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)
8.
अध्याय ८
Gestures of Minor Limbs (upāṅga)
•
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:31.7%
करणे तु प्रयोक्तव्यो नृत्तहस्तो विशेषतः । तथार्थाभिनये चैव पताकायाः प्रयोक्तृभिः ॥ २११॥
sanskrit
The Dance-hands are to be used in forming Karaṇas, and hands such as the Patāka should be used in representing the meaning [of words].
english translation
karaNe tu prayoktavyo nRttahasto vizeSataH | tathArthAbhinaye caiva patAkAyAH prayoktRbhiH || 211||
hk transliteration by Sanscriptसंकरोऽपि भवेत्तेषां प्रयोगोऽर्थवशात्पुनः । प्राधान्येन पुनः संज्ञा नाट्ये नृत्ते करेष्विह ॥ २१२॥
sanskrit
[But] sometimes, out of necessity their uses are inter-changed, and the names given are due to their predominant use in drama and dance.
english translation
saMkaro'pi bhavetteSAM prayogo'rthavazAtpunaH | prAdhAnyena punaH saMjJA nATye nRtte kareSviha || 212||
hk transliteration by Sanscriptवियुताः संयुताश्चैव नृत्तहस्ताः प्रकीर्तिताः । अतः परं प्रवक्ष्यामि करान् करणसंश्रयान् ॥ २१३॥
sanskrit
The Dance-hands are of two kinds: single and combined. I shall now speak of hands in relation to the Karaṇas.
english translation
viyutAH saMyutAzcaiva nRttahastAH prakIrtitAH | ataH paraM pravakSyAmi karAn karaNasaMzrayAn || 213||
hk transliteration by Sanscriptसर्वेषामेव हस्तानां नाट्यहस्तनिदेशिभिः । विधातव्या प्रयत्नेन करणं तु चतुर्विधम् ॥ २१४॥
sanskrit
For all types of hand gestures, instructors of dramatic gestures should carefully apply the four kinds of Karaṇas with due effort.
english translation
sarveSAmeva hastAnAM nATyahastanidezibhiH | vidhAtavyA prayatnena karaNaM tu caturvidham || 214||
hk transliteration by Sanscriptअपवेष्टितमेकं स्यात् उद्वेष्टितमथापरम् । व्यावर्तितं तृतीयं तु चतुर्थं परिवर्तितम् ॥ २१५॥
sanskrit
The first is Āveṣṭita, the second is Udveṣṭita, the third is Vyāvartita, and the fourth is Parivartita.
english translation
apaveSTitamekaM syAt udveSTitamathAparam | vyAvartitaM tRtIyaM tu caturthaM parivartitam || 215||
hk transliteration by SanscriptNatyashastra
Progress:31.7%
करणे तु प्रयोक्तव्यो नृत्तहस्तो विशेषतः । तथार्थाभिनये चैव पताकायाः प्रयोक्तृभिः ॥ २११॥
sanskrit
The Dance-hands are to be used in forming Karaṇas, and hands such as the Patāka should be used in representing the meaning [of words].
english translation
karaNe tu prayoktavyo nRttahasto vizeSataH | tathArthAbhinaye caiva patAkAyAH prayoktRbhiH || 211||
hk transliteration by Sanscriptसंकरोऽपि भवेत्तेषां प्रयोगोऽर्थवशात्पुनः । प्राधान्येन पुनः संज्ञा नाट्ये नृत्ते करेष्विह ॥ २१२॥
sanskrit
[But] sometimes, out of necessity their uses are inter-changed, and the names given are due to their predominant use in drama and dance.
english translation
saMkaro'pi bhavetteSAM prayogo'rthavazAtpunaH | prAdhAnyena punaH saMjJA nATye nRtte kareSviha || 212||
hk transliteration by Sanscriptवियुताः संयुताश्चैव नृत्तहस्ताः प्रकीर्तिताः । अतः परं प्रवक्ष्यामि करान् करणसंश्रयान् ॥ २१३॥
sanskrit
The Dance-hands are of two kinds: single and combined. I shall now speak of hands in relation to the Karaṇas.
english translation
viyutAH saMyutAzcaiva nRttahastAH prakIrtitAH | ataH paraM pravakSyAmi karAn karaNasaMzrayAn || 213||
hk transliteration by Sanscriptसर्वेषामेव हस्तानां नाट्यहस्तनिदेशिभिः । विधातव्या प्रयत्नेन करणं तु चतुर्विधम् ॥ २१४॥
sanskrit
For all types of hand gestures, instructors of dramatic gestures should carefully apply the four kinds of Karaṇas with due effort.
english translation
sarveSAmeva hastAnAM nATyahastanidezibhiH | vidhAtavyA prayatnena karaNaM tu caturvidham || 214||
hk transliteration by Sanscriptअपवेष्टितमेकं स्यात् उद्वेष्टितमथापरम् । व्यावर्तितं तृतीयं तु चतुर्थं परिवर्तितम् ॥ २१५॥
sanskrit
The first is Āveṣṭita, the second is Udveṣṭita, the third is Vyāvartita, and the fourth is Parivartita.
english translation
apaveSTitamekaM syAt udveSTitamathAparam | vyAvartitaM tRtIyaM tu caturthaM parivartitam || 215||
hk transliteration by Sanscript