करम् । क्रुद्धः स्वभुजाप्रेक्षी शत्रौ निर्यन्त्रणं रुष्येत् ॥ १६॥
sanskrit
One should show anger against control by the enemy with knitting of eyebrows, fierce look, bitten lips, hands clasping each other, and with threatening arms, shoulder and chest.
english translation
atrAryA bhavanti - bhRkuTIkuTilotkaTamukhaH sandaSThoSThaH spRzankareNa karam | kruddhaH svabhujAprekSI zatrau niryantraNaM ruSyet || 16||
hk transliteration
किञ्चिदवाङ्ग्मुखदृष्टिः सास्रस्वेदापमार्जनपरश्च । अव्यक्तोल्बणचेष्टो गुरौ विनययन्त्रितो रुष्येत् ॥ १७॥
sanskrit
One should show anger against control by superiors with slightly downcast eyes, wiping off slight perspiration and not expressing any violent movement.
english translation
kiJcidavAGgmukhadRSTiH sAsrasvedApamArjanaparazca | avyaktolbaNaceSTo gurau vinayayantrito ruSyet || 17||
hk transliteration
अल्पप्रतरविचारो विकिरन्नश्रूण्यपाङ्गविक्षेपैः । सभ्रुकुटिस्फुरितोष्ठः प्रणयोपगतां प्रिया रुष्येत् ॥ १८॥
sanskrit
One should show one’s anger to the beloved woman by a very slight movement [of the body], by shedding tears, and knitting eyebrows and with sidelong glances, and throbbing lips.
english translation
alpaprataravicAro vikirannazrUNyapAGgavikSepaiH | sabhrukuTisphuritoSThaH praNayopagatAM priyA ruSyet || 18||
hk transliteration
अथ परिजने तु रोषस्तर्जननिर्भर्त्सनाक्षिविस्तारैः । विप्रेक्षणैश्च विविधैरभिनेयः क्रूरतारहितः ॥ १९॥
sanskrit
Anger to one’s servants should be represented on the stage by means of threat, rebuke, dilated eyes and by casting angry looks of various kind.
english translation
atha parijane tu roSastarjananirbhartsanAkSivistAraiH | viprekSaNaizca vividhairabhineyaH krUratArahitaH || 19||
hk transliteration
कारणमवेक्षमाणः प्रायेणायासलिङ्गसंयुक्तः । वीररसान्तरचारी कार्यः कृतको भवति कोपः ॥ २०॥
sanskrit
Anger which is shown with a view to the realization of an ulterior motive and which mostly betrays marks of effort, is called feigned anger, and it relates to (lit. moves between) two Sentiments.
english translation
kAraNamavekSamANaH prAyeNAyAsaliGgasaMyuktaH | vIrarasAntaracArI kAryaH kRtako bhavati kopaH || 20||
hk transliteration
Natyashastra
Progress:20.2%
अत्रार्या भवन्ति - भृकुटीकुटिलोत्कटमुखः सन्दष्ठोष्ठः स्पृशन्करेण करम् । क्रुद्धः स्वभुजाप्रेक्षी शत्रौ निर्यन्त्रणं रुष्येत् ॥ १६॥
sanskrit
One should show anger against control by the enemy with knitting of eyebrows, fierce look, bitten lips, hands clasping each other, and with threatening arms, shoulder and chest.
english translation
atrAryA bhavanti - bhRkuTIkuTilotkaTamukhaH sandaSThoSThaH spRzankareNa karam | kruddhaH svabhujAprekSI zatrau niryantraNaM ruSyet || 16||
hk transliteration
किञ्चिदवाङ्ग्मुखदृष्टिः सास्रस्वेदापमार्जनपरश्च । अव्यक्तोल्बणचेष्टो गुरौ विनययन्त्रितो रुष्येत् ॥ १७॥
sanskrit
One should show anger against control by superiors with slightly downcast eyes, wiping off slight perspiration and not expressing any violent movement.
english translation
kiJcidavAGgmukhadRSTiH sAsrasvedApamArjanaparazca | avyaktolbaNaceSTo gurau vinayayantrito ruSyet || 17||
hk transliteration
अल्पप्रतरविचारो विकिरन्नश्रूण्यपाङ्गविक्षेपैः । सभ्रुकुटिस्फुरितोष्ठः प्रणयोपगतां प्रिया रुष्येत् ॥ १८॥
sanskrit
One should show one’s anger to the beloved woman by a very slight movement [of the body], by shedding tears, and knitting eyebrows and with sidelong glances, and throbbing lips.
english translation
alpaprataravicAro vikirannazrUNyapAGgavikSepaiH | sabhrukuTisphuritoSThaH praNayopagatAM priyA ruSyet || 18||
hk transliteration
अथ परिजने तु रोषस्तर्जननिर्भर्त्सनाक्षिविस्तारैः । विप्रेक्षणैश्च विविधैरभिनेयः क्रूरतारहितः ॥ १९॥
sanskrit
Anger to one’s servants should be represented on the stage by means of threat, rebuke, dilated eyes and by casting angry looks of various kind.
english translation
atha parijane tu roSastarjananirbhartsanAkSivistAraiH | viprekSaNaizca vividhairabhineyaH krUratArahitaH || 19||
hk transliteration
कारणमवेक्षमाणः प्रायेणायासलिङ्गसंयुक्तः । वीररसान्तरचारी कार्यः कृतको भवति कोपः ॥ २०॥
sanskrit
Anger which is shown with a view to the realization of an ulterior motive and which mostly betrays marks of effort, is called feigned anger, and it relates to (lit. moves between) two Sentiments.
english translation
kAraNamavekSamANaH prAyeNAyAsaliGgasaMyuktaH | vIrarasAntaracArI kAryaH kRtako bhavati kopaH || 20||
hk transliteration