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:32.5%
अन्ये तु क्षामं खल्वं समं पूर्णमुदरं स्याच्चतुर्विधम् । छिना चैव निवृत्ता च रेचिता कम्पिता तथा । उद्वाहिता चैव कटी नाट्ये नृत्ते च पञ्चधा ॥ २४६॥
sanskrit
Others (scholars) say: The belly (udara) is of four kinds: Kṣāma (thin), Khalva (depressed), Sama (natural), and Pūrṇa (full). Similarly, the waist (kaṭi) is of five kinds: Chinnā (turned aside), Nivṛttā (turned round), Recitā (moved about), Kampitā (shaken), and Udvāhitā (raised), in both drama and dance.
english translation
anye tu kSAmaM khalvaM samaM pUrNamudaraM syAccaturvidham | chinA caiva nivRttA ca recitA kampitA tathA | udvAhitA caiva kaTI nATye nRtte ca paJcadhA || 246||
hk transliteration by Sanscriptकटी मध्यस्य वलनात्च्छिना सम्परिकीर्तिता । पराङ्ग्मुखस्याभिमुखी निवृत्ता स्यान्निवर्तिता ॥ २४७॥
sanskrit
The waist (kaṭi) is termed Chinnā (turned aside) when it is twisted in the middle, and Nivṛttā (turned round) when it turns from being sideways to facing forward.
english translation
kaTI madhyasya valanAtcchinA samparikIrtitA | parAGgmukhasyAbhimukhI nivRttA syAnnivartitA || 247||
hk transliteration by Sanscriptसर्वतो भ्रमणाच्चापि विज्ञेया रेचिता कटी । तिर्यग्गतागता क्षिप्ता कटी ज्ञेया प्रकम्पिता ॥ २४८॥
sanskrit
The waist (kaṭi) is termed Recitā (moved about) when it moves in all directions. It is known as Prakampitā (shaken) when it moves obliquely, in a throwing or shaking motion.
english translation
sarvato bhramaNAccApi vijJeyA recitA kaTI | tiryaggatAgatA kSiptA kaTI jJeyA prakampitA || 248||
hk transliteration by Sanscriptनितम्बपार्श्वोद्वहनात् शनेइरुद्वाहिता कटी । कटीकर्म मया प्रोक्तं विनियोगं निबोधत ॥ २४९॥
sanskrit
"The waist (kaṭi) is termed Udvāhitā (raised) when it is raised slowly by the sides of the hips or buttocks.
english translation
nitambapArzvodvahanAt zaneirudvAhitA kaTI | kaTIkarma mayA proktaM viniyogaM nibodhata || 249||
hk transliteration by Sanscriptछिन्ना व्यायामसम्भ्रान्तव्यावृत्तप्रेक्षणादिषु । निवृत्ता वर्तने चैव रेचिता भ्रमणादिषु ॥ २५०॥
sanskrit
Chinnā (turned aside) is used in exercises, exhaustion, or looking around; Nivṛttā (turned round) is used in turning or rotating; Recitā (moved about) is used in movement or roaming.
english translation
chinnA vyAyAmasambhrAntavyAvRttaprekSaNAdiSu | nivRttA vartane caiva recitA bhramaNAdiSu || 250||
hk transliteration by SanscriptNatyashastra
Progress:32.5%
अन्ये तु क्षामं खल्वं समं पूर्णमुदरं स्याच्चतुर्विधम् । छिना चैव निवृत्ता च रेचिता कम्पिता तथा । उद्वाहिता चैव कटी नाट्ये नृत्ते च पञ्चधा ॥ २४६॥
sanskrit
Others (scholars) say: The belly (udara) is of four kinds: Kṣāma (thin), Khalva (depressed), Sama (natural), and Pūrṇa (full). Similarly, the waist (kaṭi) is of five kinds: Chinnā (turned aside), Nivṛttā (turned round), Recitā (moved about), Kampitā (shaken), and Udvāhitā (raised), in both drama and dance.
english translation
anye tu kSAmaM khalvaM samaM pUrNamudaraM syAccaturvidham | chinA caiva nivRttA ca recitA kampitA tathA | udvAhitA caiva kaTI nATye nRtte ca paJcadhA || 246||
hk transliteration by Sanscriptकटी मध्यस्य वलनात्च्छिना सम्परिकीर्तिता । पराङ्ग्मुखस्याभिमुखी निवृत्ता स्यान्निवर्तिता ॥ २४७॥
sanskrit
The waist (kaṭi) is termed Chinnā (turned aside) when it is twisted in the middle, and Nivṛttā (turned round) when it turns from being sideways to facing forward.
english translation
kaTI madhyasya valanAtcchinA samparikIrtitA | parAGgmukhasyAbhimukhI nivRttA syAnnivartitA || 247||
hk transliteration by Sanscriptसर्वतो भ्रमणाच्चापि विज्ञेया रेचिता कटी । तिर्यग्गतागता क्षिप्ता कटी ज्ञेया प्रकम्पिता ॥ २४८॥
sanskrit
The waist (kaṭi) is termed Recitā (moved about) when it moves in all directions. It is known as Prakampitā (shaken) when it moves obliquely, in a throwing or shaking motion.
english translation
sarvato bhramaNAccApi vijJeyA recitA kaTI | tiryaggatAgatA kSiptA kaTI jJeyA prakampitA || 248||
hk transliteration by Sanscriptनितम्बपार्श्वोद्वहनात् शनेइरुद्वाहिता कटी । कटीकर्म मया प्रोक्तं विनियोगं निबोधत ॥ २४९॥
sanskrit
"The waist (kaṭi) is termed Udvāhitā (raised) when it is raised slowly by the sides of the hips or buttocks.
english translation
nitambapArzvodvahanAt zaneirudvAhitA kaTI | kaTIkarma mayA proktaM viniyogaM nibodhata || 249||
hk transliteration by Sanscriptछिन्ना व्यायामसम्भ्रान्तव्यावृत्तप्रेक्षणादिषु । निवृत्ता वर्तने चैव रेचिता भ्रमणादिषु ॥ २५०॥
sanskrit
Chinnā (turned aside) is used in exercises, exhaustion, or looking around; Nivṛttā (turned round) is used in turning or rotating; Recitā (moved about) is used in movement or roaming.
english translation
chinnA vyAyAmasambhrAntavyAvRttaprekSaNAdiSu | nivRttA vartane caiva recitA bhramaNAdiSu || 250||
hk transliteration by Sanscript