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狈腻峁瓂补艣腻蝉迟谤补 deals with all the aspects of 苍腻峁瓂补. It is in the form of five questions asked by 峁涐梗颈蝉 and the answers given by Bharatamuni. The sixth chapter gives a 蝉补峁単谤补丑补 艣濒辞办补, which enlists the important aspects of 苍腻峁瓂补. The explanations are spread over in thirty-six chapters of the work. Each chapter is somehow connected with the next chapter. However, the researcher feels that if the chapters are studied in this order, based on the important topics dealt with, it is easier to understand the content of 狈腻峁瓂补艣腻蝉迟谤补.

Origin of 苍腻峁瓂补, 苍峁泃迟补 and 惫峁泃迟颈, the place of performance and the descent of 苍腻峁瓂补 to the earth, are to be understood first. Origin of 苍腻峁瓂补 is dealt with in the first chapter; details regarding the building of 苍腻峁瓂补ma峁囜笉apa, auditorium, and its consecration are explained in the in second and third chapters respectively. The origin of 苍峁泃迟补 is explained in fourth and the origin of 惫峁泃迟颈 in the twentieth chapter. 笔奴谤惫补谤补峁単补 aspects are dealt with in the fifth chapter. The details of the 补苍迟补谤测补惫补苍颈办腻 (actions behind the curtain) and 产补丑颈谤测补惫补苍颈办腻 (actions after curtain is raised) are explained. The thirty-sixth / thirty-seventh chapter deals with the descent of drama to earth.

Varieties of drama and dramatic elements are dealt with in the 狈腻峁瓂补艣腻蝉迟谤补. This is a very important chapter for the dramatists. The 顿补艣补谤奴辫补办补 is dealt with in the eighteenth chapter of 狈腻峁瓂补艣腻蝉迟谤补. The nineteenth chapter deals with the vastu or 颈迟颈惫峁泃迟补 -the plot of the story, 补谤迟丑补辫谤补办峁泃颈鈥搕he elements of the plot, 补惫补蝉迟丑腻鈥搕he stages for development of the plot, pat膩k膩 sth膩na, sandhi, sandy补峁単补, sandyantara, and 补谤迟丑辞辫补办峁�e辫补办补. 顿丑补谤尘墨 (modes of presentation), pra惫峁泃迟颈 (regional styles) and 惫峁泃迟颈 (styles) are dealt with by Bharata in chapters thirteen and twenty. He has also dealt with 产丑奴尘颈办腻 (roles) in chapter thirty-five and 辫谤补办峁泃颈 (characterisation) in chapters twenty-four and twenty-six. These aspects are to be followed by the writer and actor while presenting a play.

膧峁単ika abhinaya forms the base for the visual art form. 罢腻峁囜笉补惫补 濒补办峁�a峁嘺尘, the fourth chapter of 狈腻峁瓂补艣腻蝉迟谤补, deals with the 办补谤补峁嘺蝉, 补峁単补丑腻谤补蝉 (combination of 办补谤补峁嘺蝉), 辫颈峁囜笉墨产补苍诲丑补蝉 and recakas. To understand these movements, one has to learn the actions of the 补峁単补蝉 (major limbs) and the 耻辫腻峁単补蝉 (minor limbs). The eighth chapter explains the 耻迟迟补尘腻峁単补 abhinaya; the ninth chapter explains hastabhinaya and 艣补谤墨谤腻产丑颈苍补测补. The tenth chapter deals with the 肠腻谤颈蝉, the action of the whole foot from the thigh to the toe. The 蝉迟丑腻苍补蝉 or postures for men and useful tips about doing exercises are explained. 惭补峁囜笉补濒补蝉, the combinations of 肠腻谤颈蝉, which can be used in fighting sequences, are detailed in the eleventh chapter. The twelfth chapter, called 驳补迟颈辫谤补肠腻谤补, encompasses the whole range of gaits to be used by dancers and actors. The gait of the characters in various sentiments and situations are detailed elaborately.

V膩cika abhinaya means verbal expression; it can be through dialogues and songs. These are elaborately dealt with by Bharata from the fourteenth to the seventeeth chapters of the 狈腻峁瓂补艣腻蝉迟谤补. He deals with 产丑腻峁Ｄ�, chandas, 补濒补峁卥腻谤补 and 濒补办峁�a苍补 in a very detailed manner, which is utilized by many authors in their works. As far as the actors are concerned, this will be useful for them to deliver their dialogue expressively. For the poets these chapters will be useful for penning their works with proper 濒补办峁�a苍补. Music also comes under 惫腻肠颈办补 abhinaya in a drama. Bharata deals with the 迟腻濒补, 诲丑谤耻惫腻蝉 (songs), musical notes and musical instruments from the twenty-eighth to the thirty-fourth chapters. Music helps to bring out the appropriate rasa in a drama, says Bharata.

膧h膩rya abhinaya, which represents the costumes, hair-dress and makeup of the characters and the decorations on stage, beautifies the whole drama and they serve as 惫颈产丑腻惫补蝉 in many situations. These are dealt with based on the people belonging to various regions in the twenty-first chapter.

S膩ttvika abhinaya, which deals with the internal feelings and expressions, are found in various chapters of the 狈腻峁瓂补艣腻蝉迟谤补. Rasa -the sentiments are dealt within the sixth chapter, 产丑腻惫补 -the feelings in seventh chapter, and rasa 产丑腻惫补 诲峁涐梗峁璱, the eye movement that invokes the emotions, are dealt within the eighth chapter.

There are a few topics, which are related to all the abhinayas, especially 蝉腻迟迟惫颈办补 abhinaya. S膩m膩nya abhinaya, which deals with the 惫腻办, 补峁単补 and sattva elements, is dealt within the twenty-second chapter. Here the nature of the 苍腻测补办补 (hero) and the 苍腻测颈办腻 (heroine) are given by Bharata. The twenty-third chapter elaborates on the arts of courtesans who are well versed in fine arts, nature of women, youthful stages of women, types of men and the like.

Citra abhinaya deals with the actions pertaining to various seasons, animals, birds and various emotional representations of men and women and these are dealt within the twenty-fifth chapter.

Thus, 腻峁単颈办补 abhinaya and 蝉腻迟迟惫颈办补 abhinaya are interconnected and when body movements are embellished with sattva emotions then rasa is relished. Without sattva, the whole production is a failure. Success of a production is dealt with in the twenty-seventh chapter.

The whole work is a compendium of definitions. Bharata says,

鈥淭here is no knowledge, no fine art, no art, no craft, no yoga and no endeavor which is not seen represented in this art of 苍腻峁瓂补.

na tajj帽膩na峁� na tacchilpa峁� na s膩 惫颈诲测腻 na s膩 办补濒腻 |
n膩sau yogo na tatkarma n膩峁瓂e'smin yanna d峁浥泍ate ||^[1]

Abhinava explains 箩帽补苍补 as the knowledge of the supreme spirit, 艣颈濒辫补 as making hand works like garlands and pictures, vidya as judicature, 办补濒腻 as music and dance, karma as fight and other activities.

Footnotes and references:

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[1]:

狈腻峁瓂补艣腻蝉迟谤补 I. 116.