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:20.6%
शङ्का नाम सन्देहात्मिका स्त्रीनीचप्रभवा । चौर्याभिग्रहणनृपापराधपापकर्मकरणादिभिर्विभावैः समुत्पद्यते । तस्या मुहुर्मुहुरवलोकनावकुण्ठनमुखशोषणजिह्वालेहनमुखवैवर्ण्य- स्वरभेदवेपथुशुष्कोष्ठकण्ठायाससाधर्म्यादिभिरनुभावैरभिनयः प्रयोक्तव्यः । चौर्यादिजनिता शङ्का प्रायः कार्या भयानके । प्रियव्यलीकजनिता तथा शृङ्गारिणी मता ॥ ३३॥
sanskrit
Apprehension (śaṅkā) has doubt as its basis, and it relates to women and persons of the inferior type. It is caused by Determinants such as theft, giving offence to the king and the like. It is to be represented on the stage by Consequents such as constantly looking on, hesitating movement (avakuṇṭhana), dryness of the mouth, licking the lips, change of facial colour, tremor, dry lips, loss of voice and the like. There is Śloka on these points: 33. Apprehension in the Terrible Sentiment is due to robbery, and the like, and in case of the Erotic Sentiment it is due to [a possible] deception on the part of the lover. Some authorities prescribe (lit. desire) in this case a concealment of appearance which is to be characterized by [adoption of] clever tricks and gestures.
english translation
zaGkA nAma sandehAtmikA strInIcaprabhavA | cauryAbhigrahaNanRpAparAdhapApakarmakaraNAdibhirvibhAvaiH samutpadyate | tasyA muhurmuhuravalokanAvakuNThanamukhazoSaNajihvAlehanamukhavaivarNya- svarabhedavepathuzuSkoSThakaNThAyAsasAdharmyAdibhiranubhAvairabhinayaH prayoktavyaH | cauryAdijanitA zaGkA prAyaH kAryA bhayAnake | priyavyalIkajanitA tathA zaRGgAriNI matA || 33||
hk transliteration by SanscriptNatyashastra
Progress:20.6%
शङ्का नाम सन्देहात्मिका स्त्रीनीचप्रभवा । चौर्याभिग्रहणनृपापराधपापकर्मकरणादिभिर्विभावैः समुत्पद्यते । तस्या मुहुर्मुहुरवलोकनावकुण्ठनमुखशोषणजिह्वालेहनमुखवैवर्ण्य- स्वरभेदवेपथुशुष्कोष्ठकण्ठायाससाधर्म्यादिभिरनुभावैरभिनयः प्रयोक्तव्यः । चौर्यादिजनिता शङ्का प्रायः कार्या भयानके । प्रियव्यलीकजनिता तथा शृङ्गारिणी मता ॥ ३३॥
sanskrit
Apprehension (śaṅkā) has doubt as its basis, and it relates to women and persons of the inferior type. It is caused by Determinants such as theft, giving offence to the king and the like. It is to be represented on the stage by Consequents such as constantly looking on, hesitating movement (avakuṇṭhana), dryness of the mouth, licking the lips, change of facial colour, tremor, dry lips, loss of voice and the like. There is Śloka on these points: 33. Apprehension in the Terrible Sentiment is due to robbery, and the like, and in case of the Erotic Sentiment it is due to [a possible] deception on the part of the lover. Some authorities prescribe (lit. desire) in this case a concealment of appearance which is to be characterized by [adoption of] clever tricks and gestures.
english translation
zaGkA nAma sandehAtmikA strInIcaprabhavA | cauryAbhigrahaNanRpAparAdhapApakarmakaraNAdibhirvibhAvaiH samutpadyate | tasyA muhurmuhuravalokanAvakuNThanamukhazoSaNajihvAlehanamukhavaivarNya- svarabhedavepathuzuSkoSThakaNThAyAsasAdharmyAdibhiranubhAvairabhinayaH prayoktavyaH | cauryAdijanitA zaGkA prAyaH kAryA bhayAnake | priyavyalIkajanitA tathA zaRGgAriNI matA || 33||
hk transliteration by Sanscript