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:28.8%
अधोमुखीनां सर्वासामङ्गुलीनां समागमः । कनिष्ठाङ्गुष्ठकावूर्ध्वो स भवेत् मृगशीर्षकः ॥ ८६॥
Mṛgaśīrṣa (deer-head)—the Sarpaśiras hand with all its fingers pointing downwards, but the thumb and the little finger raised up.
english translation
adhomukhInAM sarvAsAmaGgulInAM samAgamaH | kaniSThAGguSThakAvUrdhvo sa bhavet mRgazIrSakaH || 86||
hk transliteration by Sanscriptइह साम्प्रतमस्त्यद्य शक्तेश्चोल्लासनेऽक्षपाते च । स्वेदापमार्जनेषु च कुट्टमिते प्रचलितस्तु भवेत् ॥ ८७॥
(Uses): It is moved to represent here, now, “It is,” to-day, able, shaking (ullasana), throw of dice, wiping off perspiration and pretended anger.
english translation
iha sAmpratamastyadya zaktezcollAsane'kSapAte ca | svedApamArjaneSu ca kuTTamite pracalitastu bhavet || 87||
hk transliteration by Sanscriptत्रेताग्निसंस्थिता मध्या तर्जन्याङ्गुष्ठका यदा । काङ्गुलोऽनामिका वक्रा यदाश्चोर्ध्वा कनीयसी ॥ ८८॥
Kāṅgula—The middle and the fore-fingers and the thumb to be separated and the ring finger to be bent but the little finger raised.
english translation
tretAgnisaMsthitA madhyA tarjanyAGguSThakA yadA | kAGgulo'nAmikA vakrA yadAzcordhvA kanIyasI || 88||
hk transliteration by Sanscriptएतेन तरुणफलानि नानाविधानि च लघूनि । कार्यानि रोषजानि स्त्रीवचान्यङ्गुलिक्षेपैः ॥ ८९॥
(Uses): By this are to be represented immature fruits of various kinds and angry words of women.
english translation
etena taruNaphalAni nAnAvidhAni ca laghUni | kAryAni roSajAni strIvacAnyaGgulikSepaiH || 89||
hk transliteration by Sanscriptमरकतवैदूर्यादेः प्रदर्शनं सुमनसां च कर्तव्यम् । ग्राह्यं मरालपदमिति तज्ज्ञैरेव प्रयोगेषु ॥ ९०॥
This verse states that the Marālapada hand gesture should be used to represent emeralds, cat’s-eye gems, and other precious stones, as well as flowers. Experts in hand gestures (mudrās) should employ it accordingly in their performances.
english translation
marakatavaidUryAdeH pradarzanaM sumanasAM ca kartavyam | grAhyaM marAlapadamiti tajjJaireva prayogeSu || 90||
hk transliteration by SanscriptNatyashastra
Progress:28.8%
अधोमुखीनां सर्वासामङ्गुलीनां समागमः । कनिष्ठाङ्गुष्ठकावूर्ध्वो स भवेत् मृगशीर्षकः ॥ ८६॥
Mṛgaśīrṣa (deer-head)—the Sarpaśiras hand with all its fingers pointing downwards, but the thumb and the little finger raised up.
english translation
adhomukhInAM sarvAsAmaGgulInAM samAgamaH | kaniSThAGguSThakAvUrdhvo sa bhavet mRgazIrSakaH || 86||
hk transliteration by Sanscriptइह साम्प्रतमस्त्यद्य शक्तेश्चोल्लासनेऽक्षपाते च । स्वेदापमार्जनेषु च कुट्टमिते प्रचलितस्तु भवेत् ॥ ८७॥
(Uses): It is moved to represent here, now, “It is,” to-day, able, shaking (ullasana), throw of dice, wiping off perspiration and pretended anger.
english translation
iha sAmpratamastyadya zaktezcollAsane'kSapAte ca | svedApamArjaneSu ca kuTTamite pracalitastu bhavet || 87||
hk transliteration by Sanscriptत्रेताग्निसंस्थिता मध्या तर्जन्याङ्गुष्ठका यदा । काङ्गुलोऽनामिका वक्रा यदाश्चोर्ध्वा कनीयसी ॥ ८८॥
Kāṅgula—The middle and the fore-fingers and the thumb to be separated and the ring finger to be bent but the little finger raised.
english translation
tretAgnisaMsthitA madhyA tarjanyAGguSThakA yadA | kAGgulo'nAmikA vakrA yadAzcordhvA kanIyasI || 88||
hk transliteration by Sanscriptएतेन तरुणफलानि नानाविधानि च लघूनि । कार्यानि रोषजानि स्त्रीवचान्यङ्गुलिक्षेपैः ॥ ८९॥
(Uses): By this are to be represented immature fruits of various kinds and angry words of women.
english translation
etena taruNaphalAni nAnAvidhAni ca laghUni | kAryAni roSajAni strIvacAnyaGgulikSepaiH || 89||
hk transliteration by Sanscriptमरकतवैदूर्यादेः प्रदर्शनं सुमनसां च कर्तव्यम् । ग्राह्यं मरालपदमिति तज्ज्ञैरेव प्रयोगेषु ॥ ९०॥
This verse states that the Marālapada hand gesture should be used to represent emeralds, cat’s-eye gems, and other precious stones, as well as flowers. Experts in hand gestures (mudrās) should employ it accordingly in their performances.
english translation
marakatavaidUryAdeH pradarzanaM sumanasAM ca kartavyam | grAhyaM marAlapadamiti tajjJaireva prayogeSu || 90||
hk transliteration by Sanscript