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
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
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सोच्छ्वासैर्निःश्वासैर्मन्दाक्षिनिमीलनेन निश्चेष्टः । सर्वेन्द्रियसम्मोहात्सुप्तं स्वप्नैश्च युञ्जीत ॥ ७६॥
Dreaming is to be represented on the stage by deep breathing, imperfectly closing eyes, stupefaction of all senses and absence of all activity.
english translation
socchvAsairniHzvAsairmandAkSinimIlanena nizceSTaH | sarvendriyasammohAtsuptaM svapnaizca yuJjIta || 76||
hk transliteration by Sanscriptविबोधो नाम आहारपरिणामनिद्राच्छेदस्वप्नान्त- तीव्रशब्दश्रवणादिभिर्विभावैः समुत्पद्यते । तमभिनयेज्जृम्भणाक्षिपरिमर्दनशयनमोक्षणादिभिरनुभावैः । अत्रार्या भवति - आहारविपरिणामाच्छब्दस्पर्शादिभिश्च सम्भूतः । प्रतिबोधस्त्वभिनेयो जृम्भणवदनाक्षिपरिमर्दैः ॥ ७७॥
Awakening (vibodha) is the break of sleep, and it is caused by Determinants such as digestion of food, bad dreams, loud sound, sensitive touch and the like. It is to be represented on the stage by Consequents such as yawning, rubbing the eyes, leaving the bed, and the like. There is an Āryā on this point: 77. Awakening is caused by digestion of food, [loud] sound, [sensitive] touch and the like. It is to be represented on the stage by yawning, rubbing the face and the eyes, and the like.
english translation
vibodho nAma AhArapariNAmanidrAcchedasvapnAnta- tIvrazabdazravaNAdibhirvibhAvaiH samutpadyate | tamabhinayejjRmbhaNAkSiparimardanazayanamokSaNAdibhiranubhAvaiH | atrAryA bhavati - AhAravipariNAmAcchabdasparzAdibhizca sambhUtaH | pratibodhastvabhineyo jRmbhaNavadanAkSiparimardaiH || 77||
hk transliteration by Sanscriptअमर्षो नाम विद्यैश्वर्यशौर्यबलाधिकैरधिक्षिप्तस्यावमानितस्य वा समुत्पद्यते । तमभिनयेच्छिरःकम्पनप्रस्वेदनाधोमुखचिन्तन- ध्यानाध्यवसायोपायसहायान्वेषणादिभिरनुभावैः । अत्र श्लोकौ - आक्षिप्तानां सभामध्ये विद्याशौर्यबलाधिकैः । नॄणामुत्साहसंयोगादमर्षो नाम जायते ॥ ७८॥
Indignation (amarṣa) is caused to persons abused or insulted by those having superior learning, wealth or power, It is to be represented on the stage by Consequents such as shaking the head, perspiration, thinking and reflecting with a downcast face, determination, looking for ways and means and allies, and the like. There are two Ślokas on this points: 78. Indignation grows in energetic men who have been abused or insulted in an assembly by those having superior learning and wealth.
english translation
amarSo nAma vidyaizvaryazauryabalAdhikairadhikSiptasyAvamAnitasya vA samutpadyate | tamabhinayecchiraHkampanaprasvedanAdhomukhacintana- dhyAnAdhyavasAyopAyasahAyAnveSaNAdibhiranubhAvaiH | atra zlokau - AkSiptAnAM sabhAmadhye vidyAzauryabalAdhikaiH | nRRNAmutsAhasaMyogAdamarSo nAma jAyate || 78||
hk transliteration by Sanscriptउत्साहाध्यवसायाभ्यामधोमुखविचिन्तनैः । शिरःप्रकम्पस्वेदाद्यैस्तं प्रयुञ्जीत पण्डितः ॥ ७९॥
It is to be represented on the stage by energy, determination, reflection with a downcast face, shaking the head, perspiration and the like.
english translation
utsAhAdhyavasAyAbhyAmadhomukhavicintanaiH | ziraHprakampasvedAdyaistaM prayuJjIta paNDitaH || 79||
hk transliteration by Sanscriptअवहित्थं नाम आकारप्रच्छादनात्मकम् । तच्च लजाभयापजय- गौरवजैह्मयादिभिर्विभाविः समुत्पद्यते । तस्यान्यथाकथनावलोकित- कथाभङ्गकृतकधैर्यादिभिरनुभावैरभिनयः प्रयोक्तव्यः । अत्र श्लोको भवति - धार्ष्ट्यजैह्म्यादिसम्भीतमवहित्थं भयत्मकम् । तच्चागणनया कार्यं नातीवोत्तरभाषणात् ॥ ८०॥
Dissimulation (avahitthā) is the concealment of appearance. It is caused by Determinants such as shame, fear, defeat, respect, deceit and the like. It is to be represented on the stage by Consequents such as speaking like another person, looking downwards, break in the speech, feigned patience and the like. There is a Śloka on this point: 80. Dissimulation is due to impudence, deceit, fear and the like. It is to be represented by carelessness about an action, and not speaking much in reply or in addressing [others].
english translation
avahitthaM nAma AkArapracchAdanAtmakam | tacca lajAbhayApajaya- gauravajaihmayAdibhirvibhAviH samutpadyate | tasyAnyathAkathanAvalokita- kathAbhaGgakRtakadhairyAdibhiranubhAvairabhinayaH prayoktavyaH | atra zloko bhavati - dhArSTyajaihmyAdisambhItamavahitthaM bhayatmakam | taccAgaNanayA kAryaM nAtIvottarabhASaNAt || 80||
hk transliteration by Sanscript