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:21.2%
चपलता नाम रागद्वेषमात्सर्यामर्षाप्रतिकूल्यादिभिर्विभावैः समुत्पद्यते । तस्याश्च वाक्पारुष्यनिर्भर्त्सनवधबन्धसम्प्रहार- ताडनादिभिरनुभावैरभिनयः प्रयोक्तव्यः । अत्रार्या भवति - अविमृश्य तु यः कार्यं पुरुषो वधताडनं समारभते । अविनिश्चितकारित्वात्स तु खलु चपलो बुधैर्ज्ञेयः ॥ ६०॥
sanskrit
Inconstancy (capalatā) is caused by Determinants such as love, hatred, malice, impatience, jealousy, opposition and the like. It is to be represented on the stage by Consequents such as harsh words, rebuke, beating, killing, taking prisoner, goading and the like. There are two Āryās on this point: 60. When a man does anything like killing or beating any one without any forethought, he is said to be inconstant because of his not being definite in his action.
english translation
capalatA nAma rAgadveSamAtsaryAmarSApratikUlyAdibhirvibhAvaiH samutpadyate | tasyAzca vAkpAruSyanirbhartsanavadhabandhasamprahAra- tADanAdibhiranubhAvairabhinayaH prayoktavyaH | atrAryA bhavati - avimRzya tu yaH kAryaM puruSo vadhatADanaM samArabhate | avinizcitakAritvAtsa tu khalu capalo budhairjJeyaH || 60||
hk transliteration by SanscriptNatyashastra
Progress:21.2%
चपलता नाम रागद्वेषमात्सर्यामर्षाप्रतिकूल्यादिभिर्विभावैः समुत्पद्यते । तस्याश्च वाक्पारुष्यनिर्भर्त्सनवधबन्धसम्प्रहार- ताडनादिभिरनुभावैरभिनयः प्रयोक्तव्यः । अत्रार्या भवति - अविमृश्य तु यः कार्यं पुरुषो वधताडनं समारभते । अविनिश्चितकारित्वात्स तु खलु चपलो बुधैर्ज्ञेयः ॥ ६०॥
sanskrit
Inconstancy (capalatā) is caused by Determinants such as love, hatred, malice, impatience, jealousy, opposition and the like. It is to be represented on the stage by Consequents such as harsh words, rebuke, beating, killing, taking prisoner, goading and the like. There are two Āryās on this point: 60. When a man does anything like killing or beating any one without any forethought, he is said to be inconstant because of his not being definite in his action.
english translation
capalatA nAma rAgadveSamAtsaryAmarSApratikUlyAdibhirvibhAvaiH samutpadyate | tasyAzca vAkpAruSyanirbhartsanavadhabandhasamprahAra- tADanAdibhiranubhAvairabhinayaH prayoktavyaH | atrAryA bhavati - avimRzya tu yaH kAryaM puruSo vadhatADanaM samArabhate | avinizcitakAritvAtsa tu khalu capalo budhairjJeyaH || 60||
hk transliteration by Sanscript