Natyashastra
अथानुभाव इति कस्मात् । उच्यते- अनुभाव्यतेऽनेन वागङ्गसत्त्वकृतोऽभिनय इति । अत्र श्लोकः - वागङ्गाभिनयेनेह यतस्त्वर्थोऽनुभाव्यते । शाखाङ्गोपाङ्गसंयुक्तस्त्वनुभावस्ततः स्मृतः ॥ ५ ॥
“Now, why is the word anubhāva used?” (Answer) “Because this anubhāvayati ॥ the spectators॥ (i.e. make them feel afterwards) ॥ the effect of॥ the Histrionic Representation by means of Words, Gestures and the Sattva, it is called anubhāva (Consequent). On this point there is a Śloka: 5. As in it the play (lit. meaning) is anubhāvyate (made to be felt) by means of Words and Gestures, it is called anubhāva, and it relates to words as well as to ॥ gestures and movements of॥ major and minor limbs.
english translation
athAnubhAva iti kasmAt । ucyate- anubhAvyate'nena vAgaGgasattvakRto'bhinaya iti । atra zlokaH - vAgaGgAbhinayeneha yatastvartho'nubhAvyate । zAkhAGgopAGgasaMyuktastvanubhAvastataH smRtaH ॥ 5 ॥
hk transliteration by Sanscript1.
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
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
अथानुभाव इति कस्मात् । उच्यते- अनुभाव्यतेऽनेन वागङ्गसत्त्वकृतोऽभिनय इति । अत्र श्लोकः - वागङ्गाभिनयेनेह यतस्त्वर्थोऽनुभाव्यते । शाखाङ्गोपाङ्गसंयुक्तस्त्वनुभावस्ततः स्मृतः ॥ ५ ॥
“Now, why is the word anubhāva used?” (Answer) “Because this anubhāvayati ॥ the spectators॥ (i.e. make them feel afterwards) ॥ the effect of॥ the Histrionic Representation by means of Words, Gestures and the Sattva, it is called anubhāva (Consequent). On this point there is a Śloka: 5. As in it the play (lit. meaning) is anubhāvyate (made to be felt) by means of Words and Gestures, it is called anubhāva, and it relates to words as well as to ॥ gestures and movements of॥ major and minor limbs.
english translation
athAnubhAva iti kasmAt । ucyate- anubhAvyate'nena vAgaGgasattvakRto'bhinaya iti । atra zlokaH - vAgaGgAbhinayeneha yatastvartho'nubhAvyate । zAkhAGgopAGgasaMyuktastvanubhAvastataH smRtaH ॥ 5 ॥
hk transliteration by Sanscript