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)
7.
अध्याय ७
Emotional and other States (bhāva)
•
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:26.6%
अतः परं प्रवक्ष्यामि ग्रीवाकर्माणि वै द्विजाः ! । समा नतोन्नता त्र्यस्रा रेचिता कुञ्चिताञ्चिता ॥ १७१॥
sanskrit
Now, O Brahmins, I shall describe the movements of the neck. They are Samā, Natā, Unnatā, Tryasrā, Recitā, Kuñcitā, and Añcitā.
english translation
ataH paraM pravakSyAmi grIvAkarmANi vai dvijAH ! | samA natonnatA tryasrA recitA kuJcitAJcitA || 171||
hk transliteration
वलिता च निवृत्ता च ग्रीवा नवविधार्थतः । समा स्वाभाविकी ध्यानस्वभाजपकर्मसु ॥ १७२॥
sanskrit
Valitā and Nivṛttā are also included, making the neck movements ninefold in total. Samā is natural and is used in meditation, a neutral stance, and the recitation of mantras.
english translation
valitA ca nivRttA ca grIvA navavidhArthataH | samA svAbhAvikI dhyAnasvabhAjapakarmasu || 172||
hk transliteration
नता नतास्यालङ्कारबन्धे कण्ठावलम्बने , उन्नताभ्युन्नतमुखी ग्रीवा चोर्ध्वनिवेशने ॥ १७३॥
sanskrit
Natā is when the face is bent downward and is used in wearing ornaments and embracing the neck. Unnatā is when the face is upturned and is used in looking upwards.
english translation
natA natAsyAlaGkArabandhe kaNThAvalambane , unnatAbhyunnatamukhI grIvA cordhvanivezane || 173||
hk transliteration
त्र्यस्रा पार्श्वगता ज्ञेया स्कन्धभारेऽति दुःखिते । रेचिता विधुतभ्रान्ता हावे मथनृत्तयोः ॥ १७४॥
sanskrit
Tryasrā is when the neck is turned sideways and is used in carrying weight on the shoulders and expressing deep sorrow. Recitā is when the neck is shaken or moved and is used in emotions (hāva), churning, and dance.
english translation
tryasrA pArzvagatA jJeyA skandhabhAre'ti duHkhite | recitA vidhutabhrAntA hAve mathanRttayoH || 174||
hk transliteration
कुञ्चिताकुञ्चिते मूर्ध्नि धारिते गलरक्षणे । अञ्चितापसृतोद्बन्धकेशकर्षोर्ध्वदर्शने ॥ १७५॥
sanskrit
Kuñcitā is when the neck is turned back, used in situations involving pressure on the neck or in protecting it. Añcitā is when the neck is turned back with the head, used in actions like hanging, arranging hair, or looking very high up.
english translation
kuJcitAkuJcite mUrdhni dhArite galarakSaNe | aJcitApasRtodbandhakezakarSordhvadarzane || 175||
hk transliteration
Natyashastra
Progress:26.6%
अतः परं प्रवक्ष्यामि ग्रीवाकर्माणि वै द्विजाः ! । समा नतोन्नता त्र्यस्रा रेचिता कुञ्चिताञ्चिता ॥ १७१॥
sanskrit
Now, O Brahmins, I shall describe the movements of the neck. They are Samā, Natā, Unnatā, Tryasrā, Recitā, Kuñcitā, and Añcitā.
english translation
ataH paraM pravakSyAmi grIvAkarmANi vai dvijAH ! | samA natonnatA tryasrA recitA kuJcitAJcitA || 171||
hk transliteration
वलिता च निवृत्ता च ग्रीवा नवविधार्थतः । समा स्वाभाविकी ध्यानस्वभाजपकर्मसु ॥ १७२॥
sanskrit
Valitā and Nivṛttā are also included, making the neck movements ninefold in total. Samā is natural and is used in meditation, a neutral stance, and the recitation of mantras.
english translation
valitA ca nivRttA ca grIvA navavidhArthataH | samA svAbhAvikI dhyAnasvabhAjapakarmasu || 172||
hk transliteration
नता नतास्यालङ्कारबन्धे कण्ठावलम्बने , उन्नताभ्युन्नतमुखी ग्रीवा चोर्ध्वनिवेशने ॥ १७३॥
sanskrit
Natā is when the face is bent downward and is used in wearing ornaments and embracing the neck. Unnatā is when the face is upturned and is used in looking upwards.
english translation
natA natAsyAlaGkArabandhe kaNThAvalambane , unnatAbhyunnatamukhI grIvA cordhvanivezane || 173||
hk transliteration
त्र्यस्रा पार्श्वगता ज्ञेया स्कन्धभारेऽति दुःखिते । रेचिता विधुतभ्रान्ता हावे मथनृत्तयोः ॥ १७४॥
sanskrit
Tryasrā is when the neck is turned sideways and is used in carrying weight on the shoulders and expressing deep sorrow. Recitā is when the neck is shaken or moved and is used in emotions (hāva), churning, and dance.
english translation
tryasrA pArzvagatA jJeyA skandhabhAre'ti duHkhite | recitA vidhutabhrAntA hAve mathanRttayoH || 174||
hk transliteration
कुञ्चिताकुञ्चिते मूर्ध्नि धारिते गलरक्षणे । अञ्चितापसृतोद्बन्धकेशकर्षोर्ध्वदर्शने ॥ १७५॥
sanskrit
Kuñcitā is when the neck is turned back, used in situations involving pressure on the neck or in protecting it. Añcitā is when the neck is turned back with the head, used in actions like hanging, arranging hair, or looking very high up.
english translation
kuJcitAkuJcite mUrdhni dhArite galarakSaNe | aJcitApasRtodbandhakezakarSordhvadarzane || 175||
hk transliteration