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:21.0%
मोहो नाम दैवोपघातव्यसनाभिघातव्याधिभयावेगपूर्ववैरा- नुस्मरणादिभिर्विभावैः समुत्पद्यते । तस्य निश्चैतन्यभ्रमण- पतनाघूर्णनादर्शनादिभिरनुभावैरभिनयः प्रयोक्तव्यः । अत्र श्लोकस्तावदार्या च - अस्थाने तस्करान्दृष्ट्वा त्रासनैर्विविधैरपि । तत्प्रतीकारशून्यस्य मोहः समुपजायते ॥ ५२॥
sanskrit
Distraction (moha) is caused by Determinants such as accidental injury, adversity, sickness, fear, agitation, remembering past enemity and the like. It is to be represented on the stage by Consequents such as want of movement, [excessive] movement of [a particular] limb, falling down, reeling, not seeing properly and the like. There is a Śloka on this point: 52. Due to seeing a robber in an unexpected place or from panic of different kinds distraction occurs in a man when he finds no help [near by].
english translation
moho nAma daivopaghAtavyasanAbhighAtavyAdhibhayAvegapUrvavairA- nusmaraNAdibhirvibhAvaiH samutpadyate | tasya nizcaitanyabhramaNa- patanAghUrNanAdarzanAdibhiranubhAvairabhinayaH prayoktavyaH | atra zlokastAvadAryA ca - asthAne taskarAndRSTvA trAsanairvividhairapi | tatpratIkArazUnyasya mohaH samupajAyate || 52||
hk transliteration by SanscriptNatyashastra
Progress:21.0%
मोहो नाम दैवोपघातव्यसनाभिघातव्याधिभयावेगपूर्ववैरा- नुस्मरणादिभिर्विभावैः समुत्पद्यते । तस्य निश्चैतन्यभ्रमण- पतनाघूर्णनादर्शनादिभिरनुभावैरभिनयः प्रयोक्तव्यः । अत्र श्लोकस्तावदार्या च - अस्थाने तस्करान्दृष्ट्वा त्रासनैर्विविधैरपि । तत्प्रतीकारशून्यस्य मोहः समुपजायते ॥ ५२॥
sanskrit
Distraction (moha) is caused by Determinants such as accidental injury, adversity, sickness, fear, agitation, remembering past enemity and the like. It is to be represented on the stage by Consequents such as want of movement, [excessive] movement of [a particular] limb, falling down, reeling, not seeing properly and the like. There is a Śloka on this point: 52. Due to seeing a robber in an unexpected place or from panic of different kinds distraction occurs in a man when he finds no help [near by].
english translation
moho nAma daivopaghAtavyasanAbhighAtavyAdhibhayAvegapUrvavairA- nusmaraNAdibhirvibhAvaiH samutpadyate | tasya nizcaitanyabhramaNa- patanAghUrNanAdarzanAdibhiranubhAvairabhinayaH prayoktavyaH | atra zlokastAvadAryA ca - asthAne taskarAndRSTvA trAsanairvividhairapi | tatpratIkArazUnyasya mohaH samupajAyate || 52||
hk transliteration by Sanscript