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MUNI, Bharat - Natya Shastra Vol.1 (En)
MUNI, Bharat - Natya Shastra Vol.1 (En)
MUNI, Bharat - Natya Shastra Vol.1 (En)
BIBLIOTHECA INDICA
A COLLECTION OF ORIENTAL WORKS
THE NATYASASTRA
ASCRIBED TO
B H A RA
TA-M U N
MANOMOHAN
GHOSH, M. A
Ph. D-
WORK
ISSUE
NUMBER
NUMBER
272
1559
[MDCCXLVI-MDCCXC1V
CALCUTTA
ASIATIC SOCIETY 0J BENGAL
Park Street.
1,
1951
B1BLIOTHE0A INDICA
Work No. 272
THE NATYASASTRA
A TREATISE
HISTRIONICS
THE NATYASASTRA
A
Treatise
B H
Vol.
A R A T
I.
M .U'OMOH
to
A -
M f X
Chapters I-XXVII
jirst
Introduction
Histrionics
(iHOS
H'M
M.A., Pn.
I).
195y
CALCUTTA
THE RoyiL
ASIATIC SOCIETY OF
BENGAL
<OAt,)
si,**
\*>a^
Dedicated
to
the
thom great
mho by
of
her
their
memory of
indefatigable
study
Philosophy,
Religion,
ham
and.
ingenious interpretation
and
political alteration.,
and
who by
have
their
discovery
made patent
nations
of the
of the
Universal
World and
triumph of Internationalism.
ham
PREFACE
The preparation 'of an annotated English translation of the
Natya&stra entrusted to me as early as 1944, by the Royal Asiatic
Society, has been delayed for various reasons which need not
be recounted here in detail. But mention must be made of one
important factor of this delay, viz., the inherent difficulty of this
very old text which is not yet available in a complete critical edition.
From my first serious acquaintance with it in 1925 in connection
with the editing of the Abhinayadarpana (Calcutta, 1934) this work
always engaged my attention in the intervals of other duties.
But it was only a few years ago, that I came to believe that the
has
'entire
after
no complete translation of
been mada.
had so
far
not
it could
could be finished at all.
been made after the most careful consideration with the expectation
may prove helpful to others working in this field, and it
may be hoped that their number has not been too many, and in a
few cases where I myself had any doubt about the interpretation
that they
offered,
the
in the footnote.
still
little
remain to be done.
seriously
VIII
in
proper places.
Dr. G. C. 0.
manner
slightly modified
am
indebted
Dasarupa, has
in the present
work.
Dr. 8. K. De,
to
been
adopted
in
It
is
uniform courtesy of
different officers of the Society from 1947-1950, especially Dr. K.N.
Bagchi, and Dr. Niharanjan Ray, the General Secretaries and
Mr. S. K. Saraswati, the Librarian and Mr. Rakhahari Chatterji.
the
Superintendent of the
different
who
whose patience
had to tax on
am
read
present
office,
the
grateful
my
to
the original
draft
the
Charan Mitra
my
wish
mention
to
Dr. Kalidas
Nag
in
my
gratitude
least
it
becomes
to Prof. Suniti
arduous than
it
with this
rendered
work.
this
less
d hei e *'*
t0
*P lo
ta that
prints
have crept into the gf
volume.
kindly, the necessary corrections
'
Iwf
t^
They
are requested to
pointed out in the corrigenda.
tk
This
work
November, I960
make
Th TnMgahr
The
Abhi.
...
Bhasa's Abhisekanataka.
AD-
...
Nandikesvara's Abhinayadarpana.
A.dy.
...
Arthadyotanika, Raghavabhatta's
first
hemistich of a verse.
ft.
commentary
on the sakuntala.
Ag.j Abhinava
...
Abhinavagupta or
his
commentary
of
the
Natyasastra.
AMg.
...
Ardhamagadhi.
...
Bhasa's Avimaraka.
4'
...
A3, notes.
...
B.
...
Baroda
b.
...
Bala.
...
Bhasa's Balacarita.
Avi-
II.
of a verse.
Bhamaha.
...
Bhamaha's Kavyalamkara.
BhNC.
...
Bhasa-nataka-cakra
BhP.
...
Saradatanaya's Bhavaprakasana.
C.
...
Chowkhamaba
ed.
by C. R. Devadhar
(Benares)
edition
of
the
Natyasastra.
third hemistich in a stanza.
c.
...
The
Caru.
...
Bhasa's Carudatta.
CSS.
...
Chandah-sara-samgraba.
Dandin.
...
Dandin's KavyadarSa.
det
...
Definition or definitions.
...
The Ms.
'
De's
Ms.
of the
Abhinavagupta's commentary
DR.
...
Dhananjaya's Dasarttpa.
Dutagha.
...
Bhasa's Dutaghatotkaca.
Dutava.
...
Bhasa's Dutavakya.
Ex.
...
Foundation.
...
G.
...
GOS.
...
Gaikwar's Oriental
Haas.
...
LAnt.
...
Indian Antiquary.
1HQ.
...
Example or examples.
Series.
ID.,Ind.Dr.
...
Itihasa.
...
JDL.
...
,..
Vidyalamkara's JivanikoSa.
Calcutta University.
JK.
K.
,.
KA.
..
Kavyamala
ecL
of the Natyasastra.
Hemaeandra's Kavyanusasana.
Bhasa's Karnabhara.
Karna.
..
commentary to
Ramakrishna Kavi or his
K8.
..
Vatsyayana's KamasBtra.
Samara.
...
Kalidasa's
Kutta.
...
Levi,
...
Damodaragupta's Kuttanimata.
indien.
Sylavain LeVi's Le Thfttre
Madhyama.
,..
Bhasa's Madhyamavyayoga.
Malati.
...
BhavabhSti's Malatlmadhava.
Malavi.
...
Kalidasa's
Kavi.
thech-XVILofthaNS.
MG.
...
Mrcch.
...
Kumarasambhava.
Mai vikagnimitra.
...
Vi&khadatta's Mudrarakasa.
...
Sagaranandin's Natakalaksanaratnakofo.
ND.
...
NIA.
...
New
Nitti-Dolci.
...
Nitti-Dolci's
NS.
...
Natyasastra.
P.
...
Purana.
Paiic
...
Pafcaratra
Pan.
...
Panini.
Pingala.
...
Pangala's CltandalistUra.
Pischcl.
...
Pischel's
Pr.P.
...
Praki'ta-Paingala.
Mudra.
Natakalaksana. \
'
NL.,
/
Indo-Aryan.
Le Grammairiens
Prakrit.
Pr.
...
Pratisakhya.
Prak.
...
Prakarana.
Pratima.
...
Bhasa's Pratima-nataka.
Pratijfla.
...
Bhasa's Pratijna-yaugandharayana.
?i
...
Paniniya-Siksa.
PSM.
...
Paia-sadda-mahannavo.
Bam.
B.,
Ratna.
...
Ramayana.
...
Harsa's Ratnavali.
BS.
...
Kalidasa's Rtusamhara.
Sak.
...
Kalidasa's Abhijflanasakuntala.
Sahityadarpana.
8D.
...
SB.
...
Sarngadeva's Samgitaratnakara.
SV Pr.
...
Bhoja's Srngaraprakafo.
Svapna.
tr.,
trans.
Uttara.
...
Bhasa'B Svapavasavadatta.
...
translation or translated.
...
Uttararamacarita of BhavabhQti.
XI
jjrU ,
...
Bhasa's Urubhariga.
Vikram.
...
Kalidasa's Vikramorva&ya.
Winternitz.
NJS.
to the serial
is
...
(a)
number of couplets
(b)
When
in the original.
first
translation relate
Roman
figures
of referring to
In the
long
vowels, cerebral
italics.
BIBL10GBAPHY
General Works
1,
M.
Barua, B.
Chatterji,S.
Calcutta 1943.
Inscriptions of Asoka, Vol. II,
.-
-Origin
K.
Bengal,
the
of
Development
and
Coomaraswamy, A, K.
De,
S.
K.
of Gestures,
...
The Mirror
Sanskrit Poetics
New
Vol. I and
York, 1936.
II,
Chandahsarasamgraha (CSS
...
Law
Hindu
Keith, A. B.
...
Konow, Sten.
...
Levi, Sylvain
...
Lo Theatre
Mankad, D. R.
J.
Typos
...
Nitti-Dolci, L.
Nobel.
PischeliR.
his-
Hindus
Jolly, J.
(An
torical account of
in Bengali),
Calcutta.
Itihasa (Itihasa).
Vyakarana-darsaner
...
),
Berlin, 1920.
of Sanskrit
Drama, Karachi,
1936.
...
...
...
Grammatik
Prakrit-sprachen,
der
Strassburg, 1900.
Pusalker
...
Raghavaa, V.
...
Seth, H. D.
...
Sircar, D.C.
...
...
Abhinavabharati (Ag.)
On
Original Texts
...
chapters
of
the
commentary when
its
pages.
referred to,
B.
of
Printed
relates to
the
relevant text in B.
Abhinayadarpana
of
Nandikesvara
AD.
).
Ed.
Manomohan
Ghosh
Calcutta, 1934.
BhNC.
BhNC.
Arthasastra of Kautilya (AS.). Ed. J. Jolly, Vols I and II, Lahore, 1923-24.
VUararamacarita ofBhavabhati
(Uttara.).
Vrubhanga
(tJru.>
tusamhara
of.'Kalidasa.
Karnabhara (Karna
Ed. Devadhar in
).
BhNC.
Samvat.
Kavyalannkara of Bhamaha. Ed. B. N. Sarma and B.
Upadhyaya Chowkhamba. Benares, 1928.
Kavyalainkara^fjVaniana, Ed. K.P. Parab
K'ytilata of Vidyapati,
& W.
The
thjs edition.
has
slation
ed. of.
ed. {.Bibliotheca
Madhayamavyayoga
of
BhNC.
BhNC
BhNC.
in
Mrcchakatika
(Mrech).
Bombay,
Ed.
K. P. Parab
{Bombay Sit.
Series),
L.
S.
Pansikar,
Bombay, 1928
W.
and
1926-
Sagaranandin (Natakalaksana,
of
London, 1939.
References
are
by
NL). M.
lines
unless
otherwise mentioned.
in
GOS.
chapters
and
in
also
been referred
to.
in
The
may
edition of Sivadatta
and Parab
(Bombay, 1894), and the Chowkhamba edition (Benares, 126)
have also been used.
Paflcaratra of
Bhasa
(Paflea).
Paflcatantra of Visnusaraman,
Ed. Devadhar
in
Manomohan Ghosh,
PratijaYia-yaugandharayana
of,
BhNC.
Chowkamba, Benares,
Bhasa
1930.
Calcutta, 1938.
(Pratijril.),
Ed. Devadhar.in
BhNC.
XIV
Pratimanataka of Bhasa (Pratima.) Ed. Devadhar in
Balacarita of Bhasa (Bala.), Ed.
Devadhar
BhNC.
BhNC.
in
GOS.
in
and
Svapna,
1.
12,
Bombay, 1898.
Venisamhara of Bhattanarayana
(Vei.il.).
Ed-
K.
8.
Parab and W. L.
'A.
Raghuvamsa
Bombay,
1932.
M. K.
Snandasrama
edition.
BhNC.
CONTENTS
PREFACE
LIST OP ABBREVIATIONS AND SYMBOLS
BIBLIOGRAPHY
INTRODUCTION
XXXVII
Study, p.
...
XII
...
...
XXXVII
4.
p.
Basic Text,
2-
IX
...
...
I.
Vll
...
...
XLI.
p.
3.
XLV
p.
Drama,
LI
LI
(iii)
The Supporting
LI
(v)
The
LI
p.
Ihamrga,
p.
The Prahasana,
2.
Diction of Play,
p.
LIV
IV.
LV
LVI
(a)
3.
The Playhouse,
p.
LVII
p.
LXI
p.
LX1II.
V.
(c)
Literature
(a)
on
p.
p.
(e>
Significant Names,
LV.
(c)
LV
Practice, p.
The Time
for
Occa-
1.
Performance,
LVHI.
p.
(b)
The
The
;
The Representation,
4.
LVHI
Early Writers
Bharata
p.
in
2.
LH
LIII
p.
p.
(c) Suggestive or
p.
p.
p.
(d)
Explanatory Devices,
LHI
LIV.
p.
(a) Subject-
(iv)
XLIX
p. LI ; (c)
The Samavakara,
The Prakarana, LII
The Dima, p. LIII
The Vyayoga,
LIII
(b) Euphony,
LI
Scene, p.
p.
(b)
(ii)
Anticipatory Scene,
Vithi, p.
LV
XLIX
LI
Utsrstikanka, p.
LIV
Acts, p.
Drama,
Indian
Ancient
The Nataka,
Introductory Scene, p.
(i)
p.
Types of Play.
p.
The
p.
XLVIII.
III.
ment,
Drama,
Criticism of Drama,
5.
p.
of
p.LXIV
Drama,
;
2.
p.
The
LXIV
l>The
Socalled Sons of
Badarayana (Badari),
p.
LXIV
3,
Sam-
XVI
grahakara,
LXV
p.
(e)
Yartika-kara-Hara,
Subandhu,
(g)
Drama,
Literature on
Natyadarpana,
(a)
Dasarupa,
(b)
(d)
The
VI.
LXXI
3.
1.
Natyasastra
Author,
Its
p.
P.LXXIV;
5. Its Style
Early Commentators
(b) Bhatta Udbhata,
Nayaka,
Bhatta
(f)
(e)
2.
iis
The two
LXXII
p.
Commentaries,
p.
LXXI
LXXIV
p.
6.
The
(f)
Yantra,
(c)
Bhavaprakasana,
Recensions, p.
4. Its
Scarya Kirtidhara,
(e)
Late
(6)
LXVII-LXX.
LXXI
Compilers
(h)
LXV-LXVII
NStekalaksanaratnakosa,
Rayyaka's Natakamimamsa,
and Ghantaka,
(d) Sakaligarbha
Matrgupta,
(f)
5.
(a)
LXV
of the Natya&stra, p.
4.
LXXV;
(e)
Bhatta
Abhinavagupta,
Bhatta
7.
p.LXXVI.
VII.
3.
6.
p.
8.
Geography,
Ars Amatoria,
p.
LXXX;
11.
p. LXXX
p.
The Date of
VIII.
LXXXII
logical
6.
9.
Mythology,
7.
Ethnological
Arthagastra, p.
LXXX
Data, p.
LXXX
12.
LXXIX
p.
10.
Psychology,
LXXXI.
graphical Data, p.
p.
LXXIX
p.
3.
Data, p.
LXXXII
the Natyasastra,
2.
LXXXIII;
The Natyasastra
earlier
5.
p.
LXXXI I
p.
LXXXIII
LXXXIV.
(Translation)
1.
earlier than
than Bhasa,
THE NITYA&STRA
p.
The Natyasastra
The GeoKalidasa,
4.
The Ethno-
p.
LXXXIII;
xvn
Chapter One
THE ORIGIN OP DRAMA,
Salutation, p. 1
1.
7-8
p. 8
Names
of Apsarasas, p. 8
9-10
pp.
11
p.
The
58-63.
Per-
of the
actors,
pp.
first
Brahman
98-105.
The Origin
69-75.
10-11
82-97.
67-68.
of the Jarjara,
Differ-
protect different
pacifies the
drama, pp.
Characteristics of a
121.
41
64-66.
The Origin
75-81.
50-53.
Need
42-45.
The Banner
53-58.
production of a play,
party,
p. 7
Bharata
6-23.
46-47.
47-50.
p. 1
Pages 1-17
Sages question,
Names
26-40.
24-25.
2-5.'
14-16
106-
Offering Piija to
122-129.
Chapter Two
DESCRIPTION OP THE PLAYHOUSE,
Introduction, p. 18
1-3.
Three
8-11.
ment, p.
20
tage of a
too big
site,
p. 21
Measurement of a
measurement,
22
22
24-26.
site,
33-35.
The ceremony
35-43.
p.
The
12-16-
mortals, p. 20
for
27-28.
pp.
pp. 30-32
The
68-74.
28-30
101-104.
stage,
Disadvan-
18-23.
21-22
Taking up
28-33.
of tho
play-
pp.
table of measure-
Selection of a suitable
43-63.
in
The playhouse
17.
house, p.
4-8.
Pages 18-32
27-28
75-85.
63-67.
86-100.
Chapter Three
PuJA"
1-10.
34-35
tho gods, p.
37
into
40-73.
fire,
pp. 41-42
p.
87-89.
11-16.
33-39.
Offering
;
20-32.
Offering Puja to
sacrificial
Installation of gods, p. 35
17-20.
The Mandala
73-81.
Pages 33-44
41
81-87.
Homa
Breaking the
93-97.
Good
or pouring ghSe
jar,
p.
42
89-93.
results of consecrating
xvm
the stage, p. 43
the
Evils following non-consecration of
98-101.
stage.,
pp. 43-44.
Chapter Four
THE CLASS DANCE,
Brahman
1-14.
p.
47
Uses of Aiigahlras,
28-29.
273-274.
The
;
69
p.
277-294.
gentle dance, p. 73
295-308.
311-314.
The Cnandakas,
72-73
pp.
315-320.
When drums
324
253-264.
pp. 73-74
pp. 65-66
pp. 47-49;
Definition of
170-245-
The Angaharas,
The Karanas,
29-61.
The Recakas,
246-252.
47
p.
it
16-27.
62-169.
The
first
Two
14-16.
writes the
Pages 45-75
321-
are not to bn
played, p. 75
Chapter Five
THE PRELIMINARIES OP A PLAY,
1-4.
The sages
question, 76
minaries defined, p. 76
The Walking-round,
The
p.
80
82
(Bahirgita),
The
pp. 84-86
first
7. Preli-
The
77-84.
third
An example
17,
;
Utthapana, p 79
22-23.
The Benediction, 79
Rangadvara,
p.
80
27-28.
The Cari
The
and
its
p.
81
25-26.
justification, pp.
38-44.
37-38.
Narada
60-64.
Walking-round,
26-27.
44-59.
pp. 82-83;
fourth Walking-round, p. 87
101-104.
79
{tods
65-66.
p.
24-25.
Origin of Bahirgita
30-32.
33-36.
p. 79
28-29.
76
21. Asiirita
p.
18.
23-24.
Bharata answers,
p. 5-6.
8-16.
Pages 76-99
Songs
p.
84
in
67-76.
puro
Preliminaries, p.
89-101.
enters, p.
The
84-89.
84;
pp. 87-89
107-113.
of
p.
91
141,
119-127-
p.
94
127-137.
14U142.
The Laudation,
137-
pp. 94-95
XIX
The Tryasra
143-154.
Preliminaries,
167-179.
pp. 95-96
The Mixed
155-166.
Chapter Six
THE SENTIMENTS,
The
1-3.
pages 100-117
4-8.
eight
Temperamontal
eight
The
25-26.
pp. 102-103
States,
103
nic Representation, p.
103
The two
24.
23.
p.-
104
p.
The Sentiments
31-33.
of Histrio-
notes,
136
8-14. Digest,
104
The
27-29.
The
29-31.
five
33-38. Thi relation between the Sentiment and the States, p. 106-107
The
38-43.
eight Sentiments
The presiding
44-45.
deities
ment, pp.
108-110
Of persons
48-55.
Of
58-61.
63-66. The
The Pathetic Sentiment, p. 112
66-68. The Heroic Sentiment, p. 114
72-74. The Odious Sentiment,
68-72. The Terrible Sentiment, pp. 114-115
74-76. The Marvellous Sentiment, p. 116
77. The three kinds
pp. 115
111-112
type, pp.
61-63.
Erotic, the
of the
Sentiment, p. 116
The
79.
p.
116
The
78.
Heroic Sentiment, pp. 116-117, 80. The three kinds of the Terrible Senti-
The
82-83.
Sentiment, p. 117.
Chapter Seven
THE EMOTIONAL AND OTHER STATES,
1-3.
nants)
p.
119
Bkavas
(States)
118119
explained, pp.
;
The
6-7.
124
p.
Sorrow, p. 122
;
125
21-25.
j
The
ment, p.
126
PP. 127
35-37.
130
8-9.
49-51.
p.
118
Annbhavas
;
Love, p. 121
25-26.
20-21.
37-46.
27-30.
32-35.
10-
26-27.
pp. 125-126
Laughter, p. 121
9-10.
Disgust, p. 125
Anxiety,
(Consequents) explained,
Transitory States,
129
Vibhavas (Determi-
3-4.
30-32.
48-47. Weariness, p.
P.
7-8.
Pear, p. 124
27-29.
4-6
14.
explained,
Pages 118-147.
Astonishment
Discourage-
Apprehension,
Intoxication, pp.
128-129
XX
181
Recollection, p.
p. 132
59-60.
p.
136
138
p.
pp. 138-139
77-79.
p.
Fright, p. 142
90-91.
p. 143
Temperamental States,
and Trembling,
144
p.
and Horripilation,
p.
p.
138
Deliberation,
Weeping,
Change
p.
of
144
82-83. Sick-
142-143
pp.
Change
Colour
of
p.
144-145
pp.
p|>.
93.
Parafysis
96.
124.
76-77.
144
98.
185
Dissimulation,
85-90.
Agitap.
70-72. Sleeping,
79-80.
Perspiration, p.
95.
99.
136
91-93.
97.
144
Arrogance,
66-67.
83-85.
82-65.
74-76.
Indignation,
134135
Sbame,
57-59.
69-70. Impatience, p.
Awakening,
142
135-136
Despair, p.
67-69.
Stupor,
65-66.
131-132
Contentment, pp.
55-57.
Inconstancy, p. 132-133
144
107-
145-147.
Chapter Eight
THE GESTURES OP MINOR LIMBS,
Sages question, p. 148
1-3.
The meaning
149
of abhinaya,
The Gesture
11-16.
its
4-6
149
p.
The
8-9.
Pages 148-167
;
7.
p.
The
150-152; 38-42.
17-37.
Gestures
thirtysix Glances,
The Glances
155-158
159-160
pp.
Uses of the
99-102.
160-161
eyeballs,
108-111.
The
85-95.
p. 160
103-107.
p. 161
eyelids,
Uses of
The
95-98.
eye-
The
112-115.
p.
162
116-120.
149-157.
chin, p. 166
the face,
167
166-167.
p.
The
The mouth,
159-165.
nock, p. 168
Uses
;
pp.
of
166-167
the colour
167-173.
157-158.
The colour
of
Description and
usos
of the neck
Chapter Nine
THE GESTURES OP HANDS, Pages
1-3.
Bharata speaks,
pp. 170-171
p.
170
4-17. Sixtyseven
170-190
gestures of
pp.
171-181
160-165. Different
;.
the hand,
j
126-155.
movements of
XXI
hand gestures,
The quantity
189
p.
The
205-211.
movements
185
178-204.
168-177.
187-
The
212-214.
of arms. p. 190,
Chapter Ten
THE GESTURES OP OTHER LIMBS, Pages
1-9.
The
sides, p. 192
The
The
18.
The
21-^4.
194
p.
thifch,
192
belly, p.
waist, p. 193
25-26.
9-20.
192
sides, p.
52-54.
The
194
p.
191-196.
Uses of the
32-33
The
10-15.
The
34-37.
The
41-51.
feet
and
Carls, p. 196.
'Chapter Eleven
THE
1-3.
CIRI MOVEMENTS,
Definitions, p. 197
thirtytwo Cans,
29-49.
The
71-88.
The four
Sausthava,
Nyiiyas in
205
p.
bow,
205
The
p.
205
The method
94-96.
The
7-12.
50-71.
The Caturasra,
91-92.
p.
The
13-2a
Pages 197-206
aerial
relating to the
197-198
pp.
4-6.
The four
92-94.
of exercise, pp.
The
88-91.
acts
205-206
p. 206.
Chapter Twelve
THE MANDALA MOVEMENTS,
Tho Mandalas, p. 207
The earthly Mandalas, pp.
1-5.
42-68.
6-41.
The
Pages 207-212
Mandalas, pp. 207-210
aerial
210-212.
Chapter Thirteen
THE DIFFERENT
1.
personae, p. 213
entrance, p. 213
8-10.
p.
natural Gait, pp
217-218
2-3.
Entrance of dramatis
12-14.
214-215
The tempo
pp. 217
Gait of kings,
25-29
conditions, p. 216
41-48.
59-60.
61-69.
35-40.
Gait in the
Tempo
p,
The
10-11.
216
15-24.
30-34.
under
of Gaits
Erotic Sentiment,
219
213
The
214
218-219
p.
The
54-56.
pp.
Gait iu
Sentiment, pp-
70-75.
76-78.
p.
Gait
Gait of
xxn
merchants and ministers, p. 220
pp. 220-321
one
of
riding a chariot,
sky, p. 222
the
101-104.
Gait in ascending a
96-100.
p.
221
Gait of serpents,
114.
p.
223
p.
p.
225
224
p.
115-117.
p.
224
p.
223
112-
118.
Gait of a Parasite,
105-107.
108.
110.
222
palace, p.
lofty
long
119-120.
223
p.
109.
Gait
88-92.
distance,
79-86.
87.
225
p.
123-130.
Gait of a lunatic,
p.
225
131-136. Gait of lame men, cripples and dwarfs, p. 226 ;. 137-1 46. Gait
of the Jester, pp. 226-227; 146-148. Gait of manials, p^227
148-149.
;
Gait of Sakara,
228
p.
150.
women,
171-177.
231
p.
of children, p. 242
p.
232
192-193.
ascetics
women,
P.
233
thinking mood,
234
232-233
196-197.
233
p.
181-183. Gait
186-187. Gait
Sitting at case, P.
233
188-189.
232
P.
193-195.
women,
233
Gait of
men
and
197-198. Sitting in a
199-200. Sitting
woman,
in pacifying a beloved
diety,
232
role, p.
231
p.
of
Gait
lions,
Gait of young
PP.
Gait of
177-179.
230
p.
women
153-158.
Walking postures
159-171.
Gait of women,
179-181.
of handmaids, p. 231
Gait of birds
152.
228; 151.
.p.
p.
234
p.
234
203-206.
Sitting in worshipping a
234
p.
208-210.
pp.
Chapter Fourteen
THE ZONES AND THE LOCAL USAGES,
1.
The Zones,
ijonal division,
p.
p.
238
238
2-
The arrangement
of drums, p. 238
Zonal division,
239
12-15.
}f
240
men
18-20.
in
The
;
17.
Movements
Bharatavarsa,
Pages 238-247
11.
16.
p.
The
238
3.
;
east on
The
8-10.
the
Indication of rank in
240
22.
Departure
240
for
21.
Movement
a distant place,
TOM
240
p.
Time allowed
28-82.
Movements
32-35.
241;
Usage, p. 243;
Usages,
242-243;
pp.
The
p. 245. 57-60.
244
Local
50-55.
The two
50.
61.
The
62.
p.
pp.
40-42.
The Odra-Magadhi
43-46.
240-241
pp.
36.
47-49.
p.
37-39.
241-242;
of gods,
Chapter Fifteen
RULES OP PROSODY,
The
1.
248
p.
5.
actor's
speech,
Recitation,
249
p.
Vowels
nominal
affix, p.
combination,
The
28.
254
255
p.
256;
verso, p.
metrical
p.
p.
260
The
26-27.
The
The
254
affixes, p.
their
30.
257-258
The
The
metres, p.
Twenty-six
89-90.
29.
252-253;
pp.
21-22.
The
Syllabic
39.
patterns, pp.
pp. 258-259
34-35.
43-49.
254
251
p.
31.
pp. 256-257
particle, p.
aspects of
9-19. Consonants
their quantity,
The noun,
6-7. Different
speech-sounds, p. 249
20.
Pages 248-261
Importance of speech in drama,
2-4.
of recitation, p. 248
The
8.
248
p.
256;
Rhythm-types,
40-42.
Rhythm-types,
257
49-79. Possible
p.
90-91.
of vowels, p. 260
260
p.
261.
Chapter Sixteen
METRICAL PATTERNS,
Tanumadhya,
1-2.
p.
263
7-8. Malini, p.
ramalika,
265
264
p.
pp. 266-267
Totaka,
p.
27-28.
Indravajra, p. 268
dhata, p. 269
p.
5-6.
11-12.
267
29-30.
Motaka,
39-40.
pp. 267-268
;
Salini,
Harinapluta,
Aprameya,
p.
pp. 272-273;
273-274;
57-58.
53-54.
Padmim,
21-22.
275;
31-32.
35-36. Rathodp.
45-46.
Kamadatta,
p.
25-26. Mayurasarini,
270
p.
59-60.
41-42.
Candralekha,
51-52.
Malati,
Bhrama-
43-44
262
p.
Dodhaka,
270
Makaraka-sn-sa,
266
p.
3-4
Madhukari,
p.
262
p.
263
Pages 262-292
p.
273;
272,
55-56.
Patuvrtta,
;;
JXHf
pp. 274-275
Asambadha,
p.
61-62. Prabhavat!
MattamayBra,
65-66.
278
277
p.
75-74.
276
p.
71-72.
pp. 280-281
283
p.
286
109-111.
Even
Pathya,
290
p.
103-105.
115-118.
296
p.
297
p.
296
p.
;
Pu^pij
162.
292
p.
143-144.
147-151.
160.
Capala.
Vanavasika.
;
Uneven
290; 127-128.
p.
288
p.
123-124-
296
p.
163-164
165.
Mukha-capala
166.
Bhujaiiga-viirm-
141-142. Apar.ivaktra, p. 93
Pathya Ary5,
161.
112-114.
100-102.
Meghamala,
137-138.
'
Irya,
pp. 290-292
87-88. Vilam-
106-108.
152-159.
286-287
p.
286
p.
83-84.
91-93. &rdalavikridita,
Asvalalita,
metres, p. 288
129-136. Vipula,
282
p.
280
p.
Krauiicapadi, pp.
119-120.
Pravaralalita, p. 279
77-78.
69-70.
Nandimukhi,
73-74.
Vr?abhaeestita,
89-90. Citralekha,
81-82.
^ridhara,
p. 275
67-68.
Arya,
297
p.
167-170.
Jaghana-capala
298.
p.
Chapter Seventeen
DICTION OP A PLAY,
301;
Causation, p.
10.
Precedent, p. 301
391;
Hesitation,
11.
Unfavourable Precedent,
p.
Persuation, p. 303
Distinction,
303
p.
304
305
305
P.
35. Identity,
p.
p.
308
p.
16.
p.
304
307
307
p.
;
p.
38.
306
36.
51.
of conceit,
p.
309
24.
52.
302
p.
.15.
302
p.
304
Mediation,
p,
17.
306
p.
306
305
p.
50.
p.
Enumeration
39.
308
41-42.
310
306
p.
307
of
37.
Merits,
Compliment,
309; 45-49.
p.
Series
29.
Simile of uniqueness)
24.
Interrogation
34.
Censure,
31.
Inversion,
26.
Etpreion of Desire,
307
304
Description, p.
23.
28.
Favourable
12.
Fancy,
Number
9. Parallelism, p.
304
Expression,
Serai-utterod
40.
Ornateness,
6.
Accusation of Virtues,
19.
Celebrity, p-
p.
301
301;
p.
Deliberation,
Indirect
Concealment,
p.
14.
303
p.
p.
25.
33.
299-300
Convincing Explanation,
Clever Manners,
30.
302
p.
21.
Presumption,
Wit.
393
>nci, p.
Utterance,
of Offers,
32.
Multiplex Predication,
22.
Pointed
p.
Ewnll
20.
18.
302
play, pp.
Brilliance,
8.
Discovefy,
13.
good
of a
Compactness, p. 300
7.
marks
Thirtysix
1-5.
30
p.
Pages 299-322.
55-56.
53.
p.
309
Simile
Simile
of
;;
XXV
Partial likeness,
PP.
Yamaka,
311
p.
p.
p.
Condensed Expression,
Yamaka,
311;
p.
Padant a Yamaka,
65-66.
57-58.
61.
p. 31 1
67-68.
310
p.
Ten
62-64.
59-60.
kinds
of
Kanei Yamaka,
pp. 311-312
p.
310;
p.
310;
Metaphor,
69-70.
73-74.
312;
Ten
fluous Expression,
316
Significance, p.
faults,
316
P.
Tautology and
92.
pp.
90-91.
93.
p.
317;
p.
318
p.
317
318
ableness, p.
ness, pp.
li>l.
319
p.
317
99.
Smoothness,
319
318
p.
319
320
p.
and Slang,
97.
Synthesis,
100. Concentra-
102. Grandeur, p.
107.
94. Hiatus
317-318;
pp.
319-320
figure? of
Sweetness,
p.
Ten Gunas,
96.
318
98. Perspicuity, p.
tion, p.
and
Gunas,
95.
319
103
Agree-
105-106. Exalted-
108-110.
Sounds
p.
321;
321
p.
113. In
Vowel
114-115.
length
in
different
Chapter Eighteen
RULES ON THE USE OP LANGUAGES,
The Prakritic
1-2.
323
Recitation, p.
6-17.
226
27.
p.
327
31.
56-61. Distinguishing
pp. 332-333;
30.
The
36-46. Exception to
dialects,
pp. 324-325
26.
331;
Pages 323-334
32-35.
p.
3-5.
18-25.
p.
Recitation, p. 323
features of
various local
Chapter Nineteen
MODES OP ADDRESS AND INTONATION,
1-2.
Pages 335-354
Modes
3.
of addressing
p.
335
5.
men,
Addressing gods, sectarian teachers and learned
man,
old
an
Addressing Brahmins, the king, the teacher and
p.
336
6.
males, p. 335
ing
4.
ministers, p. 336
8.
p.
336
7.
Brahmins
addressinferiors
XXVI
336-337;
and
artists, p.
337
Addressing
9.
employees,
p. 337;
Addressing an ascetic or
The
11.
a person
with
340
p.
339
p. 340
19.
Women
ing
Women
lady, a
nun or a female
344
30.
Names
of
p.
343
33.
Naming
347
woman and an
Addressing a
Two ways
43-44.
karas, p. 348
45 57.
343
343
27.
28.
29.
p.
king's
registers,
old
Address-
25.
26.
344
Naming
45.
p.
346
p.
344;
31.
32.
p.
345
34.
superiors, p. 345
38-40.
women and
addressing a hand-mand, p.
pp 342-343
sister,
accessible
warriors, p. 344
p. 346
Addressing a courtezan,
p.
Addressing an
Brahmin
The
Jesjfer,
22.
of addressing
23-24.
monks, Addressing
Modes
21.
The
older
Addressing a son or a
14.
12.
Addressing
13.
16.
15.
337-338;
beatitude, pp.
disciple p. 339
artisans
10.
347
of intonation, p-
p.
346
40-43.
43.
45.
58-59.
Hands
Pause
defined, pp.
351-352
in connexion
p.
352
62-67.
Drawn-
68-78.
Chapter Twenty
TEN KINDS OP PLAY,
1-9.
The Nataka,
p.
356
13-18.
The
Act,
pp. 356-357
pp. 359-360
36-38.
The Supporting
p.
362
stage, pf.
48-50.
364-365; 64-66.
361-362;
43-47.
The Prakarana,
27-35.
19-26.
p.
3 55
10-12-
Incidents not
pp. 262-364
The Samavakara,
360-361
Scone, pp.
on the
Pages 355-379
59-63.
The
first
act of the
xxvii
366
p.
Samavakara,
68-69.
71.
73.
Love together with duty, pp. 367 ; 74. Love together with materia] gain,
368 ; 75. Love due to passion, p. 368 ; 76-77. Metres not allowed in
p.
370
Uima,
p.
kanka,
p.
371
The
p,
372
Vyayoga,
Scenes with
97-101.
The Prahasana,
The thamrga,
78-83.
90-93.
celestial Heroes,
pp-372.
372
p.
The
84-89.
The
94-96.
103-104.
368-369
pp.
370
p.
Utersti-
371
102.
105-107.
The
Accidental
117.
Significance, p. 374
Ominous
Compliment, p.*375
ing,
Interpretation, p. 374
375
p.
Deception, 375
125.
376;
Crushing, p.
376
p.
p.
Vicitrapada,
379
p.
377
AYina,
122.
The Lasya,
p.
378
379
p.
127.
Undue
The
134-135.
p.
377
188,
p.
378
143. Saindhavaka,
Uttamottaka,
145.
376
Puspagandika,
140.
p.
377
p.
Outvy-
129-131.
Geyapada,
136-137.
376;
p.
p.
124.
Declaration,
126.
p.
379
Bhavita,
p. 379, 148-150.
147. Uktapratyukta,
375
375
p.
Triniudhaka, p. 378
142
Dviinttdhaka,
144.
119.
Incoherent Chatter,
132-133.
p.
139.
Pracchedaka, p. 378
378
128.
Combination of Words,
141.
120-121.
123.
146.
p. 379.
1.
Plot
308
action
pp.
3-5.
Their
380-381
definition,
Plot,
p.
Beginning,
9.
Possibility of Attainment, p,
381
380
p.
p.
381
18-19.
kinds of
stages
of the
381
p.
11.
12.
13-15.
five
Effort,
10.
The two
2.
The
6-8.
Pages 380-400
380
16-17.
p.
382
20-21.
28.
384
p.
29.
30.
39.
The
Progression, p. 385
42-43.
40.
The
The Development,
Conclusion, p.
386
The
p.
385
44-47.
41.
The
Junctures
Subjuncturo,
p.
387
;;;
xxvm
of the Junctures, p. 387
pp. 387-388
Limbs
69.
ment,
390
closure,
Activity,
39D
892
p.
Meeting
82-
p.
391
391
p.
p.
392
p.
393
p.
ence,
394
p.
cation, p.
Limbs
394
393
86. Deduction,
396
Conclusion, p. 395
Ascertainment,
100.
Gratification, Joy,
The Supporting
108.
397
396
p.
Scene, p. 398;
Scene, p. 397
394
Alter-
Foresight,
965.
Awakening,
Rever
Opposition,
;
393
Angry
92. Assertion,
94.
p.
90. Censure,
p. 395
98,
101.
396
p.
103-105. Termination,
p.
397
107-
109.
Scene, p. 398
The Anticipatory
113.
Supplication,
106.
The Introductory
110-111.
394
p.
99.
102.
393
p.
97. Junction.
392
p.
Outwitting, 6ismay,
Humiliation, p. 39
395
p.
p.
391
391
Supposition, Exaggeration
88.
Placation.
Lassitude
Summing Up,
95.
in the
Assembling,
395-396
Rebuke,
93.
394
Insolence,
91.
p.
Thunderbolt, Reference,
81.
84.
Propitiation, p. 393
Words,
of the Progression,
89.
74. Dis-
of Castes,
85. Progress,
Limbs
Accession,
72.
79.
83.
389-390
Surprise, p. 390
Incitement,
75.
80. Pacification,
p.
390
p-
Amorousness, Pursuit,
76.
Decision, pp.
Conflict of Peelings,
73.
p.
p.
Allurement,
7.1.
Settling,
78.
389
p.
64-57.
The
58-68.
The
112.
p.
Transitional
An
ideal
Chapter Twentytwo
THE
1-5.
The
origin
The
404
The four
;
28-29.
402
p.
The
Presentation, p.
406
origin
405
The
34-37.
306
p.
Graceful Style,
407
407(49-50.
41.
The
p.
The
Pleasantry, p. 407
48.
45-46.
three kinds of
;
52.
30-31.
The Laudation,
27.
The
404
p.
Change
406
p.
51.
p.
407
The
38-40.
Grand
Style, pp.
;
44 The
47.
Pleasantry, p. 407
p.
33. Particular
405
of Action, p- 406
Unfoldment of Pleasantry,
varieties of the
five
p.
Breach of Alliance,
The four
402
origin of the
43
Style, p.
The
14-16.
origin of the
Grand
Personal Business,
Challenge, p. 406
Harsh Discourse,
The
6-11.
32.
;
origin
of the
Introduction, p. 404
42.
The
17-25.
varieties of the
Introduction, p. 404
Grand
The
12.
Energetic Style,
86.
401-409
STYLES, Pages
Beginning
j
5H4,
The
Style, p.
of
Covert
;
;
XXIX
Pleasure, p. 408
Commotion,
49.
409
p.
The Energetic
55-56.
of the Energetic
varieties
409
p.
408
Style, p.
409
p.
The
57.
60.
498
Style, p.
61-62.
four
408409
Conflict
Chapter Twentythree
THE COSTUMES AND MAKE-UP,
1-3.
of
pp.410-411
411
Worn
13.
411
p.
Garlands, p. 411
10.
of model-work,
Four
11.
12.
Four kinds
4.
5-8
p. 410.
Decoration,
9.
Pages 410-439
412
p.
412
p.
Ornaments
14.
Ornaments
15.
males
for
413
p.
18.
19.
415
p.
Head ornaments,
Neck ornaments,
26-27.
Arm
29.
ornaments
416
p.
p.
p.
419
418-419
p.
;
Raksasa women,
54.
women
Siddha
52.
p.
419
.p.
31-33.
37-44.
p.
Costume
of celestial
Gandharva women
Human females
58.
416
ankles, p. 417
53.
56-57.
Monkey
61.
Women of Avanti and Gauda, p. 420 60 Abhira women, pWomen of the North-east, p. 420 62-63. Women of the South, p.
64.
Ornaments to be worn
420
59.
The four
The primary
71-74.
objects, p.
422
81.
human
85-87.
human
102.
426427
99-101.
p.
426
421
p.
form, p. 422
423
secon-
82. Lifeless
84. Painting
Colours for
88-89.
The
75-80.
422
p.
p.
420
Living beings,
The
p.
420
Dresses
68.
70.
23-23.
Ear ornaments,
ornaments,
419
p 143
;
Breast ornaments,
28.
45-51.
413
p.
23-25.
Ornaments of the
women
419
415
p.
30. Finger
34-36.
Breast ornaments,
Waist ornaments,
Colours of different
103-109.
93.
Colours of different
94-98.
tribes, p.
425
p.
Use of
128.
masks, p. 429; 129-139. Three kinds of crown, pp. 430-431*; 139-145. Rules
of different hairs, p. 431
of weapons,
pp. 432-433
146-148.
The Sa
156-1 58.
;
J
160-167.
jiva, p.
432
Use of other
The
148-155.
objects,
p.
The use
433
159.
.167-170.
,;
XXX
TheDandakastoVP- 434;
437
p.
tional objects,
436
p.
The
187-198.
Making
198-208.
208-211.
170*180.
Other accessories,
180-187.
realistic
and conven-
of
stage, p. 439.
1-2.
Temperament,
440
p.
Temperament
of
6.
441
Peeling, p. 441
8.
Amorous Gestures,
15.
442
p.
443
18.
women,
of
444-445
444
p.
p.
444
tivenoss, p.
Self-control,
447
446
Nobility, p. 446
38.
44. Aiikura, p.
NtvWty.ifik.ira,
48.
Rerpesentation,
448
Repeated Speaking,
p.
\i,
448
Regular
18
sensual perception,
452
p.
452
78.
91-92.
v
Vanous
89-100.
divme
type,
105-106.
''
80.
types of
pp. 454-455
The woman
of
43.
of the verbal
;
Lament,
53.
Pretext, p. 449
57.'
of the Verbal
451}
p.
76-77. Irregular
p.
452
Representation
79.
of the
indifferent mind, p.
95 - 96 Love
'
-
Hist-
447
p.
Sound, p. 452
82. Touch, p. 452
and Smell, pp. 452-453
86. Importance
mind, p. 453;
The
Spor-
37.
46-47. Natyayita,
Laksa,pa defined,
452;
p.
81.
of
Word,
42.
447
of the
90.
personal
27.
Self-posse;
88-89.
!
32. Brilli-
40-41.
84-85. Tasto
446
Twelve forms
I.
*S
34..
Spirit, p. 446
Command,
56.
Sastra,
'.he
445
p.
445
36. Gravity, p.
39.
4*K>
72-73.
p.
444
p.
Courage, Dignity, p.
Practice preferred to
p.
29-30
22.
Form,
444
Involuntary Graces
24.
45. Sakhfi, p.
449
p.
83.
Affection, p.
Coldness, p. 443
54.
74-75.
Manifestation f
body, p. 446
the
447
52-
Message, Agreement,
55.
Confusion,
Charm, Rndiance,
26
p.
17.
Affected
21,
p.
19.
444
p.
Passion, p. 441
11.
14.
Graceful Bearing,
33.
of
definition
441
of Respouse, p. 443
Beauty,
35.
SQca, p. 447
p.
31.
445
443
28.
The
8.
Dishabille, p. 442
p. 443
p.
25.
442
p.
16.
Mood,
Anger,
Want
Delicacy
442
p.
Hysterical
Pretended
20.
440
The
7.
Emotion,
9-10.
12-13.
p.
4-5.
Pages 440-482
P-
of
'
103-104.
Gandharva
p.
W.98.
454
93.
The meaning
Erotic
The woman
type, ,..465
453-454
101-102-
p.
unfavourable
"external", pp.
4S4
women,
453
mind
of the
The
Affair,
94-95
454
The woman of
p.
107-108.
The woman o
;;
;
XXXI
Raksasa type,
p.
465
The woman
118.
of tiger type,
woman
Naga
of
type. p. 465
The woman
113-114.
The woman
115-116.
456;
p.
type,
The woman
109-110.
111-
of Pisaca
p.
The woman
120-121.
The woman
457
of
458
ass type, p.
Thcwoman
458
p.
The woman
461
classes of
women
zan's love, p.
462
166-167.
collection, p.
464;
186-187.
Characteristics
beloved
the
to
women,
210-211.
p.
love,
pp. 466-467
p.
268
268
p.
466
p.
Heroines, p. 469
Anxiety,
p.
p.
463
184-185.
Women
p.
465; 190-
The
221-223.
469;
p.
467
deceived
193.
from
husband,
sojourning
separated
seperated by
268; 217.
180-
Insanity,
lovesickness, p. 466
in
201-207.
267; 212-
p.
love,
176-177. Re-
188-189. Stupor,
223.
of love,
Signs of a courte-
The Heroine
Heroine,
150-155.
197. Relief
p.
208-209.
214.
215.
194-196.
The enraged
218.
465;
465-466
460
192.
one, pp.
up for Union,
tion,
174-175.
of
elassess of Etip.
198-200.
169-171
Death, p. 465
191.
462
462-463.
178-179.
Distress, p. 464
181.
p.
463
163-165.
The
144-
462
p.
459
The beginning
156-159.
134-135.
140-141.
type, p.
Two
147-149.
pp. 460-461
458-459
p.
of
of buffalo type,
The three
of goat type, p.
142-143.
The woman
126.
The woman
130-131.
camel type,
of
136-137.
type, p. 458
The woman
132-133.
woman
p.
Makara
of
The woman of
122-123.
The woman
127-128.
138-139.
457
typo, p. 459
The woman
124-125.
type, p.
The woman
129.
fish
monkey
of
p.
268
Heroine,
pp.
216.
p.
268;
268-269;
219.
Representation of the
220.
p.
469
470
227.
229-232.
Union,
p.
How
470
family, p. 470
236.
472
p,
228.
470
245-252.
pi
471
The Heroine
The hand-maid.
233-235.
Union, p. 470
240-244.
p.
470
The Conjugal
;
237-239.
Acts prohibited on
in expectancy, p.
472
253-2^7.
'
YXTTT
475
On treating
301.
Angry
Peeling,
273-292.
beloved p. 479
302-309.
Endearing
310-319.
human
320-328. Goddesses in
293-298.
terms of
Anger, p 476
299-300.
Mired
267-268.
271-272.
478-479
pp.
stage,
Depression, p. 475
265-266.
269-270.
481-482.
roles, pp.
Pages 483-492.
The
1-2.
pp. 483-484
Messenger,
9-10.
484
p.
24-27.
The
hostile
486
30-31.
p.
485
love, p.
women's heart,
37-39.
p. 487
The
488
ft
489
490
60-61.
The
491
68. Gift.
p.
488
Behaviour
49.
p.
429
inferior man, p.
490
491
69. Diasention,
etc.
;
primary youth,
in the
51.
quartcrnary
excellent man,
The
too old
67.
491; 73.
74-80.
The
47-48.
man,
p.
490
Conciliation,
Chastisement, p. 491
p.
of
Acts
45.
488
The
55.
68-59.
62-63.
488
p.
in the
489
489;
p.
32-35.
Behaviour
52.
486
p.
youth,
tertiary
the secondary
treatment of men,
43.
The
p.
19.
woman, p.
The middling woman,
The four stages of
46.
64-66. Psychological
p.
487
p.
three types of
40-41.
487
485
p.
Winning back
28-29.
44.
Behaviour in
50.
Qualities of a
hostility, p.
The
36.
p.
woman,
inferior
youth, p. 488
486
p.
Causes of
woman,
superior
The
42.
woman's
11-12
The
20-23.
woman,
484
p.
a Gallant,
3-8. Qualities of
13-18.
483
definition of a Gallant, p.
-70-72.
Reading a woman's
courtezan's
mercenary
492.
Chapter Twekttsix
SPECIAL REPRESENTATION,
^^
Oh
J"
Objecteonthe
Reprrcntation, p. 493
ground,
obL'J'n^T
J
p.
493
du 8 8m6kc
Q f'
^T
6.
" tc -
bieCte '
2-4.
Pages 493-510
ote.
5.
P 494i11
-
494 I N w t
p.494,l^
klaceandflowcrsetc,p.494
* ^
18.
The
"alto!
idea
feeling,
of entirety,
XXXIII
p.
494
495
etc. p.
p.
495
objects, p.
18.
Repugnant
16.
objects, p. 494
495
15.
17.
etc
19.
and meditation
496;
etc, p.
497
497
p.
Height, p. 496
25.
The autumn,
winter, p. 477
The
34.
496
etc, p.
27.
The
31.
496
p.
497
rains, p.
The
32.
Determinants, p. 498
The
41-44.
p. 499
women,
500
Women's mevements
48.
Big
of limbs, p. 499
500
fear, p.
501
36.37
39-40.
The
45-46. General
Women's sorrow,
p.
61-64
65.
497
;
56-57.
Women's
birds, p.
500
p.
59-60.
498
efforts, p
Meaning of words'
49.
Men's sorrow,
55.
#
Men's
58.
Women's
66.
500
p.
States, p.
pp 496-
The summer
47.
winter,
33.
499
rainy night, p.
The
38.
spring, p. 497
The
35.
26.
The
28-30.
67.
502;
Pisacas, p.
friends
502
p.
Mountains and
74-75.
78-79.
5U2
tall trees, p.
504
85-86.
p.
504
504-505
state
sleep,
p.
p.
506,'
of
507;
p.
506;
p.
507
105-107.
sensation,
p.
p.
508;
508
The
79-80.
;
505-506
98-99.
of
p.
The
p.
505
92-94. Repeti-
No movement
97-98.
Declamation of a
in
person in
of
108-109. Tremor,
Representation, p. 505
110-111. Hiccough,
p.
p.
from
507
508;
poison,
109-110.
111-1
2.
118-122.
of
norm
States,
p.
Burning
508
Suspension
99-100. Dsclamation
drinking poison,
P-
94-95.
death, p. 507
p.
505
sleeping,
506
p 503
Observing proper
95-97.
the
503
87-88.
90-91.
p.
ete, p.
ouoself, p.
tion of words,
etc]
Wide expanse
A swing,
80-83.
speaking,
75-78
509
p.
509
Chapter Twentyseven
SUCCESS IN DRAMATIC PRODUCTION,
1.
The Success
in dramatic production,
p.
511
Pages 511-526
;
2.
;;
xxxrv
of Success, p. 511
511;
p.
Success, p. 513
The human
8.
The
5-15.
physical
18-19. Three
p.
514
Success, p. 511
Success,
515
p.
29-36. Palpable
sources
human
efforts in
pp. 519-520;
is
of
617
p.
40.
520
p.
mishes, p. 522
522
p.
of limbs, p. 524
83-84.
88-97. Suitable
73.
of
102
Pageant, p. 526
An
perforJ
a performance
p.
77-82. Procedure of
554
p.
of time, p. 526
85-87.
100-101.
performance,
ideal
522
p-
performance, p. 525
The
104-105.
59-62. Dis-
Recording of Ble-
Co-ordination,
times for
98-99,
p. .520
Charm
44-47. Limitation of
a performance,
76.
37-39.
62-70. Assessors in a
about
522
514
71. Controversy
20.
p.
Benediction, p. 517
50.
516-517
pp.
Wrong
divine
from an enemy,
Blemishes,
The
pp. 513-514
28.
vocal Success,
16-17.
kinds of Blemishes,
21-23. Blemishes
The
4.
511-513;
p.
526
p.
performance,
best
526.
p.
Chapter Thuitfopr
TYPE OP CHARACTERS,
1.
male character,
An
p.
527
3-4.
pp. 527-528
11.
527
p.
24-25.
The two
classes of
p.
531
p.
531
p.
530
51-53.
533
54-55.
534
64-70.
635
p.
61-64.
Mahattarls, p.
533
57-58.
538
women
The Nirmundas,
p.
535
The
Heroines,
41-42.
Maids of
55-56.
p.
533
53-54.
58-60.
f>.
artistes,
48-49.
Errand
Pratiharics,
;
work,
533
p.
534;
73-74.
71.
530
37-39.
Women
special
p.
p.
Maids
532
girls, p.
;
56-57.
four types of
49-51.
Old dames,
Qualities of
inferior
16-20.
Maidens,
An
12.
5-7.
superior
527
p.
The
20-23.
2-3.
Ordinary wives,
8-10.
13-14.
529
527
p.
p.
Pages 527-537
The Vanjadharas.
The Kaiicukins,
p.
685
p.
76-77,
XXXV
External persosn, pp. 535-636
of the army, p. 586
leader
Judges, p. 537
87-90.
The
78-82
84-85.
king, p. 536
Councillors, pp.
The
82-83.
536-537
85-87.
Courtiers', p. 537.
Chapter Thirtyfive
DISTRIBUTION OP ROLES,
Distribution of Roles, p. 538
1.
538
ribution, p.
Danavas
sas, fiie
The
without
p,
540
The
22-23.
540-541
The
24.
19-21.
impersonation, p. 541
541
in
31-33.
some
roles,
38. Result of
The
tics
of a king;
gods, p. 546
The
69-71.
62-68.
75. Characteristics
p. 548
Jester,
Members
teristics
of
musician, p.
548
Women
83-85.
p.
547
99-100.
104-135.
72-73.
to
Characteristics
78-81. Charac-
549
be Heroines, p.
party, p. 549
The maker
The
71-72. Characteris-
89-91. Charac-
101-102.
typical
p.
550
93-95.
96-97.
of ornaments, p. 551
Kusilavas, p, 552
543-544
The
pp.
53-59.
disqualified
theatrical
;
types of dramatic
92-93.
524
p.
81-83,
550
p.
women
of the typical
The maker
29.
59-62.
544-545
pp.
561; 97-98.
The two
42.
for
j
89-41. Result of
result of
impersonation,
Director,
p.
The
in different roles,
characteristics of
73-44.
of the courtezen,
Heroine, p. 548
85-89.
p 545
to the
Actor, p. 547
teristics
543
p.
Tho
The
roles,
33-36. Suitability of
an Assistant
of
of an
acting,
43-47.
impersonation
of
542
women
of persons
assigning
25-26.
role
of
The unnatural
30,
542
production, p. 543
48-53.
The
psychological preparation
p.
minor characters,
role of
cases
12-13.
role of the
Imitative representation,
women
employing
Special
539
p,'
The
14,
dist-
Rak$a-
role of
impersonation, p- 541
natural
539
persons,
The
27.
The
28.
role of kings,
p,
principles of
The
7-8.
The
15-17,
fatigued
The
The
9-11,
roles of characters
first
General
and councillors,
leaders
2-4.
538-539
ete, pp.
army
of
role
The
5-6.
Pages 538-552
other
98-99. Characteristics
100-101.
members
the
the
XXXVI
Chapter Thirtybix
THE DESCENT OF DRAMA ON THE EARTH,
1-9.
10.
p.
caricature, p. 556
37-38.
50-51.
p. 559
Gods
j
54-57.
down
71-73
is
34-26.
The
557
558
the
Bharata
41-45.
divine
invites
Urva& and
artistes
mundane drama,
p.
560
final Benediction, p.
p.
39-40. Bharata's
to the
earth,
to the
;
561
p.
559
558;
p.
58-61. Bharata
62-63.
come
Kohala and
62-70,
by
556-557:
to the earth,
11-23.
ablution of the
Kohala
The
their fattier, p.
Nahusja
46-49.
555
80-36-
Gods
sons approach
558
Pages 553-661
74-77.
his associates,
p.
560
561.
...
p.
562
INTRODUCTION
The Present Work
I.
1.
West came
Since the
know
to
of the
especially the
sastra,
had been
ever
in
P. Hall
who
published
a medieval work on the Hindu dramaturgy, did not see any Ms.
of the Natyasastra till his work had greatly advanced 5
And for the time
DasarOpa
DasarSpa.
his
Natyasastra he acquired
numerous lacunae*
full of
But even
if
the
of one unique
out by Hall, his very important discovery soon helped others to trace similar
Mss. elsewhere.
Aud
in
contents of
The French
teit.
XVH
of
instrumental
very important
1880
in
chapter
9
of the
And
Eegnand, published
J.
later
VI
on
'
Eegnaud published
Sanskritist P.
Vninl884. u
sastra
Natyasastra.
and
Natyasastra.
in attracting competent
till
of
XXVHI "
of the Natya-
Hindu music.
H. H. Wilson,
'
Calcutta. 1826-1827.
4
Wilson,
'
'
Grosset, Introduction, t.
'
TJeber
Bharata's
(Biblioiheca
Mica),
'
iij.
Natyasastrun
in
Le
"
Guimet
1. 1860,
ohapitre
pp. 86
Koeniglisehen
du
Bharatiya-naiyasistra.
Annales
sum
Guimet, Tome,
ff.
'
ff.
It, 1884,
pp. 65
du' Musie
ff.
Calcutta, 1861-1865.
2-3.
dix-eeptieme
Tome,
La
yolst,
p xj ID. pp
(3
iij.
du Natyasastra
d'une,
'
"
due Musee
xxxvm
But the
1888; though
till
some
work and
were published up
very helpful
on them) which
studies
the understanding of
fot
thrown any considerable light on the exact nature of the ancient Hindu
Theatre indien
Levi's
(1890) in which he
by
own
his
and added to
field
Though he had
access to three
more or
greatly
it
researches,
direction.
specific
the
Sylvain
stage.
discussed comprehensively
in this
complete
less
Mss. of the Natya&astra, Lvi does not seem to have made any serious
attempt to make a close study of the entire work except
XVH-XX(XVffl-XXII
XXXIV.
and
of our text)
chapters
its
for the
first
of later writers
on the
of the
utilised
to check
subject
like
work,
it
did
excellent
drama by focussing
service to the
the Natyasastra-
Sanskritists
1
J. Grosset's *
critical
Mss. available up
Though
edition of its
I-X1V
chapters
based on
it
still
materials available,
it is
possible
nowa-dayg
in the light of
to improve
upon his
time a landmark in
tiie
history of the
I.
Chapters
is
that
XVII-XX
it failed
unfinished.
It is
But a
fact
14
Ike author
11
Xwate da
I.
will surely
work remains
11
Partie,
the
work
1 '
all
that date.
till
"
the
best specimens of
new
Bombay
"'
the
as
In 1894 Pandits
its publication.
Indian
ancient
history of
).
4.
Bhitrata ur
(Annates de
i'
leTboatru.
Karyamala, 42
Bombay,
1884.
40, 1898)
Tome
'
TTTTT
the
in
interested
Incomplete though
subject..
was,
it
nevertheless
it
ancient Indian
work than on
was available
may very
the Natyasastra
a substantial
(at least in
even when
itself,
It
legitimately
gupta"
work.
yield
commentary
seemeij
And
of the Natyasastra
give,
to
it
its
difficult
But the
text
first
volume of the Baroda edition of the work (ch. I-VII) 18 including Abhinava's commentary, disillusioned the
expectant
number of
to their
editor
its
from
relation to the
its
from a very
faulty trans-
it
Of
Apart
scholars.
commentary
mine
scholar friend of
says, 'the
probably
is
this latter
that a
navagupta descended from the Heaven and seen the Mss. he would not
easily restore his
original reading.
now
impenetrable jungle
It is in fact an
The
textual condition
the
better.
as
tents of Natyasastra.
"
Ds
Di, 8. K,
seems
to be the fiist in
less
Poetics,
'
ESkt.
Vol
I.
Natyasostra
its
publication.
pp. 120-121.
"
on the con-
with
the
commentary
M. Ramakrishna
1,
of
Kari.
Baroda 1926.
Abhinavagupta.
Vol,
II,
Edited with
Baroda, 1934.
an
'
XL
complete (though uncritical) tett of the work published from Benares
less
in 1929
would,
it is
a study, and in
it
major portion of
of the
2.
The
text of the
time a com-
first
we have
Natyasastra as
seen
is
not available in a
For
this
edition
XIV-
Hence
cri-
including
had to prepare a
translator
the
running up to ch.
Nirnayasagar
the
and
Chowkhamba editions (the first, Bombay 1894, and the second, Benares,
1929). As the test of the Natyasastra has been available in two distinct
After the most
careful
has thought
such was
necessary from
felt
But no
in the footnotes.
prudent to adopt
it
serious
may be made
objection
against this
manner, and J. Grosset too in his edition 'does not give unqualified preference to any racension and confesses
that
the Natyasastra his text has 'un caractere largement eclectique' (Introduction, p.
detendreala
tions
rcconstitution
do not seem
"
to
du Bharata primitif
'/.).
(loc.
Condi-
.Sn'-Bharltmuni-prattitam Na/ayasastram.
Benares,
1929.
'
'
This edition will be published later on. The following chapters of the NS. have
Begnaud
in hie
ch
XIV
and
Metrique du Bharata
XV
;
our
XV
and
XVI
Vogabhinaya by
73f.
Chapter
XXVIII
ch.
IV by
by
J. Grosset in his
translated into English by the present writer in his Date of die Bharata-
K V. N. Naidu, P. 8.
1936 and chapters
Contribution
XXVUI
by B.
Bharatiya-nafya-
NaiduandO.V. B. Pantlu
Mil
B8.
in
by
XLI
3.
Though
Translation
made
it
to
fill
except
up incomplete
lines
of explanatory
condensed
Sanskrit
original.
the translation
or defined.
(XX. 107-108,
translation
'112-113),
Nyaya (XXII.
(1)
they were
e.g.
17-18) etc.
the exact significance of the original, e.g. State (ihava) Sentiment (rasa),
1),
(.mufti)
(XX.15)
etc
Lest these should be taken in their usual English sense they are distinguished by initial capital letters.
Such verbs
in singular
number
'is'
as kuryat
and bhavet
etc,
have been
silently
rendered by those in plural number and vice versa, when such was considered necessary
4.
it
As the basic
fall
generally into
variant
among other
include
subjects
things
three categories,
references
imme-
readings.
(b) Explanatory.
to different
These
works on
allied
Abhinavagupta's
very
old text
to.
But
exaggerated.
like
'
(c)
mean
Materials
lw
studied in comparison
directly or indirectly.
Hence such
!
pp. 161ff.
See
tho Abhinavabhoratt" in
IHQ vol.
X.
1934,
zLir
difficulty
the
in reconstructing from
work written
To give
hoary antiquity
them some help the theory and praotice of the ancient Hindu drama has
been briefly discussed below together with other relevant matters.
II.
1,
and the
the Greeks.
points
closer
to create a
wrong impression.
mind any
As
Unless
art.
all
le
drame
est
it is
Though
se
cit).
"Le
for reasons stated above fully utilize in this connection the Natyasastra
The
essential
derived from
its
we meet with an
naccidavvam
(a
The terms
cle),
all
etymology
(c.
200 A.C)
the KarpQramaBjari 1
(c.
Sattaka
like
is
expression
like
sattaam
danced or acted).
rupaka or rUpa
and preksa
(representation)
(specta-
and show their difference from the drama of the Greeks who laid
emphasis on action and not on the spectacle. Of the sir parts of the
tragedy, the most typical of the Greek dramatic productions, Aristotle
puts emphasis on the fable or the plot and considers decoration to be unimportant. On this point the philosopher says
:
"Terror and pity may be raised by decoration the mere spectacle; but
they
may
also arise
Visuparrw, Oh.
in
* .Ed.
M. Ghosh,
itself,
p. 80.
which
is
far
XUEt
Prferable
For the
its
fable should
incidents
be so construe-
may
excite horror
#
#
to produce this effect by meaa3 of the decoration discovers
want of
in the poet ; who mast also be supplied with an expensive
art
apparatus"
(JIXIH).
But
in case of the
Hindu dramas
the decoration
elements such as
repftscntation of the
teristic
form.
But
(i.
Temperament
it
that,
is felt
five other
(vacika),
Natya
the costumes
c.
Equally with
part.
the
charac-
its
In the
case.
much
for the
says
IH).'
(II.
[gita),
ent in the
The
Hindu drama.
in it
some
and
But these
spectacle' 6 .
selves in
Due
its
song, dance
different
But
this literary
it
their production
dances of actors,
and
differ-
necessary.
Though
sort of dance
literary
character.
After forming a general idea of this Natya, from the various terms
used to denote
exactly
it,
To satisfy,
ting.
following passage
fiction
or pain-
is
called
drama"
'
'
HJB. Wilson, On
'
(1.
as well as of
120).
Ibid. p. 17.
xiiEV
This description Beems to
is
a copy of
life,
fall in
a mirror of custom, a
In this
truth".
reflection of
state-
ment Cicero evidently takes his cue from Aristotle who considered that the
term.
important
defines
as also for the most part the music of the flute and of the lyre all these are
in the most general view of
drama
rules as to
how
Hindu
the
to be
no such
make mimicry
is to
By
this
at once distinguished
down very
lays
due
elaborate
men and
of the exploits of
It is
to rules of representa-
'a
poem
For an answer
reality ?
Did
ventions of the
this
mean a
to this question
It
may
to
fiction
preminently a spectacle
is
how
about understanding
difficulty
The Natyasastra
theorists.
drama
at best guess
There seems
imitates.
we
are to look
Hindu drama.
2.
theorists turned
their attention
its
theatrical".
By
lit.
is
to be
practice into
technical
of the natural
(XIV. 62-76
behaviour of men
natural presentation.
of other
But from the very elaborate treatment of the various conventions regarding
the use of dance, songs, gestures and
it is
speeches etc.
by
different
characters
obvious that tho tradition of the ancient Hindu theatre recognised very
allow to
itself
a certain degree of
is
artificiality
One very
speeches
may
which receives
its
recognition
The
it
will be
BMtfc,p.6-
fouud that
if
its
production on the
30.V
rigidly then
possible.
Neither the Hindus nor the Greeks ran after this kind of absurdity.
Critics
of
to
production, so
the
may
better
remember
this
appreciate
and
the
to take care
great
art of
Time and
3.
Drama
place in
never
of
Greek
tragedians, did
In developing plots they had not much restriction on the length of time,
provided that, individual Acts were to include incidents that could take
place in course of a single day, and nothing could be put in there to interrupt
the routine
duties
never
(XX
and
23),
to
(XX.
27-28).
human
Bharatavarsa (XX.
characters
human
were to be assigned,
roles
were always
to be placed in India
i.e.
97).
4.
For
of impression
which
The Germ
(Hj'a) of the
it
was calculated
to produce.
play as well as
its
was always to relate to every Act of the play and the Hero was sometimes
to
An Aet was
many
(XX.
15, 30).
incidents
Act to
(XXI). 106-111.
of
movement which
is
essential for
its
dramatic presentation.
5.
Criticism of
Drama
and
II.
be
essentially
many
years
XLVI
(XXVII. 48-57) as
there
in
it,
which was a
tiling to
be heard.
Though
this
in historical tiuies
wo
written dramas
find
the stage by
the
drama
the
till
often
medieval
late
times'
".
upon* by Indians as
great
impro-
seems to have
practice
this
historical reason.
drama wore
the
of
Hence
an
it
in
representational
which
Kalidasa,
in spite of
judgement
enlisting
the service of
actually
on
opinion
the
of
the
professional
common
This
spite
people
who
attend
their
performance.
drama
those bent on
fulfilment,
restraint
and
in
doing their
it
duty,
chastise* those
those
who
love to those
who "are
eager
for
promotes
its
self-
who
The drama
in
Tho Kr,akirtana,
theatre
whi^ depend
ol
a collltfo,
teZ3
of
MidH,
J^T"*
Vo11
as I
*>
*" ol.dnm.. We Mw
XLvn
havo devised,
is
in various emotions
to actions of
different situations.
to
rich
indifferent,
is
them
all" (1.108-112).
objected against the foregoing passage that
no one play
possibly please all the different types of people.
take
may bo
It
But>
a dramatic performance,
amusement.
this
is
is
to deny its
being
so,
every
this
can
view of
is
is anti-social in character.
The remarks
of
the author of the Natyasastra quoted above on the varied profits the spectators will reap from witnessing a performance, merely shows in what
diverse
ways
different 'types
of
And
dinous spectators.
very aptly
their
pleased to sec
[the presentation
of]
love, the
money
topics of wealth,
in topics of liberation.
Heroic persons are always pleased in the Odious and the Terrible
Sentiments, personal combats and battles, and
legends,
and
These varying
(XXV.
tastes
The Success
came from
beings.
manner, that
[(XXVII.
[their
was in
16-17),
i.e.
two
these two,
from these
latter,
who
related to
its
expression to
other
5, 6, 12,
of the
16-17).
latter
acts
proceeded
Spectators
Of
2).
3, 8-18, 13-14),
sXXVII,
his theory of
his opinion of
It is
their enjoyment
when ho formulated
human
and remarkable
superficial aspects
Sentiment
in dramatic performance
59-61).
th/3
tales of virtue.
aspects of a play
of the
XLVUI
They analysed
may bo
it
what
drama was
sastra has
set
cri-
Critic* never
more than once very clearly said that the ultimate court of appeal
zealous
upon
built
ded a
Sentiment (rasa)
But
ticism
of
care in their
of rules, be
(XX.
Hence
125-126).
why
co-operation
of the
it
This
special
occurring in a play
of action
to be rewarded.
6.
plays are
Due
to the
speak-
To
under-
stand this technique one must have knowledge of the Styles (vrtti) of dra-
the Verbal
(bharati),
which
is
the
Grand
The
(saltvati),
tho
presenta-
theatrical
25ff.).
This
is
to
be employed,
is
said to be
in the
(XXII. 38
ff).
This
Furious Sentiments.
is
spirits, is considered to
The
Stylo
and the
which includes the presentation of a bold
and of
falling
The
tion which
is specially
interesting
on account
of
presenta-
XL1X
enjoyment;
is
It is
pro-
tlio
Natyasastra
it
all
(XX.
88, 96).
call
into question the soundness of the fourfold theoretical division of the Styles
of presentation.
it
But
may
appear,
mance
It
is
more of the
an opera or a
ballet,
Styles,
variation of emphasis on
drama
these,
which
is
(including a dramatic
dramatic spectacles like the Nataka, the Prakarana, the ?amavakara and
the Ihamrga may, in their individual Acts, betray the characteristics of an
opera or a
ballet.
attractive costumes
nature of a ballet.
III.
1.
To
The Nalaka,
drama,
it
Drama
up
first
of all the
Nataka which
is
the
1
most important of tho ten kinds of play described in the Natyasastra .
(a)
The Nataka
fetory
and for
its
is
Hero
its
subject-matter a well-known
It describes
the character of a person descending from a royal seer, the divine protection for him, and his
exploits,
As
Hero
of the
(XX.
such as
10-12).
restricted to his
Hero's
can never permit the representation of the
compulunder
him
with
treaty
a
or
enemy
defeat, flight or capture by the
it
ete.^
sion.
is
But
The
an Act.
before
whir],
(th,.
Hero's) death,
come
all
death was
for
The
Nataba,
first
its
is
like
to
th<-
But according
it
themselves
aii'l
made
it
the formal
beginning of their dramas, seems to show that they made in this matter an
innovation which as great creative geniuses they were fully entitled
But unlike
Greek
the
to.
plays the
into
le.
(XX.
57).
than
or more than
live'
Only
-(i)
portant
to its
series of
more or
peculiar
(XX.
18).
character
An
the
dn
it
to include only
(XX.
those
23).
If
happens that
so
it
all
the incidents
take
part
(XX.
(firaveiaka) where
27, 30).
the
31).
Evidently
these
latter
But according
a year
(XX.
should
to
28).
called
method of reporting
Acts (XX.
it,
be,
between two
of secondary importance
This
al
should
Nitaka was
many
the
An Act should
narrow frame-work
'
its
few hours.
and
gift,
LI
of a city
loss
of
The purpose
20, 21).
much
to
which
it
of impression
Sentiment
evoke and might therefore interfere whith the unity
was to make.
Explanatory Devices
(b)
The
(i)
Introductory Scene.
of evonts of
in
represented
they
It has been
the
playwrights divided the entire action of the Nataka into two sets
Ililtdu
Acts
its
we
This Scene
Acts.
important
whenever
Scene giving
the
and how
other,
whereas
set,
the less
necessary, in an Introductory
one of the
five
which were adopted by the playwright for clarifying the obscurities that
were liable to occur due to his extreme condensation of the subject-matter.
The
other
Speech (culika),
The
Intimating
When some
(ii)
explained by a superior,
The Supporting
(iii)
(iv)
is
come immediately
Scene.
When
Germ
of the<play,
relates to the
It is
after
(XXI.
106-107).
it is
is
included in
relates to
it,
112).
(v)
Act
to
108).
(XXL
is
The Transitional
is
icene.
(XXI.
the Nataka.
of
two Acts or
When
detached beginning of an
the
cipatory Scene
(XXI.
(c)
it is called
the Anti-
112).
The
Plot and
its
Development
is
is
obvious from
its
own
The
interest incidentally
(XXL
2-5).
represented
through
the following
five
Possibility
stages
(XXI. 8)
is to
be
Beginning
of Attainment (pmpti-sqmihavd),
^
LII
Attainment
of
Certainty
These
(fhalaprapti).
(niyal&pti)
five stages
the Plot
of
five
corresponding
(bija),
the Prominent
liave
Germ
the
as,
Point Hindu) the Episode {pataka), tho Episodical Incident (firaian) and
Besides these aspects of the action and the
Denouement (karya).
the
depending on
its
division into
follows*: the
Aud
a<
these
detailed hints as to
how
was
the playwright
(;'<
vahaiia)-
described
to produce
to
give
a manageable play
known examples
of the
The Prakarana.
and Bhiisa's
'
The second
real life
range".
the
respect-
all
\^ Plot
army (XX.
49-51).
priest,
officer of the
if
is
in the
'.
the Praka''it
o-mrtezan or a
company
of a lady or gentleman of
ladies
From
56).
these
takes a
drawn from
king or a leader of
is
that
love
is
an
play,
eept
original and
to be
is
Hindu
species of
Nataka
(XX.
55-
Asura,
who must be
to take for
minutes).'
its
Hero.
relates
is
to gods
It should consist of
their
kind (XX.
63-76).
u.atetheobj^lofdramat.c utriga,, a
prohibition which could sadly hare
cooled tho
tta * ll
"< Ooagrero -Select *pc*im.a. of Hindu
nSTSSu
See"
*lM
LIU
No
a mythological story.
and production of
the
It naturally
fulfledged
Prom
us.
it
literary
Kalidasa.
The Ihamrga
Ihamrga.
is
fight
It should
among
causing discord
and oppressing
off
No
of intrigue, in
The l)ima
Comic and
in
part.
it
which
sixteen characters
it
old or
Samavakara
fulfledged drama.
it lias
many
(XX
It
The
different types
84-88).
this
should
kinds.
It seems
of literary plays of a
more developed
Vyayoga.
small
new example
of
activity
No
its
deceit,
the
Incidents depicted in
eclipses, battle,
78-82).
Prom
is
it
The Dima-
kind,
(XX.
abound
[the
enemies],
fight,
them
females, carrying
be a play
be based on
is to
The Vyayoga
number of female
is
It is to
The
it
are to be of
battle, per-
characters.
(XX.
Bhasa's Madhyama-vyayoga
is
events related in
90-92).
of play.
Utsrgtikaiika,
a well-known plot,
battle
is
is to treat of
characters.
It should
women's lamentations
(XX.
94-100).
may
its
solitary
specimen.
This type
The Prahasana.
The.Prahasaua
it
is
too
is
HV
The
102-106).
The Bhana
The Bhana.
is
it
single character
who
own
relates to one's
or mother's adventure.
many
in
under the
title
10!.
Cufur-
The
may
The
VUlii.
(XX.
inferior
112-113).
play.
of play has
come down
for
no specimen of
this type
(a)
this
to us.
2.
tion of the
It
middling and
One
of the
first
dramatic dialogue.
on the ground that these might prove tiresome to spectators (XX- 34).
After giving a
utilized their
in
purmawul
detailed
used,
(XV.
3bff
XIV.
by putting them
to
a pkda
place
in a
1-86),
for
of syllables
appropriate metro.
definite
nW
ment*.
a>
or moras in
Furious Sentiments
is
in connexion
to be given in the
Arya
and the Atidhrti types were considered suitable for the Pathetic
Sentiment (XVII. 110-112). In this regard the Hindu theorists, and for
iSakkari
that
who
matter,
the
(b)
Euphony,
A Way
abounding
in
and containing no
LV
obscure or
difficult
construction,
becomes
fit
fit
(c)
in a play.
and
this
may appear
Hindu dramatic
to be fastidious enough.
created characters
(XIX.
30-36),
we come
the
the
to appreciate
dramas
reflect
grew up.
The
As
the speech
is
Even
in a
modern drama
IV.
to
jdances
in Practice
like similar
it
&va who
in later time3
As time
(natarafa).
It
is
the
came
spectacles,
and
legends connected
possible that
just
to
this
rrested,
baracter.
|ith
And
the
Hindu drama
in the
ion as in the case of the Buddhist plays, sometimes for the aesthetic
ftjoyment of the elite
as
its
plays.
on special occasions
In spite of
life.
It
was
marriage ceremony,
39
AD.
12-14).
But among
all these
vn
were the most common for the performancee of drama.
It
was natural
that on such occasions the drama was a popular entertainment as well, the
public being then in a holiday mood.
77-79).
(XXVII.
21-22,
This
drama, however does not seem to have been a regular feature of the Hindu,
as
was the
case with that of tho Greeks, and theatrioal troups gave, how-
ever,
others,
The Time
different guilds.
of Performance
prayers, the
But
does not
this
mean
at
Though
command
strict rules in
of performance
at the
was
to be regulated
For
noon
was
the evening
its
and a play
Style,
the
to
Though
in the
is
mostly held in
the evening, the ancient Indian rules regarding the assignment of a play of
a particular type to a particular part of the day or of tho night need not
be considered queer ki any way.
much
to
nature of
.
On
human
personalities.
or of woe,
when properly
anytime,
it
Even
if
of the
virtue
could be appreciated at
Vmost receptive
rest,
he could be the
similar manner,
more competent
its
principal
is to
com-
stage.
In a
LVJI
the Erotic Sentimont)
when
evening,
company of
may be mora
his dear
effectively pro3eatcd
work, one
woman, be she
is
stage in the
3.
The Natyasastra
playhouse, and
different parts
on the
But
detail.
their
in the
absence of evidence the like of which has been copiously available in case
of the
Greek
theatre,
cannot be said
it
how
far
It
may be
possible
that
people were heid in the open halls called the Nat-mandir (Natya-mandira)
in front of the {Samples, or in a temporarily devised theatre under
a canopy, as in *he case of the
the cover
to have
some resemblance and connexion with the ancient Indian Natya described
One remarkable feature of the playhouses described in the
in the Sastra.
Natya-sastra
them
is
moderate
among
the largest
size,
This
as
is
in sharp contrast
many
"
of the
was a
nece-
all
this respect,
for
the
different
technique.
The
(vikrsfa),
Natyasiistra
be the large,
and
eight,
medium or
(iii)
of theatres, viz.
medium square
(viii)
(vi)
oblong
and thirtytwo
sixtyfoui,
different varities
square,
describes three
the
medium
and
(ix)
cubits.
(i)
(iv)
the
triangular,
medium
(vii)
(ii)
the large-
oblong,
(v)
the small
the
oblong,
This
sastra is silent about the use of the playhouse measured in terms of danQas,
and the playhouse of the largest typo measuring 108 cubits in length have
been prohibited by the Sastra for tho mortals. And it has been mentioned
more
or rahgasirsa) and
room (nepathya)
the tiring
(i)
(ii)
Of
(iii)
these the
tiringroom would be at one end of the theatre and would measure sixteen
On
be two
pillars.
to be occupied
The
tiring
room
and
the actresses put on the costumes suited to the different roles, and from fhis
place, the tumults,
proceeded.
divine voices
its
two
doors,
were to
but
a-
kind of
make up
it.
they
scenery,
one unmistakable
utmost
evidence of
This
If
made
drama and
positive efforts in
calling
through suggestive
the spectators
stark
The
negative side of
artificial
avoided
it
and fancy.
to imagination
them
direction facing
east.
The Representation
4.
To
and the
sit
use of colour
communicating
costume and
in the
Among
The
these, the
Physical Representation
elaborate
attached to
Akampita
which are
Moving
This consists
first.
as follows
significance
For example,
:
(Uses)
is
to be
applied in giving
is
applicable
(lit.
desired)
in
anger
argument
is
called
the
1.1X
quick
is
in
first
stage of drinking
two
is
is
it
known
When
Avadhuta.
head
(Uses)
turned
alternately
is
it
once turned
is
to be applied
is
and die
intolerence,
in
like.
the
to be applied in
is
it
the
(Usts)
intoxication).
(i. e.
Udvahita.
as the
Avadhuta
(Uses)
astonishment
and forbidding.
when
applicable in demonstration,
cogitation, concealment
sadness,
sides it is called
upwards
called Vidhuta.
is
is
it
unwillingness,
it
is
called the
[communicating]
a message
head
is
(Uses)
tha result.
It
is
when two
by
women
Expression
(mottayifa),
Affection
of
It is to be used
(laltla).
Light-heartedness
(vilasa),
Hysterical
{bibboka),
Affected Indifffirence
(Uses)
produced.
is
Amorousness
pride,
in
shoulder**
Mood
(kilakinciia).
Silent
Anger (kuttamitaY
Pretented
Paravrtta
the result.
when the
(Uses)
It
is
face
is
to be
away the
used in turning
face,
is
and
Utkipta
result.
when the
(Uses)
face is raised
indicating
It is used
lofty
of divine weapons.
Adhogata
the Adhogata.
(Uses)
It
is
face looking
the
downwards
is
called
and
used in shame, bowing [in salutation]
sorrow.
Parilolita
Parilolita.
(Uses)
ation, possession
The
It
by an
is
is
used in
moving
fanting,
haw
on
all
sickness,
and the
different kinds
is
called
power of
intoxi-
sides,
it
like.
of glances according
express. The
and Sentiments {rasa) they are to
impressions of
eyeballs
too are liable
to similar changes to creat
different feelings and emotions,
and so have the eyebrows, tho nose,
XXIV.
For the
15,18-82.
definition
of
all
ones see
these terms together with the preceding
NK
LX
The
making of
hands
relate to
Single-hand
and movements
gestures
following are
(single
hand)
thumb
bent.
hands
fall into
hands, however,
gestures.
The
fingers extended
is called
hand
The
r Pataka
Caturasra (dance-hand)
Afijali.
gestures
The Katakamuk.ha
hands held forward eight Aiigulis apart [from each other] on one's breast,
the
level-
the hands have varied movements which are characterised by the following
acts
beckon-
ing, urging,
away,
shaking, giving
threatening,
squeezing
piercing,
cutting,
and
beatingdX. 161-163).
Prom
tional.
Of
it is
apparent that
and conven-
two
their
these
two
gestures
outnumber
But
For the
this should
conscious
fully
of the limited scope of realism in arts of various kinds, and hence they
For
were exclusively
Tjjte
to be similarly used.
them
Among
movement
are to
music
roles-
these,
name implies
down
The movements
Of
Mandala,
During the
is
these,
the
Can
is
the
two combatants
in accompaniment with
suitable
of different
Natya&istra lays
down
and
kinds,
a simple
stage fighting
On
And the
their
As
to be used in dance,
decorative
The
and the
(XEU.
1-157).
which
(b)
speeoh.
relates to
the proper
voice
registers
different
For example to
call forth
the
notes,
Sentiments the Sadja and the Rsabha would be the suitable notes.
To call a person staying at a distance the voice should proceed from
the
ing
For any speech with the Comic and the Erotic Sentiments the prevailpitch would be Udatta (acute) and Svarita (circumflex) while in the
Sentiments
it
should be Udatta
and Kampita.
In the Comic and the Erotic Sentiments the speech-tempo should be
medium, in the Pathetic slow, and in the other Sentiments a quick tempo
is
appropriate
(XIX.
59).
And
its
recitation or declamation.
(XV,
For this propose the Natyasastra devotes nearly two full chapters
XVI) which
One important
However
able
the
such
as,
might
be
placed
in
delivering the
against properly
which
is
by
their
stage-illusion
the
is
But
in the
By
to
the
that
is
its
screens covering
The
wall
stage (raitgapiiha)
IiXII
And
and the
the wall
these,
screens, possibly
This
did not contain anything other than the usual decorative designs.
simplicity in the character
of
may be looked
scenery
for in
early history.
ite
The
its
cause
introduction of magnificent
history of
drama.
The production
have been alien to the
effect
of actors
of an impression
Hindus had a
place
less
make
Numerous
different device.
time composed in rhythmic prose and verse, which are scattered over the
classical
Hindu
scenery.
When
an
up vividly
lated
to call
thing
may be
its
by Shakespeare
also.
lively,
It
The same
Dandaka
forest in
has been
mechanics."
was calcu-
mind's eye.
elaborate description
the Uttararamacarita.
utilized
The
of Vasantasena's
of
full of
such des-
and
decorators
the
Shakespercan
was unknown.
There being no scenery of any kind in the Hindu theatre which made
no effort at realism, the spectators were required to use their imagination
to the utmost.
made by the
spectator's imagination
conventional
Some
A
stage.''
Any
ancient
Hindu play
For etample
convention.
in the first
wards he enters
it
"This
Dae
to
this
is
will furnish
after-
me
enter it".
was
This puzzled
J?.
vara
8
simultaneously presented.
The
rule
of seeing
them
house]
[a
to be as remaining outside
To
walk only
is
follows
it later
are
known
entering earlier)
should
was as
to this
He who
it.
(ie. those
relating
who
one
is
walk
to
going to a place of
medium
distance,
bo indicated by closing
this is to
Act in which such an event occurs, and mentioning again the same
fact in an Explanatory Scene at the beginning of the next Act.
the
An
rules
ment
room
first
as being at the
enters it
And when
the
judge has started work, Sodhanaka again goes out to call for the complain-
This going out also consists of actually walking a few steps over
ants.
the stage.
stage
the
aerial
cars,
in use in the
wrapping
objects
Hindu theatre
viz.
wrapped round
From Dhanika,
Dasarupa
(II.
67-58),
we
learn
its
name
which plays an
(d)
The Temperament
The
resources of a
States that he or
[related to
of representation is the
(sattva)
she
is
them follow.
giving expression
to
to represent,
being
feel
man
the
delicate aspects
of
women's
men's and
emotional nature.
So
far as is
It is
somewhat
to be
should have
wondered
left those
Secnote 2 above.
at,
into acts
but never
univented.
h their
(Introduction to
Literature
V.
1.
Krmva.
Silalin and
Silalin
Konow
The
2.
so-called sons of
included in the
list
Bharata
26-22).
(I.
to
Among
and quoted by
Among
Kohala
Kohala, Dattila
these
the writers on
them and
their
(XXXVI.
work.
is
after Silalin
In the extant
from
drama
p. 1)
Prom
all those
quotations
as well as
than
on
histrionics
Natyasastra
and
drama and
Ag
I.
music.
(XXXVI.
From
Dattila.
this
these quotations
appears that he
.it
montioned
other
wrote
in
the
theatre.
pp. 173,
BhP. pp.
Ag.
Abhinava
m,
183-184; II
p. 26, 55,
(I. 26).
it is
130,
133,
142,
p. 413, 436,
116,
148.
151,155,
621,
I.
6^628, 68,
See also
Ku
123
rav
Satakaryi (fatakatwh &Mkarna).
(c)
is
it is
Satakariii as a proper
name
lecntury B. C. to 149 A. C.
Hence
drama
first
C*
Like kings in
later times
who were
sometimes found to take interest among other subjects in drama and poetics
and to write treatises on them, this Satakarni might well have been a king
or a person of royal descent From the quotations made by later writers 3
from him it appears he wrote on dramaturgy.
(d)
Asmakutta and Nakhakutta.
These two writers from their
nanws appear to have been contemporaries, probably belonged to the same
Sagaranandin 9 and Visvanatha' quote from Nakhakutta, and
locality.
Sagara only is, known to have quoted from A^makutta 8 , Prom these
quotations
appears
it
dramaturgy.
AiSmakutta
that
Ebdarayana [Badari).
(e)
him once
as Badari,
it
Samgraliakara
3.
Abhinavagupta
10
graliakara.
From
once
those facts
it
It
4.
10)
itself
also one
Samgraha
to the identical
is
work.
dramaturgy as well as
treating of
3,
5.
liistrionics.
Drama
Medieval Writers on
(a)
Nandi or Nandike&vara 1
Tumburu" and
Sadimva,
(b)
Padmablm,-
NL.
NL.
1101-1102, Rucipati's
SD.
294,
'
Dasampa
Comm. on AR.
Nakhakutta has
also bean
83,437.27663707, 2774-2775.
Ag.
Ag.
I. p, 171,
Ag.
NL.
Ahjaneya.
and
p. 7.
mentioned by
**
Vy'usa
2768-2769, 2904-2905.
10
"
Drauhini,
I.
AD.
p. 199 also
862-363.
'
,l
I).
NL.
Bahmwpa
Ross,
Comm. on
p. 201), p.
201
f,n.
1092-1094, 2770-2771.
This Nandikesvara
l '
in his
Bombay,
Ag.
I.
may
bo
identical with
pp. 165.
si.
123.
UCVI
Abhinava and iWadatenaya once
such as Padmabhn,
on drama,
to Sadasiva
refer
'
Drauhini,
were
Prom
on drama.
medieval writers on
tJjo
Prom
1'
to
and Injaneya*
really
treatises to
(c)
"
But we
VyaW
18
these
it
nandin.' 4
as an authority on
In the absence
in
78
appears that
Garga
histrionics.
to his view.
of
(d)
and Ghantaka. 78
Of
Ghaiuaka
these two,
we
have no
it
Prom
definite idea
Harm.
Variika-kara
(e)
80
It
name
Prom
8
Sagaranandin and Saradatanaya refer to one Harsavikrama
HarRa. 85
tho
neifc
all
these quotations
'
or
it
Matrgupla.
accepted by authors
metrical extracts
rila's
5 3
'
BhP.
152,
BhP.
251.
who have
made from
DR. IV.
>
Ag.
I.
Ag.
II. p. 452.
"
Ag,
II. p. 436.
"
Ag.
I.
p. 172.
his
"
Soenotol9.
NL.
" Ag
I. p.
2873-2175.
"
e. g.
'
1186(?),
view has
Bh'*.p. 47.
"
NL.
1484-1485.
NL.
been
from the
it
appears
"
BhP.
Ag.
3225.
p. 239.
"
NL.3226.
207 alsoDe'9Ms.p.545.
NL.3225.
this
on tho subject, 8 *
Though
later
38-3).
33
written
BhP.
23*.
Ag.
I.
Kunw-
174.
Ag.Lp.31.
Le Theatre indien p.
1 5.
A. dy pp.
2, 0,7, 8, 9,
BhP. p. 234.
13,
NL.
102,
lxvii
that he
this
work on
composed an original
he occasionally explained
the Natyasastra.'
in
It is probable that in
the subject.
Benediction (nandi),
etc'."
'in
we have no
of Matrgupta,
sufficient evidence.
who
Sagaranandin,
is
All
names Matrgupta
aloitg
Badarayana
identified
hence
(Badari);'"'
From
AC.
From
the extracts
it
Subandhu,
(g)
scholars have
works
dramaturgy. 41
name
late writer.
him
called Vartika.
made from
of that
who
vikramaditya of "Kashmir
drama
it
If it
is
possible to identify
may be
of
(li)
The Agnipurana
There
work
some of
as well as parapharases of
1'urana.
(circa. 7th
thia
treatment too
is
metrical
its
is
The Vis^udharmottara
century).**
borrowing from
literal
is
this
passages in this
Dandin
Late writings on
6.
(a)
Daiarupa.
composed in the
last
Munja (Vakpatiraja,
implies, treats of
ghe
91
II)
"
is
Skt
" A g.
to
of chapter
which
written in Terse
Poetics Vol,
I.
was
Dhananjaya
and
534IT.)
prose.
This work, as
XX
It
seems that
this author
was
Dr. S. K.
De
thought that
"
BhP.p.838.
it
compi-
his model.
i. p. 33)
41
name
its
pp. 102-103.
of
lation
Drama
"
>
Keith, Skt.
Drama,
p. 291.
LXVUI
brings in
actually
of this comprehensive
Any
careful
work.
discover that
The
sides,
which
special stress
its histrionics
With
time.
to
author
its
his
who composed
his
work
for
4 3
the playwrights as woll as the producers of plays.
But whatever be
it
Dasariipa, and
the
limitation,
its
its
commentary
intelligible, attained in
course of
And
the
Natya&stra
its
it is
the most
well-known work on the subject and very frequently drawn upon by the
of
commentators
plays as well
as
on
later writers
dramaturgy
like
Visavanatha.
(b) Na{akalaksaiM-ratnako'sa.
contemporaneous with
or
is
it,
Natakalaksana) of Sigarauandin.
the
Nitakalaksana-ratuako&i (briefly
Till
different
Ms.
Bat
in 1922 the
late
in
its
carefully edited by
M.
its
it in
Just like
histrionics.
But unlike
the
Dasariipa tho
Though
topics connected
histrionics
whenever necessary.
loss
large
5
from the same.'
"
"
to
Ag.
I.
number
of
with
Asmakutta, Nukho-
mythical author
of the
by him
p. 7.
D. Boss. Bombay.
'
in
,"
SeoNL.pp
143-144.
txra
dependence on
NatyssSstra
the
46
of the
numerous passages
candra
the
Natyadarparia.
(c)
is
two jouuVauthors*
But
little is
who were
of this text,
echoing of the
Ramacandra
Jains
known except
number of
largo
works including
its
work have
latt r
figures
from
It is evident
is
loft for
to
had access
And whatever
very thoroughly,
rupa
brevity
ploited
Its
is
consulted.
T lie
that he too
is
many, of
lived
Natyadarparia which
of the treatment
Of
Ramacandra wrote a
plays.
his
of
work on dramaturgy
Hemacandra.
many
apparent from
is
latter.
Abhi-
utilised also
whom
Ruyyaka's Natakamimamsa.
(d)
Ruyyaka
alias
Rucaka/' T who
No Ms.
work on dramaturgy.
Ehhvapralmana.
(e)
work has
of this
Soiadiitanaya,
who seems
to have been
s
Southerner and flourished in the 12th century, wrote the Bhavaprakaiana"
And
tho Niityadarpana.
work
his
Dasarupa or
Director of a theatre
04
drama
as
it
was current
in his time.
Though
name
of his
"
"
"
implies, it deals
is
to
ND.
also
p. 224.
Ibid. p. 186.
"
drawn
'
Bid.
<
some extent
original.
ND.
the,
HU
See Introduction of
ND.
p.:i.
See
As
work
Introduction p.
''
3.
BhP.
"
p.
6'aHkuka
Skt. Poetics, p.
I90ff.
2 also Introduction,
p.G.
LXX
Now
"State" (ihavd).
by the
actors
Saradatanaya
begins his
Sentiments,
up the Heroines
takes
The
Sentiments.
These
passes
of different classes
thoroughly discussed, he
being
who
are the
of the play
and
its
next.
different parts.
This brings him to the consideration of the ten major and twenty minor
types of play (rtifia), and finally of the miscellaneous matters connected
To avoid
its
contents
relating to dramaturgy.
It
is
may bo
in many
prolixity
works of
as well as the
desist
said
briefly
topics
that Saradatanaya's
respects
KolnuV'
And
we
which include
Matrgupta,
Harsa
and
their views
also to
criticised these. u
of his work.
(f)
who
and in
this
tli
irtocnth century"
drama.
It
was the
For
all
writers
VisvanStha Kaviraja,
capacity he
latter
of the
work
drama on which
drama mostly depended.
dealing with
ancient Indian
drama Visvanatha seems to have utilised tho NatyaDasarUpa" and its commentary Avaloka 64 as well as the
his treatment of
sastra,'
Work
of
the
SiAga-Bhupala's Natakuparibhasa
>aradtanaya'a debt to
251
So
'
"
41.
"
"
" So
32-33;.
not
different persona.
'
'
fed.
I.
pp. 243
.
ft".
ixxr
The
Vf.
Natyasastra'
The Text
The
If atyasastra is
Author
Its
1.
commonly
Muni. 1
attributed to Bharata
author, for
its
Commentators
aiitf its
in
But
Natyasastra
the
itself
his
and there
is
not a
Whoever
work
the
these
is
Two
Recensions
itself
that
lta
its
it is certain that
two
text is available in
In having
recensions.
distinct
The
works have
editors of these
shorter and
accept
longer recensions.
tho
shorter
recension,
differently settled
At
first
representing
as
tho
3
,
would bo
original
But opinion
later.
reject
is
definitely
suggested that
to
better,
So
is
not
we should not
its
bulk to
interpolations.
The
century tho
of the
work was
Abhinava
in
his
closely
commentry
Seo
IHQ.
'
See
'
ff,
'
I. p.
KolidW*
Sakuntala.
HOS.
p.
XI.
XVIII-XIX.
I. p. 8.
'
Soe above.note
0.
jar//
'mow<<Mm&
he
Mss
then forty
calls B.)
it
8
going back to a time prior to Abhinava.
(pointed at by him)
Mr. Kavi,
however, does not try to explain tho origin of the shorter recension which
he
calls
A.
found in the
(i)
XIV
Chapters
and
Reasons supporting
XV
scheme of metres.
defining the
(ii)
The
of metres in
while
the
XV
gives
in
definitions
(XVI)
of the
different
order.
corresponding ehaptcr
guru
Upajilti.
and bha
(ra,
etc.)
ganas
are to be
it
as follows
is
written in this
(Anustup) metre tho longer recension in this case seems to run closer to tho
original work."
may be
point which
it,
worded
recension (ch.
in
XVII)
The chapter
nearly
forty slokns
XVI)
in
Tho opening
later polish.
two recensions.
tho shorter
stanzas
of
(XVI)
betray a
in the shorter
Now
same metro.
which appears
It
Tho
cases in
written from
memory
Some
to
be of later
now missing
in
in question
may
were probably
the Natya&istra.
composed
latter
is
be explained by assuming
XVII)
6.
'
are
6.
indications
LXXJJI
XT(yu/$TstraJ /10s 6cea svA/ectctf to cousii/cmM' jnr>A/wMi/# in A&r t/u/tv
before it assumed
"
present s/iaj
tiio
(XXXVI.
Natyasastra
Muni, the
(iv)
The mention
passages in
it.
63).
the Natyasastra.
Bhavabhiili's
(iii)
reference
Bharata
to
socalled
parts in the
as
Natyasastra
As
along with
itself
for the
first
K. De has tried
cayam Nandi-
Ho
opines
music
If
we
it would
have been easy to believe in the composite authorship of the Natyasastra.
But this does not seem to bo possible for tho following considerations
:
The colophon
(a)
copied
from the same original and are missing in all the rest of the available Mss.
(b) The word samgita occurring rarely in tho Natyasastra includes
according to Siin'igadeva
(c.
Nandi
(c)
as a writer or
mentioned anywheres
As
else.
Kohala
in
is later
it
may be
will
treat certain
topics
nothing in
He was
treatise.
it
not
to
in all
of
is
all
is
nothing iu
it to
show
partly
in
prose.
is
the
work was
verse,
In spite of
vihmlomukham
survad
entirely
in verse,
Buddhists
Mangalacarana
is
slokas
his
in
verse
ground.
and
commentary
arose
its tradi-
the Mahiiyiina
In
siitra.
alpnkzaram asandigdkam
definition as
there
The
Thus
supposed original
The
existence of the
prose passages in the Natyasastra does not in the least help this theory, and
Skt, Poetics,
Vol
1. p.
21.
''
,
1929.
IXHV
it
found
may bo
AH
more con-
it
remove the
this will
difficulty
in understanding the
sulmiSra.
It
4.
sastra discusses in connection with its principal theme, the dramatic art.
all
and
essentially a spectacle,
says that
1i
As
laws of
histrionics.
work Abhinava
dramaturgy as well as
the
its
'it is
drama
in
any form
is
primari-
It is
literary
their
The author
of the Natyasastra
was evidently
conscious about this vital connection between the literary and technical
aspects of a drama,
It is a
very
unique text dealing with every possible aspect of the dramatic theory and
practice.
It is
even on grammar, besides being often laid under contributfon by commentators of diffirent Sanskrit
and Prakrit
plays.
And
all
if
the
to
Muni
Bharata,
Style and
lis
5.
Method of Treatment
it
cise manner.
all
and formulated
their rules in
brief, that
Though some
a con-
without the
passa-
ges remain obscuro without a commentary or similar help yet the major portion of the Natyasastra
SryS
metres.
Bharata,
its
it
is
very
famous
" 4*1
As the work
One
is
in verse,
in
p. 7.
This
it will
is
true.
the
its
diffuse.
method of treatment
like :the
is
On
is
Haas,
analytically.
P.XXVIH.'
He
has taken
LXXV
up iudividual topics and considered them in every possible detail and
has found
it
This ha?
hand-
given
diffuseness.
it
this
method
at completeness.
to
difficulty
we
which
with
it
difficult
its
This
extent-
The
studying
this
some
has pratically gone out of vogue for quite a long time. That the text was
transmitted through a defective Ms. tradition
ocSasional difficulties
The
6.
Abhinava
in
1.
commentary
his
9)
or elucidating the
Abhinavagupta
Sankuka,
Cdbhata,
are Lollata,
I.
task of explaining
to the
Early Commentators
no
is
presents.
it
refers
addition
in
Natyasastra
and
Kirtidhara.
Bhatta
to
But
an old commentary.
in
the
treaties on
about the date of these commentators and the nature as well as the value of
work,
their
is
very inadequate.
We
him by
15
As
quoted by Abhinava.
who
as the author
it
is
possible that
Though
Udbhata was
it
a person
7'
has been doubted
to
his
fairly
certain
in
this matter.
14
1 '
Ho should
"
"
11
Ag.
JASB for
I.
I.
pp.
pp. 37
ff.
76ff.
ff.)
'
I. p. 39.
off Mithila in
"
LXXVI
Bhatta Lollata has been referred to as many
Bhatlfl Lolla{a.
(c)
From
as eleven times.*
As
Natyasastra.
these
the
view on
:the
(d)
as
many
>ri
Haitiuki.
5
as fifteen times.
For he
information.
About
have been
to
"
Abhinava referred
-
known
his time
to
SrI-Sankuku or Hankuka
wo seem
to liavo
some
definite
is
is
Malta Nayaka.
(e)
by Abhinava. u
as six times
Natyasastra, at least
BhaUa Yantra,
commentary
va*s
From
him
Abhiua-
in
it
the Natyasastra.
Bhatta Abhinavaguplu
7.
Among
nava
Saivism.
From
Although
like
we
Abhiuava's commentary
text,
1th century. 2
From
'
explain
is
the
under-
" Ag
I,
pp
,217 274
'
4i3.utf;K
"
"
Poetics,
'^ m
Mb
Dc's
'
mai8ilI
pp 4iii436
'
'
ije 8
'
M8
'
Skt
I.
pp.
p. 380.
3S.39.
:j8-39.
p. 298,
39ff.
SktPoetfe 8,I.pp.U7tf.
Dee MS
Ag.
I.
>
LXXV1I
'four kinds of musical instruments'
89
and next as
'a
to his
own
preference.
khamlana
palmleaf'.*
(meaning)
as
J
some extent
due to
3*
But such
different
its
a fan made
of
be interpreted as
better
That
commentary a defective
basis of his
apparent from
sastra, is
by means of
his
this,
is
fanning
'also
This evidently
Besides
Natya-
text of the
us.
It
is
commentary
cannot be connected with any portion of the text (given above the commentary) iu
four ca-karas", 3
iire
only are
'"
available.
elsewhere
36
the
in
And
commentary
the text.
on.
And some
4 "
in vain
for
it in
agama occuring
in
his
of
the text.
37
The same
Abhinava had
text quoted
must be ascribed
to
of
the Natyasastra.
There
is still
It is probably
work
does not
because he wrote
whose knowledge
on many things relating to the Indian drama, theatre and general literature
he could easily assume, his commentary sometimes falls short of our needs.
But
in
Whenever
spite of these
limitations
its value.
lie
does
it
all
possible
views on the same and often cites examples from a vast number of dramatic
and other works some of which have perished. Often he sums up the
discussion in a masterly fashion. That he was a voluminous writer on the
abstruse
matters.
philosophical
much
a j
value, though
scholastic
Ag. I.p.73.
Ag.I.p.65.
Ag.
"
Ag.
X. p. 41.
Ag.
I. p. 203.
1.
pp. 64-65.
Ag.II.p.34.
Ag.
"
"
Ag. l.p.
186.
See note 2 on
Ag.II.
pJi
IX
,
61-64'
LXXVTd
But
said of
must be
it
Abhioava's common-
passages
gives considerable help in understanding some difficult
tary that it
for this we should be
of the very old obsolete text of the Natyasastra, and
VII,
The most
India.
arts of
The Natyasastra
Language
in this
Pkt
work (XVIII.
44, 48)
From
plays.
the.
nature of languages
Andhras, Dramidas,
men
2.
In
these materials it
of different professions
aud status
in
relat-
life.
Literature
Nfityasiistra
cites
(V.
130-131
108-112,
XVI).
It is
on
the testimony of these which are free from the artificiality of the later classical poetry, that P.
The Natyasaastra
figures of speech
earliest
NS.
available
p.
VII-VIII).
discussion
on
In the Visnudharmottara
(II. 2.
Art
4)
canons of dancing.
Now
the
is
it
without an acquaintance
Hindu drama
as
we have
with
the
similarly
Thus
the three arts being connected with one another, the Najyasastra receives
an aditionat importance.
This view
is
justified
by the fact
that tiw
such as Vainava,
ixxae
Manila, Jlidho and Pratyaiidha
Saroapada, Vaisakha,
Asvakranta.
may
also
sBtradhara a medieval
eneyclopoedie
painting.
GOS.
(od.
work while
Vol.
II. p. 301ff)
Metrics
4.
One important
name
Aprameya
(N>,
Srrigvini=Padraini
Harini=Vrsabha-cestita
(NS),
(Ni3),
Bhujangaprayata=
Malini=Nandimukhi (Ns),
Mandakriinta=^ridhara (NS),
(Ni5),
aspect
Pvithvi=
Poetics
5.
43-106)
four
poetic
may be
Sentiment
called
To
figur, s
In brief
the theory of
(.rasa)
applies.
6.
110-127).
and
(XXIII.
social life of
Mythology
(I-V,
etc.
XXXVI
XXXIII-XXXIV,
Classified
Lower Mythology
nu-
(b)
Spirits
Guhyakas.
Pitrs,
The
Tho Sun-God, tho Moon-God, tho Wind-God, the
Fire-God, the Goii of death, Varuna and Ocean, Indra, the Dikpalas
(World-protector), (d) The Host of Spirits : Gandharvas, Apsafasas,
Kama, Asvins, Maruts, Rudras, Visvedevas, Sdityas, (e) Divine * Seers
eight great gods
(c)
Brhaspati,
NSrada,
Tiimburu,
(f)
Earthly
list's
and
Personages:
TJBtX
Bala
(d.'va),
Brahman,
Nalmsa, Sauatkumara.
Niyati, Niyyti.
(h)
fiiva.
Vi51.u1,
Sarasvati, Laksmi,
Lesser
TJnra, Parvati,
It is
Goddesesses
(g)
God
KSrtikcya.
(i)
Candika, Siddhi,
this
list.
8.
Geography.
Tamralipta, Tosala, Tripara, Daksinatya, Dramida, Nepala, Paftcala, Pulinda (bhiimi), Paundra, Pragjyotisa. Pramsu-pravrtti, Plavamga, Bahirgiri,
Brahmottara (Suhmottara), Bhargava, Magadha, Madraka, MalavMaharastra, Margava, Malava, Mahendra, Mosala, Vauga.
artaka,
Mahen-
The names
Kiisi, Kosala,
of
Ethnological Data.
occur
following tribes
the
it
may bo
10.
From
the
in
Natyasiistra.
to
he
Ars Amatoria.
The Natyasastra mentions Karaitantra or Kiimatantra (XXV. 38, 53567) and Kamasastra (XXXV. 46). But as it divides women into twentyfour classeR, and Viitsyiiyana's Kamasiitra into four classes these names do
not seem to relate to the Kamasiitra
11.
The Natyasastra
Is
later.
Artliasaslra.
of opinion that
"The members
of the court
(sali/iir
for
this office.
who
"They
should be always roady for work, alert, free from indolence, undaunted by
hard work,
polity
and
all
the like"
(XXXIV-87-90).
here as a
member
this officer
edification
and not
affected
who
argumentation
of
by sexual passion
are
In
Mbh 4.1.24,
however
who
is parti-
and
translated
LXXII
The description
amalya and
Natyasastra
8 given in the
(XXXIV,
the pifcfowaka
from the now lost work of Brhaspati recognised by Kautilya as one of his
The Natyasastra gives besides one interesting information that
sources.
the inmates of
there
As the
(XXXIV.
Can he be
identified
besides a functionary
was
76-77).
inscription P
Psychology.
12.
first
in
(XXIV.
2l0ff.,
XXXIV.
15ff).
proves
admission of
its
art ; for
the importance of psychology on the creative side of the dramatic
with the complete knowledge of all possible reactions of different objects
and incidents upon such Heroes and Heroines, the playwright as well as
in characactors and actresses could attain the greatest possible success
psychology was
terisation. On the critical side also the importance of
realised
discovorod by the Hindu theorists almost simultaneously. It was
and the
existed,
ever
beauty
of
standard
objective
strictly
that no
early
reactions which
enjoyment of a theatrical production consisted of peculiar
actors could successthe art of the playwright as well as that of the
fully
States
and the
(VI-VH) important
Such
More than
and
literature,
VIII.
make due
in their
differ
tastes
Natyasastra
any kind of
will
of the linguistic,
investigation
sastra,
XXV.
1984). 1
Since
this
conclusion
of the
was
NS.
made,
more
intensive
txxxu
study of the text as well as accession of fresh data has confirmed the
writer's belief in ite
materials are
Thc30 additional
soundness.
being
discussed below.
1.
36ff.)
mostly
all
who speak
Natakalakana,
IHQ.
item
this
may be
Lists of Peoples" in
art as
of
whicli are
theatrical
Vol. XXI.,
of the PurSnos,
1945,
some of those
pp. 297-314).
It
seems that
some interpolator put them into the text of the Natyasastra, for associating
it
with
all
it
was
Hence
The Natyasastra
2.
The argument
down
work was an
practised iu
the geographical
text.
who
in
it
Though
(a)
subject,
following points
(i)
Kalidasa
of
tho
Natyasastra on
Though
(XIX. 33)
is
the
Heroines
have
been
named
as follows
of Kali-
Dharini, Iriivati
It
is
also
(XIX.
handmaids in
(iii)
Though the prescribed rule (XIX. 34) is that the names having
,,
an idea of auspiciousness, should bo given to the menials, Kalidasa has
Raivataka and Sarasaka (Malavi.) as tho names of servants.
(iv)
in
it
lxxxhi
(v)
plays,
may be taken
(b)
were fully
entitled to.
sMa,
vastu,
KalidSsa
mythical Bharata as
mentions the
(Vikram,
36),
III).
According to Katayavcnia,
Malavi.
Kiilid:isa in his
4.0
(I.
NS
21.0)
XXX,
(C.)
92ff.)
3.
was mistaken
does not
mean Ganapati
as
of the
Natyasastra opines (see notes on III.1-8.). The absenco from the Natyasastra
of this deity
who
The Natyasastra
in otie passage
who
Apastamba
of tho Dharmasastra.
Law and
Vol.
I. p,
Custom,
45).
p.
6 and
Hence
least of the
civilized.
who
names
44)
still
it
also
may be
all likeli-
after the
svimi a term
Jtpplioablo, according
who
are
to the Sastra to
Lxxxrv
the
yuwraja
XXXIII.
MM.P.V. Kane
(Introduction to the
8D.
common
who
persons
Though
pp. 163f).
p. viii)
may not be
con-
him
show
It
its force.
to
facts too
compilation
of
the
sastra uses it
(XXXVI.
of Budradaman, I (150
in
This also
A.C.).
Natyasastra.
(a)
inscription
the Natyasastra
in
Bock
I.
See
Select Inscriptions,
pp. 172-173).
The
(b)
which the
(XXXVI.
And respect
77)
has
for
its
parallel iu
Brahmins
The
cit.
The cumulative
Pulomayi (149
A.C.) occur
in
the
may
and NS.
effect
inscription belonging to
inscriptions.
6.
Lack
The
ment being that as ho wrote before the rules were formulated, he could
not observe them. This view however, seems to be mistaken. For the
rules occurring in
was written
works
Bhisa being
F.Hall
later
than the
Najyaswtw) some
in his Introduetion
(p. 12)
If
to
them
*
(i.e,
At
all
events,
he
txxxv
by the dramatist
introduced
in
this line of
relation between
It is on
Bhasa and
On
(a)
no
less
The suiradiara
(i)
to
the
Natyasastra
the
stkapaka
(Introducer)
perform this
should
In
(ii)
Natyasastra
(XX.
20)
(iii)
bharatavakaya
tho usual
not give
in its stead,
may be au
Hence
benediction) and
does
what he gives
innovation.
may be assumed
it
(final
Besides
(b)
to
this, there
drama.
0.
works
his
work on
ancient
in a
this
Bhasa's
as the acquaintance
which he
as well
may
also
be said to
(i)
svtradhara, prehaka,
cari,
gait,
'
bhadfamtikha,
sauslhava, prastavana,
mama,
hava, bhava,
The hetaera
am unworthy
in the Carudatta
abbhanlara-pavesassa).
expression,
(iii)
The
Nataka
(I. 4. 7)
XX.
aham
54.
The
XXVII.
88ff.
Carudatta
may
26, 3 a) says
"by means of a
nwlaena) in Pratima.
in tho
(I.
of
Besides
NS.
these,
XIX
37-8.
made
facile
in
words with
all
her
16.0) probably
relate to
On
the.
basis
of
all
these
it
may be assumed
that
Bhasa was
Hence
LXXXVI
it
ma; be
placed in
From
the
Konow
Bhasa's date
century before
may
to Ari
p. 51).
work remained
uninterfored
For example,
may be
it
exist
it.
it
out'
may
not bring
1
after
giro
down
the
XV.
five
work
6,
48
as a
whole to
XX. 63.
couplets after
must
by interpolators
with
more or
assume
reasonable to
texts.
one
i-e.
(Jolly, Introduction
this
later times.
XVI
any important information regarding the art of the theatre or dramaturgy and may
The passage on
pravrtlis
XIV.
36-55
may
also
bo
THE NATYASASTRA
a
CHAPTEB ONE
THE ORIGIN OP DRAMA
Salutation
With'a bow
1.
the
shall* explain
(Siva)
to
Canons of
Drama* (NaiyaSastm)
Once
2-5.
as,
Streya
the pious
mission
of
in
the days
yore,
of
Bharata
1 (B.
of the
'
sages
their senses,
approached
the master of
He
studies (anadhyaya).
G. same).
such
high-souled
is
a Puranic epithet
Bhrgu, Daksa and Mariei and others> whose descendants peopled this earth,
in
His place
his fullfledged
is
Puranic
character.
2
Mahesvara
(the
Great God)
another
is
is
By 'drama'
theatrical
the
N8.
and
is
in
this
connexion
literary character.
to be understood
is
For on
this point
(of a
Ag.
any play in
(I. p. 7)
play) as well
as
its
says that
the poet
'
Itreya There
are
two
Streyas.
One
is
the authority
'
THE NATYASASTBA
muttering of prayers
the
The
sons.
originate
Naytyaveda* similar
the
it
And
what
possess,
is
was surrounded
and
(japa)
him,
by
his
did
the
to
which you
Vedas,-
is it
it all
how many
meant,
and how
extent*
5-
whom
for
its
[ 1.
to
it
is
be
5 ".
Bharata' answers.
(i.
"Get
7-12.
yourselves
sages,
be
cleansed,
the
Silver
the
reign
of
Manu,
and
people
and
no Vedic work.
is
the
with
became
the 'Natyasastra',
Krta-
Vaivasvata
3
with
1
by Brahman
Golden Age
and hear
attentive
Natyaveda devised
Ag.
to
He (I.
career
addicted
synonym for
is
p. 4) says
of
sensual
to
*is
*W *C
4
firanuma=fsztei\t. Ag. tak<* the word in the sense of proof
(prammiam atra nucaya-janakatvam), but ho cites another view as well,
which takes the word to mean 'number' and is as follows
3 iTOiaral
:
Prom
it is
'
The
reference
on
this great
Parvatl.
bharata.
work and
This
is
it
was
here
by Brahman
in the
work
(in
is
to
in about
Natyaveda
the
36000 tiokas.
It is
now
extinct
it is
supposed
Natyaveda (composed
by Brahman) as well as of the Sdibharata. See Preface to NS. (B.) pp. 6-7.
On this point Ag
la A.
Gestures,
(I. p.
8) says:
iSi ssifawswftwwrafa^'ta
mwtm
W Bftwismg
New York,
1936, p. 16),
15
-1.
pleasures*,
jealousy and
infatuated
with
happiness
mixed
with
Lokapalas
the
(guardians
the
(Nagas),
Vedas
Raksasas
(Mahendra)
Indra
born
the
Sudras,
as
belong to
will
object
As
visible*.
the
all
(varna)".
"Let
be so", said he
it
in
reply
to
yoga (concen-
He
14-15.
make a
then
the
head,
their
as
gods,
Uragas
'We want an
those
Veda which
another
to create
13.
by
not to be listened to
Colour-groups
their
of
full
and great
are
be pleased
was
worlds)
of the
found
[thus]'
Yaksas,
with
gods,
and
anger
sorrow,
Gandharvas,
Danavas,
fifth
Veda on
which
(itihaxa),*
will
'
gmmyadharma~kg.
explains the
1WtS^tnllfalT^t"t$'itfaift <*+:
8
Jambudvlpa
dvipas (continents).
Bharata-varsa o* Bharata-varsn,
1-12).
differently
geography
ancient Indian
According to
into seven
word
known
is
On
S*afa%
Hi wfafil
I, p.
(ch.
548.
^pfturefaari:.
13 (B.GK same).
cittamiiinirodhah.
* After
'
It
Yoga
13, B. reads
and Sutbmipata,
11.7
On
'
dhama
In
But G>
the
early Indian
Veda.
considers this
(sollasiutta).
itt/iiisas.
literature
the
as
of the mind.
in the footuote.
it
as the fifth
tho
It included
Vimi P.
at present as India'.
and Sfldra.
?.,
was divided
the earth
one of them.
and as follows
WtfaflWNW.
etc.
T.-p. 313.
itihasa
If.
and
gives
THE NATCASASTBA
4
contain good
well-being], will
in all
their
actions,
be
will
will
human
to
by the
enriched
15-
[ 1.
give a review of
teaching
and
arts
all
well
of
all
crafts*
(%a)'\
16.
his
With
memory
this
resolve
the
Vedas shaped
of all the
this
Natyaveda compiled
The
17-18.
the
recitative
(pathija)
(abhinaya)
was
thus
[and]
Vedas
created
and
principal
the
Indra
(itihasa)
(lit.
the
by
Brahman
who
are
holy
by
by gods.
skilful,
said
Tales
"Semi-historical
gods),
the
all.
of the
lord
with the
connected
(vedopnvala) 1 ,
19-20.
to
Natyaveda
subsidiary
Pass on
learned,
Natyaveda to
this
from stage-fright
free
is
As
the 64
kolas enumerated in different works include different arts and crafts, these
translated as 'arts
and
crafts',
tSilpa,
however,
is
some-
'a craft'.
16 (B.G. same).
17-18 (B.G. same).
i.e.
the Vedas
'
principal
Vedofiavedatiie Vedas
as
well
subsidiary.
as
The Vedas
are all
well-known, and there are at least four Upavedas, one being attached to each
of the Vedas.
to
to the
Arms)to
the Yajurveda,
'
Kautilya's Arthasastra
purima and
ttiwtta, according to
itivrtta
in
its
definition of
"historical event"
Vol.
An
and
p. 818.
Pargiter has, however, extracted solid historical facte from some of the
.1.35]
At
21-22.
are they
understand
to
fit
The
and have
1
sages (muni)
"0
receive
it
the
of
it
they
it,
are
nor
unfit
who know
Vedas
maintaining this
into practice."
it
sons
24.
"0
the sinlesstone,
put
it
will
have to
Thus
25.
ordered.
learnt
Brahman
Iris
1922).
it
instructions
The
London,
said to be an
is
iloka
and holy
best
and maintain
their
fulfilled
reply,
it
1
do anything with the drama
23.
Brahman,
in
one,
to
these words of
with folded
traditional
is
The same
It is possibly this
epic.
Mahabharata
of itihasa to the
with the Natyaveda by the author of the mstra. Hence it appears that
Oldenberg's theory about the original connexion between epic and dramatic
poetry, is
Vol.
I.
pp. 100
ff.
(I. p.
13)
312
'
n.
'
It
may be
tentatively
gods represented the primitive Indo- Aryans who. possibly had no drama.
On
Calcutta, 1945 p. 60
23 (B.G-. same).
European
24.
ff.
l
The
muqa 'to
word muni
know' which
is
is
evidently
to
be
derived
origin.
(B.G. same).
25 (B.
G-.
same).
similar other
works
totally
THE NATyASAStBA
my
and made
sons study
able
as
it
[1. 25-
[learn]
also
proper
its
application.
of Bharata's one
Names
^-Names
26-39.
Dattila
man,
Jatila,
Sadvali,
of
my sons
hundred sons
Kohala 2 ,
Kapi&jali,
Yaraa, Dhumrayana,
Badari,
Tandayani, Pingala,
Saindavayana
Bhaktaka, Mustika
dhula,
Taitila,
Citraka,
Ban-
Bhargava,
Suci,,
Gautama, Badarayana 5
Bhraraara, Pithamukha
Visaht,
Sabala,
Muni, Nakhakutta
As"makutta 7 Satpada,
,
Some
differently.
Kartaraksa,
G.
26-38).
'
at least of the
Hiranyaksa,
Kusala,
etc.
3
first four.
in
art,
142, 144,
J.
pp.
146,
140,173,182,183,288; Vol.
147,
151,
155,
dance and
NS.
(<J.)
XXXVI.
natya (Vol.
names
so-called sons of
Diihsaha,
JUL
pp.
'&>
liis
Mf
65.
13>
S.
K. De,
him
as
133,
JLater
Singabhilpala acknowledge
Ag.
work on
and
Satavakana.
5
The Natakalaksana
(pp.
^^Szt
46, 114)
refers
to
S51iv5hana
qHOtra from
t,,i8
-I.
45
Bhyanaka, Bibhatsa,
Jala,
Asita,
Mathara
Lohitanga, Saijivartaka,
Sankhavarnamukha,
Pundriiksa,
Pundranasa,
Salufikayana,
Syamayana,
Vicaksana,
Mahsjihva,
Vidyujjihva,
Sita,
ParbiSikha,
Sanda, ^ankukarmi,
Sikha,
Trislkha,
Sakranemi,
Gabhasti,
39-40.
benefit
to.
them 1
my
O' Brahmins,
41.
then
Verbal
(bharati),
the
Styles.
to give a performance
prepared
for the
Grand
Styles
(mttrntl),
such as
(rrtti)
(aralhati).
Need
42-43.
him
informed
of
gods)
[in
my
my
me
told
went 2
[then
[of
to
its
43-45.
Brahman and]
to
the
and he
Graceful
asked
(lit.
to
the
(jui'h
Style also
(kaffikl)
me
bowing,
after
Now Brahman
work].
include
performance],
conducive to
name
materials
introduction.
Thus
addressee]
by the master
I replied,
"Give
me
materials necessary for putting the Graceful (ktiiiill) Style into prac-
At
tice.
the time
of Nilakantha's
39-40 (B.
41 (B.
same
same
G.
G.
39).
40).
G. reads 39b
The
four
differently.
Styles
tribes
have been
same
G.
41).
Among
these
om. 42a.
to
43-46 (B.
dance.
Arabhata.
lost.
42-43 (B.
?
Translation, p. 1.
mean 'going
India's
to'.
traditional
Calcutta,
god
of
1934, English
THE NATYA8ASTRA
and
dresses
beautifnl
has Sentiments
is
endowed
3
States (bh&va) and action as
(/.),
except
with
help of
the
(Brahman) created
skillful
from
[for helping
me]
drama 1
the
Duvadatta, Devasena,
Manoiama,
And
l.y
was employed
celestical
Sudati,
Sumukhi, Magadhi,
Sviiti
and
me
of Apsarasas
1)0-51.
Lord
disciples
by men
powerful
in the performance.
Saudamini,
Sulocanii,
Style
properly
the
and
its soul.
Names
47-50.
Then
women."
his
embellishing
in
Kai&ki
46-47.
46-
[ 1.
on musical instruments,
to play
drums)
(lit.
Narada 1
as,
his
and others
Thus
51-53.
after
the
Vedas and
along with
my
sons
as
well
as
Brahman
(lit.
lord
of
the
worlds)
;1<V mgakvm
nrthnga ;1 B.
],
46-17 (ft
to
same
see
(I.
47
44b-45;.
in
ln
>
'
16
(a%)
ff.
,
folded
palms
XXIV.
50-51).
for
4-5.
5W3(B.51b-53a,G.
and
R, ad mrdvahgahara
yj ,
.instrumiSr
limbs!
^m
a"d
[different]
with
mlyidaiMra
NS.
ina
in
a Sslightly ditterent ninnim-
mas can
Sta
011
their
Svati
Ns. IV.
cttai ] H
lS^
art
'
of
**.
of stringed
-1.
61
has
{>Mija)
command.
for his
The Banner
On
53-55,
first
Brahman
these words,
begun
just
make
use
of
"A
said,
production of a play
very suitable
Banner Festival 1
the
the Natyaveda
now on
this occasion".
55-58.
gods) were
the
assembled in
the holy
In
killed.
numbers
great
this
festival
performed for
A suras (enemies
satisfaction
in
Afterwards I
of eight limbs).
lit.
devised
by gods
defeated
(and),
off
alter-
and piercing
The
Then Brahman
58-61.
that
their
filled
G.
all
mind.
52-53).
sorts
First
'
This
moon
gifts
as
a token
the pleased
month
of
Indra
on
occurred
festival
in the
India.
of
of all
Bhadra.
Asvaghosa mentions
It
it
the
was
in his
means
'like the
'
The
Veda'
eight
i.
G.
suffixes (vibhakti).
58-61.
Veda-sammita
(.veda-nirmiia, G.)
e. 'holy'.
aspects of words
54-56).
euphonic
See
combination (sand/ii),
nominal awKverbal
S& XV. 4.
(B. 58b-61,
G. 57-59)
is
Making
gifts
to
dancers,
Such
singers
gifts
were
mado by rich members of the audience, while the common people enjoyed
2
THE NATYASASTBA
10
(Saki-ii)
banner, then
Visnu gave us a
the goddess
a crown, and
audibility
Sfirya
(the
wind-
(simltasam), Kuvera
lion-seat
gave
Sarasvati
(the sun-god)
Vayu
gave an umbrella,
61-
Brahman a Kutilaka 8
(bhrngara),
god) a fan.
[ 1.
as
visibility
as
well
8
.
62-63.
The
gods,
rest of the
Yaksas, the Eaksasas and the Pannagas (Nagas) who were present
different birth and merit, gladly, gave
in that assembly and were of
my
sons speeches suited to their different roles [in the play], States
{bharn) 2 ,
movement
H,
Sentiments
Now when
64-65.
[proper]
Vighnas (malevolent
the killing
to
this
form,
physical]
[good
"Come
forward,
we
spirits)
with Viru-
not tolerate 1
shall
dramatic performance."
Then
66.
resorted to supernatural
movement as
well as
Asuras
memory
of-
the actors.
realise;
is
by the
Kutilaka.Ag. takes
But
Jester'.
lie
dramatic literature.
it
te
mean
Jn Kalidiisa's Miilavi.
But
160).
Jester.
it
is
not clear
TheNK. XXIII
hm*:,
'
same
For
curved stick
fit
this
in
to bo
used
by the old
Pandit,
it
150,
belonged to the
it v,
Prom now on
62-63 (B.
'a
G.
details
60-61).
68 (B.same;Q.
64).
wrong
B. reads 63a as
in B.
rw mui
W'lit
make, B).
'
is
'
na kmmnymnahe
(neltham
ucha-
-I.
78
67-68.
the cause
to ascertain
out
that,
surrounded on
sides
all
and
by the Vighnas
with
together
senseless
Then with
69-70.
in meditation
of
Director (sUtradhara)
the
11
his
(evil
spirits),
associates
(actors)
inert.
turning in
eyes
jewels, set
in
With
it.
the
all
Jarjara
this
and
be rose
anger
Asuras and the Vighnas who were hanging about the stage [for
mischief].
'
The Vighnas
71-73.
"0
slain, all
all
Hence
(beaten to pulp).
73-75.
it
too
To
this."
made jarjara
will
be so
g"ods,
do
to
then
Indra
be the protection
of all actors.''
[And
75-76.
afterwards],
76-78.
of the Daityas
said],
"O
spirits)
I,
sons, approached
Brahman
[and
(the evil
enlighten
me
G. 65-66)
(B.MW!;Cf.
my
along with
insult
folk-etymology.
but B. G. lfrlM
We
'
its
tatra tesam
G.
69-70,
read 72b.
71b).
as,
G.
salt
(svtradharasya, B.G.)
itoPmTw:
3i
SI
smfiwm
75-76).
.
(
'
(C.)
so
67-68).
protection."
THE NATYASA8JBA
w
"0
78-79.
Visvakarman,
[and said],
and
"0
then to
it
which has
made
been
all
78~
(i.e.
[just]
high-souled
After constructing
79-81.
he
the
[ 1.
other good
ready."
(lit.
of the
playhouse.
On
82-88.
seeing
it
Brahman
its
(the moon-god)
worlds)
(guardians of the
its
(nepathya),
deities of four
the
plinth
its
main building
the
protect
to
1
,
Colour-groups (nirna)
[of seats
the
its
four corners,
musical
instruments 2
pillars,
Yama
(spirits) the
Yama
Sdityas and
its
Candra
the Lokapalas
building],
rows
Maruts
sides, the
clouds
"You
several
of the door
88-93.
keepers,
Niyati and
78-79 (B. 79
He
Yama
(Mrltju)
G.
77).
'
Visvakarman
is
is
There was
also'.a
Vedic
79- tl (B.81-,82;
padmodbhavnwya.
In the
G.
79-80).
G. read
B.
'
G. 8l-87a).
Krtva yatkokUm
Vedika
evam tu grham
a complete ihka.
rahgfiwdM
tatra tikmo'
dhisthutetyarihali (Ag.).
2
"
Such
dvamfiatr* (dvam-fiarhe
deities arc
See NS.
.
^ ^^ ^
.1.99]
13
its pillars
and in
Daityas,
its
such
as,
Thus
93-94.
It
is
Brahman
were
himself
that flowers
as,
of the stage.
96.
hero,
Sarasvatt
Omkarah*
assuming the
the actress
of
role
role of the
the
heroine,
the
Jester and
He
personx).
97.
protect
it (ie.
Brahman
pacifies the
This (method)
;
93-94
(B. 95b-96
and
be applied
to
is
(dam)
G.
94).
96 (B. 98
G.
95).
G. 92b-93).
'
Sarasvati
Oinkara as a deity
97 (B. 99
G\
96).
is
'
(Oman).
first,
95 (B. 97
in
"You should
to
deities.
Vighnas
98-99.
gifts
its
guardian
of
mentioned
See Rk.
1,
here seems
42.9 and
OK. sui
to
voce,
be the
THE NATJASASTBA
dissension
f 1. 100-
proving
this too
unsuccessful
them 1 ].
100.
and
evil spirits
"Why
said,
the dramatic
performance ?"
Virupaksa 1
Brahman,
by
thus
Questioned
101-103.
an unfavourable
us in
the
first
progenitor
came out
first
light,
not
and
to
grand-father) of the
(lit.
this is
by you who
is
whom
from
world,
These
104-105.
Brahman
said,
words
being
uttered
by .Virupaksa, 1
and which
which
will
ill
of the Daityas.
Characteristic of a
In
106.
it
107.
(ii&tya)
there
for the
drama
no exclusive representation of
is
is
a representation of the
Worlds (bhavaiinkirtam) 1
[In
times to games,
it]
sometimes
drama
tliere
state
is
some-
Js
98-99.
(B. 100-101
O.
97-98).
This
is
an aicientilndian
political
maxim.
100 (B. 102
G.
99).
107.'
(BUWjG.lMX
mm
100-109"
>-
itu
Thw
name occurs
in
t.-
Ram. and
L uj ]
sometimes laughter
found in
is
sometimes
it,
15
sometimes
fight,
108-109.
who
and
its fulfilment,
it
chastises
those
who
who
men
persons, enlightens
leawied
the
1 10.
to
who
for
are,
earning
it,
and
money
of acquiring]
to
it
agitated in mind.
The drama
111-112.
have devised,
as I
men
is
will
The drama
in
emotions,
relate to actions
give courage,
amusement
all.
it,
to
all,
through
it.
114-115.
afflicted
will
thus be instructive 1
arising out of
are
will
a mimicry 1 of
rich in various
This
different situations.
is
intellect
116.
There
educate people.
no wise maxim, no
is
will
is
learning,
O. 107-101).
All
drama
these
no art or
craft,
(natya).
lay
stress
on the
G.
109).
G.
110-111).
G.
112).
G.
115).
>
G.
Hote.
THE NATYASA8TBA
16
Hence
117-118.
all
1.
117-
has been
made a
119.
*
its
drama.
Stories
historical
giving pleasure,
120.
is
drama
called
(nStya).
121.
depicted by
is
drama.
called
nature with
its
and the
(i.e.
is
like
called
it is
drama.''
Offering Pflja to the gods of the stage
122-123.
in
The Brahman
the playhouse
Mantras 4
(sacred)
ceremony (niijana)
plants,
Japa 3
with
124.
Thus
this
Veda
{i.e.
"Perform duly
offerings,
should
it
and bliahj/a*).
Natyaveda)
this
in
Homa, J
will
have a
the world
Kusa,
was further
is
a legion of the
Jambu
continent.
119(1231-1248
G. 119)
>
G. 117)
G.
We read
kHmukamaam
G. 120-121).
'
W.
fferiK
oMations to
fire.
/^-repeating
lake
118).
120b as
differently.
mantra
or muttering
'
it
many time*
-1.
125
17
2
should not be held without offering Puja to the stage.
125.
He who
will hold' a
the Puja, will find his knowledge [of the art] useless, and he will be
Hence [producers
by
all offer
is*
127.
The
will sustain
128.
(arthapati)
this
to
it
be offered,
ajoss.
He who
the observed
Puja according
to the rules
and
end] go to heavens."
129.
so, offer
Puja
it
be
to the stage."
I of Bharata's Natyasastra,
(c.
1
600 D. C.
G.122)
>
in
Puja worshipping
a deity
with flowers,
sweet
scent,
G.12.*i).
?&
S\
Sikkha
).
SEP 1959
incense,
CHAPTER TWO
DESCRIPTION OF THE PLAYHOUSE
'
On
1-2
we would
one,
stage.
Introduction
"0
And how
playhouse or [to
the holy
men
are the
know about]
of
the
future
practices
to
Puja
offer
related
to
in the
it,
or
its
accurate description ?
As
3.
you should
The
4.
On
"Listen,
Puja
the production of a
[first
hearing
these
*tlie stage.'
wsftwjfiwfBpw
i
.ill
(KG.
same).
n tfft xv
'.
suspected by Th.
India,
said,
and of the
**1
Bharata
description of a playhouse 1
S a k.
tl.
may
the
(c.
remains of a theatre,
existence of a playhouse i
S"
ksMalav,
nek
r
'
ancient India.
there, is
Prom
<
like
playhouse
"7;""'.
ne,ghlwilnn
fl
"*
no
the
wifl,
Ramgarh
in
the pr^eut chapter we
learn that it was
walls and wooden posts
probably with a thatched
is sr :"S~,"r
connected
mean
Survey of
also
3 (B.G. same)
other evidence of
J. i. o.
It
So Kalidasa write
BrWh
'
* hi^S
"
*g
]mvimei
f
'
L L*
,
**"
(nilyammlaM
*-
,,
8 itabI
"
Is
one
the
-Ii.
11
be carefully guided by
Hence,
listen
manner
rules [laid
Puja
of offering
7-8.
wise
will
should
19
They
art (mstra).
are oblong
on
his
triangular (tryasra).
The
8-11.
sized
(madkya)
may
The
they
have
[respectively]
or
Dandas]
(lit.
measurement)
They 2
thirty two.
[sides]
[cubits
thirtytwo
sixtyfour or
eight,
length
The
long.
eight, sixtyfour
large
is
should
and
playhouse
is
rest of people,
'
Some
(i)
iftt
%Uf[
<w
middle-sized
this.
He says.
wrt:
Ssi
9mi to Ag's view there will be the following nine tj-pes of playhouses
large oblong
medium
large square,
(ii)
medium
square, (vi)
(iii)
large
For a
oblong,
(viii) small
this chapter (8, 17, 19, 24-28, 33-35, 43-53, 63,68, 69-92) relating to.the cons-
truction of
the
They
As
<fo>i<las
*
in this
'.
the
e.
in
Ag
(I.
passage characters in a play have been meant But this view does not
So
the other
24.
both,
soem to be plausible.
1HQ.
ff.
Oh
may be
*
same view.
accepted.
THE NATYASASTBA
20
The
12-16.
the
measurement of
all
these
Units of these
theatres,
II. 12-
measurement
table of
now about
Listen
and Danda.
=
=
=
Anus
8 Rajas
8 Balas
8 Yiikas
Yavas
24 Angulns
4 cubits
preceding
the
them
of
table
Liks.fi
Yukii
Yava
Angula
cubit
Danda.
'
measurement
shall describe
(i..
The playhouse
An
17.
made
Raja
1 Bala
=
=
=
=
=
8 Liksas
for mortals
[oblong]
should be
No
18-19.
one should
[producedj in
build a
it (i.e.
For anything
expressive.
20.
[Besides this]
w hen
the
playhouse
12-16
(\\.\
o-l9,
G.samrX
'.The
table
is
the
p.
of Kautilya (see
482 footnote).
17 (B.20, (!.).
'
A medium
18-10 (B.21-22,
0. same).
anabhivyakta-varmivhd.
B. reads
In spite of Ag's acceptance
of this reading it
not be considered genuiue.
amhsawm-dharmatvad.
may
Representation
IHCJ. VU1.
the stage].
>
-II.
27
of States
and Sentiments, 1
21
will
all
the
spectators],
Hence
21.
medium
desirable
is
it
playhouses
that
should
size,
be of
may
it,
creation of gods. 1
shall
The
24.
of land
men
hence
now
human
men
should
describe
are to
gardens
make
careful
the
the
characteristics of a
beings.
expert [builder]
should
first
good resolve
of
to
all
examine a plot
measure the
site
of the building.
25.
is plain, firm,
26.
a plough,
It
builder
should
erect a playhouse
should
shrubs growing in
first
of all be cleared
which
it
and
as well as grass
of the site
cleared
20 (B.24, G.21).
G.21)
are to be removed.
it,
Measurement
J21 (B,24,
soil
27a.
on the
'
'
rugo dkivasrsli-rasasrayali.
After this B.
'
G.'
That
mortals
is,
(men)
should
not
build a playhouse the biggest type which has beeu prescribed for gods.
24 (B.
29,
G.
26).
25B.30,G.27).
'
Ag. thinks
ka[hina
means
anmaru
(=fertile).
or'.
26 (B. 3I.G.28).
27a (B. 32a, G. 28a).
one couplet which in trans,
'This hemistich
is
as
follows
is
The
followed in
and
by
asteiismsi UttaraphalgunI
Cttarabhiidrapada (Andromedoe),Uxs^m\ (Lambda- Orionis), Visakha (lota-Ltbra), Revati (Pisc\um), Hastii (Cotyii), Tisya (Delta-CancriJ and Anuradha
are favourable, in connexion with drama.
Delta-Scorpii)
I'
THE NATrASASTBA
22
Under
27-28.
tlic
asterisin
'
--
may
which
some
made
be
of
tree.
28-31.
which
is
[pieces]
When
patron
the
[of
the string
is
the
it is
and
land,
When
being
it
2
dramatic art
while
will perish,
of loss
the
master of the
be the
will
always
if
the
Hence
result.
be taken
it
desired
is
[great] care.
be carefully made.
And
32-33.
(happy) Tithi 1
[with
it
at
during
a
its
moment which
favourable
gifts].
occurs in a
after sprinkling
on
[equal] parts.
will
cubits
The
halves one
parts,
sixty-
him
(i.e.
at his back)
into
um- of which
will
be
made
room
the
-tago
Of
into
these
two
(aiwia-iina) and
mpalhijn).
G. 31b-34).
mminoli-firekmpateh. Ag.
firayoktur=naty?tmryasya. (Ag.)
32-33
UUs-39a,G.
35).
>
W-
03-35'
(B.39b-41a.G
ia, m. 3-<vn
le -37).
,
^^
a lunar
lu^-i*
See
1.7
(lav.
L
jibove
on
it.
'
II.
41
The ceremony
Having
35-37.
laid
down
before,
And
house.
28
divided
he should lay
in
it
the
foundation
of
th8 play-
all
And
37-38.
(Jcasaija)
heretics, including
persons such as
2
from
men
robes as well as
Sramanas 1 men
in
with physical
dark red
should
delects,
be
turned out.
At
38-39.
directions
made
be
to various
in
all
these
the ten
offerings
fruits
other kinds-
The
39-41.
blue, yellow
food-stuff
offered
the
Offerings preceded by
in
dundiMia
[the muttering
kind of drum.
Derived
'community')
its
originaly
'
from
panada
(moaning
or *passa<]a
'assembly'
or
The
or pasatja.
rise
the
to
that in
cal
is
to be
I.
8
found
One
It
is
in the fourth
book
Cell.
18) of the
Visnu P.
See Winteruitz,
p. 551.
community'.
Vol.
2.
Muwtya-vasana men
an
wordly success
evil
etc.
in kusmy& or robe of
such
of eclebacy, were
38-39 (B.44b-45a,G.41)
2.
THE NATTASA8TRA
24
of]
At
41-42,
Piiyasa
Brahmins, Madluiparka
to
ghee
the foundation
:)
42-43.
41
different directions to
the ten]
should be offered
rice with
and
II.
over them.
deities presiding
[all
and
to the king,
art].
laid
part of a
After
43-45.
been
lias
it
laid,
walls
This [raising of
asterism.
(Ahli'ln-ntit)
Rohini
asterism
pillars]
Sravana
or
(A'/u'dLr)
[which
are
The master
45-46.
[days and]
three
moment
at
nights,
to
art),
the
raise
an auspicious
pillars in
dawn.
dramatic
[of
is
pHwsa-r'm
rooked
gAee-elariM
'
butter.
in
It
a kind of rice-
i<
porridge.
3
to bo
madhuparka'u mixture
made
to an
of honey'
white sugar
still
eurd (dadhij
(situ).
(IU9b-51a, G.4<>-47).
Thei
(3)
kaulava,
(9)
calmpada,
are
taitila,
(4)
<
eleven
10)
moo)
wood
to the
karams
(5)
nhga and
in
fct
'
karat/a hnli
number
gara, (6)
(11)
mru'ja, (7)
kintughm, and
of
the
PtW,
of these
lunar
(8)
the
day
vidava,
(2)
iakwi,
first
seven
hMa-paha (bright
day of the h^a-paha
day of the
fourteenth
in a mouth.
Th'c remain-
appear only
once in a month.
-11.57]
46-50.
Brahmin
the
pillar
articles purified
Payasa
Ksatriya
western direction of
be
ceremony
In case of
the
all
pillar
ceremony of
raising] completely
And
in this
white,
The Vaisya
and
seed,
connexion with
in
completely
BrahminsJ.
pillar,
which
ceremony
the
25
in case
and the
colour,
Hudra
of the
its
Brahmins
articles
pillar,
used in
twice-born
caste
First
of
in case of
all,
the
Brahmin
white
pillar,
its foot,
;it
thrown
Besides
this,
respectively
at
should be
gold
thrown
at
pillars].
The
53-54.
placing
display of garlands
of
it
54-57.
After
(analjin) gift of
W
She
*WW
pleasing
jewels,
tradition
V" V:
cows and
*"1
be
preceded by the
cloths,
'Let
with
pillars
this
be an
considerable
should be raised
'
around them],
trees
This
1 n ^ mm'
5
interpolation
wt
seems
Hifafa ^
record
to
white symbol
red symbol
yellow symbol
blue symbol
of energy
50-58 (B.56b-58aAG.54-56).
mango
Rrahmins
the
should
pillars
'
THE NATYASASTKA
26
[in
round.
consequences
Evil
turn
follow in connexion
with
may
that
[.II. 57-
fixed]
occurs,
and when
it
be given
builders
have
should
purified with
and
all
00-63.
the
After
musical
[which
is
bring victory
to
these
all
On
03-65.
and the
and
tiring
supposed
immoveable and
room, according to
be
should
in length
it
correctly
krsaru
is
made
of milk,
khicaili
a few spices).
or
sesamum
turret or small
a pavilion'.
varana
hite
In
valayu-
is
probably a
and
rice.
Compare
tin's
64-66)
'
(tila)
(rice
(B.66b-2a,
meaning
as
metallic currency.
kkuw]i
e>0-fi8
four
p.6(0.
'
with
(w hgiijiUha)
(B.
interprets
lie
furnished
to the stage
amlitam
rules.
this
Mantra
unmoved
is
Mattaviiraiu
road acalitam
Mem
side
[each]
of a suitable
of
be thou
so
KrsarS*
them
mount
the
foodstuff]
feast
fed with
been
have been
very strong,
the king.'
Mattavarani
to
have
rules
'Just as
TV
pillars
this
[in
Then he should be
instruments
is
doors, walls
built the
And
as follows]
pillars,
a cow 1 should
pillar,
case
in
feast-
Brahmin
58-60.
and
fear
shakes,
has been
it
turns
it
is
however a word
mattavumm
Ksirasvamiu's commentary
to
the
AmaraWa,
matta-
-II.
68]
and
should
plinth
its
And
high*.
a half
{rahijanvtnialaY
auditorium
the
of
plinth
cubit and
be a
27
the
should be equal in
At the time
65-07.
'
garlands,
them
of building
sweet
incense,
(the
cloths
scent,
And
to
put" a
including
food
[to them].
them,
The Mattavaranis
Kivara-
colours as
be offered
of
condition
two Mattavaranis)
of different
should
be built up
The
68.
in
This
Bftq^ffl
afo-j fafti 91
<j
.lie
*$*{
K^iftsijtf finftwiWiiw.
the
in
On
this
H1 firifto-fftWwi ft
Jdatta-
Jivananda.
fiwiWSWpf
$\
?irqfilHT
ii
it.
clear.
(ed.
WlskTJ%l!
taken
tentatively
fwroft *r*fSjuHiwi*m
however not
is
matlavamiiayor varantlaka.
mattavaram may
HWft
JrWiwI
(ravijapjtlta) 1
stage
Subandhu's Vasavadatta
p. 33) is
the
construct
p. 50).
iRiF^t
stage
But
the
word
he
(I.
nrKrrftt
^irftiw
? )
Acharya Allahabad, 1927) does not give us any light on this term.
''
mattavuran*
Ktii
also to
is
the Ag.
(I. p.
iwitsa
*r<tai3w ai^TWifwro
torium
in
is
be of
tlis
v% m:
qrnif
mnrcwr.
The
But
nothing has been said about the height of the plinth of the tiring room.
From
the
stage.
Studien
i.
374,
8
is
XIV.
ii.
p.
that the
was higher.
p. 360. of.
it
62.
B. reads
rahgamamlapam
instead of
68 (B.74, G.71b-72a).
of taking
stage
too,
Some
as
two
different parts
of the> play-
house (see D.B. Mankad, "Hindu Theatre" urfflQ. VIII. 1932, pp. 480
ff.
THE NATYA8ASTBA
28
due performance of
after
prescribed by
the acts
all
II.
68^
and the
rules,
The
69-71.
made
up
In filling
[the
Those who
in
a tortoise or that of a
which
the
(nihyniimi) by expert
east,
hmdi
lapis
to
animals.
free
from
be carried
be
back of
ground
commendable.
be put
to
is
in the
quartz
is
the
underneath
laid
Diamond
south,
like the
(rahij<t[)Uha)
a mirror,
of
should
builders.
the
in
carefully
surface
stones
precious
earth should
the
For a stage
fish.
as
as level
is
draught
white
It
is
free
Jewels and
And
of all kinds.
This earth
care.
will
defects
physical
furnished
free
be
ground marked
be
tiring
this
in the
The
75-30.
plinth
thought
of
out {uha-tiiatyuliarsamyttlrtii)
ff.
;
ff.
on
so..
and
this
The
print
NiS'
am
Chinw
interpret
are take, to
to,
is
based on a carefully
[plan], with
many
artistic
with them.
in
in
On
'
lueatre.
pp. 591
(See A.K.
ff.
ff.
Coomaraswamy-"Hindu
p. 594).
rmgafrha
also
anable to agree
the stage
wood-work which
See note
'
mean two
different
on 68.
parte
If
rangaiina and
may
ako b.
.11.
82
pieces
such
tigers
and snakes.
variously
of
and
there,
up
good
designs,
Many wooden
wood-work
this
mechanized
placed
carved
figures
statues
also
[should]
the
floor
And
the
include
pillars raised
Niryuhas 2
different
in
No
finished,
bracket 4 ,
be made
playhouse should
pillar,
like
a mountain
it
And
it
For
be set
cavern 1 and
of elephants,
should
latticed
seats,
of
parts
decorative
as
29
[in
'
niryaka
is
it
of the
wood-work,
it is
till
Hence
such a description
is
nagadanta means
Kamasutra.
*
On
'a
this passage
Ag.
(I. p.
all
(I.
The
sftwi ^flurafto
pillars of the
fax
WTO%^-
playhouse being
sides.
in Vatsyayana's
5.4)
64) says
bracket'.
mgadantavasakta vina
it
the semblance
of a mountain cavern.
The two
floors
Ag.
(1.
p.
64) says
*fffwpiw%>i wft
ftiffctwrnfiMi
1*
*f i^3ww>if'im^*fn
twiwiuft*t
(?)
mMtsnft
*f*1
fvfMt
fiwft
igfiiftm*
the
as
well
be
will
distinctly
heard
plastered
smeared
amorous exploits
Thus
(n'W")
and
clean
perfectly
be executed on them.
should
In this
creepers,
the architect
be depicted
should
made
limej,
painting
plain,
beautifully
and
plaster
After
[with
painting
The
82-85.
be
[H-82-
THE NATYASASTBA
30
type.
Now
86-92.
and on
it
in
perfectly
case
square
strong
with
stage and
of
in
that
and
divided
proper
comm.
time too
he say
says
*ty.
2U. The
lirst
I. ?.
73) he says
^gf5vmni
and
will
also
should be
made
parts
walls
by
holding
should be
And
made
inside
the
raise
ten
f llWfl
<*<jfwfliwii*tfl
latter
view seems
mentioned
architect] should
?a<i,
this
It
together.
explained by
is
(J, p.
W. wi-iimm
repeated in
4
Once
outer
set
[the
directions
type.
dramatic
in
ceremonies
requisite
its
thickly
very
parts of his
into
measurement], and
bricks
by experts
oblong type]
the
square
the
of
an auspicious moment,
in
propitiatory
playhouse of
of
;ind
of that of
thirtytwo cubits in
plot of land,
measured out
to be
definitions
apply
type.
Rules,
art.
is
of the characteristics
speak
I shall
1
the square {i-nhinwi-a)
and next
(I.
p. 65)
'
atmabhogajam
literally
Compare with
means
'due
this description
86-92 (B.9:t-99a,
l>. 89b-95).
'
mums
or corns.
'The
The view
-II.
100
pillars
supporting
capable of
the
31
Outside the
roof.
seats
of
bricks
the
of
pillars,
by means
spectators.
Successive
the
higher than
And
floor
row
one cubit
of seats being
these seats
all
stage.
92-95.
positions
And
before).'
by
raised
addition
in
their
rutujaihlhii] a
plinth
raised to support
(o these,
Then
side.
(i e.
in suitable
more
eight
alter
be raised
raising
should bu
pillars
the
[for
stage or
eight cubit
These
by proper
to the
figurines
95-100.
roof
After
all
I'a-teuers,
room (ntjMthjd).
tiring
should care-
auditorium
the
be
playhouse] should
it
should
surface,
and
its
(minjtt).
eight
be furnished
cubits
Mattaviirani
i*
The
in
is
in
with
plain
to the
(is. in
ease of the
oblong type of
referred to articles of D.
R.
Mankad
cit.).
Women
and
'
satastri^&ila-bhanjika
should be two
square
plinth
be
t'ooinaraswamy, 'The
second
[of the
made according
should
Whatever
may be
stage
in
and V.
The
elevated
commentary
an
with
enter with
door facing
have one
should
It
should
[pillars]
be fixed
mattavaratfis as
>
in
Both the
in the ease
sides
of
(see
II. p. 11.)
are meant.
an oblong
A. K.
Indian literature
There
medium,
THE NATYASASTBA
32
playhouse).
by
square type
the
plinth
is
made with
100.
four pillars
The
above].
stage
elevated
playhouse of the
oblong
whereas in
stage,
rules according to
it
(oilcrsla) type,
'
it
stage.
house
the
be
should
of
[mentioned
of
In case of a
height.
it
should be
be either more
should
in
The Mattavaram"
side
the
[ J,
playhouse
that of the
to be built.
Now
101-104-
triangular [Irynm,)
f shall
type
it
also
should
playhouse there
made
at
should
back
the
made
be
be a
are
the rules
to
yon
be
the builders, a
play-
door, and
(mw</a/itta).
good
in
case
Rules
regarding
of a playhouse
of the
be applicable in case of the triangular
type*. Those
according to which different types
of playhouses
will
are
to
built,
triangular.
of the stage
square type,
By
of playhouse.
constructed
by
the
learned.
Next
shall
describe
tin.'
i
propitiatory] I
fija in this
connexion.
II of Bharata's Natyasilstra
""*"*""*
Playhol!"
W bMn
PrCaCriW
"'
how
the triangu.ar
of the triangular
CHAPTER THREE
PUJS TO THE GODS OP THE STAGE
Consecration of the playhouse
1-8.
the
all
made
to dwell for a
Then
week.
the
master of the dramatic art who has been initiated [for the purpose]
bed-room
days, lived
(lit.
become
under
besprinkle his
limbs
will
purified,
This [consecration]
made
Siddhi,
all directions,
1
Rudra, Varnas
Kala*
Yama*, Weapons
Kali 8
of Visnu", the
Yama,
Lord
leader of
Ganas)
1-8 (B.l-7,
9.
G.l-7,
8
,
Nagas
Sceptre of
(Serpents), the
Lightning, Seas,
MahSgramani
Gan-
(the great
9).
KalaThere
Niyati, the
of the
'
of this
take
Guardians of
as
should
away from
his senses
varnas No gods
as
deities
ruling
varnas of people.
KaliThere
are
of this
sub voet.
*
*
'
mahagramani The
itanir ganapati))).
For
in
It is
very
difficult
THE NATTASASTHA
84
0-10.
to
III.
these,
and other
9.
divine
sages (devarsi), he should with folded palms invoke all the gods to
and
say,
under your protection during the night, and ye with your followers
should offer us assistance in this dramatic performance".
Offering Paja to the Jarjara
Having worshipped
11-18.
all
Jarjara
to
[thus] all
the gods
as
well
1
the musical instruments (kutapa) he should offer Puja
it
as
for attaining
demons
good success at
"Thou
follows].
the
capable of destroying
all
the obstacles
welfare
all
;
to
weapon
Indra's
art
as
the
to
killing
bring victory to
the
all
thou
art
the
king
and
14-15.
(in
the
(Nandin).
One
of
such leaders
lias
art)
plural
followed Siva.
leader of Ganas)
has also
pt'nrji
This
one
of
In
gramani
or mahagriimaiii
great
leader of Ganas.
Our
suspicion in
in
the
ms (ha
1.
KalidSsa makes no
See Meghaduta
See
above..
the
Hindu
Only the
late
JK. sub
know
voce).
in all editions
and
emended as samprapujya.
'.
by
of B. for
and 5.
samfimyuja
fully
The
seems to be wrong.
The reading
It
should be
-in. 31
morning.
it is
*6
with the stage should take place under the asterism Ardra (Alpha-
Ononis) or
Magba
(Regulus) or
Yamya (Mmca)
or Purvaphalguni
pada (Alpha-Pegasi) or
Silesa
Scorpionis).
The
16.
gods in
its
be illuminated and
stage should
mind
and
the
Puja of the
body, concentrated
his
17.
of evils,
full
Acamana 1 and
be
installed.
18.
1
bangle (pratinara) , the best kind of red sandah red flowers and red
fruits.
sunned
articles
such
as
white mustard,
barley,
rice,
saffron (priyangu)*,
The Mandala
In
20.
this
Mandala 1 according
21.
and
it
to the
manner
in
proper place a
prescribed.
all its
four sides.
16 (B.17, G.17).
17 (B.l 8,0.18).
sipping water
'
SfliiwwM ceremonial
of the
rinsing
mouth by
(I.
ka'nkanavncaah, Ag,
p. 74).
"
nagapwpa^the campaka
says
nagapuspam
nagadantah,
*
20 (B.21b.G. 2lb).
t\ (B.22-G82).
'
hasta in
this
1.
passage
i*
to be
interpreted
as
THE NATYASASTBA
36
In
22.
its
and
by
[{m. jg.
in the
apartments made
In the
23-30.
Skanda
Indra,
Surya,
(Kartikeya),
As"vins,
and Rsis,
Raksasas and
the
in
all
the
Svaha,
south
Yama,
the
Winds 3 and
Seven
north Knvera,
as Nandin, Brahmarsis
Agni,
the
Ganas such
Candra, SarasvatI,
in
north-west the
birds, in
all
of
Narayana (Visnu),
the south-east
in
be put
first
Mothers of the
north-east
leaders
of
in their
proper places.
31.
kumara 1
Gramani
And
in
(lit.
[in the
eastern] pillar
the southern
one
should
Daksa*,
in
be
the
placed
leader of
Sanat-
northern
one
Skanda
(Kartikeya).
32.
According to
hasta-taia or tola
i.e.
possible k.
83-35).
The
(see
Ag.
Brlaf'^
'
it
7.
ft
Otherwise*
it
will be
im-
i.
to
be
of
the great
of the creation
frajipati),
Ihere wereotl.erDaksasb.id..
*e
on.
**'
'.Daksa-oneofthe lords
cetas
of the
I. p. 75).
0,24-31).
P. (see Vidyalaukur,
1046.
[proper]
how absurd
23 3U (B.24-31,
of
maV ,1ala
accomodate the
Vamana
SB. VII.
their
in opposite directions.
mnfcroiS mwoittlfa:
in
respective positions.
middle-finger stretched
wide (8eeNS.lI.
gods
the
in their
and
>n of Pra-
^ VidXkTjK.SL
*<*U,j
-III.
44
37
33.
regular
34.
Gods
35.
fitting
ceremony
manner.
gar-
red* colour.
36-39.
are as follows]
like Siva,
Brahman Madlmparka 1
Sarasvatl
rice
cooked
with
Agni
of
rice
Pitrs, Pigacas
Payasa 2
rice
gods
cooked
with
molasses,
Visvedevas,
Yama and
Mitra cakes
milk,
host
4044
regarding
the
made
Puja
in
to different
Danavas wine and meat, the remaining gods cake and Utkarika* and
and
rivers fish
and
stuff
(lit.
fruits,
bhaksija
the
of the
33 (B.34, 034).
34 (B.35, 0.35).
'
'WluV
36-39.
(B. 37-40,
G.
37-40).
'
mad/mparkasx* above
note 3.
*
Payasaate above
See above.
II. 41-42.
THE NATYASASTBA
38
III. 44-
and
Locikas*.
different kinds
These
45.
to
offering to different
gods
one,
the
my
lordly
(For Indra),
49.
(For
52
worlds,
all
(For
my
the
goddesses
my
from
Maruta)
vFor fiaksasas)
~Thi9
U8
k ""
m-m
word
who
my
etc.
celestial
my
etc.
Mati,
Medha)
are honoured by
all
the
to
Mfiruta,
life
of all
the world,
'" ali
be
accept this
in
"*
coiu v bd
'top'**,
with the
great-souled
NIA.
lefiikh,
luci,
loci,
been
tloctu, *lociku.
15(K46,0.46)
ll.
best of
etc.
etc.
fe
my
the six-mouthed
Laksmi, Siddhi,
etc.
;v/^Ik.
Wo.
this
goddess of
the creatures
3*.
the lord
etc.
etc
accept this
53.
of
my
iva,
.Laksmi, Siddhi,
great 'god,
(For Sarasvati,),
51.
the
one.
my
the
(of 'he
hundred
of the
the blessed
gods,
by the Mantra.
movement, accept
(For Skanda),
>(.i.
army,
maker
of
(For Visnn),
hearer, the
the god
the grand-father
and the
IS.
offering consecrated
(For Siva)
47.
of Garros
one,
time of making
the
Brahman),
for
lotus-born
should be offered
foodstuffs
uttered at
be as follows
will
(The Mantra
46.
most
of
be
to
p'T
(!
'
48
36 (B.47, G.47)
'
48(B.50.(r.49).
51JB.53,0.52).
'
8 ' l0Uld
** marked
49(B.48,(i.50).
MfR.tf. M
hm
t,,at'
50 (B 49
51)
'
fit
68
.III.
the
ones,
my
song
of
Pulastya,
etc
(For Agni)
55.
my
accept this
sacrifice,
Soma, the
the
my
best
among
(For Sflrya)
of
favourite
maker
the
of day, the
my
a?,
is
the great
he foremost,
accept
etc.
(For Pitrs)
50.
(For
offering.
this offering
60-61.
(For
to
I always
Bhutas)
bow
my
do ye accept
Pitrs.
Bhutas who
to all the
may
KSmapila,
made.
is
Gaudharvas, amongst
Gandharvas)
Tumburti and
the
all
(For Kainapala)
60a.
whom
bow
Nfirada,
the
heat,
Nandls'vara)
my
mass of
etc.
58^
this
lord
etc.
57.
lord of
things offered in
of
(For Candra)
56.
to
89
foremost,
whom
accept this
my
best offering.
61-62.
gods
who
(For
Yama
are adored by
62-03.
nether region,
all
(For Nagas) I
who
bow
to
are .devourers of
and Mitra)
Yarnn
all
wind,
the
my
etc.
Pannagas
give
me
in
success
the
in
(For Varuna)
all
waters and haye the swan as your mount, be pleased along with the
seas
and
rivers, after I
56 (B.58. G.57).
55(B.57,G.56).
58 (G.60, B.59).
57(IU9,G68).
59(P.6l,G.60a).
Wing
it.
all.
'
after
THE NATYASASTRA
40
my
(For Kuvera)
64-66.
etc.
of [all]
superintendent
the
84-
the high-souled
VinatS,
the son of
(For Garuda)
64-65.
[ III.
wealth,
the king of Yaksas, the guardian of the world, the lord of riches, ye
my
(For mothers of
66-67.
etc
mothers of the
Natya)
the
my
offering.
(For
B7-''-8.
Yama, the
68-69.
creatures
my
offerings.
me] out
others)
Ye
69-70.
accept this
my
70-71.
who
all
offerings.
made
(lit.
its
front,
jar
full
should be placed
the
in the
soft.
a garland
middle of the
stage,
it.
by them).
of water with
instruments
musical
who occupy
these be accepted
let
Then a [earthen]
71-72.
64-6,1
my
accept
all actions,
all
etc.
To
72-73.
dispenser of death to
the
Fate,
other gods
of leaves in
covered
flowers,
with cloth
garlands, incense
B.66b-67a, G.65).
>
For the
below
87-89.
'
But
this
is
(kulafia)
For the
-III.
W-]
41
Having worshipped
73-74.
offering
Puja
the gods
all
in
[One should
74-76.
fasten a
Visnu
the
cloth at
red cloth
joint,
are to be offered to
it
the
at
And
(the Jarjara) in
all
at
the-
Raudra
joint,
yellow cloth at
Skanda
joint,
and variegated
garlands,
Having observed
76-77.
the
and unguents,
incense
fitting
these
manner.
rites
with
incense,
"For putting
77-78.
made very
78-70.
most
third
Hara
part,
Pannagas the
80-81.
Thou, the
other gods
(KSrtikeya) the
fourth
thy top-
protect
the
(Siva)
KumSra
part,
all
part,
fifth part*
Let
all
and be thou
blessed.
Homa
81-82.
offerings
perform
and pour
to
it,
and
all
After finishing
!"
fire
Homa
82-83.
the
(Vis.nu)
Homa
the
fire.
(?)
which
fire
is
to
below..
joints
eee 78-79
'
"
king
After, faring illumined the
83-84.
and
the dancers
are born in
"You
65-86.
man
the
for
happiness of
86-87.
you
give
[The Benediction]
1
Medha, Hrl, &i, LaksmI, and Smrti project you and
Dhrti,
success.
Then
after
88-89.
Homa
art
jar.
In case the
remains
jar
it is
performing
will
but
(lit.
when
89-90.
breaking
After the
illuminate
of
the jar,
the
the auditorium
master of the
{rabgo)
with
lighted lamp.
90-91.
Noisily, that
is,
with
roaring,
snapping of
fingers,
lamp
91-92.
Then a
fight
should bo caused to be
86-87 (B.89b-90a,
>
These
23-30 above.
are
the
seven
GJ7X
H5tyanStrkis.
g8 . 89 B.91b-92a, G.89).
dundubhi-* kind
of drum.
ZUiMJ
40
the
If
wounds
bleeding
that
will
[resulting
from the
omen
be a [good]
fight]
indicating
success.
Good
93-94.
Tf the
stnge
properly consecrated
is
master) and
the
(lit
it
to people
will
bring
young and
94-95.
But
proper manner
will
it
when
auditorium
the
evil to
not consecrated in
is
will
it
will
likewise bring
the king.
He who
95-9G.
willfully
loss
will
as
[Vedic]
made without
When
the stage.
the
to
art],
will
is
as
performance
dramatic
[of
No
sacrifice.
first
should by
rules
Offering worship
90-97.
meritorious
should be
and
these
soon sustain
transgresses
Puja
god.-) will
Hence one
to the
gods of the
bring you
stage.
98-99.
so quickly,
dramatic
*
'
will fire
as defective
rites will
art].
99-100.
of the
Never
So the
stage should be
is
worshipped
disciplined
purified,
and
by the master
proficient
in
99-100-(B.l02b-103a, 0.1 0U
).
*HE NATIASASTRA
44-
[II. 100
*
and
initiated
into
the
practice of it
and has
quiet of mind.
100-101.
offering in a
He
wrong
who
show
in
an
place, is liable to
sacrificial fire
should be followed
with
without
agitated
proper Mantras.
worshipping the
by producers
mind places
This
of Bharata's Natyalastra,
the
It
holding a theatrical
is
[of plays] in
his
who pours
gods of the
stage.
CHAPTER FOUR
DESCRIPTION OF THE CLASS DANCE
Brahman
writes the
first
1.
stage] I said to
Brahman,
"Tell
me
presiding
over the
the mighty
quickly,
one,
[In, reply] I
2.
to [the
desire
have compo.-ed
3.
performance of]
(tow)
this .Samavakiira
duties
('thai nut),
to
When
4.
capable of stimu-
is
.'Mid
which
[the
(<i
conducive
is
fulfillment
ofj
rthn),"
this
Now,
5.
said to me,
"We
souled Siva
(lit.
(lit.
said,
"O
time
Brahman
shall
(lit.
play
the lotus-born
before
the
one)
great-
Then on
6-7.
Siva
in course of
Brahman
paid
me
him
abode
respects
the favour
of
of
and
hearing
Brahman asked me
9-10.
connected
the
of gods in reply.
with
Then
had
performance
the
been
Preliminaries
completed
this
(B.G. same)
2 B.G. same).
in
it,"
Mbh.
(I.
'
17-19.)
8 (B.G. same).
See
ff.
4 (B.G. same).
5 (B.G. same).
8 (B.G. same).
6-7
t
(B.G. same).
IBB NAT1ASASTBA
46
[1V.10-
1
(Samavakara named the Amrtamanthana) as well as a Dlnia named
the Tripuradaha (the Burning of Tripura) was performed in the
many
Then
11.
the [Bhutas]
all
actions
said to
Brahman
"0
12.
hills
to
the high-souled
one, this
intellect,
has
been
is
well-
conceived by you.
Now
13-14.
bered
that
made
dance
Karanas 2
different
in the evening,
by Angaharas 1
beautiful
You may
while performing
utilize these
it,
remem-
consisting
of
the Preliminaries
in
[(lUrmrahya) of a play.
Two
14-10.
In
the
kinds of Preliminaries
application
of
means
you have
[just]
'
of
are. called
"pure" (suddha).
Tripuradaha-&iv&
'
or Tripnrari.
8
killed an
fiery
the
[But] when
arrows.
11
(B.U.
smey
1S-U&6.JMM).
on nunor dance
_L i
^
figures
lains jt
i2
'
^ ^
^9 3,l
Nl
of limbs'
'
See
'8eeKf5.V.2luotel.
Bee
bah:Mmgunakirne.
(B.G. same).
patera-major
(kara.fasj
Fw
ff, 7
'
will
performed
below
you
XX.
see N^.
tL
Vardhamanaka 1
the
V. 60-3 note
8.
K&
** *-
V. 12-1S no* 3
**- -
Vf. SO
47
to
The AngahSras
To
16-17.
said*,
tell
said in reply,
"0
Then Siva
17-18.
Brahman
Tamju and
(lit.
And by Tandu
18-19.
I shall
now speak
Reoakas*.
of thera as
was
well
as of the various
Karanas and
19-27.
The
thirty two
28-29.
I shall
tell
now speak
[And
besides this]
"0
of hands
and
feet
that
The Karanas
All the AngahSias consist of Karanas
29-80.
nention the
names of the
hence I shall
Se below 247
ff.
katana
29-30 (B.
plains the
'
Ag. (1 93)
nwwW
THE NATYASASTKA
48
30-34.
dance
Karana:
the
railed
is
hands and
ot]
IT. 30.
feet
in
one MatrkS,
and two, three, or four Matrkas will make up one AngahSra. Three
taka.
will m:ike a
Karanas
'
Karanas.
making up
now speak
shall
of
five a
SamghS-
consist
hand and
the
feet
nine
movements
these (Karana*).
The Karanas
3 1-55.
are one
number
in
Katk-chinnn,
Ardhanikuttaka,
matta,
'
Sva-tikaiwita,
Llna,
Mandalasvastika,
Ardliarecita,
Prsthasvastika,
Svastika,
Nikuttaka,
Vaksahsvastika,
Diksvastika,
Un-
AlSta, Katisama,
trastaredta,
Dan
jangaacitaka,
vrs"c'ika,
Chinna,
Vaisikhareeita,
l.ikarmta,
Vr-cikakuttita,
VrsYikarwita,
Aksipta,
Vivrtta,
Talavilfwta.
VinivrSta'.
Atikranta.
plutaka.
Pur<vakriiutn,
Vivaititaka.
OanuViioI,
Samnata, SucI,
KatibhrSuta,
Vyainsita,
Paiivi-tta,
Parsvani-
Svrtta, DolnpSda,
Xisumbhita,
(.'ajiikiidifa,
BhuLata'-
Cakramandala, Uroman-
Viksipta,
Vidyudbhrilnta,
Talasamsphotita,
PSrsVnjSnu,
Ardhnsfici, Surlviddhn.
Sarpita. Daijdapilda.
Karihasta.
Vrscika,
Kuiicita,
Argala,
Bhujanga-
Bl.raniaraka, Catura,
Apakranta.
llarinaplutn, Prenkholita,
Garuda-
GrdhraA'allnaka,
Mayuralalita.
Nitamba, Skhalita,
Pnn-irpit;!,
Siinhalai'dita,
Simliiikarsita,
Udvrtta.
Upasrta, Talasinighattila. J.mita, Avahitlhaka.Nivesa
Elakakrfcjita.
Urudvrtta, Mada>k! li dita. VisnukiSnta,
Sambhrftnta, Viskamblia.
Udgha.ttita,
Vrs
Gangavataratvi.
.l,liuku..lii il ,
[11],..,
Lolitaka, Nagapa.supita,
Kaianas
80-34
Foot
( 15.
movements
same, G. 30-33!.
>
)>
used] in
movement
which
56 (B.59, G.167).
will
have
W^yz-B.G.
Pakatasya,
dance,
'fight,
in general.
been
prescribed
read tna^aka.
for
.IV.
62
the exercise
Karanas
of
apply
will
19
also to these
8
.
And
57.
application
of the Nrtta-hastas 1
The Sthanas,
58.
[before] are
called
as
the
the Karanas.
I shall treat the Carls suitable
59.
at the
known
[representing]
for
fight
The master
movements.
foot
[of
60.
movement
hands and
of
sides, thigh as
is
61.
left
as
well
to
feet in
breast,
62.
the foot
is
N& XI. 49
'
See
mas.
Sannata (Nata) 1
is
which
dance,
is
ff.
Though
fact.
these
f)8
ff.
56a.
]
w\
uym*, jwifcji
(I. p.
96) says
'sft'tf
fill
(I. p.
its
gaps,
of limbs in
97)
For nrttahastas
up
q* *g|5tsfiraT*m<?tW fiisn^fR'n^
tanugatisihitisammiliie karanam
some
left side,
see N!$.
IX. 177
ff.
89 (B.56b-57a, G.56).
58 (B.173, G.170).
60 (B.57b-58a or 172, G.169).
'
see
NS.
XL
90-91.
of
cumbrous sentence.
swamy
in
MG. As
This method has been followed by A. K. Coomarathe definitions of these parts can be easily traced
through the index they have not been referred to in the notes.
7
THE NATYASASTBA
60
63.
Vartita
Vyavrtta
IV. 68-
to
65.
Apaviddha the
on the
to fall
66.
(right)
left
breast.
feet touching
each
pose.
other, two hands hanging down, and the body in natural
67.
Linathe two
Anjali
pose on the breast, the neck held high, and the shoulder bent.
6?.
gesture
held
together
in
also
Nikuttaka
their
in
each
71.
in a similar
in
the
in
similar
moved
and Aviddha
Rccita
hip.
down 1
form of
the
the hands
to
be
moved up and
head and
manner.
gesture
bent
serially
in
the Chinna
pose,
63 (B.62,
66
in the
(B.fiS,
Ml)
0.63).
64 (B.63, 0.61)
samanakha
'
65 (B.65, G.62)
nowhere
else
been mentioned
67 B.66, 0.64).
68 (B.97, 0.65).
70(B.69, G.67>.
f>t has
69 (B.68, 0.66).
h (B.71, 0.69).
(I. p.
204)
-IV. 88]
Ardharecita
73.
freely, feet to
move
hand
51
up and down,
alternately
move
Sannata
side in
(i.e.
Nata) pose.
74.
Vaksahsvastika
two
on each other
legs
is
in a
form of
similar
bent (iiihihcita).
75.
Unmatta
76-
feet to
in the
together
respectively
feet
held
together
77.
Prsthasvastika
down coming
as a Svastika with
78.
in course
turning sideways
single
from [the
80.
Alata
Katisama
come together
Carls.
feet.
after
taking
down hand
feet
be
to
and the
Aksiptarecita
placed
left
the
at
the
Svastika
Udvahita pose.
sides in the
the
after
separated,
81.
thrown up and
movement, and
connected)
(lit.
after being
Diksvastika
of
two arms
hand on the
heart,
the
right
hand Recita and thrown up and sideways, and then the two hands
to
Viksiptaksiptaka hands
'
the
two
first
thrown up,
feet to
By apaviddha
Ag.
(1.
make
i>.
105)
means the
sitd-
gesture.
74 (B.74, G.71).
75 (B.7i, G.72).
77 (B.77, G.74).
78 (B.78, G.75).
79 (B.79, G.76).
'
carana^nin.
feet
down.
Ardhasvastika
73 (B.73, G.70).
mukha
and
'
'*
'
76 (B.76, G.73).
udvahita aide
syamsayet^amsiui
it*
nowhere
else
mentioned
Mb.
81 (B.81,
G.
78).
82
(.B.82,
;>//?
krama^chn.
G.79)
83 UJ.83, G.i).
in
TEE NAT*ASASfBA
M
right
left
IV. 83-
one lying on
the breast-
Ancitain
84.
alternately in Vyavartita
Karihasta to be
Ardhasvastika the
the
(Vyavrtta) an<l
movement,
Parivartita
nose.
and then bent upon the tip of the
Blmjangntmsitathe KuScita
85.
thighs to hire
and the
an
Unlhvajaima
86.
knee to be held up
Nikuiieita
feet to
to
and
the breast,
be moved
two hands
tip of the
Jvuiirita foot
harmony
same movement.
stretched) on a level
(lit.
feet to l>e
as
the
in
hand
Vrscika K.,
to be held at
the
nose
88.
Matalli
making a
feet
(left
and
whirling
right),
movement
throwing
while
the
in
Ardhamatalli
feet to
left
to be put
on
the hip.
90.
Udghattita
(=
Nikuttita),
and the
left
left
foot
gesture.
84(B.84,G.8l).
85(15.84,0.82).
rV
,'
nivariayet,y,.Vt. read
But
86 (B.86, G.83).
of this
name
karana;
occurs,
'
is
'
skhalitipasitfrn
90/B.9U, 0.87).
uote.
fiadan foot
K.
'According
U,
Ag.
udgAa^ta-nikuttita for*
.IV. lfo]
Padapaviddhakathe Katakamukha
91.
,
Apakranta
the right
[in the
Bhramari
Cart].
right
Can
Valitahands
92.
to be in SucI
feet
68
94.
Lalita
one
to he
the left
again
hand
Karihasta
with
gesture,
the
Dandapaksaobserving Urdhvajanu
95.
to
Bhujahgatrastarecita
96.
Cari, the
the
feet
be in Bhujahgatrasta
to
Nupura the
97.
the
98.
in
Bhramaraka Svastika
99.
Udvestita
left side.
in
Lata hands
Cari,
movement,
and
feet to
feet.
Vai&kha Sthana
in
feet
Trika 1
(posture).
turned
round
[in the
Bhramari Cart].
Catura the
100.
Kuttita
(i.e.
hand
is
left
hand with
Aiicita,
(i.e.
Alapallava) 1
right
feet
in
Udghattita) pose.
91 (B.91> G.88).
92 (B.92, G.89).
98 (B.98, G.90).
Kor voMo.
'
M (B.94, G.91).
BG
read vartita,
95 (B.95, G.92).
96 (B.96, G.93).
97 (B.97,
G .94).
98 (B.98, G.96).
99 (B.99, G.96).
means the
trMsthi
'
ami
many
times afterwards
Aficita.
THE NATYASASTBA
64
Bhujangancita the
101.
hand
right
feet to
all
hands
and
the
be freely thrown
feet to
sides
IV. 101-
Dandakarecita
102.
about on
be Recita afterwards.
Vr&ikakuttita
103.
assuming
Vrscika K.
the
and the
1
hands with Nikuttita movement.
104.
wards,
and the
fingers bent
106.
left
hand
to
palm and
its
on the hip
to be held
Vyscikarecita assuming
107.
to
the
two
be Recita
and
108.
down
and
bent
held
over the
110.
side,
and the
Ill
{tUaka) in
112.
the
VnScika
the
gradually
feet to be Nikuttita. 1
tlie
Krantaka-bendiug a KunciUi
101(B.101,U.98).
108 (B.103, (1.100).
to be
leg behind
the back,
thrown down.
102(B.102.G.9)
'
issssr
'?<"**
U2 (B,li G
104
ffl
"
100
104
1011
rssss*
"*
.IV. 124
113.
liekl
on the
114.
Kuncita
leg to be
with
left side
its
Cakramandala
Aiicita
and
hand
left
to be
palm upwards.
the
first
55
(Addita) 1 Cari
inner Apaviddha
down between
the two
arms hanging
straight.
1 15.
Uromandala
and used
position
two
feet
in
in
Urflmandala gesture.
1
in
10.
Aksipta
hands and
feet to
thisKarana.
1
17.
Ttlavilasita
foot
Argala feet
Viksipta
side,
moved
hands
and
the
turned
sole
bent.
stretched
be thrown backwards or
feet to
Svarta
the
Kuncita
befit
feet
the
two
the dance.
feet
Nivrtta
hands and
feet
first
thrown
out,
and
the
Vinivrtta
observing
the
>Suci
Parsvakranta observing
manner
towards
the
the
front,
Pars"vakranta
Carl,
113(B.113 G.U0).
(
1).
'
U7(B.117,G.1U).
'
vivrtta,
THE NATYASASTRA
56
NWumbhita a
I2f).
IV. 128-
the breast
1
held at the centre of the forehead (tUakn).
raised high, and the hand
1
turned backwards and the
foot
Vidyndbhranta
126.
in the
two hands
close to
the head.
Atikranta
127-
observing
the
manner
128.
Trika
to be turned
[left]
ear,
and the
the
two
feet
to
Gajakridita the
129.
Atikranta Cari,
left
hand
right
in
and the
gesture
feet
Dolapada Cari.
Talasamsphotita
130-
tip
and
2
put forward, the two hands showing Talasamsphotita gesture.
131.
wards and
feet
to be
stretched back-
Gandasuci
be Unnata, one hand to be on the breast and the other to bend and
feet
Bhramari
in
position,
the Trika
Apavestita gesture,
round
(in
the
and
the
stretched backwards
and
is
turned
Cari).
134.
ParsVajanu-one
foot
in
135.
Sama
position
hand on the
breast.
Nowhere
defined in
>
'
N&
'Ag.
29 (B.129, 0.126).
N&
131(11.131,0.128).
IV. 145]'
Sannata
136.
after jumping,
the two
57
feet are
be put
to
Dols) gesture;
(?,e.
Sucia
137.
on
the ground, and the two hands to be in harmony with the per-
formance.
the
Ardhasuci
138.
right foot is in
the
Alapadma hand
Suelviddha one
139.
is
held
on the head,
foot of
the two
being put on
Apakrantaafter making
140.
Cart
is
to be performed, the
two hands
moved
be
in
harmony
Mayuralalita after
141.
hands
to
assuming
the Vrscika K.
[in
two
the
Bhramari Cart].
142.
position
and
Sarpita
the
two
to
feet
are Recita.
143.
Dandapada
after
the
Nupura
Cart,
Dandapada Cart
shown
quickly.
144.
jumps and
Harinapluta
stops,
after
and
thrown up.
145.
is
to
come at
Prenkholitaka
jump and
let
(in the
rest.
'
HI
U2 (B.142, G.139).
145 (B.145, G.142).
(B.H1, G.138).
U3 (B.H3, G.UO).
'
THE NATYASASTRA
58
Nitamba arms
46.
to be
first
Baddha Cari
the
Krihasta
148.
harmony with
hand
left
breast,
feet to
be Aucita.
to
is
Simhavikrldita
150.
move
on
placed
be
made
to be
with
this.
the
Prodvestitala, the
149.
to
be observed.
to
147.
is
IV. 146
swiftly
and hands
Simhakarsita
151.
after
observing
= Talasaiicara).
tlin
backwards and
hands to be bent and turned round in the front and again to be bent.
Udvrtta hands,
152.
violently
153.
154.
will
and
harmony with
palms
feet
(lit.
hands
in
this Cari.
observe
Talasamghattita
clash
with
Janita
one
each
Dolapada
the
other and
the
left
two
Cari
hand
be
to
Recita.
155.
hand
to
be on
Avahitthaka
should
Sthana
be Nirblmgna
and
K.
raising
hands
slowly.
will
the dancer
fall
should
assume Mandala
(posture).
154 (B.154,G161).
means Janita
'
According
to
Ag.
cari.
156(B.156,G.153).
1.57
(B.T57, G.154).
Talagrasamsthita
pad
IV. 167
158.
coming
to the
159.
jumping
Elakakrldita
with Talasancara 1
feet
;md
Urudvrtta
S9
Madaskhalitaka
two hands
and Udvrttn.
aiicita
feet
left
to be
161.
Visnukranta
and bent as
if
Sambhranta a hand
Viskambha
a hand
Udghatta
is
left
to
feet
made Aviddha. 1
hand on the
Vrsabhakridita
breast.
Udghattita 1
in
to
after
movements
and
observing
166.
Ancita,
hands
Lolita
167.
Lolita.
on
the
and Vartita.
Nagapasarpitato
draw back
I-
Same
feet
and hand
'
Denned nowhere
in
NS.
'
'
'
'
'
Defined
from
nowhere in
Svastika
to be Recita.
Nti.
X.
46.
THE NATYASASTBA
168.
69.
[-
with a Talasaiicara
]
at
rest,
IV. 168-
advancing
foot
Gangavatarana
fingers
pointing
down-
1
wards and the head being Sannata.
Tho Aiigaharas
170.
shall
now
Karanas.
171-173.
of the
level
Pratyalidha Sthanai
then
left
shoulder, taking
"hand stretched
up afterwards the
Karanas.
Paryastaka observing
174-176.
assuming
then
Nikuttaka,
Talapuspaputa,
takiug up
Urudvrtta,
Apa-
Pratyalidha Sthana,
Aksipta,
Uromandala,
Urnomandala, Karihasta,
B. reads udghaiitt.
'
170 (B.I74,
0.17U
171-173 (B.175-177,
'
0.172-174).
like the
katams
'
Definition
above
sec.
of
62 not*.
478-1S0 (B.l82b-184a,
(j
.I79b-180).
>
G. Omits 175b.
th,
ai^akaras
Airfqm
are
.IV. J96
61
ipta,
Aksiptaka
assuming
Karihasta
and
Katicchinna Karanas.
182-184.
Udghattita 1
moving
Udvestita
to
feet
and Apaviddha
changing them to Uromandala gesture and then assuming JsuccesNitamba, Karihasta and Katicchinna Karanas.
sively
184-187.
.are successively
Viskambha hands by
made
turns
made
Udvestita, feet
to be
Nikuttaka,
assuming
Udvestita, assuming
is
to be moved,
Aprajita
having
left
rasra
sita
and
feet
left foot, then bands being Catuhaving Nikuttaka movement, assuming Bhujangatra-
successively the
two Nikuttakas
(i. e.
Viskambhapasrta assuming Kuttita and BhuKaranas, Reclta hand to show the Pataka gesture,
190-192.
janga trasita
then to be assumed
successively
Katiccheda Karanas.
192-195.
Mattakrida
assuming
Nupara K.
by
turning
Becita K.
lu the
definition
of
ahgahara
'
tiHti
gg
the right
with
NAUYABASTBA
foot,
Nitamba,
Uromandala,
JBahyabhramaraka,
Chinna,
[IV.lM.
Karihasta,
Katiccheda Karnas.
196-197.
Svastikarecita
hands and
feet,
197-200.
one side
thigh,
feet
movement
hand
of the
on the
this
ParsVasvastika
and
then
then the
side,
then
left
to
assuming
Ardhanikuttaka,
the
^flvrtta (vyaavartita)
(Dik-)
Svastika from
these to be
all
hand
repeated
to be .placed
on the
200-202.
Lata band
Udvestita
to be held
movement,
then
assuming
successively
the
in
Nitamba,
Bhramara assuming
Katicchinna,
successively
Sucividdha, Nitamba,
Nupurapada
Karihasta,
Uro-
it
206-208.
Madavilasita moving
with
Dola hands and
making hands Ancita as well as Valita and
Svastikapasrta
feet,
then assuming
successively
Talasamghattita,
Nikuttaka, rudvrtta,
195-197 (B.l99b-201a,G.195-198).
'
the translation
of this
197-200 (B.201b-204a,
G,19M9).
ln
K.
K.
.IV. 223
63
208-210.
and making the hands Recita and the feet Udghattita assuming
Aksiptn,
Uromandala
Matalli.
and Katiccheda
successively
Karanas.
Paricchinna
210-212.
Bahya Bhrama
ka
then with
left foot
212-216.
Parivrttakarecita
to
nna Karanas.
*
Katicc'..
to be
after the
(successively)
than observi*
and
made
and them
Recita, and
holding on the
body,
the
raising
head hands
after
again
left
in
hand
same hand
the
Karanas then
after turning
all
to
this
be
back
Karihasta.
216-219.
to
Vaisakharecita
bent, then
observe
all
along with
this is to
Recita,
Uromandala
and
Karihasta'
Katicchinna
Karanas
are
to
be
assumed.
219-221.
ward a
the
foot,
then assuming
cheek, then
the
left
to
on
the
to
mean a
'According
cari of that
M. Ghosh AD.
289ff. also A.
bhraman
K. Coomaraswamy.
Ag
to
name.
But
it
(I.p.152)
seems that
MG.
p.74.
THE NAT7ASASTBA
6t
Alataka assuming
221-223.
hands
vyarasita
Svastika,
Drdhvajanu, NikuScita.
IV. 221-
[in
it
Ardhasfici,
Karanas one
after another.
hands on
Parlvacchedaholding Nikuttita
223-225.
the
Karanas, Trika
breast assuming Drdhvajanu, Aksipta, Svastika
Karihasta and
Nitamba,
Uromandala,
to be turned round, then
Katicchinna, Karanas to be assumed.
220-227.
foot
first,
K. with
Sfici
the
and Vidyubhranta K,
left
foot
foot
first,
left
then
moved
moved
first,
first,
227-229.
the right and the
Viksipta K.,
turning
left
with
hands by the
these hands
[iu
side,
K, and
Suci
assuming [again J
Slidhaassuming
229-231.
Vyamsita
[moving
the
right
gestures
first],
afterwards
[moving
foot
with hands
K,
K,
and
then
striking
with the
left
the
foot
Karanas with
making Uromandala
Karanas.
231-233.
Recita
it
on one
side
this
movement
sively
after
cchinna Karanas.
-IV. 247
/
234-285.
65
Trika,
[sidej
and
assuming
successively
Sucl, Karihasta
236-238.
Alataka 1
K. from
the
left
Aksiptarecita Svastika
feet to
(i.e.
be in Recita and
Recita)
movement
they should be separated) and with the same Recita movement they
are*to be
hand
Nupura,
Nitamba,
Ardhasvastika,
Aksipta,
Karihasta,
observing
Apakranta
Apasarpita
hands moving
the
and
Cart
in
Udvestita
Aksiptaka, Karihasta
Karanas.
244-245.
in
feet
and Trika
hands and
to
turn
make
to
feet
The Recakas
246.
now
247.
Among
padam calatakam
'
first is
Read
them
shall
vamam
calatakam
for
in B.
For the
relation
see Ag,
between Recakas
and the
THE NATIASA8TRA
66
IV. 348-
\
the second
(haxki)
248.
it
is
up or
Kati-reeaka
250.
feet, is
the Trika
drawing back,
Hasta-recaka Raising
with wavering
side
Raising up
251.
drawing
its
249.
feet or
of
[relating to
{i.e.
movement
its
is
round separately
hand
is
throwing
up,
putting
out,
hand
is
called
its
Recaka.
Raising
up,
movements
of
are called
GrivS-recaka
252.
it
and
this
instruments
musical
Din/lima,
like
(lit.
danced with
Mrdanga, 1
Bheri, Pataha,
Bhambhs*,
255.
Dance
Recaka.
253-254.
delicate forms)
its
destruction) of
(lit.
Daksa's
beat [tola)
and tempo
in
saeri-
time
{layn).
A?.
I. p.
arc
drums
203.
mrdahga,
bheri, pataha.
of different sizes
etc.
Of
these bheri,
(possibly
The
Daks/s
the
sacrifice
Varaha P,
.IV. 263
Ganas
256.
[in
N/andin
like
6?
fW], Pindibandha 1
different
[of
Names
257-263.
of
Sakra (Tndra)
(lotus),
different
(Kali) Simhavahini,
Candika
(Brahman) Padma
to
Airavuti,
Manmatha
(Ganga) Dhara,
Jahnavi
(owl),
Sarpa,
vimardini,
The
Raudrt
the
in
(plough),
Pin Ji
form of
] of Siva,
Andhaku*,
the killer of
The Pindis
his trident.
own banners 3
their
2G3-264.
Pin
his
After
made
turn
inventing the
out
fq^twi:
<tirs*ifq
'
Pimlibandhakg.
(I.
\fa)
tmrawfav;-
songs and
170-171)
explains the
fq<gtfa
Prom
occurs in the
following couplet
in
with
fq$ir.
fflfarq^K*qiwfraif^[i:<iiqT:
fqi^tw
and
inwf-
\rim
these quotations
be
marked with)
Tandu 1 who
sage
together
tfwtw *mfflfajrtwqr?:nflwt
f^^*nvQq
trofci
(lit.
Recakas, Angaharas
the
to
them dance
of
words as follows:
will
of the remaining
lis,
Bhogins
Daksayajna-
of a
later
11
is
it
ptttfi.
work on
to
For more
group-dance.
about
word seems
to be a term
fii)u\ibandha
see
257-262,
G.256
;
see
261).
'
above NS.
III. 31,53
and
to
The story of Siva's killing the Asura Andliaka occurs ..in Ram,
Hraivamsa and several Puranas. See JK. sub voce.
*
this
muni
originally
has
It
is
just
dance.
name
of
word which
f HE NATtASASTBA
B8
music
instrumenbil
(i.e.
and hence
dance
this
known
is
iV. 266.
as Tfindava
of Tandu's creation).
The
Use
2G5.
by
in
and what
is its
does
It
what
nature
is
drawing out
for
a play]
Why
2G6.
songs
of Gestures etc,
experts,
the
speeches
sages speak
led
to
the
and
making
the
of dance (""")>
dance made in
neither
relate
connexion
to
with
meaning
its
the
nor
Asgrita
reflect
its
spirit.
207.
dance
[In answer to
268.
these
by no
occasioned
is
questions]
need
specific
it
is "
it
said
the
that
has
come
into
all
people,
it is
creates beauty.
it
As dance
is
naturally loved
by almost
269.
It is eulogised also
on occassions of marriage,
child-birth,
reception
of a
amusement
son-in-law,
270.
271.
"Perform
Siva
this
(lit.
pleased
to
say
to
Tandu,
265(B268b-269a,G.264).
ntflam
was
god) too
B. reads
'
tasman nrttam
for
kasman
in 265b.
Pratiteepa Ag.
271 (B.274b-275a,
(I.
G.270).'
: mwftjw
it
This
.IV. 2?8
272.
the adoration
of gods but
gentler
its
<&
mostly to accompany
is
form (siihintara-yrayoya)
Sentiment.
The Vardhamanaka
273.
Now
Dance (larutava) as
274.
As
it
in its
Vardhamanaka
the
the performance of
Class
the
regarding
rules
increment of Aksaras
to the
it
attain
called
is
Vardhamanaka.
275.
The Asarita
After setting
down
instruments
the musical
(knlaiia)
270.
the
Then
the
after
to
dancer should
enter
[the
with
stage]
playing
the
of
drums
[only].
277.
in
And
278.
On
the
and
per-
form
all
(i.e.
those of
l
be misleading.
word meant
From
p. 5),
the
codified.
NS,
For the
it
It is
translated by
'class dance'
the
feet,
(posture)
appears that
to
out of old bos reliefs and printed in the Baroda ed. of the
that these
elements of tamlava
litsya
be distin-
Tuniiava was
well.
taken
NS. show
of the tuifffava.
27
B.279b-280s, G.275).
1HE
to
NATYASAS!I?BA
279.
IV. 2t9-
flowers
from her hands to gods, and after bowing to them, she should make
use of different gestures (abhimiya).
when
230.
is
The playing
of
drums
(lit.
the Class
there
the performance
at
of Aftgaharas
281.
but
heard (m>knta) on
distinctly
282.
make
should
stage]
will in
Pindis 1
all
till
[the
283.
the dancer
enter
will
same manner.
in the
and
her]
281.
women
make
will
their
exit,
be played, and
it
285.287.
Then
this
before
as
female
before,
and
gesture]
translate
the
in the
subject-
make her
stage
exit,
and make a
the
similiar performance.
Thus
289.
dancer should
at
every
step
the
rules
of Asarita should be
280 (B.283b-a84a,
....
&.. d
284-285 (T1.2H71.-288, 0.283(1-284).
285-287 (B.289-291a, 0.284h-H-,
r -o*)-a.., -Nl
.
Malavi.
"
U.
'>'
'
U, 5, 8, 13, 14.
G .279).
'
..sbj.
,'82
im*> 2
v ,. wstu
,
/i j
(padavaslu)
(
288'(B,!i91b-292a, 0.287).
sec
-IV.
293]
[During
290.
all
performances] the
these
71
foot
first
The
291.
Pindis
have
292.
four
Bhedyaka
it
due to
is
being a
its
and that
Latabandha*, and
is
be applied in the
to
is
the
transition
middle
one
and
longest
[proper]
2
called Srnkhalika ,
is
were] by a net,
The Pindibandha
Latabandha
Pindi
varieties
is
293.
and
or Pindibandha
{iinhn.ii) 1
a cluster
of the
thrice,
Pindi (lump),
in
the
first
tempo,
of
Bhedyaka
the
(lit.
the
in
the
padavastu.
See
Asarita).
(i e.
Vastn here
2S9(B.292b-293a, G.288).
means
These
(ishritas
According
required.
seventeen kalas,
tli
were distinguished
Ag.
to
(1.185)
medium asarita
by .the kalas
the
shortest
time they
of
asarita takes
thirty-three kalas
up
It is implied that
'
5n:
<W*K
From
a9fi inraisO*i*aiJ'l
fa;
<jqiii 5Fj
See
notes
256 above.
<wqrnrWi
* 8g*:
In the
BhP.
fq5ftW5 5
la'i r
<srar
<rafatW<i
wit
ii
3*1
II
of dancers.
Of
these the
gulma
is
mikhala
the dance
in
of
'
gulma and
1.
1.
sakrt
( - once).
identify the
the mtkkalika.
sanrtta=ekanrtla=ekasya nrtta
THE NATYASASTBA
72
sana.
(of Pindis)
Origin
294.
J
is
IV. 294-
be learnt
These should
twofold
The Clmndaka
In the Vardhamana the producer
295.
I
[dances].
now speak
I shall
the
should
thus
use
rules regarding
the
and Chandakas.
performance of songs
290.
about
speak again
shall
of the dance
well as of
iill
the
drums
are to be sounded
298.
dancer should
First
of
and
this
song
at that
time
stringed instruments
all,
the
entire
a dance.
299.
gestures
the
all
shown by
will
the
apply
dance,
equally
use
of
to (he
300.
the Vastu.
301.
This
Now
is
the rule
with
regard
listen to description of
to songs
songs
consisting of
made by Angas.
in-
strumental music which apply to words (of songs) are equally applicable in case of
302.
During the
Mukha and
the
Upohana
their Angas.
the instrumental
them
distinct
(lit.
separate).
394(B297b-298a,
emanation
0.2*0.
(I.p.193) f the
"Ibis
passage
is
is
features of
not
clear.
A^
not convincing.
the
0.295).
See above 285-287 note
or firatikzepa see above
270 note 2
1.
[V.-1.
When
308.
song some of
of a
course
in
73
parts
its
are
be delineated by gestures
When
304*305,
repeated
in course of a song
some of
parts
its
On
occasion
the instrumental
this
are
should be followed
it
an
[proper] tempo.
305-308..
The Tattva,
Among
the Karana.
This
is
of the
the
the Tattva
these,
is
to
relate
to
be applied in slow
in quick tempo.
[Different] parts
This
is
always the rule in [combining] the dance, Gestures and the song.
In case of songs composed in one stanza (nibaddha) commencement
the
(gralia of
but
in
of
repetition
the
song] such
procedure
Asarita songs.
Now
consider
[all]
in
performing the
a dialogue between a
311.
Now
listen,
song
[in
its
THE NATYASASTHA
74
Varna
comes
fortune [in
to
close or
And
813,
attains
good
Dance should
314.
occurs
between a married
it
when the
play
IV. 313
a play].
lover
is
also
take place
any scene
in
of
or
the
like is visible.
315.
is
to
the part of a
dialogue
is
when the
or
also at a time
beloved one
is
when a
not near at
And
besides this
when one
and
feels eagerness
the appearance of
realises
the words
or anxiety on account of
this,
of a
Messenger,
no dance should
be applied.
318.
the heroine
319.
deity
But
is
if
If
one should
perform
there
is
to be applied
relates to the
till its
adoration
end.
any
of
And any
men
(lit.
321.
I shall
now speak
'
of the
ibid. 215.,
rules
XXIX.
about
the playing
19-82.
soe
N8\
XXIV.
216.
8
.
ibid. 217,
of
4V. 828
DESdfclPTIOtf
75
1
drums which should follow four-footed Narkutaka, Khanjaka"
and Parigltaka.
Playing of drums should
322.
Narkuta
class has
feet
begfti with
Dhruva
of the
foot
number
with equal
Graha by
the
SannipSta
been sung.
323.
of
when a
at a time
Graha
consists of even
of
syllables
the fore
finger
number
drum should be
the
after
its
foot has
first
been sung.
of
drums
as
directed
end of
its last
foot
it],
325.
its
Drums
should
Trantris
and
should be again
it
drum should be
When drums
or
324.
sung, and
played.
not
finished or
it is
beginning afresh.
may
be made by
or
One who
Mahesvara (Siva)
will'
perform
will
go
[at
well
dance created by
this
from
all sins
the
Class
to the
speak
These
are
of
application.
its
now about
the
rules
regarding
Tell
me what more
Danee
am
of Bharata's Natyasastra
See
Si
(C.)
XXXI.
511
XXXH.
XXXI.
434.
51 1
XXXII. 304
ff.
824.(B.327, G.323).
M6
(B.829, G.3-26).
to
Chapter five
THE PRELIMINARIES OP A PLAY
The Sages
On hearing
1-4.
topic of
question.
in
detail
(lit
Preliminaries
exhaustively),
with
worship
the
like
to
of
know
the very
their
all
the
have
of]
"We
said,
gods*.
in
means
who continued
mind and
characteristics
behoves
it
you,
understanding [the
same properly]."
Bharata answers.
5-6.
am
me. I
"0
relate
to
them].
Preliminaries defined
7.
As
it is
first
it is
performed
at
beginning (pUrvam) in
the
1
called the (.pur varanga) Preliminaries.
8-11.
See
'
54-68.
a term relating to
'
On
>
See
1.
13-18.
See TS&
I.
69-73.
Mill.
fiadabAaga-See
Ntf. (C.)
XXXI.
308-309.
Thio-
tola.
Ai/a-unit of the time measure in music. See N8. (C.) XXXI. 608.
Ag. (I. 211) says vn ^i[ * wrfVfl mwit ft'i.unfw*
OT
this
mst
See NS.
jmpin!mrirf wfti:.
7 (B.G. same).
itfwifa
qftft:
tho the
comm.
>
BhP.
parivarta.
defines
On
this see
bdow
23-24, 65-80.
742)1
The
definition
in
V.ld
with
as
Recitatives
Avatarana
Arambha 8
drums and
Ss*ravana 4
stringed
are
(pathytt),
as
well
Pratyahara 1
Vaktrapani 6
Parighattana 8 ,
medium
instruments as
follows
77
be sung
the
to
Then
12-15.
recitals
are
to
instruments, and
or
one of
Dance
[one
the
removing
after
the
curtain
dances
be
some song
Madraka*
of the
Vardhamanaka
during the
another]
class is
along
class
to
with
Preliminaries
and
musical
all
be sung,
the
Then should
Class
take place
the following
6
Utthapana 8 Walking round , Benediction'', Suskapakrsta 8 Ranga,
11
Three Men's Talk 12 and Laudation 13 .
dvara 9 Cari 10 , Mahacari
,
16.
of
explain
in
characteristics
these
all
now
I shall
Preliminaries.
"
See below 18
'
'
'
See below
lg
tirst
modern drop
curtain.
and
end of each
act.
'
'
(prarocam)
16 (B.GK same).
Cf. javani-
KM.
class of songs.
24-25, 107-113
in the
vardhamanaka a. claw
224ff.
madraka a
much
two curtains on
especially at the
'act'
this,
etc.
4
'
It
21.
It
may .appear
"See
'
"
'
XXXIX.
See below
below 27-28,
127-130.
u
that these items of the Prelimi
THE NATYASASTBA
V. 17-
The Pratyahara
Arranging
17.
of
the
musical
instruments (kutapa)
is
The Avatarana
The
seating
of singers
called the
is
Avatarana
(lit.
coming
down) 8 .
The Irambha
The commencement
18.
(parigita)
is
called the
of
Arambha (lit.
vocal
exercise
singing
for
beginning)*.
The Ssravana
Adjusting the musical instruments for playing them in
manner
is
due
'
The Vaktrapani
Rehearsing
10.
(lit.
dividing) the
different
styles
(vrtfi)
is
The Parighattana
The
strings of instruments
are
adjusted
Parighattana 4 .
neries to
elaborate.
But
is
it
not
'so.
In ancient times
not
so
made
needlessly
much punctual
to it all at once
in
coming
and at any
to
fixed
time.
Quite a long time passed before they all assembled. Hence from
behind the curtain the Director offered
to the early-comers (naturally
the people
who
had no haste
in
their
lives)
whatever
Hence Ag.
they
(I. p.
could,
215) says
observed even
formances in Bengal.
1
Kor
the arragement of
the musical instruments see the diagram" 2.
18 (B.G. same).
;hisseeNS.
((J.)
'
XXIX.
W (TiXi. same).
"
17 (B.G. same).
(0.)
120
'
see
diagram
2.
vakirap,,i-V
XXIX.
131
details n
Um
the performance-
ft".
XXIX.
.V. 34
THE PRELIMINARIES OF
PLAY
79
f
The Samghotana
The Samghotana 1
20.
different
hand poses
meant
is
rehearsing the
for
use of
The Margasarita
The playing
together
The
A"sarita
time-fractions .(kalapata)
is
Xsarita
meant
beat
the
practising
for
of
z
.
The Application
And
of
is
The
21.
[in
of songs
singing
the
glory of gods.
The Utthapana
22-23.
ceremony which
Benediction start
[of
shall
is
(lit.
raising)
is
considered
the
performance
(lit.
the play].
Utthapana
the
by some
to be
The Walking-round
The Walking-round
23-24.
because in
it,
(parirartana.)
all
styled
so
is
different worlds
are praised
The Benediction
2-1-25.
The
Benediction
(iiaii'fr)
)
is
so called because
it
gods,
Brahmins
performance
of this see
the blessing of
and kings.
20 (B.G. same).
samghotana For
the
137-141.
this
see
N8. (C.)
XXIX.
146-116.
21 (B.Q. same),
(C).
XXXI.
>,
59-75. 169-194.
XXX.
267
ff.
parivartana-parivarta
see
below 65
1
24-25
(B 24b-25a,
G.24).
'
For
its
ff .
ff.
THE NATVASA8TBA
80
[V.
2fi-
When
25-26,
meaningless sounds
for the Jarjara
Avakrsta Dhruva
an
it is
called
composed
is
^uskavakrsta 1 ,
It indicates
with
verses
3
.
The Rangadvara
26-27.
The Rangadvara
is
The Cart
is
the
so called
Mahaeari
because
in
it
consists of
the Mahaeari
moveoccur
The conversation
of the Director
Talk
is
called
(mtradhara), an
the Three Men's
(trigata).
The Laudation
29-30.
The
which
address
the
Director
(lit.
the expert)
The
30-31.
which
is
now
shall
included
in
the
describe
Bahirgita
in
and
detail
shall
the SsrSvana
speak of
its
The meaning
is
'
aftC
below 113-115.
not clear.
lines.
28-29 (B'29,G'28).
lor
details
29-30 (B.30,G.29).
For
details
37
V.
Now when
31-32.
81
in
of gods,
praise
all
made
hear
to
1
the Nirgita* performed with proper tempo and time beat .
Now
33-34.
were
provoked
all
one another
Nirgita
this
Raksasas
and the
Under
34-36.
accept)
Daityas
the
gods,
in
"We
are glad
to
to
[over the
hear
(lit.
(and not the songs) in seven forms 1 about the exploits of the gods,
and shall
always
be
we
with
pleased
Then
it.
Nirgita only
Daityas
these
for
repeated
its
performance".
These
37-38.
Danavas and Raksasas are pleased with the Nirgita only [and do
not want anything else
mance
songs].
i.e.
Hence we wish
this
perfor-
What do you
an end.
think
of this ?"
See
497
XXXI.
ff.
Sec (C.)
See (C.)
See (C.)
nirgila
For
412.
instrumental music.
tolas.
XXXI. 414.
XXXI. 234 ff.
(C) XXXI.
P-
'
w*MwfcrMMawT
vwrcii
Ag.
this
vvm i?if"tfa
( 1.
**m liJW
THE NATYASASTBA
83
Narada
38-41.
V. 88-
replied,
Upohana and
Enraptured
forms.
(lit.
will
bound down) by
this
This
41-42.
Daityas while in
is
This
42-44.
to be played
it is
by experts in
It
is.
Citravlna 1
should contain
light
syllables (afaara)*
and heavy
She
it
there
is
sung a combination of
The gods
44-45.
well as the
The
like, will
now be
its
seven forms as
given.
The Gandharvas
in the
are pleased
performance of the
A"ft 5vana
is
performed, and
The
By
the
Sanighotana Guhyakas
the
Margasiirita the
pleases
Yak?as.
When
a kind of
vim
drama.
ma,
la, ka,
.
See
suitable for
'
citravinanatyoparanjanarthaya vina;
la are
light.
and
drri
XXIX.
19-23.
like,
-V. 59
THE PBELIMiNAkiES
followers
Similarly
is
tana) Lokapalas
Moon-god
and the
of the Avakrsta
the singing
with
pleased
is
with
Walking-round (parivarr
the
of
guardians of the
(the
Eudra
pleased by the
the performance
in
'83
them, and
A PLAY
01?
worlds) are
delighted,
During
Benediction.
the
Rangadvara Visnu
the"
the leaders
pleases
Uma
On
of Vighnas.
on
while
pleasure
takes
the
In
pleased, while
is
performed
performance of Mahacari
the
55.
and ending
56.
[Maha]
in the
cSri.
in
by them and
it
which they
in
take delight.
The performance
57-58.
praised by them
is
is
gods) and
(i.e.
And
life.
meant
tliis
means
is
con-
perfor-
(lit.
denizens of the
celestial region).
59.
rules of
I shall
now
Dhruvas 1 the
with or without
Vardhamana
tell
characteristics
songs
{saglta
and nirglta)
as
well
as of
the
*
t
56 (B.57, G.55).
55 (BJS6, G.54).
57-58 (B.58-59, 0.66-57).
59 (B.61, 0.59).
*
'
XXXH.
Uoka
(B. 60).
ff.M-
fgg NATTA8ASTSA
84
The songs
Besides this
{yah).
and three
tempo {lay*)*
of
three kinds
as
as well
caesura
it
8
,
and
it
The Tala
64.
Saroya
in question should
consecutively
of
of
First Walking-round
The
Thus
65.
a Sannipata Tala
And
consist
is
it
Kal8s should
eight
of
said
that
be
a Walking-round
60.
be made
in
first
Walking-round
the
in
Preliminaries should
(ie. the
it
first
the termination of
be played.
The
67.
second one
On
(i.e.
the
second Walking-round
termination
'
V&.
of
the
first
Walking-round
See
in
267
the
medium
ff.
ff.
(0.)
'
See
Nl
(C.)
38-39.
XXXI.
XXXI.
4.
532-537.
See
M(C.) XXXII.
64 (B.B6. 0.64).
65 (B.67,
O 65).
>
149.
XXXI.
66 (B 68, 0.66).
74.
67 (B.69, 0.67).
$BB PBMLJMINAMIES OF A
T4J
AT
PI.
1
tempo (laya) the Director [and the two Assistants]
Si
should enter
[the stage].
The
three should
68-09
and
initiated
purified,
themselves
by them should
flowers carried
be looking with
Adbhuta glance
the
for
[also] be white,
1
charms
with
furnished
They should
and be
the "Vaisnava
in
The two 1
70.
(]>avii>awika) should
Assistants
These
71-
carry a
by
his
five ateps.
purpose of worshipping
will
be described
[below] in detail.
72.
and then
apart
raise
SucI
five steps
in the
Cart
feet
three
Talas 1
[distance].
After going
the Director
the
two
their
place
with
(lit.
moved
foot
left
others)
and the
first
perform
right
foot
afterwards.
74.
Then
(Brahma-mamfala) which
circle
to stage
is
is
offer
another
flowers in
name
Brahman's
supposed to be present.
Assistants
is
'
See
below 68-69,
68-69 (B.70-71, G.68-69).
70 (B.72, G-.70).
the Jester in the Tliree
*
Jarjara
see
'
72 (B.74, G.72).
of the Assistants
N& HI,
73
'
to
ff.
B. omits 71b.
tola a
unit' of length.
73 (B.75, G.78).
is
'
Men's Talk.
71 (B.73a, 0.71).
til>
One
The
74 (B.76, G.74).
THE
86
And
75-77.
pectfully
and
bow
(lit;*
{is.
Director) should
the
entrance
medium tempo
he should
of gestures [related to
it],
perform
of taking
78-80.
third
it
up
Acamana and
Walking-round (parivarta)
is
as follows
up
Bising
And
from
quickly
(lit.
call
golden
[The
[Brahman's]
and the
foot
left
first
80-83.
the centre
circle
side
should
circle {i.e.
:]
wards.
should be performed
on the
[to
Walking round
third
manner
begins, with
of the stage),
res-
(laya).
The
77-78.
H-
his
of the Director
V.
[suitably] divided.
in
he
afterwards
Brahman
to
4TYASASTRA
to
thrice
the
tf
Can
this
after-
which was
putting forward
Going found
the person
(i.e.
pitcher {bhrhgara)}
He
Director
carries
the
(iauca) [with
Acamana and
the
who
Director
of obstacles,
Thus
after
performing
and
this
last
act should
be per-
Sannipata [of
this
second Walking-round].
83-84.
The
third
Walking-round
'
B reads wmdatfithi-
Ag.
(I.
l>.
'"
78-80 (B.80-81, G.78-79).
).
'
S- above 70.
'
According
89
.y.
87
Brahmtmo^ala) 1 and
ending
be performed in n quick
tempo.
84t87.
Jarjara to ward
and the
And
the
The
foot* afterwards.
the
five
foot
left
steps
to-
right
he
off evils
fourth
foot
and
first
Walking-round which
ends 1
made
in
with
an
a quick
tempo.
87-88.
movements
it
of
hand and
feet in
it
will
is
movements
will
occupy Twelve
Kalas only.
88-89.
salutations
three
the
make
hand and
before this they are to sprinkle themselves with water, but in case
of
the Tryasra
prescribed
such
[Preliminaries
sprinkling]
has
not
been
1
.
89-90.
(lit.
raising).
See
N& m, 23-30*note.
G .84-86).
84-87 (B.86-88,
'
N& 64
for
they relate
'sec
before 22-23.
THE NATYASASTBA
88
V. 90-
its
The Dhruva
is
the Parivartant
called
(Walking-round) Dhruva.
91-92'
in the
92-93.
And
music and
and
the Atikranta
foot first
left
to
Kalas.and movement
two Sannipatas.
and
the
right
(Vedha)Cari
afterwards
foot
manner
In this
Carl
bow
should
Then he would
94-95.
step
Director
graceful
belonging to them.
93-94.
Dhruva the
accompaniment of instrumental
this
he should go
and bow
with
steps
five
to different deities in
directions
belonging to them.
95-97.
First of
presided over by
all
(Sakra)
to
bow
to
the
Yama.
by Varuna.
direction
of
Is
the
protector.
97-98.
left
foot
98-99
Then with
his
face
first
'
},
B. pmits 93a.
'
"
.V.lflB]
bow to&va
should
feet
B6
(Rudra),
W A PLAY
by
'masculine',
(Upenflra) while
and
'feminine'
^neuter'
The
99-100.
100-101.
fiva ,([sa)
firstj
and the
[much] raised
is
left
clled
foot
is
!neuter'.
1
[should be so put forward] .
The^outb Man
enters.
101-102.
then the FourtU
Man
[finished] thus,
and
102-103.
to all the
And
103-104.
made
to
(dobhaJcr'uja).
104-105.
make
his exit.
And
Man
should
105-106.
and
'
its
l.ll.l
"
'- '
"
"
-.111.1..
'
I.
.11
99-100 (B.100,G.99).
'
See NS.
Ill,
U-13.
(C) XXXII.
19
'
Que
Se*>
Ns, (C.)
154-159).
XXIX.
21
THE NATYA8ASTBA
90
106-107.
[V. 108-
'
a song consisting of
is
fifth,
the seventh
be short. 1
will
Tho Benediction
Then
107-108.
Director
the
Benediction
will
recite
in
a medium
1
or twelve feet {paila).
108-109.
'
subham
tatha
-
Salutation
May Soma
class.
to
the god?.
all
l)
as
as healthy
well
life
brahraottaram tathaivastu
109-110.
hatabrahmadvisas tatha
pra&stvimam maharajah
prthivim ca sasagaram
let
an
bo
Brahmins, and
and
let
110-111.
preksakartur
mah8n dharmo
bhavatu brahmabhavitah
77. Lot this state prosper, and this theatre flourish and
106-107 (B.108).
>
G. omits
talatika (p.
this.
For
mPi or
let
II.
25-26.
<rcs[.
THE PBELMINABIES OF A
118]
V.
show
PLAtf
91
virtues proceeding
attain
from
U 1-1 12.
kavyakartur
yasas" castu
prtyantam devata
Tr.
let
and
iti 1
(lit.
and by
this
kind of
sacrifice
(tjajhu),
After
112-113.
the
be
this
and
should loudly
"Let
distinctly say,
so."
The
113-114.
Benediction
the
114-115.
first
above].
jam
115-110.
bu ka va
li
ta
ka
syllables, e.g.
te tc ja.
The Rangadvara
After
116-118.
performing
properly
the Suskavakrsta
performance
is
whose worship
[the
dramatic,
It).
tha Rangadvara
is
called
should again
111-112 (B.tlS.GllO).
112-113 (B.114, G.llla).
116-117
(B 117b-U8a,
117-118 (B.118b-119a,
0.115).
lr6)
;
<
'
'
THE
N'ATXASASTftA
V. IIS
The Cari
And
119-120.
perform
should
two
and the
a ,ari
been honoured; 1
has
backwards.
Then
120-121.
with the
he
medium tempo
(/a//)j
The Dhruva
121-122.
the Addita
the
the
first,
fjfth
audi the lasf syllables long a nef the remaining syllables short in
its four feet of twelve syllables, is called the Addita.
122-123.
I shall
relate
UmS
different
according to the
application
its
all
When performing
(Wiora)- and'
States
movements.
i23-t25.
hand
left
should go
[first]
with his
five steps,
with
by
the Jarjara
left
its
125-127.
move
Then
it.
the Director
step and
left foot
its
at each
love as
the Director
<( I
subject-matter,
And
by
first
gives aa relevaat
meaning.
We
Sloka and
emend,
i*.
jarjfuasytt
llShl23(B.li0brl2Ua.Ua).
'
Bead
'
m&^&(&&.nmuit#*i),
Hi (C.)
XXXII.10,357.
121-122 (B.122b.l23a, GL120).
l2a42a;(B123kl25, 0.121).
165.
Mss. read
emend
*
lutudlirtam.
But
its
'
Deaacdin.
meaning
is
this to taladki;tam.
T&&.
XHL lAfc
not clear.
We
UUH27
(B,127-I28,.aia4125).
'
It is
thorefore
184
.V>.
93
The Mahacari
127-128.
And
should
down
128-130.
the
During
Caturasra type
perform
tempo, and
quick
in
Mahacari
in accordance
and
of
have
should
it
first,
fourth,
seventh,
tenth
130-131.
the
below.
and the
hands of one
(An example
padatalahati-pat
Dhruva)
of the Caturasra
ta- sailam
ksobhita-bhuta-saraagra-samudram
destruction
of
the
Dance
Hara
of
world,
II
all
(Siva)
hills
after
by the
creatures living in
Then he should
drums (hhanfri)
Afterwards he should
go
should"
( Vedha)
five steps.
C&M
afterwards.
with his
his
feet
gracefully
he
put forward
first
134-135.
should
move
them
And
movement
[described above] he
and again
128480
[V.1S6
TAB NATYA8ASHRA
9i
first
put forward
left foot
with his
should again perform theSuci Cart
Then he should
130-137.
recite
then after
going three steps he should call for the two Assistants, and on their
coming
up, a
At
singing this
the time
of
by
Then
137-138.
(Wio-
During
the
rati vrtti)
(this
it
come
place.
in
and
words to excite
138-139.
be brought in
some
remark or an enigmatical
utter-
who
who
(lit
is
and who
[there]
the
poem), but no
in.
fault
with
his
words which
are,
[however,]
The Laudation
141.
(lit.
[to
members
of the
audience], and
(lit.
persons
(i.e.
all
these rules,
all
the three
u\
(B.U2, G.138X
THB PBELWINABIE8 OF
<V.161
PLAT
95
the SucI
The Tryasra
143-144.
Preliminaries
now
and
same
one
is its
1-15-146.
[In
it]
the
its
Bamya should
of Kala, Tala
With
it
consist of
the
the
be performed
should
Brahmin?,
Thus,
to consist of
is
one Kala
kind of measurement
this
Preli-
147.
The Dhruva
148.
the fourth,
its
four
the eighth,
of twelve
feet
(type, .
1
movements
Dhruva
[of persons],
US.
The
of two
made
and movements
actions
types elaborate
a dancer] are to be
[of
and abridged
according
as the
150-151.
It
is
movement
of
hands and
feet
Caturasra (Preliminaries)
feet
should be moved
movements)
the foot
they
are
to
times.
This
is
in the Preliminaries.
movement should
('.".
of
hand and
ll).
148 3.149,0.145).
150-151 (B.l51-152a, G.147-148a).
TEE NATIASASTBA
96
to
in
.[
the Caturasra
V.
one
Preltmimttfes
[But
153.
all
be performed in the
no [elaborate]
to avoid repetition
[here].
the best
154.
Hence
fit.
which
relate to a play
155.
now
I shall
describe.
to one of the
mixed
to
(r.itrn)
150-157.
decor.it'
till
was
by the Fourth
Man
been
{raturthakard)
and resounded with the well measured loud songs of musical experts,
DundubhU
[And
158.
of white
in the
flowers should
bo scattered
all
clusters
159-160.
with
its
should
poems
[firths],
intervene
(pitdu).
separate
the
Tliis rule
feet
described
above
Angaharas,
Recakas,
of the
Benedictory
(itHiidi)
who
1GI.
'mixed'
[all
the
Preliminaries
tho 'pure'
dancers
dressed
as]
goddesses
should
make
their exit.
102.
of
all
the other
161 (B.l62a,
16.3a,
G.158).
.V. l&t
THE PBELIMINABIES OF
manner
A PLAY
97
in
But
in the Preliminaries,
song.
be
:
164.
for too long
[a
well
as the
spectators.
165.
clear impression of
performance
(i.e.
of the play
itself)
cannot
excite pleasure.^
166.
make
Assistants should
their exit
with
his
167.
the
manner
[the stage]
(sthapaka) 2 should
Introducer
the
described,
enter
every respect
(lit.
in quality
163 (B.164W65a,
and form).
G 160).
'
64 (B 165b-166a, 0.161).
B.
167
(B
2b-173a, G.164).
seems to bo defective
slhapaka
that
for
'
the nominative
Dhanaiijaya
0ntroducer).
minaries
(purvaraiiga), another
The same
(III. 2).
the
BhP.
is
10th
(c.
actor
enters
in
to
this
parage
prajujya cannot be
century)
having gone
to this
clearly
gays
1175-1250).
See
Hence
this
well-known proverb
ralhe ca
vhmanam
some-
drstva pwnar-
janma na vidyate
It seems tl at BhiUa cut down the Preliminaries
and made an end of the practice of getting the play introduced by the
.
sthhpaka.
krlarambhailp etc.
'
cf.
nt
above,
98
He
168.
THE~N.ATYA6ASTRA
[Vi.lflft-
At
16!).
be made
(lit.
meaning) and
it
recitation
then he
is
name
of the play-wright
(lit.
Then by mentioning
172-173.
States..
(lit.
the
stage)
(lit.,
the
poet),
to start the
(lit.
having recourse
to
its
of the play
[lit.
174.
After
introducing
a god
to)
man
in
in different
C'/Jtj)
play
the
the
introduction of the
to
the
relates
man
he
and
the poem) 1 .
in a divine [play], a
in
and
of Blokas contain-
be either
will
medium tempo.
DhravS' ishould
Introducer
play)
(lit.
the
If
will
him and be
176.
On
the contrary]
and
an
in
great loss
'
DB.
HI 3.
V. 1?9
THfi PBtfLIMINABiES
17?.
tents
86
178.
OF A PLAY
In
this
made
production.
^
two
of
different ex*
Odra
.179.
minaries.
regions.
Tell
me what
should be discussed
now
other rules
relating
to
the
Natyaveda
1
.
of Bharata's
Natya&stra
'
The portion
It is not
CHAPTER SIX
THE SENTIMENTS
The, sages question.
1-3.
ries,
"Answer
enumerated by experts
And why
ings
(make us
terms
of
called,
(mmijrahi)1
Digest
as,
Etymology (nirukta)"
(karika) and
Sentiments
the
feel) ?
such
said to Bharata,
how
in
bhaoas (States) so
are the
bhavatjanti
Explain
our questions.
of
five
mean-
Memorial Verse
Bharata answers.
At
4.
and mentioned
in
distinction between
And
5-7.
detail
and
means
to
then
he
said,
"0
sages,
shall
tell
you
in
exhaust
(jham), 1
repectively
and
and
manifold
crafts
subjects
(lit.
9.
{hilpa)*
and endless
I shall tell
in
to
1-3
IB.G. tame),
karM,
to the
an
And
end
ocean,
for
science
with
it
are
as
is
not
of)
it
even one of
there cannot
be
all.
its
contents embodied'
For
a possible chronolouieal
implication of
uirukta, svtra and bhteya
mentioned in this chapter
seoSkt.Port.cs.Vol.I.Mff.
5-7 (B.G. same).
.
(nalt/a)
connected
number.
go
like
sanigraha,
drama
all
arts
>
uPam~citrap U stndi-karmani{X
8 (B.O. same).
>
4 (B.O. *,).
ad sutra&MrtJia.
VI
in
tHB SENMMENTS
14-
a small
number
101
of
subject].
When
9.
subjects taught
in [a
(commentary), these
latter
in detail
number
of]
constitute
Digest isamgraha).
10.
The Digest
[of
Practice
{vrlli),
11.
When
briefly in the
a rule
manner
number of words
12.
nexion
meaning)
(lit.
of a Sutra
The Etymology
clearly].
(iiimkta)
explained
is
is
(lit.
is
helped
that which
arises
by dictionaries
it,
and
is
in con-
and rules
involved as well
uttered)
the Memorial
called
it is
of
the root
helped
by
When
consideration of
its
is
established
affix],
from a
words expressing
which I mentioned
earlier,
will
now be
9(8.G
same).
10 (B.O. same).
11 (B.12,
Or.
'
same).
'One
ii
the Samkhyakarika.
12 (B.18, 0.19).
13
(B.U, G. U).
(B.15,
G.U).
THE NAT*A8ASTBA
iQt
The
are as follows
(rasa) 1
Comic
Erotic (srhgam),
(fira),
recognised
drama
in
Odious
(bhaijanalca)
Terrible
(biblmtsa)
16.
now speak
I shall
eight Sentiments
15.
[Vl.lg.
Temperamental
the
of
States.
The Dominant
The Dominant
17.
the following
States
x
States {dha>j\bham) are .known
and the
energy,
terror,
to
be
disgust
and astonishment,
The
18-21.
bhava) 1 are
tliirtytliree
known
States (vijabhuari-
Transitory
to be the following
discouragement, weakness,
weariness,
indolence,
shame,
depression,
inconstancy,
defined
death,
insanity,
by
The
22.
15 (B.16, G.15).
to
this
The
deliberation.
later
These are
eight
Temperamental States
rasa A. K. Coomaraswamy
'
Change
is for
of Voice,
translating the
p. 17).
writers
rim
ihma-k.
this
iiania)
number.
16(B.17, G.16).
1
feeling
or 'emotion'.
and
TfwdM'navour' (MQ.
9
fright
names.
their
as 'State.' See
it
DR.
'
B.
Keith translates
p.
We
31V.
n*rd
as
A. K. Coomaraswamy
Haas who
are with
translates
p. 108.
17 (B.18, Q.17).
' sthayMava-Ktit\i
translates the term as 'dominant emotion' (Skt. Drama) aod Haas as
'Permanent State' (DR.) and
as 'permanent mood' (./. S. K. De, Skt Poctiej,
Vol. II. p. 28).
,f&m
19-21
(B.IH2,
G.18-21).
M(B.28,0.9S).
'
'i&thO*
Thesa are
also
MSM-The
known
worn
as
wVSnVMaw,
Mtika
cannot b
,yj a*
-5CHE
SENTIMENTS
~#3
Temperamental States 1 .
The lour kinds
The
2').
Representation are
Words
(naciha)', Dresses
The Two
performance
twofold
fs
Praotiees
(lokadharmi,
realistic
coventional {n&tyadharmi,
lit.
And
attempt
But
Involuntary States'.
of
the
satha
author of the
ND.
this
153) writes
(III.
fr
of
sattva which
BhP.
of the
psychological
States
vodka
(
sec
-,
NS.
work
in
VI.
any
such
as
it
Tiiii
sjfagij.
sw
and most
94),
So
respect.
this
iW
a^ii'jfaw
%gfh
the
srfsnr:
w*n
connected with
its
use
sec
(pp.
13-14).
vm "W watfw*-
VIH-XH.
means Words
Sec NS.
24 (B.25-26a, G.24-25a).
'
correctly used,
(vftti)*.
sattvika-bhava
the
as follows: ftiii*
is
process
23 (B.24, G.23).
in the sustra
make
the Graceful
(salt call),
follow
definition
The author
Haas
this
n^s'raqtf'
the
Grand
to
writers
later
English.
into
Drama)
Skt.
(sec
Ntj. takes
Styles
properly
popular) and
lit.
theatrical).
The four
(Icaigik',)
{sattviha).*
The
24.
Ges-
1',
tures (ahgilca)
of Histrionic Representation
See NS.
dhami This
is
XV-XXII.
XXIV.
clear
word
lias
been very
not
of
Procedure (DR.
dharml
see
Haas
translates mitts as
Gay
(kaiiiki)
(Skt Drama,
and
him
"Horrific
p. 326).
For
Styles
p. 67).
The
(arabMi).
We
N& XXII.
Iff.
[Vi. 26-
THE NATYASASTKA
l64i
madhyama
OdramSgadhi and
Daksinatyn,
Avanti,
2f>-26.
(pWdliy
Panelist-
a dramatic
in
performance'
"
The Success
The Success 8
divine {laivih) and
in the
dramatic performance
human
(wa'*?i).
is
two kinds
of
The Notes
And
27-29.
seven
lit
Rsabha
human
in
fall
(w'wm
lit
:.
are
etc.
(fartrg
(.ww*/H
covered
Among
these,
means
'iivi naildha)
strings, the covered
(swim) a
a cymbal and the hollow
The
five
Songs which
20-30.
25-26 (B.28b-27a,
(Avanti,
D ikstinatya,
ww the
those
when
India,
list
the
see
new immigrants
N.'i.
PR
Dhruvas are
of
five
firavrttiKaas translates
'
The
74).
five
kinds
tliis
word
geographical names
show that
in this
NS,
were,
arose.
Bengal
in
still
many
si
ows that
at
XIV.
into this
For
way
of
details
about Pravrttis
36-56.
sidtthi
27-29
relate to
at tho time
may be explained on
tion of a iv
flute.
including
An 1
with
(ghana)
Aryanized India.
(mtira).
instrument
tradition recorded
part of
an
stringed (tata)
hollow
kinds of Dhruvas
25b-2fi:i).
and
means
(tain)
stringed
the
(ghnna),
solid
(*\\cw&) For
(15.28.i-30,
\See NS.
(C.)
0.27b
29).
XXVI11.
N&
XXVII.
11.
1-2.
'
XXXII.
334-352.
1 ff.
.yi. 81
THE SENTIMENTS
and
{pr&sadika)
triangular (tryasra)
is
its
con-
of
I shall
the
(lit.
the playhouse
(vilysla),
So much about
31.
tents
oblong
(niskama), pleasing
And
(antara).
intermediate
types
the three
of
105
No
(rasa).
of]
the Sentiments
The Sentiment
Sentiment.
is
and other
3
,
and as six
raw
as,
[Yes],
it].
articles
such
articles
to
[parallel
sugar
testes
or
spices
it is
spices, vegetables
produced by
(rasa) are
or
Is there
said that, as
vegetables,
so
the
become Sentiment) 4
word rasa"
of the
because
called]
is
it
rasa tasted ?
Now
It is
said in reply
reply]
it
said
is
(asvadayanti)
'
its
to this
the meaning
is
[(hat rasa
is
[In
tastes
(raw) and
that just as
many
is
so
How
well-disposed
attain pleasure
and
satisfaction,
is
The
till
the
in prose.
N&
Tho
Lollata,
Sankuka,
(Bhatta)
Niiyaka
ff.
14
'
nispattih).
THE NATYASASTBA
106
so the cultured
States with
Thus
is
For
Dominant
and
so the learned
it,
(such as
States
love,
mind
sorrow etc)
represented
these
food
connexion there
in this
32-33.
eating
LVI.32-
Dominant States
The
in
States.
Now one enquires, "Do the States (bhava) come out of the
?"
Sentiments (rata) or the Sentiments come out of the States
On
some
this point,
But
mutual contact.
Why
"It is apparent
they
opinion that
are of
that
from the
and not the States from the Sentiments. For [on this
are [traditional] couplets such as
34-35.
The
States
from their
arise
point]
are so called
by experts
kinds
various
of
'See below
auxiliary
in
but
its
The
may be
in emending
dNI
it
justified
if it is
P. 26.
is
really
?ra
ff.
till
*w?i
iw*
five
KfltimSjfttfflftfil,
on
f* i<*rcii^'nt<niff"iftftffl.
karikas that
tWt
^rai* itfJPUil
bhavas giving
many
partially as follows
suirafafasfttftfn
But
connexion
Just as by
'
follow one
drama, for
33-34.
there
articles
States
who
this text
it
may be
said
Cf V. Raghavan,
.
$Sr.
Pr.
-VI. 43
TAB SENTIMENTS
10?
brought forth, so the States along with different kinds of Histrionic Representation will cause the Sentiments to
originate.
30.
(lit.
without) the
States
it],
and
mutual
relation.
37.
good
and the
States
Sentiments
38.
source of
all
The
[as the
1
.
eight Sentiments
original ones
Now we
deities,
States,
the Sentiments]
fruits
e.
;;.
Erotic,
Furious,
Odious.
40-41.
arises
42.43.
Odious to see
The
Comic Sentiment
Erotic
white,
See
Tho
Bhoja
Sentiment
the
the
is
Pathetic (Sentiment)
ash-coloured
37 (B.41, G.37).
'
Ramaswamy
called
36(B.40,G.36).
33 (R42, G.38).
called
is
is
is
till
39 (B.44, G.89).
42-43 (B.47-48, G.42-43).
Stt.
in his Sr.
28; V. Raghavan,
ft
THE NATYASASTRA
108
VI. 44-
reel,
The presiding
Visnu
44-45,
Comic, Rudra
Yama
Yama
(ribhnra),
the
of the
(Kala)
Now
nants
of
&va (Maha-
of the Pathetic,
Brahman
Heroic, and
Pramathas
is
of the Furious,
origins,
we
Consequents (aimhhant),
the
States (njahhirariu),
their
the
Determi-
the Transitory
examples.
We
now enumerate
shall
Dominant
the
States in
different
Sentiments.
Of
Dominant State
;
beautiful
appreciated
is
lovely
for
in
(irnyarin).
is
authority,
so the
to
(wmhhoga) and
the
It
fullness of
its
owes
soul) a
and
is called
are named,
after the
attire.
(lit.
Sentiments,
basis
its
is
elegantly 'dressed
and
has as
Just as persons
or mother' or
their father
traditional
it
terms of the
person
custom of
and
(rati)
bright attire
(srhijara).
love
of
Hence
States
and other
in pursuance of the
youth.
origin
It
separation (viprcdamblui).
Of
to
has
two
bases': union
"
beginning of 46,
is in
prose.
'The
unguents, ornaments
original
of this
passage
till
[the
the
THE SENTIMENTS
.VI. 47]
company
109
of)
him or
her].
quents
such
soft
and
It
as
and
movement
clever
of
eyebrows,
eyes,
do not include
it
disgust.
sleep,
jealousy,
feais
in
pathetic
it
has
well
saslra)
inactivity,
why does
love,
conditions ?"
[sometimes] manifest
it
[In reply
to
this]
as
in
its
through
"It
has been
basis
union
in
amatoria {vaiiika-
Authorities on ars
separation.
its
itself
said,
it is
drowsiness,
Now
origin
indifference,
epilepsy,
insanity,
illness,
similar
in separation should
yearning,
anxiety,
fatigue,
dreaming awakening,
[fainting],
glances,
fear, indolence,
by Conse-
Transitory States in
other things.
cruelty
movement
delicate
playing
words],
or her
hearing [his
one],
separated
We
them
Common
Representation. 2
The
in the chapter
Pathetic
to the affliction
on the
the
conditions available in
46.
And
retaining
the
separation
in
why
reason
of
the
optimism arising
Pathetic Sentiment,
differ
Erotic
Sentiment
includes
it
is
rich
in
pleasure,
relates to [the
union of]
woman.
man and
.
of
other Sentiments.
all
loss
Sentiment based on
Erotic
Hence
this
discuss
And
Histrionic
shall
The
Erotic
Sentiment
arises
in
connexion with
'8wN&(C.)XXIV.
46(B.52,G.46).
"
110
company
of beloved ones,
roaming there.
It
VI. 49-
and
and the
face,
*Now
the
Dominant emotion
This
of laughter.
as
its
created by
is
basis the
Determinants
is
to be represented
of the
lips,
the nose
the sides.
Transitory
States in
(Sentiment),
is
of two kinds
are
it
indolence,
it
dissimulation,
This
the like.
and centered
self-centered
Sentiment), but
ment
tracting
When
diff-
in
others.
(Comic
it
(the
Comic
Senti-
As
this
placed
ornaments,
strange
movement
50.
As
known
as the
51.
of limbs,
this
behaviour, words,
behaviour,
it is
makes
movement
called the
persons
of the
words and
dress
and
Comic Sentiment.
laugh
by means
of uncouth
it is
Comic Sentiment.
This Sentiment
is
mostly
it
to be seen in
women and
speak presently.
5,2.
They are: Slight Smile (mita), Smile (hadta),
Gentle
Laughter (oihadta), Laughter of Redicule
(itpahasita), Vulgar
1
The
till
the beginning of
49{B.58,G.49).
50 (B.59, G.50).
61 (B.60, G.51).
52(B.61,G.62).
49
is in
prose.
TBB SENTIMENTS
-VI. 60J
111
(atihasiia,).
superior, the
Two
by
middling and
To
53.
{lianita), to
to those of
the'
The
this subjects
and
55.
ing eyes,
in
it
in
it
the
visible.
Of
56.
{vihasita)
have
should
slight
the eyes and the cheeks should be contracted and the face joyful.
57.
of Ridicule (npahasita)
nose
the
Of
The laughter on
58.
with
expanded and
to
it,
the laugh-
59.
the
tearful
(atihaxita)
sound
is
is
that in
which
Comic
situations which
G53).
may
arise
in
the course of a
(B 66,
54 (B.65, G54).
55
56 (B.68, G.56).
57(B.69,G.57).
58 (B.71, G.58J,
59 (B.72, G.59),
60 (B.73,G.60).
53 (B.62,
G-55).
THE NATYASASTBA
112
[V. 26-
play, for persons of the superior, middling or inferior type are thus
to be given expression to.
61.
it
is
of
supe-
middling and inferior, and has thus [on the whole] six varieties.
rior,
The
Now
the Pathetic
Pathetic Sentiment
(kamm)
from
curse, separation
This
Doriii-
as,
own
dear ones,
loss
afflic-
wealth,
to be represented
is
of
on the stage by
of the
breath, loss of
with
It
it
are
memory and
the
like.
langour,
indifference,
anxiety,
dejection,
yearning,
illness,
On
The
62.
its
63.
insanity,
change of colour,
like-
two Aryas
excitement,
inactivity,
Determinants.
This
is
to be
represented
like
it.
*Now
Dominant State
of anger.
61 (B.74, G.61).
in pros
62
is
64
is in
prose.
owes
caused
is
The
63"(B.77, 0.63).
It
its
by
its
basis
origin to Raksasas,
fights.
This
till
is
the
Danavas
created
by
the beginning of
62 (B.76, G,62).
'
The
till
the beginning of
-VI. 66
THE SENTIMBNS
113
insult,
untrue allegation,
and the
Its
like.
hurling of
arms,
This
other deeds.
of
fighting,
be represented on
is to
up
means
movement
the lips,
of
biting
and the
missiles,
Transitory States in
like.
mind, determination,
indignation,
energy,
it
restlessness,
Now
one enquires,
"Is
and the
fuiy,
like.
to be
it
one hand
are presence
statement about Kaksasas that they only give rise to the Furious
Sentiment, and that this
Sentiment does
[Reply].
in case of Riiksasas]
furious,
unkempt
standing and
this
for
hairs
their speech,
Even
furious.
movement
may
arise.
brown
of
colour,
and prodigious
Whatever they
of limbs or
any other
attempt, be
effort, is
by nature
in their
[But
Sentiment
to
it is
who
imitate
them
It
give rise
to
to
is
the
On
64.
mutilation
and piercing
in
is
lights,
created by
striking,
cutting,
battle
and
special
acts
the like.
It should
65.
such
the
as
release
of
many
missiles,
Such
66.
it
is full
of
is
the
conflict of
Furious
arms, and in
it
words,
movements and
'
G. considers
(0.64).
64 (B.79, G.65).
15
65 (B.80, 0.66).
66 (B.81, G.67).
THE NATYASASTBA
Hi
[VI. 67"
*Now
basis.
its
This
created
is
by
discipline,
influence
and the
strength,
agressiveness,
of might,
reputation
It is to
like.
and the
Transitory States in
like.
pride, agitation,
horripilation
energy
and the
(vega),
it
remembrance,
indignation,
ferocity,
like.
of
spirit].
to be properly represented
is
arises
surprise,
pride, energy,
on
agressive-
the
Now
the Terrible
Dominant State
of
fear.
This
is
as
its
basis
staying
in
an empty house or
about
it.
voice.
choking voice,
change of colour,
69.
and the
change of
horripilation,
trembling, loss
Terrible Sentiment
The original
forest,
or discussion
horripilation,
feet,
of
voice,
like.
The
it,
On
of
It is to
spiration,
news
of this passage
till
is
created
ArySs
by hideous
tho beginning of 67
noise,
is in prose.
67 (B.83, G.68).
68(B.84,G.69).
of 69 is in prose,
'
The
original
69 (R.86, G.70).
THE SENTIMENTS
-VI. 74]
Terror
70.
an empty house or
forest, offending
or the king.
one's superiors
115
characterised by
is
looseness
uneasiness, dryness
mouth,
tha drooping
of
limbs, the
of the
of the
This
71.
shown
is
case of
But
in
representation should be
for its
all efforts
artificially
by these conditions.
milder.
72.
the palate
and the
the
shaking of the
paralysis,
feet,
palpitation of
throat.
Now
Dominant State
hearing of
seeing
of
disgust.
unpleasant,
It
down
narrowing
It is to
as stopping the
of the mouth,
like.
movement
vomitting,
73.
disgusting
of
two
and the
traditional
arises
touch
all
like
in
the limbs,
shaking the
spitting,
Transitory States in
the
On
its basis
offensive,
by Consequents such
as
created by Determinants
is
are epilepsy,
it
like.
Aryas
and sound
which
sight,
tastes,
smell,
This
to be
by narrowing
nose,
bending down
cause
uneasiness.
74.
is
eyes,
covering the
71 (B.88, 0.72).
70 (B.87, G.71).
72 (B.89, Q-.78).
'
The
original
of this passage
f 73, is in prose.
78 6.92, G.74).
74 (B.93,'G.75).
till
the boginning
TEE NATYASASTRA
116
[iy.
Dominant
State of astonishment.
It is created
its basis
the
by Determinants
into
and [seeing]
illusory
and magical
by Consequents such as
uttering words
gifts,
hii,
3ri,
and movement of
and the
it
fingers
On
two
dhoti or
of
Transitory States in
like
like.
Aryas
traditional
75.
tears
making
approbation,
of
is
This
76.
is
to be represented
The
words
and the
77.
and
action.
And
and uttering of
the
Comic and
is
and words.
nsmg from
words,
78.
ha,
like.
dress,
of
is
from
loss of
that
wealth and
from bereavement.
The
79.
'The
original
'75(B.95,G.76).
78(B.98,G.79).
f this
passage
till
is
the
bovine of
76 (B.96, G.77).
79(B.99,G.80).
78, is in
77 (B 97
prm
781''
THE SENTIMENTS
.VI. 88
nf
that arising from making gifts, from doing one's duty (d/tarma)
and
The
80.
Terrible Sentiment
wrong
also
is
action,
three
of
kinds,
viz,
sion of danger.
The
The Odious
81.
nauseating,
a sight
and
simple,
of stool and
Sentiment
exciting.
worms
is
of
is
Of
three
these the
kinds,
viz.
Sentiment from
is exciting.
82.
and
joyous.
Or
the celestial
these
sights,
83.
I shall
to joyful
is
of
is
two kinds,
viz. celestial
happenings 1
their definitions,
Natya&stra
81 (B.101, G.82).
80 (BJOO, G.81).
82 (B.102, Q.83).
of Bharata's
'
CHAPTER SEVEN
THE EMOTIONAL AND OTHER STATES
Bhwvas
0.
this
Now
(States) explained
"Why
is,
words such
expression
like,
are
(infuse) the
meaning
oasita
common
Ont
When
Hence the
people.
root
is
presented
by
An
by one
established
bhamya means
the meanings
for
'instrument',
or
all
play
of the
bbdcita,
'cause'
1.
so called
is
'0,
it
Uhava
Is
spectators].
as,
enquiry in
bhavas (States)
Gestures
and
(pervade)
(States)?"
An
(States).
[into
bhamn
I shall;spoak of the
connexion
and
Determinants
heart
of the
(kavi)
[the
made
As
these
in
to pervade
the
mind
[the
Temperament they
of
Histrionic
3.
face
Representation
they
by means of
the spectators]
As they cause
spectators],
of
are
called
to
pervade [the
bliavas
(States)
various kinds
mind
by
of
the
those
who
produce a drama.
Vibkatoas (Determinants) explained
"Now, why
word vibham
is
is
the
word
used for
[Answer]
"The
It is
(B.O. same).
1 .(B.l-2,
G.1).
2(B.8,G.2).
'
Wo read bhava
3(B.4-5;g.8).
etc.
-VII. 6
119
As Words,
hetn.
Gestures
this,
is
it
On
As many
4.
Words,
through
Temperament
Sloka
known).
(clearly
things
and
Gestures
it is
(deter-
Vibhavita
the
Representation
this
of
the
"Now, why
is
the word
means
Temperament
of
mmbharyntfi (made
are
to be
by
felt)
this, it
is
On
As
5.
it
in
means
things by
it
are anubhavyate
the spectators
of
words as well as
relates to
Sloka
to [gestures
it is
[made
called
to
feel]
anubhara and
and movements
major
of]
Now we have
Hence we
Of
these, the
known among
people.
6.
1)0
their
and
On
This
Sloka
is
the
human
nature,
things
by
human
nature
and are in
The
ber.
tliree
kinds of States
6 (B.7-8, G.5).
'
are eight in
num-
We read with B.
THE NATYASASTBA
120
.["VII. 7-
the Temperamental States are eight in number. These are the' three
are to understand that there are
Hence we
The Sentiments
arise
On
The
7.
to the heart
is
body just as
(mmamja,
is
a Sloka
lit.
commonness).
fire
and
it
congenial
is
pervades the
connexion
It is said in this
when
how
is
that
it
[In
reply to
this]
is
it
said
endowed with an
identical
become
inferior intellect
manner, the
Dominant
States
while
others
an
their attendants, in
(e.g.
of [king's]
(vyabhkarin)
(tyabhicariv) depend.
local
and [hence]
become attendants
to
these
Transitory
States
and
(Determinants
Now
it
may
be
and Transitory
point] there
is
States
srfSwiM
hhi;.
a traditional &loka
7(B.10-11,G.7).
Dominant
name
of Sentiment.
[On
this
fwn^HM-aifWhi:
wifilHWfllfair
wwuraaui
-Vir. 10]
Just
8.
a king
as
preceptor (guru)
the
so the
Dominant
(Determi-
superior to his
is
men, and
superior to other
is
121
disciples,
The Dominant
States
known
Now
common
Dominant
of] the
to them.
we
Sentiments
as the
marks
we
First of all
up
shall take
of
[the case
States (sthayi-bhava).
Love
Love
(rati)
Determinants
ones,
by Consequents such as a
9.
is
its
dear
be represented
on the stage
words,
motion
of
like.
Love
because of
by
caused
There
residential
It is to
is
unguent, ornaments,
garlands,
seasons,
like
enjoyment of a superior
basis
its
from the
arises
agreeableness.
attainment
It is to
of
desired
objects,
[suitable] gestures
and movements
of limbs.
Laughter
Now
Laughter (ha*ya)
is
caused by
.On
and the
It
is
to be represented
Laughter
It
is
to
is
arises
a traditional Hloka
from a mimicry
of other
people's
8 (B.l 2-14,0.8).
9 (B.H-15, G.9).
10 (B.16-17, G.10),
16
as.
foolish-
like.
10.
actions.
like.
Determinants such
talk, obtrusiveness,
'
with
THE NATtASASTRA
122
VIL
11/
Sorrow
Sorrow (ioka)
is
murder or
stage
ing,
captivity,
and the
change of colour,
one's
be represented on the
It is to
like.
of limbs, falling
Weeping
the like.
joy,
[weeping] of
in this case
is
kinds
three
of
and
[weeping of
affliection
on
On
11.
body
is
Weeping
in
Weeping
12.
weeping of joy.
called
is
which there
in
shedding of
tears, uneasiness of
ments and
efforts,
is
called weeping
Loud weeping
13.
14.
and
to
in anger, is called
Sorrow
relates to
its
persons
it,
distinguished
by
origin
of
in
the
by their
affliction.
affliction [of
patience
lips
and the
women, persons
any
and
superior
move-
which the
in
copious
of steady
is
moving
has
it
due to
women
of
a loud sound,
is
body, want
the
on the earth
rolling
in joy, the
of the
kind].
the
inferior type,
With
relation
inferior type
their weeping.
Anger
Anger (fowllm)
abusive
language,
objects]
and the
Consequents
such
is
quarrel,
like.
as
Tt
swollen
11 (B.l n, G.ll).
.
altercation,
is
opposing [persons or
to be represented
nose,
upturned
on the stage by
eyes,
bitten lips,
like.
W(R20,Gkl2).
13(B.21,G.13).
14 (B.88-23, 0.14).
tliis,
.Vlt.
20]
Anger
15.
is
of five kinds,
viz.,
anger caused
by enemies,
On
One
16.
One
17.
slightly
with
Aryas
hands clasping
lips,
breast.
perspiration and
slight
18.
show
should
one's
movement
by a very slight
[of
the body],
woman
by shedding
tears,
Anger
19.
the stage
should
servants
one's
to
by means
be represented on
and casting
Anger which
20-
the
realisation
marks of
artificially
is
effort
is
called
to
two 1
relates to
Sentiments.
Energy
Energy (utsaha)
caused
patience, heroism
stage
by Determinants such as
and the
like.
It
absence
is
On
20 (B.30-31, G-19).
21 (B.82-33,
3
munificence, boldness of
6 (B.26, G.15).
17 (B.27, G.16>.
'
after slhairya.
20).
Omit kantara
19 (B29, G.18).
18 (B.28, G.17).
Omit dhairya
a Sloka
Omit smPada
before durdina.
It is
power,
like.
15 (B.24, G.omits).
sadness,
be represented on the
to
of
before siittya.
TBE MTYASASTRA
124
21.
out o{ alertness
the stage
by
effort
its basis
should be represented on
qualities,
and the
acts of vigilance
as
[ Y1L 25
like
Fear
Fear {bhmjo)
ft is
women and
relates to
in
forest, seeing
it.
go out
the
cry
a dark
of
animals
It is to be represented
on the
feet,
palpitation
On
run-
Slokas
22.
superiors
like.
terrible
objects
things.
23.
This
panic, drying
is to be
represented with tremor of the
limbs,
up of the mouth, hurried movement,
widely opened
Fear
in
men
Thde
25.
is
This
.dung the
lips,
{msanna) body.
by
(fear)
actors
movement
also an
arising
Arya on
(lit.
dancers)
with
slackened
of the eyes.
this point
should be represented
22(B.34,G.21).
24 (B.36, G.23).
26(13.37-38,0.24).
feel,
23(B.35,G.22),
37
.VII.
j 2i
Disgust
It is caused
type.
limbs,
On
26.
nose,
the
spitting,
like.
Disgust
to be represented
is
contracting
the
all
on the stage by
covering
limbs,
[general]
uneasiness
and
heartache.
Astonishment
Astonishment (n,ayy.)
created by Determinants
such as
of men, great
excellence in
painting, art- works in parchment 1 and
the like.
It is
is
illusion, inagtc,
extraordinary
feats
to
as wide
eyes,
On
Sloka
be
opening Z'l
[much] movement
to and fro the <**
The Transitory
The Dominant
We
shall
now
States
Slates 1 are
explain
the
to be known as described
hereTransitory States (v^bhicari-bhava)
It is
questioned,
it is
said that
and
t>t
of, hi
are prefixes,
is
[In answer]
cara meaning
to go', 'to
move
that
is,
cany
Omit fiarikirtana
40 " 41 ' G,a8)k
a? (B.42-43,
fn
Ga6 )-
is
In answer
questioned,
it
is said,
"How do
they
"It is a popular
after iravana.
'
l
*HB
126
this,
should
be considered like
caribham) as mentioned
We
number.
It does not
The sun
carries
The Transitory
arms or shoulders.
arc carried on
Vtl. 28-
people say,
as
just
these
in
NAtftfASASTBA
States
this.
in the Digest
them now.
shall describe
Discouragement
(irira>th)
Discouragement
by
caused
is
Determinants
getting insulted,
abusive lan-
the ultimate
represented
truth
essential)
and the
women and
On
28.
It
like.
like,
on
be
to
is
Determinants such as
by
stage
sighing,
and
(lit.
on the
weeping,
the
part
of
is
a Sloka:
and
it is
to be represented
on the stage by
On
29.
disease,
Discouragement
arises
from
loss of
dear ones,
poverty,
30.
discouraged
to
man
face
tears,
like a
yogi
absorbed in meditation.
Weakness
Weakness
(ylani) proceeds
too
much
Omit vyadhyavatmna
exercise, travelling
like.
It
is
28(B.44,G.27).
much
and the
to
be
voice,
like.
after dhtidra.
29(B.45, Q.28).
80 (B.47-48, G.29).
: :
.VII. 36
On
two Aryas
31.
ness, penance,
127
and
of voinitting, purgation
It is to
sick-
thinness of the body, slow gait and tremor [of the limbs].
Weakness
32.
weak
is
to be represented
voice,
constant slackness
gait,
of the limbs.
Apprehension
women and
minants such a
relates to
by Deter-
like. It is
hesitating
it
theft,
to be represented
looking on,
lips,
There
is
movement
change of
("
r<il,-ii)rfhati<t)
dryness of the
tremor, dry
colour,
facial
lips,
like.
Apprehension
33.
and
basis
It is caused
its
the
in
Sentiment
Terrible
is
it
due to
is
due
Some
authorities prescribe
Apprehension
from^qne's
be
characterised
by [adoption
in this
is
of
connexion
two kinds
viz.
That arising
own
35.
to
and gestures.
one's ownself
is
(lit.
self is to
man
dark
face,
efforts.
a thick and
he constantly
looks sideways.
Envy
Envy
offences,
(aaUjia) is
hatred,
other
31 (B.49, G.30).
34 (B.54, G,33).
caused
people's
'
wealth
82 (B.50,51, G.31).
good
luck,
intelligence,
33 (B.52-53,
35 (B.55-56, G.34).
G 32).
THE NATYASASTEA
128
sports, learning
and the
It is to be: represented
like.
fault with
On
36.
people's
others,
86-
on the stage
decrying their
eyebrows
face, knitting
assembly
VH.
[of
in
men].
two Aryas
Envy
arises in a person
who
is
displeased to see
intelligence,
and
other
exuberence of
sportiveness.
37.
be represented by
It is to
eye-
>
Intoxication
(mtidn)
Intoxication
Similar other things.
It is of
is
excessive.
Iotoxication
It
has
five
by drinking
caused
this point
of three kinds,
is
and
of liquor
viz.
light,
medium and
on the
stage.
39.
sing,
Among
these,
persons
of
those of the middling type laugh and sing, and (hose of the
sleep,
inferior
Light
intoxication
is
characterised
body, slightly
faltering
by smiling
words,
face,
delicately
42
Medium
intoxication
is
characterised
arms or arms
and
relates
restlessly
by drunken and
thrown about and
to persons of
the
middling
type.
36 (B.57, Q.35\
.39 (B.61, G.38-.
42(B.64, G.41).
37 (B.58-59, G.86).
38 (B.60, G.37),
40 (B.62, G.39).
41 (B.63, G.40).
-VII.47]
Excessive
43.
intoxication
129
by
characterised
is
of
loss
to
and
spitting,
to
relates
44.
is
who
is
character
show that
to
his
who
as
[acts] drinking
intoxication
is
his intoxication
decreasing.
But the
45.
there
is
panic, grief
and increase of
On 'account
40.
disappears quickly
of
just
these
when
effort
intoxication
conditions,
special
passes
grief
as
by
terror
Weariness
(srama)
by Determinants such as
caused
is
travelling
to be represented
like.
It is
is
an 5rya on
like.
this point
Weariness in man
47.
by [deep] breathing,
by travelling [a long
caused
is
of the
gait, contraction
tired gait
on the
to be represented
is
it
and the
like.
Indolence
Indolence (alasija)
is
it
relates
to
represented
On
Determinants such
inferior type.
like.
It
43 (B.65, G.42).
drowsiness,
sitting,
an Arya
sleep
is to
45 (B.61, G.44).
46 (B.68-69, G.46).
47 (B.70-71, G.46).
17
be
to
and the
44 (B.66, G.43).
as
And
by
caused
THE NATYASASTBA
ISO
[VII. 48.
48.
well
nature
as
all activity
Dipression (dainya)
caused by
is
It
like.
Determinants
self-command, dullness
up of cleansing
and the
such as
be represented on
to
is
[the
body]
like.
There
is
an Arya on
this point
<
49.
Dipression of
and misery.
tation
men
proceeds from
modes
Different
up
representing
of
on the
it
of cleansing [the
Anxiety
Anxiety (cinta)
of wealth, theft of
is
caused by
thinking
meditation,
and the
object, poverty
like.
It
to be represented
agony,
is
a favourite
with
downcast
face,
thinness
of
Anxiety of men
this point
arises in various
be represented on
It is to
breathing, agony,
[the body]
ways
and a heart
the
full
stage
from the
loss of
of expectation.
by sighing, deep
cleansing
Distraction
accidental
(tnnha)
injury,
is
adversity,
and the
caused
by
sickness,
like.
It
is
Determinants
such as
agitation,
remem-
fear,
to
be represented
on
48 (B.92-73, G.47).
49 (B.74-75, G.48).
60 (B.76, G.42).
51 (B.77-78, G.50),
Vll. 55
movement of
[a particular]
seeing properly
and the
There
52.
is
kinds
no help [near
There
53.
memory
is
this point
down,
reeling,
not
an
to seeing a robber in
panic of different
finds
falling
like.
a Sloka on
Due
limb,
181
occurs
distraction
to
man when he
by].
an Arya on
also
due
Distraction occurs
of past enemity.
by suspension of the
this point
to
It is
to
adversity, accidental
be
represented
injury,
on the stage
Recollection
(smrti)
Recollection
happiness and
misety.
remembering
is
It
every
condition
sleep, seeing
and speaking
64.
It is to
On
of
by Determinants such as
caused
is
One
is
said
to
recollecting
like.
'
to the
and
arising
Recollection
Vedas
Darsanas
forgotten.
is
to
Contentment
(dhfti)
is
caused
like.
by Consequents
as
such
6 (B.78^.61).
It is to be
amount
represented
of
53 (B.80-81, G.52).
54 (B.82, G.53).
65 (B.83-84, G.54).
'
money,
on the stage
after adhika,
not
THE NATIASASTBA
132
tVII. 66-
lost
and
like.
On
two Aryas
56.
spiritual knowledge,
purity,
is
When
67.
sound, touch,
one enjoys
taste,
non-attainment one
such as [sweet]
objects
attained
is
not
sorry
over
their
is
Shame
Shame
by
caused
has improper
(vrtfa)
Determinants such
as
as
action
humiliation
them, nonfulfilment of
on the
stage
downcast
face,
and
and
rings,
drawing
is
on
lines
When
a man,
or
disregarding
be represented
touching clothes
like.
this point
after
seen
59.
is
the ground,
and the
It
and repentance
It is to
like.
basis.
its
will
is
Inconstancy (capalata)
caused by
is
Determinants such as
and the
like.
It is to be represented
'
"
"
'
i
'
this
i
...I..
point
i
56 (B.85, G.5S).
57 (S.86-87, 0,58).
58 CB.88, 0.57).
59 (B 89-90, CK58).
||
^^ataw
VIL62]
When
00.
man
ld3
is
be inconstant be-
said to
Joy (harm)
is
husband
by means
stage
the eyes,
of
and beloved
preceptor,
king,
gods,
be represented on the
It is to
like.
and
money
embracing,
horripilation,
tears,
Joy
61.
is
caused to a
his beloved
62.
the eyes
It is to
and the
man when
be represented on
face,
the
stage
by brightness
of
movement
of
Agitation (avega)
tents,
wind or
is
rains, [outbreak] of
fire,
In
this
[falling] of
all
to
be
It is to
and the
and the
represented
by
like.
veiling
61(B.93,G.60).
82 (B.94-94, 0.61).
'
is
face],
to be
Omit pulakila
after
by lumping
kan\akita (B.O).
fHB NATYASASfPRA
lti
together of
shelter,
running,
limbs,
the
all
and the
[Vll.136
looking
some covered
for
like.
That due
like.
by hurried
to running
retreat,
about of elephants
unsteady
like.
wide steps,
gait,
is
embracing,
due
to popular rising
sudden
retreat, taking
is
{prakrti-vgasana)
On
chariots, striking
marked by
to
down
falling
to
is
be
And
like.
represented
that
by
and the
the
like.
has
part
hurry
of
as
its basis,
persons
of
the
flight.
two ArySs
64.
'
by
is
clothes
That due
like.
characterised by patience on
inferior type
away
rolling
63.
This
tremor, looking
giving
to be represented
and the
represented
something favourable
to be
the
all
flight
paralysis,
fear,
is
be
to
fire is
down
report,
disregard
6i>.
its
Conse-
enemy
is to
Stupor (ja4ata)
of
all activity,
is
hearing of a
and the
much
like.
It
to
silent,
tampraharana (pradkarana B.
63 (B.96, G.62).
is
the
word,
speaking
looking with
steadfast
like.
G.J.
64 (B.98, G.63).
harm-
be represented on
remaining absolutely
gaze, dependence
65 (B.09-100, 0.64).
::
-VII. 68
There
is
an A"rya on
this
A man is called
60.
185
point
when due
stupid
he
senselessness
to
Arroganee
Arrogance (yarva)
beauty, youth,
ment
of wealth
and the
is
It is to
like.
1
by Consequents such as contempt
be represented on
[for others],
roaming
to sh ulders,
[at
stage
the
harassing [people],
contemptous
large],
power, attain-
learning,
looking
[others],
laughter,
harsh
and the
like.
There
67.
is
an A~rya on
Arrogance
learning, youth,
this point
persons
of
beauty, royalty
of
the
type due
inferior
is
to
to
Desoair (rka<1a)
is
Despair
work undertaken,
It
thinking
allies,
And on
of
deep
it is
up
of
to be
the
breathing,,
this point
theft,
like.
66 (B.101-102, G.65).
67 (B.103-104, G.66),
Omit awya
8
before avajtm.
(B.105, G.67).
to the
THE NATYASASTBA
186
and
Vl'1.
69-
69.
types this
is
to be represented
in case of
it.
Impatience
Impatience (nutsuhja)
separation from beloved
is
by Determinants such as
created
persons,
It is to be represented
like.
sequents such as sighs, thinking with downcast face, sleep, drowsiness, desire for lying
There
70.
from
is
down and
the like.
remembering
and desire to
lie
This
them.
of sleep,
down and
to
is
be represented
on the
the like.
Sleeping
Sleeping (nidi a;
is
and the
like.
It is to
be represented on
tion,
ing
Sleep comes to a
[too
72.
like.
this point
71.
and the
man through
It is to be represented
face,
like.
89 (B.106-107, G.68).
70 (B.108-109. G.69).
7J(B.110, G.70).
72 (B.11 1-112,0.71).
and keep-
night.
>
hrira-lolana (avalckanaB.),
-VII. 76
137
Epilepsy
Epilepsy (apasmara)
and the
and a memory
like,
somebody's partaking of
it,
by Determinants such as
caused
is
like.
It
is
etc.],
non- obser-
derangement
stage
falling
On tliis
73.
74.
is
down
Falling
in the
and
house,
impure
disregards
by
possessed
is
remembers these
lie
foaming
like.
running,
in the
and the
on the
to be represented
beings,
[eats]
for proper
time
[in body].
suddenly
on
the
ground, trembling,
senseless, are
condi-
Drowning
Dreaming
(siipta) is
like.
and the
75.
infatuation [of
any
as
occurs in sleep
is
to
be
all
the
senses,
dreams
like.
objects
senses,
by Consequents such
of
of
They
this point
to interruption of sleep,
are three in
number
please viz.
kind].
wind (vayu),
It
enjoying
is
to be
bile (pitta)
and
phlegm (kapha).
73 (B.113, G.72). 1 That which
is
left
M (B.114-11!?, G.73).
18
75.(B.116, O.omit).
THE NATTA8ASTEA
188
ropresented
[Vn.76eyes,
deep breathing,
Dreaming
is
to
absence of
senses
and
all activity.
Awakening
Awakening
-
by Determinants such
as
digestion of
There
77.
is
and
it is
caused
It is to be represented
like.
sleep,
food,
like.
an Arya on
Awakening
this point
caused
is
It is
like.
to be represented
on
the stage by yawning, rubbing the face and the eyes, and the like.
Indignation
Indignation (amavssa)
by
is
reflecting with
Indignation
It is
to
bo
and
or power.
allies,
and the
like.
this point
grows
energetic
in
Tt is to
face,
by energy,
deter-
Dissimulation^flw/M^/io)
It is caused
is
76 (B.117-118, G.74).
VB (B.121, G.76).
fear,
defeat,
77 B.119-120, G.75).
.
79 (3.122-123,
(3.77),
respect,
.VII. 82
deceit
and
It
the like.
to be represented
is
139
There
is
Dissimulation
80.
It is to
like.
a Sloka on
not speaking
this point
is
due to boldness,
deceit, fear
and the
much in
Cruelty (ugmta)
is
There
is
like
an Arya on
given affence.
quents such as
It is to
killing,
like.
It is to
be
imprisoning,
killing,
like.
this point
81.
is
like.
'
arrested
is
or the king
like.
Assurance
(matt)
Assurance
thinking- about
the
the pros
by Consequents such
stage
of [any]
many
It
is
Determinants such as
Sastras
be
to
as instructing
There
82.
in the
by
caused
is
meaning of
is
and considering
represented
pupils,
on the
ascertainment
like.
It is
to
be
represented
on the
stage by
meaning
[of Sastras].
Sickness
Sickness (rydilhi)
humours such
as]
wind
80 (B.124-J.25G.78).
82 (B.128-129, G.80).
owes
it
origin
{rata), biles
to
(////<)
[sin
attack
and phlegm
81 (B.126-I27, 0.78).
of
three
{ka[ilni).
tHE NATIASASfRA
140
two kinds,
of
feeling
viz.
heat
of
[VII. 83-
illnesses
Fever
it.
Fever
{il&ha).
with
feeling
cold
of
should
down
the nasal
lamentation
is
and the
desire
feet,
coolness,
sicknesses are
breathing,
making
There
83.
is
the ground,
narrowing
mouth
the
The
other
dullness of the
types of
body, [deep]
and the
like.
Sickness
down
should
general
in
by looseness of the
stage
represented
a feeling of heat,
be
to
narrowing
horripilation,
on]
roll
[to
lamentation,
the mouth,
of
like.
be represented by
tp
dryness
passuge,
be represented
throwing out
limbs,
the
on the
limbs
and
illness.
Insanity
Insanity
(uiimadu)
caused
is
by
Determinants
such as
ment
of [the
humours]
three
like.
dancing, singing,
and
wind
It is to
.
talking,
reciting
{i'al(i),
biles
(i>ilt<t),
phelgm
down,
lying
sitting,
by
running,
smearing [the body] with ashes and dust, taking grass, Nirmalya 1
soiled
cloth,
body],
many
rags,
Insanity occurs
>
this point
owing
{kaplta)
the
[of
wind
to
death
of
(void), biles
beloved
(pitta},
persons,
phlegm
83 (B.130431, G.8I.
Remains of a
who
takes
flower-offering
it
to a deity,
with reverence.
-VII 86
Insanity
85.
to
ie
Ul
sitting,
less acts.
Death
Of
dental injury.
is
by Determinants such
caused
and the
caused by
And
like.
and other
methods
sickness
of
is
taking
vehicles.
the
of
80.
stage
Death
Death due
for
sickness
to
family
members, speaking
accidental
to
in
weapons
be represented
to
down on
ways
different
the ground
be represented on
to
by
injury
c.<j.
to
is
the
Consequents
and the
like.
viz.
be represented
due
[death
to]
wound by
such as suddenly
In case of snake-bite
gradual] "development
is
number,
is
viz. loose
of
its
symptoms
tremor,
and death.
l
85 (B.133-134, G.83).
Earlier
writers
on
the
Hindu
Wrongly believed that NS. excluded wanes of death from the stage.
drama
(See
Drama, pp. Hi
also M. Ghosh. "A so-called convention of
Hindu Drama", JLHtJ. ,IX. 1933, pp. 981 ff.). Windish thought that.
Keith, Skt.
the
from
like.
on the stage
is
of the different
stage.
is
by one mark
falling
fero-
elephant, horse,
There
on the
ofj
is
[attack
now speak
shall
representation
their
poison,
down from
falling
to
to be represented
as looseness
and
intestine
that
weapons, snake-bite,
malady of the
as a
acci-
death, that
of
kinds
these two
VUI)
Sakara (Der
86 (B.13W86, G.84).
violated a
rule
'
iflE NATYASABTB'A
The
87-88.
poison]
of
effect
symptom "
first
VII. 87-
this point
the
of
the
of
thinness
is
body,
the
second trenior,
the third a burning sensation, the fourth hiccough, the fifth foaming
in
mouth, the
the
paralysis
breaking
sixth"
of
the
neck,
seyenth
the
89.
horse, or falling
to
this
point
movement
90.
of the body.
conditions.
It
should
Fright
of
(I
is
caused
by Determinants such as
earthquake,
meteor, thunder,
lightning
raw)
like.
choked
91.
is
shaking of
as,
and the
crying or
clouds,
to
is
be represented
narrow limbs,
speaking
paralysis, horripilation,
There
It
body],
It
flash
with
like.
Fright
is
looseness
and the
like.
limbs and
of
half-shut eyes.
Deliberation
Deliberation
{ritarka) is caused
and the
by Determinants such as
like.
It is
to
be represented
There
92.
is
its
basis
is
to
and which
discussions
be represented
settling
like,
has doubt as
movement
and the
on
the
stage
by
~~
8-98 (B.137-138, G.85-86).
90 (B.140-141, G.88).
89 (B.139, G.87).
91 (B.142-143, G.89).
'
92 (B.144-M5, G.90).
.VII. 94.1
the
of
143
they are to be
middling
superior,
and the inferior types in conformity with [proper] place, time and
occasion.
These
93.
thirtythree- are
known
The Temperanfentai
Now
it
"Are
may
(bhQva)
States
Temperament
mind.
ment
Temperament
is,
">e
is
perspiration,
the
human
any reason
in
support of
it is
said
The Temperanature
Its
horripilation,
Temperament
the
purpose of imitating
'Is there
answer]
tears,
be mimicked
cannot
like,
Hence
man.
absent-minded
play for the
[In
[something] originating
paralysis,
and
colour
of
loss
is
It is
includes]
[which
?"
in this connexion
accomplished by
is
Temperamental because
called
(Determinants, Consequents
in
States
be questioned,
these
other States
that the
Transitory States,
as the
now
I shall
nature.
view
this
is
desired
the
If
?'
by an
in
then
it
may
situations of happiness as
question
well
may
appear to be
realistic
who
by any one
joy
has
which
who
any one
is
as
is
not sorry
basis
its
not happy
be
How
(i/athwivarujia).
its
represented on
happiness
the
tage
Temperamental.
that
tears
and
The
explanation
horripilation should
of (he
by
(wit for)
latter
Temperament
respectively
be shown
The
eight
Temperamental States
Change
of Cojour,
Weeping and
Change
Fainting.
93 (B.146-147. G.90).
94 (B.148, G.92),
'
above
VI 22
note
are
as
follows
of Voice, Trembling,
'
THE NATYASASTBA
144
Among
YII. 100.
these,
Perspiration
95.
fear,
Perspiration
joy,
shame, sorrow,
svrJa
occurs as
the
sickness,, heat,
toil,
result
exercise,
of anger,
fatigue,
96.
Paralysis
4amhlM
occurs
duo to
(l:an>iin=:i-q>atlni)
cold,
fear,
as being due
to joy, fear,
anger,
Weeping
97.
98.
cold,
ripilation
a steadfast
and sickness.
Change
to
fear,
of Colour
and Horripilation
toil,
sickness, fatigue
{nimanr'i)
due
to
touch,
fear,
and
cold
heat,
joy,
and Horanger
and
sickness.
(praltt i/h)
due
sickness
fever,
to loo
much
toil,
and
swoon,
as being due
to
and Fainting
intoxication,
intoxication,
sleep,
injury,
like.
100.
Temperamental
which
States,
shall
speak afterwards
f
95 (B.149, G.93).
96 (150, G.94).
f! (B.151, B.95).
9 8 (B.152, G.96).
99 CB.153, G.97).
about actions
.yll. 108
101.
should
Paralysis
bo
145
on the stage by
represented
and
stiff-bodied.
102.
the
stage by
104
and choking
should be
Horripilation
thrills,
represented on
the
stage
by
Change
of
voice,
shivering.
105.
of colour
this is
of
Change
the
of Colour should be
face
represented
by
alteration
and
artery,
Weeping
106
should
on the
represented
be
and shedding
tears,
stage
by
107.
Now
you ought
to hear
of the
different
108.
Sentiment
Sentiment by their
109.
own
(lit.
name).
the States
applicable
to the
Comic Sentiment.
110.
ing,
the
Sentiment.
106
#
'
(cf.
B.160-161, G.105).
Pathetic
THE NATYASASTBA
146
111.
VII. Ill-
the Furious
Sentiment.
112-113.
cruelty,
indignation,
intoxication,
horripilation,
joy,,
assurance,
change of
voice,
114.
death,
fear,
Perspiration,
applicable to the
Terrible Sentiment.
115.
Odoius Sentiment.
astonishment,
tion,
to the
agitation,
stopper,
and
joy
fainting
are the
117.
all
the
No
play in
its
only.
If in
(rrtti)
[in
the
is
principal
[of the
114(B.176,G.114).
117 (B.179, G.116).
115(B.177,G.115).
'
ye tvete
(canye. B).
namibhinayasam%riiah B.
>
tahunam (sarvemm
vetaiiam.
*
theme
Dominant Sentiment.
of a play],
be considered
production
should
120.
play] and
it
G.).
soma-
.VII. 124
121.
This Dominant
147
[An
122.
equally
form), for
(lit.
they
are to
support
it],
full
(lit.
amongst
people).
But a mixture
rare
is
of different
is
]
carefully represented.
23.
In [the production
of]
Tem-
many
objects
and
1
should be assigned to male characters 2 .
ideas,
124.
be created.
[in the
the States in
plays
are
thus
to
best Success
production of a play].
of Bharata's Natyasastra
'
is
liable
to
9,
G.121).
An
which
For
in almost
better be
psychological states.
.ill
of
made the
them
vehicle
known
to us seems to
complex
CHAPTER EIGHT
THE GESTURES OF MINOR LIMBS
Tne
sages question.
1-2.
AVe
ments (rasa)'.
shall
now
know
like to
also
due order
in
1
everything relating to the origin of the States (bhava)
and Senti-
meanings and
the blessed
3.
their
different subdivisions.
one,
you are
also
to
us
tell
accurately
by persons aiming
at the Success.
Bharata answers.
4.
On
"0
sages, I shall
now speak
to
you
so that
in detail
We shall
Representation)
is
?"
the abhinaya
derived
The
It is said in reply
question
to this
"Why is
the
Hence a
should be
[full]
answer to
There
is
As
its
this
sufix
ac
attached
made
called
it
6.
is,
after
meaning
to these
is
'to
two,
a consideration
meaning.
'
3 (B.G. same).
5 (B.5-6, G.5).
ally in prose.
See
W& VI.
i (B.G. same).
This portion
till
6 (B.7, G.6).
the beginning of 6
is
origin-
Mil i3
of
its
(carrying towards).
made
Abhinaya
7.
is
"explains the
of abhinaya
so called because in
together with
it
'
The meaning
play]
Sakha 1
the
meaning of
the
Anga 2 and
the
Upanga*
of abhinaya
on
takes
different [things].
149
Brahmins,
9.
to be fourfold
Histrionic
this
Of
these, the
Representation
Words (wika)
is
and
{sattrika).
three varieties
its
now
known
Dresses
listen
first
of all about
the
before,
Gestures
(ahgika).
11.
The Gesture
movements
of the entire
of
is
the limbs
[different],
Dramatic performance
13.
sides,
The
and
the minor
ones
such
to the six
as head,
feet.
six
and the
(six)
breast,
eyes,
7 (B-8, G.7).
Sec 15 below-
'
See 13 below.
See 13 below.
8 (B.9, G.8).
9 (B.10, G.9).
>
10 (B.11, G.10).
More
11 (B.12. 0.11).
12 (B.13, G.12).
^
18(B.U,G.18).
THE NATIASASTBA
150
14.
(itrtta)
VIII. 26
the
of
Histrionic
Representation (abhinaya).
The
15.
Sakha
on the Karanas 3
the
is
the
pantois
based
dance
called
is
(nrtta).
Brahmins,
10.
listen
of
first
about
all
head,
gestures of the
The
Avadhuta,
and
Dhuta,
Kampita,
Akamptita,
Aflcita,
Nihaucita,
gestures
'
of thirteen
is
kinds,
viz.
Vidhuta,
Parivahita,
Udvahita,
Paravrtta,
Utksipta,
Adhogata,
Lolita.
19.
Akampita
called.the
Akampita.
Kampita
Moving
When
(Uses)
20.
hint,
teaching,
naturally,),
movements
the
head
gesture of the
different
State's (bhava).
17-18.
the
facial
called
is
is
is
are
be applied in giving
to
questioning,
Akampita head
the
in
Kampita 1
up and down
(lit.
1
.
14 (B.15, G.14).
15(B.l6, G.15).
follows
Tflsir
t ftn
From
this
1$
wo
Sarngadeva
'
iretfs ftrarmt
ftf"w
mfiranfrnitaHi
See
Si IV.
170
the
8R. VII.
87-38).
defines
wmnr
one's
it.
ff.
IV. 299
'
See
Ni.
See
Si IV.
170
ff.
ff.
16 (B.17, G.16).
Sec ed.
M.
'
MG.
pp. 86-38,
19 (B.20, G.19).
20 (B.21, G.20).
-VIII. 80
21.
understanding,
argument,
is
applicable
asserting,
(lit.
181
desired)
threatening,
anger,
in
and
sickness
intolerance.
22.
called the
A slow
movement
movement
this
is
head
of the
quick,
it is
is
called
the Vidhuta.
23.
(Uses)
applicable in unwillingness,
is
25.
is
first
to be applied in
turned upwards
known
it is
(Uses)
it is
The
nn attack of
cold,
stage of drinking.
26.
and
When
the head
called Parivahita,
as Udvahita
alternately
it
is
once
head
Parivahita
is
and when
applicable in
is
demons-
sporting.
27.
28.
Avadhuta
called Avadhuta.
a message,
to
come
When
(Uses)
invoking
[a
to be applied in pride,
is
and the
the head
is
conversation and
deity],
it is
applied in [communicating]
It is to be
showing
like.
beckoning [one
near],
29.
Aiicita
is
When
the neck
the result.
slightly
is
(Uses)
It is applicable in sickness,
Nihancita
When
21 (B.22, G.21).
22 (B 24,0.22).
23 (B.25, G23).
24 (B.26, G.24).
25 (B.27,
G.2B>),
'
28 (B.30, G.28).
30-31 (B.32-33, G.30-31).
as adkuta.
29(B.31,G,29).
THE NATYASA8TBA
152
[VII. 38-
the
It is to be used
by women
Mood,
Paravrtta
32.
the result.
is
Light-
Hysterical
When
(Uses)
the face
It is to
33.
Utksipta
Utksipta head
is
When
is
like.
raised
the
and
face
the
(Uses)
the result.
face
head
(vilasa)
(bibboka)
Affected Indifference,
heartedness {lalita)*
produced. (Uses)
is
Amorousness
in pride,
It is
[slight'y]
is
Adhogata
(Uses)
called Adhogata.
salutation]
35.
It
is
used
in
shame, bowing
[in
and sorrow.
Parilolita
called Parilolita.
When
(Uses): It
the head
is
is
moving on
all sides,
it is
by an
The head
evil spirit,
drowsiness
and the
1
.
36.
many
Now
I have
(lit.
other gestures
These are
of the
be used
to
nature).
The
38.
thirtysis Glances
the
Sec NS.
Sec ibid
Sec ibidiO.
XXIV.
15.
19.
'
18.
34 (B.36, G.34).
36(B.39,G.36).
38 (B.41, G.38).
See Hid
33 (B 35, G.33).
32 (B.34, G.32).
35 (B.37, G.35).
37 (B.40, G.37).
The AD.
MG.
p.
AD.
40.
even
Bat
if
M.
curiously
referred by
-VIII. 47
The Glances
39.
to be used
in the
158
Dominant States
are
The Glances
40-42.
Malina,
such as &unya,
Visanna, Mukta,
to
Grants,
KuRcita,
Lajjanvita,
Glana,
Sankita,
Vitarkita,
make up
number
their
The Glances
I shall
43.
now
thirtysix
1
.
in connexion with the various Sentiments and the States, and shall
Kanta
44.
tracts
When
said to have
origin in joy
and pleasure.
Bhayanaka
45.
drawn up and
is
its
is
Bhayanaka
called
The Glance
in
fixed,
indicates a
It
(terrible).
is
moving and
Hasya
by
Hasya
In the
visible
slightly
Glance
(smiling)
the
two
turns contracted,
should
it
be used in
representing
jugglary.
47.
Karuna
The Glance
is
at
which
in
the"
rest
tip of the
fixed at the
Karuna
is
nose,
and there
is
tear,
is
called
(pathetic).
Coomaraswamy's text
which has no
maraswamy's
less
to
text
NsL
43 (B.46, G.43).
45-46 (B.48-49a, G.45-46a).
20
fortyfour
39 (B.4J,
See note
glances
which include
G .39).
1 to
38 above.
44 (B.47 G.44).
47 (B.49, G.46b).
THE NATYASASTBA
164
Adbhuta
48.
The Glance
are charmingly
windened
till
in
the end,
slightly
AdbbatS
called the
is
4ft.
Till.
(of
wonder).
Raudri
49.
The
pitiless
Glance
knitted,
Raudrl
called
is
(cruel),
and
which the
in
is
eyeballs
still
Sentiment.
.
Vlra
50.
tated, serious,
eyes are
Blbhatsii
fully
open, agi-
The Glance
the eyelashes
are
(lit.
it is
in
disgust and
bright,
is
in
level) is called
51.
and
the eyeballs
and
still
close
are disturbed in
to
each other,
is
The Glances
The Glances
52.
to the Sentiments.
the
Dominant
known
explain
is
sweet,
and
Hrsta
not
is
it is
Ding
fallen,
very slowly,
is
is
called
much
Hrsta
(joyful)
The Glance
Dlna
'
48(B.51,G.48).
still,
it is
used
which the
in
(lit.
entering),
(pitiable)
it is
and
used in laughter.
lower
widened
are
visible
winking,
55.
to
).
there
slightly
relating
eyeballs
Snigdha (loving)
is
which
in
to occur in relation
the Glances
in love ( lit
54.
now
States
States.
Snigdha
53.
I shall
medium widened),
(lit.
Dominant
to express the
eyelid
is
is
moving
used in sorrow.
49 (B.52, G.49).
50 (B.53, G.50).
51 (B.54, G.51).
B.G. add
after
this
iantarasa.
52 (B.56, G.53).
55 (p-9, B.56, G.56).
53 (B.57, G.54).
54
-VIIL68]
5t$.
Kruddha
166
in
is
The
Drpta:
57.
eyeballs
are motionless,
called
Drpta (haughty)
up
it is
used in energy
it is
(lit.
emits) prowess
(lit.
grows out of
energy).
58.
Bhayanvita
The Glance
in
in
59.
Jcgupsita
together,
are
turning
coming
object
The
Vismita:
60.
in
it is
view
(lit.
the place in
used in disgust
in
in
astonishment.
The Glances
61.
that I
I shall
relating to the
now
Dominant
States,
of
62.
Sunyg: The Glance which is "weak and
motionless
and in which the eyebalhs and the
eyelids are in ordinary position
(ht. level),
external objects
63.
very
to
is
not attentive to
Malina
is
much by
half-shut eyelids,
is
67
89 (B 60, G.60).
60 (B.61, G.61).
62(B.68,G.63).
63 (B.64, G.64).
called
Malina
(pale).
58 (B.69, G.59).
61 (B.62, G.62).
THE NATrASASTBA
156
The
64.
Srffnta"
let
down due
been
65.
Pranta
fallen, is called
Lajjanvita
are
eyelashes
The
slightly
Glance
which
in
upper
the
bent,
VIII. 64
resting
to fatigue, corners of
eyelid
ends
of
the
descending in
is
called Lajjanvita
is
(bashful).
Glana
06.
The
languid Glance
in
and the eyelashes are slowly moving and eyeballs are covered
[under the eyelids] due to
67.
Sankita
and once at
slightly
rest,
are
Visanna
is
obliquely open
raised,
and
in dejection,
trembling,
Mukula
The Glance
is
there
which
in
which
in
eyelids
no winking and
is
Visanna
called
(dejected).
slightly
the
once moved,
Sankita (apprehensive).
is
and
Kuncita
The Glance
in
Mukula.
Abhitapta
71.
The Glance
much
72
down and
which casts
73.
distress
Jihma
slightly
itself
Lalita
and
pain,
The Glance
contracted
obliquely
:
in
which the
of
the eyelids,
movement
is
are
and which
[in
and
slyly is called
eyeballs
is
is
Jihma
sweet,
(crooked).
and contracted
movement
64 (B.65, G.65).
65 (B.66, G.66).
66 (B.67, G.67).
67 (B.68, G.68).
68 (B.69, G.69).
69 (B.70, G.70).
7(B.71,G.71).
71 (B.72, G.72).
72(B.73,G.73).
73 (B.74, G174).
at
of the
.VIII. 83
74
Vitarkita
The Glance
157
in
up for guessing, the eyeballs are full blown and moving downwards
is
75.
Ardhamukula
and
slightly mobile is
called
Vibhranta
76.
The Glance
owing
to joy the
Ardhamukula.
The Glance
open'and full-bjown,
Vipluta
called
Vibhranta (confused) 1
The
Glance
is
in
77.
in which
is
in
wide
[first]
is
Akekara
and
The
slightly
are
is
Skekara
called
79.
are wide
Vikosa
80.
is
The
is
joyful
Glance
in
Trasta
The Glance
in
81.
is
(half-shut).
immobile,
is
contracted
is
Madira
The Glance
in
rolling, the ends of the eyes are thin, the eyes are bent, and the
82.
eyelids
is
called
Madira
(intoxicated).
slightly
contracted,
the eyeballs
its
slightly mobile.
83.
In excessive
the
worst) intoxication
the
Glance
75 (B.76, G.76)
74 (B.75, G.75).
76 (B.77, 0.77).
(lit.
'
differently-
77 (B.78, G.78).
78 (B.79, G.79).
79 (B.80, G.80).
80 (B.81, G.81).
81 (B.82, G.82).
82 (B.8S, G.83).
83 (B.84, G.84).
THE NATYASASTBA
168
should
in
be turned
84
much winking
or no winking
should be slightly
it
and
visible,
at
VIII. 84-
all,
and
(the look)
it
downwards.
the
Sentiments
listen
about their
to
Now
uses.
85.
Now
to
to
be used in
(States),
Sunya
86-93.
(vacant)
in
in weariness
Lajjanvita
(bashful) 1
GIana\(lazy)
in
and depression.
in epilepsy, sickness
Sankita (apprehensive)
shame.
and weakness.
in apprehension.
-Mukula
in'sleeping,
KuScita (contracted) in
visible
Abhitapta (distressed)
and
envy,
discouragement,
in
accidental
hurt
distress.
stupor and
indolence.
Lalita
joy.
to
or touch.
84 (B.86, 0.84).
.
'
We adopt
G's reading
85 (B.86, G.85).
86-93 (B.87-94, 087-94).
VIII.
159
(disturbed) inconstancy,
insanity,
of
affliction
Skekara
(half-shut) in
looking
to
distant [object],
Vikosa
cruelty
(full-blown)
and assurance.
Trasta (frightened) in
fright.
Madira (intoxicated) in
94-95.
thirtysix
Here
Glances
intoxication.
now
listen
and
Sentiments
the
The
eyeballs
95-96.
to the
States.
nine kinds
Bhramaaa
(relaxing), Cakuaa,
(trembling),
SampravoSana, (drawing
inside),
sideways),
Samudvrtta
Niskrama (going
(raising up),
Vivartana, (turning
out)
and
round
the
Prakrta (natural).
96-98.
eyeballs at
turning
random.
P5tana= Pata
Calana
(relaxing)
the relaxation
Sarapravesana= Praves\a
(drawing
inside)
drawing
(the
eyeballs) in.
Vivartana (turning)
turning
the
eyeballs
sideways in
B. G. read preksitem.1
this.
after
fVIII.99.
THE NATIASASTBA
the
Samudvrtta (raising up)-the raising up of
Niskramana
(going out)-going
out. [as
eyeballs.
it
were of the
eyeballs.]
Now
99-101.
ments and
listen
States.
Bhramana (moving
round),
Niskramana (going
out),
of
the
Sampravesana (drawing
of the
in the Pathetic
Sentiment.
the Marvell-
ous Sentiment.
(natural)
Prakrta
(lit.
States).
popular practice.
They are
to
be applied [suitably]
to
all
the
different States.
The
103-107.
I shall speak
Sama
(level),
(lit.
there).
viz.
Vilokita (looking
(looking
additional Glances
round),
.VIII.
108]
lel
Sama
form.
Slokita (casual)-(the
eyeballs)
in
suddenly
seeing
object).
Vilokita (looking
round)(eyeballs)
Pralokita (carefully
any
'
in looking back.
to side.
Ullokita (looking
up) (turning
in
relation
to all the
The
eyelids
Nimesa
Sama
(closing),
(level),
(resting),
and
Prasrta
(expanding),
Kuncita
(contracted),'
(throbbing), Pihita
Vitaclita (driven).
Unmesa (opening)separating
Nimesa (closing) bringing
the eyelids
Sama
Vivartita (raising
up) raising up
the eyelids.
Vitadita
(driven) when
struck
iccidentally.
108-111 (B.110b-ll4a,
G.109b-U8a).
81
the
(lit.
eyelids
clofed).
are
struck
THE NATYASASTBA
163
VUI, 112
Now
112-115.
listen
in anger.
Uninesa (opening)
in anger.
Prasrta
and
joy,
*
heroism.
Kuiicita (contracted)
scent, flavour
in
seeing
undesired
(sweet)
objects,
and touch.
Sama
(level)
in love.
Sphurita (throbbing)
Pihita (resting)
in
in jealous}'.
dreaming,
fainting,
due
affliction
to
Vitadita (driven)
in accidental injury.
in
express-
The eyebrows
116-120.
Now,
listen
eyebrows,
number and
(lowering),
Bhrukufi (knitting),
tracted), Recita
Utksepa
are as follows
Catura
Utksepa
(raising),
(clever),
(They)
Patana
Kuiicita
(con-
of
eyebrows simultaneously or
one by one.
Patana
(lowering)
lowering
of
eyebrows simultaneously
or one by one.
Bhrukuti
Catura
brows
(knitting)
in a plea-sing
manner.
eyebrows.
extending the
eye-
Villi 186
an
amorous way.
Sahaja (natural) the position which the eyebrows maintain
by nature.
Uses of the eyebrows
Now
121-125.
Utksepa
.(raising)
venoss, in seeing
in
anger, deliberation,
passion, sporti-
raised, and
and violent anger both the eyebrows are raised up.
surprise, joy
Patana (lowering)
is
and smelling.
(clever)
(pleasing) touch
in
love,
sportiveness,
in
light.
pleasing
(object),
and awakening.
Kuncita (contracted)
in dance.
The nose
126-123.
now
listen
(.Gestures
of
They
Manda
lobes are
Vikrsta lobes
are blown.
Socchvasa when
Vikimita
at rest.
air is
121-125 (B-123b-126,
differently
drawn
in.
I28-l2!>a,
G.122b-127).
126-128 (B.129b-182a,
G.Wb-ROa).
this.
'
B.
road?
12-t
tHE NATYASASIBA
164
SvSbhavika the
VIII. 135-
natural nose.
129-132.
nose.
Now
This
listen
is
weeping
Nata
in slight
it
intervals.
in
smell,
in
fear.
in
Vikunita in
Svabhavika
laughter, disgust
and envy.
132-131
Phulla (blown),
Cheeks are of
Purna
Ksama
Purna
Kampita
Ksama
(trembling)
(cheeks
and Kuiicita
(cheeks
are) fallen.
are) raised
are) throbbing.
(cheeks
are) narrrowed
Kuiicita (contracted)
Sama
(depressed).
(natural).
(depressed)
Phulla (blown)
(full),
six kinds
(natural)
-as (cheeks
are)
by
down.
nature.
135-137.
Now
listen
about
their uses.
Ksama (depressed)in
sorrow.
in
WO
VIII.
Kampita (trembling)
Kuiicita (contracted)
fear
and
in anger
The lower
Vivartana
Kampana
(trembling),
Visarga
Sandastaka
(biting),
(contracting).
Vivartana (narrowing)
lips
narrowed down.
Viniguhana (concealing)
(of lips).
drawing
in (of lips)-
Samudgaka (contracting)the
them at
(They
Viniguhana (concealing),
(narrowing),
(spreading out),
Samudgaka
lips
137-139.
:
joy.
fever.
Sama
are)
and
168
teeth.
contraction of lips
and keeping
rest.
140-142.
lips
now
listen
Vivartana (narrowing)
and the
Kampana
and the
in envy, pain,
contempt, laughter
like.
(trembling)
in
swiftness
like.
in
women's amors,
affected indiffer-
lips.
efforts.
Samudgaka (contracting)-in
and
greeting.
THE NATYASASTRA
166
VIII. 1<8
The chin
So much
143-146.
listen
(they are)
the
of
lips
now
Kuttana, Khandana,
Kuttana
when
are in
conflict
with
the
lower ones.
Khandana
when (the
come together
two
lips)
lips)
repeatedly
when two
when two
Lehita
the
Samawhen (the two
Chinna
(the
Cuksifci
(the
in licking
lips)
(lips;
Dasta when
is
bitten
by the
Kuttana
146-149.
in fear,
cold,
attack of
old
age,
and
sickness.
Khandana
and eating.
Chinna in
and angry
look.
Cuksita
in yawning.
Lehita=Lehana
Sama
in greediness.
in a natural position.
Dasta-in angry
efforts.
of the
chin
in relation
to
the
149-156.
Gestures
Vinivrtta, Nirbhugna,
of
the
mouth
are:
l4P-156(B.163b-l60a, G.150D-157).
Vidhuta,
-VIII. 169
Vidhuta the
.167
Vinivrtta
(the
(the
Vivrta
Udvahi
Uses
Vinivrtta
in
Vidhutajin
Nirbhugna
the
of
women's
mouth
envy,
jealousy,
being ashamed,
discipline
contempt
anger,
like.
Bhugna in
anxiety,
kept apart.
the lips
and
.so'
and the
and the
like.
like.
discouragement,
consultation.
It
impatience,
natural
is
for
the
ascetics.
Vivrta in
Udvahi
'go away',
laughter, sorrow
in
156-157.
The
fear.
sportiveness
and disregard,
and
exports
should
use
also
in saying
mouth
the
and the
like
mentioned by others.
The
157-158.
stances
in
Saci
(lit,
The
col.. ur
meaning)
is
the face
of
of four
kinds
natural
(wabharika)
159-100.
Natural face
in a natural
Reddened
Terrible
face in
intoxication
"
face.
and
and
and
indifferent (mood)-
love.
in the
Heroic the
THE NATTASASTM
168
Dark facein
161-162.
The
the Terrible
[VIII. 10].
The
acting
the
Upanga
Anga and
good, but
be charming
(lit.)
the
face
not
will
it
beautiful.
162-163.
moon
163-164.
ments, and on
this
Representation
rests.
164-165.
of
(i.e.
gestures of the
different States
The colour
the States
much about
beauty) just
tation
(lit.
of the face
suitable
to the
represen-
which
face
is
So
States
The neck
166-167.
gestures
of
the
I shall
neck.
now
are
167-171.
you,
tell
They
of nine
kinds
Aficita, Valita,
Sama, Nata,
and Vivrtta.
Sama the
in meditation
Nata (neck
(Uses) in wearing
arms round
(lit.
taking)
body's neck.
162-163 (B.166-l67a,G.l64).
163-164 (B.l67b-I68a, G.165).
164-165 (B.168b-169, G.l66-167a).
166-167 (B.170, G.167b- 168a).
'
(lit.
some-
VIII.
172}
Unnataneck
Tryaara
- neck
169
with
the
turned
(ace
sideways.
(Use)
in
the
neck
Eecita
shaken or
moved. (Uses)
in
feeling
with
head
the
in
Ancita
the
neck
with
the
(Uses)
in
hanging (to death), arranging hair and looking very high up.
the neck
Vahita
witli
the
in
Vivrtta
neck
with
face towards
the
172-
73-
according
to
[expressing
So much about
neck.
head
N'ow
the
also
to
follow
are
description
which T
am
front.
varieties of the
different]
all
the
the gestures
reflected
of
the
{v/iaSiya)
in those
gestures
and
of
the
of the
of
the
their uses.
of Bharata's NatyasSstra,
l72-m(l',.l7(i-177,Or.l7:U>-l7.r.).
in
neck gestures
VIU
customary states of
going to describe.
22
(Use)
place.
own
{ah'j),
MNE
CHAPTER
1-3-
eyesbrows,
was to
you.
tell
of
In
this
and
connexion I shall
You
how they
are to listen
feet
[first
gestures
like,
I shall
use 1
as head, eyes,
nose, lips
a play.
4-7-
number:
four in
Patilka, Tripataka,
Sukatunda,
Arala,
Kartarimukha, Ardhacandra,
Sikhara,
Musti,
Katakanmkha 2
Kapittha,
Alapadma
Bhramara, Hamsasya,
Catura,
(Alapallava),
Hamsa-
and
(realistic
(1)
on
relates' to
XIV.
the
Practice
realistic
This use
'
coventioual)
is
of
self,
this {paiukd)
hand
is
to
Padmakosa hand
conventional
(1) that
of the
Practice
{'talyadliarmf)
ornamental
creating an
is
effect, as
a popular
external
form of an
likewise
the
janimtika
).
of
the
The
object, as
to
viz.
own-
The
62ff).
two kinds,
partially
hand
to
suggestin.it,
represent
See Ag.
'
but at times two bauds showing one of these gestures are used simultaneously.
But
still
these
are railed
single
(asamyu/a)
hands.
For,
Some
mss.
see
read this
Ag.
name
as
khalakimukha.
Our reading
is
-IX 17
8-10.
in
thirteen
Gesture?
number
vardhamanaka 2
Gajadanta,
1
combined hands (/mmijuta-hanta)
of
Aiijali,
Hecila,
vaktra, Siieyasya,
Udvrtta
Talamukha, Svustika,
Nilamba, Kesabandha,
Pallava,
Uttanavancita,
Ardliarecita,
Paksa-
Urdhvamandali, Parsva-
Puspapata, Makara,
Vardhamana.
Avahittlia and
10-17.
are
Nisadha, Dola,
Utsanga,
171
Uromandali
(Jrah-parsvardliaiiiaridall,
Mustikasvastika,
of hands.
Now
l'('-2ti.
Pataka
(Hag)
AD. (See
supported by the
lingers
bent.
ed.
M. Ghosh,
Coomaraswamy
verse 124. A. K.
p. 50).
warm'
the
thumb
MG.
listen
Some
'
See note
of a samyuta-hasta in the
Cooinaraswamy,
MG.
10-17 (B.G.
as their
name
to 4-7 above.
mss.
AD-
kaiakiwardhana,
M. Ghosh,
(od.
is
the
187 and A. K.
p. 60).
I0b-17a).
'
bat in course
of acting too they arc often to be used along with other gestures (single
effect
(See note
1-3
to
above).
See Ag.
2
In the Skt.
text these
names
are given
The
in dual
number
is to
e.g.
be sought
or object, the
hands in
the dance-haud
gestures are
In actual
(single. 24,
enumeration hand
See Ag.
30).
Catuhsas{hi in
number
the text
THE NATYASASTBA
172
(Uses)
To
IX. 26.
be raised on a
is to
To
represent the glare of heat, torrential rain and shower of flowers two
together.
any design
fingers separated
pool of -water,
present of flowers,
shallow
[lit.
by two such
object]
made on
be used
covered,
its
represent
to
dense or
movement
waves] breaking
against
of wind and
the
and
shore,
of
this
[in
pounded, or holding up a
manner
26-32.
(Uses)
bowing
or uprooting
it,
should be represented
other.
This
is
be bent.
to
be used in representing
It is to
[in salutation],
comparing
auspicious
invocation, descent,
entrance, raising
2
,
its
fingers pointing
to be used
in
In saying
'I
too/
'of
mc
And
mouth or the
ears.
representing
too', 'by
objects or putting
up [anything] 1
many
goodbye, prohibition,
up and down
to
[ocean
of representing
Patakahand
bidding
with
is
The Recaka
flood.
also the
of the
hill
waves,
encouragement,
represent
to
And
upwards.
[ocean]
to
protected,
(concealable).
by the
open,
lingers pointing
flight of birds
The
position.
downwards arc
private
grass and
to be joined
flight
of
small birds,
me too',
in
me
too'
and the
like (Ag).
Ag. gives detailed rules about tho use of the pataka hand in
the cases mentioned above.
26-32 (B.G. 26b-32)
'
one's chin.
2
nidarianam upanumopameyabhrniam
(Ag.).
all
jX. 39
and touching of
Two
33-88.
173
off tears,
drawing a Tilaka
hairs.
(yum).
Two
such
and
Separated
When
wards.
a king.
indicate
with
palm
To
turned back-
To
to be
battle
hands,
they
this position
indicate
lire,
moved from
first
pointing downwards.
>>
by two Tripataka
indicated
lingers
march [against
king's
bis
enemy]
this
itself
Kartarliuukha
3D-H.
hand
the Tripataka
(Uses)
will
to
tion
fingers]
its
With
of
forefinger
pointing downwards
(i.e.
pointing
fingers
And when
the
1
represent showing the way, decorating the feet or dying them-,
3
and the crawling [of babies]
will
blades)
(sissors'
bend backwards.
:J
in trust
4
,
it
it
backwards)
it
bent
is
upwards
the lingers in
reversion, cogita-
5
.
on
the
body
with
this
substance.
ornamental
designs
Gorocana
is
a cow.
Parents,
'
all
mss.,
and
later addition.
etc.
are meant by
this term.
'
(Ag.).
mnjanam
Read rihgana
vyatikramalfaparadhali
for
rahgana
alaktakena (Ag.).
iu B.
(Ag.).
nyasta-niksepana.
THE NATYASASTEA
IU
And
42.
elephant (airavata),
(Uses)
as to
make
With
crescent moon,
should
With
and the
fingers
bow.
forcible opening,
buffalo,
a curve like a
this
yak,
antelope,
represented
bull,
43-45.
thumb so bent
IX. 42-
waist,
hip,
girdle,
Ardhacandra
this [very]
Talapatra'
face,
and earring.
thumb
(bent) the
Arala
40-52.
the
lingers
bow,
like a
curved
forefinger
also curved
and
separated
turned upwards.
(Uses)
prowess,
blessing and
present
With
this
should
contentment,
beauty,
other
favourable
woman's gathering
to be represented
and their
similar
fingers
calling
this,
pride,
poise, act of
The
are
form of a Svastika.
in the
objects, great
And
states.
of hairs or scattering
represented courage,
be
heavenly |objeets],
crowd
of
And
circumambulation,
to
come
in,
with
round
8
.
In
uprooting anything,
ki(H.G..ia).
4S-+5 US
'J.
pimam
'
43-45).
for
'
ptnam
hyastam khedam
(Ag.).
(B.G.),
(tailaitka or
lulaiika).
it
is
different
kuiiijala
from which
is
also
an
ear-ornament.
46-52 (IS.40-52, (i 46-51, 53).
Jt'or
kautukamvivakiU
Alpana
see
Ealpana by Andre
piirvabhavl
(A?..).
at
arranged
on the ground.
Arida hand.
(?)
DHB
.IX. 61
saying too
many
QfiSWJBBS OF HANDS
wiping
tilings,
off
women
me, but
53-54
Arala hand
finger) of the
(Uses) with
not
is)
I',
farewell,
Musti
(fist:
(Uses)
ing
IJ
in
as
'(It
be done; invocation,
not to
(It is)
contempt.
the
into
upon them.
[is set]
is
shampooing
-(third
55-50.
by
bent
is
not you,
'(It is)
prescribed before
to represent these.
(parrot's
should
this
hand
Sukatunda
175
57-58.
raised.
(Uses)
It
lips
and
feet
used
is
to represent
(tinnum)
throwing a javelin
and raising up
Kapittha
59-00.
reins,
or a spike
whip,
bow,
goad,
two
painting the
(sa/,//),
hairs.
(elephant-apple) the
of
forefinger
the
It
is
thunderbolt and
arrows,
spear
true
Katakfimukha
1-04.
to represent
(tmiuirn),
javelin
discus,
(Inmtii),
mace,
spike
bow,
(ivkti),
the
ring-finger
and the
little
finger
of this
(Uses)
umbrella,
It
is
drawing
used
up
to
reins,
represent
sacrifice
holding
fan.
1',
oblation 2
mirror, drawing
.15-56
yuddha
2
(B. 55-56,
Or. 56-
7).
Vyayivma
'
according
to
Asr-
moans
(light or duel).
milking'tlicm
tfanaphlancmahisyudidohaiie (Ag).
3
Samvahana according
to Ag.
(|>.4l,
B.60-63,. G.53-65).
havyamujyadyamukhem
means mrtphlana.
'
hotramsrugudi-ttttanena, A.
(Ag.).
THE NATIASASTRA
176
[patterns]
3
,
VII. 65-
lace,
Suciinukha
the
fore finger
Katakamukha
the
of
hand to be streehed.
(Uses)
forefinger [in
moving
By
up
it]
you
shall tell
down,
and
moving the
and
And
stick.
mouth
of this
[the
rest.
to
And
should
again
and
by
the
circular
this
hand should be
same should be
And
represent a sentence.
72-75.
perspiration,
curved,
to indicate
This
hair,
ear-ring, armlet
khamlanam drawing
alakii-iilaku
Saying
The
'welldone.',
text uses
to
to
the fore-
represent
and decoration
anger,
of the cheeks.
Calcutta,
SSiistri,
'
and patriwali)
in E.
two words
the Kirtilata
UiiM.)
pp.
valli
follows
'creeper'.
alavu-pmbhrlayo
drbkm/prabkrtayo latah
h'k/imiilafotmiirakamtm khkafnhah (Ag.).
in
BS. 1831
karniuidiktt-karnapura (Ag.).
'speak'
13-14,
or
And
face
Vidyiipati.
'no'
the
[a
alter-
nately raised and lowered to represent long study and long day.
the
be
teeth,
iri
',
forefinger]
the forefinger
be
zigzag
young sprout
serpent,
[hand]
this
with
are
blossoms, (tarring 1
falling
nose,
represent a being
to
movement
raised
stars,
[this
hand]
this
young
Sikhanda
used in [representing]
up without any
[in
lightning, banners,
its
moving
upwards
forefinger
represented discus,
of
briefly
raised
is
vallyali
Ag.
and
-IX. 83
And
to
represent pride,
am,' enemy,
'I
177
'Who
is
and
this',
day, and
held
form,
hand
This
76.
moved
To
77.
to
hand
is
to
be raised
By two
78.
is
banner)
pointing
the
rising
downwards
indicate
to
of
Indra
this
it.
moon
full
Indra
is
to
raising
(i.e.
moved
[This hand]
79.
of the
it
and
hand
this
the forehead
to
indicate [any]
required.
Siva
represent
be held close
will
a hill, and
up of meals the same movement of the
is
front
whirlpool,
stone",
the
in
moon, and
all
around
will
[in
ease
of]
Tndra's
should
[eyes
it
be held
should
be]
raised obliquely.
80.
to
thumb
another.
81.
(Uses)
apple) fruits
To
represent
Bilva
[This
its
fruits]
[this
or
hand
is
flesh, this
to
be used].
hand should
end.
hand] should bo
76 (B.77b-78a, G.77).
81 (B.80b-8la, G.82).
held
[to
77 (B.78b-79a, G.78).
79 (B.76b-77a, Q.80).
82 (B.82, G.83).
represent] offering
78 (B75b-76a, G.79).
80 (B79b-80a, G.81).
'
"8
THE NATIASASTBA
Puja
cake 1 ,
and a number of
ix. 83.
the
first
funeral
be indicated by the
Padmakosa hand.
The two
83.
'
and
lotus
Sarpa&rah
(Uses)
85.
meeting at
the
full-blown
fingers
including the
Tt
is
frontal globes
(himbha)
like.
'80.
its
(snake-head) the
of serpents, pouring
a duel],
and the
fingers
represent
will
t-i
movement
[for
backwards
water-lilly.
84.
thumb
sucli
downwards,
pointing
fingers
but the
thumb and
the
all
little
(Uses)
87.
It is
moved
to represent here,
now, "Tt
is",
off'
KangulaThe
88.
thumb
to be separated
middle
and
the fore-fingers
and
the
finger raised.
(Uses)
89.
By
91.
words
like
(Uses)
"Who
be represented
(Alapadmaka) all
its
It
to
immature
Alapallava
90.
are
this
side
is
arc you,"
fingers
turned towards
to
be
used
and a woman's
allusion to herself.
agrapintla-dtmanandimukhd&raddha
83 (B.8.% G.84).
84 (B.84, G.85).
G .87).
87 (B.87, G.88).
86 (B 86,
88 (B.88, G.89).
89 (B.89, G.90).
98 (B.91, G.91).
'
{kg.).
85 (B.85, G.86).
trertagnisamsthitah=viralali (Ag.).
B. reads one additional couplc*(9.90) after this,
91 (B.92, G.92).
IX. 103
92.
Caturathe
four fingers
stretched
179
(Uses)
It is
be applied in
to
a young
representing
a sick
girl,
policy,
person,
spirit,
deceit,
94.
By
round should be
95.
lotus-petals
By
96-98.
love,
compared with
eyes,
and ears of
brilliance,
memory,
intelligence,
be represented
to
deer.
to indicate sports,
is
judgement, forgiveness,
reasoning, union,
intercourse,
grass,
purity,
question,
small quantity,
wealth,
home, wife
99.
held
up
(the
it
by moving
it
round, and
100.
crossing each
other,
finger
two
fingers
(Uses)
It is
102.
It should fall
103.
Hamsasya (swan-mouth)
to represent
rebuke,
the
forefinger,
middle finger
fingers
stretched.
92
"
93 (B.94, G.94).
(13.93, G.93).
95 (B.96, G.96).
M)l(B.102,G.102).
'
94 (B.95, 0.95).
99 (B.100, G.100).
102 (B.103, G.103).
THE NATYASASTBA
1>D
(Uses)
104.
,.
10!).
^he
little finger
106-108.
water,
and
thumb
(Uses)
end
and
is
used to
softness.
threefingers stretched,
bent.
of
it
of a gift,
IX. 104-
by Brahmins, embrace,
may
It
again
110.
the
States,
109,
hollowed.
little
mouth and
that
111-115.
on one
(Uses)
making garlands
forefinger
of the Arala
and
women
to the
that [held] in
Sentiments
front,
that near
side.
of them, taking
up grass,
leaves,
hairs or
thread
And
vessel with
any
thing], in saying
[upon
'fie
To
and similar
at,
you'],
anger, this
sbjects], bow-string,
yoga, meditation
slightly
and
It
is
thread,
fineness,
turning
from
up [any
ting,
flower
its tip is
left
used to re-
drawing Patralekha
rw(B.lll,Glll).
il6(B.117,G.117).
-IX. 126
117-118.
It
is
worshipping a
in
offerings
(Uses)
used to
coins,
of
a water-lily,
lotus or
119-120.
hand
making
throwing a kiss
giving
the
represent
bud of a
deity,
181
of flowers,
fingers of the
Padmkosa
[further] bent.
(Uses)
receiving
It
lions, tigers
used
is
represent
to
scratching
goods,
stolen
head,
Tamracuda
(lit.
copper-crest
i.e.
hair,
skin disease,
121-122.
finger
combing of
the
one's
cock)
stone.
the middle
the remaining
fore-finger bent,
It
should
fall
down with
a sound
represent
to
and making
This hand
123.
time such as
to a
young
and inviting
When
small fractions of
to be used to indicate
girl
124.
is
her.
thumb
is set
talking
as well as
is
to one
[also]
another,
called
the
Tamracuda hand.
125.
By
move
this
lingers in
it
described by me.
am
hundred, thousand
to be indicated
are suddenly
made
120.
hand are
coins,
Now
the
single
hands
going to describe.
of caurya-
graha.
121-123 (B. 122-124, G.12^-123).
'
THE NATYASASTBA
182
Afijali Putting
127.
(IX. 127-
Pataka hands
is
called Afijali.
(Uses)
and friend 1
It is
venerable persons
(guru)
In greeting gods
128.
of venerable persons
greeting the friends
it
it is
it is
to be held
be held
to
is
to be placed
is
no
on the
make
will
breast,
A iijali)
Kapota hand.
the
face,
ease
in
and
for
and in case of
fixed rule.
1 29.
on the head,
near one's
uses.
hands meeting on
Listen about
its
130.
(Uses)
It is to
and
fear,
women
talking to a
venerable person.
To
131.
indicate
will
132.
(Uses)
133.
of the limbs,
hand
It is
yawning
is
produced.
just after
awakening from
sleep,
a big body,
it].'
women.
135.
(Uses)
Svastika position,
When
it
separated
from
the
and similar
128(B.129b-30a,G.129).
this.
129(B.l30b-131a,G.13O).
130(B.131b-132n,G.131).
,132 (B.l33b-184a, G.133).
after
-IX. 144
Katakavardhamanaka
136.
hand
When
183
is
Katakavardhamanaka hand
(Uses)
It
be used in movements
to
is
Utsanga
137.
will be produced.
connected
with
a person J*
[to
When
Arala
the
hands
contrarily
are
placed and are held upturned and bent, the Uts-anga hand will
he
the result.
(Uses)
It is also
138.
anger and
indignation,
to
be done
with
squeezing [anything]
NisadhaThe
139-140.
fist
(Uses)
141.
hand
a Nisadha hand.
valour,
arrogance
left
arm
intoxication, pride,
indicate patience,
It is to
eagerness,
elegance,
make
will
:
left
right
self-conceit, haughtiness
DolaWhen
the
two shoulders
are
ease
at
down
are hanging
the
in
Dola
produced.
is
(Uses)
143.
fainting,
fit
It is to
illness
and wound
hands
with their
by a weapon.
1
lingers
14.
The
Puspaputa
Sarpasirah
two
139-140
(B
144-145).
'
G. omits
uses too.
in
(B.137b-138.., G.137).
will
this passage
1-16
B.141 143.
141 (B.146).
'
See note
142(B.148,G.142).
144 (B.150, G.144)..
'
'
to 139-140.
THE NATJASASTBA
184
145.
carrying of
(Uses)
It is to be used to
rice, fruits,
indicate the
IX. 146
receiving
or
thumbs
Makara When
raised
Makara hand
147.
are turned
two
the
down
and. placed
produced.
is
(Uses)
It is
used
and
indicate
to
fish
lion,
elephant,
tiger,
148
their
hands, 'touching
the
opposite arms between the shoulder and the elbow will give rise
to
the Gajadanta hand.
149.
(Uses)
uprooting a
150.
hill
or a block of
and
pillar
stone.
Avahittha When
two
the
6ukatundi hands
m.ut
each other on the breast and are bent and then slowly lowered, the
Avahittha hands
151.
be the result.
will
(Uses)
be used in indicating
It is to
[of the
weakness, sigh,
loved person"!.
152.
Vardhamana When
(Uses)
By
Mukula hand
the
154.
the
known
Or
clasped by
truthfulness and
is
Vardhamana hand.
it is
(or
used
doctrine)
abridgement.
the two
It is to
will
be
be used to represent
155.
The two
kinds of
hands
(single
H9
and combined)
(B.155, 0.149).
152-153.
Ms. 67. of 0. and (la of B. road tho passages
as we do
but B. and 0. reject this and read thorn differently.
IX. 166
described briefly
the rules laid
may be
down
186
here.
156.
judgement
There
157.
is
no gesture
usually
gestures) are
(lit.
seen
be associated with
[to
different
ideas].
158.
(lit.
hand)
connected with other ideas, and they also are to be freely used along
with the movements inspired by the Sentiments and the States.
159.
and a
as
160.
[different]
(lit
hands)
the
varied
have
[should]
in
movements which
connexion with
th,
161-163.
drawing out,
together,
now
I shall
these gestures
ing,
well
undertaken
accepting,
killing,
releasing,
protecting,
separating,
Hand
gestures according
to the theory
of Histrionic
viz*
use, be embellishad
eyes, the
by means of
[suitable] expressions
in
face.
the
THE NATXABASTBA
186
:{
IX: 169-
The experts
160.
to
the
are to use
the
quantity, appropriateness
sphere,
object,
and mode.
Hand
167.
move near
at about
hand gestures
their
in regions]
The
In
168.
type should
inferior
the
below
ersons
move
this.
quantity of gestures
superior acting,
the
persons [should
middling type of
medium sort
of
movement,
movements
hand
of
gestures.
To
169.
of
persons of
cases]
should conform the definitions given [in the Sastra] while gestures
of the persons of inferior type should
and
their
But when
170.
present
the
hand
popular practice
follow the
themselves,
[specially]
wise people
different
should
occasions
make
or times
different
uses
of
gestures.
171-174.
fainting,
While a person
terrified,
overcome
is
with
drowsy,
himself as sad,
represent
to
disgust
or sorrow,
weak,
with fever,
bewildered, mad,
under
arrest,
nails
he
is
the change
Temperament as
Sentiments.
and
-IX. 183
f HE GESTUBES OP HANDS
At
175.
187
when
{i.e.
the actor
will
enunciate his part) the eyes and the look are to be directed to points
at
which the hand gestures are moving, and there should be proper
meaning may be
The movements
17G.
be of
hands
and acting
will
177.
(i e.
seen) 1
upwards or downwards.
hands
in dancing
(lit.
fingers pointing
of
[clearly] expressed
I shall
now speak
Dance-
of
The Dance-hands
]
Caturasra
78.
two
Katakamukha hands
forward
held
eight
the two
Udvrtta
79.
Its alternative
palm-leaf (fan).
Talamukha the
180.
level.
hands
from
Caturasra
the
Svastika
181.
wrists
the
Talamukha
hands
crossed
the
at
Aralakatakamukha the
182.
(Alapad-
Alapallava
two
another
name
Aralakataka-
AviddhavaktrakaThe
183.
two hands
are
to
have a
the
oppo-
shoulder, elbow and hands, and the palms [of the hands]
moved
graceful (leutila)
site
is
movement
'
B.G. read
after
this
variant
of
this
THB NATYA8A8TRA
SudmukhaThe
184.
Recita
[IX.lSt-
two' S&rpt^ir&h
hands with
their
- the
This
is like
the hands].
Ardharecita-The
186.
left
hand
should
be as in the
slightly
188.
at the wrist.
1K9.
hair-knot
(kwbnmUm) and
Lata the
190.
the
two
hands to
be
obliquely
stretched
sideways.
191.
side to side
192.
hand
placet!
from
on the
193.
ing places
(/.,.
Dandapaksa-the
and then held out
two Harnsapaksa
like
hands
moved
staff.
195.
Ordhvamandall-the two hands
movement near the upper region
{i.,. the
to
have
circling
mfl^a"*
185(B.193,G.186).
187(B.195,G.188X
189(B.197,G.190).
1^.199,0.192).
11.0.19A
'
M- *-"
a
186 (B.1
^definition.
H G.187)
188(B.196,G.189)
190 (B.198,G.I91)
192(B.200,G.198).
IMflUeW-Mft
'
195(8.203,0.196)-
IX.
mi
QE8TUR& OP BAUDS
J&>
Uromandall
1 96.
be raised
affer
circling
side.
to
to
to
take
197.. Urahparsvardhamandala
the
Alapallava
(Alapad-
maka) and Argla hands moved by turns above the breast and on
the sides.
Mustikasvastika
198.
at the wrists
the
199.
200.
Karana
in their
the
two hand to
movements.
to be stretched
up and waved.
201.
Lalita
head.
The Dance-hands
202.
at their elbows.
in forming
are to be used
and hands
hands to be
Karanas
used in representing
203.
changed, and the names given are due to their predominant use
in
204
bined.
I shall
The
205-206.
two kinds
single
and com1
Instructors of hand
of
all
A"vestita, Udvestita,
The
four
202 (B.210).
G. omits
this.
-
K. mentoned in
H& IV.
'
62ff.
203 (B.211).
This Karana
G. omits
is evidently differently
N
this.
from the
THRNATYASASTBA
190
Avestita
207.
When
[Si. 207-
the fingers
first
called Avestita.
Udvestita
208.
one
When
are gradually
[forefingers]
outwards
pointing
[the hand]
is
produced
the
first
the time
is
called
Udvestita.
209.
one (the
[the
Vyavartita
When
beginning
are
little finger)
fingers
Karana thus
the
produced
is
called
Vyavartita.
210
one (tho
Parivartita
little
finger) are
When
the
gradually
pointing
outwards at
is
the
called
Parivartita.
211.
applied in
Hand
gestures
[various]
their
in
movements when
[appropriate expression of] the face, the eyebrows and the eyes.
The movements
212-213.
of
arms
arms
Tiryak, Drdhvagata,
Adhomukha,
Aviddha, Apaviddha,
and
Prsthaga.
214.
Brahmins, I have
now
Karanas and
shall
IX of
Bharata's Natyas'astra
CHAPTER TEN
THE GESTURES OP OTHER LJMBS
The
The
1.
(slightly bent),
breast
(slightly
(Uses)
3.
bo
to
five kinds
of
Abhugna
(natural).
Abhugna
2.
known
and Sama
(raised)
is
breast
bent) (the
and
lowered,
bratst)
back
some
act.
4.
breast)
stiff,
back depressed,
assertion
(Uses)
of
in paralysis,
truth,
pride.
6.
Prakampita (shaken)
the breast
incessantly heaved
up
[and down].
7.
(Uses)
in laughter, weeping,
weariness,
panic,
[fit
ofj
(Uses)
in (representing)
Sama
be called
Sama
(natural).
2 (B.IX.224, G.2).
1 (B.IX.223, G.l).
4 (B.JX226, G.4).
3 (B.IX.225, G.3).
5 (B.IX.227, G.5).
will
6 (B.IX.229, 0.1).
7 (B.IX.280, G.8).
8 (B.IX.281, G.9).
9 (B.IX.232, G.10).
TEE NATYA8ASTBA
IM
The
UK
And
movements.
The
11.
(raised),
I shall now
of the breast
variety
Prasarita
X. 10-
aides
described the
I have properly
Nata
(turned
Virvartita
(extended),
Samunnata
(bent),
round)
and
bent,
Nata
position] will
Unnata
be
slightly bent,
slightly.
arm and
the
[because in relation of
(raised),
it]
of
the sides
in
their
(respective) directions.
Vivartita
(turned
is
to
be
turned round.
Prasrta (drawn
away) the
side
movement
restored
to
its
original
[described above].
Apasrta (drawn
away)in
returning.
Now
sides.
listen
about those of
the belly
The
The
18.
(depressed),
the bent
is
and
belly
is
Puma
of
three
(full).
full
Of
kinds
10(B.IX.233,G.ll).
Ksama
(thin),
Khalva
Ksama,
belly
belly
is
Purna.
ll(B.IX.284,G.12).
-
B roads
1
nmrtita.
8 (B.IX.241, 0.19).
-X. 25
]
'
199*
19-20.
JCfama, (thin)
and
yawning.
Khalva
(depressed)
in sickness,
and hunger.
Purna
eating
(full)
and the
breath,
in emitting
much
like.
the
of
Now
belly.
listen
about that
of the waist.
The
21-24.
The
Chinna (turned
about),
waist
drama
aside), Nivrtta,
of five kinds,
is
(turned round),
Recita (moved
Prakampita =Kampita
viz.
round) in turning
to
of the waist.
reverse position.
in
moving
in all directions.
the waist
slowly.
Now
waist.
listen
about
their uses.
25-26.
Chinna (turned
aside)
in
in
Prakampita (shaken)
in
movements
the walking
of
hunch-backs and
25
>
B.G. read
differentiy.
THE NATYASASTBA
194
Udvahita
(raised)
[movement
in the
[X.
27-
The
The
27-30.
thigh
have
thighs
five
conditions, viz.
Kampana
Kampana
(shaking) raising
and lowering
of heels
repeatedly.
up) drawing
of
going].
movement.
it.
Kampana
32.
(shaking)
movement
the frightened
in
of
Valana (turning)
movement
in the
Stambhana (motionlessness)
Udvartana (springing up)
of
women
in perturbation
at ease.
and despair.
Class Dance.
in
like hurry.
33.
may
Now
the
thigh]
as they are
listen
The shank
The shank
34-37.
Nata
(bent),
is
of
five
kinds,
viz
Xvartita
(turned)
(turned back).
33 (B.IX.256b-257a, 0.34).
-X. 41
Nata
(bent)
195
left
and the
the knee
bent.
out.
38-40.
Nata
(sitting)
Avartita (turned)
(bent)
in
Sthana
assuming
and Asaiia
(standing)
postures,
in
".
and the
Class Dance.
Udvahita
(raised)
movements
in
walking.
Parivrtta (turned back)
in Class
movement
listen
about
of the feet.
The
The
41-50.
Now
like.
feet are
feet
and
of
five
Udghattita
their uses
kinds,
viz.
Udghattita, Sama,
Kuiicita.
standing on
then
and
this
In
practice this
is
to
follow
the Udghattita
Karana
medium
speed.
Sama
(natural)
on an even ground.
(Use)
It
should be kept
still
in
representing
the
natural
B. adds three
additional couplets after 45, and G. adds one additional couplet after 44.
9
THE NAT*ASASTBA
196
body
position of the
in connexion
Becaka movement
in the
of the feet
X. 51.
Kansas, but
should be moved.
it
Agratalasaucara the heels thrown up, the big toe put forward
to
(Uses)
[is
wound
Anclta the
and
raised
all
(Uses)
wound
heels
at the heel.
of the feet
round
KuScita the
thrown up,
heels
in every
Bhramarl
toes
all
way, foot
movements.
down and
bent
51.
It is to be used in aristocratic
and
vice versa
(iidatta)
going,
Cart,
The Carls
Persons practising [the Carts] should take up
52.
taneously the
[For] in the
movements
movement
of
the
feet^
the
simul-
the
movements
of
The
way
in
which the
feet are
moved,
feet.
I shall
now
describe the
System of the
[different] Caris.
of Bharata's Natya&stra,
61 (BJX.278-279a, G.53).
' B.
reads after this three
additional
hemistichs wich define the Sari foot
as follows : The [right foot with its]
heel raised resting on the big toe
and the left foot in the natural position
constitute the Sue! feet. It is used in
dance and playing the Napura.
52 (B.IX.281, G.56).
53 (B.IX.282, G.57).
54 (B.IX.283, G.58).
CHAPTER ELEVEN
THE CIRI MOVEMENTS
Definitions
1.
As
[different]
the
Girls
prescribed
limbs
relate
to
by
rules
(vyayacchante from
vya-yam, stretch
arc called)
(lit
vyayama
(System) 1 .
2.
Cart
single
foot,
is
Karana 1
3.
the
The two
Khanda
feet
moving
[together]
is
called the
Karana.
is
called
Khanda.
Mandala
Throe
or
four
Khandas combine
make up
to
tho Mandala.
Uses of the Carl
4.
[in
From
release
general] should be
5.
Caris proceed
the
general] and
made
of missiles
fighting [in
tion (nlklya)
is
included
in
the Carts,
and no part of
it
can take
Hence I
The
7-9.
The
movements and
fights
which are
thirtytwo Caris
1 (B.X.2, G.2).
i (B.X.S,
mentioned in
G 3).
N& IV.
4 (B.X.5, G.5).
this.
5 (B.X.6/G.6).
3 (B.X.4, G.4).
6 (B.X.7, G.7).
THE NATYASASTRA
198
Edakakridita,
Syandita
2
,
The
TJrdhvajanu,
aerial
follows
as
are
(afcastfo)
Apakranta,
Atikranta,
Nupurapadika, Dolapada,
Suei,
Vidyudbhriinta,
UdvrttS,
Janita,
10-12.
They
[XI.lO
Parsvakranta,
Bhujaugatrasita,
Alata,
Aviddha,
Aksipta,
Harirtapluta,
The
Samapada
13.
toes] meeting,
Sthit&varta
14.
cross the
earthly Carls
remaing
foot
one
and
Agratalasaiicara
drawn up to
foot
this
1C.
Adhyardhika the
Casagati the
foot
left
on the back
drawn away
right
foot
left
[a Tala
heel)
(i.e.
and half a
of
part].
foot
afterwards.
1
tion
8.
Vicyava
seperating the
feet
jumping
Edakakridita
saiicara feet.
G. reads
the.se
syand as
and spand.
syand
Hid.
13 (B.X.14,
writes
wra<t
ii
wn?r
*Mi* iterant
'
14).
On
aiq^lftft
14(8X16,0.15).
16 (B.X.17, G.17).
17 (B.X.18, G.18).
the
^(fa,, _
appropriateness of this
name
Ag.
i^ft ma
WW.
15(B.X.16,G.l6).
(BX19, G.19).
is
given by Ag,
19 (B.X.20, G.20).
-XI. 31
Baddha
20.
The sideways
movement
199
of the thighs
when
Urudvrtta
21.
the
of a
heel
outwards,
Talasaiicara
slightly bent
foot
placed
turned up.
22.
Addita
one
Agratalasancara
rubbing
foot
against
ways
(lit.
24.
Utsyandita
in
and out)
Janita
another hand
25.
the
two
Musti
to
move
gradually
side-
of the Recaka.
hand
Syanditaone
feet
manner
in the
held
on
the
breast
and
forward
put
foot
five
TiilaS
away
Apasyandita
26-
Samotsarita-matalli
Can
Syandita
(i.e.
another
other).
Mattali going
movement and
in the Karanas.
I shall
now
The
29.
fall
combat as
foot
thrown
up,
put
forward
on the ground.
31.
well as
aerial Carls
Atikranta a Kuficita
and caused to
in pesonal
ParSvakranta one
foot
Kuncita and
another thrown
20 (B.X.21, G.21),
21 (B.X.22, 0.22).
22 (B.X.23, 0.23).
23 (B.X.24, 0.24).
24 (B.X.25, 0.25).
25 (B.X.26, G.26).
26 (B.X.27, G.27).
27 (BX.28, 0.28).
28 (B.X.29, G.29).
29 (B.X.30, G.30).
30 (RX.31,
31 (B.X.32, G.32).
0.31).
THE NATYASASTBA
200
32.
XL 32knee
its
of the
first,
and the
33.
Sucia
first
Kuiicita foot
thrown up and
brought above
on
fall
it
fore
its
part.
Nupurapadikaone
34.
Dolapadaone
35.
from
side to
side
Kuiicita foot
te
up and taken
raised
Aficita foot
on the ground.
fall
on the
fall
ground as an
Aficita foot,
Sksipta one
36.
placing
foot
Kuiicita
thrown
remaining
leg.
Aviddha one
37.
falling
Udvrtta the
38.
then caused to
fall
(Kufieita)
of
foot
its
40.
Aficita foot.
Aviddha
Alataone
foot stretched
and
fall
the
after
circle.
in
in its heel.
Carl
the
posi-
Svjistika
Vidyudbhranta one
39.
the
touching
and then
off
it
foot
thrown
up
and
caused to
Harinapluta
fall
the
on the ground
foot
in
after a
the
Atikranta Cart to be
jump and
the shank of an
Ksipta posture.
32 (B.X.33, G.33).
33 (B.X.34, G.84).
34 (B.X.35, G.35).
G 36).
37 (B
38 (B.X.39, G.39).
39 (B.X.40, G.40).
40 (B.X41, G.41).
41 (B.X.42, G.42).
42 (B.X.43, G.43).
35 (B.X.36,
X 38,
G.38).
XI.
5?]
Dandapada
43.
201
Nupura [padika]
Cari to
44
Bhramari
up and the
foot to be
45.
movements
weapons
entire
46.
aerial
its sole.
Cari?,
These are
of the limbs.
like
(lit.
moved on
to
consisting
O, Brahmins,
in all these
cases the
Where
48.
all
When
simultaneously
feet.
graceful
47.
of
body.
made use
follow]
[Hence] after
of.
comes to
rest
on the
movements
of the
I shall
limbs.
now speak
of
the Sthanas
all
kinds.
The Sthanas
50.
The
Sthanas
six
(standing
postured
men
for
are
Vaisnava
the
pointing
feet
apart,
one
Visnu
the Sausthava.
53. (Uses)
the middling
is
From
types
should
their ordinary
(lit.
natural)
43 (B.X.44, 0.44)
44 (B.
X 43, G.45).
45 (B.X.46, 0.46).
46(B.X.47,0.47).
47 (B.X.48, G.4S).
48 (B.X.49, 0.49).
49(B.X.50,G.50).
50(B.X.51,G.51).
26
53 (B.X.54, G.54).
[XI.64-
THE NATYASASTBA
202
54.
a bow, in
patient and
55*57.
And
assumed in throwing a
It should also be
On
movement
stately
being reversed
it is
of the limbs
in anger.
to be used in anger
and
holding
disc,
and
and in
of
love.
love, distress,
be
recollection, it is to
assumed when the Erotic, the Marvellous, the Odious and the
Heroic Sentiments are prominently introduced.
Samapada
57-58.
the
and kept
one Tala apart and the body with the natural Sausthava. Brahman
presiding deity.
is its
(Uses)
58-CO.
It
and
mimicking
in
The bridegroom
birds.
aerial
and persons
(liiigastlia)
at
car
practis-
Vaisakha
00-62.
the two
sideways.
pointing
placed
feet three
[besides
this]
Kartikeya (Skanda)
its
is
presiding deity.
62-64.
and
horses,
practice
birds,
the
(Uses)
in exercise, exit
of bending
bow and
in
mimicking large
the
Re&ikas
[of
feet].
64^65.
deity
is
Mandala
Indra).
obliquely placed
In
it
relates
It
to
Indra
(i.e.
apart
its
presiding
55-57 (B.X.56-58,
56-57).
'
lasirvacanadi (Ag.).
2
UhgasthanUivHyah
(Ag.).
60- 62 (B.X.61-63, G.61-62).
(?)
-XI. 74
65-66.
the use
(Uses)
five
Slldha
67-69.
birds.
right
foot
in
Mandala Sthana
the
make
the Alidha
presiding deity.
is its
(Uses)
relating to the
and
The
Rudra
Sthana.
like the
60-67.
90S
weapons
of
elephants,
drawn
assumed in
all acts
in the representation
of
enemies,
release of missiles.
69-70.
left
foot
Sthana
is
will
Pratyalidha
put
When
forward in
(Uses)
The
missiles
made ready
for throwing
The
71-72.
from
the Pratyalidha
The
releasing
be produced.
70-71.
Sthana.
is
the
missiles),
viz.
Bharata,
Varsaganya,
Sattvata,
(lit.
and
Kaislka.
72-7;5.
(lit.
should strike
at the breast
and
73-74.
in the
In these
Varsaganya
Nyayas
arising out
of
at
using
weapons.
74-75.
(carried
on)
with
the
Angaharas
relating
of them.
'
THE NATFAMSnU
fxr.75.
SOI
the shield with the left
Bharata: Putting forward
actor should walk
weapon)*
(lit.
and taking the sword
fully and then
forward
Stretching the hand
75.79
tad
about on the
stage.
should also
And
be turned
the shield
should be
of walking
about in
80-81.
Sattvata
I shall
In
the
it
now speak
same
flourishing
(/..
as in Bharata)
81-82.
Nyaya
will
Varsaganya
Sattvata,
in the
Varsaganya
(lit,
83-84.
near the
Kaisika
breast or
Bharata [Nyaya]
will
The
the
hold
flourishing
(lit.
good
of the
which
shoulder
in case
is
of
sword
to take
weapon)
(lit.
place in the
But
the KaWika.
to strike
[in
only
84-85.
weapons
With
like the
these graceful
bow,
the
movements
thunderbolt and
the
the
of
sword are
limbs
to
be
85-87.
weapons
(lit.
one's
The
striking.
be done with
limb] should
its
pier-
use of
mimicry,
be represented,
The
Angaharas
in the
-XI.
THE" CAKI
MOVEMENTS
206
embellished with*
[proper]
flic
no
create
performing
Those
8S-01-
The Sausthava
beauty
(lit.
of limbs
is
do not shine)
to be presented
much
unbent, at ease,
in
without
drama or
by being
still,
When
bent.
it
the
waist and the ears as well as the elbow, the shoulder and the head
are in
it
will
their
(mma) and
position
natural
breast
the
raised
is
1
be the Saustlmva [of the body].
The Caturasra
91-92.
Calurasara
with
bow
92-93.
with
is
The
ing
two
the
(parimarjana),
taking an
arrow
(adam),
viz.
taking
prepar-
an aim
93-94.
is
aim (sandhana)
(molcmnd)
is
is
to
Caris]
on the
arrow], taking
an
The method
9 4-95.
'.
One
of exercise
up] in the
air
oil
or
barely gruel.
G. reads samtnarjana.
'
THE NATYASASTBA
206
The
95-90.
floor
is
oneself over
proper place
the
exercise.
resort to
the
mother)
(lit.
floor,
XI. 95for
and stretching
it
96-99.
For
vitality is
dependent on
tired,
hungry,
agreeable
in
thirsty,
the
body
with
is
not
is
to
rule regard-
the
who
and one
is
wise
is
about one's
careful
cleansed
much
The
to his pupil
exercise
resort
food,
[lit.
When
nourishment.
of
oneself purged
and get
snuff
very
much,
should give
[teacher]
the exercise of
[the limbs].
I shall hereafter
in
connexion
speak of the
different Mandates.
of Bharata's Niityasastra
treats of the
Rule of Caris.
CHAPTER TWELVE
THE MANDALA MOVEMENTS
Tho Mandates
I have
1.
with
the use of
now
properly described
weapons
(lit.
of
release
[Now]
missiles).
The
2-3.
aerial
Mandalas are
Dandapada, Vihrta,
Sucividdba,
saiicara,
Lalita and
The
Mandalas
earthly
The
Atikranta
in the Janita
Udvahita,
Vamaviddha,
Bhramara,
are
Ad jitn, Sakatasya,
Askandita 1
aerial
the
Can and
Mandalas
be moved
in
successively]
is]
left
foot in the
again this
left foot in
the
Dandapada Can.
in
10-13.
Vicitra
the Alata
the
and
left
foot [successively]
and Casagata.
listen
6-9.
Alata,
[Now]
Caris.
Vicitra, Lalita-
Kranta
3-5.
Atikranta,
learn
in
(lit.
divided)
Cari
to the
and the
the
left foot in
Bhramari
right foot
in
moved]
manner
MB.XI. 1,0.1).
2-3 (B.XJ.2-3, 0.2-3).
3-5 (B.XI.4-6, G.3-5).
'
name
XL
s
7-9.
B. roads
this.
5b. differently.
'
Sec Ag.
'
Sec Ag.
THE NATYASASTRA
208
vakranta Cari
the right
[successively]
foot
foot in the
the Yiksitpa
foot in
Apakranta Carl.
11-17.
move]
left
in the Suci
foot
left
the Apakranta
in
Cari and the right one in the Parsvakranta Cari (again) the
[successively] in the Suci
and the
Cari
left
Sucividdha
18-19.
Sue! and
the
by
Parsvakranta
foot
left
be moved]
[to
the
in
in
the
latter
Suci,
the
in the
the
left foot
[this latter
(lit.
and
in
[to
XII. 14-
in
foot in the
left
the left
foot
in
Parsvakranta
the
Cari.
Dandapada the
20-22.
Dandapada
Bhramari Caris
foot
in
(again)
the
the
latter
[the
right
foot
in
in
the
and the
the
foot in
left
Parsvakranta Cari
and
the left
foot in the
[successively] in the
moved
to be
foot
right
left
foot
latter
by
Vihrta the
23-26.
Can
(then)
its
Nikuttana,
(next) the
left
moved]
foot
in
in the
Cari and the right foot in the Urudvrtta Cari, (then) the
the Alata Cari
in
left foot in
Janita
the Syandita
10.
23-26 (B.XI.25-28,
G .24-27).
left
-XII. 88
in
foot
[this
latter
in the
left foot
in the
left
Vamaviddha
in the
left
foot in the
the
Bhramari
[this
right foot
Apakranta
foot in the
be moved] in the
[to
Bhramari
34-37.
right
[this
in
Prfws'vakranta
the
Lalita
left
and the
and right
foot
left
Caris.
moving
with graceful
30-33.
foot in the
right
foot
the Bhujanga-
by turn
right foot in
Alata the
27-29.
and the
left
Dandapada
Aksipta
foot in the
trasita Cari
209
right foot
[to
foot in the
left
foot
left
and
the Alata Cari, and the right foot in the Pars'vakranta Cari, next the
left
38-40.
Cari and the
Kranta
left
the right
foot in the
foot
Apakranta
and the
left
[to
be moved]
foot in
the
Suci
Suci
Cari and
the
in
in the
all
right
directions,
foot
in
the
'
'
210
Apakranta
"Cari.
Hence
willed
it is
This Mandala
Kranta
XII. 41-
is
(V. going.
41.
Now
Mandalas.
aerial
shall describe
Tho
earthly
Bhramara the
42-44.
Mandalas
foot
right
left foot in
foot in the
the
left foot to
be stretched,
again the
be moved] in
[to
left foot in
Can and
(Askandita)
the Skandita
right
the
the Apakrantii
in
foot
left
(Apasarpi) Cari and the Bhramari Cari by turning about the back.
Askandita
15-17.
right
the
left
foot
in
foot
the
be
[to
Addita
the
left
anil the
in
the
Bhramari
in
the
and
moved]
latter
right foot
foot in the Skandita Cari, (next) the left foot in the Pakatiisya and
the
same
Avarta the
48-50.
Cart and the
left
foot in
moved]
in the
Janita
Ciisagati Cari, then the right foot in the Skandita (Askandita) Cari
and the
left
left
in
the
foot in the
Samotsarita
assuming
first
of
hands with
all
their
the
Samapada
palms turned
moved
putting
in the Avartita
the left
hand] on
manner [next
the
tiie waist,
right
hand
be put on
41 (B.XI.43b-44a, G.41).
'
XII. 63
moving round
rita
hand moved
left
in
Samotsa-
with
alternately
2ll
Mandala.
54-55.
moved
Edakakridita
the
two
on
feet
the ground
round alternately
This
Addita
56-58.
be moved]
in the Suci
the
right
foot
be moved]
[to
moved
[simply]
the
in
next [to
round,
the
left foot in
moved backwards
in the
mov-
Udghattita
be
[to
in
the
left
foot
foot in
Sakatasya
59-GO.
next
The
to
it
right foot
move;
bo moved]
[to
left foot in
manner
the
alternately
in this
the
in
(Nikuttaka)
in the Talasaiieara
to be used in fight.
Adhyardba
61-62.
the
right fooot
and Syandita
Caris,
Moving around
Cari.
Mandala named
63-64.
the
alternately in
Adhyardha
Pistakutta
left
name
be
then the
moved
succes-
left foot in
right foot
in the
these Caris,
will
the
Sakatasy.'-
be the
Can
The
foot in the
54-55 (B.XI.56b-58a,
another
[to
right
foot [to
bo moved] in
Ot. 54-55).
the
right foot in
56-58 (B.XI.58b-6la,
G.56-58).
asphotanapadatalena
bJnmi-
tatjana (Ag.).
"
61-62
B.XI.63b-65a, G.6U62).
(XII. 66-
THE NATYA8A8TBA
the Bhujangatrasita
Cart
in
Cari Mandala
named
and the
left
foot too
the Pisfcakutta
known
in the
is
same
known
to be used in
Cari.
as the
personal
combat.
Casagata
65.
the
is called
Casagata.
It to
be
Cari
used in per-
sonal combat.
66.
Here
67.
las.
[An
The use
actor]
Now
of the
Sama
using them
is
Carls are
to
follow
be
used
known
as
Cans.
Sama Manda-
the instruction
of the
These Mandalas
to
in
fight
aud personal
music.
move-
[suitable] instrumen-
of Bharata's Natyas'astra,
65 (B.XI.67b-68a, G.65).
66 (B.XI.68b-69a, G-.66).
67 (B.XI.69b-70a, G.67).
68 (B.X1.79b-"la, G.68).
CHAPTER THIRTEEN
THE DIFFERENT GAITS
So much about
1.
the
formation
Mandalas by
of the
after
the
here-
I shall
(lit.
2-3.
suitable to the
Marga [adopted
at the entrance
curtain
dramatis
of
in it],
personae, have
[to
be sung]
has
made
and
observing Kalas
play] should
enter
(lit.
be
4-7.
Vaisnava Sthana,
being raised,
raised very
Sama and
shoulders
Caturasra,
two
'
a peacock, the
Angulas
left)
waist.
1 (B.X1I.1, G.l).
breast
and not
left
On the
between
8-9.
of
his
rest
and at the
The
the
the
at
Gait Ag.
says
"The Gait
half.
Steps
is to
be pres-
cribed with a view to the person, Sentimout, situation, place and occasion".
2-3 (B.XII.2-3, G.2-3).
(Ch)
XXXI.
samasa-vyasaiah
lathoktam
235ff,
It is defined
by Ag. as follows
padakalatalasamabhihitali
svara
(I.p.186).
upohyante
yasminn ahge
8-9 (B.XH.8-9.G.8-9).
tat
THE NATYASASTRA
'
2U
own measure
XIII. 9-
[of the
hand]
ters]
one
wide.
Till a
of
women and
The timo
10-11.
[And
of the
as] gods
9-10.
persons of the
inferior
type
should take four Kalas, those of the middling type two Kalas
and
The tempo
An
12.
expert
tempos
kinds of
the
in
slow,
of their
Gait
art
theatrical
apply three
should
the
Gait [of
should
be] slow,
to
The Gait
13.
[characters
of the superior
that of
the
[characters should
inferior
medium [tempo,
quick and
be]
copious.
tempo
So much about
the
manner
the
regarding
rules
ones,
sinless
listen
timing and
the
now about
the
The
15.
natural
Gait
same
is to raise
in case of Ciiris to
raised
his
be used in
up to the height
of
the breast.
16-19.
With
J4 (B.XII14,
G.1.4).
'
B. reads
layam budhah
sattvam-cittavHtih (Ag.).
15
(B.XII.l^ G.15|
XIII. 24
in
215
in
foot
right
similar
move
Then
afterwards.
towards
steps]
turning
foot
left
first
and the
he should go
round
[five
second
the
his
in the Suci
uniform
five
stage
by putting forward
Suci Carl
the
the
left
foot first
and the
go
towards the
move
again
forward bis
putting
Thus
afterwards.
left
movement
his
then
foot first
will
consist
of twentyonc steps.
In an oblong
20.
elaborate foot
the
stage
movements
actor
(lit.
make
(hhnrata) should
foot-steps), but
in square
tempo
When
[a character]
his
[of
Gait]
is
will
along with
walking
his
equals,
rank in
when
But
any
one
will
is
walking accompanied
tempo
by
of the
one Kala.
23.
The
make
the
of gods,
in case
kings,
wide
and
Raksasas.
medium
!.
[width].
will
have steps of
2
are haughty should
'
SceV.
70-7
21 (B.XII.21, G.21).
20 (B.X1I.20, G.20).
22 (B.XII.22, G.22).
23 (BX1I.23, G.23).
'
daitya
iustead of deva
(god).
24 (B.XII.24, G.24).
'
'
By
inataliprabhrfayah (Ag.).
sucfi dwellers
.
(Ag.).
THE NATYASASTBA
216
X. 25-
Gait of kings
The
sages -question
25-28.
'ill
human
"Why
divine
that of
divine,
known
is
described
made up
(lit.
the
kings
to the people as
the
in
Of
and human.
divine-human)
(lit.
is
others
should
viz.]
(i.e.
parts
gods)
divine,
these, the
serai-
nature of
is
human.
born) of the
they
gods
why
beings
gods.
of [different]
as being
Hence
there
This
29.
Gaits in cases
measure
will
is
of
hurry,
insanity
rule about
its
not apply.
30.
all
as modified
31.
by
superior,
Their Gaits
c.
[The
relative
of
position
is
the different
as follows]
characters
While a
as
superior
33.
an
two Kalas
When
inferior
a.id
character
is
t% have
that
of
half a
special
Kala.
Thus
conditions)
of Kalas.
25-28 (B.XII.25-28,
G.25-28).
vedadhyatmasu=vedem
30 (B.XII.30, G.30).
31,(B.Xn.31, G.31).
32 lB.XII.32, G.32).
33 (B.XII.33, G.33).
'
G. read 33 a
differently.
,
*
tatha
XIII. 46
The Gait
34.
of superior persons
is
not to
is
2L7
be applied to
the middling
characters
Tempo
35-37.
austerities,
[excessive]
separation], sorrow
terror,
and
dissimulation,
due to
fatigue,
uneasiness,
love [in
But
in case of
In case of concealed
uneasy) love,
(lit.
porentuous
panic,
fright,
objects,
distress,
Gait
41-44.
[The lover]
is
The Gait
He
in ordinary
sweet-scenting
the
Atikranta Cari,
and ho
He
flowers.
should
and
move
with
limbs
45-48.
After
fall (lit.
Now
in
His hands
raised along
the raising
vice versa)*.
listen
dismissing his
feet.
former should
meaning connected
should
his
(lit.
He
ornaments 2
the
part
act his
to
is
with
servants
in case of
men)
(lit.
the
concealed love.
lover
is
to
walk
34 (BXII.39b-40a, G.34).
35-36 (B.XII-34-35, G.35-36).
'
vismaye G.
37 (B.XII.34-36a, G.35-36).
41-44 (B.XII.40b-44, G.49b-44a).
viksate.
"
G. omits i#a.
Sec
XX1V.43.
Ni5.
G. omits 44b,
'
[XIII. 48-
THE NATIASA8TRA
218
Ho
day and
is
is to
make
to not
is
is to
In making
walk with
to
He
is
constantly, to look
48-54.
shall
[In
the Gait] in
treating
And
case.
in
Sentiment
this Terrible
is
dominant
of three kinds,
is
dripping in blood,
flesh in
tall
make-up
An
the hands.
example
and
it
[An
ex-
having pieces of
of
their
[a
is
in
Terrible
viz.
ample
Daityas,
is
very
many hands
of the Terrible
by
nature,
is
tawny
black
scolding [others]
is
Gait
hair,
always
feet
the
is
and
which [characters]
The Gait
[of
battle
[having
taken place
there]
gruesome on account of a
be used
should
The
feet in the
in acting
in
EdakakriditS
wide apart from each other, with the hands following them, will
constitute the Gait in the
Odious Sentiment.
The Gait
in
the
'
'
61]
.XIII.
219
58.
of proper
footsteps
{halo)
Parsvakranta,
the
in
59-00.
now
characters.
the inferior
characters.
shall
and
take swift
superior
middling and
describe
short steps in
directions,
all
and
laughter
in their
61-63.
The Gait
Sentiment should be in
Pathetic
the
in
should be connected
of
tears,
it
drooping limbs,
and
to
is
[Gait]
is
same
[of the
This
kind].
is
inferior type.
63-66.
connexion
[In
Sausthava
be patient,
should
superior characters
no
with the
the
[their
[regular]
Sentiment]
Pathetic
tearful,
to
have the
and
and relatives they are to bend down on their breast in dejection
not
feet
the
with
walk
and
to
grief,
to become senseless due to
raised very high.
are to be
steady
(lit
the
[entire]
body
67-69.
[special]
Gait
overtaken by a torrential
to
is
be]
is
to be
made
by measured
be assigned to
un-
steps.
women and
shower.
58 (B.XH.57b-58a, G.57).
61-63
such
67-69 (B.XI1.67-69,G.66-68)-
B. reads one
additional hemistich
THE NATTASASTBA
920
draw
all
their limbs
clatter
and
two
their
their body,
lips are to
put
to shiver greatly, to
together,
IX. 70.
to
is
and
quiver,
in
In
70-75.
make
the Gait of
[Sentiment]
Terrible
the
(lit.
they
Terrible Sentiment]
the
the
should
experts
the inferior
of
in that
who
type
open
to have wide
are
are
manner}.
and moving eyes, the Vidhuta head and the look awe-stricken and
to walk
are
sides,
to
turned alternately
body and
trembling
faltering Gait.
[by an enemy],
[And
same
the
threatened
for
falling in
of
movement
of
the
see
(lit.
feet
is
anything dreadful
will consist
frightened
when they
In the
or
Gait suitable
the
in
close
to
Can
and sometimes
at
a distance from each other, and the hands are to follow them.
The Gait
70-78.
of merchants
made
natural.
steps
Their
[left
in
and
the
ministers
[from the
left
be
with
[lit.
the
first
one].
to
is
Cari
Atikiv.nt".
their limbs
drooping,
Yatis,
Sramanas,
vow
of
and
[special]
'
(G. Utthuntare).
79-86 (B.XIL79-86, G.78-85).
PitUum
(B. lidhaya).
XIII. 88
Gait
body
and he
steadiness
in
red,
and
a serene appearance
immobile
have
and
to
The
is
And assuming
to be stretched.
(Atikrama) Cart
with
natural
vow
according to
As
for the
by
[enjoined
in the
vow
their
sects] are to
And
the
not
(lit.
are to be con-
own
rest, to
in
to
is
to
of the
should
front],
his sect
221
walk
The Gait
87.
blind
[of a person]
in darkness
for the
feet
The Gait
to
make
movement
the
From
is
to
the
i.e.
And
The Gait
like that
*lihgam
other
(posture) he
(lit.
is
with
And
vehicle] should be
a chariot.
his
of one in a
of one riding
the
go the
to take up]
Samapada Sthana
represented differently.
made
the
of a chariot),
draught animals
be
cliariot
charioteer
the Gait of a
way.
or
One who
is
is
to
should
about
to
japabhasmakaupimdi (Ag.).
Gacchedatikramad
(B.
gacched vyatikratnad,
G.
yatikramad).
87 (B.X1I.87, G.86).
'
gaeched
[motion] one
is
to
to
move
also to be of this
The Gait
of
This Gait
kind.
is
of steps straight
consist
to
is
low, or irregular
from
of a person falling
the
sky
is to
and eyes
Apaviddha arms,
in
[first]
The Gait
sky
the
and
opposite of
02-95.
one
up and with
themj.
one's discent [from
make
Oak
this]
to
is
[XHI.92-
THE NATYASA8TBA
333
include the
on
set
the
ground [below].
Gait in ascending any lofty palace
sometimes] there
[In a play
06-98.
up from
down
In
it.
move
should
person
slightly bent
of
ascen-
into a river
ascending
[the
some lower
stairs
of]
or
hill
necessity
is
put forward
steps
his
in
[the
should be
and the
98-100.
palace should
hills
This Gait
be applied
suited
in
to
climbing
steps
in
hills.
But
stairs of]
in the case
of
The climbing
of trees [should
Apakranta and
be represented] by
ascending [the
Parsvakrantfi Carls.
coming
down
[from the trees] and the same should apply in case of getting
down
101-104.
into a river.
Gait
in
G.95-97).
'
gatram
asyaiva).
anamya
(B.
gatram
-XIII. 109]
228
'
The Gait
of
in [case
will
The Gait
river].
moving
of a person
of] a palace
In
water.
be according
shallow water,
body
by the current
to
And
slightly bent.
push
forward
limbs
all his
(lit.
to
move
with the
in case of a person's
water) he
and
away
during this
the
being carried
is
water repeatedly
are to be
[with water].
is
with
movement
mouth
the
filled
up
made up
The Gait
of a
of quick steps.
this
(lit.
rule)
The
[to
(lit
[If
producers)
(lit.
be represented]
is
to be
said
The Gait
Gait of serpents
09,
represent
it
The Gait
the actor]
make a Recaka
is
move
of the Svastika
in the Parsvakriinta.
feet,
Can
[To
and then
feet.
G.105-106).
'
G. reads
106b as lasman
use of
On this
AMI'S
324
[XIII. 110
Gait of a Parasite
The Gait
110.
[An
actor]
to represent
is
{lit.
made
graceful.
by putting
feet within
letting
feet
112-113.
made
should be
he
[The Gait]
Kiificukiya
the
of
is
a Tala high
half
114
and condition.
With the
feet
When
raised
who
But
(armour-bearer)
is
treading
(lit.
touching)
upon mud.
[thoroughly]
old
he
feet slowly
should
and with
(B.XII.UO.G.llO).
Ill
11M1SCRX1L112-113, G. II
1-1 12).
'
BhP.
(2. 4. 23).
(Passiouless
(p.
see Kautilya's
Arthasastra
in charge
of (the king's) armour and crown, and holding the cane-stick (as symbol
of their authority), aro called KaTicukiyas
2
a-wddhasya.
This
following (probably
very
4*raftf "<*:
<*staTfatJta?l
adjective
of
by the wise).
the
dolinition
late)
kaiieukiya
contradicts the
w^'ffl ?^
fitft
^iiwPw
This passage has been wrongly ascribed to Bharata in Rucipati's commentary to the Anargharaghava (cd. in
in
tho
plays
ascribed
to
Kavyamala,
Bhasa
(i.e.
p. 109).
The
kaiicukiya
Duta. and Bala.) does not show any trace of old age. Tho kaiicukin in the
Sak. deplores that the cane-stick which he hail taken up as the symbol
of his
could
office,
move with
difficulty
MudrS, IL
etc,
old
144,
nd
a:;o
(V.3.).
it
may be assumed
that he
G113).
111. 1.
From this
'
see Sak.
loc.. cit
-Xtfl. 138
226
115-117.
of slow steps.
due to
of fatigue
austerities, or
and depressed
lean
eyes, slow
hunger, a person
belly, feeble
movement
voice,
of the hands
of the limbs
is
feet,
walk with
to
is
depressed
and the
should consist
other illness, or
cheek,
tremor and
lusterless
affliction
to emit breath.
The Gait
118.
of a person
to
is
knees.
119.
slowly and he
1
20.
breathing,
corpulent person
is
to drag
on
his
to
is
feet
raised
effort.
12
The Gait
the
two
(lit.
feet
[sometimes going]
backwards.
The Gait
122.
will consist of
unsteady
persons
of
feet,
heavily
reeling
(lit.
worst)
intoxicated
steps.
Gait of a lunatic
123-130.
steps,
many
The Gait
of
lunatic
will consist
of
men.
irregular
He
in
has
;
he
an unnatural
THE NATYASASTBA
226
manner
XIII. 131-
not
is
joy
in
[again] sometimes
is
to
he
wear rags of
different kinds
His
this man).
and
make
to
Baddha Oari he
the
his
this Cari
move with
to
is
js to
lie
to
is
with
Then turning
He
road
the public
After moving in
still
seated
is
find
his feet.
The Gait
131-130.
of
Comic Sentiment,
lame persons the
one
by the
foot,
remain
[And
stiff foot.
and to
rest
fool
foot.
go.
is
and the
to
body
and setting
will
to
Gait of
the body
This
[the
Tn
stiff.
on another
In one kind of J
be of three kinds.
are to be
raised)
will
feet are to
feet
held
is
to
up
The Gait
of cripples
order
in this
of dwarfs
neither
all
their
move
(lit.
move on
in
for
defects
one
will
body
limbs
[quickly
|
137-140.
The
Jester
will
simple laughable steps with feet raised high [and put forward].
his
Gait
will relate to
three
kinds of
'
'
For
And
laughter due to
trividha
G.
reads
kavyakrta.
laughter
-X.II1 146
and due
227
to the
When
walks
to limbs.
140-141.
one
crane looking up
like a
known
to be
unnaturally
due to words.
A. person covered
141-142,
or
object
ol'l
laughter due
the [Jester]
after
to
(lit.
the
clothes or
(altered
yellow "Oeherc
costume and
the
considering
should carefully
frontingj
with
[he
[an
Hence
make-up.
characters
skin,
is
will
be con
essentially)
The Gait
143-146.
of the
Jester
Gait he
is
to carry
of his
be abnormal
sides,
The Gait
be
distinguished
in his natural
his left
will
should
For example J
hand and
Besides
feet
this
he
to
is
observing
is
natural,
The Gait
146-148.
follows
hand or a
in the
foot
walking of servants of
to represent the
of
the
be as
to be
lowered and
eyes
their
to
fire
move
to
[different] objects.
'
kavyahasyam.
141-142 (B.XI1.141b-142, G.140-141a).
143-146 (B.XlI.143-146a,
alabhalabhad bhuktasya
G.141M44).
etc.
'
B.
reads
146a
as
THE NATYA8ASTRA
228
[XIII. 146-
The Gait
148-149.
of the Bakara
will consist of
proud but
and
ornaments and often look at them, and from the unnatural motion
of his
to
move
to
and
fro.
151.
Mleccha
such as the
tribes
made according
Pulindas
of
men
the
of
different
Gait of birds
The Gait
152.
is
to be
made according
Gait of
The Gait
153.
[like that]
bears and
monkeys
and monkeys
of lions, bears
is
to
made
be
Man-lion.
151-155.
(posture) with
after
limbs conforming to
that
is to
is,
one hand
look
all
on the
around
put one's chin on one's shoulder and to walk with feet placed
'
and
five
Talas apart.
156.
applied
to [represent]
lions
and
'
G. omits 141a.
the
mack
of these animals.
'
-XIII. 166
As
157.
(posture) for
the
for
229
rest of
any one or
stage or carrying
These
158.
[actors].
[different]
The Gaits
that have
be used by wise
to
not
Walking postures
159-160.
Sama, the
161-164 (Uses)
dismissal,
first
the
left
f he
appearance on
other
This Sthana
the
stage,
profundity,
pride,
the side)
to be
is
foot Tryasra
used in invocation,
thinking and
twisting
love,
silence,
dissimulation.
And
handfuls of flowers on
scattering
prohibition,
at-
waist raised.
observing carefully,
stage,
movements
left (lit.
and the
(obliquely placed)
and
the Gaits
of
will
Ayata
160-161.
women
foot will be
now speak
I shall
The
women.
of
of
fit
the
forefinger,
of resentment
(mana)
Sthana 1
161-165.
right
(lit.
and the
the
left
Avahittha
other at
Tho>Jeft
the side)
will be
foot
Sama and
the
foot
165-167.
(Uses)
this
determination,
This Sthana
women
is
known
(lit.
remem-
satisfaction
and conjecture
In
representing
58 (B.XII.158b-159a, G.156).
'
B.
reads
five
additional
160-161
(B.Xn
163b-164a, G.158).
'
THE NAT1ASA8TRA
280
way
167-168.
raised
168-169.
(Uses)
The Sthana
resting
is
on
its
women's Gait
for]
is
the
to be
is
assumed
in taking
will
women
for
any purposes.
be [maintained by a dancer]
women and
and [ready
begins.
in
fore-part
This Sthana
tree,
The Sthana
169-171.
the like
someone [coming
AsVakranta 1 .
called
is
any movement
of
to be used.
is
Asvakrsinta
XIII. 167-
for
men
as well.
This
T shall
is
is
at
till
an
the rule of
now
describe
171-176.
[Such
Gait
will
serially include
the following
the left
hand
on the
thrown on the
with
Udvestita
of the left Land, then the left foot put forward, the right
they arc
to
walk
[After assuming
five
steps
with
this
and
hand
movement
hand with
body
the
Tiila
navel
and the
hip
up one
slightly
76-177.
The
.,
men
will
'
-XIII. 184
231
The
177-179.
women
steps of
Such a step
should not be
made
This
speak [now]
of six or
will
179-181.
the
loft
hand on
waist and
the
upturned, placed
gesture
right
the
nor
nor
stiff
The Gait
181-183.
dered
(nilliluaiita).
They
left
of
are to walk
with
slightly
right
body
raised
after
Sthiina with
hand showing
navel.
Gait of lialf-womeu
183-184.
that
of
The Gait
men and
movement
of limbs
184-180.
of
of
woman
half-women, an
the
The time
of stately but
will consist
women and
>
for the
will
teps
superior,
apply in ease of
which
And
will
women
the
halved
case
in
types
latter].
of
graceful
(lit. feet).
admixture
'
B.G.
read
stkaniya ya
*>
well
THE NATYASASTBA
232
[XIII. 186-
Gait of children
186-187.
will
The Gait
according to their
of children will he
[fixed] measreuient
will
be required.
Gait cf hermaphrodites
187-188.
in
The
he hermaphrodites
will
188-189.
change
their
own
[original] character.
189-191.
For
disguise,
or deception
sports
[of others]
woman assumes the role of a man, and a man that of a woman. [In
such cases] the woman should play the role of a man with patient
and
liberal spirit
and
intelligence,
and with
acts as
well as dress,
To
woman
man
is
to wear her
speak like her and look at things and abstain from looking
and
192-193.
is
assume a
to
Gait of the
Women
tribal
delicate
women
of inferior birth
Gait of
193-194.
women
asocctios
In case of observing a
or bearing the
the
Samapada Cart
mark
ties
is to
[of
religious
vow
sects.]
or practising
or staying
187).
austeri-
in the
sky
-XIII. 199
An
194-195.
expert in
Mandalas
195-199-
made conforming
should be
States
in,
"to
women.
to
posture*
Sitting
233
for
(lit.
and similar
should
different
be their postures
while in bed.
Sitting at case
196-197.
bhita)
slightly
is
and the two hands are put on the thighs on the two
mood
Sitting in a thinking
197-198.
When
person
his feet,
is
to
bend on one
is
to
is
he
is
to rest
raised,
sides.
to
stretch
slightly
one of
side.
Sitting in sorrow
19H-199.
When
or his head
is
a person
is
to put
to rest
in
is
up
his
sorrow,
[deep]
[from
the
is
lost).
199-200.
weakened or sad,
his
When
ifr-oni
a person
is
to sit depending
01 98).
30
fainting or
is
intoxicated, tired,
he
is
on [some] support.
to
stretch
THE NATYASASTBA
234
Sitting in
When
200-201.
meditation
he
person
lump
to
is
shame and
is
sleep etc.
ill,
his
together
XIII. 200.
ashamed,
asleep or
in
knees.
Sitting on ceremonial occasions
201-202.
to
hump
raised, in
is
to
assume the
person
sitting posture
of
woman
woman and
202-20H.
spirits
is
the
Sandhya prayers
sacrificial fire
acts,
mentioned above].
Sitting in worshipping a deity
203-206.
Downcast
(i.<:
kneeling down)
attendance during
the
Homa
and the
sacrificial
are |also] to
the
spirits,
servants,
work.
assume
in
crying for
superiors], bitterly
with
assumed
begging of something by
posture
posture
to be
is
and,
Ascetics
this sitting
200-207.
Now
(aJilijiaiit'irii).
to the royalty
(lit.
the seats
(lit.
a drama,
are
twofold
public
seats) for
(I'ahi/a)
and
the king).
-XIII. 216
235
208-210.
Lion-seat
tlie
(i.e.
the
throne),
commander
cane-seat, the
the
of
carpet-seat.
This ride of
seats
the
the
should he
observed in
the
royal court.
Scats for female characters
210-214.
The
I shall
now speak
queen should be
chief
Munda-seat,
the
wives
priests
of
Lion-seat,
(p<itt<t)> t' 10
remaining
for the
much about
in public
wives of
consisting
the
women
ground
the
While residing
female
the cane-seat,
cloth,
of
will
pillow
be
the
skin
or
made
of
(cushion*,
seat.
So
appartments as well as
inner
in
of
places,
and ministers
and female
and
the
and wives of the king other than the chief queen the
relatives
wood
women.
given
one's
The
215.
rules [of
the
different
sects
order]
with
special
marks
the
pouring
ghee
into
be according to the
seats
will
be
of
according
to their vows.
While
216.
doing the
sacrificial
the
duty in general or
is
to sit
sacrificial
offering
fire
or
a libation of
1
on a VrSi Munda-seat
,
or cane-seat.
muijjasana
is
'
cane-chair.
>
For- example,
their seat,
'
(Apto).
as
THE NATIASA8TBA
Xiu.
217
236
Other
217
local people
^posmslgmt^vnw^honldyhononrecl
/aij
b>' tk
'
r,
|,j
ki "%
To
importance,
equal in height to that of his own, to perxon* of medium
the seats
of middling height,
who
and to persons
are superior
the
lowly
guide
a more elevated
should be given
to him,
while
seat,
219.
sit
on the ground or on
wooden
an
seat-
220.
or
(lit.
preceptor
the
not to be objected
allowed
is
to).
Lying-down postures
221.
are
known
(lit.
proclaimed) as
Akuncita
223.
Sama
called
is
It is to
is
called
upwards
face
Sama
the
and the
posture.
Tt
224.
Prasarita
pillow
ft is to
be
Vivartita
face
be assumed
in
downwards
is
[representing
223
'
It is to
''.>'
-XIII. 228
237
and
intoxication
lunacy.
Udvahita
226.
the
Udvahita
posture.
It is to
he
used
of the
knee,
sports
in
is
resting
on
called
the
on
iind
entrance
of the muster.
Nata
227.
slightly stretched
Nata
posture.
228.
tell
Lying down
It is to
This
is
he used
the
with
tlw
lugs
loosely resting
in laziness, fatigue
[rule
of]
(lit.
is
and
shanks)
called
the
distress.
you.
ing to
228
in
connexion
with going
it.
RXJJ.235, G.228).
of Bharata's Natyasastra
227 (B.XH.2
.'-J,
0.527).
CHAPTER FOURTEEN
THE ZONES AND THE LOCAL USAGES
One
1.
should
ETC.
fix
after
knowing
the division of the three [kinds ofj playhouse, that have been
men-
The arrangement
The producer
2.
between
two
the
[of a
of
should
play]
doors of
the
drums
arrange the drums
room,
tiling
which
have
described before.
The Zonal
The Zonal
3.
will
division
[When one
the stages
change
[lit.
is in
division
to
is
lie
Zone
particular]
[of the
stage,
it]
it.
l-(i.
one
is
is
to
know [whether
a house, a
city,
of] the
a garden, a pleasure
resort, a
river,
any of the
laid
(lit.
or
continents,
its
light), the
[surface ot
fixed
have been
(lit.
rest, cities
7.
sky
a hermitage,
the
a mountain
in
(B.XHI.1, G.l).
See NW.
II. 63ff.
2 (B.XUI.2, G2).
3 (B.XIII.3, G3).
absent in the ancient Hindu theatre, the convention of the Zonal division
indicated the locality in which different characters
,4-6
aiayas.
(B.XIH.4-6, G-4-6),
'
B. reads
met
daityamgalayas
7 (B.XIIJ.7, G.7).
for
daityamam
THH ZONKS
XIV. 16]
&
239
[The Zonal]
9.
who have
and
relate to
location
inside,
[the
remaining outside
stage]
should be taken
earlier,
those entering
enters the
with the
stage
(/. r.
being
as
known
are to be
later
it
as
it.
He who
10.
them
should
division
seeing
intention of
to
the right.
The
11.
tiring
room
The
If
[who enter
rule of exit
will
go out
on any
when entering
going out
]
he
business
neeeseary
|if
is
to
make
(lit.
his
there is.
exit
by the
1
.
lore-enter
is
that
house he
which
the
will
men
came.
later]
14-15.
The
any person
Tf after
his exit
of the
course
the east in
performance.
make
li!.
on the stage
face,
of the dramatic
12.
east
If
out of necessity he
goes
along
with
latter, [re-]
should be prescribed for the two. This other Zone will be indicated
by
10.
With the
is
equals, one
is
to
with
8 (B.X11I.8, G.8).
9(B.XIII.9,G.9).
10 (B.XIII.10, GfHO).
ll(B.XIIl.U,G.ll).
12 (B.X1JI.12, G.12).
13(B.XJU.13,G.1S).
THE NATYASASTBA
240
And
a distant land.
place
if
17-
medium
The same
17.
XIV.
be taken
will
medium
as
distance
Movement
18-20.
and demigods
of gods
by an
aerial
But while
car,
by
in
disguise
play)
(lit.
seas or mountains
cities, forests,
their occult
in a
power or by
play they
(/.
human
be visible like
beings
Movement
men
move
are to
human
causes)
1
.
Bharatavarsa
in
at
their will
men
of
through
21.
that
(lit.
may
move
is
it
any
to
prescribed
If
by closing the
to be indicated
mentioning again
To
23.
matter
(lit.
indicate
this
and
Act
object one
attainment of an
the
But
measure of distance.
distant place
his departing]
this fact in
Time allowed
traverse
Act [with
in non-attainment
of
the
in ease of
(he
object)
failure
is
in
Act should
to
this
be
brought to an end.
24.
Yama
of the
and
Germ
25.
after,
day are
to be
accommodated
in
Ksana, a Muhnrta,
an Act
in
pursuance
of
an
Act
should not be
[to
is
be
considered] finished
put. in
an Act.
16 (B.XII116. G.16).
17 (B.XJII.17, G.17).
'
21 (B.X1II.21, 0.22).
22 (B.XUJ.23, 0.23).
'
24 (B.XIII.25, 0.25).
I.
this.
23 (B.X1II.24, 0.24
't
-XiV. 86
THE ZONES
The Zones
&
of
the
men
26.
be observed in a play
are thus to
Now
in connexion
241
about that
listen
27-32.
as dwellers
Ganas
all
are
the
of
known
on
Biahmarsis
tains
Zonal
division
full
of lapis
lazuli
With
demigods dwell.
The
Blue [Mountain]
the
is
Resa,
as
On
on the Hemakuta.
and
mountain.
latter
to live
on the
the
in
the
(lit.
live
reference
the
ot
Movements
Their
32-35.
of gods
be represented
should
exploits
(lit.
made)
according to their habits and powers, but their costumes and make-
up should be
are to
be
like that of
made human.
human
Sentiments
[first]
[in
indicated
beings.
play]
are].
(lit.
And
depend on Glances.
(lit.
by
The
limbs).
is
all
the
by
division.
36.
(prarrtti)
shall
now resume
1
Daksinatyi^, Pancal! and Odhra-Magadhi
Avanli
26 (B.XI1I.27, G.27).
32-35 (B.XlII.33b-36r, G.35-37a).
'
For tu iaiyam B.
reads
na
karyam.
36 (B.XIII.36b-38, G.^7b-38).
beginning of 37
31
is
in prose.
'
this
till
tl.e
[Now comes
question]
the
pmvrtti
because
so called
is
Why
is'
"How
asked,
it
common
is
characteristics;
which
performance
hive
these
[In reply]
different
native
have prescribed
performance which
dramatic
is
Styles
the
to
Graceful
(sattmtli), the
And
(arabluiti).
Violent
four
all
their
people
Styles
relate
Grand
the
{bharati)
characteristics."
and manners,
the
the
people.
[different]
as
different
four
to
attached
that
of
classification
a fourfold
true
but
(('..
an observance of
common
languages
costumes,
countries,
of
said, "It
been
has
And
[some]
possess
pravrttis
Hence
this world.
in
be] proper
pravrttis) [can
Vrtti
world.
the
'information',
it
of
countries
different
said that
it is
informs [one]
it
pravrtii
called]
[it
is
in
[XIV. 37-
THE NATYASASTKA
242-
from
these
also
(kai&iki)
[countries]
and the
the
arise
performance
the [entire]
including them.
Now
[it
is
that
in
said]
abundance
37
connexion
Countries adjacent
to
(lit.
there)
that
the
various
the Graceful
of
They
(kaisiki) Style
are as follows
1
Malaya, the Sahya, the Mekala and the Kalapanjara are
the
known
38-39
1
[But] Kosala, Tosal.i, Kalinga
3
countries like Dramida, Andhra, Malrrastra
37 (B.X1II.39, G.39)'
Kalirjara
(=Kalapi
jara)
Kalapa
'
jara seems to
pinjara
is
be same as modern
variant
of
paltjara
see
'
Andhra-Maharatra may
also be
See note
to 43-45.
-XIV. 46
THE ZONES
vasika which
&
lie
243
OceaD and
the
Vindhya
8
[mountain] are always to take to the Daksinatysi Local Usages .
40-41.
Arvudeya
The performance
42.
should depend on
tries]
[of a play]
Grand
the
and [such a
Styles
[kaisilci]
by [people
(s&ttvati)
procedure] should
be adopted by
the producers.
43-45.
Odhra
Vatsa,
Plavamgama, Malada 3
rgira,
gava,
(Odra),
Margava, 7
known
In
46.
Puranas as
Usage
is
as the
to
to
the
Odhra-Magadhi.
countries
other
relation
belonging
and Tamralipta,
Pulinda, Videha
Pragjyotisa,
East the
too
known
in
Odhra-Magadhi
the
Local
applied.
variant
readings).
see
Dines Chandra
pp. 297-314).
putana
is
42
(B.XKL44,
two
different
'
B. prahga pravrttayah.
'
For Brahmottara
'
in Raj-
G.44).
'
District of Bengal.
46 (B.XIIL48, G.48).
in
Bengal.
IV. pp,
250ff.
It
is
THE NATYASASTBA
244
XIV.
47-
Countries such
Vfilhika,
PancJa,
as
Si'kala
Madra
the Himalayas
contiguous either to
or
Kasmira,
Surasena,
and
Northern bank of
to the
In
this
[means]
known
paucity
and
of song
(sattvatj)
The
[to predominate].
application of
movement and
excessive
The twofold
50.
will
be in two ways,
in [observing] Local
viz.
Usages,
and
right
In the
Daksiniitya
going about [on the stage] will be from the right, and in the
In
by
left.
ease
it
be from the
will
of the Avanti
Piiiieali
left.
and the
Daksinatya
Local
But
and
made
in
expression of
(lit.
be
into one).
54.
Experts
should
apply
to
plays
the
Local Usages
One
(lit.
these
shold
be
those acts)
in
rules
practice
be a variant of Salvaka.
may
ialval} iakalavasinah is
the
name
'
in
the Puranas an
of
some mss.
expression
like
49 (B.XIU.51, G.49).
,
As
51 (B.Xin.53, G.53).
53 (B.XIIL55, G.55).
50 (B.XHI.52, G.52).
52 (B.Xm.54, G.54).
54 (B XZII.56, G.56).
55 (B.XIII.57, G.58).
THE ZONES
XIV. 63]
&
The production
56.
of dramatic practice
types of plays
in conformity with the
of a play
two types
of
is'
245
rales
and
delicate (sukwniaru)
violent (avbldhii).
The
and movements
challenging!
violent types
57-58.
{aivjaliaiv)
represent, cutting,
to
women [among
its
ilmimiti*
lias
its
and
Vyayog;i
less
production J
is
Samavakara, the
known
/*/.'ivsu/n/]
and
piercing
the.
(arihlha) gestures
violent
Iliamrgu
the
[classes]
are
Production
60.
plays
of
of
The
plays of
The Nataka,
the
delicate type,
delicate type
human
now
define
[for
Anka
the
their
are
production]
beings only.
The two
I shall
made by
are majestic
strength.
62/
be
61.
should
this type
Practices
relate
(lit.
the
The
63-64.
characters]
and
a play depends on
If
simple and
is
56 (B.XI1I5 9
realistic Practice
not
natural
articial,
behaviour
and has
[in
its
its
[plot]
57 (B.XIH.60-61, G.60-61).
G.59)
59 (B.XI11.62, G.62).
61 (B.XII1.64, G.64).
'
B. adds
62 (B.XI1I.70, G.65).
'
van, Niitya
in
see
'
V. RaghaBharata's
THE NATYASAKTRA
246
66-
of the people
XIV.
women
of
and
limbs
of
flourish
earned parsons
[iiaijadkarm'i)
07.
(lit.
characters
known
as conventional
play
in
speech 2
by
used
anything
and
to be
is
it
and
dependent on emotionally
is
If
set foot)
from
(lit.)
and
dance,
of
characteristics
possesses
and
beings
speech, activity,
contains
play
Tf
practice
the
among)
(lit.
is
appears
people,
as
here)
(lit
conventional
called
[a]so|
(naJtijadhannl) 3 .
practice in a play according
[The
U8.
to
which persons
in proximity, or to hear
uttered
all, is
If objects like
69.
conveyance,
hill,
aerial
arc
what
shield,
car,
are used) in
[human] form,
it
is
in
known
as an
the
[instance of]
conventional Practice.
If after
70.
same
both the
cases
of
65-67
being
is
for
whom
forbidden by the
sole
actor
being
available
employed
H.XI1I.75, G.70).
'
marital
(lit.
for
both
made
in
the
padant
G. reads bhadram.
to
Au
is
in
the
appear in the
is
'
of this
being)
Sastras,
different
an expert
Miiyapupaka
(Ag.).
68 (B.XIII.76, G.7I).
69 (B.XIII.77, G.72).
this.
the
one assumes a
of his
woman
character
role,
on account
71role
or
known
roles, it is
appearing
play],
'
''
70 (B.XIII.78)
after
-XIV. 78
THE ZONES
role of another
woman
becomes an instance
be the result
if
73.
such
of conventional
connexion
steps
Tf the
combined with)
is
movement
known
it
will
reversed.
human
essence
its
as
well
which
nature
soul)
(lit.
gestures
[special]
limbs
the
of
as
with
as conventional Practice.
[ordinary]
permitted,
is
The same
practice.
is
247
graceful
made
similarly
whom
with
That, [in
72.
or goes with
&
it
has acts of
by
represented
is
(lit.
of]
The Zonal
74.
many
division
which
includes
depends on)
(lit.
75.
movement
tional
always be produced
play should
the
[use of]
Gestures [by
7C.
gestures
(arthnlah)
a play]
connexion
[in
;
with
[hence] a decorative
as
[persons]
them are
movements
[an
and
all
the
from
necessity
of limbs [in
producing
used]
instance
of]
the conventional
Practice.
77.
and
the [four]
should
know
78.
Local
these
Usages.
Experts
in
dramatic
production
practice.
depending on
shall
afterwards speak
Words which
consist of
XIV
of Bharata's Natyasastra
72 (B.XIII.80, G.73).
73 (B.XIII.81, G.74).
74 (B.XIII.82, G.75).
75 (B.XHI.84, G.76).
76 (B.X1II.35, G.77).
77 (B.XIII.86, G.78).
78 (B.X1H.87, G.79),
CHAPTER FIFTEEN
RULES OF PROSODY
The
O the
1.
nature
best of Brahmin?, I
characteristics
(lit
actor's speech
shall
Verbal
of) the
and which
the
Representation which
relates to
arises
(lit.
from)
One
2.
as the
and
body
Makeup and
In
3.
rest
this
world
(lit.
The Verbal
4.
tion
{ii)MHtirtja),
is
vibhakti
nominal
5.
made up
words
of
related
is
(aklu/ta),
to
particle
combination
[a
knowledge
(ni^atu),
(tahlkHu)
suffix
preposi-
compound
(xnn<lhi)
and
words
c.ise-eiidim's
).
of
acting [merely
representation
verbs
euphonic
(mimasn),
Costumes
lestures,
there
1
are at the source of everything
nouns (nama),
<
(*al'vil;n)
of words.
on words; hence
of]
And
(/<///).
Temparamental
the
meaning
clarify the
and
The
two kinds
difference in
Recitation Qiathja)
Sanskritic
and
of recitation
[in
play]
Prokritic.
I shall
is
known
speak
to
of
be
their
due order.
1 (C.lj B.XIV.l).
>
On
nw
this
are* n*<rarrtt.
3 (C.3; B.X1V.3).
'
Tiiis
view
is
also
held
B.X1 V.4).
5 (0.5; B.X1V.5).
hy Bhatrhari
p. 224, foot note.
(circa
-XV. 9
BULBS OF PBOSODY
249
[They consist
0-7.
nominal
The
suffixes.
due regard
prepositions,
verbs,
Sanskritic Recitation
and
Now
listen
1
various verbal roots
euphonic combi-
nouns,
case-endings,
nation,
,.
is
its
and
particles
characterised
by
[a
includes
application.
The speech-sounds
The
known
as
ka and ending
in
au, are
Vowles
c, ai,
number 1
are fourteen in
known
o and au are to be
The group
jha,
ja,
Consonants
9.
The
A,
a,
group of consonants 3
consonants] are
ta,
u,
da, dha,
r, I. ],
r,
sa
(5a,
ta
n.a,
sa
tha
and ha 2
their articulation
as unvoiced (<ujlw*n)
[of
and the
the
stop
[of the
rest
(ijhoMt).
8 (C.8; B,X1V.8).
u,
consonants. Ka,
are
tha,
first
known
vowels differently.
i,
i,
as the vowels.
[constitute] the
in
and ending
R-ad mmadhatu-sammrayam, C.
'
'
According
to the
Priitisakhyas enumerate
See VS.
PS.
among consonants.
8
(ed.
Manomohan Ghosh)
p.51.
Sec
ed.
Ghosh,
and
tnss.
this
may be taken
ibid,
9 (C.9
B.XIV.12).
'
p.
as spurious.
same
upadhtmnlya
p. 50.
this
59.
Not
This
spurious.
is
The
prose passage.
THE NATYASASTBA
280
10.
as)
and unvoiced,
voiced
velar,
classified into
(jihvya)*,
and Visarjanlya.
10-
known
(lit.
lingual
dental,
labial,
XV.
ga,
ra, la
gha,
na,
ja,
jha,
unvoiced.
Ka, kha,
12-14.
and
i, i,
ya and
(murdhawja),
sa cacuminal
(kardhoxtha),
xthana) 2 , e and
o and
au
are
ma
duction of
The
is
na,
la,
r,
and
a and
(kanthyostlia,-
throat-labial
The
place of articulation
be for the
will
for
pa
closet! (arivrta)
sounds]
'
Read the
sa,
hemistich as
first
^nwfor,
<tf
to occur in
manner
of their production
dha,
10 (CIO; B.XIV.13).
work.
is
[The group of
15-16.
ending in
(kanihastlia) 1
da,
throat-palatal {kntaha-talavya).
ai,
lips,
vowels u and u
ta,
labial;
1
are from the root of the tongue
velar
tha,
ma
The Visarjanlya
14-15.
are
na,
sa palatal, ta,
and
ga, gha,
(11.37),
as
follows
Curiously enough
in the Ntt.
11 CC.11; B.X1V.14).
Read lib
*
8
1
as follows
articulation
qre^f zstrnTO-siw
'
For
different tradi-
qSmta:.
as follows
"ft *raili!ft
tftr
16).
Read
14b-15a,
as follows
1
'
qrtft
^ wwwft.
liffit-
-XV. 21
BULBS OP PBOS,ODY
while semivowels
(vivrta)
iia,
9a, na and
16-17.
Sa,
sa,
va
arc
and
ya, ra, la
(airfahitha)
ma
Upadhma
281
sibilants (imiim-h,
(aiUiihithii,
lit.
lit.
na,
hot)
intermediate),
(jihnamidltja)
(nparfhmaniya).
17-18.
Ka,
ca, ta, ta
and kha, cha, tha, tha and pha are uttered [markedly] from the
and
throat,
dha, and
18-19.
be
known
as a sound
1 shall
now
discuss the
from
which have
vowels
with
Vowels
1
20.
Of
homogenous
their quantity
pairs (winaiw),
of which the
first
21.
above] the
(tihatu),
affixes
of
word
vowels and
consonants [described
prepositions
(npaxarya) and
(nandhi)
combinations
euphonic
(taihUuta),
particles (niyafa),
nominal
and case-
terminations (vibhakti).
16-17 (C.16b-17a;
B.XIV.18b
19a).
18-19 (C.18b-19
B.XIV.20b-2l).
'
Read
'.See
note
to
12-14
above.
under B. 20b.
20 (C.20; B.XIV.22b-23a).
(B 22a), before
3
'
B.
reads one
additional
this.
p. 231).
hemistich
THft NATtASASTBA
262
The
22.
will arise
in
those charac-
when an occasion
teristics briefly
characteristics of vocables
detail
[XV/S8-
1
.
The noun
28.
endings such as
therefrom 2
and
it
of
is
determined by
functions
its
and the
'su'
like,
five
the case-
meaning
a basic
noun)
It (the
known
is
it is
to
1
be of seven
well-established
and
classes
([irathittt)
and
B X1V.28).
23 (C.25;
in 0. as well as
B.
Begin
'
it
as svadyudya"
'
The
five
K?4 * ftfjTW
There
is
nfinnfiwitfef-
wmn
st^iijsw
Haldar,
tasara-vivarana (Rrf.
*
follows
as
mi mq lliw
wtffl
number
of basic meanings
is
gender (likga).
chareteris-
a species (jitti) and object (dmvya). Katyayana adds one more to the
number which
arc
3"rai
Itihiisa, p. 174).
Goylcandra, Samksip-
il
characteristics
Pataiijali
of a
number
species,
object,
of a species,
object,
to
less
kuown
bo four.
to be live in
number,
e.g. characteristics
(Haldsir, Itihiisa
p. 447-48.
24 (C.23; B.XIV.25b-26a).
The seven
classes
probably relate to
The
words
scarcely well-known.
as a whole,
Prathita
built
It
may be
in
as
relate
this connexion
affixes
etc.
component
parts.
be.madc).
sudhya
and
Prathita seems to
are
known
as
sadhya
_,
-XV. 27
BOLES OF PBOSODY
[sometimes]
with
is
different
be constituted (sa/lhya)*
to
case-endings]
it
may
258
when combined
[and
(nirdega) 3 ,
imply* indication
25.
The
lik*.
and the
like
and sometimes
to be
well-established
The verb
26.
[A
the
be known
Those that
verbal roots in
iipaxtjnnti
called
Nirdesa seems
<mii
the
meaning
of
the
it/nutti nja-
(preposition)
in the science of
(xttmskara-iastra).
relate 'nominatives
to to
ftw.
connexion with
in
grammer
(akhyata)
as verbs
%A
R?T"5m$iif(
for
it
is
one of
the
^rarafsqfa^ii
ftwwttf:
R^tfflJU:
.-
(Haldar,
Itihasa, p. 170).
cf.
29b).
'
as follows
prmya
of drg,
and sadhya
to
Sec
as C. 26a.
number as
to Jaina
five
hundred.
Sakatiiyana's
*3*jJWr*rf'Mri<.'i*
toj:
wn:
'
ll
(Ref.
Haldar,
(gatta).
' This
27 (C.26, B.XIV.30).
definition of the ufiasarga follows
Sakatayana's view on the subject as expressed in the Nirukta 0,. 1.3-4).
THE NATYA8A8TRA
361
The
XV.
28-
particle
28.
The
1
29,
meaning
As
[of
it
by intensifying
root]
pratyaya
affixes
or
it
essential quality
its
and
the
develops
combining
{mitva),
with
[it
it is
called
by an
elision
(affix).
The nominal
x As
30[of
some of
it
affix
a seperation of
its parts],
[of a word]
and
root
its
or their
by
On
roots.
affix,
[indicated
the different
ways
wati finmj*4*
sfcfillffl
which
in
fafitlfe ?lm$>!<re9'iiftlfcroT.
28(C27;B.XIV.3l).
'
of the ca-group
See
(nipaia).
are particles
I.
pitch
The author
2
here.-
He
says
farffatswfTOwra
of the
not clear
now
nipatas,
is
P.I. 4.57.
of the definition
is
etymology
the
definition of the
given
pratyaya
to
tation the
strengthen
Such an elaborate
'
it
to
corrupt.
occur in
seems to trace
root
According
29 (C.28; B.XIV.32).
doer!
this
5.57.
of grammarians.
Ag.
The meaning
3tre: q?fta^
stt:
).
30 (C.29; B.XIV.33).
'
This definition
of the
suffix will
It
describes the
transform a word.
XV. 34
BULBS OP PBOSODY
255
The case-ending
As
31.
of
Where
32-
separated
vowels
consonants sandhtyate
or
As due
33.
to the
it is
called
it
is
mndhi
letters)
(lit.
(result in a
or of
combi-
(euphonic combination).
words
to express
affixes,
has been
the like.
31 (C.30; B.XIV.34).
sense of the term
This definition
of
word
(i*!"!
fmitl?
sandhi in
fffl%).
32 (B.XIV.35) C.
omits
or consonants), in a great
constitutes
sandhi.
the
says
p. 169).
vtsltsta
for
vitista.
'
The
number
This
Road
this.
etymological
Kalapa school
the
follows
Diu-gasimha
{vibhakii).
is
and
kinds,
phonetic influence,
relate to savara-s,
Roparate
two
authorities
than half a
sounds.
maim.
It is for
this
this
not be moro
jfa:
*WRrf(<"s*wq^fl^rat^^flSl!i !.
,
33 (C.31; B.XIV.36).
34 (C.S2; B.XIV.37).
"
'
C. reads 33a, as
^m *w
<rJ*ifrihimM|irrt.
for
sfimha*
[*?%
THE NATIA8A8TBA
2S6
one
Observing such rules of grammar (iabda-vidhfflia)
35.
extensiveness
l
.
Two
Padas are
36
kinds of word
inflected
Now
listen
viz.
about
[first]
Words
Words
37.
not the
many
number
in prose
their
of
Words
Words used
38
syllables
meaning
[in view]
1
.
in verse
combined,
and stops 1
number regulated
regulated,
their
2
.
Syllabic metres
39.
(
syllablic
ideas
Thus
metre
arises
)
Rhythm-type
made up
four
of
Rhythm
40.
Rliythni-lypcs
(''lunulas)
1
called
Vrtta
syllables.
typos
feet
in
feet
are
twenty-six
number.
in
viz.
fawarairaigs?:
q^wt:
Read
'
36 (C.34; IS.XIV.39?.
0.
'
: nfir.
sreflrapt
'.
vibhajykapadam
for
vibhaktyantam
('.
37 (C.35i.B.XIV.40).
dhapadavrnda
G.
B.
'
anibaddhapadam .chandas
arthopekmkmrayutam
and
TV
for
anibad-
syntam
for
arthapcksyakmraytitam.
38 (C.36; B.X1V.41)
39 (C.37; B.XIV.42).
B. pramuna-niyatuttmkam
niyatakmram; Read phdair-vamair for pmfoirvarnair,
40 (C.38
B.X1V.43).
'
for
pramaya-
RULES OF PBOSODY
.XV. 51 5
41-42.
metres
syllabic
different
Mylhm-type
This
body of words.
the
is
257
known
to illuminate the
form
There
of
no
is
Combined
drama.
Twentysis Rhythm-types
43-49.
palled
tisthii.,
[in a foot] is
Pratistha,
syllables
syllable
is
eight syllables Anustup, with nine syllables Brhati, with ten syllables
Atijagati,
with fourteen
with fifteen
seventeen
syllables
nineteen
syllables
eighteen
with
Atyasti,
with
twenty syllables
with
Atidhrti,
syllables Hakkart,
syllables Asti,
with
Krti,
syllables
twontyfive
with
Vikrti, with
syllables
Atikrti
syllables
Utkrti.
49-51.
known
as
Malfi-vrttas.
innumerable.
The
And
syllables
the Rhythm-types
tban these
experts
But
all
of
the
are
many
being of
more
Those containing
like,
are
is
in use.
of
the
Gayatri [type]
fiftysix,
of the Brhati
five
hundred
thousand
'
'
P. 50).
33
THE NATYASA8TBA
238
XV.
77-
sixty-eight,
and
thirty-six, of
of the
the
Asti
Atyasti
and
lacs sixty-two
twenty-four
lacs
five
the Krti
eighty-eight, of
forty-eight
lacs
ten
five
and
ninety-seven
lacs
hundred
fiive
Atidhrti
of the
forty- four,
thousand
sixtyfive
of
fifty-two,
the
thousand
two
hundred' and
the Sainkrti
of
eight,
lacs eighty
eighty-three
of the Vikrti
eight hundred
77-79.
metrical
eight thousand
and sixty-four.
Adding
patterns
laes seventeen
(Atikrti)
fifty-lour
hies
lacs seventy-seven
Abhikrti
of the
sixteen,
we
together
find their
numbers
these
all
as
total
thirteen
of
different
crores forty-two
1
thousand seven hundred and twenty-six.
I have told
[their numbers].
make up
the
You
syllabic
should also
metres.
is
know how
W hether
these
the
the
triads
are
one,
formation of
which
twenty,
all
the
81-82.
in
definitions.
make up a
triad
which
is
light,
considered
or
part
their
heavy and
of each
own
light
metrical
pattern.
77-79 (C.80b-82a;B.XlV.80-82a).
>
literally agree.
'
C. omits 79b,
XV. 90
BDLES OF PBOSODY
83-84.
syllables
\j
),
syllable (<j
two
ja
light
syllables
separated
by a
light
one
one and
light
(kj
),
),
ya two
na three
their
of
origin
in
metre they
y
86-87
single
( u
>),
v/ v/).
light
heavy
by a heavy
(i. e.
three
,_,),
two
contains
w <J), ma
light syllables
bha
by a heavy one
preceded
syllables
(v
259
[of metre]
87-88.
prolated
(pluta)
is
verse]
required
by
heavy syllable
is
vowel, Anusvara,
88-89.
Eules
regarding the
metre,
to
relate
a regular
A couplet
nor wanting
in
regular couplet
is called
The
90-91.
The
stop
is
neither
B.X1V.87,
88b).
'
B.
roads
one
additional
B.X1V.89).
THE NATYASASTRA
260
XV.
91-
The Foot
The
means one
it
The
91-92.
metres are
their deities.
Location
Location
is
of
two kinds,
to
body and
the
Quantity of syllables
93.
Syllables
and prolated
are
of
the
three
kinds,
viz.
long
short,
{pinto).
Colours of metres
like white
and the
like.
Pitch of vowels
The
94-95.
and medium.
pitch of vowels
I shall
is
of
high, low
in
connexion
the
95-97.
(mma),
number
of syllables in a foot of
or in excess
by one,
it is
deficiency or excess is of
any metre
is
diffident
two
syllables,
is
If the
respec-
is
preceded by in B.
three hemistich* which do not occur in some versions, and which seem to be
irrelevant.
-XV. 102
BULBS OF PBOSODt
98.
divine,
human and
into
fall
three
classes such as
semi-divine.
Usruk,
Gayatri,
91).
261
Anustup,
Briiati,
Kyti,
(i.e.
Prakrti,
human)
Vyakrti
(Akrti),
Vikrti,
Sainkrti,
the
now
listen
Rhythm-types described by me
and
class.
1
.
in
1
.
XV of Bharata's Natyalastra
treats of the
Rules of Prosody.
98 (C.91b-92a, B..XIV.112b-113a).
99 (C.92b-93a, B.XIV.113b-114a).
100 (93b-94a, B.XIV.114b-115a).
l
The seventeen
to be spurious.
couplets after
For a
discus-
'
Some
versions
of the
NS. read
GHAPTER SIXTEEN
METRICAL PATTERNS
'Janu-madhya
1
1.
Tanu-mdhya
[In each of
class.
are heavy
is
variety [of
its feet]
Gayatri
metres] of the
and the
two
last
syllables
3
.
Example
santyakta-vibhusa bhrastaiijana-netra
2.
fair
lady
slim-waisted
(lit.
tvam tanu-madhya
hastArpitaganda kiin
one),
why
II
your ornaments, why are your eyes without collyrium and why are
you
Makaraka-snra
3.
each of
its feet]
first
is]
four
Makaraka-s'irsa
syllables
and the
light
two
last
Example:
4.
You
you
of his
are
own
not'
the
greeting
accord
1(C.2,'B.XV.2).
terrible
This
'
is
one,
II
beloved
why 1
you so
are
preceded in B. and
by a couplet
to
dull-
Such
is
is
also its
the
east'
>
'
Km
rat aye
Scheme
hamwhy
na
diyate,
are
Kumar.
(uuo.u- -).
you...?
Cp.
Km
IV. 7.
This
is
called Sasivadana
4 (C.5, B.XV.5).
'
Makarakaiiiirahaving a head
('..
1.
-XVI. 9
MBTBICAL PATTEBNS
268
Malati
5.
and the
second
Malati 1
filth
feet of six
and
are light
the
which the
syllables of
rest
heavy,
is
called
Example
sobhate baddhaya satpadaviddhaya
6.
manini
lnalatlmalaya
The
woman
offended
lilaya
II
garland
which
in
Malinl
7.
second one
Example
is
By
called Malinl.
snana-gandha-srngbhir vastra-bhiisayogaih
8.
which the
is light
II
[good]
of] garlands,
dress
called
The
Piiiicatantra,
seven
feet of
fifth
syllables
of
rest
which
heavy]
in the
its
Uddhata 1
and the
mokara
in the
Vanara-makara-katha
Hence I
on the river-bank.
left
translate the
(B.XY.9-10).
7 (C.&, B.XV.6-7).
'
Scheme
Scheme
u -, - v -)
(- u -,
(-
).
Pii'igala
This
is
9 (C.8,
B XV.11-12).
10 (C.9, B.XV.13).
'
Scheme
(-
quite different
u-,uu -, -).
The N8.
Nandimukhi.
THE NATYASASTRA
264-
danta-kunta-krtankam vyakulAlaka-sobham
10.
XVI.10-
<
Your
face
and
beloved]
is
II
the
[of
Bhramara-malika
11.
the
first
called
Bhramara-malika 1
Example
feet of
seven
syllables of
last
which
light]
is
Caitra which
is
12.
rest
month
being the
of
cluster
of
bees
are
II
flying
about
13.
the
first,
fifth,
and the
the seventh
is
called
Simha-lekha r
of
which
[the eighth]
last
.
Example :
14.
love's
atra simha-lekham
my mind with
the scratch
1
.
Matta-cestita
15.
1
11 (CIO, B.XV.14-15). Scheme
(--v,vv
-,-
(- j -, v, -
u, -
which the
).
12 (Oil, B.XV.16).
13 (C.12, B.XV.19).
name
'
14 (C.13, B.XV.17-18).
,
is
Scheme
-) C. gives the
as Sirnhalila.
named as Pramanika
in
The
'
Pr P.
Scheme
(v;
- u, -
-,
U -).
Tnis-metre
: ::
MEfcBIOAL PATTERNS
-Xtl.20]
265-
second, the fourth, the sixth and the eighth are heavy [and the
rest
Example
carjlvaghumit^ksanani vilambitsikulalakam
16.
The
who
is
is
II
rolling, hairs
behaving like
intoxicated.
Vidyul-lokhil
17.
are heavy,
is
feet of eight
called Vidyul-Ickha. 1
Example
18.
The sky
sun-beam
rivals the
is
flash
II
which
19.
the
is
fifth,
and the
the seventh
called Citta-vilasita.
feet
last
Example
smita-vasa-viprakasair dasana-padair amibhih
20.
(lit.
fair
mukham
avraoti i
16 (C.15, B.XV.22).
17 (C.16, B.XV.23, 24).
the
name
as Vjdyun-mala.
This
'
is
Scheme
the
name
in Pingala
and
-).
Sr.
B. gives
B.
18 (C.17, B.XV.25).
19 (B.XV.26).
'
20 (B.XV.27).
as the
Scheme (u
v u, u - u,
-).
is
as old
34
319).
::
THE NATTASASTRA
266
[XVI.
outshines
21-
(lit.
moon.
Madhukari
21.
feet of
Madhukari. 1
called
is
Example
kusumitam abhipasyanti
22.
vivid ha-taruganais'
channam
vanam ati&iya-gnndhitdhyam
bhramati madhukari hrsta
Seeing the
and
flowers
bee
is
woodland
covered
in exuberance
rich
with
II
various
trees
odour,
of [pleasent]
full
the
of
female
Kuvalaya-malii
23.
the
first
and the
Kuvalaya-malii
rest light]
is
which
called
1
.
Example
24.
asinims te
tada kSnte
s"irasi
vaiduraya-sphatika-suvarnadhye
suslista
tSra
kuvalaya-maleyam
II
fastened at that time on your head which has been richly decorated
its
ty.
Mayurasarini
25.
metre
is
the
feet
of ten
syllables
u u U, u u u,
Scheme
).
of
This
22(C.19,B.XV.80).
>
24 (C.21, B.XV.33).
Scheme
(-
-,
V U u, w - -,
-).
This
his followers.
Kuvalaya
25 (C.22,
is
B,XV.H
35).
XVI. 29
MfiTBIOAL PATtERtfS
26?
which the second, the fourth, the sixth and the eighth are
[and the rest heavy]
is called
Mayurasarim 1
light
Example
26.
samgamo
naiveute'sti
nasti
m'Snusair
kamabhoga-cihnain anyat
O ignoble
you any sign of
You
enceinte.
II
one,
love's enjoyment.
you look
Still
neither have
like
one who
is
Dodhaka
27the
the fourth,
first,
Example
28.
is
eleven syllables
feet of
the
Dodhaka. 1
called
praskhalititgrapada-pravicaram
matta-vighurnita-gatra-vilasam
kunjaram etam
vilasini
this elephant
II
which with
faltering
its
legs,
in] intoxication,
if
which
pasya
[as
of
is
imitating the
manner
of a calf
1
(?)
Motaka
29.
the
first
Scheme
Mayurasa and
feet of eleven
the eighth,
fifth,
and the
syllables
of
which
last
Motaka.
(- *J -, \j so does
kj,
\j -, -),
'
Piiigala
gives the
name
as
Vr. R.
26 (0.23, B.XV.36).
'
This
pea-fowls'
27 (C.24, B.XV.37,
38).
28 (C.25, B.XV.39).
dodhaka.
as
Scheme
(-
v, -
\j vj,
u u, - -).
meaning of
theft word
29 (C.26, B.XV.40).
named
*'
'
Schcmfi. (- - v, kj - U,
- U,
U -).
This
is
tXVL36.
28BNAI1TA8AST8A
jgg
Example
eso'inbuda-nisvana-tulya-ravah
BO.
ksibah skhalatnana-vilamba-gatih
trumpeting
valley, is
and
clouds roaring
the
II
in the
mountain
in
trees.
rushing with faltering steps to the
is
Indra-vajra
31.
sixth,
Example
32.
is
the seventh
1
called Indra-vajra
are
light,
[and
duhkhaika-sadbya kathinaika-bhava
You
over,
practice of love,
you are
you are
[like] the
lit,
one
II
be pleased and
at, difficult to
hard
feeling,
and
in
won
the
in short
thunder-bolt of Indra.
Upcndravajra
33.
the
first,
is
called
which
light
[and
Upendravajra 1 .
Example
34.
II
30 (C.27, B.XV.41).
31 (C.28, B.XV..2).
'
Scheme (- - U, - - u,
'
Scheme (u - u, - - u,
U - U, - -).
3-(C.29,B.XV._3).
.33 (G.30, B.XV.-W).
3.(0.31, B.XV..5).
o - u,
- -).
UmSHChb PATTERNS
.*%!?}
beloved
[of
your dress}
one,
smile, grace
and
delicate
<m
of
the
colours
special
bearing,
these
the [beautiful]
qualities
Are
form.
Rathoddhata
35.
the
the
first,
heavy [and
third,
feet of
seventh,
the
ninth and
Rathoddhata
Example
yat paJayanaparayanasya
yati dliulir
good
You
friends,
tc
adhuna rathoddhata
soldier,
left
II
the
com-
battle-field
your road]
last are
pletely.
the
kim
30.
the
rises
now
[as
by
scattered
if]
battle field]
chariot.
Svagata
37.
the
first,
which
the third, the seventh and the tenth and the last are heavy
is
Svagata 1
called
Example
38.
adya
me
saphalam ayata-netre
jivitam madana-samsraya-bhavam
agatasi bhavanain
mama
Today
and so has
my
fair lady,
and
love,
II
Scheme
>
36 (C.33, B.XV.47).
'
(-
B. gives au
their object
my
-,
'
Schema
(-
vu
etc. (Ag.).
u, -
additional
u -, u -\
example
metre (B.XV.48).
37 (C.34, B.XV.ly).
house
seated.
35 (C.32, B.XV.46).
yasmat
v -, kj u U, - o u, - -).
of
this
THE NATXASASTRA
270
XVI.
89-
Salini
39.
feet of eleven
the sixth and ninth are light [and the rest heavy]
Example
40.
which
called Salini.
is
1
.
Slam sadhvi he
without any
is
Salini
with
merit or
te'nuvrttam
niadhuryadhya sarvatha
On
of
syllables
tvam
you
people
the
wicked.
II
full
or
do
is
have followed
sweetness in every
of
respect.
Totaka
41.
the third,
feet
and the
42.
of which
syllables
of twelve
last. are
Why is
this
and unambiguous
dear ones and
like
II
direct)
[other]
full of villainy,
good people
You
are
relations,
indeed behaving
cutter.
Kumudanibha
43.
feet of twelve
syllables
of
which
38 (0.35, B.XV.50).
39 (C.36, B.XV.51).
'
Scheme
- - u, - - U, -
-).
40 (0.37, B.XV.52).
41 (0.38, B.XV.53, 54).
42 (C.39, B.XV.55).
43 (C.40, B.XV.59),
'
Scheme (u
-,
u u -, u u -, u kj -).
-XVI. 47
the
METRICAL PATTERNS
is
the. eighth
first four,
heavy]
called
271
KumudanibhaT
light
Example
44.
mrdu-nalinivApandu-vaktra-Kobha
katham
been struck
pale
before
your friends
a delicate
Nalini
like
with cupid's
like
Kumuda
arrow and
you
II
blasted by the
cold wind.
Candra-lekhii
45.
the-ftrst-five,
Candra-lekha 1
Example
46.
feet of twelve
falls after
syllables
fiivt
five
which
of
the rest
syllables, is
called
vaktram saumyam
padma-patrayat&ksam
tc
II
as large as
lotus-
and they are ready to bring love even to the god of love
shine as
it
love,
;
you
47.
this
Scheme
(wuu,u,-
name with a
different
feet of
twelve syllables of
v -, v; kj).
scheme (-
\> -,
.;
uuu,u
44 (C.41, B.XV.60).
45 (C.42, B.XV.61).
46 (C.43, B.XV.62).
'
Scheme
which
u - -, u - -),
47;(C44, B.XV.63).
and an
THE NATYASASTBA
Pramitakarsa
called
is
ninth and
the
fifth,
the
[XVI. 48-
last
are-
1
.
Example
hy acapaMparus".
smita-bhasini
4S.
nibhrtapavada-vimukhi satatam
who
is
secretly,
II
and
him [even]
of
ill
is
Vamiiasthii
49.
fifth,
Example
twelve
feet of
syllables
na
me
priyii
tatha ca
yad bhumiina-varjita
I
dhruvam
hi vamsastha-gatih karisyati
So
last
called Vamsasthii. 1
is
krtapriya te parusabhiblrsanaih
me].
which
50.
You
of
and the
made you
habit will
natural
[for
displeasing [to
bring a quarrel
surely
today.
Harina-pIutS
51.
Scheme (o
and the
tenth
the
Harina-pluta 1
<j -,
u-
k>,
last are
of
which the
\j -,
u u -).
48 (C.45, B.XV.64).
'
Scheme (u - w, - -
v>,
u - v, - u -).
50 (C.47, B.XV.67).
51
This
(C.48, B.XV.68).
is called
'Scheme
(w u v, - u v, - u u, -u-).
Mowers.
-XVI. 66
METRICAL PATTEBNS
373
Example
52.
parusa-vakya-kaafabhihata tvaya
bhaya-vilokana-pars'va-nuiksa^a
varatanuh pratata-pluta-sarpanair
anukaroti gatair harina-plutam'H
The
fair lady
fair-limbed one) 1 ,
(lit.
imitating by her
is
movements a
deer's
gallop.
Kamadatta
[A metre
53.
Kamadatta 1
Example
the
last
54.
sudati dasana-viksatadhara ea
gatir api
your
faltering
mrga-samaksi kamadatta
asi
lady 1 , you
fair
lips
caranavalagna-manda
tvam
nails,
the
ll
and slow.
given [yourself up
seems,
It
] to [the
enjoyment
is
have
of] love.
Aprameya"
55.
the
first,
rest
heavy]
called
Aprameya 1
53 (C.50, B.XV.70).
'
of
which
[and the
Scheme
I.
(uuu,uuu,-U-,u-
-).
C.
Kama-matta.
(C.51, B.XV.71).
Sudati- O
fail-toothed one.
55 (C.52, B.XV.72).
called
light
54,
syllables
52 (C49, B.XV.69).
calls this
is
feet of twelve
seventh
fourth, the
35
'
-,
- -). This
::
THE NATYASA8TBA
274
XVI. 66.
Example
na
56.
k8
te
cid
strt
Nowhere amongst
woman who
seen a
mortals
the
is
in
(lit.
is
II
world)
this
distinguished
to be
is
by. singular
all
PadminI
57.
heavy]
rest
fifth,
is called
the eighth
PadminI 1
feet of twelve
syllables
of
light
which
[and the
Example
deha-toyasaya vaktra-padmojjvalii
netra-bhrngakula danta-harasaih smita
kesa-patrac-chad;":. cakravaka-stani
for
me
sarvada
58.
your body
is a
pool
of water
like a lotus-lake,
me
[swimming
and the
lotus] leaves,
there].
Patuvrtta
59.
first six
Patuvrtta
light [and
the rest
which the
heavy]
is
called
56(C.53,B.XV.73).
57
This
(CM, B.XV.74,
is called
75).
58 (C.55, BXV.76).
seems to be a variant of
.
This
59 (C.56,
is
'
Scheme
(-
u-
u-
u-
-).
B.XV
oalled Puta
'
this.
78, 79).
'
Scheme, (u
by Pingala and
u u, U u kj,
his followers.
--
-,
u - -).
METRICAL PATTERNS
XVI. 68]
275
Example
upavana-salilanara bala-padmair
60.
bhramara-parabhytanam kantha-nadaih
samada-gati-vilasaih kaminlnara
kathayati patuvrttani
The month
movements
Oaitra
of
garden-lakes,
in the
bees
women,
of intoxicated
II
(lit.
songs of
madhu-masah
is
smart manners 1
its
PrabhSvati
61.
the second,
the
fourth
Example
feet of twelve
syllables
of
which
is
last
62.
gi'hani
acintayanty abhinava-varsa-vidyutas
come
like
of the
eyes
one, with
as
large
impending
(lit.
as a lotus,
for the
II
clouds
Praharsini
63.
60 (C.57, B.XV.80).
of the
'
am
not certain
it
which
last
1
.
'
Scheme (u - o, -
'
8cheme.(
<j k>,
u \j -, u, - -).
62 (C.59, B-XV.82).
63 (C.60, B.XV.83).
>
uuu,u-u,-u-,-).
::
[tVl
THE NAfYASABTRA
276
Si-
Example
bhavasthair madhura-kathaih subhasitais tvam
64.
satopa-skhalita-vilambita-gatais" ca
mangmsi kamukanam
s'obhadhyair harasi
[0
vate the
one],
fair
sayings,
beautiful,
mind
by >your
majestic,
of lovers.
beyond [anything
and
loving
It is
sweet
and slow
faltering
apparent
II
words,
witty
you
steps,
capti-
that
Matta-mayura
65.
the sixth,
seventh,
the
is
called
feet of
the. tenth
light
[and
Matta-mayura 1 .
Example
66.
vidyun-naddha sendra-dhanur-dyotita-deha"
vatoddhutah sveta-balaka-krta-sobhah
These clouds
[characterised]
the wind,
by
II
and rainbow,
moved about by
[arrival
67.
the
first
thirteenth
and
Vasanta-tilaka
fourth,
the
the
last are
which
eighth
and the
eleventh
rest light]
and the
is
called
1
.
64 (C.61, B.XV.84).
65 (C.62, B.XV.85).
Scheme
- - v,
- -,
u u -,
-).
66 (C.68, B.XV.86).
67 (0.64, B.XV.87).
8oaeme.(- - u, -
v,
o - u, u - v,
-).
XVl.4i
MfiTSlCAL PATTBBN8
Example
68.
2??
citrair
vasanta-kusumaih krta-kesa-hasta
srag-dama-malya-racana-suvibhiisitangi
nanavatamsaka-vibhusita-karnapasa
woman who
well-dressed
vernal
and the
of
her
of
rest
on the
Asambadha
[The metre with the]
69.
the
and the
first five
called
heavy, [and
three are
last
the
of
which
light]
re.-t
is
Asambadha. 1
Example
70.
of high birth
does
not find
country
and
offers
is
quickly
no obstruction
[to
which
he
goes to a different
is
II
learned, strong,
country] in
leave [a
desam
many kinds
such a person],
Sarabha
71.
the
last
first
four,
the
tenth,
the
eleventh
68 (C.65, B.XV.88).
indicate
two
is
the
called
thirteenth
Sarabha 1
which
and the
'
to
69 (C.66, B.XV.89).
70 (C.67,
Scheme
- - u,
- \j
uU
\j kj,
&-,
-).
B.XV.90).
71 (C.68, B.XV.91).
Scheme
kj,
u, - - u," -
-).
THE NATYASASTBA
278
XVI.
72-
Example
ess kanta vrajati lalitam vepamana
72.
iti
no vedmi rmidho
II
what a
pity,
the
is
fool that
am,
could
not
hills.
Ah,
understand that
role
an young
of
elephar.t.
Nandimukhi
73-
the
heavy]
feet of fifteen
first six,
is called
are
syllables
which
of
[and
light
the
rest
Nandimukhi. 1
;
Example
74.
bhrukuti-valita-bhangam drsta-purvam
asi
Are you
heart and
is
like
mayasyam
I seen
frowning
in
eyes
lady,
Nandimukhi
ya mamaisa hrdistha
uktair
II
red
in
what more
who
resides
anger
shall I
in
my
Gaja-vilasita
75.
the
first,
the fourth,
the sixth
and the
last
are
of which
72(C.69,B.XV.92).
73 (C.70, B.XV.93).
-).
This is called
x Scheme
Malim by
Piftgala
(uuu,uuu,
o - -, u
74 (C.71, B.XV.94).
75 (C.72, B.XV.95, 96).
UUv,
-).
followers.
This
is
Scheme
(-
u U, - u -, u V V, u u u,
called Rsabha-gaja-vilasita
by
Pingala
and
Ms
.XVI. 79
METRICAL PATTERNS
279
Example
toy&dhariah sudhira-ghana-patu-pataha-ravaih
70.
sarja-kadaraba-nlpa-kutaja-kusuma-surabhim
kandala-sendragopaka-racitam avanitalam
On
and
Indragopa,
the
rind
II
drum-like peals of
thunder
perfumed
with
the
flowers
of Pal,
(lit.
movement
[man]
this
of a bull-elephant.
Pravara-lalita
77.
of the second, third, the fourth, the fifth, the sixth, the
and the
Example
which
twelfth
the
last
78.
pusponmisYam pravilulita-ke&ilaka'ntam
sirah
gatih khinnfi
alio
ceyam vadanam
api
by
by
scratched
teeth,
head
the
Ah, a very
in a praisworthy
und
nails,
set
is
sambhranta-netram
with
lips
and
flowers,
languid, and
is
the
the
hairs
eyes
manner.
Sikharini
7!).
feet of
78 (C.73, B,XV.97).
synonymous.
these
It
is just
may be very
slight.
It
Kadamba and
two
later
may
).
78 (C.75, B.XV.100).
'
(u -
-,
o u yj,Kj\}
79 (C.76, B.XV.101,
-,'
102).
[XVI.
THE NATYASASTBA
'the thirteenth
is called
80-
Sikharigl.
mahanadydbhoge pulinam
80.
iva te bhati
jaghanam
Your
hip
is
with your
hill
river,
is soft
II
the
like
is
tanu-spars'as'
two elevated
dear one.
Vrsabka-ce$tita
81.
feet of
fourteenth
and the
called Vrsabha-eestita. 1
is
Example
jalada-ninadam srutva giirjan madoccaya-darpitah
82.
vilikhati
malum smgaksepair
vrsah pratimmlya ca
On
hearing
thundering
the
is
females of
of
bellowing in reply.
its
class
it
of
noise
clouds
the
And
the
bull
with
earth
its
by young
then, surrounded
II
cow-pen to another
[pasture].
Hridharii
83.
which the
'
[The metre
first
four,
Scheme (u -
with] the
the
-,
tenth,
feet
the
u u u, v; u -,
seventeen
of
eleventh,
the
syllables
of
thirteenth,
u v, u -)
80(C.77,B.XV.1(I3).
81 (C.78, 15.XV.104, 105).
;
U-,
u -).
This
is
called
82 (.79, B.XV.106).
'
Scheme (u
U u, vv-,
- -
his followers.
-,
u -,
XVI87]
METRICAL PATTERNS
and the
the fourteenth
.Sridhara.
last are
281
light]
called
is
Example
84.
vyakam
on the hair
set
II
(lit.
tlio
head), various
who
is
clothes
limbs,
Vamsa-patra-patita
[The metre
85.
which the
Example
with] the
of
feet
seventeen
first,
is
syllables
of
heavy [and
are
last
86.
kridati vt'ksa-gulma-gahane
kusuma-bhara-nate
O
ones
is
fair
lady,
fall
which surrounded
elephant
this
is
flowers,
is
moreover causing,
hill in
young
like
II
by
the wind,
the
trees
roaring of
bamboo
leaves
87.
[The metre
Scheme
with
the]
feet
u,
ow
of
seventeen
syllables
of
u, - - v, - - w, -
-).
This
is
called
84(G.81,B.XV.110).
85 (C.82, B.XV.111).
uuu,u-),
36
86(0.83,
J-
Scheme
B.XV.U8).
(-
u, -
-,
wu
u, -
v,,
::
THE NATYASASTBA
282
XVI
light]
88-
called
is
Vilambitagati. 1
Example
88.
vighurnita-vilocanii prthu-vikirna-hara
punah
pralamba-rasana calat-skhalita-pada-manda-krama
na
me priyam idam
madena viva^a
faltering
vilambita-gatih krita
beloved one,
is
I indeed like
hanging
this
tvam priye
rolling, the
loose,
II
necklace
large
this
Citra-lekha
89.
the
the
first five,
of which
fifteenth,
seventeenth and
called Citra-lekha
the last
the
rest
light]
is
1
.
Example
90.
O beloved one,
'jewelled ornaments
worn
in
witli
the
To
be
Scheme
brief,
(<j
you appear
- u,
be-
more
II
many
u u -.
and decorated
What
shall I
say
- w,
u-
-,
<-,
This
is
u - -, o -
-.
<j -).
88 (C.85, B.XV.116).
89 CC16, B.XV.117).
O - -).
This
is
>
lit.
Is it not dear to
Scheme
--
me
90(C.87,B.XV.118).
XVI. 96
MBTBIOAL PATTEENS
288
Sarditla-vikrldita
91-92.
which the
first
three, the
sixteenth, the
Example
is
nineteen
the eighth,
sixth,
of
feet
the
of
syllables
twelfth, the
thir-
and the
seventeenth
last
called Sflrdulavikridita 1
93.
nana-siistra-sataghni-tomara-hatah prabhrastn-sarvayudliah
repelled
after
have] their bellies, arms, feet and face pierced and [some
their weapons.
to the tiger's
Your
sports
II
all
have] lost
and characterised by
Suvadana
94-95.
which the
fifteenth,
is
called
first
four,
the]
feet
of
twenty
syllables of
the
rest light]
Suvadana. 1
Example
96.
netre lil&las&nte
kamala-dala-nibhe bhrfl-capa-rucire
snigdhiis'
ca
d.is'analt
U,Uu-,"U,--U,
l
.
Scheme
v;
II
i*-,\u -
-).
93 (C.90, BXV.122).
'
B.
gives an
additional example
of this
(B.XV.123).
94-95 (C.91-92, B.XV.124-125, 128).
U\J\j,
-,
V KJ, u -).
96 (C.98, B.XV.127).
'
Scheme
- v/
-,*r
u,
THE NATYASASTRA
284
Your
plump
set
is
nose
lips
thickly
shoulders,
far as the
lady, in
fair
is beautiful,
this
woman whose
97-
bow-like
the
equal, in a line,
XVI.
are
the chin
face
97-98.
which the
four, the
first
sixth,
feet of
the
twentyone syllables of
the fourteenth, the
seventh,
is
called Srcigdhra.
and the
last
Example
99.
punnagaih
kjmsukaih sittimuktoih
parijatair vakula-kuvalayaih
etair niina-prataraih
kusuma-surabhibhir viprakirnais ca
tais tail*
king
best
(lit.
Kuravaka,
Pilaka,
which the
sixteenth,
this earth
first,
the
liglitpis called
feet of
eighteeenth,
Madraka 1
and the
last
various
Aravinda,
looks
today like a
uuO,u.-,u-u-
twenty two
syllables
the
u -, u u w, - kj -, u u
v,
-).
Soliome (-
>
99 (C.96,
-).
v, -
Asoka,
100-101.
of
Cuta,
woman
many and
the
to
as,
u -,
- v w,
B.XV.M).
l
Schema (-
O U, - u -, u u
-XVI. 105
METBIOAL PATTERNS
Example
285
102.
madrakam
lady
fair
day
the
in
MadrakaT dance
making happy,
many and
of
of
with
moon-faced one),
(lit.
accompaniment
sounds
of
flutes
restless
Karanas, ;md
dance
this
is
up and
And you
a hurry-
in
to-
and drums
feet are
clever
various
sweet
II
pursuance
in
imbued with
108-104.
which
of
the
the
the
seventeenth, the
Example
is
seventh,
nineteenth
twentythree syllables
feet of
the
and
eleventh,
the
the
are
last
thirteenth,
heavy [and
called Asvalalita. 1
10f>.
vividha-turaaga-naga-ratha-yaudha-
samkulam alam
balain
samuditam
sara-sata-sakti-kimta-parighiWyasti-vitatam bahu-praharanam
ripu-sata-mukta-sastra-rava-bhita-
[Even
of
many
horses,
assaults spread
elephants,
chariots
II
and
lighters,
the
javelins,
manifold
club's
'
B.XV.136-137,
138).
find
the
*
'
Scheme (u
O v, u - u,
I,
THE kiTYABASTRA
286
and the
terror-stricken
is
[XIII. 106-
much
very
you
directions,
movements
Meglia-mala
106-107.
of which the
seventeenth,
first six,
is
and
twentieth
the
twentyfour syllables
feet of
called Megha-miila.
fourteenth
the
twentythird
are
the
[and
light
Example
108.
ksUidlmra-sadrsocca-rupii mahanila-
dhumafijan&bhambu-garbhodvaha
sura-pati-dhanur-ujjvala-baddha-kaksya
tadit-dyota-sannaha-pattojjvalagagana-tala-visarini pravrsenyii
womb
smoke and
that of
II
flight of
water of deep
cranes as their
waist
girdle,
comparable to
colour
blue
with
the
rainbow
by
the
flash
of
Kraunea-padi
109-110.
feet of
and the
last
are
the
twentyfive
the
sixth,
rest
light]
syllables
ninth,
is
the
called
Karunca-padi. 1
- \J
-,
u -,
o -, - u -
-,
'
Scheme
(uuu.UuU,
\J -).
108(C.105,B.XV.143).
109-110 (C.106-107, B-XV.144-145,
146).
'
Scheme (-
u kj,
-XVI. 114
MET?BICAL PATTEBNS
Example
287
yah
111.
kratuvaram
a-camasam apagata-kalas"am
patita-yupam ksipta-casalam vicayanam
nityam asau
te daitya-ganilrih
makham
Let Siva
(lit
bow quickly
Fit-Is
to
Kalasa,
flight in
Daksa's great
who by arrows
felled
the Yupa,
fire,
[sacrificial]
pradahatu
(sacrifice).
dis-
threw away
dislodged
the
away the
scared
sacrifice,
all
your
Bhujanga-vijrmbhita
112-113.
of which the
and the
first
are
last
the
eight,
feet
nineteenth,
rest
of
twentysix syllables
twentyfirst,
twentyfourth
Bhujanga-
light] is called
vijrmbhita. 1
Example
11-1.
bahu-vadanam
kaijaka-valayam bhujanga-vijrmbhitam
111 (C.108,
B.XV.147)
'
o \j \j, v u u, v yj u,
u -, u u -, \j -),
,---?--
u,
THE AATIASAOTBA
288
bulate
&va
him,
fixed
all
to
circumam.
her
and
And-
then
tne
lord
on
kept
his
of gods
account of her
silently
115
came
on,
was beautiful
face
breasts,
afce.
eyes
the
(Siva)
'while
rat,
motionless.
mouths
and
heads
in
an elephant
of
the gait
TilottamS created
the- beautiful
Seeing
RVI.
'
his
which snakes
jewels in
back the golden bangles set with the best of
were yawning.
115-
metres
are,
Novv
I mentioned [before].
about
listen
the
semi-even metres.
The
116.
which the
metres of
belong to
feet
different,
The metres
117-118.
are similar while
the feet
is
And
the
dissimilar
are
have
to
such
feet
semi-even (ardluisanw).
called
its
even
groups of
or one
of
feet
them
and odd
may
may be
and
all
be shorter or
longer
are
similar,
metre in which
and the
dissimilar
feet
feet
[alternate]
not
are
uneven.
called
is
two
which the
in
longer than
other
the
first
the
shorter
of
rest
than
the rest.
Even metres
119.
An
even metre
is
is
feet the
of
all
semi-even
its
ils
feet.
metre
is
feet
And
known.
120.
Now
describe
shall
'
{i.e.
According to B.
the
characteristics
yams).
it is spurious.
116(C.U5,B.XV.156).
11-118 (C.116-U7, B.XV.157 158).
119 (C.118, B.XV.159).
120(C.U9,B.XV.160)
-XVI. 124
"
METRICAL PATTBBNS
289
Pathya
If [in Anustup], the
121.
and the
feet
it is
first
ga and such
la,
ga,
sa,
ga,
be the remaining
will
called Pathya*.
Example
priya-tlaivata-mitrilsi
122.
You
priya-sambandhi-bandhav^ 1
3
priya-dana-rata pathya dayite tvam
and the
friends,
and you
gifts
affectionate
>
are disposed
beloved
agreeable,
are
priyM me
make
to
you
one,
Uneven Pathya
123.
ma,
la,
ja, sa,
ga
[is
ga,
la,
called
first
foot contains
an all-uneven (sarva-vimma,)
124.
naivacaro, na te mitram
na sambandhi-guna-kriya 1
so
(I
& III)
kj y>
'
uu-
C. yadyapilov dayite.
kj -,
- - and
u u, u
'
in
every
yugmau-
'
(II
A IV) u
- -
yj -,
^-
Cdaivalafov sambandhi,
(1)
- (IV)
and are
(feet).
122(0.121, B.XV.163).
relatives
ll
dear one,
w -,
ga
Example
la,
-,
-,
--u,ou-,u-.
(II)
w - -, u u -,
THE NATYASASTRA
290
XVI.
125-
Inverted Pathya
125.
1
feet
They
second
viparita
What
[It
is
shown
fifth
Anustup
pyarthain
II
eight syllable
of
feet
Capalii.
to
upset, [so]
127.
te'
is
krtena ramanasya
126.
[in
of which]
Examples
128.
-
[He]
is
not this
dearest
girl's
This [information] to
one.
fickle
woman
II
friend.
an image of
Narada
has] the
is
called
VipulS
129.
[If
seventh, syllable
125 (C.122,
short
in
second
its
BXV.166).
'
feet,
it
odd
(feet).
B.
lias
is
lost.
(feet).
126(C.123,"
u u -,
B.XV.r67).
\j -, (II) \j
u -,
'
KJ -,
127(C.124,B.XV.168).
128 (0.125, B.XV,169).
We
-,
(III)
C v&ula
for capala.
v-v,
v v -i
-XVI. 186
METRICAL PATTERNS
[Anustup] Vipula.
called
Ml
Example
130.
sYonyam purna-chandra-nibhanane
II
slender
is
the middle like a Vajra, your breasts are like golden pitchers,
in
is
moon.
131.
You
the
Ganges
destroying the
earth,
advent
at the
the bank
on
trees
II
arid
flowing
down
from a highsnountain
1
The
32.
feet
of
of various types
may
feet
be
in the
made up
133.
ma,
to occur
light
heavy syllable
syllables
(lit.
134.
in the
It
syllables at the
Example
of
end
must occur
of
feet
it is
called
(lit. is
{i.e.
na)
after
the
(i.e.
never
fourth
prescribed).
is
three heavy
[Anustup] Vaktra.
135.
rati-sambhoga-khinnam
fair
lady,
the
being
lips
te
darsaniya-taram vaktram
bitten
by
teeth,
eyes
II
being
languid due to keeping awake, your face has become more charming,
enjoyment.
p. 38.
132 (C.129,
B.XV.
174).
'
We follow B.
authorities differ
ment
XVI.
136.
The
NAM ASASTEA
UHB
292
class.
and
1S6-
syllables.
Vanavasika
137.
Example
has
consisting
feet
its
to be divided into
triad, is called
of
sixteen
Vanavasika.
138.
asarathita-pada suvihvalangi
mada-skhalita-cestita-manojna
fair lady,
unsteady, limbs
is
are agitated,
and
Where
perverse
woman
Vanavasi
of
enjoyment
Are you a
KetumatI
The metre
139.
of sa, ja, sa,
called KetumatI.
Example
of which the
first
the
fourth bhn,
feet
consist
is
sphuritadbaram cakita-netram
140.
rakta-kapolam ambuja-dal&ksam
Yonr lips
mukham
te
II
like
me why
lotus-petals
are trembling
robbed of
its
136 (B.XV.178).
is
C. omits thin.
Vanavasika
Tell
red.
'
Pingala
simply a variety of
this.
Matrasamaka.
calls this
His
4 IV)
'
u u, - u -, \j u
U0(C.Ul,B.XV.182).
Scheme
--
<j,
(I
&
III)
-,
o - U, u v -,
-XVI. 145
METRICAL PATTERNS
29S
Apaarvaktra
141.
Example
metre called
In* the
of na,
ja, ra.
na, ra,
Aparavaktra the
first
jalada-niruddham ivendu-mandalam
kirn
lady
fair
te
mnkhatn paran-mukham
sasi-vadane'dya
tears
the
142.
and the
ga
la,
II
(lit.
moon
full
of
obscured
face
else's face ?
Puspit&gra
143.
na, ja,
In
of na,
consist
na,
ga.
ja, ra,
Puspitagra metre
the
and the
first
third
feet
ya,
ra,
Example
pavana-raya-vid huta-caru-sakham
1 44.
pramudita-kokila-kantha-nada-ramyam
madhukara-parigiyam^na-sabdam
varatanu pasya vanam supuspitSgram
fair
look at
lady,
is
II
the
trees,
the
gladdened cuckoos are singing with sweet voice and the bees arc
humming
all
around.
Udgata
145.
u -, (II &
IV)
first
Scheme
,
v-
(I
& III)
\j,
v u U, u u U,
'
- u,
sa,
ja,
Scheme
~
(I
- u, .'
&
II)
uu
v,,
u\J\j,-v~.
- -
146 (C.135,
B.XV. 188).
THE NATtASASTEA
294
la,
the third of
ja, ga,
bha,
na,
XVI. 150-
ja, la,
ga and
Example
tava roma-rajir
146.
atibhftfi
nabhi-kainala-vivarotpatita-
fair
of flowers
comparablo
II
from
with a
The metre
147.
Lalita
ja, sa. la
sa, sa,
Example
has
sa, ja,
its
first
of na, na,
148.
kula-bhramita caru-vasana-kara-caru-pallava
lalita
pravikasitakamala-kantiraukhipravibhilsi-devisurata-iSramaturiiil
hurriedly
lady,
clothes
face
and the
delicate
gracefully
moving
the
beautiful
types, to be used in
150.
but
collectively.
They
are
not to be used
-, (111)
Scfieme (I) \j
yj
U,
<j j \j,
uuu, uuu,.uu-,
* Scheme (1
\jKt-, (IV)
as in
Udgata. (Ill)
uu-,u J 0, u u
-,
u - u,
Udgata
(C148, B.XV.IS2).
XVI. 158
METBIOAL PATTERNS
The
151.
used in songs.
metres forbidden
syllabic
shall
296
describe
their
here
may
after
be
Dhruvas.
Irya metres
This
152briefly
is
the
definition
by me.
treated
Next
various
of
give
shall
metres
syllabic
Aryas.
The Aryas
153.
Capalii,
of
are
five
types,
Pathya,
viz,
Vipuli,
154.
Matras and
shall
their varieties
depending
the
metres the
In these
155.
feet];
Gana
(lit.
(lit.
an
[In
156.
caesura
Arya]
ja
ones,
and the
first
odd Ganas
the
and
the even
[of
the fourth
and the
consisting
Ganas maybe
third
of
four
of
any
156
half a
The
a.
Gana
{i.e.
157.
The
eighth
Gana
in
every Arya
is
sixth
Gana may be
will consist of
one
two
of
[syllable].
The
1
second hemistich will consist of one Matr3 only
158.
In one alternative
known
be
it
is
that the
will
types
Gana
in the
Gana
will
sixth
consist
alternative
of four short
be
ja,
syllable,
BXV.194).
as
sixth
151 (C.150,
to
two Matras).
B.XV.200, 208b-209a).
'Read 157b
(with
C) as
<njra
THE NATIASASTEA
296
The
159.
caesura
may
fifth
completed].
or
may
it
or after
[XV.
the
Gana
fifth
after the
from the
occur
169-
first
[has been
160-
three
Ganas
(lit feet
is
are
made up
different
of three Ganas)
from
this,
(yaii) of
is
only because
its hemistichs].
after the
called Pathya.
it
observes
Examples
Pathya Arya
161.
rakta-mrdu-padma-netrasita-dirgha-bahula-mrdu-[kutila]-kesll
To whom
not
is
and
agreeable
long,
woman
and
black
with
and
lovely
[curled] hairs,
II
large
Vipula Arya
vipula-jaghana-vadana-stana-nayanais
1G2.
tamradharostha-kara-caranaihl
fiyata-nasa-gandair
laliita-
maiden
is
auspicious
lips,
palm and
when
II
her
feet are
hip,
red
face,
breasts
and
163.
*ir
m *i*i
Read 159 a B
ftSfeif*
$ta wn
<tf
vm
^m fow* 3 fiswrtfiww.
161 (C.160,
'
B.XV.
162 (BJCV.2H).
fourth
213).
-XVI. 16?
Gagas
METRICAL PATTERNS
each hemistich
in
are
297
to consist of a ja (lit
Gana
with a
164.
is
is
II
harshly,
fond of meat,
When
165.
when
same
the
a Capala applies to
the definition of
is
it
the
first
And
Mukha-capala.
to the
applies
called the
it is
called
Jaghana-capala.
Examples
Mukha-capala 5rya
mukhe
arya
166.
My
bad, for
lady
is talkative,
she
is
an expert
but
still
my
in
me
yatah sa tu
in
my
is
II
not
misery
167.
vara-mrga-nayane capalasi
varoru sasanka-darpana-nibhasye
kamasya sarabhutena
purna-mada-caru-jaghanena
fair
like the
moon
lady
with
eyes
by
of the
best
deer,
and
a face
you
164 (B.XV.216).
4
the
or the mirror,
II
are
'
[marked as]
faithless
(lit.
inconstant).
B. reads udbhata.
nTtti.
emendation
165 (B.XV.2I7).
38
166 (B.X.V.218).
167 (B.XV.219).
THE NATYASASTBA
398
168.
When
characteristics
169.
it is
170.
(lit.
This metre
is
known have
poetical
thirty
168-
thus)
(lit.
to
Mate's
in
its
first
utilising
belonging to
XVI.
plays
(lit.
having)
therein
marks (lakmiyi).
Here ends Chapter XVI.
which
168 (B.XV.220
of Bharata's Niityasastra
0.162b- 163a).
0.163b-164a,).
'
The
five couplets
170(C.186b-189,B.XV,227).
after this
These will be
OH A PTER SEVENTEEN
DICTION OF A PLAY
Thirtysix marks of a good play
The
1-5.
{laksawi) 1
marks
characteristic
thirtysix
2
(a good] dramatic composition (kavtja) arc as follows
Favourable
Precedent
Explanation
(uinil;ln),
Persuation,
Ho.-itation
Discovery
(siiltlhi),
(soliha),
(nommjnX
Fancy
(prapti),
(uhlariana),
Precedent
Unfavourable
(abhipraijii),
{k>-tn\
(tlrafauta),
of
Onateness
(aksam-ximtili&tn), Brilliance
Compactness
(lihnsann),
Convincing
Distinction (vfo'Mwi),
these are
of
mark.
It
(laksana).
The composition
of
from
differ
in this connexion
speech (alamkara)
characteristic
its
evidently a dramatic
is
For a discussion
K. De,
see 8.
Skt.
Oriental
writers
the
One
like
pp.
receasion
enumeration of
laksanas
The
been followed by
see also
70,
the.
by
followed
Visvanatha, and
our translation.
the
Alamkara literature
Ramakrishna Kavi,
laksanas.
Dhanajaya and
older
Anustnp verses
for
like Kirtidhara,
commentators
it
fall
second recension
in the Journal of
Singabhftpala,
We
and
marks
others.
among
these,
definitions
of
eight
only are
Kavya
composition.
in this
connexion
THE NATTASASTSA
300
Accusation
(gmaiipata),
Virtue
of
from Similitude
Inference
(padoccaya),
Description
Deliberation
Multiplex
Pointed
Utterance
(viparyaya),
Inversion
(ricara).
Semi-uttered
s
,
Slip
Identity (sarupyn),
Desire
(Ma),
Wit
(manoratha),
Expression
(upadida),
of .Tongue
Presumption (arth&patti),
(garliana)
one's
of
Concealment (ib/iii)
Predication
of
6-
(gun&tifaya),
Excellence
(tulyartarka),
(dista),
XVII.
Compliment
(/>-
yavacam = prioldi),
Ornateness
1
G.
To adorn
Gunas
manifold
ing
ornament) 8
composition
the
meanings
as
many
figures
of
with
if
(lifrumm,
Ornateness
called
is
with
lit.
Compactness
1
7.
small
When
number
an wonderful sense
of
expressed by means of a
is
double
with
syllables
entendre,
it
called
is
assemblage
lit.
of syllables) 2 .
Emood samhobho
to samksepo.
XVJ.6)
'
is liable
1.
close
to give
has
partly based
to
depend
laksanas
But
on guess.
on
them
in the
though
and various
lost,
very
at all
clear
NS. (Vol.
of the
Kavi.
As any old
laksanas,
Interested
II
To
persons
294ff,).
Definitions
of
may
sec
wo
them
For an example
refrain
in
of
down
to
us,
M. Ramakrishna Kavi.
we
7(C.7;B,p.350,XV1.7).
'
See. Kavi.
have
from
the Baroda
bkvsana. Sec
with
See B. II pp.
to as Kavi).
are
various
been
we
one prepared by
pp.
subject,
have
explanations
348ff. (Referred
-XVII. 12
DICTION OF A PLA*
301
Brilliance
1
8.
known
Ii
object
is
referred
lit-
it
when a
[arises]
less
to a well-known one,
expressed
is
meaning
by likening
to
it
beauty)
Parallelism
9.
When by
suggestion
is
cleverly
made
Parallelism (wlaharana,
lit.
an
to accomplish
example) 1
object,
it
called
is
Causation
When
10.
brief
force of
their
it is
of]
Causation (hetu) 1
Hesitation
When
11.
due to many
an end without
brought to
considerations
communicating the
fully
{mma.ua>
sentence
essential
is
theme
doubt). 1
lit.
Favourable Precedent
12.
of
its
and
reason
pleasing
is
to
yatra
sh'st/i
0.
is
an example
a Precedent
is
example). 2
yatra
slMam
vixidyarlham
for
See Kavi.
vicilrartha.
(C.9-, r>.i>.51,
'
hand 1
people,
all
lit.
in
XV1.9).
'
as follows.
is
sight) of a single
accomplished) it
(B.XVI.14).
convincing.
Its
11(011;
is
Cf.
B. p.352,
SD.
Ag.
reads this
defi-
faatawrw Wwfwnfinwi
is
B.p.352, XVI.ll).
12 (C.12;
aksartpha.
meaning
Possibly there
139.
i
'
XVI.12).
Cf.
'
SD.
440.
C.
paksapaksartha
for
follows
yastu
That a
THE NATYASAStfBA
302
XVII. 13-
Discovery
When
13.
something
the existence
indications,
of
it
attainment) 1
(\>rajif), lit.
of
on seeing some
assumed
is
which
among
included
is
the
marks
[good J drama.
:i
Fancy
is
When
1.
existent,
is
belief)
lit.
objects],
it
Unfavourable Precedent
When
15.
the
view
contrary
it
is
[an
example) 1
(niilav'saita, lit
Convincing Explanation
Words
10.
some
Explanation (iiinikla,
lit
in
made
statement
faultless
support of the
before,
meaning
of
Convincing
constitute
etymology)'.
him
of speech of this
1
3 (0. 1
name
B.p.353;
variant of yukti
meaning which
combining
XV!. l;i).
H.p.353,
1-KC.Uj
'
XVI.14).
(B.XV1.3S)
'SI).
wliicli
Ag.
445,
in translation
reads
this
one
another,
is
called
Combination
).
as a
The
as follows:
is
is
with
(distanta).
in HI). 697.
objects
(yukti).
(If.
SI). 51)1.
1
iixih
(C.15; ]i.p.2o4.
(T5.XVI.-i8).
The
XVI.15).
meaning of thisdef.
is
SD.
as follows
factual.
known
[Of
(lit.
'
Cf.
these]
(lit.
is
two kinds
accomplished before),
Ag.
vory
is
Explanation (nirukta)
it
offers
difficult
no
to
471.
this as a variant
not clear.
and
not accomplished)'.
in translation
factual
is thai
the non-factual
which
is
and nonis
well-
that which
.XVII. 21
DICTION OF A PLAY
303
Pursuation
When name
17.
of
success)
lit.
at,
[an
is
it
with
instance
a
of]
2
.
Distinction
When
IK.
something
is
after
a thing from
distinguishing
said
many well-known
mentioning
great
them,
objects
[an
is
it
Accusation of Virtues
When
19.
lit.
it is
opposition of virtue) 2
Excellence
When
20.
after
some
special
qualities,
is
it
[an
When
21.
an object
directly perceived is
an identical sense,
in
SD.
454.
'
[an
instance
from
inferred
it is
Of.
SI).
452.
translation
in
is
as
follows
When
one being hurt by harsh and provoking roirds uttcrred by a wicked person
in the presence of good people, remains without anger,
it is
[an instance
rair
(C.19; B.p.355,
niMurarthair.
XVI.19)
Cf.
0.
'
SD.
450.
madhuro nisthumrtho
Ag.
roads
this
as
for
madhu-
a variant of
Eulogy
gunaniwiida (B.XVI.13a) which in translation is as follows
(gimanuvada) relates to inferior subjects compared with superior ones.
:
translation is as
follows
Erce Hence
(atisaya).
it
'
Cf.
When
can be compared]
it
is
[an instancfrof]
THE NATYASABTBA
304
from Similitude
of] Inference
comparables) 1
(tultja-tarka,
XVII.
22-
lit.
Multiplex Predication
When
22.
of other
words
to
of]
it
Description
When
23.
harmony with
described in
it
1
of] Description (ilistu)
or not,
seen
directly
time or from
locality,
related
to
is
it
Pointed Utterance
When
24.
of Sastras
(upadida,
lit.
learned,
it is
a Pointed Utterance
utterance)
Deliberation
25.
and
is
harmony with
in
SD.
Cf.
Exhortation
something
442.
it
directly perceived
expressed earlier 1
as a variant of
is
in translation is
through
the definition
as follows
suggesting
and
one's
own
of
To say
idea by
SD. 472.
22 (C.22
tion
which
pointedly
very
means of likening
Cf.
B.XVI.19
meaning
the
is
a?
B.p.356, XVI.22).
Cf.
follows
ent aspects by
it
'
BC.
Bp.357,
XVI.24).
'
Cf.
When
follows:
otherwise
it
is
[an instance
many
objects.
is
different
is
from
follows
is as
24(C.24
transla-
XVI.35 and
in
possessing differ-
The
is
as
def.in translation
called
Argumentation
(upapatti)
in connexion with
fmrvadeW
for pnrvaZaya; B.
482.
C.
-XVII. 29
includes
DICTION OP A PLAT
much
306
called Deliberation
is
(vicara).
Inversion
26.
When
due to
Deliberation, takes
on
place
Inversion (viparyayq,) 1
account of
a doubt,
it
is
of
called
Tongue
Slip of
27.
an alteration
[something]
seeing
Tongue (bhramsa,
lapse)
lit.
else
Slip
called
is
of
1
.
Mediation
28.
at]
lit
mutually
imploring) 1
Series of Offers
29.
When
(lit.
learned
may
be
lit.
men)
fulfilled],
garland) 1
suggests to a person
is
it
[an
instance
of]
his
an object one
Series
of
Offers (mala,
translation as follows
Deliberation (vicara)
is
SD.
456.
B.i>.
B.XVI,16)
(mithyadhyavasaya
When
XV126).
357,
'
which
in
Wrong
translation
Perception
as follows
is
thing similar
to
it,
it
[becomes an instance of ]
Wrong
Perception
(mithyadhyavasaya).
27 (C.27; B.p.358,
Cf.
XVI.27)-
Emend
'
drptddinam
drstiidibhir to
vocal).
which in
trans, is a3 follows
That which
is
apparently liable
blessing,
to
provoke
is called
of.
'
Cf.
this as
is as
follows
B.XV1
Cf.SD.494.
,'
Cf.
SD.
459-
34.
a
:
love
THE NATTASASTRA
306
[XVII, 80-
Clever Manners
When
30.
an
[is
it
31.
If
and
merits
his
.faults
and explain
them
calls
faults,
it
When
32.
some other
object
to be
is
understood,
[an
is
it
something,
instance of]
Presumption {athapatti). 1
Celebrity
33-
That which
is
many well-known
Interrogation
34.
When
by courteous
from courtesy) 1
proceeding
(lit.
[an
it is
def. of Clover
'
SD. 457.
Cf.
is as
called. Clever
Request
(yaciia)
SceB.XVL22Cf.SD.496.
31 (C.31; B.p. 359, XVI.31).
variant of
the dof. of
translation is as follows
Cf.
SD.
461,
in
'
Deceit
is called
When
Deceit (kapata).
applied together
it
becomes
two or three
Multiplex
Deceit
follows
When
defects of
are derivedfrom
t/ie
an
defects it
'
B.XVI.37) which
is
of
the
def.
translation is as follows
'
Cf.
Submission
of
:
translation is as
in
SD.
463-
{anunili,
Ag. reads
this as
B.XVI.38) which
a
in
B.XVL
>
due
to
anger,
is
called
21.
to
wand
-XVII. 38
OF A PLAY
-DICTION
307
Identity
When
35.
is
confused by
its
it is
an instance
1
.
36.
somebody
pretence of referring to
of
heart 1
the
by a
lit.
Wit
Words which
37.
constitute
addressed
are
which
Wit
in
a [clever] manner by
accomplishment of similar
to
relate
(leia).*
Concealment
When
38.
being
(samlcsepa,
Of.
one declares
faultless
it [is
to be taking
an instance
of]
upon
Concealment
taking away)-1
lit.
abhyarlhanaparair
this
identically.
35 (0.35
variant
of
B.p.361,
the
XVI.35).
of
def.
which
in translation is as follows
one
consoled by
is
'
Wounded
36
Self-respect
When
one
SD. 464.
Of.
SD.
Cf.
'
as a
this
acts,
it
is
493.
Cf.
in
this
is
Ag. reads
(abhimana, B-XVI.8)
SD. 468.
substantially
C. hrdayarthasya
manner
identical
(B.XVL20).
37 (C.37; B.362, XV1.37).
patya, Cf. SD. 467,
truction
When
is
(pralisedha
'
B.XVI.23) which
in
translation
those
{lit.
to
is
as
follows
another's desire
businecs)
and
it
is
'
Emend
tu ksobha to samhsepa.
C. tu
doKd) Cf,
of
B.XVX39
The meaning
THE NATYASASTBA
308
XVI7. 39-
Enumeration of Merita
When
39.
this
men who
merits of
1
Enumeration of Merits {qiina-kirtana)
it [is
and instance
of]
Semi-uttered Expression
When
40.
rest of
words
is
it
it
siihlhi, lit.
[is
in
of]
unuttered achievement)
2
.
Compliment
When
41.
an
These
in
a play
to
honour
it [is
an
the
marks
object
dramatic
of a
in
view
composition) 1
(lit.
(lit.
(i.e.
writing
and
[hence
they] should
duced
conducing to
beautify
will
mood
pleasing utterance) 8 .
lit.
tliirtysix characteristic
poetical) composition
plays)
in a pleasant
Compliment (priyoHi,
instance of]
42.
to.
itj.
Pour
43.
(npama,)
Four
Metaphor
figures of speech
speech available
figures of
drama 1 are
in
Simile
(lupalca),
lit.
39 (C.39
B.p.363, XVI.39).
in translation as follows
When
Cf. SD.466.
Ag.
an instance
of]
Enumeration of Merits
40 (C.40; B.pp.
Cf SD.
.
(see
469. Ag.
363-64,
(guna-kirtana).
XVI.40).
reads this as a
reads this
def.
'
0.
out,
vijanatu
it
See B.
for
is {called
XVI.
9.
vimnukta.
paridevana
etc.
38 note above).
41 (C.41; B.p.364, XVI.41).
differently, see
above 27 note
'
Cf.
SD.
470.
Ag.
reads
this
1.
42(C.42;B.p,364,XVI.42).
'
rupam
,
ete
C. kavyesu
43 (C.43; B.XV1.40).
hyalainkarm catvaralp
'
parikirlitafo.
MOTION OP A PLAY
-XVII. 53]
309
Simile
When
44.
on the
basis of
in
some
poetical composition
similarity
Number
many
may
many
with one, or of
is
one) 1 ,
the
stars
compared
is
(upama)
of objects compared
This comparison
45-49.
anything
and form.
It relates to quality
or of
it is
shine
like
many.
with
like
(Examples of these
moon
the
(one compared
with
with
one),
like
clouds
.(mny com-
[that
50.
Simile
of]
censure
uniqueness
is
(nimla),
,-(</*.
lit.
[that
similar
praise (praiamHci),
conceit
of]
looking)
{kalpita), [that
and
[that
of]
of]
partial
Simile of praise
51.
pleased to see
to see
that largt.-eyed
the success
lady just
incarnate after
it
has
52.
of
all
tree
good
qualities just
to that rough-looking
as
[partially] burnt
by the
person
devoid
round a thorny 1
a creeper clings
forest-fire.
Simile of conceit
i)ii.
ichor
44 (C.44j B.XVI.41).
45-49 (C.45-49;
B.XVI.42-45).
.'
ekasyanekavisaya
should
tulyukm
(ins.
na
50 (C50iB.XVI.46).
52 (C.52; B.XVI.48).
53 (C.53; B.XVI.49).
C).
51 (C.51; B.XVJ.47).
*
Read kantakinam
for
kanthagatam,
C.
be
THE NATtASASTBA
SIO
[XVlLfc.
Simile of uniqueness
What you
54.
someone
desire, is
else's
deeds.
Here
55.
full
is like
my
come
is
like
petals of
the
the
like
is
blue lotus
and the
gait
These
56.
varieties of
Those not
similes.
(lit.
the people).
Condensed Expression
When
57.
words are
it is
Example
lit.
light)
In that region
58.
effected
was always
there) fuilness
(lit.
by swans
want of emptiness)
(lit.
by flowers
in the lakes,
in the trees,
women]
in the parks
men and
An
59.
indecision
Metaphor
which
(/ftjwfei)-
is
conceived due
similar limbs,
is
to
called
Example
The
60.
Kumuda- smiles,
women, with
and open
beautiful
their
Nilotpala-eyes
lotus-faces,
and
swans
54
(CM;
B.XVI.50).
Read atinmnusta
'
55 (C,55; B.XVJ.51).
57 (C.60; B.XVI.53).
'
58 (0.61 B.XVI.55).
;
full of swans,
and gardens
the. trees
B. gives an additional
def.
60 (C.59; B.XVI.58).
plain meaning
is
(XV1.54).
were
and the.parks
groups of people.
59 (C.58j B.XVI.56).
def.
manusa. B.
B.XVI52).
Tho
full of
full of friendly
for iti
56 (C.56;
'
(B.XVI.57) and
all
mss.
(C.57)
give
second
DICTION OF A PLAY
XVII. 67]
.311
Yamaka
words at the beginning of the
Repetition of
61.
constitute
which I
am
Yamaka
going to
Ten kinds
(lit.
tell
[you]
and
to their
1
.
Yamaka
of
Padanta Yamaka,
Yamakas are of the ten kinds
Yamaka,
Vikranta
Yamaka,
Cakravala
Samudga
Yamaka,
62-64
Kafici
feet
Listen
twin).
Yamaka,
Sandasta Yamaka,
and
Pfidadi
Yamaka, Araredita
When
65.
syllables occur
similar
Example
66.
end of
the
at
dina-ksayat samhrta-rasmi-mandalaiu
diviva lagnam tapaniya-mandalam
tamram
surya-mandalam
divi
its
cluster of
Kafici
Two
(lit.
copper-coloured)
rays, shining
like a
golden
67.
the
vibhati
At
all
Yamaka.
Yamaka
B.XVI.59).
61 (C.62;
Bhamaha,
'
For an old
definition
of
Yamaka
see
II. 17.
62-64 (C.63-65;
division of
Yamaka
of the NS-,
and
is of
B.XVI.60-62).
See II.
'
Bhamaha
mentions
fivefold
9.
See
II. 10.
65(C.66;B.XVI63).
66 (C.67; B.XVI64).
67 (C.68: B.XVI.66).
'
THE NATXASASTBA
812
*
Example
XVII. 66-
68.
The
II
company
swiftly in the
of
perceived.
at
fair
their
beauty].
Samudga Yamaka
When
69-
the verse
the
same hemistich by
it is
completes
repetition
its
Samudga Yamaka.
Example
70.
kotakl-kusuma-piindura-dantah
&>bhate pravara-kiinana-hasti
ketaki-kusuma-pandura-dantah
sobhate pravara-kiinana-hasti
The
Vikranta
71.
When
two alternate
II
tusks
as
pale-white
of]
its
its
as
forest
pale-white tusks.
Yamaka
it
is
[an
instance
Vikranta Yamaka.
72.
sa
II
its
it
for
yamam yamam{B)
68(C.69;B.XVI.67).
69
(C.7.0;
B.XVI.68).
(C).
'
Road yama-yamus
This Yamaka
Dandin,IH.58-54.
71(C.72;B.XVI.70).
occurs in
Bhamaha,
70 (C.71; B.XVI.69).
.
72(C.73iRXV1.71).
II.
10^
and
XVII. 77
DICTION
A PLAY
Off
313
Cakravala Yamaka
When
73.
word
Yamaka 1
Cakravala
Example
word
the
end of a foot
at the
the
at
foot
is
it
instance of]
II
saficitas citas
similar to the
74.
missiles
is
[an
flying
by arrows of the
closely
behind
such
battle-field
Yamaka
Sandasta
When
75.
similar,
it is
Example
the
Yamaka. 1
me ramanasya gunan
pasya pasya
76.
mam
Look
bow
at
comes to
the
qualities of
my
my
II
by which he makes
lover,
to him,
mam
qualities
with
me
which he
view.
PadSdi Yamaka
77toot, it is
When
the
73 (C.74; B.XVI.72.
of
at the
beginning of each
Yamaka.
Cakravala Yamaka.
74 (C.75; B.XV1.74).
2
Emend
'
iailas to sarais.
75 (C.76; B.XVI.75).
Dandin, 111.51-52.
But
76 (C.77; B.XVI.76).
40
'
is different.
77 (C.77; B.XVI.77).
11.10,
ad
THE NATYASASTBA
314
XVII. 78.
Example
78.
visnuh
srjati
Visnu
Visnu
creates
(lit.
Visnu destroyes
II
all creatures;
Visnu
the
is
Jmredita Yamaka
70.
When
the
last
it
Amredita Yamaka.
of]
Example
80.
mulmh
tc
repeated
sighs,
punah
II
in
tant meditation [of her] your [sad] night passed without her.
Yamaka
Catur-vayavasita
81.
When
all
82.
it is
[an
Yamaka.
Example
cons-
is
when
the time
of
the elephants
the
Varana
(Warn)
to
are
come
[Hovver]
free
;
this
is
from disease.
or this
is
the
II
the
This
time for
Mala Yamaka
83.
When
various words
it is
different vowels
Yamaka.
78 (C.78; B.XVI.78).
80 (C.80; B.XVI.80).
*
The
trans, is not
.81 (C.81;
79 (C.79; B.XV1.79).
very
RXVI.81).
occurs in
Emend ie to
tarn.
literal
32 (C.82; B.XVI.82).
83 (C.83; B.XV1.83).
-XVII. 88
DIClION OF A PLA
Example
84.
516
lali ja.ll
II
sportive,
is
faltering
and
gait]
[in
is
of
full
85.
ramanam raho-gatam
vii
'
woman who
This beautiful
unashamed
in
best embrace,
86.
it,
fond of love's
is
till
II
lover
fight
night
at
and
with
is
the
sa puskaraksah ksatajdksitaksah
The
fall
li
blood,
in
letting
from his wounds awful blood and [having his body] covered
with
the
thousand-eyed god
(lndra) in person.
87.
play
[introducing] these
objects
in
work)
poetical
(lit
characteristic]
and functions.
I shall
should
marks
after
composed by
be
considering
hereafter about
speak
their
faults (<losa)
such works.
88.
such
as,
Faults in a play
faults
(lit.
poetical work)
Circumlocution (ijufoartha),
(atlhaiitam),
ficance
Ten
Want
of Significance
(bhinnarthn),
Tautology
may
Superfluous
(ekartha),
Want
84 (C.84: B.XVI.84).
85 (C.85; B.XVI.85).
86 (C.86; B.XVI.86).
87 (C.87; B.XVI.87).
88 (C.88j B.XVL88).
Expression
(arthahjua), Defective
of
Signi-
Synthesis
THE NATIASASTBA
816
visama), Hiatus
Defect
Logical
(abhiplutavthi),
1
Slang {kbdaeijnta)
(mmdhi) and
XVII. 89
Circumlocution
89.
synonym,
{ijU4haHha,
Circumlocution
cause
to
is
hidden
lit.
meaning) 1
Superfluous Expression
When
described
is
it is
[a
Want
An
90.
incomplete
is
of Significance
which
expression
irrelevant
is
Want
or which remains
of Significance (arthahlna)*.
Defective Significance
Defective
{hhkmiihu,
Significance
When the
91.
it is
intended sense
is
meaning)
broken
lit.
worthy of a
is not refined, or is
rustic.
Tautology
Tautology
92.
[many] words
(I'karllia),
for a single
For a discussion
purpose
the
of
of
1
.
in
faults
NS.
K. Do,
see S-
Skt. Poetics,
89 (C.89j BXVI.89).
nava-vinuma
for
An
'
Doaamiha,
Cf. Bhiiinaha
this
a
term as "use of
An
insensibility.
to
be
45-46-
K.
I)e trans-
Sen
1.
S.
using
and
FJkadhika-
is
(1.37.) seems
(lit.
is
fiwi'it'Pi
Wl
,5f
"^ V*.
insensibility"
90 (C.90; B.XVI.90).
*raifo
nfa (wfii)
mmn
xt")
An
'
example
g*Ji!iT
it
of
wsg'tfa.
say that
The example
its
>;
is
mugdlm
incoherent. (Ag.).
is
as
mahiitma abhagya-
of suvaiexa is
an expression
such
To
92 (C.92; B.XVI.92).
91 (C.91;
'
An example
kundendu-hara-hara-hasa-sitam.
White
B.XVI.91).
of
like a
Tautology
Kuuda
(ekaHha)
flower,
the moon
DICTION
XVII. 96]
Want
[When
a sentence
an instance of]
it [is
of Synthesis
is]
Want
A PLAY
<TR
of Synthesis (abhiplutartha) 2
[of
a verse]
Logical Defect
93.
is
an example of Logical
Defect (nyayad-apeta) 1
-.
Metrical Defect
Lapse
(vi&ama,
the
in
metrical
structure
Metrical
called
is
Defect
unevenness).
lit.
Hiatus
94.
separate
When
in
it is
Slang
When
(sabdacijida,
a sound or accent
dropped
is
lapse in a word) 1
lit.
it is
an instance of slang
Gunas
95.
These are
cribed by me.
Gunas
by sweetness and
tins faults
of a
poetical
meaning 1
deptli of
work properly
des-
The
ten
Gunas
Each
simile
are
this is
all
jftfii
W.
c;
lit,
union),
Pers-
simile
Synthesis (slew,
Any one
Siva.
occurred (Ag.).
s
Kmoothness
picuity (i>ra*adii),
12.
samasyate.
in B.) for
$g?sitfHnn
'
$fa a T *m*t^t
An
example of
nwfiwwur..
Here
the four feet contain four complete sentences which are not connected
'defying the
nyayvad-apetam=dettakala-viruddham
'
of
limitation
place
and
time'.
etc.
Bhamaha's deia-kulathis.
'
Vainana holds the opposite view (funaand according to him Gunas are positive
95 (0.95; B.XVI.95).
viparyayatmimo dosahAL
entities (kava-sobfutyali
1.1.)
96 (0.96; B.XVI.96).
Bhamaha, HI.
III, 1. 1).
1.
4.,
[XVII. 9?-
THE NATYA8ASTBA
Sl8
(mUhwya), Grandeur
Sweetness
marya,
lit.
(artha-vyakti,
(udara,
Exaltedness
meaning),
of
expression
Lovelines
Agreeableness (saaku-
(o/'as),
lit
and
deep)
lit.
(frgjrfi).
Synthesis
Union
97.
is
of
(slesa)
called Synthesis
1
.
Perspicuity
Where
98.
word or sense
the unexpressed
words and
comprehended
is
sense,
[an
is
it
1
.
Smoothness
When
99.
compounded words,
understand
it is
composition does
many
un-
redundant
1
.
Concentration
100.
(sama'IM) 1
in
which the
special sense
Possessing some
a composition
here)
(lit.
different. Of.
II. pp.l5ff.
97 (C.97; B.XVI.97).
its
nature
Compact
is [very]
plain
But
called
of genius
Concentration
from
men
hut
called
is
and
is
I.
11
of
is,
Dandin
I.
43-44.
Guna, which in
this
very well-knit-together
is
(slista).
98 (C.99; B.XVI.99).
Cf.
VSmana
111.
1.
8;
Dandin L45.
1-47-50.
Dandin
99 (C 100; B.XVI.
(B.XVI.101) and C. (100) gives an additional description of this Gun a
When alamkaras and gunas match
which in translation is as follows
100).
'
Cf.
VSmana
ffl.
1.12;
it
is
(samata).
100 (C.p.212
1.93-94.
f.n. 1.
B.XVI.102).
B.(XVI.103) and
>
is
as follows
Cf.
Vamaua,
III.
1.13;
Dandin
Careful
condensation of
-XVII. toe
DICTION OF A PLAY
319
Sweetness
When
101.
not
tire
or disgust [anyone],
an instance of]
[is
it
Sweetness
(martharya) 1 .
Grandeur
When
102.
varied
it is
Grandeur
and agreable
[in sense]
(o/rts)
many and
[in sound],
1
.
Agreeableness
When
103.
some unpleasant
(sauhmavya) 1
topic],
it is
Directness of Expression
104.
any subject
It
the world
events occurring in
known
predicates,
(artha-vijalcti)
(lit.
it
relating to the
action)
expressed
gets
[common]
by means of
of] Direct
well-
Expression
1
.
Exaltedness
105.
When
101 (C.102;
in
RXVI.104).
'
1.
11-21;
Dandin
I.
51-53.
102 (C.p.212,
1.80-85.
f. n.
2;
B.XVI.105).
'
Cf.
VSmana
111.1.5;
Dandin
'
Cf.
Vfimana
III.
1.
22;
Dandin
calls
sukumarata.
104 (C.p.212.
f.
n. 3;
B.XVI.108).
''
C.
suprasiddhadhntuna
for
is
as
follows
When
(arthavyakti).
it
is
the
mind
meaning
just after
105 (C.p.2l2,
f.
n. 4;
B.XVI.101).
THE NATIASASTBA
3j0
That which
106.
movement of [a
sportive
moon
just as the
106-
Exaltedness (&*)*.
describing the
a composition] while
[in
XVII.
Erotic and
described in relation to the
'
107.
[available in a poetical
of speech,
figures
composition]
and Gunas
faults
now
shall
describe their
The
108.
poetical composition in
109-110.
it
it
(the
of heavy syllables.
Metres according to Sentiments
in the
Heroic and
Whenever any
act
boldness
of
is
described
it
(the
com-
be in the
should
position)
occurs) in
(lit.
in
it.
in gentle
metres.
Cf.
Vamana,
III. 1.
23;
Daudin,
I.
In translation
as follows
is
it
When the
many special
:
and
it is
I.
85-88.
(107),
f. n.
B.XVI.112).
'
Cf.
R(XVI.
mind on
When
III.)
and
Vamana,
III.
translation is as follows
as well as to the
5;
76-78.
of the
1.
25; Dandin,
Guna, which
in
account of
its
-XVII. 1J7
DICTION OF A PLAY
321
111-112.
and Bamkrti
it
types.
experts.
Pathetic Sentiment..
The metres
113.
made
meaning intended.
suitable to the
those
Sentiment
may
not mentioned)
e.
they
in
should be
In connexion
114.
short, long
should use 1
representing different
for
115.
one Matra
is
short, of
[in Eecitation]
two Matras
is
a vowel consisting of
is
prolated (pluta).
tion
1
,
in
lamenting or in the
117.
for
[Syllables concerned
remembering,
'u'
for
in
'a'
and 'om'
Brahmins.
C.
kavyam
vijUyam
for
karyam
havibhir.
115(C.U6;
B XVI 123).
41
NATYASASTBA
TfiE
322
118.
made
XVII. 118-
short, long
poetical
(lit.
prolated {pluta)
or
The
119.
and
soft
120.
agreeable
to
efforts
use in
women.
much
appear very
these
(i.e.
his
recited
by
will
adorned
with swans.
121.
art does
who
woman
does not
and are annointed with ghee and who carry the skin of black
antelopes and have the Aksa-mala [in their hands].
122.
play abounding
in
agreeable
words,
fit
to
Sentiments by
and having
suitable Junctures
becomes
fit
(sandhi) and
XVII
sounds and
to
intelligible
senses,
country-
be interpreted with
many
[characters]
their [proper]
unions,
of Bharata's NstyaSSstra
118(C,119 B.XVI.126).
!
'
120(C.121;BXVI.121).
AvL
occurs in the
Bhasa, Lahore,
1940, p.131).
B.
bahttkrtamamrgam
'
C. budhajanaiukhayogyam yuktiman.
for
bahurasakrtamargam, C.
CHAPTER EIGHTEEN
RULES ON THE USE OF LANGUAGES
The
1 Thus
1.
Now
2
I have spoken in brief of the Sanskritic Recitation.
The former
2.
of polish,
quality
its
Prakritie Recitation
(lit this)
is
due to
different conditions.
and
it
has as
3.
Pkt
Recitation)
is
of three
4.
tarahga,
5.
or
sentence
Ma,
sustain
sa&tta
like are
same manner] as
renit,,
in Sanskrit. 1
words
(deii).
and the
(the
same words
it
their
corrupt (vibhragta).*
1 (C.l,
notes) of
B.XVL1).
For an English
JDL. Vol.
XXV.
romanised text)
(1933).
Nitti-Dolci,
Les Grammairiens
9 <C.2; B.XVII.8).
3 (C.3; B.XVII.3).
three classes of
'
'
4 (C.4; B.XVH.4b-5a).
'
B.
hemistich (4a)
5 (C.5;
B.XVH6b-6a).
'
after
5.
THE NATTASA8TBA
S24
[XVIII. 6-
Sounds following
6.
and o
(ie. ai
case with
Ka,
7.
the meaning
(i.e,
And
such
the
is
final
1
ha, na).
m,
[in Prakrit]
tha, dlia
and
carried
is
(i.e.
of
the word.
8.
nantal
and the
like.
9.
lea,
blia
And
as
for
da,
ga, ta,
dha and
represents them.
Sa
10.
the
should
it
1
such as satpada.
The
out
words
not in
are written
to be
clia in
an interpolation.
The
Velankar
(Annals
"
by M.H.D.
metrical
work
edited
XIV.
in a late
7 (C.6-8;
BXVII.8).
8 (C.6-8; B.XVII.9).
See chaya and Ag. and also
Nitti-Dolci and B.
PSM.
9 (C.6-8; B.XVU.10).
'
Evidently hard
sucli
alia.
a
The
V.
10 (9;
B.XVH.U).
'
Ag.
is silent
-XVIII. 18
11.
Ta becomes
12.
word
becomes
Tha
in
tola,
beginning of a
the
<a in
825
an
in
pronounced
indistinctly
la.
like
Pa
[in it]
And
except in case of words like yatha and tatha tha becomes dha.
15.
[in
One
is
and mrga
it],
to
know parmi
as pharusa, for
be changed
will
mao
to
pa becomes pha
be ma".
10.
o,
and
An employed
ca in
in
words
like
ausadha
change to
etc. will
etc.
will
when they
are
Prakrit
in
(i.e.
Now
I shall describe
Conjunct consonants
Sea, psa, tsa and thya change
18.
dhya
and
into
hhya, hya
into (r)eha,
(;j)jha, sta
sma
into
mha,
12(C.ll; B.XVII.13).
a spirantiscd da.
13 (C.I 2;
itilft
{i.e.
'
B.XVII.14
f.n.).
it is
somewhat
B. reads the
first
is
perhaps
cvtt $f ima
like a la.
hemistich as follows
too differently.
Dha
in
vardhana
14 (C.12b-13a, B.XVII.15).
15 (C.13b 14a
as well as
mrga had
B.XV1I.16).
its
'
spirantiscd
Tlie
da reduced
to ya-sruti
which how-
over was not shown in writting during the early days of this phonetic
p. 14-15).
17 (C.15b-16a; B.XVII.18).
18 (C.l6b-18a; B.XV1L19.)
tHE NATtASASfBA
326
19.
2icarya
will
[tVIlt.ld-
be accliariya and
niicaya
niccJiaya,
Tubhyam becomes
21.
There
23.
Ka and
letter
pronunciation
usna unha 1 ;
Ima
occurring in
in
bhlma
bhimha.
(sound)
have
will
to be
on the top
disjointed in
their
1
.
Thus
2i.
Sanskrit.
sanlia,
the group
in
and
etc.,
another
vindhya
pallamka.
metathesis
is
of
mahyam majjham,
tujjluim,
shall
Prakrit and
discuss hereafter
languages (desa-bhasa).
25.
in
The
[languages] to be used in
which Recitation
drama
The Super-human
Language
of
Language
(atibhasn),
Common Language
the
Noble
(j&ti-bhasa)
and
19 (0.l8b-19ai B.XVII.20a-21a).
'
'
22 (C.2lb-22 ai B.XVII.23b-24a).
23 (C.22b-23a; B.XV124b-25a).
bkakti (anaptyxis).
may bo examples
Kilesa
(klesd),
duvara
(dv'ara)
of this.
24 (C.23b-24a; B.XVII.25b-26a).
>
25 (C.24b-25a; B.XVII.26b-27a).
26 (C.25b-26a; B.XVlI.27b-28a).
'
-C.
that
-XVIII. 80
Noble language
827
is
and the
refine-
divisions*
is
prescribed
spoken
use [on
for
the
It contains
in Bharata-varsa [only]
1
.
The Language
of Other
and
Animals 1 have
their origin in
in
it
Two
30.
The
kinds of Recitaticn
Recitation in the
is
of
Common
two kinds,
language which
relates
viz,
(scmtihrta).
27 (C26b-27a; B.XVII.28b-29a).
'
The
that
ait'-,
is
absent here.
See
aryabhasa
It^hould be noted
Bhoja takes
and
alibhasa
Read samskaraguna
Read saptadvipa-pratiMita
for
bha in
B.).
samyahnyaya pratislhita
(the ms.
Read vividha-jatibhasa
vividha
bha in B).
28 (C.26b-27a; B.XVII.29b-30a).
(ca,
da
'
'
of the
commoners
is
distinguished
it
as con-
origin.
been none other than vocables of the Dravidian and Austric languages. They
entered Indo-Aryan pretty early in
its history.
29 (C.27b-29a
extant
drama gives
B.XVII.30b-81a).
us any specimen
is
Neither
30 (C.2b-29a; B.XYIL81b-32.).
the
N&
of the conventional
nor "any
language of
THE NATTASA8TBA
328
[XVIII.
31-
Heroes of the
should be in Sanskrit.
occasion
Heroes
demands
33.
that.
should be used.
To
34.
(or wealth)
kingship
when the
or
persons in disguise
Jain monks
ascetics
3
,
religious
No
drama seems
extant
As Arjuna disguised
'
33 (C.31b-32a; B.XVII.34b-35a).
'
Wc follow
34 (C.32b-33a; B.XVII.36).
'
this.
vynjalingapravistanam'V^iom
and religious mendicanta
An
of
this expression as
in
furnish
to
example of this
This part of
the rule
is
But
etc..
it
need not be
relate to
seeim to
(Mudra
II.)
in
the
Pratiji>5,
Skt
assuming
And
Rumauvan
is
in
etc..
an adjective of kramananam
as Brhannala.
C. tat.
so
(III) ascribed to
Bhasa.
8
Sramana
(Pkt. samana).
The word
is
to
Bhasa
to
also
connexion
in
with the
term
tapasvin It appears
This seems to be
asceticism
find
bhiksu- religious
justification of assigning
mendicant
Buddhists alone.
the Bhiksu-sQtra.
Brahmin
The
ascetics
tricted to
is
Though we
ascetics in general.
of
in
ancient
non- Aryan
Prakritic Recitation to
affiliation.
in general.
alternative
It should
name
not be res-
of the Brshma-sutra
.XVIII. 85
Similarly
35.
persons
possessed
Prakrit
of spirits
829
of lower order,
women
in feminine
But to
36.
sages 2 , Buddhists 8 ,
recluses 1 ,
itinerant
pure
who have
received
Vedas]
35 (C.33b-34a; B.XVII.37
f.n. 9).
reading
R.'s
in
translation is
as follows
of low
birth
The parivrajika
below.
3
In a queen's role a
See 38-39
Skt.
salihga. This possibly means the member of a sect which like the
36 (C.34b-35a; B.XVII.38).
all
parivraja
'
person
of
the
fourth
mrama.
muni,
This
<!
likelihood
wise man."
See NS.
I.
23 note
religious
1.
and
elevation. This
spiritual
might have been the reason why the word was applied to persons like
Vasistha and Narada.
'
sakya.
There
Asvaghosa,
Sanskritists,
Nagarjuna,
Sryadova, Vasubandhu
Sariputra-parakarana
Drama
for
like
great
possibly to separate
sisjfih
In
speak
disciples
the
see 34
f.n".
pure srolriya or a
lihgasthalii<s\\g\o\\%
48
all
learned Brahman.
p.82).
Buddha
were almost
Asvaghosa's
is
Buddhist teachers
mendicants
who have
received
THE NATYASASTBA
330
Sanskrit Recitation
87.
tezans
1
,
XVIII. 87-
is
may
they
speak.
As
38-39.
and
of planets
and
stars
cries of
40.
1
.
of all
arts,
be assigned Sanskritic
in that time)
(lit.
birds
known
assigned
41.
artiste
and
for
amusing the
1
.
The pure
42.
practice of arts
Apsarasas 1
speech of the
is
that
which has
been sanctioned by the tradition (i.e. Sanskrit), because of their association with the gods
43.
not
be
assigned
Skt
to
as,
Barbaras, Kiratas,
'
An
example of
this
is
VasantagenS
(Mrech. IV.).
41 (C.39b-40a ;
'
40 (C.38b-39a; B.XV1I.42).
l
B.XVH43).
There
is
possibly no example of
42 (C.40b-41aj B.XVII.44).
Skt
such
tribes
this in
[But to the
(lit.
B.XVII.39).
37 (C.35-36a;
illustrated
earth.
44.
speaking
on the
of] wife of
should
they move]
is available.
43 (C.41b-42a;
manusanam.
of a mortal.
'
No
B.XVH.45).
Read
manusimm
(ca in
who became
(Vikram).
44(C.42b-43a;B.XVn.46).
'
B)
for
the wife
-XVIII. 49
To
4.
331
should
be assigned
The producer
46.
local dialects
may however
of plays
may
for plays
be
written in
different
regions [for
local production].
47.
Magadhi,
Avanti
(bhasa) are as
dialacts
Pracya,
1
Biihlika,
Dakslnatya
Ardhamagadhi,
Sauraseni
[Avantija],
follows
(Surasenl),
48.
besides,
are,
many
1
less important dialects {vibhasa) such as the speeches of the Sakara,
Dramidas 2
Sabaras,
Abhiras, Candalas,
49.
of
royal
the
assigned to guards
is
45 (C.43b-44a; B.XVIL47).
magadhi
46 (C.44b-45a; B.XVII.48).
B.XVI1.49).
Magadhi/ Sauraseni
But any
are well-known.
and
47 (C.45b-46a;
inmates)
(lit.
to menials, princes
and Ardhadescription of
late
See
authority,
M. Ghosh.
JDL.
By
word vibhasa
Prthvidliara
See Pischel,
B.XVU.50).
48 (C.46b-47a;
No
'
the
Grammatik,
3-5.
reached us.
It is
curious
Dramida (Dramila)
dialects that can
of this
in
last the
is
including
One
it
possible
late
among the
explanation
interpolation,
and
Read dravi4<4rajah
See 55 note
for
49 (C.47b~48a; B.XVH.51).
*
1.
According
to
Pischel
'
For a
this
list
passage assigns
AMg.
to
DRJI.74.
servants.
THE NATIASASTBA
3g3
Pracya
50.
and AvmUi
their
any
of
is
fewde Mends
Jester
of the
the language
is
JXVIIl.so-
the
rogues
(//Afirfff)"-
are
also to
speak
1 and
the
like
Snaweni when
not
in
difficulty.
To
51.
Daksinatya1
be assigned
like should
who belong
city
and Bahliki
and the
the
is
native
to the north,
52.
like.
to the Pulkasas
To
53.
of the
who
earn
17.
Bat no extant
Candanadiisa
who
drama seems
to
illustrate
is
AMg.
this
their
GrammaFor
rule.
(Mudrii, 1) while
l'kt. (Kariia.
ascribed to Bhiisa).
50 (C.48b-49; B.XVJI.52).
the two
But according
man
and a
characteristic of
is
According
apij.
of
to the latter's
No
Kalnata.
to
is
abun-
22.
Prthvidhara the
51 (O.49b-50a:
old
Grammatik
B.XVH.53).
specimen of Daksinatya.
contrary
mghosakadinam
Prthvidhara
Grammatik,
and
(B.),
Sakara
in
'
iakudimm
iakndinam (C).
speaks
Sakiiri
as a
Grammatik
iakaranum
iabarariam
Mrcch.
this
may be taken
No
52 (C.50b-51a; B.XVII.54).
description of
26.
'
dialect.
24.
for
mkh-
According to
Of.
Pischel,
24.
A Prthvidhara
Candali
which
Svanti.
dialect
sole
'
in the
thinks
that
Candalas
Grammatik,
53 (C.51b-52a; B.XVII.55).
'
B.
in
the
25.
iatura-itasa
for
iabam-bham.
This dialect seems to have been the parent of the modern Sora language.
.XVHI. 68
] K
livelihood
by
wood and
[collecting]
leaves
33$
should
be assigned
1
Sabari as well as the speech of forest-dwellers.
54.
live in
places
or Sabari
like,
has
Dravidl
the language].
[is
Odri
55.
is
be assigned to diggers
to
grooms
prison-warders,
passages,
others like
them while
horses
for
are
in difficulty
subterranean
of
also to
self-protection.
*To
56.
and the
sea,
57.
lie
To
lie
between the
na 1
Eegions
58.
or
like Surastra
1
the Vetravati one should assign a language abounding ca
See 54 note
that
Dravidl dialect
is
Xbhiri
'
See 53 note
dialect is not
Middle
Lido-Aryan dialect
iniluence predominated
was meant by
55 (C-54b-55a; B.XVII.57).
B)
this.
Its habitat
into
o<\r\
'
Emend
is
oijArt'kiirasaraksasam
na always
with
of
(tlAa
3.
and Nitti-Dolci,
'
AMg.
This relates to a dialect of Pkt. which
'
Though
into -na.
the case
(AMg.
likeli-
is
57 (C.53; B.XVI1.60).
changes
lexical
all
and i22.
This "a"
o-bases in
was in
kara&varaksatam (C.
56 (C.55b-56a; B.XVII.59).
8
Possibly a
p. 120-122.
Pkt
It is possible
in
in
available in
1.
it
3.
54 (C.52b-54a; B.XVII.56).
ta).
all
its
dialects.
Hemacandra) has
58 (C.56b-57a;
i}a,
it
according
to
some grammarians
initial
B XVII.61).
It
seems
that
at the
time of the
THE NATTASASTBA
334
59.
To
people
who
live in
the Himalayas,
XVIII. 59-
Sindhu and
To
those
who
live
on the bank
of the Carmanvati
1
in o
river
(or
should be assigned.
61.
in plays.
[here]
should be gathered
treats of the
of Bharata's Natyasastra
maintained or dental
ciHka for
tisthd).
59 (C.57b-58a; B.XVU.62).
pronounciation of the
B.XVII.63).
vowel.
61 (C.53b-59; B.XVII.64).
CHAPTER NINETEEN
MODES OP ADDRESS AND INTONATION
Different modes of address
1-2.
These
are,
the best
of
Now
a drama].
listen
Modes
As
3.
medium
of addressing males
are adorable
(lit.
god) even
the
to
their
men
Gods, 1 persons
4.
wearing sectarian
one" {bhagavan)* by
1-2 (C.l-2,
persons
includes
referring
are to
to
be
dress 2 and
teacher's
addressed
as
"holy
women.
them before
is
their
ownselves or before
referred to by his
is
charioteer as
Yathajnapayati
all
Pkt
Ex. Kiisyapa (Kanva) addressed by his dis(Sak. IV.) Marica by Duyanta (ibid. VII.) and Ravana in ascetic's
3 (C.3; B.XVII.67).
ciple
Dnsyanta
(I),
vows
as well as
B.XVTI.65-66).
In Sak.
others e.g..
men
disguise
2
by
No
Rama
(Pratima. V).
ex. of this
4 (C.4; BXVH.68).
2.
Ex.
Ex.
(Ravana disguised
as
&
Varuna
an ascetic addressed by
Rama
{ibid.
IV).
(Pratima.
V.).
:<s
the proper
term in
this case.
See below
15.
8
Read here nanamratadhara (bha in B) for nanatruiadhara (B)
and narmrutidhara (C). Ascetics belonging to minor heterodox sects
THE NATYASA8TBA
336
XIX.
8-
The Brahmin
5.
is to
And
the king
The
teacher
[is
[is to
And an
old
man
[is
6.
their
at
pleasure,
by
names.
their
7.
minister
(amatya)
cillor"
them
inferior to
{i.e.
by Brahmins as "Coun-
addressed
to be
is
or "minister"
(sariva), 1
Brahmins) he
[is]
as "sir" (arya)*
One
8-
is
to accost
one's
equals by the
bahmrutah.
5 (C.5; B.XVII.69).
Brahmin (Kesavadisa)
'
in
Madhyama. addressed
by Bhima.
2
addressing
Ravana (Abhisefca
II
Pratima,
II),
and Vibhlsana
).
'
6 (C6; B.XVII70).
Karna
(Karna.), Cf.
'
his disciple
(Mudra,
as a
I).
Brahmin addressing
as Vrsala
(or$udra)inMudra.
7 (C.7;
B.XVH.71).
Ex.
The
( Pratijna, I.).
as 'Arya'
example of
this
rule
seems
to
be
door-keeper (.pratikari)
But
but as
No
addressing
Yaugandharayann
'Amatya'
(connciller)
his
8 (0.8; B.XVII.72).
we
-XIX. 11
837
A
to)
by name by
do so 3
person
superior
may however
inferior persons
be
when the
addressed
latter are
(or
referred
privileged
to
Men
9.
and
artists
and women
in one's
are to be addressed
employment 1
such
as
((. e.
and
artisans
according to
their
status)
10.
respected person
of
is to
bo addressed as 'honoured
slightly less so
as "comrade
sir'
(marxdka
or wiarsd). 1
Addressing persons of equal status
(ro.ijafiya)
be addressed as 'brother"
The
11.
chariot-rider
(Pratijna.
I.
13.14). See
above note
9 (C.9; B.XVII.73).
(Pratijiiil.
I. 2. 4)
UadanikS (Cam.
2
Ag.
'
before
the latter.
1.
Carndatta
I. 21.15).
explains
karuka
and
*ilpi
as
follows
<*nnsi:
p*fiWi:
faf"itfin*Wi:, artisans are those that build stiipas and the like objects,
artists arc painters
3
and the
like.
10 (CIO; B.XV1I.74).
'
1. 1.6,8).
Ex.
(Mudra. VI.
3
Ex.
(Mudra.
Siddharthaka
2. 14, 16).
Cam.
See Uttara.
and
Sakara
in
(I. 4.7)
and Malavi
(1. 1. 3).
I. 18.4).
11 (C.11; B.XVII.75).
43
TEE NATYASASTEA
338
XIX.
12-
An
is
who has
ascetic or a person
Addressing princes
The
12.
crown-prince
is
3
.
persons
Inferior
(sanrmja)",
of
disciples
3
addressed
to
one"
"pleasing
as
"auspicious-looking
(/i)
6
.
11. 6).
No
'
On
example
the other
of
hand svamin
is
to be
very often
Kuntibhoja (Avi.
see
On
1. 5.3; 8.5).
p. 163.
Pratima.
(loc. cit.
this
term.
I).
XIX.95ff.
9,
1. 2.9).
aud not
word kumiira.
word svamin
the.
king
in inscriptions
I.
Ant. Vol.
Sita's
Sylvain Levi,
XXXIII.
17.1).
Rama
1. 9.2),
as bhailida-
samiassa mrnassa,
as
In Mudrii. (JV.
12.5)
lias
similarly.
This use of the term sautnya does not seem to occur in extant
place, e.g.
its
the
army (senapati)
4
IV.
8.2).
mukka though
arhati deveiah.
(Mrceh. X.
* It
Bharata addressing
The
lie
Jester addresses
says
fire)
:
his door-keeper
addresses
Rama as
(Mudra.
bhadra-
me namaskuram kartum
bhaddamuha
23.3).
does not seem to occur before these terms in any extant drama.
-XIX. 16
839
In a play a person
13.
or
the
to
to be addressed
is
vocation,
by a term appro-
art or learning
practised
by him. 1
Addressing a son or a disciple
14.
disciple or
a son
to be addressed
is
by the guru or
Monks
15.
are
to
be
by
their
own
rules 3
The king
10.
is
to be addressed
13 (C.13; B.XV1I.77).
be available in any extant
'
by
drama.
In
Mrcch. (X.
this
rule seem to
B.XVH.78).
(Dru.
I.
'
Cf.
42.3).
No example
25.2).
Kasyapa
Instances of a
how he was
is
to understand
by
'other sects'
Pasupatag
An
is
a term like
16 (C.16;
B.XVH.80),
bhapusan
or
bha-
THE NATYASASTBA
340
his
other kings] he
(deea),
"lord"
as
subjects
1
,
but when
he
is
XIX.
17-
an overlord
[of
is
{bhamy.
Sagos addressing the king
The king
17-18.
{rajan)
is
to be addressed
The
And
3
he should be addressed as "friend" {nujiwjn) or "king'
(rajan)*-
The queen
(bhivati) 5
"lady"
The
Jester
The
to be addressed
is
6
"friend" (vaijasya)
Ex.
his
name
king (Mudiii-
the
king (Miilavi.
I.
Ex.
or as
he
not yet
is
III. 10.3).
Viblusana refers to
12. 8).
king
this the
by the king by
addressing
Kailcukin
as
Jester
Rama
by him as
to be addressed
besides
III. 15.1).
1.
Yamnika
But
XVII.
81-82).
'
1.
19. 30).
Ex.
Bhagavan
(Yudhisthira)
No
Ex Tho Jester
Ratna
No example
(I.
of this
Bhavati in the
queen
(Malavi,
(Ratnii.
IV.
The
seems to
Avi (VI.
in
20. 8, 12).
3.18).
In
Narada addresses
IV.
4.23.)
in
0.30).
Examples are
easily
available.
and
as
bhadra (Vikram.
II. 18.15).
1. 1
Vikram.
etc
and Vikram
-XIX. 22
Women
By
19.
wumen
all
341
their
in
1
addressed as a "noble one's son" (arya-pntra) , but in other cases,
the husband
to
is
a king he
(mahar&ja)
may
also.
The
20.
(arya)
elder
brother
adi'ress to be
2
.
a play.
Modes
21.
now speak
shall
of addressing
of the
women
modes
used
of address to be
female
Addressing
Female
ascetics
and goddesses
ascetics
to be addressed as "holy
lady" (bhagavati) 1 .
wives of
Addrcsiing
Wives
2-2.
of
respectable seniors,
19 (C.19; B.XV1I83)-
Malavi, Svapna
2
'
Examples are
easily
ladies
1
.
Sak,
procurable; sec
etc.
Ex. Nati
to the
also
I.
Urvasi refers
I. 38.2).
39.2).
21.2).
is
'
Saumitre, (Pratima.
I.
81.1),
Rama
e.g.
Kaikeylmatah,
14 and 4.
21(0.21; B.XVIL85a-86a).
(Malavi.
1.
14.2
'The
widowed wives
of
XVII
86b-87a).
'
Ex.
Dasaratha as bhauatyaii
Sumantra
addressing
(Pratima. III.
0.6).
12.2
).
the
The
THE NATYASASTBA
343
women and an
Addressing an accessible
An
woman
accessible
[XIX.
(gami/a)*
is
28-
old lady
to be addressed as "gentle-
23.
In a
and
servants
play
king's wives
attendants
are
by
to be addressed
"mistress"
as
(bhaUin)i,
their
"madam''
the
chief
[Of
these], the
{dm) 1
term "lady"
should be applied to
Tho remaining
."mistress" (bhallini)
[simply] as
by
their
"
gamya
bhadramuhki (Vikram.
4
II. 15.9)
I.
(Vikram
18.11).
But
in
II.
Ex.
>
(i) bhat{ini.
Nipunika address-
Pratimii
the maid
(I. 5,4)
is
ascetic.
12.3,5,18).
(Ratna
Busyanta
III. 19.0)-
addresses Citralekha as
Ex. The king, tftvaS and their son addressing the female
(Vikram. V.
who
22.6).
I.
(ii)
Soamini
addresses Sita
{cetjD
as a
term of address
to
(ceti)
addressing
the
queen Bhanumati
(Veni.
II. 2.14).
2.
For an example
ment
i.e.
those
who were
in religeous rites
8
who were
those
seems to occur
in
In
Nipunika
addressing Iravati the second wife of Agnimitra uses the term bhaitini
the very term to be used rightly for the chief queen Dharini.
25 (C.25; B.
XVn.
Padmavati (Svapna.
89b-90a).
1. 15.11)
'
Ex.
The maid-
(celi)
addressing
XIX. 28
343
Addressing a sister
An
elder sister
an younger
(bhagini) 2
to be addressed as "sister"
is
(vatse) 9
sister as 'child"
and
26.
(vratim)
is
Brahmin
to
lady, a
ascetic
wife
is
to
or by
Women
Women
27.
among
friends
are to be
their equals
accosted
Addressing a handmaid
By
a superior
woman
a handmaid
be accosted
{i>rexya) is to
Addressing a courtezan
1
28.
A courtezan
to
is
is
an old
woman
she
is
be addressed by
to
cf.
the
This mode of address does not seem to occur in any extant drama.
Karp.
I. p.
18.
Ex. Yaugandharayaaa
queen
who
is
(Pratij a. I. 9.11). C.
of au elder
in the role
playing the
rolo
brother
younger
of his
sister
addresses
as
vatse
om. 25a.
No
'
ex. of
this
rule
seems to
female ascetic in Vikram. (V) could have been addresses as arye instead of
as bhagmiaii.
as bhavati.
"
3
Mrcch. I Malati. I)
No
example
seems
to
e.g.
to occur in
No
example seems
For
Nipunika (Malavi.
ex. see
I. 4.21),
Sak. Vikram.
etc.
IravatI addressing
III. 14.1).
"
'
Read
THE NATYASASTBA
314
XIX.
29-
(/Jtti/w)
may
29.
But
"my
be accosted as
dear"
priests'
30.
of
these,
be given,
Name
Of
31.
names
assign significant
characters]
[to
1
sarman or varrnan
play should,
in
Naming marehants
The names
32.
of merchants
Naming warriors
To
2
the
Ex.
as
in
("aryakii,
the
title
the
of
valour.
II. 0.6).
to
mean
by
Bhagavadajjukiyam
Prahasana
Baudhiiyana Kavi
*
No example
of
this
making (irhgara)
j>riye,
ha priya-iisyc
'
No
30.
20.6),
Micch.
of aitih in
(Svapna.
1.
(IV..10).
Sakuntala
'
is
for
is
addressed as j>riyc
one of love-
strictly not
12.53).
B.XVII. 94b-95a).
No
example of
such
names
drama.
'
No
example
such names
of
B.XVII. 96b,
97b).
'.
Ex. Carudatta
the
hero
'of
as follows:
The name
of Kapalikas should
end in ghatfta.
The
(1.8.1).
is
inter-
-XIX. 37
Naming
33.
The
345
king's wives
be
are
Naming courtezans
Names
SSMO 4
courtezans
of
should
end
in
mitm* and
datta?,
Naming hand-maids
34.
In a play hand-maids
various flowers
should
1
.
Naming menials
Names
Naming
35.
To
names 1
superior persons
persons should
superior
significance so that
meaning of auspiciousness*.
may
deeds
their
be
in
harmony
with
such
Naming
3G.
The
to their birth
other persons
1
rest of persons should
and profession.
Names [that
are to be given] to
[in a
play]
Names
play
in
should
always be
made
in
this
'
No example
of
this
seems to occur
No example
seems to occur
in
And
the name
Svapna. Ratna.
No example seems
34 (C.33b-34a; B.XVII.
in
etc.).
99).
Cam. and
'
Sudraka's Mrcch.
extant play.
'
E.g.
Brahmacari (Svapna.
XVII
102a).
etc.
I),
Vila
THE NATXA8ASTBA
346
37-38.
rules of language
is
[XIX
everything
37-
about the
to
Qualities of Recitation
2
shall
now
(svara),
Varnas
(lit,
the
describe
manner
uttering
of
and
In
Recitation.
qualities of
it
voice
three
notes),
I shall
now
explain
their characteristics.
The seven
(swra) are
notes
Sadja, Rsabha,
Nisiida.
Gandhara,
should be
Paficama.
the
notes
in
the
registers (sth&iut)
4041.
Tn
the
(i'u-asi).
human body
as well as in the
registers
Vina
notes
41-42.
is
who
is
by
is to
is
be used,
[will
be proper].
The
text
from here
till
38-40 (0.38-39;
is
in prose.
XIX. 44
At
42-43.
begun
sentence
and at
its
close
should be brought
it
down
347
with
head register
43.
be
will
acute
(iiddtta)
quivering accent
is
while grave,
suitable to the
is
are
appropriate to
Two ways
of intonation
These
e.g.
44.
tended] meaning,
is
said to be entailing an
expectation
[in-
its
(mkahlcsa)
is
said
no expectation (uirakankta).
and which has notes from the throat and the breast, and begins with
a
high pitch (tara) and ends in a low pitch (maiuira) and has
not completed
And,
sentence] the
and
its
Varna or Alamkara.
entailing
no expectation
relates to [the
utterance of a
which has notes from the head and begins with a low pitch
(mandra) and ends with a high pitch (t&ra) and has completed
its
The
text
from here
till
the
beginning of 44 is in prose.
45
is
in prose.
The
text
from here
till
the beginning
THE NATYASASTttA
348
The
45.
may be
The
XIX.
45.
Alamkaras
six
Alamkaras
six
it
Now
listen
The high
of high
pitch
(tcira)
it
is
at
The
and
quarrel,
and the
is
sharp and
intoxication,
speech,
defiance,
anger,
lamentation 2
rebuke,
words,
a very low
despondency,
sickness,
communicating
The low
fast
breast
register
impatience,
weapons, fainting,
weariness due
The
the
weekness, anxiety,
like.
speaking, sickness
swift
abusive
harsh
register
to be used in reproach,
to be used in
low-spiritedness,
is
it is
like.
like.
The
and
(tamtam)
indignation,
discussion,
pride,
valour,
and the
proceeds
is
and
anyone from a
in calling
register
speaking to anyone
be used in
to
to
refusal of lover's
agitation, secret
be used in natural
to
austerities
it is
it is
to
emergent
(manmana)',
(atijaijika), act.
'
and
walking a
like.
fear,
register
and
children (lalhua)
fever, panic
cold,
7
,
like.
till
the begiiung
of 46 is in prose.
i.
C. om. guhyuranthavacana.
manmana
who says wn<ft
upidhyaya,
Ag's
mwtfiriftT'iiFtwwrel
'
there
is
On
no unanimity.
iift^wai
the meau-
Wo follow
iraM?si-spi|in&
gw
* (Ag)
XIX. 55
The slow
and
of
is
slightly
it is
expressed
cannot be
and the
like.
couplets
register
in love
something
saying
anxiety,
bashfulness,
adequately,
censuring,
surprise,
threatening,
boused
to
which
349
[On
this
To
suit
various
46-48.
Sentiments the
(bakii)
intonation
should always be made high (aeca), excited (dljda), and fast (drata)
in
rejoinder,
harsh
confusion,
representing
reproach,
who
away from
(lit.
is
and
threatening
view)
not
terrifying
at a distance,
Intonation should be
49-50.
(it'tai)
vow
who
the
sharpis
(nli/ama), deliberation,
made grave
Intonation should be
51.
(drula)
in
(mandril)
(I alia)},
and
fast
to love's
refusal
3
panic and attack of cold.
overture (maiimiana)
,
52-55.
The
should
intonation
lost
object or person,
be
(mandra)
made slow
anything untoward
communicating something
saying
(rihvmhila),
following an
in
about
desired,
a,
object
desired
mental
deli-
C.
mandra
for
tanumandra.
B. reads
karuna
after srhgara.
B.XVIL
51 (C.49j
XVII.
B.
manmane.-
''
'
See note
0.
malic
ca
mardane
for
lalle
ca
1-
118-119).
12D).
B.XVIL 121-124).
'
Read viksate
350
XIX.
56-
56.
been
containing
in happiness 1 .
57.
Thus the
(lit.
made
Recitation should be
shelter)
(iicca)
have been
intonations
words
prescribed for
to
have to
different intonations
by the producers 1 .
Intonation in different Sentiments
Slow intonation
58-50.
is
the Erotic,
is
Fast and
praised.
low intonations have been prescribed in the Terrible and the Odious
Sentiments.
Thus
made
he
intonation should
the
follow the
to
'Now
(viccheda),
Presentation {arpana),
Of
these,
the
auditorium
(oisarya)
means
with graceful
means the
taking
{ebxhtda)
Separation
Presentation (".i'/mm)
due
is
to pause [viramn).
something by
reciting
modulation
of
voice
of separation between
breath
while
Continuity
(visarga),
Closure
uttering
up
filling
2
.
Closure
(anubandha)
them.
Brilliance
(dipana)
means the gradually augmented notes which proceed from the three
voice registers (stham),
Now
making them
discordant.
56 (C.54; B.XV1I.126).
'
57 (C.55; B.XVn.127).
C. reads
three
additional
this.
hemistiehcB
after this.
58-59.
(C.57b, 58;
beginning of 60
B.XVII. 128-131).
'
The
text
is in prose.
'
from here
till
the
-XIX. 60
Sentiments 4
351
enunciation"
the
and
it
Calming.
In the Heroic the Furious and the Marvellous Sentiments
it
should include
it
medium (madhya)
be
made
medium
one's
the
notes should be
(mandra)
low
The
high one.
be
the
distance
made
utilised
three
in
one,
to
the high
one at
pitch
(tara)
tempo (laya) of
Sentiments.
to
pitch
kinds of
diflerent
be made of
should
and to speak
throat,
of low
notes
breast.
to
a great
at
pitch
side
from
being not
pitch
voice registers].
be medium,
Pathetic
the
in
it
the
in connexion with
to the
(lit.
practical),
that there
practice
occurs
is
to
Why
enunciation
depend on
Because
is
due
the
situation
is
found in
it
syllables, e.g.
60.
kim gaccha ma
What
[is
the matter] ?
Be
off.
ma
sarva-jan6pabhukta l
Don't
enter.
You
are
B. adds
C.
II
prohibited
THE NATYASASTRA
352
[XIX. 61-
[to enter],
to do with you*.
Use of Pause
Thus
a play
in
number
taining small
(lit.
poetical
of syllables in cases
of Siica*
and Ankara*
observation
Pause
of]
clears the
meaning.
Why
There
is
Because
a couplet
In
61.
[Verbal]
the
{ahhinaya) the
Representation
Pause
for,
on
it
pro-
depends
Hands
02.
in connexion with
in
fixed
63-64.
hands are mostly occupied with the weapons, in the Odious they
are bent due
to
contempt, in
[something],
in
the
Comic they
the
are to point
to
to
in the
be
made
On
clear
similar
66-67.
Alamkaras.
combined into a
[big]
it.
should be observed
breath.
In
the
at
the end
of
verse
a word,
require
when
the
compound
in
after
is
or [the utterance
liable to arise,
is]
Pause
on
the
meaning.
2
See Nil
XXIV.
48.
See
N& XXIV.
44.
B.XVTI. 138-14Qa).
5 (0.64; B.XVII.137)
-XIX. 75
353
Syllables (hrsya-
The Drawn-out
or
au
is
G8-G9.
known
in a long
pronounced
70.
in)
As
their
vowel
like a,
ai,
e,
In sadness, argumenta-
Drawn-out Syllable.
as a
tion,
e.g.
should take
may
be pronounced
meaning,
be
(lit
may be
71.
pronounced
syllable
duration
of great
always
will
2
duration should not be more than six Kalas
the
but the
by the experts
75.
verse
to
may
The
directed
in
One
should
from
text hetc
is
for
qualities,
We
in prose.
composition
one
follow
kalanam.
B's
text.
B.XVIL
146).
'
best
140-141 ).
'
in
(kavya)
hsyahara."
B.XVIL
B.XVIL 143).
74 (C.73b, 74a;
above]
words (ajmiubtht)
[literary]
padamm
a dramatic
recite
literary
and has
C. nikrdaksara for
71 (C.71;
[on the
[uttering
1
the intonation excited (dlpta) .
free
is
bo varied
[of a passage].
make
characteristics
45
places of caesura,
should not
C.
meaning
pronounce) ungrammatical
(lit.
these
position of
to suit the
74.
in
Sentiment [involved].
73
recognized
its
act
which
the
But
72.
cause, or of
stage]
(vilamhita)
be [rendered] long.
73 (72b-?3a;
B.XVIL
145).
THE NATYASASTBA
354
XIX,
76-
and
their
Alamkaras.
76.
in
Thus
77.
women
as well.
dramatic
to
an
(latja).
proper sequence.
I shall
matic work.
treats of the
Avith the
76 (C. 76;
XIX
of Bharata's Natyasastra
Verbal Representation.
B.XVII. 148).
CHAPTER TWENTY
TEN KINDS OF PLAY
I
1.
shall
now
the
describe
tenfold 1
For
2-3.
kinds
ten
(laham)
plays are
Anka
known
be of
to
(Utsrstikaftka)*,
Dima 3
Vyayoga, Bharia,
Ihiimrga.
I shall
plays
of
of production.
Prakarana,
their definition
such as Nataka, 1
division
modes
and
from
(lit.
the beginning).
4.
Styles {rrftl)]
dramatic works
all
known
are
poems).
(lit.
Considering their
production
the ten kinds of play are considered to have proceeded from these.
5.
Just as the
Jsitis
of notes constitute a
make up
position {jcavija-landha).
6.
all
Just as
the Sadja
scales include
made up
of constructions
1 (C.l;
and they
known
be
to
as
utilise all
1
.
B.XVIII.
'
1).
Kohala men-
subject like
Rasaka
(Ag.).
Bhoja ignores the Totaka and recognises only twelve kinds of play includiug"the Nittika mentioned in the NS. (Sco, V. Raghavan, Sr. Pr. p. 27).
This word
is
To
distinguish it
it
it
also
called
Utsystikaiika.
a
non-Aryan word.
It is evidently a
4 (C,4; B.XVIII.
5 (C. 5;
4).
B.XVIII.
6 <C. 6; B.XVI1I. 6)
7 (C. 7; B.XVIII.7).
other's place.
>
'
5).
22(T.
36ff.
9
ibid.
* ibid.
ibid.
taken each
THE NATYASASTBA
$66
Plays of the
8-9.
Vitlii,
[XX.
8-
Dima
classes should be
made
The Nataka
[A
10-11.
known
story 1 ,
play]
Hero a
for its
subject-matter a well-
its
celebrated
from a royal
many
super-
divine protection
takings]
of
(lit,
seer
richly
Scenes (jiraveiaka),
many
s
Acts (a!ika)
Introductary
called a Nataka."
States
their
and
12-
ing
is
which)
in
made by)
(lit.
a play]
is
styled
Nataka.
The Act
After considering the denounment {banjo) suitable to
10.
the particular
stage
It
should be
B.XV1II. 10-11).
Mbh)
'
It
work
(e.R-
Brhatkatha).
3
persons. This
and the other conditions mentioned in the note above exclude living persons
as Heroes of the Natakap. Cf.
ND,
p. 27.
ND.
{loc cit).
*
For
the description of
Act [ahka)
see
below 13-15,23.
12 (0.12;
13 (C.13,
B.XVU1. 12).
BiXVUI. 13).
'
see below
-XX. 18
The Anka
14.
means
(Act)
is
of the States
357
it
some
an Anka (Act) 2
rules, it is called
15.
An
and no
be made
in
it.
And
to occur
posed
of,
itself to
is
(biiidu)'
should
of
always) be
(lit.
in)
(lit.
(blja)
(lit.
made
Germ
[particular]
not 1
(Oijo) is
meaning
finally dis-
17.
persons
Germ
Point
fully
the
(lit.
16.
is
Turning
the
a close by
to
final disposal of
[technical]
As, by
An
relates
to
the
direct exploits
(lit.
made
should not bo
18.
Act which
the
too long
It
of
various States,
their
that
the Act
is
to contain
1
the various Sentiments arising from [words and deeds ofj the queen
of the
(xarlhacaha) 3
priest, minister
Tliis is
'
the root
ruAto grow.
hell) us at all to
15(C.15;B.XVIII.
attains rapid a
2
'Prom
15).
the
Turning
the
Points,
NL, p
13.
plot
arise.
na
for
is
11).
16(C.16;B.XY1II.
'Emend
16).
Such an emendation
ca into na.
bija. Cf.
17
'
See
NL.p.ll.
18 (C.18; B.XV11I.18).
'
SurthavaAo'lra
seldom appears.
seriapatih
(Ag)."
In
extant
dramas
setiapali
[XX.
TEE NATYASASTBA
358
'Feats
favour,
of anger,
20.
Act 8
made
directly visible in an
an Act
in
visible
a curse,
of
and siege of a
Act
pronouncing
grief,
19-
its
.
city
should be presented by
Hero
22.
by means
His
of
special descriptions
poetical passages)
(lit.
An
and the
acts).
(lit.
it
Germ
19 (C.20; B.XVIII.20).
couplet which in trans,
is
known
flight, treaty
course of a single
dasii
is
who
in the text)".
than
But
duties.
'
less
in
of the play
view
in
in
the
five
of the couplets
25 and 57 bclow>
alike 'pratyakajuiii=aiiie+apralyaksajuni
wc have
{ahka-pratyakm,
G).
w see
also 20 below.
20 (C.21; B.XVIII.38).
This
clearly
B. 'pratyakmni lu nalakc
shows
Ijhat
death scenes
for
apratyakmkrthni.
Cf.
Sagara-
this
rule as
21
(C.22-,
adopted in SD.
B.XVIIL39).
22 (C.23; BXVIII.40).
it
'
DR.
stage.
p.93.
23 (C.24; B.XVI1I.21).
nandin reads
of
slesair bahubhit
misunderstanding
'
He quotes
Sec
Sagara-
NL. (p,13).
XX. 30
24.
dents in a
single
Act
And
incidents
Persons who
25.
359
in
should be depicted
will
inci-
will
go out
the
after
it
many
there)
(lit.
Germ and
with the
the
create]
proper
Sentiments.
Knowing
26.
Ksanas
1
,
the
is
divided into
different incidents in
all
the
When
27.
[single]
that
incidents
cannot
day,
to be finished in course of a
are
Act 1
are
also
but [incidents
may
[Incidents] that
28.
or a year,
29.
it
in
course of a
month
covering]
a manner]. 2
When
distant land,
place
take
to
in
perscribed before.
00.
With an Act
bo
should
closely
of the Niitaka
associated.
And an
Introductory
Scene 1
2
should be made up of a conversation of attendants.
24 (C.25; B.XV1II.22).
The
(B.C.).
of
controversy
Read
over
ekahke
the
reading
na
is
instead
of
ekaiikcna
(sandhya-
vandatiadi).
25 (C.26; B.XVIII.23).
dam
Vikram, V.
B.XVIII.26).
'
Ex. Avi,
28 (C.29, B.XV1II.31).
'
27
t.C.28;
krtva.
The meaning
II,
But
29 (C.30; B.XVIII.32).
30 (C.31; B.XVIII.28).
for
pravesako.
'
'
THE NATYA9ASTBA
360
An
31.
to relate 1
to the essentials
It
An
may
And
it.
of
consist
in practice
it
should adopt
people.
Scene
Introductory
it
common
Points
Act
superior
[For example],
of the Turning
another)
(lit.
Introductory
(the
the
exploits of
31-
made
should be
XX.
or passage
[of
purposes.
of
time,
an Act] or the
denounraent (k&rya).
Incidents
34.
which depend on
many
many
[too]
[persons] are to be
Scones or
prose
in
Junctures
passages 1
will
be tiresome [to the actors] at [the time of] the production [of the
play].
When
35.
in
an Act
lest it
presented
account should be
compressed
its
in a
ductory Scene.
30.
{mdmubhaka)
31 (C.32; BXVJII.33).
it
'
32 (C.33; B:XV1II.34).
33 (C.34; B.XVIU.35).
B.
reads the
first
Read 33a
"
hemistich
with
the
purposes.
For example,
it
sratawifBWqnwriwiini-
as
may
change
An
accepted
by
Introductory Scene
34(0.35;
B.XVIII.36).
bahu-purna-padyavrtlam.
,36 (C.37j
do not appear
B.XVIII.54).
in an
35
>
(C.36-,
This
Explanatory Scene.
is
C. reads
B.XV11I.37).
-XX. 41
TEN KINDS OF
should bo concise
PfiAY
861
polished
style
speaking
of
{Mmxhia-vacann). 3
37.
It
ters,
be of two kinds
should
(mmforna). Of
pure
these, the
is
made up with
38.
Explanatory
Number
The
Niitaka
contain a great
number
attendants
men
3ft.
(lit.
most] be four or
40.
five
should
of dramatis fiersonae
The Hero's
of
of work)
in
such plays
there)
(lit.
should [at
1
.
41.
A chariot,
means
of appearance
and costumes
[of
men
[in
a play] by
37 (C.38; B.XVUI.S5).
3
Ex. Pratimii.
38 (C.39).
II,
The
Ex.
'
Vikram.
exact
Pr.itijfiii
significance
An
kind.
II.
Sale. III.
III.
of this
It
the
fall into
See Pusalker,
39 (C.40; B.XVIII.41).
This rule
40 (C.41).
'
C. gives
it
is
in a mutilated
form.
Its
characters.
second hemistich
See.
aw* *w
NS. XII.
*ir
wrat-
THE NATYASASTRA
362
But an
42.
elephant, a
a palace, a
horse,
who know
of model-work by these
If
due
persons are to
make
role (hatra)
[like]
number
and
it
(lit.
more
and
is
or
to
six
going).
made
to appear as con-
For
slowly.
tail
army
four)
(lit.
of
should
states)
stage
only five
appearance
their
a small
of
made)
a detatchment of an
here),
(lit.
tiro
travelling requisites,
45.
any reason
to
sisting
any con-
(lit.
Introducing an army on
44.
the
42-
construction]
4;5.
or
hill
by means
[XX.
and
in the military
do not apply.
all
situations
(lit.
At
46-47.
of
the conclusion
the
all
Marvellous Sentiment 1
Thus
its
introduce the
I shall
hereafter
describe
characteristics.
The Prakarana
48.
(devises)
works up
The
by
its
play
own
his
where)
genius
43 (C-44).
'
is
called the
into
Emend halena
45 (C.46; B.XVIII.42).
'
its
Hero, and
Prakarana.
2.
Emend karuvopapannh
'
Emend kartavyamaiitra
44 (C.45).
in
elaboration (mrlra),
42 (C.42).
(lit.
into k<tranopa.
karlavyam
atra,
The
Ag. however
quotes two different views on the subject but none of them seems to be
convincing,
in
'
This
is
The sudden
done by
mostly to be
revelation of Svantika
48 (C.49} B.XVIII.45).
there were Prakaranas in
'
From
this
it
may bo assumed
that once
original,
i.e.
the
-XX. 54
When
49.
(lit.
invented)
363
Germ and
a plot which
is
works 1 and which that play has gathered from some other works
in
qualities
same
the
it,
is
also called
basis of
the Senti-
the Prakarana-
The
50.
ments,
plot
and
its
to
Prakarana
The
also
the
characteristics to
their
(mndhi) 2
Nataka are
known
The Prakarana
52.
case of the
in
of]
detail
51.
as the
elaboration
an exalted Hero.
And
as the
should bo
Prakarana 2
known
made up
as not
with
it
it is
men
The play
53.
of the
of
characters
conduct
of
and heads
courtezans
well
as
incidents
exploits
as
arising
guild,
from] the
depraved
of
some
[in
of the merchants'
women
good family.
[In an Act of the Prakarana] where a minister) head
5 1.
and
minister
leader of
of
the
49(0.50; B.XVI1I.46).
Ram
'
and Mbh.
1.
are'cxamples of such
works.
50 (C.51; B.XVIII.47).
a
51 (C.51;
to
'
B.XVin.48).
'
From
was
this
not
"varied
concerned
exploits"
one
exclusively
is
with
love-themes.
*
in
The
the scanty
number
of extant
54 (C.55; B.XVI1I.51).
in the ride
The
Pratijaa.
Hero.
53 (C.51; B.XVIII.50).
is
an
THE NATYASASTBA
364
circle,
XX.
55.
1
.
55.
when a person
is
in the
company
of
a courtezan there should not be [at the same time] his meeting with
woman
(lit.
is
If
and respectable
of courtezans
their language
In
57.
1
;
and
number
this
the
playwrights
58.
Prakarana
of] a
the
than ten
[any scene
ladies in
the
plot
one should place between two Acts the Introductory Scenes which
are to compress the events in the Junctures (sawlhi)
1
.
The Natika
In a play of the
59.
recognise
a more or
less
Natika
class
(Niiti)
well-known
variety
producers
are to
two (the
of these
See 56 below.
55 (C.56; B.XVIII.52).
56(0.57; 13.XV1II.53).
Tim
'
nature of
language which the author oE the NS. had in view in formulating this
rule, lias probably jbceu
nWwwii'W:
wwi
57 (0.58; B.XVIII.29).
2
'
Read
w*%fti!ii wfiratei
4^iq
59 (C.60a-61bj
Bead
'
and
dam para
fiwfasrofiw
for dasafiora.
this
1 sfconwj mw:,
couplet as follows
<Bf*rtnt nfrcnm:.
Cf.
DR.
wwra1.118
(ed.
must be
B.XVIIJ.57).
nuiflkayoge prakarane.
couplet,
59 (C.59; B.XVUI.58).
faf?a:
swnfaH
'
in 1'kt.
Read
Sec Avaloka on
DR.
nutisanjasrite
(ed.
kavye
for
Nirnayasagar) 111.43.
Description of the Natika given here (59-63) has been rightly suspected
as
an interpolation, though
Keith
is
for
rejecting this
suspicion.
See
-XX. 64]
60.
Different
from the
origin
in
music or
And
61.
plot
it
harem 1 .
affairs of the
it
many
its
365
soul
its
well-arranged
and
recitations,
love's
has
constituents,
enjoyment are
its
chief features 1 .
62.
1
play of] royal manners ,
and
(dumbho),
deceit
Messenger and
have
to
the
ir
Phe
63.
anger 2 ,
of]
[fit
its
Hero 3
to
contain
[a dis-
and
[acts of]
his queen,
the female
dramatis personac].
of the
characteristics
also
its pacification,
shall
the
Samavakara.
The Samavakara
61-65.
matter
[bljit)
It
as
its
60 (C.60b-61a; 1J.XVIII.58).
'
nature oE the subject matter (plot) of the Prak. Sec Skt. Dr. p. 349.
fication tor calling
its
and
plot
it
is
subject
the Pratijfia.
Justi-
But according
61 (C.62; B.XVI1I.59).
only, the Milavi.
llatua- is a
'
62 (0.63; B.XVIU.60).
'
C.
C, reads 62b as
1I95|i?<ft
63 (C.65; B.XVI1I.62).
B.XVJII.61)
ou the
basis
"wfa
'
of
fqtwfl
llfiran"
OTt.
two
mss.
It
couplet (0.64;
new
information.
2
C. Prakarananalaka-nuli-lakxanam
nam uktam
vipra.
uktam
for
who
'nataka-laksayais
responsible for
'
No
THE NATYASASTKA
366
as
Hero, and
its
it is
[XX. 66-
to consist of
kinds of love 2 .
it
[Besides this]
should have as
I shall
many
three
twelve
as
(lit.
the
number
of
Nadikas
60.
which
half of the
The Acts
is
Muhurta 2
Samava-
in a
kiira should
of this Nadika.
The
07.
The
tion of twelve
first
Act
first
Nadikas 1 and
it
to contain
is
laughter,
deception or a Vithi.
it is
should
also
-.
plot to a
close
will
Samavakara
to
which
08.
And
the third
Act.
Nadikas 2 only.
of
drama
is available.
very late work. Seo Keith, Skt. Dr. p. 267. Bhiisa's Paiiea.
Cf.
Mankad, Typos
* It
is
is
not a Samav-
play of this
type will
include all three objects (deception, excitement and love) in their three
varieties.
8
As
time
lest it
below)
this
in
'
tm]tM-2i
Sec
minutes.
below
67 note.
s
muhurta=:\ period
of 48 minutes.
is
1.
p. 249.
67 (C.70;
B.XVHI.65).
'
12
wfirjWfo
(#)=4 hows
minutes.
68 (C.71; B.XVUI.66).
8
Curiously
4 nu(]iias^
hour 36 minutes.
and
48
XX. 73
09.
made
to
have different
one another
The
70.
fire,
And
topics.
to be loosely related to
as being
367
battle
Saniavakiira
bo
are
58
.
Excitement (rvhava)
due to
in the
topics
and
flood
is
known
storm
water),
(lit.
(lit.
wind) and
Three kinds
71.
(kapaU)
Deception
enemy,
Deception
kt;own
is
plan, 1
of
be of three kinds
to
or [the stratagem
accident
It creates joy or
In
this
connexion
(lit
here) three
actions
are
that
kinds of love to bo
in
relation to
duty
by passion (I'Snw) 1.
Love together with duty
73.
When
in [discharging]
this
means
it
observing
like
is
duty
the
accomplished in
one
attains
one's
vows 2 ,
austerities
in
and
to
(ilkarmn-gp'iijani).
69 (C.72b,
73;
B.XVJJI.69).
'
couplet (B.69)
the support of
two mss.
From this
it
only.
70 (C74; B.XVIII.70).
sambhrama,
71 (C.75; B.XVI1I.71).
'
for
gajemlra-
'
72 (C.76; B.XVIII.72).
G. Jalendm-sambhavo
'
C. reads
72b as fafMtffoinmt 1
73 (0.77; B.XVHI.73).
With
8
vrare*>
wraw:.
'
^(tmirafa
wtfa
THE NATYASASTEA
368
Love
Love
74.
various ways
smgard) or
it
women
with
is called
is
Love
in
seduction of a maiden
1
of a
man
some material
gain.
to passion
and
it
and
causes,
of complex construction
In
77.
will
or
the
excited
the Samavakiira
Samavakara the
playwright should
which
includes
also secret
with a woman.
*In the
70.
(tivtha-
gain
Lovo due
intercourse
74-
gain occurs in
material
relation to
75.
XX.
in
may
make
which are
etc.
2
.
this
shall
hereafter
The Ihamrga
78.
who
It
(Ihamrga) has as
its
dramatis
divine
74 (C.78; B.XVIII.74).
5ITC
wffl
v fwa: **w
nw..
wjfcsiTft
Tnift
should be convincing
bo
1
.
Read 74a
as
Read 76a
Road
'
am
Our
(battdhakutila).
nCtanfi.
: ^i^niTOThe reading
metres cannot
struction
as
cha. in
males
should
76 (C.80; B.XVIII.76).
Vtfii
divine
It
75 (C.79; B.XVIII.75).
'mi
pennme
females.
emendation
of
as being
has
of
of
complex con-
the rule prescribes complex metres such as Sragdhara for the Samav.
See Ag.
8
77(C.81;B.XVlII.77).
C. sukhadulikhasammrayah imnunarasa-
'
sammrayah.
78(C.82jB.XVIII.78).
specimen
of
Vatsaraja
is
.this
an
type
artificial
of
'
C.
drama
is
available.
No
old
Rukminiharana by
-XX. 85
It is to
79.
have
its
rise to
abound
369
in
is
give
to
conflict {samyheta),
80.
to
is
among
them
females, carrying
off
81.
Ihamrga
also,
to include
as
82.
on the point of
some
(lit
is
should be
(lit.
its
Vyayoga
its
brought in the
have connexion
female characters.
intent
on
killing
is
killing, [the
artifice.
83.
shall
Dima.
The Dima
81.
plot,
type.
and
its
constructed
It is to contain the
with
a well-known
fix
Acts only 1 .
85-80.
It
should
contain
all
the
(Sec Keith,
Skt Dr.
p.
it
exciting
Sentiments
is
Two
266).
an
79 (C.83; B.XVIII.79).
81 (C.85b-86a; B.XVIII.81)
C.
pyiidagro.
83 (C.87; B.XVII1.83).
84 (C.88; B.XVIII.84).
'
No
available.
47
drama
is
THE NATYASASTRA
370
earthquake
battle
1
,
fall
moon,
of
87-88.
among
may
themselves, and
is
to be
to
is
shall
and dissention
sixteen
characters
made
carefully
Grand and
the
in
teristics.
persons,
to include
be gods,
89.
it is
in deceit
many
which
[XX. 87-
speak now
by
described
me
it
in all its
2
.
charac-
of
the
Vyayoga.
The Vyayoga
90.
The Vyayoga
number
should be
91.
it
is
Many
it
be
will
itj
not to have
by experts with
constructed
and
of female characters
but
basis,
its
the
latter's
it
as in the Samavakiira,
length, for
it is
to
have only
It should
it
Thus
include
its
the
basis.
its
battle,
Vyayoga should
now speak
shall
combat,
be
made
of
the
-'
87-88 (.91-92);
B. XV1II..87-88).
'
Kbalm-pustotthamyoga
for
bahupuruapllKma-bheda.
8
89(C.93;B.XVIII.89).
90 (C.94; B.XV1II.90).
Bhasa'sMadhyama.
is its solitary
cent.),
old speci-
Vatsariija's Kira-
p. 203.
p. 265.
Pnsalker, Bhasa.
187, 190,
209.
Vyiiyogas.
Mankad, Types of
Skt.
Dr. p. 59-61.
91 (C.95; B.XVI1I.91).
XX. 99
371
Tho Ufsrstikanka
Tho Plot
94.
in
it is
who
it
will treat
ances at a time
when
male
1
.
95-96.
Sentiment
are divine
in
the Pathetic
and
battle
violent
may
it
be furnished with
to
is
it
utter-
has ceased
fighting
it
devoid of the Grand, the Energetic and the Graceful Styles and
Plot should relate to one's
fall
(lit.
end of the
rise)
it
must be
its
x
.
[Scenes
97.
and which
[treat]
of]
tho
all
battle,
capture and
be laid in Bhiirata-varsa 1 .
Of
98.
gods why 1
all
the Varsas
(sub-continents)
proscribed
is
here
is
for the
Because
colour.
99-100.
a
are always
[But scenes
sport, pastime
garden),
to
be laid
of
in the other
grief
there.
(lit.
going to
are
Varsas
for
there
is
neither
take
in Bharata-varsa).
94 (C.91: B. XVIII.94).
when he
Bhasa's Uru.
'
is
a solitary example
type of drama.
error
garden party
their]
"this
Keith seems to be in
Anka.
See
95-96 (C.99-100
tajhaili for
B. XV1II.95-96).
C. karirvyo
abhyudayantas
karyah kavyavidkijhaih
97 (C.101; B.XVI1I.97).
XIV.
topics.
98 (C.102; B.XVin.98).
99-100 (C.103-I04;B.XVHI,90-100).
couplets (97-
M2
THE NATtASASTBA
The
101.
characteristics
Prahasana with
XX.
101-
of
by me.
now speak
I shall
of the
its characteristics.
Tho Prahasana
302
to be
of two kinds
characteristics
1
.
The Prahasana
103-104,
it
is
known
comic disputations by
contains
Brahmins, abounds
(iMha) 1 when
as pure
and
remarks by persons of
in jocular
ill
repute,
and
gives uniformly to the Plot a realistic picture of the language and the
conduct of
all
That Prahasana
105.
servants, eunuchs,
parasites
is
called
rogues
(rite)
and movements.
102 (C.106;
century),
svara's
XVIH.102).
Hasyarnava (date
261-262).
the
uncertaiti), etc.
Bhagavad-ajjnkiya
103-104
ed.
of
Mahendra-vikrama-varman
ascribed
to
Baudhayana Kavi,
(C.107-108;
B.XV1II.103-104).
(12th
The Matta-vilasa
Bhagavad-ajjukiya
Lataka-mola
Hankhadkara's
>
Dhlirta-samagami (15th
Jyotirisvara's
'The word
ihagamt
word has
note).
Baiva saint
For some
M. Ghosh,
pp.
late.
LXIII-LX1V.
'
of
variety.
-XX. 112
Some
106-107.
378
of
of pretenders.
may
it
properly require
1
.
The Bhana
The Bhana
two 1 kinds
now speak
I shall
107-108.
Bhana.
is
to
the characteristics
of
to
is
own
of one's
else's acts
the
of
it is
of
experience
2
.
somebody
include]
else's
accompaniment of
110.
parasites (oitu)
to consist of
111.
treat their
in
of the limbs.
and
and
different conditions,
it is
always
are to be acted
cribed
movement
[suitable]
by a rogue (dhurta) or a
parasite.
by me according
the
to
tradition
The
112-113.
And
it is
The Vithi
is
Vithi
to be
acted
106-107
^lamfsfafc;
(CUlO-llla;
affair ftfim
B.XVI1L106-I07a).
2
lfinm.
middling or the
the
'
C.
reads
as
107a
>
Emend
vividlia
into
vita-samvada
placed by
F.
W. Thomas
(F..W. Thomas, J
this type
pp. 262ff.
see Koith,
SkU Dr.
Dhiirta-
Caturbhani
Bhanas
title
pp. 263-264.
110(C.114;B.XV1II.110).
S.
R A S.
1922,
1924 pp._129-136;
pp. 241ff.
For
later
its f. n. 2).
'
THE NATYASASTEA
874
may
inferior type,
and
may
include
it
contain
XX. 114
I shall
it
The
114-115.
thirteen types
{xuhjhahjahi),
Interpretation
Accidental
Ominous
Transference (avalayita),
Enigma
{pntjiunra),
pliment
Outvying
(lulhicda),
{nail
Deception
Declaration {nyahara),
{chain),
Com-
(rakkeli),
Repartee
ual'd'a)
{trijala},
Words {yanfa)
nation of
[Any
11G.
the Vithi.
of these
thirteen types
now speak
I shall
is
always to be attached to
of their characteristics
due order.
in
Accidental Interpretation
117.
it
them men
order to'explain
If, in
other
connect words of
Transference
When
118.
will
be
made
to accomplish
something
Ominous
1 19.
significance
(lit.
rise) to
the words
(lit.
else, it
auspicious or
(lit.
meaning) mentioned,
117(C121,
DR.
BXVlII115b-ll6a).
Dialogue'
(III. 13-14)
(DK.
p.8l).
seems to define
,119(0.123;
For an
ex.
(Haas,
'
DR.
Ahga
in this con-
But
p. 84).
'types'
'Haas
translates the
For an example
see
word
SD. 228;
cf.
as
Ag.
it differently.
inauspici-
instance of]
[an
1
Significance {aeaspandita) .
Ominous
'Abrupt
is
'
Haas
B.XVIII.817b-118a).
translates
it
as 'Conti-
'The
spelling
avasyandita
Ag.).
Haas
-XX. 125]
375
Incoherent Chatter
When
120.
an irrelevant question
When
121.
Chatter
sentence)
followed
is
person a
to a foolish
man
learned
Incoherent
(lit.
it is
to, it is
speaks the
1
.
Compliment
When
122.
of
tual praise
them]
it
in the
interest of
Compliment {yrapahca) 1
one [of
An
123.
enigmatical remark
(naltia1).
an Enigma
followed
by
ral;keli=*
laughter)
is
called
reply.
(lit.
Reparteo
2
Outvying
When somebody
124.
self,
else's
mutual modification,
it
is
1
[an instance of] Outvying (adhimh)' .
Deception
When
125.
site is
done
(lit.
word
see
120 (C.124).
(nnder
it is
as
For an example
'Re-interpretation'
SD.
(528).
DR.
'
We
probably under
87)
122 (C.126;
84,
(pp.
(III. 19a)
Ag.
DR
being con-
DR.
'
III.
and da
<Ja
in B.
differs
something oppo-
replies,
sidered meaningless,
translates the
one by
after alluring
B.XVHI.123b-121a).
'
See
Haas,
p.
85;
SD.
SD.
529.
5ii.
HI. 15b.
123 (C.127; B.XVIII.ll8a, 120a).
8
'
two def of
.
'
See
See Haas,
DR.
17a
p. 86;
Haas,
SD.
p.
96
526.
;
SD. gives
THE NATYASASTRA
376
[XX,
126-
Declaration
126.
If
presence of the
anything
Hero and
made
similarly
is
it is
in the
to
Crushing
That due to an
127.
is
altercation
merits as
and
it]
vena,
rice
Crushing (mrdava) 1 .
called
When
128.
exalted
Three Men's
as
(tritjata) x .
Talk
Undue Combination
Undue
129.
combination
words 1
people's abusive
130-131
If in
Words
for
characters
the
all
DR.
reading
is
Haas
translates
'
DE.
III.
SD.
2la;
532.
Haas
>
DR
III.
the reading of
Our
B.
'Triple Explanation'.
Sec p. 84.
C. larambha for
translates the
527
seem to
130-131 (C.134-135).
XIX).
see p. 88.
p. 88.
Vithi.
III.
Sentiments
called the
it is
define
according to
(,'/i'n#)
1
a play any of these thirteen types with clear
may
of
words
of
the wise,
many
It
known
be
should
it
def.
it
differently.
Haas
p. 87.
were introduced
later in the
samrambha
NS.
them
(his
For the
altogether.
Seo Kavi's
Intr. to
XX. 136
377
The Lasya
132.
other
[Similar]
connexion with the performance of the Lasya, and they owe their
origin to this
and are
Nataka),
(i. e.
to
be acted
like the
Bhana by
a single person.
133.
it is
to
theme
any
is
to
Bhana and
be inferred
like
intimacy [with
[loving]
one],
Tho twelve
The
131-135.
Lasya
typc3 of the
Lasya are:
Geyapada
dhavn,
Geyapada
When
130.
[before
called the
[the Heroine]
is
her]
accompaniment of
without any
Geyapada (simple
these,
it is
"
song).
lasyahga
is
requires lasya or a gentle form of dance for its representation; for this term
may be
its
interpreted as
principal element).
of tho Lasya.
The
Tlie-ie
ten
are
salt (that
not
its
also
may be
consider.
2
to be nothing
similarly interpreted.
their
K. XVII.
means merely
131-135
ten
(p.
182).
'a
'
lasya used in
liisyaiiga.
K. XVIII. 17)171).
(C.138-139;
and BhP.
number
Vilhi seems
DR.
only
136 (0.141
K. XVIII.
172).
'
The
seating posture
included in this and some of the other varieties of thi lasya need nq|
appear to be
puzzling.
not imply tho movement of the entire body. See Gilbert Murray, Euripides
p. 150.
THE NATYASASTRA
378
137.
woman
If
1
a standing
in
aings
XX.
137-
posture a song
called the
it is
Geyapada.
Sthitaplithj-a
138.
woman
a separated
If
fire
1
anything in Prakrit while seated on her seat
recites
of love,
[an
it is
139.
When
one
sits
toilet
and
is
overcome with anxiety and sorrow, and looks with oblique glances
it is
Puspagandika
When
140.
recites
some-
for
it
1
[an instance of] the Puspagandika.
Pracchcdaka
141.
When
prepares to go to
is
woman
a [separated]
1
[an instance of] the Praccbedaka
if
it
Trimiidhaka
142.
play
adorned
called the
is
with
of
Trimudhaka.
Saindhavaka
When
143.
and
his tryst
is
performed Karanas,
137
(CHI).
138 (C.U2
of 136. Of.
'
it is
K. XVIII.
139 (C.143
173.
BhP.
K. XVIII.
bis grief]
keep
failed to
through well-
K. XVIIL 173
who has
245,
p.
'
174).
1.
'
f.n.).
1.
Sc 81). 506
17-18.
SD. 507
see
Tlio
1.
BhP.
140(0.144).
175,
BhP.
p.
p. 245, 1.19-20.
iCf.SD.
507
Road aprasadhita
see above
gatra.
245,1.21-22.
141 (C.145
def.
143 (C.147).
K. XVIII.
1
177).
Cf.SD.508.
>
See BhP.
246
1.
p. 246,
Cf.K. XVIII.
is different.
1-2.
1.
178,
3-4.
BhP.
p. 246.
1 5-6.
-XX. 160
379
Dvimiidhaka
Delineating h song of the Caturasra type
144.
(lit,
which has
efforts, is called
and
States
lias) clear
the Dvimiidhaka.
Uttamottamaka
The Uttamottamaka
145.
of Slokas
it
composed
is
includes
kinds
various
in
is
146.
If
lover]
of
fire
soothes
is
it
love
the "Vicitrapada.
Ukta-pratyukta
The Ukta-prntyukta
147.
due to anger
counter-speeches
is
or
It is to
and
pleasure,
it
[sometimes]
lire
of love after
be set to music.
Bhavita
1
woman who
If a
I'H.
is
seeing her
it
is
1 19.
characteristics of the
Tf
50.
The
Cf.
has
tell
you
in
been due to
I shall
their
their characteristics.
XX of Bharata's Natyasatra,
treats of the
144(0.148).
it
to
rules
K. XVIH.
[different] types of
had
characteristics,
their bodies
is
Ten Kinds
which
of Play.
Cf.
'
148 (C.152
1.
13-14
K.
p. 207.
149 (C.153
f.
K.
a. 12.).
183).
'
SD. omits
this.
150 (C.154
See Bhl'.
K.
184).
p. 246.
CHAFfER TWENTYONE
THE LIMBS OF THE JUNCTURES
The
The Plot
1.
(lit.
poem).
It is
five
known
The
Plot
is
of the
drama
body
of two kinds
of Plot
Subsidiary {pravaiujilca).
Their definition
The [assemblage
3.
to
(lit,
by reason
of) the
of] acts
is
to
Plot.
The attainment
4-5.
the ingenuity
associated characters
to rules),
resorting
(lit.
and
Heroes) acting
(lit.
And any
its
which
lnolms of the
a regular manner
in
Plot on account
incident
in
The
Action
the Subsi-
called
it, is
(lit,
of an
anything) men-
(lit.
for helping
exaltation
plans by
poet)
of the result
of the playwright
diary Plot.
6.
The
exertion
of the
Hero
known
to
(lit.
one
have
who
five
strives)
towards
stages occurring in
due order.
1 (C.l
K. XIX.
'See DR.
I.
1).
22-23,
2 (C.2
3 (C.3
*
%. XIX.
2).
K. XIX.
3).
4-5 (C.4-5
'
6 (C.7).
NL.
K.
55-56.
1
-
NL.
1. 11,
SD. 294-295.
See
216-217.
DR.
1. 11,
1.
XIX 4-5).
DE.
NL.
228-229.
I-
this.
Cf.
-XXI. 14
7.
These
381
relates to
They
ment
are
Beginning
Possibility of
and
phala-prapli)
(niynta
Attainment
of
the
Result
(phala-prapti).
Beginning
9.
That part
records eagerness
play
(lit
final
Germ
reference to the
of the
about the
{blja), is called
with
Effort
10.
[Heroc's]
is
striving
it], is
Possibility of Attainment
1 1
by an
When
idea,
it
known
be
to
is
as
is
slightly suggested
(ludpU-aambku ra).
Certainty of Attainment
12.
When
result, it is called
one visualises
in
13.
When
it is
called Attainment
five
8 (C.10
K.
'
7 (0.8)
9 (C.ll
omits
K. XIX.
9).
10).
K. XIX.
(C.H K. XIX.
14 (C.15 K. XIX.
;
11).
12).
13).
11 (C.13
12 (C.14
13
results.
* Cf.
K. XIX.
10 (C.12
stages of every
this.
K. XIX.7).
K. XIX. 8).
successive
Cf.
action
THE NATYASASTBA
382
Putting
15.
together
all
naturally
these
XXI.
15-
stages
different
which come together [in a play] for the production of the result
conduces towards the
fruition.
The
16.
Principal
for it is to attain
fruition.
17.
some
or lack
Junctures
of
The
of thorn.
should occur in
them may be
out
left
[general]
rule
requires
that
all
the
it,
absent).
(lit
goes
one Juncture
If
18.
in case of
fourth are to be
to be
is
and
left out,
in case
of
the
omitted,
three to be
the second, the third and the fourth should be given up.
19.
for
it is
will
Any
another [Plot].
not apply
eveirt
can be
The
The
20.
(ammhha) 1
etc..
five
have
the
of
stages
five
plot
corresponding Elements
live
of the Plot
(artha-pralyti)*
21.
Episode
The Germ
(k&ry)
Denouement
pralcrti),
15 (C. 16
NL.
Episodical
are
the
five
16).
Emend yat-karyam
K. XIX. 17).
18 (C.19
442ff.
19 (C.20
K. XIX.
18).
K. XIX.
19)
'See DR.
1.
2i (C.22
K. XIX.
applied in proper
(artlia-
manner.
K. XIX. 14)
K.XIX.15).
(C18 K. XIX.
20 (C.21
and the
(prakarl)
Incident
16(C.17
17
the
(liija),
the
(i>ataka),
18
>
Sec
DR.
1.
19
'
2.
57-58.
XXI. 27
383
The Germ
22.
in various
expands
in a small measure,
called
fruition, is
in
itself
Germ
the
(blja)
of the Plot.
23.
till
when the
called the
is
non-separation)
(lit.
The Episode
24.
The event
which
introduced
is
treated like
is
The Episodical
2").
When
is
it,
in the interest
Incident
Secondary Juncture
2
incident (iiiahn't)
(/. >.
the
the
of
an Episode {[Mtaka).
called
Plot) and
Principal
(iinnlhiii'lhiiy
presented
it
has no
Episodical
the
called
is
it
is
The Denouement
26.
The
made
efforts
for the
Among
support
(lit.
be
purpose of the
called the
[Elements] that
these
purpose)
should
subordinate,
is
and
to
which
which the
made prominent
Principal
Denouement
(lit.
has others
'for
taken
as
are
rest
Plot
(kanja).
chief)
remaining ones.
22 (C.23
23 (C.24
K. XIX. 21).
N.XIX. 22). x
'
DR.
DR. I.
Cf.
cf.
I.
17
17;
rwt
nan qf*.*^ a
1'
sfastSnts'Siii
T**$:
Strait
m\
namg^flin
t<gf
^ *#t4%
n ^inw
also a second
wifii'
24(0.25
g,
tts^iw?^ t*atr:
*wk
wi.tawmrafctft* taarfyu^ffti
TO
(195ff.)
continuity-
'
THE NATYASASTEA
384
[XXI.
28-
One
28.
oE the
called
29.
Develoment
(ijavbha) or at the
treatment
its
is
to
Why
Pause (vimaria).
for the
Because
e.
the Prin-
cipal Plot).
The Episode
When some
30.
Indication
(lit.
(lit.
already
characteris-
it
is
called
The
31.
pntti) due to an
of a novel
suggestion,
indirect
is
meaning
(<irthtimni-
First
Episode
double meaning
and ex-
called the
Indication
Words completely
carrying
Episode Indi-
cation.
a subtle
in
Indication
manner and
the
in
form of a dialogue,
is
[of
a play]
called the
28 (C.29
DR.
ly XIX.
29 (C.30
30 (C.31
ignores
K. XIX.
28).
K. XIX-
its varieties.
NL. 1000-1001.
last
'
27).
as
anusandhi
cf.
III. 26-27.
Emend tasmul
into
kasnM.
29).
defines them.
See
Juncture (nirvahaqa).
31 (C.32
3
SecSD.
32 (C.33
31).
Emend vacasuliZaya"
into
guna-wtlyupa"
33 (C34
K. XIX,
32).
x See SD.
302; NL. 1021-1022.
XXI. 41
Words
34.
first
The
35.
thft five
meant
poetical composition
to
dhannhi) 1
The
30.
the
Indication
poetic language
what appears at
385
Progression
Junctures
five
in
(pratimnkha),
Development (jarbhi),
the
the
The
Principal
[Plot]
The
Junctures (nandhi).
known
is
to be consisting of the
Junctures are to be
remaining
1
supported by the Junctures of the Principal [Plot]
The Opening
38.
(I'i jo)
is
That part
as the
of
source of
a play,
many
The
it
objects
39.
in
lit.
Germ
place,
face)
Progression
Germ
Uncovering of the
placed at the
Opening
lost, is
after
called
The Development
40.
The
sprouting
of
it, is
Germ,
the
called the
its
attainment or non-
Development
(i/arbha) 1 .
The Pause
41.
(Inja) that
34 (C.35; K.XIX.33).
in
lit.
Germ
NL.
1033.
35 (C.36; K.XIX.84).
x See
36 (C.37; K.XIX.35),
38 (C.39; K.XIX.37).
39
(('.40;
K.X1X.38).
40 (C.41; K.XIX.39).
41 (C.42; K.XIX.40).
49
DR.
I.
23-24;
37 (C.38; K.XIX.36).
See
'
Cf.
l
THE NATYASASTBA
386
of
name
(i.e,
Pause)
XXI. 42
Juncture of that
1
.
The Conclusion
Bringing together the objects [of the Junctures] such as
42.
have attained
Germ
43.
producers of a drama.
when they
[b\ja),
known by
to be
the Prakarana
in
the
and
Dima 1
The
44.
have four
to
make
Junctures,
the
Pause
(vimaria) in them.
45.
Junctures.
There
{avamaria
= vimaria)
also has
no place
The
46.
Bhana
are
to
no
be
should
the
in these two,
Development
and
Pause
(kaffilfi)
Style
in them.
Prahasnna 1
Vithi 2 ,
the
the
Anka s and
the
their Style
'
DR.
I.
53
calls this
42 (C.43; K-XIX.41).
770ff, gives
as
two more
ffftsre^
*ifq
42).
'
Sec ibid
NL.
kinds
Cf.
SI). 336;
different
limits.
avamaria.
43 (C.44;
it
now about
94ff.
'47(C.48;K.XIX.46).
45).
*
>
See NS.
See
N& XX.
See NS.
Sec ibid
XX.
XX.
107ff.
90ff.
84if.
102IK
Sec ibid
See
See ibid
78iT.
ibid. 64ff.
112ir.
-XXI. 65]
387
Subjunctive
The twentyone
48-50.
ciliation
Dissention
(soma),
Making
(hheda),
Gifts
Con-
(pradana),
panmmatitoa), Blunder
in
Anger
(avadharawi) 2
Ascertainment
Dream
Messenger
Letter
{duta),
(lelcha),
The
51
(pradesv)
their
The
essential
own
qualities.
Limbs
of the Junctures
52-53.
any
will in
by means of
the
events of
the Plot,
item in
non-omission of
object,
Limbs described
3
in the Sastra .
battle,
Just as a
man
Junctures
of the
without
all his
Limbs
will
production 1 .
55.
its
theme
A
(lit.
play
(lit,
a poem) though
meaning)
will,
it
may
be poor as regards
requisite
Limbs,
48-50 (C.49-51:
KXIX.Mb,
103b).
mm
from the
Bead bhavah
Secondary
give this
(sandhi-
Junctures
in 28 before.
for vadhah.
51 (C.52; K.XIX.47).
'
Pradeia
seems
to
signify
Sub-juncture
NL. 923.
Read vacanam for racana.
52-53 (C.53-54; K.XIX.48-49).
3
Emend akaryavad abhikhyatam into mcaryavad abhikhyamm.
See
'
Cf.DR.I.55;SD.407ff.
Cf.
SD.
407ff.
THE NATYASASTBA
838
And
56.
Limbs,
its
XXI.
66-
because of
[critics]
57.
Hence
in
playwright should
give
them
sixtyfour
The Limbs
58-59.
a drama] the
Now
properly.
listen
[in detail].
The
tion (apulcsepa),
Limbs
their
of
Limbs
of the Junctures
the
Sugges-
(ytikti),
mm),
(hheda).
Now
mism
{luuana), and
Incitement
The Limbs
60-61.
Amorousness
listen
of
1
.
Moving
62-64.
The Limbs
of the
Development
(ijnrlha)
arc
Mis-
(mam),
graha), Deduction
(alcsipta),
(knimn), Propitiation
Supplication
(nam-
(prdrtham), Revelation
and Consternation
64-66.
The Limbs
of
the
Rebuke
(iilcti),
Assertion (uyaoasaya),
(dyuti),
Lassitude
(Uiedix),
Reverence
(pramnga),
Opposition
(n'uedhaua),
57 (C.58;K.XIX.52b, 53a).
T
Sec DR. I. 25-26; SD. 338;
NL.
552ff.
NL.
DR.
I.
31-32 reads
>
DR.
I.
for
samana
645ff.
XX.
71
Altercation (virodhana),
(prarocana)'1
The Limbs
66-69.
dhi),
Awakening
389
(cha-
Junction
(san~
Ascertainment
Joy
fication {pras&da),
(aiianda),
now
I shall
C'J.
[in a play]
1
.
Opening
of the
1
.
Suggestion
Suggestion (upalwpa)
is
Enlargement
Enlargement (ijarikdra)
70.
originated
is
1
.
Establishment
Describing
it (i. e.
2
ment (panni/asa)
is
called Establish-
Allurement
71.
The mentioning
ment (vilobhana) 1
1
good qualities
is
known
as
Allure-
Emend vidrava
DR.
into abhidrava.
nixedhana and
kheda,
of
1.
sadana and
vicalana; SD. 378IF. follows NS. except that abhidrava. appears there as
DR.
I.
'
Or.
DR.
I.
40;
(i.e.
is
850ff.
first
69 (C.71;K.XIX.64b-95a).
which in trans,
Emend
as follows
krti,
NL.
798ff.
dyuti. See
pfirvavakya as piirvabkava,
755.
'
of the
another couplet
Germ,
all
these
meanings.
"
TO (C.73; K.XiX.65b-66a).
"
Soe
NL.
575;
SD.
341;
DR.
DR.
71 (C73; K.XIX.69b-67a).
I.
27.
'
DR.
I.
27.
I. 27.
'
See
DR.
I.
27;
586.
THE NATYASASTRA
390
XXI.
72-
of
the
Decision
is
Accession
Accession (prapti)
72.
Opening (mukha) 1
summing up
is
the purpose
Settling;
(sam&'lhana)
Settling
Germ
is
summing up
purpose of the
the
(blja)*.
Feelings
Conflict of
73.
onftict of
a situation,
in
called
is
Feelings (v'ulltana)
Surprise
Surprise (paribhauana)
curiosity
an
is
giving
excitement
rise
to
2
.
Disclosure
7-1.
The
called Disclosure
purpose
sprouting of the
(lulbheda) 1
Germ
of the
(blja), is
Activity
in question
is
Incitement
75.
That which
1
Incitement (bheda)
meant
is
for disrupting
an union
called
is
now speak
to
DR.
1.
of the Progression
Haas
28;
72 (C.74; K.X[X.67b-68a).
Sec
NL.
598-599.
DR.
I.
'
See
NL.
617; Cf.
Sec
DR.
I.
605
f.
See
DR.
SD.
347.
Cf.
I.
DR,
28;
1.
mukkartha'.
to
28;
to
SD.
BR
See
bo a wrong
345.
75 (C.77; K.XDX.70W.
NL.
29;
74 (C.76; K.XIX.69b-70).
1
Emend sukkartka"
28;
73 (C.75; K.XIX.68b-69a).
2
translates it differently,
DR.
I.
1. 29.
NL,
DR.
I. 29.
29.
-XXI. 80]
391
Amorousness
Amorousness
76.
love {rati)
(vilasa) is the
desire for
the
pleasure
of
1
.
Pursuit
2
Pursuit (parisarpa)
and then
the pursuing of
is
lost.
Refusal
1
Refusal (vidhuta)
77.
not complying
is
with
the request
one].
Pessimism
Thinking about
Pessimism (tapctna)
(lit.
some danger
seeing)
[in future] is
called
2
.
Joke
The
78.
(narma) 1
laughter which
is
meant
sports
for
called
is
Joke
Plash of Joke
The
which
laughter
is
meant
called
for
is
Moving Forward
Speaking words which bring in other words
79.
is
called
Moving Forward
(jirotjamana) 1
after
them
Hindrance
Hindrance (nirodha) 2
called
is
Pacification
Conciliating
80.
{parijnpasana) 1
77 (C.79;
is
called
Pacification
76(C.78;K.XIX.7L).
2
an angry person
DR.
I.
K.XIX.7 I).
32-33. Cf.
'
NL.
650ff. Of.
DR.
I. 32.
657.
I. 33;
for vidhuta.
2
defines
See NL.
sama
instead of
thpana
78 (C.80: K.XIX.73).
s
Cf.
DR.
I.
33;
'
defines
it
as
DR.
upayadarsana.
(1.33).
Cf.
DR.
I.
33;
DR.
356;
NL.
1310CT.
672.
gamanam.
Cf.
'
THE NATYASASTBA
892
[XXI.' 81-
Sweet Words
Words
(puspa,
peculiarity
called
is
Sweet
flower)
lit.
Thunderbolt
Harsh words
81.
(vajra) 1
on
uttered
one's face
is'
called Thunderbolt
Reference
Reference (npanyasa)
is
Meeting of Castes
Coming
82.
castes
Meeting
called
is
of Castes (varna-samhara) 1 .
of the Development
Now
listen
83.
[A speech] founded on
(hipalaxrayn) 1
deceit
is
Mis-statement
called
Indication
real
intention
(lit.
reality)
is
called
Indication (maiyo) 2 .
Supposition
84.
is
hypotliesis with
Exaggeration
speech
(wlaharana) 2
2
with an
overstatement
Cf DR.
.
1.
34;
81 (C.83; K.XIX.76).
SccNL.
refers to the
is
called
Exaggeration
into
praiyakm-
35 8D. 362.
I.
DR.
700; cf.
view of the
691.
Emend pratyaksa-nifiam
'
N$
35;
I.
SD.
363ff. defines
it
differently
and
as kecit tu etc.
l
82 (C.84; KN.XIX.77).
NL.
704ff. dofiucs it as
varnitasyarthasya
tiraskaro (concealing the matter expressed), and refers to the view of the
N8. as
364;
83 (C.85; K.XIX.78).
!
Cf. DR. I.
Cf.SD.366;NL730;DR.1.38.
84 (C.86; K.XIX.79).
3
Cf.
NL.
738;
DR.
I. 39;
Cf.
DR.
SD. 36K
I.
38;
39;
SD.
367;
NL.
735.
Sec SD.
-XXI. 89
393
Progress
Foreseeing of what
85.
1
Progress (krama)
coming afterwards,
is
called
is
Propitiation
Use
of sweet
words and
gift, is
Deduction
80.
it
in form,
is
name
1
Deduction (anumd/na)
called
of a thing similar to
Supplication
Request
the like,
enjoyment
for love's
(rati),
rejoicing,
and
festivity
is
Revelation
The
87.
called Revelation
(ijni-hha), is
the
unfolding [of
Germ]
(aMpta) 1
the
in
Development
Quarrel
An
angry speech
is
2
called Quarrel (toiah) .
Outwitting
deceitful
king, an
Cheating of
88.
(inlhibal<i)
person
is
called
Outwitting
x
.
Dismay
Dismay (udvega)
enemy
or a robber
is
called
2
.
Panicky Commotion
by
Flurry caused
89.
fear
listen
NL. 740;DR.
'86 (C.88;
2
Cf.
Development (garbha).
of the Pause
'
85 (C.87; K.XIX.80).
;69;
I. 39.
K.XIX.81).
'
NL. 749.
DR. I. 42
Cf.
Cf.
SD.
jr.
has
aksepa;
'
SD|$73
Jf
iipti=aksipli;
50
= rimark).
Cf.
I. 40.
87(C.89;K.X1X.82).
fire is called
in the
Limbs
Now
40;
NL. 7Jf
377. JT766.
has
THE NATYASABTBA
394
XXI.
90-
Censure
90.
is
Angry Words
Words spoken
Insolence
Trangression
91.
{abhi-drava) 1
the
of
superiors
Insolence
called
is
Placation
(i) a
is
called Placation
Assertion
92.
1
Assertion {vyavasaya)
called
is
Reverence
is
called
Reverence {prasahga) 2 .
Rebuke
Words spoken
93.
in
Lassitude
is
Opposition
94.
object
is
Opposition
called
(nisedha) 1 .
Altercation
Speaking and
counter-speaking
in
excitement
called
is
Altercation (virodham)".
90 (C.92; K.XIX.84b-85a).
*
See
NL.
8\)7,
DR.
Cf.
45;
I.
91 (C.93; KXIX.86b-86a).
gNL.813.
1^
'
I.
'
See
NL.
801; Cf.
DR.
I.
45;
SD.
378.
SD. 379.
Emend vidrava
into abhidrava.
Sec
Emend virodhopagamo
into
virodhopaiamo
cf.
NL,
819;
DR.
13.
3-94;
K.XIX.87a-86b).
SD. 384.
>.).
Emend pratimjdosa
into
pratijiMetu
1. 47.
'
CfTIH
385.
385.
this.
-XXI. 99
8#
Summing up
Bringing together
95.
Germ
(blja)
attaining)
(lit.
called
is
aspects]
[all
Summing up (adana) 1
the
of
Humiliation
some
words for
Putting in insulting
purpose is
called
Humiliation (sadana) 2 .
Foresight
That which
96.
advance]
is called
1
Foresight (prarocaiia)
listen
[in
in
The Limbs
Now
(samhara)
the Conclusion
represents
in Conclusion
(nmhara -
Conclusion
the
those in
nirvahana).
Junction
The coming up
07.
is
of the
1
called Junction {miulhi}
Awakening
Awakening (vibodha)
Denouement
the
{karya)
called
is
3
.
Assembling
98.
is
Assembling (gralliana)
called
Denouement
1
.
Ascertainment
known
is
Ascertainment
called
Accusation
99.
That which
said
is
to
called
is
Accusation (parilhasajiaY
K.XIX. 99).
Emend chadana into
1 See
95 (C.97;
a
lias
DR.
I.
a
K.XIX.
51jSD.
Cf.
DR.
91b-92a).
I. 51;
Cf. S. 895;
SD.
DR.
Emend
'
48;
SD. 389.
DR.
I.
46 has wrongl>
chadana wrongly,
See SD. 388;
'
I.
NL.
850.
DR. I
47.
cf.
393.
DR.
I.
51
NL.
99 (C.101; K.XIX.93b-94a).
defines the
844,
392.
98 (C100; E.XXI.92b-93a).
3
NL.
sadana.
Limb
differently.
'
Cf.
DR.
I.
51,
870.
'
Cf.
NL.
873;
SD.
-396,
DR.
I.
52
THE NATYASASTBA
396
[XXI.
100-
Confirmation
Turning to use
(lit.
gained
is
called
Gratification
100.
Gratification [prasada)
is
like,
called
1
.
Joy
Attaining objects [of one's desire]
Joy (ananda) 2
called
is
Dclivercnce
101.
Passing away of
misery,
all
Deliverance
called
is
(isamayaj
Surprise
Appearence of
(npaguhana) 3
something
wonderful
Surprise
is
called
gift
and the
Clever Speech
102.
Words mentioning
conciliation,
arc
like
Speech (bhasana) 1 .
called Clever
Retrospect
Retrospect dmrva-rakya) 2
to something
is
to be understood
as a reference
spoken before.
Termination
10:5.
Termination
called
is
(batya-samhara) 1 .
Benediction
[A prayer seeking
is called
101.
With a view
to
introducing
Cf.
DR
1
Cf.
NL.
DR
101 (Cl03;K.XIX.95b-96a).
Cf.
NL.
889;
I.
* Cf.
NL.
I.
Cf.
Sentiments
SD,
53;
NL.
and
(n*.i)
307.
SD.
879;
398;
DR;
I.
NL
883.
53.
NL.
52.
52.
* Cf.
DR.
SD. 400;
I. 52;
I. 53.
'
Cf. SD.
'
402;
DR.
I.
891.
Benediction (praiasti)'.
Read nrpa-deia.
1.04 (C.106;
Cf.
K.XIX.88b-99a).
>
Cf.
cf.
I.
NL.
54.
906.
893,
DR.
I. 54.
-XXI. 109
States
{bhava)
Limbs
should insert
work T
may sometimes
the
insert all
condition
its
Limbs or a combination
1
or three [of them] into the Junctures
these
all
105.
he
397
two
of
IOC.
Intimating
the
Transi-
(pravesaka), the
tional
1
.
107.
the
by a
Of
two kinds
of
is
made up
is
(lit.
Kaucukin (armour-bearer).
108.
mixed.
priest, minister or
Juncture
it is
of
pure and
the middling
characters
When some
109.
'
DB.
Cf.
SD.
I 58;
the
all
1.
NL.
308.
called
it is
translates
mid-
superior,
Haas
393.
But the
p. 33.
vide infra.
107 (C.109;
K XIX.105).
vkkamllmkas lu samskrta
the view of
'
Cf.
Carayana as follows:
iRflifti^
relates to the
the case
later
at a
stage
ftwff
It
I.
iffl.
Emend
59
NL. 362
quotes
{Viskambhaka
First
it
For a
definition of the
XXXIV.
'
Cf.
NL. 414
f.,
438f.;
DR.
1.
61;
SD. 310.
[XXI. 110
THE NATXASASTBA
398
110.
is
summary
to treat the
occupy
to
of the
111.
superior
con-
as not
(he
relation to
in
in
and
it,
language
its
1
.
As
112.
in practice
it
falls
purpose of the
Germ
called the
(h'tjn), it is
When
113.
the
rised
1
Anticipatory Scene [ahhmiukha)
114-117.
'
'
is
summa-
called
the
An ideal Nataka
The playwright should
it is
Cf.
DR.
See NS.
I.
a Nataka
write
60-61;
XX.
32-
But
having
SD
309;
NL.
Cf.
DR.
I.
307ff.
60-61.
SD.
(not occuring in
this
to furnish an indication
The def
is
'
Cf.
DR.
I.
An example
of this seems to bo
the dialogue of the Ccti and Vasavadattii at the end of the Act II. of
Svapna.
This relates
to
the making
by Vasavadattii.
of a garland
sW H^
which
treats
royal harem.
118(C.116;K.X1X111).
to plays other than of tho
'
to
relate mostly
Examples
types.
this arc perhaps the speeches of the Bhata in the beginning of the
rules
pmveiakax
62;
SD.
'
prescribe
for
The
reason
viskantbhaka
assumption
for
the abovo
for
Natakas only
(seo
110).
of
Karna,
is
that
107), and
Cf.
DR. I
.XXI. 122]
[different] Styles
(pataJca)
2
,
399
five stages
Junctures (sandlii) 6
Junctures
Alternative
lakmwis*, Gunas
many Sentiments
(excellence)
11
,
and
thirtysix
(alamkara) 10 ,
figures of speech
many
topics of
twentyone
(aitga) 1 ,
Limbs
sixtyfour
be popular, wellknit in
composed with
stage],
118.
The
its
it
should
soft
happiness
and misery and connected with the activity of various people should
find
1
a place in the Nataka
119.
There
no wise maxim, no
is
And
human
the
depicted through
means
the
nature with
of
121.
122.
it is
and sorrows
joys
is
Gestures,
drama (naiya) 1
also called a
and
sages,
As
[this] is represented
(nhhinvjate)
and interpreted
called the
its
craft,
{gamyate}
make
drama (natya) 1
representation such as
human
no art or
learning,
in the
Nataka
movements
of their
different limbs,
1
.
boon defined
anywhere.
It
is
possible that
Palaku
"Bhinm"
as
for
30ff.
Arthapratikriya
See before
48ff.
only
is
*
before 20ff.
'
synonym
See before
See before
'
6ff.
58ff.
of
5
8
arthaprakaft.
See before
>
Sec
35ff.
Iff.
So NS. VI.
122 (C.125;
K.XIX120).
character of drama.
f-
N&
1120
the
artistic
THE NATYASASTRA
400
The Nataka
123.
to be so
is
tions [of
men and
The
124.
may
One
human
of]
to include all
human
is
123-
the
nature]
composed as
deeds,
XXI.
in their endless
to construct
forms
Nataka [onlyj
beings
1
.
after
observing
character, strength
126.
and
will
men
will
be diffident in wisdom
will
intellect.
127.
When
intellect, activity,
Hence
123.
of
human
after observing
the
120.
The plays
like ci'l-ii4'da
company
of a
is
(lit.
repulsive
(lit.
harsh],
words
do
130.
its
XXI
of Bharata's Niityasiistra,
K.XIX.
123).
128
(C.131-,
Nli 1.113
into lokakarma.
x This puts emphasis on depicting charac-
K.XIX.126).
13
Cf.
Emend ekakama
drama.
form
'
(C.133; K.XIX.128).
CHAPTER TWENTYTWO
THE STYLES
The
now
I shall
1.
Styles
rise of the
When
2-P>.
and
the
by
(lit.
[in relation to
Aeyuta (Visnn)
lord
universe into a
[into a seed]
explain in detail
(vrtli)
dramas 1
the formation of
reducing
after
the
with the
1
pride of their strength challenged the god at once for battle .
These two,
4-5.
lit.
the creator of
with
of
their
assailed
reviling speech
it
legs
(lit.
one another)
(lit.
with their
[for the
of these
[Visnu],
mind and
words
(lit.
were threatening 1
turbed in
and
fists
him
6-7.
challenge,
The
these
beings)
harsh
with
making gestures
after
said, "Is
it
fighters]
the
bhamli
two who
slightly per-
r?'/j that
start
with
sttige
by
8-10.
Hearing
Madhusudana (Visnu)
1 (C.l;
K.XX.1).
words
these
said, "Yes,
'
of
I have
Pitamaha
made
this
(Ikalmum),
bhamll
rrtli
(C.2-3;
K.XX.2-3).
P. XIII.
'
story of Naruyana's
4-5 (C.4-5;
K.XX.4-5).
'
Ram. VII.
VII.
72.
reducing the
72-
Kurma
(8).
Riira.
charged Narayana
51
The
THE NATYASASTBA
402
for the
speaker, in which
words
and Angaharas*
preponderate.
will
fought
severely
method
At
11.
be the bh&raU
XXI.
11-
vrtti of
the
two
Asuras today".
experts in the
It will
these
of battle.
that
was
The
And
12.
on that (bhara) 2 .
Grand
origin of the
much
built
Stylo
by the rebounding
intensely
The
When
13.
was made 1
The
the god
Whatever
different
made 1
moved
When
16.
entailed
Brahman
the god
acts
Styles
were
(rrtti),
Brahman spoke
their
by him
meaning.
Kaitabha wore
killed
of foes (ariwlama).
(Gil K. XX.11).
>
This
is
a clear instance of
observed as arising
associated
Madlm and
to
various Caris
SceNS.rV.19-27,170ff.
II
8
(Visnri)
sportively
the kaisikl
?)
by Hari
the various
of
of the
made 1
Then from
14.
full of
bow
full
out
of the
steady and
brilliant,
see
NS.
I.
41
49ff.
It possibly
f.n.
12 (C.12; K.XX.12).
13 (G13; K.XX.13).
'
2.
2.
2.
14 (C.14;K.XX.14).
>
15 (G15; XX.K.15).
'
Emend pratyapujayat
16(C. 16;K.XX.16).
-XXI. 25
TEN STYLES
The
17-18.
origin of the
Nyaya
god,
clear,
combat [applicable]
personal
kinds
all
the
Nyaya 1
called the
Then
20.
of missiles in
made with
this fight
throwing
in
Nyaya 1
be termed as
Even
9.
403
be
the high-souled
States and
various
full of
Sentiments, [for
its
The name
21-22.
And
made a
repository of the
whatever was
made and
by the sages
Words and
in fashioning
similar
the
Styles
from the
arising
from the four Vedas 1 , and which also have Words and Gestures as
their chief characteristics.
23.
various
for the
Caris,
the
The Verbal
24.
Grand
(xjjtflvatl)
Style (bkarati
wellborn and
at Druhina's
(arabhat'i)
vrtti)
Style which
is
to
full of
command,
me
poem) 1
(lit
from the
25.
desired,
(i.e.
(Icaisik't)
the Energetic or
19 (C.19;
K.XX.1M8).
K.XX.19).
'
'
74ff.
170ff.
24 (C.24; K.XX.24).
tlio vrtiis.
25 (C.2i ; K.XX.25).
This
'
is
'
THE NAMASASKBA
404
made
in Sanskrit,
is
26.
(actors) as
bltarall (Verbal)
The
20.
[XXI.
It
and the
the Introduction
component
its
parts (ahga)
Prahasana, and
1
.
The Laudation
27.
Preliminaries
in the
is
to
all sins.
The Introduction
That
28-29.
part of a play
interesting
in
The
Introduction (amul-haY .
the
called
is
talk
The
the Introduction
five varieties of
Introduction (ainuhha) 1
1
tation (ndijhati/iihi)
mentioned by me.
Presentation d'u'jo-
Of
elements).
:U.
topic,
shall
;>0.
on some relevent
of the Accidental
Interpre-
now speak
1 shall
ol the rest.
Opening
\)i.
of the Story
[That Introduction]
up a remark
stage] taking
in
Director or
of the
1
the Opening of the Story {hdtlwilijhahi)
NL.
ll)54ff.
DR.
II.
26 (C 26;
K.XX 26).
27 (C.27; K.XX.27).
'
'
on DR. JII. 5
30 (C.30; K.XX.30).
31 (C 31; K.XX.31).
SD.
288.
'
32 (G.32;
See
Nil.
'
XX.
K.XX32).
>
this dcf.
DR.
Cf.
NL.
Cf.
'
NL.
1008-69;
Ill,
Cf. NL.1178-81,
called
by adding
III.
DR.
SD.
285.
SD.
III. 7
286.
SD.
286.
is
(p.81).
Cf.
28-29 (C.28-29;K.XX.28-29).
meaning,
its
;.
14
XXI.
89
TEN STYLES
405
Particular Presentation
When,
33.
over this
[the stage],
Personal Business
[The Introduction]
34.
some business
in
a character enters
(pravrttaka)
meaning to
tion
by
the
stage,
it
called
is
ent bases
(lit.
with
its
Personal
help)
Business
of these types
and
it,
The
36.
this
the
Taking up one
35.
in
The
know
Introduc-
1
.
differ-
Grand Style
(saltcali) with
different aspects
I shall
of.
the
The
Style which
meanings) of
Style
is
by
(lit-
characteristics.
its
The Grand
38.
now
1
,
is
called
Grand (mttrati) 2
showing the
rise of spirit.
33 (0.33; K.XX.B5).
'
See
34 (0.31; K.XX.32).
'
Of.
35 (0.35; K.XX.35).
NL.
NL.
1201-1202;
actress,
i.e.
DB.
III. 11
SD.
DR.
200.
III. 10.
above.
36(C.36;K.XX.36).
8
Sec NS.
XX.
37 (C.37; K.XX.37).
varieties of
Smukha.
38 (C.38;
'
lllff.
x PrarocanS,
Vitlii,
K XX.38).
'
and
five
Prahasana
39 (C.30; K.XX.39).
DR.
II. 53.
THE NATYASASTBA
406
40.
the Marvellous
The four
41.
{irhgara),
and
it
It is
{utlhapaka),
40-
[XXI.
known
varieties of the
Grand
Change of Action
Style
such as challenge
Harsh Discourse
(parivartaJta),
Challenge
42.
am
getting
up
[for
battle,
is
Change
If
43.
up, one
Change
after leaving
takes
to
of Action
the
thing
things due to
other
some need,
it is
rising
called the
of Action {parivartaka) 1 .
Harsh Discourse
44.
insult
Breach of Alliance
The stopping
45.
money or due to an
of Alliance
46.
accident or [one's]
own
fault, is called
hereafter
vilti)
40 (C.40; K.XX.40).
41 (C.41; K.XX.41).
42 (C.42;
KXX.42).
cf.
describe
the characteristics
Cf.
DR. ll.
Cf.
NL.
DR.
'
II. 54;
Cf.
53 SD. 416,
1276, 4278.
SD. 416.
Cf.
'
Read mitrartha-karya.
46 (C.46; K.XX.46).
1274ff.
DR.
NL.
The
45 (C.45; K.XX.45).
1298-1299;
the
44 (C44; K.XX.44):
NL.
of
>
43 (C.43; K.XX.43).
Cf.
Breach
(aamghatay.
I spoke of. I
sake of a friend, 1
II. 55;
SD.
417.
samghata.
-XXI. 52
TEN STYLES
The Graceful
That
47.
Style
on account
interesting
specially
by [dramatis personae]
Style
charming
of
mostly women,
and
enjoyment 1
such as
Pleasantry
The
49.
many
(lit.
arising
from)
Style
said to
is
Pleasure
narma-sphnta)
and
Covert
1
.
in jest, is of three
on
that based
in
remarks
1
laughter and that having Sentiments other than the Heroic
oO.
acts
its
made
which
in
varieties of
The Graceful
Unfoldment of
phnrja)
worn
The four
48-
is
costumes
which
(kauiH)
Graceful
called
is
407
of jealousy
is
known
as
with
concerned
self-reproach and
words of rebuke,
and anger,
pure
deception of others.
Beginning of Pleasantry
51.
known
The Beginning
as the
first
of Pleasantry
narma- sphurja)
is
to
be
dresses
Unfoldment of Pleasantry
52.
The Unfoldment
of
Pleasantry (narma-sphola)
contributed
by small
1
by any State as a whole
47 (C.47; K.XX.47).
Cf.
48 (C.48; K.XX.48).
Cf.
DR.
49
narma
(C.49;
II. 48;
is
the
different
II. 47;
NL.
1304ff.
I308ff.'
K.XX.49).
as follows:
fraction of
to.
50 (C.50; K.XX.50).
51 (C.51; K.XX.51).
Cf.
NL.
52 (C.52; K.XX.52).
Cf.
DR, H.
1342-1343;
51;
DR.
SD. 414
II. 51;
;
SD. 413.
NL. 1836
f.
THE NATYASASTRA
108
XXI. 53
Covert Pleasure
When
53.
the
Hero
it is
51,
appearance and
intelligence, [good]
any necessity
out of
incognito
acts
as
{uarma-garbha) 1
different
Style that I was to speak about. I shall hereafter describe the Ener-
which
is
The Energetic
The
55.
(uivhhalo)
person
such
The
50.
Style
down 1 jumping,
,
It.
as Energetic (ambhati) 2 .
known
which there
in
bold
deception,
a representation of falling
is
The
57.
to be
is
many words 1
speaking
as
Commotion
Style
is
2
.
has
such as Compression
varieties
(wmZ'gi/ifriZ'u),
(nra[iatn), liaising
.
Compression
Compression
5S.
the
sense
true
53 (C53;K.XX.53).
'
C. adds an additional
1:185.
The
words and
the
it
workman-
includes the
Siigaranandin Araihaii
DR.
Cf.
54 (0.55; K.XX.5J,)
of
of
According to
furnished with
(*iiml'xii>t<tka) is
but
11. 52;
wanting
it is
three kinds of
is
an
K.
verbal duel.
'
Cf.
but this
Emend
this to vasiva
ff.
DR.
58 (C.57; K.XX.56).
corrupt
NL. 1318
2.
II.
mean
56-57;
altercation or
SD. 420.
in prasiava" seems to be
wanting in K. Iu trans,
it
will be as
(C.58) of arabhati
follows
That which
relates
DR.
57 (C.59; K.XX.57).
'
Cf.
NL. 1356
f.
58 (C.60; K.XX.58).
'
Cf.
DR.
57-58,
II.
II. 56-57.
SD.
432,
SD. 420.
NL. 1358
f.
XXII.
THE STYLES
Gfl ]
some condensed
409
drawings,
matter.
Commotion
59.
Commotion
(avapata)
and
jubilation,
occurrence of
speaking,
fear
is
60.
is
known
panic,
to
Theme
the
kinds of
Theme
to
relate
many
flurry,
all
(rastutthapnna) 1
the Sentiments
Conflict
01.
many
Conflict (samjilteta)
fights,
striking of
02.
weapons 1
is
combats,
personal
known
include
to
deception,
split
excitement,
and
[mutual]
different Sentiments,
to be
Now
listen
reckoned
by the wise
in
in.
you.
03-64.
The
Style
and
be Graceful
should
Marvellous Sentiments
the Odious and
Energetic
the
Style,
the
in
Furious
while
Sentiments
Verbal Style
the
Heroic, the
should be Grand.
it
Comic Sentiments
Erotic and
the
in
And
in
the Terrible,
one should
is
use the
in the
applicable
Now
Histrionic Represen-
in the
production of plays.
NXII
of Bharata's Natyasastra
59 (C.61; K.XX.59).
'
Cf.
60 (C.62; K.XX.60).
'
Cf.
61 (C.63; K.XX.61).
>
Cf.
62 (C.64; K.XX.62).
63-64 (C.65-66; K.XX.63-64).
52
after this
K.XX.65),
two
'
Cf.
EL
62;
CHAPTER TWENTYTHREE
THE COSTUMES AND MAKE-UP
Necessity of the Costumes and
1.
shall
similarly
speak
depends on this 1
2.
with the
who
wishes
success
the
for
(lit.
swell-being)
1
.
Indicated
much
sentation without
effort
Four kinds
4.
kinds
a dramatic
of
3.
first
Brahmins,
order,
Make-up
due
in
of the
(pvsta) 1
work
like.
decoration
are of
(alamlara),
four
painting
various forms.
They
are
6.
is called
K-XXI.l).
3 (C.4; K.XXI.2).
hhutc&rayw ca (Ag.
K.
'
'
and
three kinds
of
is
made up
rcabs lb differently.
Nanavasthananaihitta
ya iokudya nana-
p. 429).
4 (C.5; K.XXI.4).
K. mukla
'
for fiusta.
5 (C.6;
KXXI.5).
6 (C.7;
K.XXL6).
p. 429).
of
1
the Joined Object (sandh.ima)
2 (C.2; K.XXI.3).
is
1 (C.l;
model-work
the like,
of
'
SandhimahsandKanatayu.
nirwUah
(Ag.
-tfXIII. 12]
7.
That which
of a
produced by wrapping,
called a
is
Hills, carriages,
Wrapped Object
device
is
(vestima)*.
staffs
mechanical
((/antra) is called
8.
made by mean*
is
411
for use
in
banner-
a dramatic
garlands,
Decorations
used on
differently
[human] body.
Garlands
10.
up
Garlands are of
kinds
(aamghaya)
grouped
(vitata),
live
tied-round
(granthima), and
hung-down (pralambita).
Four kinds of ornament
11.
up
that to be tied
that to be put
to
be of
round (aropya) 2
that to be
Piercing ornaments
12.
[Of
the
these,
Tied-up ornaments
And
(srotu-
K.XXI7).
Vyajimahvyhjah
'
sutrasyakarsa\<adirTtPah
Read
'7b ag
vestimah as follows
(C.9;
5* 95jt tfrt
tT?t
g 4fai\
Ag.
(p.
430) explains
M.XXI.8).
'
Emend nagah
into nagah.
9 (CIO; K.XXI.9).
10 (C.ll; K.XXI.10).
2
K. tefiUam
11 (C.12;
*
for
C. eeditam.
'
samghatya.
K.XXI.
11).
Ag. with C.
C. avedya.
K. aropyaka, C. aropaka.
' The reading
12 (CIS; K.XXI.12).
corrupt
of 12b
seems to be slightly
'
THE NATYASA8TBA
4i2
XXIII.
18-
Worn ornaments
The ornaments
13.
(mpura) as
to be
Put-round ornaments
And
those [ornaments]
golden neck-chain
to be put
(hemanutra) and
kinds.
Ornaments according
I shall
14.
to habitation
now speak
of
and
tribal origin
the varieties
of
ornaments of
Ornaments
for males
Head ornaments
The
15.
crest-jewel
Ear ornaments
And
the ear-ring
Mocaka
(kumfala)*,
(ear-pendant)
and
Neck ornaments
The
16.
2
[gold] thread {nutra) are ornaments of the neck.
13 (C.14; K.XX1.13).
14 (C.15; K.XXI.14).
15 (C.16; KXXI.15).
p.
be worn
on the
top
of
the
To
l.c).
Mocakah
oar.
'
kanaka &
Kaiakah
I.C.).
(Ag.
I.e.).
prasiddham (Ag.
3
head-
430).
palyam (Ag.
*
To
'
itiguccha-griva-sutraditay'a
/.).
(va{ika, K.).
Ag.
(l.c.)
He
Ahguli-mudraln
mudra) gave
it>
two members of
rise to
two
different
this
compound
synonyms for
-XXIII. 19
113
Finger ornaments
And
the
the finger-ring
Ornament
of the forearm
17.
(ahgdv/a-
finger.
fore-arm {bahu-ndll).
Wrist ornaments
And
of the wrist.
The Keyura
18.
Angada (arm-band) 2
are
And
the
necklace (trusara) 3
three-stringed
the ornament
is
of the breast.
The suspended
19.
the like, are
pearl
necklace, the
flower-garland
and
{mtra) 2
are
[entire] body.
Waist ornaments
And
the
Tarala
and the
golden
thread
17 (C.18).
This
'
is
seems
to
literature.
*
This word
is
This word seems to be never met with elsewhere. Ag.'s fragmentary gloss on this word or rucaka is as follows
* cairn iti karagolake vitatam tata urdhve culiketi prasiddhau
niskuke agrabahu:
(f)
(p. 430).
18 (C.19, K.XXI.17).
To be worn above the elbow- Keyure
karpara (kurpara)-syordAvatali (AgJ.c), but ke bahmirne yauti iti
keyuram, Ksjrasvamin on Amara II. 6,107.
'
tv
To be worn above
ahgadam
the keyura,
(Ag. l,c).
To be worn below
the taralaka.
navel
ta[ra]lakmn
/.<;.).
THE NATYASASTRA
11*
20.
I shall
case of
the
ornaments
for
in
the
XXItl. 20-
females.
Head ornaments
The SikhapasV,
21-22.
(Khandapatra),
Pindapatra
the Crest
pearl-net (mv.ldarjalay
Sikhajala*, the
the
the
hair-net (ilrMJah)
The Tilaka on
22-23.
many
and group
artistic touches,
produced by
design
of
Ear ornaments
The ornaments
23-25.
of
the ear
are
the
Mocaka'
Karnamudra 7
that
Kundala, the
the Fatrakarnika 6
the
Karnotkilaka (ear-top),
30 (C.21; KXXI.19).
21-22 (C.22-23a; K.XXI.20-21a).
mentioned in Megha,
2
Ag.
(p.
II.
This
'
same
as
cwlapasa
explains this as
nagagran-
is
2.
431) reads
it
as iikftavyala and
piifiji-
palra
The same
This
'
No head ornament
is
as mentioned in 15 above.
I. fi4.
else.
Ag.
(I.e.)
K,XXII.
21a, 22b-24).
mayura-
picchakaro m'cttravar>ia-mai}i-racitah
2
This
is
kanmvalaa< karnavalaya.
6
'
is still
in use
among women
of
backward
classes,
-XXIII. 27
the
the Dantapatras
vnrious kinds of
Kamapura
set
with
41.1
and the
jewels
the
11
cheeks
Neck ornaments
pearl-necklace, the snake-group (fiiaht-iJiiWi) 1 , the
The
20.
4
3
Manjari 8 the jewel-string the jewel-necklace and the neck-chain
,
The
27.
a gold
chain
is
1
the ornament of the neck
well
as
The well-known
"'The
same
ear ornament.
jxitrabhahga (drawing
as
vented pigments).
1
'
(C.27b-3la)
which may
the triveni
is
be
tentatively translated
be known as the
to
women
tender
of
26 (C.31b-32a; KXXI.25).
;'
And
leaves.
6 note
bo painted.
covered with
artificial
of beautiful
young
amorous
their
'
An
lips
look
will
will
1.
RalnamalikaT)m
which
note 4 below)
teeth
with
also to
And
The two
charms
constitute their
above
follows
see
When
Pearl-like
lips are
and the
as whitness.
colours
and the
teeth
as
is
is
to be
before.
before.
a bigger necklace
for the
small mala.
4
Ratmtvali
Sutra
made of gold;
(lit.
cf.
kanakasutra in Paiicatantra
27 (C.S2b-33a).
(wrongly
caturasa)
dvirasa), trisara
mean
I.
(vayasa-dampati-katka).
The terms
like dvisara
(wrongly
THE NATYASASTRA
41G
XXIII. 28
Breast ornaments
The
28.
necklaces with
ornaments of the
The
most
the
work 1 are
artistic
to be
breasts.
jewelled net
the ornament of
is
breasts
the
(or
the
back) 2 .
Arm
ornaments of upper
(lit.
ornaments
The arm-band
29.
Svecchitika*
the
ornaments of the
are
fore-arm.
Finger ornaments
The Kataka 1
30.
KaksakhaVheHastapatra 3 theSupu-
the
Hip ornaments
The
,'il.
Kaiici
Kulaka, Mekhala,
The
32.
of
the
eight,
Kafici
Havana
is
of
of
girdle]
|'a
sixteen
and
(iront).
one
string,
the
Kalapa 1
the
Mekhala
of
twenty-
five strings.
nana-ratnakrta
up of many
2
Pniha-vibTmna
29 (C.34b-35a
above 18 note
2
It
(Megha,
8
I.
(in K.)
meaning made
jewels'.
(in
K.XXI.28b,
'
28a).
K's
reading
is
corrupt.
See
2.
ananta
is
now-a-days
2)
called
in his
in
Bengal.
prakoMa
still
Kalidasa's
Yaksa
(foro-arm).
in use
among women
'
katakam
of an
ornament of the
3
,
Kataka
2
wrists.
(Apte).
l
31 (C.36bc; K.XXI.29).
is
as imxkha-kalafi.
hasta-mra
before.
K. roads of 30a
1 here
is
however an ornament
K. reads 31a
differently.
Kulaka seems
to
32 (C.W; K.XXI.30).
'
Kalapa seems"
I.
to
42).
have
been
used by
-XXIII. 40
33.
The
pearl
Ornaments
34.
The Nupura,
Kataka
417
and eight
strings.
of the ankles
the Kinkini,
The Pada-patra
is
toes,
Similarly [an
These
nails
[of
additional
them
in various
them
Atoka blossoms.
are
the
decorations
the
feet]
women
of
Considering
the
from
States
the
and the
These ornaments
Yisvakarman a
the
tradition
are
to
(a<invi),
(lit.
applied
after
also
consideration
wearer]
in
of
and her
physical form.
39-
one
is
the limbs freely and at one's will, with gold, pearls and jewels.
40.
Utilised
on account
of
will lend
orna.
33 (C.38, K.XXI31).
34 (C.39, K.XXI.32).
'
35 (C.40; K.XXI.33).
a
'
ca.
Ag.
(p.
oicitraracanakrta.
36 (C.41).
37 (C.42;
This passage
'
is
wanting in K.
Ag.
'
(l.c.)
a,nakhadalaktaka-maa~
paryantam.
58 (C.43; K.XXI.35).
ranam.
An
x Ag.
39 (C.44; K.XXI.37l)-38a).
40 (C.45).
S3
(I.e.)
explains
and crafts
authority of arts
agama
as
ufadanaka-
(silpa).
Read vibhavato.
'
,
K. omits
this passage.
THE NATYASASTBA
418
41.
use of too
But
by
for these
weighed down,
so
will
one
ornaments
movements
stiffening
of
the production
in
mnny ornaments
[XXIII. 41-
is likely
to
cannot,
be exausted and
to be faintaing.
4?,.
Hence
should
be not
used ornaments made of pure gold, but those made of lac and
the wearers
in a play].
44.
celestial
The
rules
made
beings are to be
45.
own
roles
The
in case of the
human
careful 1}'.
females
eelelstial
by means
optional
are
decoration
of
ornaments
of
and Costumes
suited to the
various States.
46.
Women
of the Vidyadharas,
47.
the
their
The same
the
of sages
to be
Costumes.
rule applies also
to
women
of the Siddhas,
tied in
decorated
have hairs
the
'
42 (C.44).-
43 (C.48).
44 (C.49).
Read 45a
46 (C.51, K.XXI.42).
47 (C52).
2
K. omits
x Road divya-mmara-mriq&m
cf.
57 below.
this passage.
1
48 (C.53, K.XXI.44). K. reads cilra for sudd/m, C.
4fr(C.54,K.XXI.43),
and
41 (C.46).
45 (C.50).
pearls
Tlfe
to
many
49.
with string of
'
.XXIII. 56]
will
Yaksa women
50.
419
these,
the
ornaments abounding in pearls and jewels, but they arc also have
hoods 2
The daughters
51.
on
the hair
much
their
head, and
sages
of
made
Veni
of
to have too
decoration.
Siddha women
52.
should be of yellow
colour.
Gandharva women
Ornaments
53.
to
abound
in rubies.
the
of
And
hands
the
Women
Raksasa
54.
are
have
to
sailires as
their
the
dresses
lazuli,
and the
of black colour.
Goddesses
55.
The
pearls as their
celestial
women
ornaments, and
are
their
to
have lapis
dresses are to be
made
green
Monkey
56.
The women
made
monkeys
Read smuts
their ornaments,
as
tviisam. for
K.XXJ.39 and
satnastamm
K. omits
'
45).
1
-
their dresses
women
Megha
For
'
54 (C.59).
.1.1
liismi (K).
(C.58).
the Siddha
tvasam (C.)
Head phantis
56 (C.61).
and
50a.
52 (C.57).
.13
of blue colour.
50 (C.55, K.XXI.38b).
51 (C.56,
females
of the [godly]
see
1.
14
(C.60).
THE NATYASASTBA
420
57.
But
love-making.
made
in
other
women
celestial
conditions
XXIII. 57
their dresses
in
are
their
to
be
white.
Human
Human
58.
females
are
to
Women
59.
curling hairs,
and they
Sbhira women
60.
are to have
Women
The women
61.
Sikhandas,
and
in
of the
of
of]
two Venis on
head
up
their
North East
the
their
to hold
the body
cover
up
to their hair.
Women
The women
62.
of the South
of the
G.-J.
hair-cutting
and
etc.
should
their habita-
birth.
Ornaments
64.
An
to be
worn
"
Read divyangam"
create
ca.
'
61 (C.66; K.XXI.50).
'
Ullekhya
is
probably
connected
with
Bengali tt'(tatto).
'
63 (C.68b-69a;
(C. 68a) before 62,
K.XXL52).
which in
trans,
K.
is
Some kind
follows
K.XXL53).
mark.
'64(C.61>b-70a ;
oi circular
XXIII. 72
no beauty
one
by
for
wearing a
Mekhala
121
on the
(girdle)
breast
of females
05.
abroad and who arc afflicted with misery are to not to have a clean
dress,
66.
The
to
women who
dresses of
Such should be
67.
habitation
from their
separated
are
many ornaments
lovers,
of the head.
women
[the dresses] of
[of
existence].
according to their
Now
shall
speak
68.
should
first
But
in
their
to their habitation
The
producers of plays
natural)
(lit.
colours
derivative colours.
producers are to
speak about
I shall
The
the
ways
in
which
the
make them.
The primary derivative
7t.
the
four original
The
70.
men's) case
limbs, and
should be provided.
The
69.
(i.e.
colours
colour
is
made up of
the
white and the yellow 1 and the pegion (kapota) colour, of the white
,
The
(ymkna) colour
lotus
is
made up
of the
white
and the
and
blue.
65 (C.70b-71a, K.XXL54).
66 (C.71b-72a, K.XXI.5S).
'
67 (C.72b-73a, K.XXI.56).
68 (C.73, K.XXI.57).
>
Veia
Masamudbhaw (K).
C. omits 68b.
69 (K.XXI.58).
'
70 (K.XXI.59).
'
72 (C.74-75*, K.XXI.80b-fllb).
'
C. nlla for
0a.
C. omits. 71b.
THE NATYASASTBA
422
73,
The dark
is
XXI.
made up
73-
and
of the blue
the red, and the pale-red (<jaum) colour, of the red and the yellow.
74.
colours.
up
the
parts
made
colours
should form
be
colours.
Of
7:3.
Besides these
may
directed below.
The
76
the blue
for
parts,
known
is
to
be
the
strongest of colour**.
Knowing
77.
which
are to be
pre-
pared by mixing
of
different characters.
The
78.
Costume
is
to.,
painted
be
body together
considered
with
renounces
of]
a-
man on
own
his
covered
entering
[a
different] colour
the
nature connected
body
with
person having
with)
(ualtja-
different
(lit.
being,
change of the
the
as
tin-
As
they have
breath,
the
gods,
Danavas,
the
the
(Niigas)
73 (C.75b-76a, Z.XXI.62).
74 (C.76b-77a, K.XXI.63).
75 (C.77b-78a, K.XXI.64).
77 (C.79b-80a, K.XXI.66).
78 (C.80b-81a, K.XXI.67).
76 (C.78b-79a, K.XXI.65).
nanusamyoga(C)
'
'
C.
reads
atter
for
mattasamyogaQQ'
this
an
additional
couplet.
this.
81 <C.84b-85a, K.XXI.70).
'
Read parabhavam
for parabhavam.
-XXIII. 89
423
Lifeless objects
82.
armours,
banner-staff's
and
the
(;/.
weapons
various
Jm), shields,
are
known
as
objects (djiranii)) 1 .
lifeless
human form
Lifeless objects in
83.
(lit.
due to
suitable] dress
may
reason) they
to
the rule of
After learning
8-1.
paint the
habitation, birth
lie
Gods
painted
as well as the
reddish
yellow
for
Soma
(the
made white
87.
gods
Yaksas and
the.
Apsara<as should
(i/nin-n),
and ageColours
85.
p/'iviiua''] in
to
and the
Ganges) are
(the
to be
in colour.
Run")
Nam
as
(xi/ama).
The
80.
(Nsgas),
The Yaksas,
the
in colour.
Vidyadharas,
the
Pitrs
and the
monkeye
are of
various colours.
82 (C.86b-87a K.XXI.71).
Road %wfav.
84 (C.88b-89a, K.XXI.73).
83 (C.87b-88a; K.XXI.72).
85 (C.89b-90a K.XXT.74).
'
Ru-wl
rudmrkadrnhina
(K.)
for
86 (C.90b-91a; K.XXI.75).
88 (C.92b-93a; K.XXI.77).
89 (C.93b-64a K.XXI.78).
;
'
Presiding deity of
hills ( Ag.).
90 (C.94b-95a, K.XXI.79).
MR NATYA8A8TRA
424
Colours for
Human
90.
human
XXIII.
90-
who
beings
dwell
91.
of various colours
live,
every
92.
their body,
But those
of other
They
colours.
and dwarfs
for Bhiitas
93.
known
are
and
to
may have
be of various
of
boars,
colours of the
people
faces
Listen
now
of Rhiiratavarsa.
lie
of
dark
lotus colour, or
And
95-90.
reddish yellow
possessed of
perform
brown
the
(ijavra)
evil spirits,
sacrifices
((i-m'/k,
lit.
to be
colour.
made
of
And
fair).
not
made
And
the
such
should
be the colour of
Rut out
of
after
and
to one's
age.
An
knowing
may
and time of
action,
birth
and
in.
91 (C.95b-96a; K.XXI.80).
92 (C.96b-97a ;K.XXL81).
>
Bead bkadrmval}.
93 (C.97b-98a ;K.XXI.82).
'
K. reads
94 (C.98b-99a; K.XXI.83).
'
97 (C.100; K.XXI.86-87a).
this differently.
C. omits 95b-96.
98 (C.101; KXXI87b-88a).
-XXIII. 100
425
Kiratas
99.
Kiisis
Kosalas
Pulindas 7
mostly known
are
((lafoinatya)*
to
of
South
tlic
bo brown (luita
not
lit.
white).
100.
(Bfihlikas)
wlio
(Palliavas)
dwell
in
North
the
and Vahlikas
he made almost
should
'Colours mentioned
in
this
and
the.
colour
allotcd a specinl
mentioned.
These passages
the Dravidians
show
Himalayan region
Barbara
literature
in
complexion.
taken along with some Northern tribes like the KaSis and
Kosalas, seem to
"'
fair
of
information about
Kirata a
North.
Mhh. XII.
see
Some
hill
207, 43.
43).
as well.
3
4
Dramila
"
Kosala
Pulinda
and
region.
Tamil).
KM
XVI.
of
32; also
Panha
1. 1.
and Niiya
1. 1.
B.C.
mentioned in
Manu
10, 44.
Probably
Yona
the same as
Yavana
in
Asoka's
edicts.
They
the
Pahrava (Pahlava)
Western Punjab
4
5
in
Vahlika (B.ihlika)
Road smt
<?fwt
54
Usually taken
to
about 140 A. C.
fem fawf
came
to
ifait f?>m,
from
their
Thq
THE NATYASASTEA
426
101.
Paiiculas
1 Surasenas 2
,
and Kalingas
Vangas
Udhras 8
XXIII.
Magadbas 4
Angus s
should be
101
(syawn)
in complexion,
102.
complexion 2
red
blur-
After
painting
the
face
and
activity
age.
104.
gave
its
3
K.XXI.
name
to the principal
'
lias
Magadha Tho
Paiieala tribe
once
which
tribe after
a tribe
of
well-known in
Mbli.
around Mathura.
It
drama
(Saurascni)-
after
See Mann.
been named.
is
settled
of the Indian
l'lct.
Orissa (Odrivisaya)
4
90b-91a).
hairy)*.
lit.
II);
44.
was named.
Align The
tribe after
of
Anga
was
named.
a
Vanga The
tribe after
102(0105;
colour
K.XXI
at one time
when
'Red
91b-92a).
(gaum, K) assigned
to
that
was
certainly the
Indo-Iranian physical
all
"
Tho dark
likelihood that
Sec note
1 above.
Huddha
{iitkla,
O-clean-shaven,
says
Syuma ordinarily
Victim cut
fifnfaMwwrif
black in colour
wir
giprsw**! ^
Ag.
ifm'.i)
ftfvwfafr.
The
Rovmabushy,
romaxant
tit
yathotpannam (Ag.
l.c-),
'bushy
XXIII. Ill
The beards
105.
priests
themselves
have consecrated
427
indifferent to
any
for
sensual
ritual*
pleasure
should
be
or
made
[clean] shaven.
The beards
106-107.
who
kings,
foppish and
are
princes,
officers
proud of
their
The beard
108.
made black
The beard
109.
of sages,
l)e
made bushy
be
of plays.
could not
fulfil
their pro-
;i
who
persons
of
of
youth 3 , should
(sytima).
and
ascetics
who
observing
persons
should
(fmnmsn).
Rules for different Costumes
Thus
110.
now speak
shall
of
white, red
means
made
of different kinds.
many kinds
to
different
but generally
ways
is
it
Drapery suited
111.
may be
of painting limbs
three varieties
of
The
grown'.
lust
three classes
do not
105(0.108;
SWt %
fimt
K94b,96a).
wrfw mi;
Madhyasthawsm
It is even
now
Lihgimm mrfamwiitat
'
fa 5ninriraninn
the custom
*
3
A class of demigods.
Ag. says
is
K.XXI
109 (C.112;
K.XXI.
w hich
class of demigods.
iftwlinfsil *miai-g^mlS'?rffl
108 (C.111;
ftiTO Wfeflt
(Ag. p.434).
rites.
tow
daiva on&pailra
nw:
See KumSra.
Sat. 24.
(p. 434).
95).
98b-99a).
'
seems to be wrong.
C. reads 109b as
fWfcnmwt *
ww't^
(Ag. p.433-434).
See above
'
85ff.
K. omits
this.
THE NATYASASTEA
428
112.
soiled (malina).
auspicious
at the
Costumes
Gandharvas,
1
Costumes
116-117.
army,
leaders of
in
of
vicitra).
Brahmins.
should be
Costumes
of
and
Vaisyas
Ksatriyas,
made white
persons,
lunatics, intoxicated
soiled
Brahmins well-versed
in
Vedas
the
kinds'
in a dramatic production.
the
and people
kings,
Yaksas,
the
Sastras,
officers (xthSiU'nja)
118.
Danavas,
the
gods,
the
the
foppish nature
of
sacra-
should have
115.
adepts
vow or
or a
rite
rite,
is
according
stars
same
variegated and
difference
113-114.
mental
white,
their
by producers.
to their use
and
now
I shall
explain
u2
XXIII.
wayfarers
(malum). 1
Jain
the
the Tridandis
and
should be made
(irotriya)
120.
112
1
.
(CUB; K.XXI.
lOOb-lOla).
K.XX1.
113-114(0.117-118;
(p.434) explain
'
iuddha
as
I01b-102a).
'
K.
Emend karkasa
into
They were
'
see
Magh. IV.
11.
iamuka'.
possibly inferior in
K.XXI
105b-106a).
sannyimn who
'
II.
K. reads
(members
Ajr.
KM.
118 (C122;
omits. 113.
WSlfwra:.
witli
([lariiraj), great
ascetics
of the
For
Pisupata
lridaiMli-srotriije.su,
sect.).
'
See
Mann
K. reads yalipmupatctu
120 (0.124).
'
K, omits
this-
-XXIII. 128]
To
121-122.
the
dress,
429
have the bark of trees and the [animal] skin as their clothing,
To
122-123.
should be given
persons
engaged
armour and
clothes
guarding the
in
of
harem
when thoy
of females
attain special
conditions.
Costumes of
124.
fighting
Kings
125.
coloured dress
but
(nalizatmtijata)
the
should
warriors
battle,
be
be provided
to
suitable
with
for
brilliant
and bows
always
should
when due
he
made
to
have
ominous appearance
to
any propitiatory
in
many-
of
any
rite
stai
their
Thus should
126.
types
inferior
(lit.
made
be
of the
the
.superior,
persons
(lit.
middling and
the
of
dresses
the
birth
qualities).
127.
different conditions,
and practice
128.
for
gods and
of
different
men according
masks
masks
(i>viitiiir<t)'
arc to he
K-XXf
llUb,109).
K.XXI.
Iu9b-ll<'u, ilia).
C.
'
baddhatmm
=!<r<1fWWMli
'
used
age.
for baddltatiiua.
mt',
A)>. (p,
4'J-l).
126(C.130;K.XX1.113b-U4a).
127 (0.131;
K-XXI.lUb-llSn).
]28(C.132; K.XXMl5b-lI6a).
(Karp
I.).
used in
all
see.
It
is
not
laid
the Introduction.
'
Pkt. fiailisisaa=Hkt
down anywhere
all
characters.
praimnaka
For a discassion on
tliis
THE NATYASASTBA
130
XXIII. 129
[In
20.
of throe k'nds
(lie
Piirsvagata
130.
the Pannngas
(Niigas)
are
Kirtti.
And
131.
superior
Mauli
to
gods,
the
crown
Kirtti
been prescribed
lias
= Mastaki
common
?)
for the
to
(lit.
inferior)
gods are
13LM33.
type.
While
made up
133-131.
leaders
bearer),
The
of
masks
131-13").
And
ministers, Kaficukins
merchants' guild,
the
and
{iinlha-miikiil.ii,
135 13G.
lit.
masks
the
of the
army-leaders
130-137.
1
with
(nenapnti)
a small crown
half-crown).
As
for the
(armour
priests should he
Sikhanda
of the Mastaki
and
rest
persons]
[of
the
head
[in
in
the
to their
age.
The beads
and that
of
boys
hair (jala-mnkda).
WO
(K.XXI.U7b-l
18a).
'
'
132-133
(C.134,
133-134
135a,
who
C. omits 129b.
C. omits 130.
138;
'
C.
iirmmauh
K.XX1.119b-l20).
sing the
'
K. vamrmtnm.
C. reads
more hemistich;.
(C.138b-139a;
ICK.XXL123).
'
Bead
vestita-baddha-
K. vcstita-baddhabaddhani).
(CUljK.XXI.127).
(C.U2;
K.XXI.125).
'Read
Utah iikhanja-bhwitam
XXIII. 145
The masks
137-138.
Yaksas
The masks
1:58-139.
of the PisMcas,
lunatics,
the
Bhiitas,
ascetics
spiritual aspirants,
their
431
fulfilled
hairs.
The head
l;i0-141.
grantha),
[in the
Vedie studies
(mkiju), experts in
mask
{irntrii/ii),
of the Buddhists
monks
monks
Jain
the
(Nir-
selves for a
doctrine
And
clean.
(rrltn) the
according to
remaining ascetics
should have their heads shaven or should have curling hairs or long
hanging down.
hairs loosely
Married women,
14l-14'J.
of the king
officers
men
and
of
14--143.
head or
will
And
by
means
Thus
the
(lit.
Jester
their
should
crow's foot) 1
of
on
three Sikhiis
[proper]
different
Sentiments
costumes
at
the
and
garlands,
time of production
of a play].
r
14. >.
made
After
(lit.
on the
na Ukhamla").
Nikliamja means
looks
s.v.)
K.XXI.121).
'
'diinava-dailyanum, K. devadanava
).
139-141 (C.145-146).
'
la).
s.v.
TBB NATTASASTBA
432
The
Now
140.
known
as
the stage]
is
called SaBjiva
with no
Of
foot (ii/mila).
The entrance
known
is
1
.
two-footed
fourfooted,
and
different
be fourfooted.
to
Fse
148-140.
what
of animals [in
settlements are
of
the characteristics
object).
147-1-18.
men
= living
146-
Saiijlva
I shall speak of
Saiijiva(
[XXIII.
of
weapons
In light, angry
(*implirt) or siege
conflict
in
the
stalure of
shall
now
proportionate
150-151.
Kunta
(javelin)
The
lihindi
and the
ten
measure twelve
u ilhi
Sataghni, the
should
Tiilas,
the
(spike),
the
1
,
Tfdas and
eight
its
(''(i/i'/'a)
K.XXI.128).
116 (C.151b-152a;
1-17-148 (C.l52b-153;
rale.
See
forty
latter's half.
This
'
brought
NsJ.
seems
to
on the
show
stage.
clearly
This was
XIII. 106-107.
K.XXI.l29-130a).
'
lite
means the
different
types of
<w ^
On
this point
v*iiim ii
nwwiWiii
tfifcret cKisfaftanf?
*fa ajtisftftl
vi:
?wfn.
150-151(0.156;
T:>la sec
N& III. 21
K.XXI.132b-133a).
note.
For
the
measurement
of
-XXtn. 161
ThePattisa
153-154.
(Kanapa)
will
The
15 1-155.
and
bells
attached to
thirty angulis in
The Khetaka
it.
The Jarjara 1
ehowris,
in
thing that
Dandakfistha 2
and water-jars
banner-staffs,
?)
should he
objects
the
Angulis in
(rider's shield)
15G-157.
every other
be sixteen
it
Use of other
brellas,
433
men make
use
masks,
um-
(hhnnjani) 3
and
of,
The
15S.
characteristics of
all
Now
I shall speak
the
of
India's Banner-stair
Trees planted
150.
white
soil
have
Visvakarman 1
been
eligible for
160.
on the
astcrism,
Indra's
banner-staff by
The
Jarjara
Pusya
under the
made
Some
of these
by a carpenter.
Jarjara
trees
be [fashioned into]
should
The branch
of a tree
may
the
be
also
161.
But
the
its
bamboo
length
most suitable
be
will
[for
this
should
Angulis (4 cubit).
'
K. omits
See NS.
I.
'
58-61 note 2.
See
154b.
'
N&
See NS.
I.
III. 73ff.
58-61.
daru\a-
foistka.
159(C.164b-l65a ;
K.XXI.142).
'
Tvtm^ nW
n&wm wpn
*(Ag.p.434)..
160 (0.165b-166a; K.XXL140b-141a).
161 (C.l66b-l67a;
55
KXXLHlb, 143a).
'
1.
THE NATYASASTBA
434
162.
should have
It
and four
five sections
be very prominent
joints.
and
thick),
(lit
XXIII.
it
102.
But
should
its
not
One
163-164.
of
bamboo which
smearing
after
should select
(lit.
it
with
piece,
and worshipping
it
and incense.
164-1 65.
is
their order
banner-staff should
for
converting
it
be
into
the Jarjara.
165-166.
And
if
holy
bamboo 1
of
the
(pnrm),
it is called
the
1C6-167.
tics
may have
It
This
Jarjara.
is
speak
hereafter
of
that
of
the
Dandakastha.
The Dandakastha
167-108.
bamboo.
tree or the
That which
(lit.
169-170.
is
neither
poor) branches,
He who
Dandakastha devoid
of
It
characteristics.
the Dandakastha.
fashioned
will
get
said
is called
the
of the
should be curved'
the
characteristics,
will
certainly
165-166 (C17I
K.XXI.147).
Soo NS.
III. 73-75ff.
'
The reading
Seo NS.
of
K.
is
corrupt.
1.
58-61 note
2.
Vakram, K.
Uandaiukham, K, mandamhm,
XXIII. 178
The making
170-171
masks which
Similarly
will
Angulis
thirty two
on
masks
of
one should
their
special
prepare
the
measurements or
Pati
will
of the
measure
1
.
The
171-173.
paste
have
435
Pati
should
Masks should
cloth.
made by
be
made
be
with
husks
of
Bilva-paste
1
.
173-171.
Bilva-paste
should
neither should
it
174-175.
be made too
it
too
cloth smeared
with
the
thin
and
soft.
After getting
of
made
neither be
it
it
up by
lire
or the
after dividing
into
176.
it
in the
form of the
fore-
177.
Then [a pair of] openings two Angulis long and one
and a half a Anguli 1 wide should be made for the cheeks, and
after
[this
has
,_
The opening
the
*walvi]bkagartham
fs
for
cheeks
made
Wt
ifiTOit^
for
the
We
?m
v ftsifm:
<n
vmv
The
facts**
it
as rfHftWl
msfo
nfini(i)
(p. 435).
corrupt
long
opening] three
ear
for
'
[another
trans, is tentative.
'
Head adhyardham.
lryaiiguIam,\C. aitgulam,
K.
436
THE NATYASA8TBA
[XXIII.
should
made
be
179-
twelve
Angulis long.
179-180.
in the
set
with
on them.
Other accessories
And
180-181.
at the production
play
of a
of accessories {apaharana)
Now,
181-182.
known
demanded by the
many
kinds
art of theatre.
the
all
here) ouc
(lit.
including
[And
182-183.
on whose
special
[obtaining]
such
to
obtain
knowledge
accessories
them] one
in
(lit.
in
is
whom)
a dramatic
to
go
they
to
person*
depend.
For
men
have
production
no other means.
183-184.
is
description
[professionally] to
of
make
it
an
object
or to devise
art.
favoured by us on
the
stage
for
their heaviness
creates
fatigue
[in actors].
185-180.
world
Imitation
of
may
exists
this
in
be included in
180-187.
But
palaces, houses
and
'
(lit.
Tatas
in
due manner).
caiwvatuh
C. talus ca vhyau,
for tatai ca vavaluh,
'
K.
K.XXI.166\
185-186 (C191jK.XXI.167).
184-185 (C190;
XXIII. 196]
The
Some
187-188.
437
realistic
accessories
[however]
be
will
realistic
thing
same
188-189.
form
natural
known
be
will
called
is
well
as
the stage
should not be
iron
any
as conventional.
Any
while
realistic
for these
due
189-190.
and
sliced
bamboo, for
wood,
lac,
their
use as
190-192.
hills,
should
first
baiinervlaft's,
painted
sliced
cloth, likenesses of
such objects
arc to be produced.
Bui
192-193.
lor
this
if it is
may
193-19 k
pieces
of
sliced
lac
made with
grass and
194-195.
with grass,
Imitation legs,
195-190.
Various
in imitation of their
19G-197.
should
articles
Various
hills
and
190-192 (K.XXI.172-173
made
with earth
[thus] be
proper forms.
R?ad kilittjair
'
Taliyair
Hi
tUapatraih
(Ag.
Mm
(5<s)
for kilajair.
'
Bhem]a K,
Hiiii.ula
C.
KK.XXl.178a).
THE NATYASABTRA
438
are
be made with
to
Bhenda (Bhanda),
XXIII.
cloth, bees-wax,
197.
lac and
sheets of mica.
And
197-108.
and
fruits
Making
Ornaments
98-200.
(Bhanda),
cloth,
in
various
lac.
of ornaments
should
made
be
with
Bhenda
copper
growing
flowers
region-
and
colours,
their basis
should
of
be polished
(sheets).
The
200-201.
so that they
may
20 1-202.
kinds
different
made
before, should be
dazzlir.g
of
crowns of which
spoke
|,
In
eases of
[all]
these objects
not
instructions given
been mentioned.
Here
lie
This
21)2-203.
is
the rule
of
action
want of
strength
sufficient
occur in
will
men
Because
the
[of
future
generation].
20:5-204.
hence
it is
should not
not
make any
For
204-205.
glances a persons
fainting
is
ger his
life
feel
casting-
fatigue
faint.
205-20G.
or
in battle, personal
When
his
the actor
performance
is
is spoilt.
One may
even endan-
difficulty
under such
conditions.
K.XXJ. 179-180).
XXIII. 211
Hence ornaments
206-207.
exercising one's
own
discretion one
made with
are to ba
thin sheets
Thus by following
207-208
439
popular
the
make
is to
practice
properly
or
theatrical
accessories.
Use of weapons on
No
208-209.
missile should be
the stage
released on
touch
a spot, and
gesture [of
to
Any
[relevant]
the
popular
usage
Representation
tli.it
was
This
people).
to
tell
stage
is
is
to
all
you.
XXI II
from the
Extraneous
hereafter
shall
speak
of Bharata's Natyasastra,
'
We
follow
K.
KXXI.187b-l88a).
208-209 (C.112b-213a;KXXlI.189b.l89a).
209-210 (C.213b-214a
the
Extraneous Representation.
may have
be gathered
about
with
treats of the
207-208 (C.2llb-212a
which
instruction
omitted
(lit.
make a
be used only to
210-211.
and
One
209-210.
skill
weapons arc
the
an attack]
the stage
K.XXL189b-190a).
'
'
We
O.
follow
reads
K.
additional
CHAPTER TWENTYFOUR.
THE BASIC REPRESENTATION
Importance of Temperament
The
1.
to
Basic. Representation
[Among
(xwuanybhvnmja) 1
and
known
is
Temperament
(mth-n),
about Temperament,'2
The
2.
Histrionic Representation
perament (miUratirlda)
is
ment (wmasaltva)
middling,
Temperament
is
The
support
(lit.
and
in
(xtittnt)
tears
harmony with
(C
Of
explanation as to
from
gi\v<
in
of
proper
drama
in the
know
experts
Sentiments
firstly the
these,
'
Ag.
seeins
to
different points of
view
def.
436-430).
(pp.
in
it
(NS.XXVI.)
applies
and
no
so
called.
From
very
the
Ho
is of
convincing
discusses
it
four kinds of
it
appears that
ahhinaya (NS.
which
have
particular objects
it
K.XXII.1).
1;
invisible, but
lit.
drama 1 , and
other limbs.
ol'j
Feminine graces
(ahitnltard;
something
is
The dramatic
-1-5.
[exercise
Temperament
definition of
horripilation,
places
is inferior.
Temperament
;!.
only
to
the
'
ideas.
pictorial
See
N&VI.
representation
of
22 note.
2 (C2; K.XXII.2).
3 (C.3; K.XXII.3).
'
See
mvu
a
Cf.
DR.
II. 30a;
BhP.
K. reads 4a as
p.6. 1.20
SeeDR.H.30b; ND.p.203.
ND.
p. 203.
liimw TOW
n WH>
XXIV. 11
a
natural {saliaja)
the
three kinds, next
441
women
Physical Graces of
Feeling
0.
arising from
(.<rftw) [are
(hfla)
Temperament
of
Temperament partakes
7.
and Passion
different aspects
1
Graces] connected with the physical nature
The
feeling
Emotion (ham)
(bhara),
of the
and
(bhara) arises
1
from Feeling, and Passion (hela) from Emotion
Feeling
t
8.
(bhnm)
2. Cf. [Feeling
is
the
touch of
first
DR.
II. '.\$\
Emotion
Temperament with
9.
itself]
in relation
itself in
relating to
10.
should he
excessive Feeling
known
changes of eyes
Passion
See
(lit.
itself
(Ma) by
DR. H.
32-33a;
Emotion (ham)
(citta)
and manifesting
of the neck,
ND.
p. 203.
'
See
Cf.
DR.
Cf.
DR.
8 (C.8;
K.XXII.8),
'
Cf.
DR. H.
33b;
'See
below
10.
'
9(C.9; K.XXII.9).
to'
^fflftm'
10 (C 10;
DR.
II. 31
ND.
p. 203.
II. 30b.
II.
33b-34b.
ND. p 204.
note
1.
K. reads 9a
as
1 *ft*
K.XXU.
10).
'
According to
slight manifestation of
is
K.XXII J).
6 (C.6; K.XX1I.6).
relates to
there)
7 (0.7;
HflwfitBi!
And Emotion
various conditions.
11.
its
called
to
hava
erotic
ND.
feelings
(p.204) the
bkasa
emotion
to a very clear expression of one's
through
various gestures.
lKC.lliKXXlI.il).
56
Cf.
DR.
II.
According
THE NATYASASTBA
442
Mimicry
Sportivo
Grams
ten natural
(nlaml-ara) of
Amorous Gesture
(Na),
12-
women arc
{rilam),
Hood
(rirrhitti),
XXIV.
women
Natural Graces of
The
12-13.
Dishabille
(kilnHnnln).
Want
of Response
1
.
Sportive Mimicry
Imitating
14.
which
(Ilia)
of
by means
lover
of
and inspired by
delightful
are
Mimicry
behaviour
the
words, gestures
relevent
affection, is
called Sportive
1
.
Amorous Gestures
1").
Relevant changes
of the special
kind
relating
and
eye-brows
to the
movement-
the
eyes,
tin-
Dishabille
10.
The
placing of garlands,
clothes,
carele^
is
called
1
Dishabille (vkchitti) .
Confusion
17.
dresses,
Inversion
various
and make-up
to
of
and
items
one
another,
as
words, gestures,
due to intoxication,
Confusion (vibhrama) 1
is called
on
such
Temperament
of
ham
depends on
the
bhim
and
ND.
'DR.
37b;
II.
BhP.
p. 9.
1.
p. 205.
14(C.UiK.XXI1.14).
'
Gf.
DR.
II.
37b;
BhP.
p.
9.
1.
5;
ND.
BhP.
p.
9,
1.
6-7,
p. 205.
15(C.I5;
K.XXII.
15).
Of.
DR.
II. 38a,
p. 205.
16
(C.16;
K.XXII.16).
ND.
p. 205.
K.XXII.
'
DR.
17).
The word
II. 38b;
Cf.
DR.
is
BhP.
II.
9.
1.
8-9;
39a ; BhP. p.
ND, p 205
9.
1.
10-11.
XXIV. 23
Hysterical
Mood
Combination of isolated
18.
states
443
of
weeping,
smiling,
Mood
Manifestation of Affection
Manifestation of Affection
1!).
(moltaijitu) occurs
Sportive
when
the mention of
at
thought of him
beloved, one
the
(oil am)
through
and the
like,
being absorbed
is
in
1
.
Pretended Anger
20.
and
(he like,
it is
when
feigning distress
actually (here
is
and
lip
delight'.
Affected Coldness
The
21.
indifference which
women show
on
account of vanity and pride, after they have realised their cherished
desire
(/. .
conquering
the
lover's
is
heart),
called
Affected
Coldness (bibbuLv) 1 .
Lolling
22.
made by women
is
known
Want
That due
23.
not
make any
words,
is
to bashfulness, pretence
Want
of
Response
18 (C.18;
K.XXII.
19 (CIO;
K.XXH.19).
'
18).
etc,
of Response
called
feet,
1
as Lolling (luliki)
Cf.
(nihrtu) 1
DR.
II.
his
HD.
|).206.
ND.
p. 206.
ND.
p. 206.
20 (C.20;
21 (C.20;
ND.
p, 286-206.
ND.
p. 206.
ND.
p. 206.
22(C.22;
I Of.
K.XXJI.20).
'
K.XXH.21).
'
K.XXTT.22).
23(C23; K.XXII.23).
DR. H.
Cf.
DR.
Cf.
DR.
iCf.
'Of.
II.
II.
DR. U.
DR.
II.
40a,
BhP.
40b;
41b;
42a;
BhP.
BhP.
4la;
p.
9,
1.
1.15-16;
p.9,
p.
13-14;
b.17-18;
9.
BhP.
p.
9,
1.
21-22;
THE NATYASASTBA
444
[Graces] are
(madhwya),
Delicacy
(lianti),
24.
women
Involuntary Graces of
The Involuntary
24.
[XXIV.
Radiance
{thpti),
Self-control
1
(dhairya), Courage (pragalbhya) and Dignity (andaryd) .
Beauty
25.
Decoration
limbs on
of
good
account of
physical
form, youth and loveliness being renderd manifest after the enjoy
nient [of love],
called
is
1
Beauty (sobha)
Charm
26.
Charm
Beauty which
(1/anti)
full
is
a lover's passion,
of
is
called
1
,
Radiance
Radiance
called
is
(dlpti)*.
Delicacy
27.
ditions, especially in
Radiance
and
{ilipti)
con-
all
Lolling (hlito),
in
is
1
.
Self-control
28.
free
natural bent of
the
is
mind which
in
all
matters
is
1
.
Courage
29.
The
acting anything
(lit.
24 (C.24; K.XXH.24).
'
lias
called
Cf.
DR. U.
Cf.
DR.
had her
26 (C.26; K.XXII.26).
Cf-
is
1
Courage (praudhhtja)
31.
11 35a;
BhP.
p.
8.
1.
15-16;
in practice),
25 (C.25; K.XXII.25).
Nl>. p. 207.
is
quality of not
DR.
II.
36a BhP.
;
27(C.27jK.XXn,27).
lirst
is called ioblut.
Cf.
p. 8,
DR.
1.
II. 35b;
17-18;
'
Cf.DR.
'
Cf.
'
Cf.
ND.
II.
BhP.
p. 8,
1.
16.
p. 207.
BhP.
36a;
p. 8.
1.
19;
ND.
p. 207.
28(C.28;K.XXI1.28).
Dll
II. 37a;
BhP.
p.
8;
1-
21;
ND.
22;
ND.
p. 207.
29(C29; KXXII.29).
p.
207.
DR.
II.
36b;
BhP.
p.8,1.
XXIV. 35
415
Dignity
Courteous bearing in
Dignity (amlartia)'
by the wise.
These
30.
[Graces]
tender
but [in
Amorous Gesture
Graces) except
brilliant
are
nature,
formance of delicate
connexion with
in
other cases]
(r'data)
they
and Lolling
per-
(i.e.
the
(lalita)* are
(dqita) 3 .
Eight aspects
of the main
Temperament
31.
Graceful
Bearing
Sportiveness
(tujim) are
Nobility
(lalita),
(vita*tt),
Gravity (ijw-
Temperament
1
.
Brilliant Character
32.
to
mean
acts
Character {iobha,
lit.
beauty)
best virtues
constitute
Brilliant
1
.
Graceful Bearing
Eyes moving
33.
hull,
graceful
gait
straight,
like
of a
that
Self-possession
34.
due
If
to
[long]
practice
occurred,
it is
[in
this
direction]
one's
sense-organs
lit.
Sclf-possesion (nid/lhwnja,
called
sweetness)
Tenacity
Not
35.
Cf.
DR.
30 (C.30;
1
II.
reliquishing
36b,
BhP.
p.8'
KXXII.30).
1.
undertaking
20-22
'
See above
'
Of.
31 (C.31; K.XXII.31).
ND.
any
ND.
207.
15.
See above
DB.
p.
to duty,
relating
26.
II. 10,
BhP.
p.
!),
1.24; p. 10. 1. 1;
p. 197.
32 (032; K.XXII.32).
'
Cf.
DR.
II.
11a;
BhP.
p. 10,
1.2-3;
ND.
p. 10,
1.4;
P. 197.
33 (C.33; K.XXH.33).
ND.
'
Cf.
'
Cf.
DR.
Ii.
lib;
lib;
BhP.
p. 197.
34 (C.34; K.XXII.34).
35 (C.35; K.XXII.3S).
DR.
II. 12a;
BhP.
p. 10,
1.
5.
THE NATYASASTRA
U6
wealth
is
enjoyment, in-espectivc of
iind
XXIV.
good or bad
its
3G
results,
Gravity
Gravity (ijamhlmija)
36.
not occur 1
is
.something due
anger,
of
cases
in
an
to
influence
and
joy
tear
do
Sportiveness
37.
Erotic
of
which
features]
are
Making
38.
gifts,
bestowing
and speaking
favours
own men,
one's
to
is
sweet
Nobility
called
Spirit
39.
life
any reproach or
insult
even
tolerate
made by
others,
at
is
the
risk
of
one's
1
.
tO.
Histrionic
shall
the
now
explain in detail
body 3
through
Ilepresentation
the
(nutlw) 1
Temperament
Histrionic
Representation through
DB.
11.
1h
BhP.
p. 10,16
36 (C.36; K.XXII.36).
ND.
DR.
II.
Cf.DR
II.
Cf.
'
BhP.
12b;
p. 10,
|).
198.
7;
ND.
1.8;
ND.
1.
p. 198.
37 (C.37-, K.XXII.37).
'
BhP.
14a;
10,
p.
p. 198.
38(C.38;K.XXII.3S).
Cf.DR.
'
II.
14b;
BhP.
p. 10,
II.
13b,
BhP.
p. 10,1.
1.
10
ND.
p. 197.
39(C,39;K.XXII.39).
>
Cf.
DR.
10;
ND.
p. 197.
40 (O.40; K.XX1I.40).
'
It
in a different
its
23.
is
two broad
For a
classifying
classes
four-fold
ahhinaya
mttvika and
division of the
-XXIV. 47
This
41.
Is'iityavita
is
sixfold
Words
and Nivrttyankura 1
447
(rtikga), Sncn,
Ankura, Stikha,
Words
Recitatives in Sanskrit and Prakrit
I'].
compo.-ed
verso
in
various Sentiments,
by Words'.
Suca
When
13.
indicated
is
first
hy Temperament and
made,
Vcrlial Representation is
[itself]
and then
tlie
Gestures in
the
(jestiiivs,
called Siica'.
it is
Ankara
When
If.
one
skilfully
represents
hy
is
Ankara 1
in
one's
heart.
.Siiklm
The
4.V
representation
known
Sakhii(?), is
as the
that
made
is
hands and
in
feet in the
Sakha Representation 1
manner
of the
Natyayita
40.
made
at
The
the
intimation of
Histrionic
47.
to
permute on
The
42(C.42
the stage]
Histrionic
41 (C.41
Representation which
is
is
till
the
called Natyayita'.
Representation of
Sentiments
K.XXII.41).
which are
Dhruvas
relating
made by means
of
'
I.B.2.
'This
K.XXII.42).
seems
to
be
the
same
as
the
vticikfMinaya.
43 (C.43; 1CXXII.43).
'
Tliis
kind of representation
is
mainly to
44 (C.44; ICXXII.44).
'
is
meant
to
45 (C.45; KXXII.45).
'
'
Tliis is the
is
to
accom-
46 (C.46; K.XXII.46).
use of gestures in
connection
with songs and dance before the beginning of the dramatic performance
47 (C.47; K.XXII.47).
THE NATYASASTHA
448
and the
like,
also
is
XXIV.
48.
be known
to
1
.
Nivrttyankura
When
4N.
Siie;i it is called
Nivrtyankura 1
another person hy
of
These
are
the
matter
The
plays.
of
Lament
lapa),
Change
of
for
available
of
these,
Accosting (alapa),
Words
Command
(aivlcm),
ways connected
are
representation
to
is
with
the subject-
Prattling
take the
(pralai>ti).
Repeated
(rilapa),
[histrionic]
that,
{ii[ialapn),
Pretext
{aiirh-sa),
(n/riyWeiia),
Instruction
Accosting (alapii)
52.
[any onej
sentence
is
used
in
addressing
1
.
Prattling
Irrelevant
(l>ralap<t)
words are
meaningless)
(lit.
called
Prattling
2
.
Lament
53.
Lament
Words
(ri/a/w)
originating in
a pathetic condition
are
called
1
.
Repeated Speaking
is
called
Repeated
Speaking (nmilapa) 2 .
Dialogue
54.
Dialogue
counter-utterance
(mnlapa)
who
52 (C.52; K.XXU.52).
Cf.*Wp.ll,
'
This kind
of representation is used by
'SeetJjrfp.ll.
Cf.
'
'
BhP.
BhP.
p. 10,
p. 10,
24.
1.
1.1.
53 (C.53; K.XXII.53).
'
utterance and
of
48 (C.48; K.XXII.48).
the dancer
made up
is
'
Cf.
BhP.
p. 11,
1.
2.
p. 11,
1.
4.
1.3).
54 (C.54; K.XXII54).
See BhP.
1.
20-23.
XXIV. 59]
Change
449
Words
of
the alteration
is
words
of
spoken before.
"Speak
55.
(MllfMfl)
this
him",
to
[an
is
example
Message
of]
1
.
Agreement
[an
is
Agreement (nthlm)*.
example] of
Command
(hW'w)
am
alone
"I
fiO.
speaking",
is
example] of
[an
Command
1
.
Pretext
To
called
is
Pretext
(riiaptvlria)*
Instruction
To
57.
"Do
say
Instruction (npadcsa)
this" or
"Take
[an example] of
this" is
1
.
Statement
*
Another
classification of the
58.
the
is
Verbal
Representation.
59.
See
Hid p.
or
SeoiW/p.
II,
1.
Cf.*Mj?p. 11,
57 (C.57 ai
8
(p- 11,
The
1.
10)
1.
is as
57
'
the def.
follows
58 (C.57bc K.XXII.57).
;
to
it
may
statement
create
the
of
have.
invisible (parofaa)
which] treats
it
may
relate
'
Cf.
BhP.
p. 11,
1.
6.
>
Cf.
BhP.
p. 11,
1.
8.
11.
K.XXn.56a).
texts omit
and
are
[hereafter]
7.
56 (C.56; K.XXII.55b-56b).
!
speak
11, 1.5.
that
sentences]
shall
forms which
[of
Verbal Representation
Cf.
BhP.
p. 11,
of apadeia,
1.
9.
which
is
given by BhP.
'
THE NATYASASTKA
450
to the present, past or
time
future
may
it
XXIV.
60-
one's ownself
affect
"0
60.
is
speaking and I
this [person] is
statement
which
a visible
treats
act
am
not
speaking"
(pratyaksa), affects
1
another person (/w iwtha) and relates to the present time
CI.
which
"I
am
or going
doing,
or speaking"
is
a statement
visible act-
02.
statement which
is
affects
one's ownself, treats an invisible act and relates to the future time.
"All
615.
ment which
my
affects
enemies
is
state-
one's
(it.
ment which
treats
an invisible
killed
by
affects others,
act,
thee", is a state-
and
relates
to
05.
"This [person]
is
visible act
06.
to the
"He
is
going or doing"
"They
you",
and
is
"That work
to
is
is
time and
state-
treats
a statement which
treats
a
is
visible act 1
affects
a statement
which
bo done today
by me together with
09.
under the
Anything that
cover of
is
60 (C.59).
1
.
hand,
the.
x K.
omits this.
XXII.64ab).
'
in
drama)
an invisible ([jaroha)
act.
61 (C.60; K.XXII59).
63 (C.62; K.XXII61).
64 (C.63; K.XXII.62).
(K
(lit.
will
will relate to
62 (C.61; K.XXII.60).
66
is
and
go or speak",
will do,
08.
present
doing or going",
speaking,
ment which
65 (K.XXII.63).
omits
* C. omits
this.
1
67 (K.XXII.64e-65a).
C. omits this.
68 (CM). x K. omits this.
69 (C.65; KXXII.66b-67a).
-
this.
-XXIV. 77
BASIC EEPBESENTATION
70.
will
THE
of this
e.
(;'.
when they
who
persons
and
ing to time,
varieties
are
451
Verbal Representation)
be modified accord-
will
affected
of the
(lit.
self
and
others).
71.
of
to producers
known
tions are to be
made
Different
a drama.
through these
kinds of representa-
1
.
72.
which
is
made
are to
Experts in acting
73.
graceful
movements
of
hands and
the
is
that
feet,
the
J
.
represent
character] by
[a
efforts
delicate
of limbs [in
74-75.
The
aeting
drama) which
(lit.
Kaliis,
and hurry,
in
is
[performed] by
is
(//.)
distinctly uttered
76.
When
movements and
is
it is
It is
is
lit outside)
(lit.
kind
and observes
free
called "regular"
it,
opposite
not in
music accompanying
77.
of the
{abhjaidam,
within the
when
it
is
hikmm
outside
lit.
inner)
when
Sastra.
71 (C67).
70 (C.66; K.XXH.65b-66).
72 (C.68; K.XXn.67b-68a).
'
K. omits
this.
Cf. I above.
73(C.69iX.XXH.68b-69a).
74 (C.70; K.XXH.69b-70a).
75 (C.71; K.XXI1.70b-71a).
77 (C.73; K.XXII.72b-73a).
it
76 (C.72; K.XXII.71b-72a).
THE NATYASASTEA
452
Laksana
As a performance
78.
lahana
(characteristic mark).
[XXIV.
defined
marked,
laksyate or
is
78-
Hence
it is
called
of use in a drama.
it is
76.
(w:arya) or
the
to
resort
"irregular"
who hove no
1
.
Representation of the
80.
wise
lived
which
[ways],
(lit.
sensual perception
should
[actor]
represent
taste
1
.
Hound
By making a sidelong
81.
(w'~i) glance,
the
ear,
Touch
By
8'J.
brows
slightly
in the like
mannar
as well as
the cheek, the wise one should represent the touch (s/wrsa).
Form
By
83.
slightly
its
fingers
wise one
is
to represent the
form (nqia).
By
84.
nostrils
in
slightly
the
like
manner
is
to
as
well
as
represent
by
the
intently
gazing [at
(mm)
taste
and the
smell {jandha),
78(C.74;K.XXII.73b74a).
79 (C.75; K.XXII.74b-75a).
5 * Jtrenfw m:
'
'
fmm:
flu h g usfasi
mtirsrai;.
as
wwffem
%*
80 lC.76; K.XXII.75b-76a).
'
See also
NiS. Vlllff.
81 (C.77j K.XXI1.76b-77a).
82 (C.78; K.XXII.77b-78a).
83 (C.79; KXXlI.78b-79a).
84 (C.80; K.XXII.79b-80a).
-XXIV. 93
85.
arise
463
from the
activities
nose,
When
86.
mind
it
an object of a sense-organ
represented [outwardly].
gets
contemplated in
is
With
87.
reference
to
the
five sources.
mind
mind has
the
representation,
(iVAi), unfavourable
three attitudes [towards objects], ek. favourable
((H*) and
indifferent (mailhijiuthi).
88.
happy movement
limbs,
of
be represented
should
horripilation
by the
mouth.
89.
son.es
one should show a happy face by concentrating the
taste,
[concerned] in mind
1
.
By
90.
not
using
them
whatever
fixed to the nose, one should represent
is
keeping
unfavour-
able.
The
An
91.
indifferent
too
expressing not
much
indifferent
mind
attitude
should
delight or to
his",
is
example
"He
does this"
represented
by
state.
The
or
be
which
is
done] by him",
The meaning
93.
The
object
feels
is
called
"personal" (atmastha).
86 (C.82; K.XXII.81b-82a).
85 j 8l7KXXII.80b-81a).
87 (C.83;
K.XXI1
88
82b-83a).
(C.84-,
K.XXII.83b-84a).
used
is
indriyair
89 (C85; K.XXII.84b-85a>.
together with the mind'.
coming
senses
of
means
manasa firufitair, 'by
91 (C87; K.XXII.86b-87a).
86XXU.85b-86a).
'
90 (C
The
expression
92(C.88!K.XXI1.87b-88a).
93 (C.89; K.XXI1.88b-89).
THE NAT1ASA8TBA
454
The meaning
And
anything which
94-
of "external"
by another
to be described
is
XXIV.
is called
"external" (parastha).
Desire
Almost
94-95.
all
will
be considered as having
(dhama-lcama), desire
many forms
such
The union
95-9G.
mostly to be observed
man and
of a
may end
sorrow for
to happiness
leading
as
woman
in joy or
called love
is
all
people,
is
even in unpappy
situations.
Erotic Affair
97.
sexually
The union
united
is
98.
In
men and
of
known
as
women which
finds
them
This
this
world
always
people
desire
happiness of
1
.
Women
99-100.
Asuras,
tigers,
are
known
men,
monkeys,
elephants,
The woman
101-102.
A woman
deer,
looks
to possess
the
of
and
like
Yaksas,
camel,
Makara,
1
.
divine type
who has
fish,
nature of gods,
Pisacas,
is free
and
97 (C.92; K.XXII.92b-93a).
* C. omits 96.
98 (C.93; K.XXII.93b-94a).
99-100 (C.94-95;
K.XX1I
Cf.
94-96a).
BhP.
'
p. 109,
See BhP.
'
Cf.
soft
1.
9-10.
p. 109, 1. 12-15.
BhP.
p. 109, 1.16-19.
has
-XXIV. 109
455
middling sexual passion, takes moderate food, loves sweet scent and
is
nature of a goddess
Asura typo
of
A woman who
proud,
meat,
very
fickle-minded,
covetous,
Asura 1
The woman
A woman
10.")-1lK5.
is
practices
cruel,
very
laws and
transgresses
is
to possess the
The woman
103-104.
known
is
adorned
with
of Grandharva type
many
in
gardens,
is
f'S'/i/n)
slim-
is
careful
is
hairs
about the cleanliness [of the bodyl and has soft skin, glossy
is
known
The woman
107-108.
eyes,
hard
of
woman who
nails
and
roam
very
woman who
efforts,
beings),
is
irascible,
takes
and
the
anger,
of
Naga type
loudly, has
disposed to
teeth, is
The woman
109-1 10.
Rak?asa type
aGandharva 1
to
always pleased
has an oblique
pleasure in [the
Naga 1
fond of
persons
many
of]
is
and unsteady
gait
(tiryal.)
company
lotus,
(lit.
objects,
'
Cf.
BhP.
1.20-22)
(p. 109,
'
Cf.
BhP.
'
Cf.
BhP.
p.
Cf.
BhP.
p. 110, 1. 21 22,
>
p. 108,
1
.1-4.
10, 18-1
THE NATTASASTBA
456
The woman
111-112.
character,
many
A woman
likes
fruits,
The woman
13-114.
number
of fingers,
roaming
in
of Pisaca type
PisTica
acts,
sexual indulgence,
is
treacher-
entendre,
fond of
is
A woman
115-116.
bed or
Yaksa typo
of
who
sweats during
sleep, loves
is
delight
The woman
A woman
117.
same
Yaksa 1
spirit,
who
of tiger type
takes
118-119.
[to her
virtuous,
tawny eyes,
of
human
loves uprightness,
disposed to worship
the
BhP.
115-116 (C.107b-108 ;
vini
bhayaUna etc.
Cf.
p.
,.
always clever
is
Emend
elders
Cf.
BhP.
grateful
is
and gods,
p. 1. 12-12.
Janaihikmigulih
into
15-18.
K.XX1I.
BhP.
have
female
113-114 (K.XXH.108b-110a).
Cf.
said to
woman who
benefactors],
unadhikmgulih.
is
in the
wily, speaks
is
The type
and very
a long
quiet
after a long time, feels gratitude [to him], does not sleep for
time,
spiri-
said to
is
The woman
rest in
or less
is
talkative,
fields,
double
and
fickle
is
[very]
is
gardens and
energetic
liquor
is
large mouth,
spirituous
Ill-
type
of bird
offsprings,
[XXIV.
1101>-112a).
'
Read
115b. at
medha-
p. 110, 1.5-7.
'
Cf.
118-119 (C.110-lllj.K.XXII.113b-115a).
BhP.
'
p. 110,
Cf.
BhP.
110
1.
19-22.
p. Ill, 1. 3-4.
XXIV. 127
TUB
BASIC BBPBESBNTATION
457
human
being.
A woman
120-121.
loves
energetic,
of
fond of
roam about
[to
monkey type
who has
hairs, is
fruits,
in]
talkative,
is
A woman
122-123.
fleshy
to
who has
forests,
forests,
is
violent
a large
eyes, hairy
garden,
is
and
of elephant type
scent, garlands
water,
and
her]
monkey 1
The woman
body,
fickle,
gardens and
trees,
from
is free
said to have
is
The woman
good character,
body,
is
is
fond of sweet
said
is
The woman
in
of deer type
A woman who
124-125.
is
timid, fond of
temper,
nature of a deer 1
has a small
is fickle,
unsteady in her
fickle
A woman
A woman
a slightly
awkward
salt,
is
gait,
and
is
has her
tastes,
1
.
cruel words,
much
fond
waist
of
and
'
BhP.
'
Cf.
'
BliP
58
and
fish
too
lips,
abdomen,
slender
127-128 (C.119-120;
breasts, is
servants
of camel type
said to
and high
many
rough neck,
is
the
type
fish
long, large
said to
is
The woman
flowers, fruits,
music,
said to have
efforts, is
127-128.
of
who has
sweat,
nose,
flat
The woman
126.
abdomen,
'
Cf.
BhP.
K.XXII. 122b-124a).
'
HI,
p.
Cf.
p. Ill,
p. Ill,
BhP.
1.
I.
8-9.
10-13.
13-14.
p. Ill, 1. 15-16.
THE NATYASA8TBA
<58
[ZxlVm
129.
cruel
is
to
The woman
A woman
130-131.
skin
of
is
who
offsprings, is
steady
fish,
lips,
rough
known
to
A woman
gait,
The woman
132-133.
habits of
of ass type
slow in her
fickle,
the"
nail-scratches
wives, clever,
many
neck, a
known
woman who
of swine type
who has a
is
and mouth,
fond of ordinary
and bulbous
roots,
thick hairs,
mean
habits
1
the nature of a swine
and many
The woman
13 H3.">.
A woman who
and neck,
hips
thighs,
hairs,
130-137.
rough
broad
slightly
sides,
charming,
is
said to have
1
.
A woman
raised)
of buffalo type
hairs, is faithless,
(lit.
is
sharp-tongued, quickly
fickle-minded,
The woman
belly,
to have
has symmetrical
faithful,
and thick
said
is
of horse type
is
straight
mysterious,
munificent,
offsprings,
and hater
of
men, has a
The woman
138-1 3!t.
[almost
A woman who
is thin,
'
Cf.
BhP.
(C.m-135 K.XXII.
;
of goat type
132-133
is
127b-129a).
feet, is
covered with
p. Ill, 1. 17-18.
Cf.
BhP.
p. Ill, 1. 19-20.
'
Cf.
BhP.
p. Ill, 1. 21-22.
134-135 (C.126-827i
K XXlI.129b-131a).
'
Cf.
BhP.
p. 112, 1. 1-3.
136-137 (C.128-129;
K.XXH.131b
133a).
'
Cf.
BhP.
p. 112, 1. 4-6.
'
Cf.
BhP.
p. 112, 1. 7-9.
XXIV. 146
fine
THE
and
hairs,
is
moving,
swiftly
nature of a goat
BASIC!
timid,
and
REPRESENTATION
many
yawning
is
and
talkative
is
hands and
low manners,
of horse type
[often],
short
loud
feet,
has
knowing
large,
engaged
hips,
her
worshipping ancestors
in
and patient
women
while great
if
woman's
For courteous
to
and
After
beaming
[tern per J,
irascible
is
Etiquette towards
144-14;").
cow type
of
feet,
children,
pleasing
have the
voice,
woman who
favourable to
efforts,
to
in eyes
The woman
142-143.
thin shanks,
forests, restless,
said
is
140-141.
face,
offsprings,
The woman
to
mad, fond of
foolish,
has
459
these
many
done
acts
not
are
when
such acts
to a
many,
woman
he
will
they
are
(lit.
145-146.
has been courted
An
looked
(lit.
Etiquette (upacara)
for)
woman when
And
in a proper manner.
she
certain
in
146-147.
Austerities are
And
acquisition of]
happiness has
is
its
desired [by
sake
of
virtue
the purpose of
women
source in
the enjoy-
people in general J.
for
is
virtue
'
This
'
Cf.
def.
seems to bo
'
p. 112, 1. 10-12.
BhP.
1.
14-16,
THE NATYASASTBA
460
Two
147-143.
In the
kinds
148-149.
to be observed
and
by courtezans
In
And
connexion
The
of three classes
liaJaja,
lit.
inside).
outside)
(abhyairfarit)
152.
153.
(lit.
and a courtezan
A thoroughly
A maiden
women
is
high
lit.
tested
"public"
inside)
family
is
and
outside
lit.
"homely"
(Miwuctt) woman,
mixed
public
if
she
{lialujabhijantara) class
of high family
love],
of the
is
the
detail
women's
[of
three classes of
belonging to a
be
[Etiquette]
describe in
shall
enjoyment
A woman
to
women
"homely" (abhjmitara,
is
Women who
150-151.
of two
in the Prakarana.
external
the
relating
is
internal (aibhyantara).
Nataka.
in the
The
140-150.
are
observed by kings
is
convention, Etiquette
theatrical
external (b&hya)
147.
classes of Etiquette
(kamopacara) of
XXIV.
is
1
.
woman
is
never desired by a
king's
while
the
This
work seems
On
to be
lost
K.XXII.147).
153 (C.145).
'
154 (C.146).
'
The reason
As
in
'
is
K's reading
obvious.
is
fragmentary.
K. omits
Vikram. K. omits
and
is
not
this.
this.
XXIV. 162
155.
women
love affairs]
[in
a courtezan too
approved by [married]
that) is
(lit.
good
461
maidens
in ease of
And
too.
[will
1
lady of high family .
The beginning
156.
arises in
various causes
Love
[him, hearing
sportive
kind
157.
seeing
sation
Love
of love
movements
about
of limbs
personal
his]
and [hearing
his]
his]
[seeing
charming conver-
1
.
158.
An
of
love
should then
matter
expert in this
various indications
observe
in
desire
the
one
another's company.
15!).
A woman
becomes overpowered
love on seeing
witli
other innate
well as
of various arts
and
crafts
quali1
.
Signs of love
lOd.
The
glance in which
and
it
The
Due
Kamya
(lit.
loving)
called
is
charming, tearful
is
called Lalita
(lit.
sportive).
It
to love, one's
and the face covered with sweat-drops, and hairs in the body stand
on
their
end 1
155 (C.147).
'
Cf.
'
156 (C.148).
iqm
nni*i
These three
157 (C.149).
159 (C.151).
'
'
^mtawftAsit etc.
kinds of love
BhP.
p. 113,
1.
KS. IV.
2.1.
K. omits
this.
K. omits
this.
161(0.153).
K. omits
this.
162 (C154).
'
K. omits
this. Cf.
BhP.
p.
'
K. omits
13, 1. 17-19.
this.
THE NATYASA8TBA
462
[XXIV.
163-
A courtezan
163-165.
to
is
love
the
side-long glances,
casting
with her toes, showing the breasts and the navel, cleansing the nails
166-167.
Similarly
woman
indi-
of high family,
she looks continuously with blooming eyes, conceals her smile, speaks
slowly and with a down-cast face, gives reply with a smile, conceals
is
trembling 1
woman
not
her
168.
1
.
100-171.
Anxiety
First there
Enumer-
fourthly
ation
(nilct'tjii),
sixthly
Lamentation
men
will
(mamna) 1
as well as of
women.
(vilapa),
seventhly
{i;ifwlhi\ ninthly
Now
hear
Distress
Insanity
in case
of
all these.
Longing
Longing (abhilasa)
172.
and wish
[him] 1
arises
from
and leads
born of desire
means
of meeting
163-165 C.155-157a;K.XXII.148b-150).
and
efforts
to the
p. 114,
1.
1-2.
'Cf.BhP.
1.3-9,
p. 113,
'
BhP.
Cf.
p. 113,
1.
17,
p. 114, 1.1-2.
'
BhP.
gives the
(p.88)
numb
'ten or twelve'.
Cf.
(if,
NL.
2427;
BhP.
KS.
V.l-5; NL.2421lf.
BhP.
p. 88, 1. 15:16.
-XXIV. 179
One
17;!.
or enters
the
first
it
463
amour
in
1
.
Anxiety
174.
what manner
beloved
will there
be an Union
to the
as
with
obtaining
(lit.
in
of) the
?"
In the second
175.
stage [of
love]
half-closed eyes
the
Recollection
176.
(lit.
desired)
Recollection {anasmrti) 1
177.
Being engrossed
in thinking
called
is
or
The
him
of
sitting
in
(i. e.
lying
the
beloved)
stage
third
and
bed,
in
[of
love
|
Enumeration of Merits
17S.
smiles
To
179.
in the
The
movement
representation [of
love]
in the
sumanyah K).
Cf.
'
NL.
l
2436ff;
Cf.
BhP.
A
27)-289 (lino 3)
own
of the chapter
is
stage
fourth
BhP.
p.89,
1.
1.
(i.e.
horipillation
p. 88,
p. 88.
1.
17-20.
C;
21-27.
8-5.
BhP.
Cf. NL.2449;
same. C.'s.
BhP.
Cf. NL.2449;
K.XXIL162).
177 (C.XXXI.76;
2428ft-
no one
'
NL.
Cf.
is
one's] Merits.
limbs,
of
that 'there
p. 89, 1. 7-8.
BhP.
(XXIV.) given
p. 89,
1 9-11.
XXXI.
179(CXXXI.78;K.XX1I.164).
1.
p. 89,1. 12-1 4.
15-18.
THE NATTASASTRA
46 4
180
Messenger
XXIV.
1
.
Distress
That one
180.
is
always
By
181.
stage of Distress
is
1
.
and burning
lassitude
heart in an exaggerated
of the
with sitting or
is
1
.
Lamentation
182.
(rilapn)
Lamentation
"He
woman
lamenting
grief to
stood here
he
sat
and hero
here,
1 ."
another
distressed
is
out of uneasiness
one place of
by speaking
represented
is
1
.
Insanity
When
184.
him
(/.
the
woman
is
and hates
beloved)
[other]
all
males,
it is
a case of
Insanity {itnmwhi)18").
To
look with
sigh,
sometimes be absor-
1
bed within oneself and sometimes weep while walking about .
Sickness
180.
Being devoid of
all
pleasures of love
CI
NL.2462fr Bhr\
An example
jfq?m
if air * tfara
1l * *ftwn etc
183
(O.XXXL
82;
m ?
(Svapna 1-15,
K.XX1I.
186
w **i *
1.
19-22.
p. 90,1.
"S^l"
1-3.
''
BhP.
90,
1.
4-8.
(CXXXI.85; K.XX1I.171).
p. 89,
2-4).
x Cf.
168).
*ft"1
HL
'
BhP.
p. 90. 1. 16-18.
follows
K.
XXIV. 194
To
187.
represent Sickness
paralysed,
4fifl
tire
the
body
is
to
show
in fever, the
head
1
aches badly, and one does not have any tranquility
is
Stupor
188
and
tioned,
does
To
189.
the
mind
deranged 1
mouth given
is
is
to
It
is
pathetic
is
on
to excessive breathing
swallowed by breathing) 1
(lit.
Death
19(1.
Tf
means
the
all
burnt
191.
Thus
not take
in case of her
meeting
(lit.
Heroine
all
then
place,
(lamatw
1
.
19?,
make
Even
man
separated
States
will thus
ways through
different
diverse
Characteristics of
193.
expressing
One
should represent
stages
these
of
We
Women
104-190.
diverse
ways by
187 (C
by
XXXI.86; K.XXII.
bringing in
their
(O.XXXI.
90;
are
common
1
.
love should
K.XXIL
172).
173).
be
represented
'
in
and
19-22.
P- 90, 1.
1. 1-6.
note.
Cf.
'
'
BhP.
'
Of.
'
'
K.XXII.176).
K.
reads
(XXII.179-180) couplets.
194-196 (C.XXXI.93-95;K.XXII.181-183).
59
women who
tional
as well as
188 (C.XXXI.87;
191
love.
men
after
this
two
addi-
TOE NATYA8ASTBA
166
talking
sky,
touching [different
pathetically,
or
V. 1(7.
clinging
to
at
ornaments],
similar
absence of
Union
(ciliralamblm).
Relief in love-sickness
When
197.
will
which have
The
its
with the
fire
of
love
one
and gardens
a cooling effect.
Messenger
Female,
198.
through
much
burning very
a,
Messenger
female
[to
199.
One
message of love
with
should
[to the
ask
female
Misscnger
She [should
beloved].
the
like]
after saying
carry
to
deliver
the same]
"This
is
her
condition".
2H0.
(lit.
love.
is
The
2H1.
to
be
king's Etiquette to
now speak
I shall
is
in
to
202.
in
the
secretly.
'-homely"
of fulfilling
wom<u
in detail
relation
means
practised
women and
these
(kamatmilra)\
conditions
means
Kings have no
for this,
is
at their
difficulty in obtaining
command.
And
women
because
out
198 (C.XXXf.97;
200 (C.XXXI.99;
any imrticillnr
_
'
treatise.
202
(C.XXXLlOlj
203
(C.XXXUQ2; K.XXJ1.I90).
K.XX1I.18!)).
KXX1I.185)
K.XXII
187)
XX1Y.210]
20-1.
2t5.
the
for
Though
making
200.
respect
of
women,
favourite
love, the
Out
make
the kings
it
That a woman
467
all|.
that one
making
of
pleasing [of
is
shut
imparts
difficulty,
207.
In ease of women
in
women Union
Union
the
of
in dealing
1
.
208.
The
Union (rmtka)
following
scheduled
order
reasons
are
six
G""''i#).
{nau dm),
the Conjugal
for
fm'l
(lesil-(3
birth of a
)ro en y
S
l
{[inmni),
child
When
the
Union (rcbuka)
Conjugal
if
she
due, kings
is
may
be in her
210-211.
up
dressed
to be of eight kinds suclfas, "one
known
Union" (tfwd-'.
for
(wHftM-Ma'lM
moves
deceived by
(c.xxxi.103; KXXIL191).
This
KA.
nu>
(p.
307) where.
I,-
Of.
'
'
KS. V.
(p.
(m*)
16.
W)
vrb.Unn.
<"""
l"
llilVH
i,OT
2. HI-H3.
..._
209(C.XXXI.108 K.XXI1.196).
;
210411 (C.XXXI.109-110;
1,
cpies A.
(n^dalMa)
her lover"
'one who
husband" (^itnbkn-hh,) and
K XXIf.197-198)
'
See DR.U.33-17.
THE NATYASASTRA
468
212.
due,
expectation of
in eager
when
The Heroine
A woman
213.
account of his
lcanthita)
distressed
is
by separation
many
1
.
214.
as well as
and who
is
preoccupation with
plenum;
love's
the
1
a Heroine dressed up for Union (rwikinajja)
is
212.
The Heroine
woman who
XXIV.
by
has pleasing
by her
her, stays
side,
qualities, is a
1
in subjection (neaJhniahhartrhi)
in subjection
215.
woman
quarrel (hdahantanta)
Heroine separated by
is
to a quarrel
1
.
A woman
21<>.
ment
when
it is
due,
is
of his attach-
female does
for another
Union
A woman
and a
tryst
when
was made,
is
a deceived Heroine
living abroad
to her
for
female
the
(//(/ <i7o''/tn)
1
,
a sojourning husband
the
(lit.
beloved
one)
is
'
Cf.
2U
(C.XXXJ.IKS; K.XXI1.201).
215
(C.XXXI.U4; K.XXII.202).
NL.
'
Cf.
DR.
25251V;
HUMmi, DR.
Cf. NL.2550;
T
N L.2536ir
BhP.
II. 24;
DRII
Cf. NL.2530ff;
'
25;
BhP.
p. 99.
p. 100.
II. 24;
BhP.
p. 99.
DR.
DR.
II. 26;
BhP.
p. 99.
'
Cf.
II. 25;
BhP.
p. 98.
'
Cf. NL.2542ff;
DR.
II. 26;
BhP.
p. 99.
>
Cf. NL.2556ffj
DR.
II.
BhP.
p. 100.
27
which
uses
-XXIV. 226]
hanging loose,
hair
((lAwifdWioiWo) 1
its
called
a Heroine with a
169
sojourning husband
A woman who
219.
to her lover
called a
going out
for
attracted
is
meet him,
to
{nhhiw-ika) 1
to her lover
is
Heroines
220.
I
them 1
in a
Niitaka should
shall
in
he of
these
conditions.
to represent
Enraged
'221-223.
(khnylita),
by anxiety,
sighs, lassitude,
(n>viMii//ia),
he
represented
Deceived
Heroines should
own
weakness, depres-
condition,
and
toilet,
sojouring husband
sojourning husband
([itytitit-
in sujection
subjection
charm 1
moving
225.
to her lover
a lady of
courtezen,
move
make
'Cf. XL.2572ff;
high
the Heroine
1
manner described below
21tKU.XXXl.118iK.XXII.2U6).
DR.
IJ.
27. see
Mil*, p. 100.
'
kamalantmm anekadha. K.
221-223 (C.XXXI.120-1 22a; K. XXI 1.208-21 0a).
cf.
BhP.
'
Cf.
DR.
11.28;
p. 08-100.
22:tb
(CXXXl.l22b; K.XX1L210M.
'
'
Cf.
DR.
'
Cf.
DR. II.
BhP.
p. 99.
THE NATYASASTRA
XXIV.
227-
The Courtezan
her
down
[In going
220.
courtezan
is
to have
to
and joy 1
Tim woman
[And
227.
will
such
in
and
contracted,
of high Family
a situation] a
will
woman
high family
of
veil,
her
limbs
The hand-maid
And
228.
uneven steps
(ari<hllia<jati)
How
him
If the
situation] a
hand-maid
am
sound
of]
and
joy,
(lit.
this one) is
in
and she
bed
awaken him
finds
in the
going to mention'.
230.
walk with
beloved
manner
will
220.
same
in the
woman
high
of
family
is
to
awaken him by
(lit.
[the
cool) scents
and the handmaid by fanning the beloved one with her clothes 1
231.
232.
This
is
women
friends
the ride
making
of love
for
women
of
high
is
Heroine]
226 (K.XXH.213).
NL.2580ff;
BhP.
Read 226
'
p. 101, 1. 4-W-.
SD.
BhP.
p. 100, 1. 19-2'J.
samadanh prahrslaca
as
SD.
ete. Cf.
229 (C.XXX1.125be;
qjjri
9*
fi>l
W.
Cf.
BhP.
We
K.XX1U16).
'
1.
Cf.
Read 228a
as
madaskhalita-
as
mm
11-15.
'Read 229a
'
'
Cf.
It
flVu
j.i>
BhP.
p. 101,
1.
16-2J.
232 (K.XXI1.218).
etc.
p. 101, 1. 16.
230 (CXXXII.217).
231 (CXXX1.126).
Cf.
117.
saml&pa
ete.
117.
it.
XXIV.
23!) 1
Union
Tlic Conjugal
For
233.
when she
is
woman newly
in love or for
own
accord],
231.
scents
235,
Union
Conjugal
ments, dresses,
woman
nn enraged
the
Just as
when he has
man
woman,
woman
[such a person
so
hcing united,
1
.
At
230.
there
movements
be amorous
should
of the
I'liioii
feelings, gestures,
kind
sweetest
(lit.
union
woman on
When
her
the
part should
Hero
will
make some
for
the
1
.
among
and
'
'
K.'s reading
C.
sapademr
Hire
'
again
.
should
not
to he preferred
again
1'nion one
to
is
1
.
very corrupt.
K.
for mtydde'sair,
to
have been
comes,
1
has become successful)
it (lit.
have been
one)
special preparation
put
l'nioii
beloved
the
c.
(/.
love)
sportful
(lit.
237.
of
words and
'
K.
reads
K. reads
'
'
237a as W,
w5
ntf
23ab as wnffiaflWtf
Vtisopacurc
K. vhsopacart C.
THE NATYASASTBA
472
XXIV. 240
[In
240.
women]
of
various activities
representing
then;
no
bath,
no
and
no
bod-stead,
1
handling of their breasts or hair
And women
241.
of the
one
piece of
1
.
Such a
242.
the inferior
superior and
because of
type,
their
But on
low nature.
Men
243.
women
rule
of
certain
1
.
class
in
play
up
(lit.
Tf
woman
with
she
[of
decoration
should cleverly
finish
it
so
that
1
.
245.
After
24G.
the preparation
finishing
sit
(lit.
Hero) while
moment]
the
sound of
1
.
(C.XXXU34,
Conjugal
[every
listening
for the
Cf.
K. XXII.225).
'
of]
the
Nadika the
beloved one's
(C.XXXI.135; K.XXII.227).
242 (C.
XXXI. 136;
'
'That
K.XXII.228).
is,
have
the stage as poorly draped or with one piece of garment or might
their lips painted.
243
(C XXXI.137;
Cf.
K.XXII.229)
ftynwn
ftrfin
uA^i fninm
245 (C.XXXI.139
of
Bead
K.XXII.231).
'
Naltka-K, naytka. 0.
Nalikh K.
myM
C.
-XXIV. 253
ing [body]
And
247.
a
door-blade
473
to stop
(lit.
with
the right
trembl-
motionlees).
hand, and
left
248.
when
Then
249.
face)
(lit.
her limbs) on
(Jit.
motionless
heart
to
ponder over)
his
may be good
ministers
delay of
will
engaged in
detained by
the
beloved she
some
follows
think [as
up by duties
held
been
herself
(lit.
should connect
considerations)
which
:]
by the
to his superiors,
affairs
woman
favourite
friends, or
by the
have been
'!"
252-
omens
down
drop
or bad,
She
251.
not
moment.
a seat.
Due
250.
(lit.
alter
(lit.
(he
reason-
appear
to
fail
means
of personal
253.
women
will
Personal omens
occur to
their
indicating occurrence)
left,
[side]
while
1? wfa* ftstumn
favourable
omens
case of
in
to
all
their right.
'
247a
reads as
wn*i*
we with K.
249(C.XXXI.143;K.XXlI.234b-235a).
'
K.'s reading
K.
K. reads 252
reads
is
corrupt.
nayammbu
'
for
asyaii caiva, C.
aif vtraHqgfamii
fifnt:
duruktem, K.
60
as
"S^mfifv
anu\em,
C.
for
THE NATYA8A8TBA
474
254.
eyebrow, forehead,
coming
thing calamitous
(lit.
As
rest
arm, breast or
lip,
not desired).
261-
If these will
255.
XXIV.
8
,
will
should
she
toilet
go on weeping.
257.
cating
the
his arrival
On
proceed to
beaming
seeing
receive
tlie
beloved
the
indi-
beloved
Heroine's reception of
258.
good omen
some
beloved
joyfully
and look
get
him
at
up and
with eyes
in pleasure.
But
259.
the signs
[of
beloved one
from her] she should point out [the man] after assuming the Ayata
posture (stltam) with her hand in the hand of her female friend 2
And
260.
found guilty
lie
Anger (mana),
Insult
Due
261-263.
and
calamity
of
acceding
to
situation
fun and
of
Dissimu-
hidden
should be
flurry,
to
his
(CXXX1149;
and eyebrow
etc.
throb.
K.XXII.240b-241a). 'That
2
the
is, if
right ey
with gestures.
'
That
259 (CXXXI.153).
'
i.e.
260 (C.XXXI.154-155a,
K.XXII
by representing
it
K. omits
this.
244-245a).
Miha-kama-yoeesu.
is,
'
K. reads dharm-
-XXIV. 269
c:oncealing
even
any
Heroine
the
fault,
should
if
Where
263-264.
where there
is
there
spoken
affection there
is
475
to.
And
fear also.
is
Causes of jealousy
The
causes of
(mimamsya),
Anger (mawjii).
(Is.
this
Mixed
Feeling (vi/aUka),
Disgust
Depression
and
(rqiritia)
Depression
2G5.
trembling
great
fresh
latter].
of
words
the
and
266.
face,
seeing
lassitude,
his
[of
signs
discovering
from
arises
lazily
and "It
is
utterance
of
beautiful."
Mixed Feeling
Mixed Feeling
267.
with joy
when
(njal'J/d) arises
beloved
one's
due
to
mixed
jealousy
stays
after
he
268.
left
represented
by
standing
right
269.
Disgust
K. reads before
(ripiiiiii)
this three
will
arise
whin
the
beloved
fwwf wis
i&
inv m
one
if'aft * v-
1 firat-
following.'
*Wfci:
cases]
and
tftat
irarercn
in confidence,
win
affection,
suspicion,
love,
satisfaction, joy,
infliction of abuse).
K.XXIU55).
curtesy
i%
my
are
cold
Representation
treatment
am
XXIV.
270-
and "You
your slave"
love," but
270.
live,"
made by
be
the
to
Disgust should
of'
Anger
Anger (mauyu)
271.
to
his
a woman] when
[in
arises
Union with a
the be-
woman
rival
and discloses
272.
and throwing up
and
the
a loose
in
tearful eyes.
On
and
Ra&ina
273'
On
afraid
clue
with rebuke
to
made up
of
guilt,
him
But no very
274.
much ashamed,
[the
cruel
words
should
[The
be
uttered,
and
Heroine] should
lip
a hand
is
it
to
see
the nails
270
Karana
(CXXXI.lMj K.XX1I.256).
271 (C.XXI.165;
or by a
indicating
Or by the
in
(?),
which
or by
look
of
threat.
messenger.
K.XX1L257).
274
(K XXI 1.260).
Emend na alsyatikrodhana"
iuto
na
c'apy-
a! ikrodhatia
'
.
1
Road 275a
as
WOTir*w5
XXIV.
268b-29;
K.XXII.
wo
261-263).
follow C.
XXIV.
237
278-279.
"You
After saying
your heart",
in
'-
are shining",
477
You
look well",
to the beloved
who
make
280.
or the hair
(lit.
head) the
woman
should
be softened
even after
When
281.
taken by
or hair
the
woman
When
282.
should enjoy
(lit.
or
dress the
woman
touch in
way
that the
beloved
take)
his
it.
283.
such a
first
on her
toes with
the
limbs bent
Her
284.
beloved] the
woman
[my
hum,
let
lover
(lit.
talking to her on
any
angry words
the
[first]
like
"Go away"
the
to start
pretext.
2(SC.
while uttering
"Hum
hearing
man) should
should perspire
hairs] go",
After
285.
hair
"Hum
hum",
and during
these
of her
hand
movements she
In case of her
287.
woman
clothes
being
278-279
8
The
C. 270-27
trans, of
279
K. XX1I.264-2B5).
is
'
noihase, K.
wbhana, C.
tentative
as (0.975;
XXXU.269).
(C.278; K.XXJI.272).
'
!V
Nf4.
X 1.30
THE NATYA8ASTBA
478
288.
till
he
will
woman
fall
to
should
her
feet
her [offending]
harass
but on
XXIV.
his
at
falling
288-
lover
her
feet
280-290.
Then
the
love's
be represented [only] by
290-291.
When
in
a play there
any speaking
is
the
to
sky
line
of
representation
292.
the
of
rule
representation in
and
(harem)
is
One knowing
293.
the dramatic
convention
it
294-295.
If out of
breasts
and
lips,
close.
loosening
Nivi, the
the
KXXH.274).
'
Bead
the
accept)
feet]
In trans,
it is
as follows
him
'
cakaia-bhasitm.
2
as
follows
mv[
(lit.
to the bed.
of
lead
pressing
as
stage.
passage
alone, or
288 (.280;
sleeps
296.
(iifyyartharma)
The
Emend
cakaia-purusca*,
trans, is tentative.
art.
>
-XXIV. o04
As
297.
Nataka
to be witnessed
is
479
together]
[all sitting
298.
Experts should
write
" 299.
Now
300.
"affectionate"
(jlritn)
(vhitu),
women
which
"beloved"
(priija),
aw
(kanla),
(smmiii),
"master"
(vatha),
"lord"
love
in
place.
"life"
301.
"hostile"
In
case
"tyrant"
(tlakSUa),
of
may
terms used
anger
(duraeara,
"indifferent"
(vamti),
of address
be "ill-natured"
(Hatha),
"deceitful"
ill-doing\
lit.
"shameless" (nirlajja)
(vimpa),
He who
does
nothing
undesirable,
nothing
speaks
is
called
"dear"
(priija).
303.
sign of
He
in
whose
[other
or
lips
woman
is
parts
visible
is
of]
the
called
body no
"beloved"
(Icaiita).
304.
[with the
is
Ho who
woman
lit.
words
word
disciplined).
'
BhP.
(p. 107,
1.
'
BhP.
(p. 108,
1.
'
Of.
BhP.
p. 107, l.U-15.
THE NATYASA8TBA
4S0
He who
305.
lit.
He who
306.
on eveiy occasion,
is
is
305-
woman by
providing,
is
or jealous,
conceited
woman],
beloved
his
[of
a well-wisher
not
is
always
is
alert
He who
307.
tactfully
is
XXIV.
{nrtha),
gifts
conciliation),
with
maintains an intercourse
words (sma,
sweet
the
to
takes
bed
please
to
her
to
woman
the
and
wishes
He who
308.
words and
fit
is
among women
to be praised
master of
high-born,
friends,
is
called "joy"
(mnuhtna).
309.
enjoyment.
of love.
to
now speak
shall
charm of
Lighten the
love's
want
310.
He
who
i-<
of address explained
cruel,
311.
movement
He
who
or beats
out
impatient,
shameless,
restrains
woman's
is
called
indiscretion
of
conceited,
her or uses
"tyrant" (ihracara).
312.
He who
for
his
313.
He who
oven
is
being forbidden
do anything does
to
'
Cf.
BhP.
p. 107b.
1.
16-17.
Cf.
BhP;
p.
107b,
1.
18-19.
>
Cf.
BhP.
'
Cf.
BhP.
p. 108b,
'
Cf.
BhP.
p. 108b,
'
Cf.
BhP.
p.l09b,
isjivitesa, 'lord of
103b,
p.
1.
4-5; the
term here
life'.
1.
2-3.
'
Cf.
BhP.
p. 108b,
'
Cf.
BhP.
p.
108b,
1.
1.
1.
1.
14-15.
4-5.
20. p. 109b,
12-13.
1.
1.
-XXIV. 321
Ho who
314.
woman] and
is
Ho who
315.
ever even
when
of such a
guilt
proud of
"indifferent" (viiUpa)
and remains
it
silent
1
.
approaches the
is
woman more
guilty
lie is
and
481
forbidden to approach,
than
resolutely
bears
the
marks
"shameless"
is called
(lihiajja) 1 .
He who
16.
Pi
woman's embrace by
is
1
.
317.
a lover
enjoy a
to
tries
force
dear or not
Tn different circumstances
so.
one should
3 IS.
songs with
[of address] in
Erotic Sentiment*.
This
319.
relating to the
is
harem.
I shall
(lit.
now
describe
celestial females)
in
of
detail
incidents
the rules
1
.
The
320.
is
always
and
full
dress of goddesses
of
is
time
always
is
brilliant, their
mind
in sports.
321.
in life
no
'
KXXU.301).
'
their females.
Cf.
BhP.
p,
Cf.
BhP.
p. 108b.
Cf.
BhP.
p. 108b.
That
is,
and malice
jealousy, anger
108b,
1.
14-15.
18-19.
1.
1.
20-21.
in irony {sollunihana-blmita).
K- reads 317b
as Mtt#ffir
wrc
<wtT
320 (C.312;
61
smrawit
K.XXII 308).
wrf nfls^fa
n?t.
'
K.
'
K. repeats before
reads 318b as
wwie^n
this
n4>#m-
THE NATTASASTBA
462
822.
When
they are to
assume
323.
When
unite
XXIV.
human
with
women
celestial
invisible,
sustain
325.
manner.
1
she should disappear
32C.
Infatuation in
327.
is
Being
assume
all
with
and then
should
moment
the
human males
her voice and with [the scent of] flowers in her decoration
dresses,
beings
[from
fall
with
be united
to
lire
in a suitable
[Remaining]
822-
1324.
women
celestial
all
infatuation
letters [sent
will
by them].
be pleasing, and
reduced
the
to
States
human
which
existence
are
celestial
proper
for
males
men and
Etiquette in relation to
The
the harem.
Etiquette in
relation
to
XXIV
of Bharata's Natyasiistra
322 (C.314;
3-H (0.316;
lmf>iya bhavel,
325 (0.317;
K.XX1I
323 (C.315;
310).
KXX 11.312).
'
Rrad
fralobhayd
KXX1I.3U ).
(fain
bhavel,
(.'.}.
K.XX 11.31
',).
320 (0.318;
K.XXIL3U).
K.
CHAPTER TWENTYFIVE
DEALINGS .WITH COURTEZANS
The
One
1.
definition of a
(viiemiiet)
excelling
called
2.
adept in
man who
the
all
is
classes
(mhijii,
to
an
is
the
captivate
[besides]
[characteristic] .qualities
(ahari/a)
are
of
briefly
psychological
and
arts
self-
in the
well-versed
is
K.XXI1I.1).
This
'
to vaiiika.
pedigree,
is
(Ma) 1 and
Sastras, skilled in
(CI;
Vaiksa
arts
and can
extraneous
physical,
One who
crafts,
command,
is
natural).
lit.
4-7.
and
(luila)*
arts
Qualities of a Gallant
three
the
all
3
a Gallant
His thirtythree
3.
the
(iilpa)*
called
all
has learnt
crafts
women,
heart of
Gallant
in
is
an
is
friendly
instance
(mrahhi),
of folk-etymology.
have given
vimayet should
Viitsyayana.
KS.
3.
I.
But
34.
rise
the
Jains
have
their
See
number
as
Literature,"
seventytwo (Sec Amulya Chandra Sen, "Social Life in Jain
Calcutta, 1933. pp. 12-15).
8
zans)
This etymology
is
members
connected
is
rather sensible.
The word
the sixtyfour
crafts.
silpa
But
may be
3
1.4.16;
is
of courte-
available for
the
all
2 (C.2; K.XXIII.2).
2
with
2.
items
when
included by
the
two
words
Another
name
SD.8U and
also
for
NS.
Vfitsyayaua
(I.e.)
are
nothing
in a
sentenco
'craft' only.
XXXV.74.
3 (C.3; K.XXI1I.3).
4-7 (C.4-7; K.XXIII.4-7).
of
but
A See BhP.
p. 106, 1.2-9.
See KS.
THE NATYA8ASTBA
484
[XXV.
and
suitably to time
practice of
a&
place, speaker of
love,
bragging,
prosperous,
clever,
8-
clean
honest!
able to act
words,
accustomed
pitiful
greedless as
[According
qualities are
that he should be
another
to
authority]
devoted [in
honest,
his
six
[special]
intelligent
and able
to talk
9-10.
woman
wise
of the stage
woman, female
1
,
an
intelligent
storyteller, a
a foster-mother, a nun
as]
a Messenger
female ascetic or
a crafts-woman 2 ,
(drill)*.
11.
any persons
or diseased 1
wise
(lit.
person
never engage as
who
is
Messenger
foolish, beautiful,
wealthy
Any woman
12.
she knows
should
male or female)
the art
of
should he engaged
as a Messenger
is
when
sweet in
her
behaviour and
is
8 (C.8; K.XX1II.8).
(HtfafSifimra),
'
Read
8b
as wiforifawft
ii'n
u<ot
m:
9-10 (O.9-10;
K.XX1II.9).
'
Ag.
(p.480)
explains
rahgopafivlnl
as rajakaslri,
8
Cf.
DR.
KS. V.
Buddhists.
4. 23.
11 (0.11; K.XXIII.10).
'
K, reads
11a
differently.
p.94 (1.9-10).
.
2 (C.12|
K.XXM.1 1).
* Cf.
KS.
1.5.28;
SD.
158.
Cf.
BhP.
-XXV. 20
485
13.
the
various ways
of
one] by mentioning
[the beloved
seeing [the
lover]
1
the exact words [of the latter] and describe his condition .
make an exaggerated
14.
and [capacity
acts should be
the Union]
love's
facilitate
man an Union
with a
woman who
or a beloved
on a
[to
15.
the
for giving]
done
The
festive
occasion, during
a kinsman,
meeting of
empty house 1
18.
in love
men
pretext of
or
female,
first
for
time
a park,
in the
house of
dinner-party
in a
person, or in an
a sick
seeing
the
for
[with
night, in
foster-mother or a
(nimantrandj, on the
is
16-17.
first
in various
woman who
After meeting a
woman
is
ways one
friendly or not.
is
smitten with
is
[at the
sight
love
of the
(iHiulaiialura).
When
women
he
lias
friends,
pleased
his
much
morning]
the
before
he gets up, puts up with suffering [for his sakej, remain the same
(CIS; K. XXHI.l 2).
'
Of.
KS.
1.5 28,
14 (0 14; K.XX1II.13),
>
Cf.
KS.
I.
Cf.
BhP.
15 (C.15;
K.XX11I.14).
'
16-17 (C.16-17;K.XX1II.15-16).
Siiww !t %tf:
2cf.
BhP.
p.
BhP.
5.28,
p. 91, 1.4-13.
BhP.
p. 94, 1.11-13.
p. 94, 1.14-15.
Ag.
(p.
480)
says
Wflnr* vm
94 1.16-19.
19 (C.19; K.XXI1I18).
18 (C.18; K.XX11I.17).
20-23 (C.20-23; K.XXIII.19-22).
'
in
See BhP.
p. 115, 1.2-8.
THE NATYASASTBA
486
angry, she
The
The
24-27.
lows
when
characteristics of
friends
off
him or
look at
said to
be
woman areas
a hostile
her mouth,
fol-.
unpleasant
speaks
praises
enemies,
his
is
characteristics.
lies
up with
24-
woman
hostile
XXV.
down on
bed
the
never pleased
first, is
shown
to
puts
her], never
greet him.
these signs
betrays
tion],
(lit.
wealth,
display of
money
15
may
28-29.
(lit.
winning
direc-
this
[actually] giving
intervention)
service of
Messenger
,l
')-'
'l
Onuses of hostility
;50-31.
due
man
woman becomes
or
abroad,
offended self-e.steen,
excessive
late [at
learning, going
want of
transgression
greed,
[of
to
In
connexion
(lit.
with
love, one's
Due
attachment) of women.
'
BhP.
p.
116.
to
4-5,
1.
such acts
13,
6,
also
7-12, 14-19.
2
3
"*
Ag.
(p.
Read vuavadh'mam
Ag.
(i>.
for
as
ixwm
(0.32; K.XXUJ.'30b-31a).
'
3<w
Read 28a
'
Of.
BhP.
p.
17.
1.
WW.
8-11.
-XXV. 42]
it
woman may be
pacified
be
woman
covetous
woman by
sportfiilness,
woman who
should be
woman
money, a learned
her] a gift of
desire, a
may
angry she
if
33-35.
clever
487
woman by
stories
woman by
The
arts,
of
acfing to
her
to her liking, a
girl
[making
over by
by knowledge
a sensitive
man by
hates
won
woman
terrified
and a
servile attendance
1
.
woman
three typos of
30.
Women,
middling and
are
by
three classes
of
superior,
inferior.
The
37-39.
nature
woman
superior
been offended, does not use harsh words to her beloved, has a shortlived anger, possesses skill in arts
and
by men
crafts, is desired
an expert
physical charm,
(kanwhwlrn),
{nthuua) 1
is
men and
desires
is
inferior
Read 32b.
as
33-35 (C.33-35;
is
is
desired
rivals, is
[proper]
[for all
by men,
overcome with
is
The
42.
is
a moment,
there
woman
The, middling
1
.
woman
harsh and
{mlhama) 1
for a
K.
'
omits. 54a.
36(C.36;K.XX11I.34).
37-39 (G.37-39; K.XX1II.35-37).
'
42 (0.42; K.XXIII.40).
'
for
like,
honest, possesses
is
40- tl.
when
the
Cf.
BhP.
Cf.
BhP.
p. 102,
1.
p. 102,
h 10-13.
1-5.
1.
6-9.
ill-
long-
THE NATYASASTEA
488
The
movements
their
asm
sexual
acts,
hips,
tasted love's
and
dresses, limbs
1
.
has an enthusi-
by plump
characterised
is
pleasures 1
in) love's
43-
The primary
for
they have
stages through
in four
41.
women when
of
manifested
is
XXV.
woman's youth
four stages of
The youth
43.
pleasures
cheeks,
thighs,
to
(lit.
charming
45.
pleasure
of love
breasts
4li.
[in
desire
and
The
is
the best
is full
Youth
tertiary
tertiary (hilya)
women]
affords
full
The
liance
by
characterised
is
of
maddening and
kinds
all
bril-
1
.
by reduced
terised
by
tertiary
the
is
enemey
of love's pleasure,
physical
[one after
charm due
another].
sunken
to
It is charac-
(lit.
pale) cheeks,
40
A woman
in
her
[tains, is
and
is
youth
first
is
to be
neither pleased
or
known
as one
displeased with
who
her
A woman
43
(C
4*1
(C.44;
in
43; K.XXIII.41).
>
K.XXIIUJ).
'
45 (0.45; K.XXIII.43).
>
46 (C.46; K.XX1II.44).
'
4743
(0.47-48;
BhP.
p. 103,
BhP.
p. 103,
1.
11-16.
p. 104,
1.
2-11.
Of.
BhP.
Of.
BhP.
K. XXIII. 45-46).
49 (C.49; K.XX11I.47).
51)
Cf.
Cf.
(C.50; K.XXIIF.48).
'
Cf.
'
BhP.
p. 104,
Of.
1.
1.
BhP.
p. 104,
1.
10.
13-14.
105,
2-6.
1.
1-6.
-XXV. 36
also
is
489
she
51.
in her
malice
full of
pleasures,
is
woman
youth
tertiary
her
for
1
not secretive about her proud acts
is
an expert
many
has
rivals,
in love's
qualities
and
A woman
52.
in
in love's
capable of
is
if
she
is
capti-
an expert
1
.
53-54.
in
a drama.
now
I shall
(lit.
such
as
(ratnra,
(madhyama),
"middling"
woman
with
application)
(lit.
"excellent"
clover),
lit.
men
reference to
they are of
five types,
"superior"
(uttama),
(ailhama),
inferior"
of
qualities)
With
and
"too
old"
(mmi>rarrtldlia) 2 .
The
A man
55.
pathetic, able to
to
is
excellent
man
A man
5G-57.
is
The
superior
to be
known
One who
is
is
1.
as "superior"
when he does
'
'
91.
1.
56-57 (C.56-57;
tions of Heroes. Cf.
hnown
Cf.
BhP.
p. 105,
BhP.
p. 105,
K. omits
K.XXHI.53).
II. 3-6a,
1.
1.
feels
woman
man.
BhP.
'
The term
p.
92
1.
1-4,
8-10.
53.
55 (C.55
20ff.
DR.
as] a "superior"
Cf.
BhP.
and
13-18.
52 (C.52; K.XX1II.50).
62
man
51 (C.51; K.XXIII.49).
Cf,
honest.
is
sym-
heart).
is
is
2-3.
K.XXIII.52).
used in later
classifica-
THE.NATYASA8TBA
490
[XXV;!
58.
man who
of a
woman
any
fault of her, is to
is
a woman,
Tho
more strongly
spite
in
to
to be
is
of a friend's
know
known
as "middling".'
man
inferior
woman
approaches a
shamelessly
discovering
gift in
C0-C1.
on
as "middling".
makes a
man who
is
known
be
A man who
59.
way
takes in every
him and
insulted
with
her
loves
is
to be
known
as "inferior".
The
02-03.
foolish,
acts
of
known
inclined
does
to
man
not
women 1
care
for
or anger,
fear
is
obdurate, shameless in
(?),
a laughing stock
therewith,
be
man who
naturally
love,
too old
play
(lit.
women,
thing) of
to
is
as "too old".
Psychological
04,
Women
of different nature 1
are
Hence
mysterious.
approach to women
wise
,man
and
their
hearts are
know them
should
properly
man
should
deal
with a
through different
00.
Such
woman
according to the
acts.
acts are
Conciliation (sama)
1
,
Gift
(pradam =
58 (C58; K.XXm.54).
59 (C.59; K.XX1II.55).
K. reads
this as follows
wftwtf
m-
RvAfirakrti-firasakta-bMivw
namulla, K.
mnalk,
BhP.
1.
ca.
C.
65 (C.65; K.XXIII.61).
,
66(C.66 K.XXIII.62).
i
>
Of.
p. 214.
7.
.XXV. 3]
49J
(upeha) to women.
Conciliation
am
67.
to
yours",
me"
to
is
Gift
Giving wealth,
(58-
property
according
to
(yradana^dam) 1
Dissention
Showing the
69.
is
Dissention (bheda).
Chastisement
lies training one's
movement or
beating one
is
called Chastise-
ment (danda).
Application of Conciliation and Gift
An
70.
tion,
woman
indifferent
is to
be rc-united by Concilia-
woman
When
71.
behave
wickedly
won
from her
1
etc.
attached
to
over by Dissention.
woman
indifferent attitude a
she should
be chastised
with
begins to
slight
beating,
If
after
an exaustive adoption
such as Conciliation
control then a clever
and the
man
like,
in
woman
It is
or from the
a
woman
movement
hates a
man
of her
or loves
him or
is
is
to
know whether
indifferent to him.
67 (0.67; K.XXin.68).
68 (C 68; K.XXIII.64).
69 (C.69; K.XXIH.65).
71 (C.71; K.XXIII.67).
That
is,
in joys
and sorrows
(Ag.).
70 (C.70; K.XXIII.66).
'
Ag. explains
this as deianiara{i>d\laya-
yanarn puntsantara'gamanam.
1i (C.72; K.XXHI.68).
73 (C.73j K.XXIIL69).
f HE NATYASASTBA
432
except
XXV.
to
gods or the
man whether he
71
men
Courtezans
74.
is
they hated
was dear
and
man
to them, appears to
seeing
him
good many
Hence
77.
women one
after
if
she already
if
if
he
wicked,
is
has none.
simulation
of [proper]
feeling
their
colour.
understanding the
want
feeling or its
Love (Mmatautra) 1
in
methods men-
the
even
qualities
their eyeballs
up a pleasant
be well-behaved even
faces put
[giving
before,
to be possessed of
On
it
[To them] a
him
Union
just as
with
women
This
is
method of dealing
the traditional
80.
This
followed by
the
is
This should be
utilised in
suit-
method
the
of
Now
experts.
dealing
listen
with courtezans to be
about the
Special
Re-
presentation.
XXV
of Bharata's Natyasastra,
Manners.
74 (C.74; K.XX11I.70),
75-76 (0.75-76; K.XXIII.71-72).
77 (K.XX11I.743).
'
C.
omits
tltis
passage
which
is
varinnt of 65 (K.61).
78 (C.77; K.XXIII.74).
80 (C.79;
K.XXUI.76).
79 (C.78; K.XX1II.75).
merely a
CHAPTER TWENTYBIX
SPECIAL REPRESENTATION
Special Representation
L
to
The
peculiarity (mfasa)
which
is
known
required]
[is
Words
as the
etc
1
,
Special
from
time
(citrahhimyay
Day, night aud season
To
24,
seasons
planets,
the
morning and
indicate
following
gestures
slightly fixed,
is
expanse of water,
stars,
etc.
evening,
with
one
directions,
is
to
make
Pataka 2 and
With same
5.
gestures
of the
To
one
is
1 (C.lj
syeha.
C).
Ag.
KXXV.l).
(p.
Aiigudyabhinayasyaiva,
But
the pictorial
to hint at
and
use of gestures
XXIV.
"
fa'ft
may bo
v%\\
K.XXV.2-4).
6 (C.6;
(Aiigubhinayana-
discussion on
the
justification
this
effect of the
explained
as
K. reads 3b
ww jw* ^("Oft*
3
5 (C.5;
and
and horripiliation.
direct or
citralvam
indirect
abhinayasaya,
1 note.
2-4 (C.2-4;
and 4 as
etc.
Sec NS.
to-
to indicate [objects]
on the ground.
(i.
smell,
is
K.XXV.5).
K.XXV.6).
'
;,
<i
As described
as
^j *m\ -wrati
above.
etc.
THE NATYASASTRA
494
Thc
To
7.
And
7-
sun, dust
XXVI.
smoke and
one
fire
cover
is to
8.
is to
upward
be indicated by looking
sun by a represen-
Pleasant objects
To
0.
indicate anything
the
pleasant
touch
is
use
to
of one's
horripilation.
Sharp objects
111.
And
touch of
of sharp
things
to indicate
one
nature
is
to use
ono's limbs
Deep and
11.
To
feelings
one
of pride
and
is
exalted feeling
of
and exalted
with deep
the
conceit.
To
indicate a necklace
To
a
separate them from the Svastika
The
13.
in the place
is
to
thread
is
position.
idea of entirety
of "entirety" one
to
is
the index finger, look round and press the Alapallava hand
move on
1
.
To
indicate anything
audible or
whether
visible
to,
or
to
it
anyone
re-
else,
7 (C.7:
K.XXV.7).
'
Rajo-dhitmanalums
latlut,
C.
(rajadharma-
KXXV.8).
ll(C.ll;K.XXV.ll).
12 (C.12; K.XXV.12).
1
(C.13;
K.XXV.13).
14 (C.14; K.XXV.14).
(0.9;
!>
K.XXV.O).
10 (CIO;
K.XXV.10).
"SceNW. IX.88-91.
N. IX. 46-52.
See Ntf. IX.90.
-XXVI. 22
SPECIAL EEPRESENTATION
Lightning, shooting
15.
stars,
495
etc.
fire]
and.
Repugnant objects
To
1C.
indicate
practice Udvcstita
andParavrtta(
Parivartita)
Karanas
of
is
to
hands
To
17.
etc.
heat from
sky, warding
should
be indicated by
in the
form of a Svastika.
off
face.
etc.
18.
the
holding
Worshipping superiors
To
19.
superiors
(jit-nt)
[muklia]
hands.
Numerals
2H-21.
fingers
[of
equal
number].
should be indicated
to ten
Multiples
of
and
Any number
general
with the
along
includes
above ten
hands.
it (?).
]5(C.15;K.XXV.15).
16 (C.16;
K.XXV.16).
'
See NS.
IX 208.
NS. IX.210.
17(C.17;K.XXV,17).
18 (CIS; K.XXV.18).
19 (C19; K.XXV.19).
3
21(C.21iK.XXV.21).
'
'
by
hundreds and
tens,
20 (C.20; K.XXV.20).
22(C.22jKXXV.22).
THE NATYASASTBA
49G
Umbrellas
23.
1
,
XXVI.
23-
etc.
any
staff.
Memory and
Memory and
24.
dicating
left
meditation etc.
should be represented by
meditation
downcast eyes,
attention,
slightly
in-
the
Height
25.
Hamsapaksa 3 on
by the
should be indicated
making
through
offspring
the
head
representation
Udvahifa
of
The
2(i.
is
to be indicated
left
words
listened,
the
head.
The autumn
Autumn
27.
sure of
all
the
directions
and a view
of different flowers.
The
28.
superior
should
be indicated by the
their limbs
20.
early winter
fire
narrowing down
indicated
clicking
by the
inferior characters
and trembling
(sltkara)
of
23 (C.23;
K.XXV.23).
>
chatra K.
24 (C.24;
KXXV.24).
>
K. reads 24b
as $fo
25 (C.25;'
[citra. C.)
K XXV.25).
'
SeeNS.VIlL27.
2G (C.26; K.XXV.26).
27 (C.27; K.XXV.27).
29 (C.29; K.XXV.29).
K. reads
'
this
hutc, 0. {irante-K).
>
See
28 (C.28; K.XXV.28).
IX.46-52
-XXVI. 30
SPECIAL REPBESENTATION
The
;)0.
superior characters
manner
due
if
497
may sometimes
also
indicate
condition.
The winter
One
31.
smelling
of
the
indicate
to
is
wine
drinking
flowers,
by the representation
the winter
1
and of
an un-
feeling
pleasant wind.
The spring
The
32.
spring (vnsanta)
is
to be indicated
enjoyments and
festivities
of various flowers.
The summer
The summer
33.
heat of
of the
sentation
to
is
the
be indicated through
earth,
fans
wiping
the
repre-
and
off sweat
The
:)k
(lie
The
rains
representation
Kadamba,
the
of
to
is
the
be indicated
Nimba and
through
the Kutaja
1
.
35.
night
in
the
rainy season
(he loud
should be indicated by
falling
showers of
rain,
Seasons in general
30.
activity
or
scenery which
desired or avoided
(lit.
is
proper to
undesired) in
it
costume,
the sign,
or whatever
is
[specially]
it.
30(C.30;K.XXV.30).
31 (C.31;
see
33 (0.33;
K.XXV.33).
34 (C.34; K.XXV.34).
35 (C.35;
'
K.XXV.31).
K.XXV.35).
36 (C.36; K.XXV.36).
Emend madhudattant
into
madhupamd;
32 (C.32; K.XXV.32).
^'javijanaUt,
'
'
K. (mvijamth,
K. reads 34b
as iftna:
varsMtram,
0.
C).
*%m:
etc.
(vanarambham K.)
THE NATYASASTKA
498
who
37--
37.
cated
[XXVI.
as being
The
presentation
the
of
who
are afflicted.
States
1
States (hhava)
The
38.
full
should
be indicated by
the re-
indicated
(lit.
of Consequents (amihhara)".
The Determinants
Acts connected with the Determinants should be
39.
presented by
own
self,
re-
relate to
relate
to
an
10
a relation
is
father's
called a
companion [sakha),
side
Determinant 2
The Consequents
41.
him presents
offering
words,
is
called the
37 (C.37;
to
{anjluja)
him 1 by
rising
from the
seat,
by
Consequents (anubhava).
KXXV.37).
yatharasam,
frajuiijitu
C.
(dariayed
viraAanuan'K).
38 (C.38; K.XXV.39).
g<3^M<j
Hfritf^r:
i\
fapermcatcd with
wrajwft
frwm
NS. VII.
1-3.
it).
K. reads before
'
j^rfj
ivm:
WJWjipJI
this
the following
mi%
(He who
in the t"xt
'
Ag.
(p.
n.
For
the def.
is
fr
imbued
everything
:
fwitwri
of bhava see
491) reads
utmamibhamnam
for
n tw-
40 (C.40;
2
<wf?t
39 (C 39; K.XXV.-10).
'dnwhhinayanam
OT
This
is
K.XXV.41).
41 (C.41;
Ag.
'
(l.c)
seems to read
many
imiya
for avedya-
States.
K.XXV.42).
'
One
-XXVI. 50
42.
SPECIAL REPRESENTATION
Similarly
in other
cases
also,
499
from an observation of
[also]
is
called a Consequent.
44.
men
as well as
women.
40.
[also]
(lit.
men
efforts
be characterised by
should
patience as
Women's movements
48.
should
Ayata 2 or
States in special
47.
the
may
postures
woman
men
Women's movement
of
of limbs
movement
of these
should
Meanings of words
49.
differently
I shall explain
them
made
detail in
in.
One
[other's] body,
42 (C.42;
by smiling eyes as
KXXV.43).
43 (C.43; K.XXV.44).
45 (C.45; K.XXV.46).
44 (C.44; K.XXV.45).
2
47 (C.46; K.XXV.48).
48(0.47;
hemistich.
KXXV.49).
well as by horripilation 1 .
Sec
'
1 K.
N& ibid.
N& lV.170ff.
See
adds
after
46 (K.XXV.47).
this
one
additional
49 (C.48; K.XX.V.50b-51a).
50 (C.49; K.XXV.51b-52a).
x talAollukasam,
K. {tathalpakathw^h
NATtASASTBA
THfe
500
51.
An
[XXVI.
51-
actress
Anger
One should
52.
by upturned red
indicate anger
women
Jealous Anger of
53-5 k
by
indicated
Jealous
Anger (irsyaJcmlha)
tearful
eyes,
of the
touching of
knitting
fingers,
biting
eyes,
leaving
the
keeping
lips,
silent,
garlands
of
should be
chin and
eye-brows,
of the
women
of
the
Men's sorrow
55.
be
indicated
by much breathing
Women's sorrow
Women's sorrow
56.
beating
sighing,
[the
be
indicated
by weeping 1
falling
striking
from
the breast,
should
tears
Crying 1 which
of
women and
has
been mentioned
of the inferior
before as
arising
applied in case of
male characters.
Men's fear
58.
(mnlihriimii),
and
of
dismay (wheija),
and the
Women's
59-(ii).
'
Women's
fear
((.'.54;
K.XXV.56b
mdilaih Uasanaih,
57 (C.56;
be
indicated
by eyes with
^ See
M.
XIII.] 57-170.
57a).
56(0.55; K.XXV57b-58a).
'his, G.
weapons [from
52 (C.51; KXXV.53b-54a).
of
fear
should
51 ((150; K.XXV.52b-5Sa).
fall
like.
K.).
K.XXV.58b-59a).
'
ruditam, K. sahitam, O.
58(C.57;K.XXV.59b-60a).
59-60 (C.58-59; K.XXV.60b-62a).
-XXVI,
SPECIAL BEPBESENTATION
67.]
moving
eyeballs, throbbing
for fear
(lit.
heart), looking
terrified
501
their
someone
for
them,
to rescue
close by].
Women's
Intoxicated
61.
Intoxicated condition
conditions
Adoption of gestures
which have
intoxication)
(lit.
to
form)
(lit.
of
such cases
in
Women's
62.
uttering
eyes,
of irrelevant
rolling of
of limbs.
&.\.
followed
rules to be
men's or
in
a theatrical pro-
to
be
64.
made
graceful (lalita)
control (dhairyu)
and that
women
men endowed
of
are
all
with Self-
65.
indicated
by two moving
birds
these
like
are to
be
Big birds
But
66.
are
birds
naturally big
Angaharas
are
like
peacocks, cranes
to be
indicated
the
like
them] 1
which
1
.
67.
and swans
-Asses,
should
camels,
elephants,
be indicated by
etc.
tigers,
(J aits
cows,
buffaloes
and gestures
and
[suitable to
61 (C.60; K.XXV.62b-63a).
62 (C.6l
63 (C.62; K.XXV.64b-65a).
64 (C63; K.XXV.65b-66a).
K.XXV.63b-64a).
65 (C.64; K.XXV.66b-67a).
66 (C.65; K.XXV.67b-68a).
'
K. reads 66b
'
K. reads
as "rarsffeTwfafircfaiteT:
toWh:.
67 (C.66j K.XXV.68b-69a).
this as follows
wt?
Jftsro-
THE NATYASASTBA
502
[XXVI. 68:
08-69.
when they
Bhiitas,
Pisacas,
and astonishment 1
When
70,
movements
are to
making obeisance
by [the repre-
should be indicated
visible they
Kaksasas
by the Angahiiras.
be indicated
them and by
to
70-71.
cated
man when
Greeting a
he
is
invisible is to be
indi-
raised from
the side.
71-72,
be indicated
etc.
the Katakavardhamana 1 or
by
and ladies
(ytini),
is
to
Kapota baud 2
the
obeisance
appear
to
A
A
73-74.
indicated
crowd and
greet
by means
of the
trees are to
Mountains
in
be indicated by
rogues are to
be
trees etc,
tall
tall
Wide expanse
75-76
and
Mountains and
74-7,").
friends etc.
of water
is
to be
by
indicated
K.XXV.69b.
^68-69 (C.67-68a ;
*nr*fififiRHr *ra*<fliufo.
70-71 (C.69b-70a
71-72 (C70b-71aj
70b-7ia).
69-70 (C.68b-69a
K XXV.73).
'
K.XXV.74).
K. adds
;
after
68a the
KXXV.72).
N. IX.129.
(C.73-,
'
K.XXV.77).
sugammbhasam.
>
Emend
sogaramnatwm
into
XXVI.
pride,
SPECIAL BEPBESENTATION
83
503
77-78.
breasts
distance
indicate
will
the
anything
A
78-7!).
at a
house, darkness,
a hole or cave
is
to be indicated
palms upturned
their
70-80.
of
some
sented by [suitable]
movements
80-82.
of
strings.
It
swing
will
their
seats
moving
by acting
is
after
[just
of the limbs
like
this
(lit.
representing
now speak
T shall
and
{iii>nrar!ttil,v)
appearing in
not close by,
(lie
holding of the
that
the
moving
will
be taken
as
"Concealed
distance
someone who
called
is
Read ^riSt
C,
"Speaking to
(a'nunjitttt),
person
or
omits
indirectly addressing to
or
not
is
This
77-78 (K.XXV.80).
this,
'
NS.IX.8C.
slightly corrupt.
is
Head 78b
as
^ungtfiHwft wdl
K.XXV.8J).
82-3:? (C.79;
K. reads 80a
as
li ftm
TO t * M\ mi
K.XXV.86b-87a).
83-85 (C.80-81
K.XXV.87b-89a).
s? wnqifo *raw
(Ag. p.
'
WKct:.
<?tSh
and
then)
a swing]
fafal
in a swing.
Speaking"
repre-
swing
should be
82-S;;.
the
fever,
of their face
movement, agitation
its
mind by
-193).
f?
*wrawnft(&)fflft s^sfn
wrfw-
THE NATYASASTRA
504
mode
present [the
of speaking will
means
of
related
replies
causes) which
may
85-
by
various [imagineryl
to
XXVI.
questions
(lit.
a
.
Speaking Aside
When overwhelmed
85-86.
madness,
fit
of passion
repugnance,
fear,
called
(lit.
heart),
((ipararitaha)
related to secrecy.
is
87-88.
When
[supposed] not
hear what
to
spoken to
is
someone
Address (janantihi) 1
this
else,
self
heart) which
(lit.
and [which
feeling'
is
indeed a kind
is]
Words
in
00-01.
AVhen one
to speak
K. reads rasMuzia".
8.1-86 (C.82a;
follows
is
KXXV.SOh-sKi).
ifasfas'tois'T'nTOqrfe'fi:
Rend the
'
lirst
three heiiiistichs as
rweft^istfavntilsfq
i*ft
wm'
vfi
Tn aspH!rafwJt.
87-88 (C. 82b-83;
tika
K.XXV.
01a-93).
'
It is
stage Ag.
sftra *<ft
And
(p.424)
quotes a view on
i to
swl^rcjt
all
their distinction
Bvwfwln ft^t
iit
qsrfl'faraN faf
this
bkavastham C.
90-91
{bhtivavrixhd,
KXXV.93-M).
(C86;K.XXV.95).
K).
,'
fit
follows:
warj
arftnfti gim.
ramfsTOH
in well
*lftrthin-
with the
in
^IflHT'firar'
as
'
-XXVI. 95
SPECIAL KEPBESENTATION
avoiding repetition
earlier, for
spoken in one's
resort, to
which
will
should
be
(lit.
mistake) [among
this
ears.
90-91.
60S
[relate
1
.
and Private
(apavaritaka)
Speaking
Concealed
91-92.
Repetition of words
Words which
92-93.
are
words such as
me
"let
calamity,
done",
"well
"tell",
and "speak"
go", "no"
1
.
Suspension of representation
94-95.
or
Distorted
[in
for explaining
a play]
them
(lit.
for
2
.
The
is
1
.
The
qwfa
(0.
ill:,
K.XXV.96).
^fr*ft* tfoffiir-niTfasrwinnroiii^
m>{
for
Cf.
DR.
1.
niq
C. *iw:, K.
mm
for
65b; BhP. p.
219,1. 21-22;
p. 61.
if%
K.
trans, is tentative.
91-92 (C.87;
it
and similarly
(C86jK.XXV.95).
Road
Ramq^naTOegarii
VW(j.
proper to a superior
is
90-91
which
(bltava)
State
'
ilia.
pin^^ft
K.
reads
93b as v\wi\
*.
94-95 (C.90;
hgrhitam, K.
K.XXV.114).
'
laksanakrte, C. laksanakrtas,
95-96(081; K.XXV.118),
64
K.
THE NATYASASTBA
606
By means
90-97.
arise
[XXVI.
96.
of different States
inferior characters,
a play
will attain
No movement
(lit.
07-98.
speech
(lit.
of
As
in the
1
.
Declamation in sleep
98-99.
should- proceed
wilth
slow voice
their
on the
words
[sometimes]
indistinct
it
in
should be
it
and sometimes
99-100.
faltering voice
and dropping
of syllables
and
Children's words
that
of children
should
which
Dying declamation
100-101
should be
made with
syllables
speech-organs (karana)
tho sound of [small]
should
it
and
bells
it
101-102.
is
To
indicate
K.XXV).
Read bhwarasair atmacesVkamutthiiair
K. cestasamanvitah, C).
96-97 (C.92;
(.Uavacestair,
97-98 C.93;
follows:
'
K.XXV.97).
iifipt nTwfoaifiwft
'
i i?f totok:
to have been as
TOrftnrcpHra 3
vmv:
etc.
98-99 (C.94;K.XXV.98).
nasimyuklam, Z.
'
asamapataharam, C. but
asfatrtavar-
Read
the
passage
as
Mow
XXVI.
108
SPEGIAA BEPBESBNTAWON
S07
Representation of death
102-103.
Kepresentation of death
conditions will
different
sometimes
it
by throwing out
indicated
is
and sometimes by
which
may
be of different nature.
a paralysis of
all
the
hands and
of all-the limbs 1
movement
from
arise
[For example]
feet,
103-104.
represented
by an occurrence
imperceptible
movement
of
of hiccough,
of limbs
disease
[hard]
should be
breathing
and
104-105.
of the poison
the
to
feet
quivering
action of the
[different]
The
general weakness
burning
The
105-107.
the body,
of
fourth
the
sensation,
stage of
first
the
action of poison
second
the
hiccough,
is
the
the
fifth
mouth], the sixth breaking of the neck, the seventh paralysis and
the eighth death
1
.
Weakness
107-108.
belly
lips,
[general]
Weakness
of
arms
will
represent
1
.
Tremor
108-109.
Tremor
(oepatlm)
should be
represented
by
^>W^f*fl
ijjfct
feet or
vvi nrfW
etc.
108-103 (C.97b-98a;
C.
K.XXV.102).
Read smiuis
'
tatha
fatraih
103-104 (C98b-99ajK.XXV.103).
anftjSt
3 tro*
ftwim SnJJtol.
'
K.
reads
dhMalake, E).
104a
as
Mows:
K.XXV.107).
Eesdiariya, SJJtarya.Q.)
faavistatarake, C.
108-109 (C.103bc;
K.XXV.108).
<j>rmd-
THE NATtASASTBA
508
XXVI.
109-
Burning sensation
109-110.
entire
Hiccough
110-111.
vomitting, convulsion
re-
(tilciepa),
Froth (phena)
110-111.
mouth]
the
[in
should be
licking
movement
re-
the corners of
of the eyes.
111-112.
by
inaction
of all
1
.
Death
113-1
of
disease
H.
or
snake-bite
it is
due to a growth
down
of
the eyes.
114-115.
should be com-
'
K.XXV.110).
>
K.XXV.U2).
C.
*wq'li<ra1fijw fwnwiWtamr.
112-113 (C.106bj
as follows!
<3w\wi$m: w^HhVifaifaw
'
<snTsffcw"l
fatatrasMlm
K. reads
113-1U (Cl07iK.XXV.ll8).
114-115 (C.108; K.XXV.119).
-XXVI. 123
SPBOIAL BEPRESENTATION
[representation
of]
509
and
should be
ideas]
General directions
115416.
by gestures
116-117.
similarly
States.
prescribed
1
should be
rament
till
he makes an
Now
117-118.
tation to be
here by
me
exit.
Things omitted
Gestures.
The
The
118-119.
triple basis of
people,
the
1
.
drama
faculty
spiritual
The drama
is
last
the adhjatma).
119-120.
and the
spiritual faculty
origin in
its
122.
When human
Hence
it is
121.
the Vedas,
character with
it is
on the drama 1
sages, kings
drama 1
as well
States
is
123.
Thus
the events
(mda)
relating
to the people
in all
11H16(C.109;K.XXV.120).
116-117 (C.110;
K.XXV.121).
'
rahgapramttuya, C.
for
rahga-
firavrttasya, K).
117-118
star npff
(CHI; KXXV.122).
wfort
K. reads 117b
118-119 (C.112;
Bfii.
'
S<*
K. omits
N& 1.
as follows!
<n#S
K.XXV.128).
120b.
120
TSE NATASA8IflA
510
different
their
play,
be
(lit.
Whatever
may
conditions,
called) as
125.
laws,
Sastras,
human
Drama
{natyaveda).
and
arts
usage {lokadharma)
activities
may
are
be produced
a drama.
feelings
126.
[XXVI. 184*
by
drama
activities
of
the
(lit.
and on
their
the $astra.
dispositions the
and
cannot bo formulated
different
dispositions,
rests.
(in-ayohtr)
127.
feelings,
128.
may
nic Representation
and applies
in this
it
drama (natyatattva) as
on the
stage,
[in his
receives
practice
the
Histrioin this*
the theory of
to
129.
attention
gestures
in dramatic
undertaking] 1
An
and Gestures.
production
XXVI
of Bharata's Natyasastra
126 (0.119;.K.XXV.130).
127 (C.120).
128 (C.121;
'K.
omits
KXXV.131).
129(0-122).
K. omits
this.
-
this.
CHAPTER TWENTYSEVEN
SUCCESS
I shall
1.
m DRAMATIU PEODUTION
now describe
(lit.
The Success
2.
is
1
.
of Success
[in
from Words,
it
and which
of two kinds
is
relates to
divine (daiviki),
3.
human
the
and they
and physically
[Success] has
ten features,
(i. e.
expressed
vocally
(vahmayi)
(iarlr'i).
sive
Laughter (aifea)
'how pathetic'
swelling
(l-atiam),
(smita) 2 ,
Slight Smile
4.
3
,
Success
expressed
vocally
(rahmayt).
Joy expressed
($aromancapulaka),
horripilation
in
1
the rising up from the seat (ahhyuttharn), and the giving away
1 (C.
K. same).
'
This chapter
discusses
the
appreciation
of
2 (C. K.
same).
'
(C K.
same).
5 (C.
K. same).
traits.
These
three
3 (C.
constitute
the
K same).
'
above.
XXIV.
Sec Nd.
Basic Representation.
and cultural
vak-satlvahga.
to be
See note
l
The
above.
age-long
spectators on
custom
being very
in India*. was
highly pleased
that the
with a
THE NATYASASTBA
512
of
clothes
XXVII.
G-
When
actors
Sentiment
slightly,
should
spectators
When
they
(i.e.
the actors)
clear,
some
artifice (iilpa)
should always
be received
by the spectators
and
virtue
endowed with
excellence,
Similarly,
uttered
by the
Erotic,
the
Sentiments.
11.
with tears
But in the
"how
should always
Pathetic
pathetic".
And
be a tumultuous
Sentiment they
in cases
should
utter
Astonishment there
of
(pravrddhanada,
applause
lit.
swelling uproar).
12.
K. same).
NL.
2289f.
See note
kmcic-chlida, C. kimicchisift,
way
above.
K.
7 (C.
K. same).
8 (C. K. same).
8
throbbing
(lit.
1
curiosity has been evoked
'
'
2.
vidusakoccheka, K.
mdwakouheda,
9 (C.
Z. same).
dharmapada", C. garvapada", K.
.10(C.K. same).
12 (C. E.
same).
11 (C.
'
The
K. same).
trans, is tentative,
C.
-XXVII. 19
and piercing
cutting
[of
limbs!
fight,
portentuous calamity,
it
clever
13-14.
013
should be received
up [from the
seat,
terrific
by
the
and with
This
15.
is
Now
expressed.
human
listen
gets
which I
am
Success
going to describe.
The
The Success
16.
[clearly]
When
17.
to bo'taken
is
[in
[display] of the
excessive
divine Success
there
is
no
(daivi).
no disturbance, no unusual
noise,
is
called divine
is
1
.
18.
the spectators as
kinds
Blemishes
9.
[that
varieties of the
human and
divine.
speak
hereafter
of
(deva).
from gods 1
coming]
known by
Success to be
I shall
common "human"
'
This ''human"
modem
aspects
theatre.
of
They
arc
a dramatic per-
formance.
16 (C.
K. same).
'
performance.
17 (C.
spectators
K. same).
who
The
of a dramatic performance
65
K. same).
See 20 below.
"Gods" here
means
the.
'
source
of various
THE NATYASASTBA
514
of
XXVII.
20-
it is
20.
fear
[strong] wind,
rains,
fire,
Blemishes
21.
created
by
enemy 1
an
are
round
all
and stones
22.
enemy]
or receiving
bribe
from the
latter
(arthabheda)'.
23.
falling of
Self-made Blemishes
now
shall
describe
the
actors
themselves (atma-samnttha).
24-25.
Their
acts
of
gee below 21 . 22
20 (C. K. same).
21 (C.
' The
same).
rival groups of actors who contested
for
rewards from their patrons, became enemies to
one another ; soc below 72ff.
3
This kind of improper and dishonest acts
sometimes occurs also
now-a-days in meetings supporting candidates from
rival
political
parties.
Human
was
2.
even to bribe
23 (C. K.
arising
from
same).
an
It is possible
appearance
of
that
due
these natural
to superstitious fear
phenomena
confusion
'
Ag.
(p.
-XXVII. 28]
of
memory
[actor's] cry of
ornaments, defects in
i.e.
want of proper
off of the
the
(anyaoacam
distress',
falling
515
much and
much
crying too
will
26.
will spoil
27.
should be disregarded.
[of
the
and the
actors]
wrong playing of the drums will [however] wholly spoil the Success
2
.
The two
28.
production of a play
in the
(lit.
Nadika 1
Ag.
(I.e.)
explains this as
paihatiti anyavacanam.
'
Ag.
(1.
c.)
hi chadmana pradarsanad
asiddhik.
'
26 (C.26b-27a;
K.26b-28a).
'
in
his
text pipilikarnikscpa.
27 (C.27b-28b; K.28b).
comments on
wtaifti
winawr
2
ii <tf
509) reads
(p.
*ftonmnw
tjinronfl:
mumrhiifinpirq 5
*rclfa
it
as
pam-pravem and
sroitfirc'l'i
v?wnfa
Ag.
'
E. omits 27b.
wnfiwnn *ra w w%
m nfiWH, etc. Natlika (text
XX. 66 noto 1. The ancient
t i??fta
a measure of time.
See NS.
mfa*ii{ fawrafanfeiifcraT Si
is
(p.
fafafarara
fliJnratifaij<iiviflfa.
28 (C.29; K.32).
nalika)
Ag.
'
as follows
it
flwmmmaHsg^aramt:
ilftwu
(See AS.
II.
troi
20
also
its
it,
bottom.
wns'irfaif * srarai
AS.
Time required
for the
a nwlika
(naili),
was known
notes, p. -27
).
as
m%v wfa
Here nwlika
measuring time.
On the
is
ra^ *i
used in the
necessity of
explanation does
THE NATYASASTBA
516
XXVII.
29-
are
Palpable
wrong use
(lit.
defective
repetition,
large)
use of
sources
of case-endings (cMaklibhala),
of
Blemish
in a play
(ammm),
compound words
incoherent
faulty
use of three genders, confusion between direct and indirect happenings (in-atynlcm-parolm-sammoha), lapse in metre,
interchange
31.
(cisvara), of sweetness
registers
a play]
the stopping
the music of
(mok&a,
drums 4
33-30-
lit.
musical
rules
hard
(lit.
giving
2
taking)
and
beauty (rasa) 3 of
the
Omission due to
loss
memory, and
of
putting
on ornaments
defective
wrong
in
on any ornament
1
,
want
of
of
of voice
Non-observance of Sama,
32.
and ignorance
will disturb
of
or
'
29-30 (C. 30-31, K.30-31).
Actors and actresses at the time of the
NS. usually being speakers of Middle Jndo-Aryan (Prakrit) and not trained
declamation.
(actor) iu
P9W;
Hence
is to
bo
justified the
in trans, is as follows
Where would
31 (C.32; K.27).
see
couplet
'
humorous
WWifiromsTO'^W s
lift
and
have gone
and physicians
terms
N8. XXVIII.
32 (C.33; K.29).
Read rasam
1-3
for
of
music
XXXIII.
(C.31-37; K.33-36).
Read bkusanagmham
for bhusana".
-XXVII. 41
517
wrongly holding or
general],
[in
Kusa
(cdyamt),
up of the fire-wood
(darbha),
grass
but they
sacrificial
ladle
(iruc)
sacrifice].
An
expert
dramatic
in
not
"total"
record
production
should
record
[merely]
the
Success or
the
The
many
total
Success or an
all
But a matter
ways.
affecting
down
achieve in due
of timing
{nftfikasiddhi)'*
and
Wrong
40.
When
Benediction
wrong god
Interpolation
When
Read siddher
ghlilai ca for
K. reads 37b
38 (C.39).
a Blemish
is
the
composition of
one
K. {cirprayoga, C).
cirapraveio,
Read na
anyone interpolates
37 (C.38; K.37).
2
to be recorded
41.
foolishly recites a
it is
for siddhair, C.
na ghatasya,
K.
differently.
'
and siddkya, t.
C. vidhano va,
C).
K.
gives 38a
in a mutilated form.
39 (C.40; K.39).
40 (C.41; K.40).
'
Read
40a, as
3\%m V* f tI#W
41 (C.42).
<!%
W8
THE NATIASASTRA
518
Blemish 1
When
42.
interpolates
anyone knowingly
in
recorded by the
be
also to
is
42-
being
it
definite,
(lit.
name
(lit.
it
[XXVII.
another author
of
1
.
When
-13.
Limitation of
Who
14-
perly
(lit.
all
eager)
human
enough
mind
in
45.
efforts in
laid
down
to
a play
is
or keen
same
[regarding the
[construc-
Or who can
[claim to]
be bold
understand pro-
which have
And no
40.
to all persons
play
(lit.
1
.
nothing) can
be devoid of
any merit
This seems to show clearly that theatrical Directors did not hesitate
sometimes to insert passages taken from one play Wright's work into that
of another to
42
the
add to the
(C.43).
name
of
this it appears
K. omits
this passage.
practice of putting in
that the
the
name
From
'
in dramatic
works
the
K. does not
ascribed to Bhasa.
have
this passage.
43 (C.44; K.41).
From
appear that the rules laid down in the Sastra were very scrupulously
followed, or
it is
linguistic
of different
development as well
44 (C.45; K.47).
tively lay
precise, for
down
many
all
'
45 (C.46; K.43).
One
should
mark
many
'46(C.47;K44).
made very
clear
and
fluctuating factors.
See NS.
Vcdas and
XXVJ.
118-120.
-XXVII. 54]
or totally free
from
made much
47,
careless about
ance
States
2
,
1
.
reason] be
about
as well as
minor import-
of
Sentiments and
[minor]
dance, vocal
same kind
of the
production of a
in the
faults
of
non-essential)
(lit.
Hence
faults.
519
48.
Success.
shall
(prekmhi,) 3
of
advanced
in age, proficient in
by parsion
unaffected
musical
drama
expert in
dialects,
limbs,
the four
playing
the
Costumes
Histrionic
acquainted
instruments,
with
in
different
arts
and
crafts,
53.
senses,
a drama
(lit.
expert in
the
detector of faults
and have
made
are
fine
spectators
is
honest,
kinds
spectator
birth, quiet
alert,
49-52.
impartial,
hereafter
and appreciator
is
characterised by)
discussion of
unruffled
and cons,
pros
fit
to be
a spectator in a drama.
He who
54.
attains gladness
is
This
sorry
considered
is
fit
and
feels
miserable on
to be a spectator in
a drama
seeing
him
1
.
47 (C.48; K.45).
'
nepathye, K.
nepathyaih, C).
48 (C 49; K.46).
'
'
53 (C.54; K.51).
54 (C.55; K.52),
'
THE NATIASASTRA
520
in
one single
And
spectator.
(lit.
men)
in
because objects of
of life is so brief
XXVE 55-
known
are not
55-56.
the inferior
to exist
knowledge, are
common
to
appeciate the
Hence an
57.
dered
fit
individual
whom
to
particular
dress,
Various
are
Different
58.
young and
who may
old
classes of spectators
of
dispositions
the
of]
a drama
rests.
59.
Young
doctrine
1
,
reference
to
money
the seekers of
some
presentation
[the
see
(moha).
GO-61.
in the
common] women,
of]
[religious or philosophical]
children and
and
the*
uncultured
and
And
[the
men (murkha)
are
of virtue.
tales
Sentiment
Odious
battles,
and
[remarkable]
Thus
the
man who
is
of the
fit
to
assume a particular
can be considered a
latter,
62-61
with a drama.
But there
being any
'
57 (C.58j K.55).
(mmghana)
59 (C.59b-60a; K.57).
60-61 (C.61; K.58).
in connexion
controversy
'
i
samayasrite, C. (samayawile,
K. omits 61a
This
is
K).
XXVII. 70]
521
an expert
an expert
(rajan),
{vdya),
courtezan
expert in sacrifice
[representation of]
in
tion
dealings with
in
is
and other
the
acts,
courtezan
the enjoyment of
(svara) and
officer
an actor
in general His-
complicated
in
harem and
the
metres,
royal
in
(lit.
the pose
at the root of
are
be an Assessor
will
love,
wearing clothes
of
and a musician
Time
observance
a king's
roles,
and a painter
prosodist
a lengthy declamation, a
[personal] dignity,
own)
a king
(citravU),
painter
be an Assessor in the
will
(yajntujoga),
sacrifice
Representation,
grammarian
(isvastramt),
(iabdavit).
(gandharva) and
musician
An
64-68.
trionic
grammarian
{rajasevaha).
his
archery
in
an actor
sacrifice (yajnavit),
in
relating
to
and an
{tola),
dramatic produc-
in matters
of the king in
officer
showing courtesies.
of a dramatic performance.
When
69.
there
is
controversy
pronounce justly
to
individual actors]
whom
1
.
the
among
the persons
the
persons
named above)
the
as well as
faults
Then they
e.
merits [of
be known as Assessors of
will
When
70.
there occurs
64-C8 (C.65-68).
69 (C.69).
judging a
'
The
(lit.
Emend
down
in the
Sastra)
'.
in.
(i. e.
fail
who
This passage
is
wanting in K.
traditionally
66
be made on the
Sastra).
to.
compiled
refer to
in
books.
K,
omits
thfo
THE NATTA8ASTBA
[XXVUn
71.
of mutual contest at
desire
[winning]
money and
masters or for
In
72.
course
deciding
of
a controversy
The
to the stipulation
award
of] the
made {pamm
without
one
any
should
partiality.
krlvn)* [beforehand}
Recording of Blemishes
73-
the help
who
is
(ganahi) by
of reckoners
[generally] relied
persons
these
clean intention,
{i.e.
and whose
Assessors)
intelligence
74.
it].
(six yards)
it.
They
Blemishes 1 which
may
duction of a drama.
Blemishes to be ignored
76.
Blemishes which
may
71 (C.71).
' An
example of
mtyacaryas in the Malavi.
be accidental
this
(lit.
caused by the
is
72 (C.72).
*
This
>
its
leader to the
award
of the Banner.
73(C.73 K.62a).
;
74 (C.74j K.62b-63a).
K. omits
K. omits
l
this passage.
73a.
Emend preksakaih
75 (C.76.77a; K6Sb-64a).
76(C.77b.78a; K.64b-65a),
'
ghatti ca,
K.
into
for
fimmkaik.
yah kas
ca,
0.
XXVII. 61
cods)
enemy
as the
[observers].
523
relating
[the
the play
to
themselves
actors]
well
as
3
should
be recorded.
number but
78.
If expert actors
are found
in the production of
be awarded
to
first
of equal success
[of
be of equal
to
merit
(lit.
one
whose Success
the
two
greater, or
is
contestants] [the
in case
award should be
for
With an eye
80.
should
with an
at ease
sit
proper judgement
81.
are
well-acquainted
with
unruffled
to the
The Assessors*
daivotpatasamuttha. K.
(lit.
the [measure
take)
(daivolpannasamartha, C.
Blemishes relating to a play seems to be
its
defective
literary drawbacks. It is likely that in dramatic contests choice of
plays brought discredit on the contestants.
"
77 (C.75; K.65b-66a).
7
(C.78b-79a; K.66b).
'
Bead
silent
*
approbation of
vajnaya nrpateh,
*.
C.
>
K. omits 79b.
Bead svasthacittaih
for gurjAdibhih,
Bead gunadadbhih
81(K.69).
variation.
for svasvacittaih
for
Emend pre/ssakaih
K.
K.
vyamharah.samanjasam, K.
into prasnikatl!.
THE NAfYASASTBA
524
of]
2
achievement as well as the slightest of faults
Hence producers'
82.
(paiJiya),
should
know
[properly]
of
Limbs (ahgamadhurya),
and Make-
(gana),
relate
Charm
may
which
plays]
[of
XXVII. 82
up {nepathya)*.
Co-ordination
83.
play in
of dances 2
of the
When
84.
with proper
it is
Co-ordination (sama).
Time
(tala)
called Co-ordination.
The
position
of
Limbs
which
in
the
chest
Charm
86.
mastered
And
by
the
The Success
should
lit.
arising
be
is
2
not bent
the
is
Limbs (ahyamadhnrya).
actors
of
as for
(ta/Ahija)*
discussed before.
Sentiments
in a
arts in course
Charm
85.
is called
made
of different
drums
aspects of the
different
which are to be
(sadhaka) they
have been
music
expressed
all
the
Bead dusanMafam
'
82 (C.80b; K.70).
9
'
'
C. omits 82a).
dusanMasah, K.
prayoktrhhih C. (prayalnalah,
83 (C.81; K.71).
'
'
K.).
anirbhugnam, C. (saniMugnam,
86 (C.83; K.74).
K.).'
dhruvamfyaprayoge, C. (gitavaditratalena,
85 (C-82; K.73).
'
for
84 (K72).
K.).
ganam
and vadyamprakrtayo'jmnam,K.
sec
NS.
87 (C.84; K.75).
XXVII. 97
625
88.
1
.
know
on various considerations
to
Listen
The performance
89.
dawn
in
and the
The performance
90.
in the
afternoon
Time
91.
shall
times
these
suited
are
to
[different]
a performance belongs.
92.
is
is
pure
(mddha)
music,
includes
is
(vilcrta),
93.
it
That which
is
rich
instrumental
in
carries [a
That
94.
Sentiment and
whicli
full
is
relates
of
to
vocal
1
and instrumental music should
the Hero],
relates
basis
(plot)
it
will scare
magnanimity
away
the
to
[of
Thus
of
after
play
looking
one
into
should
89 (f\87; K.77).
correspondingly.
'
Read 88b
it
place
time,
the
bring
about
its
and the
production
contains.
reads 89 as ftf*
the midnight
88 (C.85; K.76)
sleep.
in
"raw*
fo^fafl.
nffl'i*
*m
^ and 89b
91 (C 88; K.79).
92 (C.89j K.80).
x gitasaditrabhuyistham C.
K.82).
9i (C.91;
90 (C86j K.78).
93 (C 90; K.2I).
nrtyavadilragitu(l,hyam. K.
97 (O.M; K.85).
'
95 (C.92; K.83)
96 (C.93; K.84).
SHE NAflrASASTBA
626
XXVII. 98
98.
(lit.
consideration
Proper
09.
Co-ordination
(lit.
co-ordinated
and
actors
production)
capable
of [good]
100-101.
of
Time
(tola)
and tempo
and
arts],
and enthusiasm
music,
vocal
be
will
the
knowledge
and
of the States
acquisition [of
age. curiosity,
retention,
[their]
stage-fright,
appreciation
(laija),
dances,
knowledge
suppression of
an
of
requisite qualities
actor (paira).
An
That
102.
by the
includes
called
is
an
instrumental
good
Co-ordination
as well as
recitatives
Sastra,
performance
idea]
which
of
music,
all
acts
clothes
and
[ideal] production.
Brilliance of Pageant
Use
103.
The
104.
ornament)
rise
to
(lit.
the
Pageant (samnldhi).
According
[of
the
to
best performance
performance] occurs
when
all
these
factors
the
charac-
combine.
105.
Thus
teristics of the
different
you properly
I have spoken to
Now
Success.
XXVII
lit.
of
shall
instrumental music)
of Bharata's
1
.
Natya&tra,
99 (C.96; K.87).
105(G102 ;
K.93).
'
'
'The
surupatvam, K. (svarupatvam
Chapters
XXVIII-XXXIII
different
ca,
C).
which
CHAPTER THIRTYFOUR
TYPES OP CHARACTERS
Three types of character
1.
types
inferior
drama
in a
the
1
.
A
A man
2-3.
in various arts
who has
and
crafts,
controlled
wise,
skilled
brings
his senses,
is
is
and munificicnt,
is
to be
patient
character
is
in
[of
(madhijama) character1
5-7.
is
inferior
anyone
for
man who
harsh in
is
cruelly, is treacherous,
expert in
women, fond
property,
is
well
to bo
words,
known
as
woman
I shall
who
1 (C.lb-2a ;
persons,
and
Cf.
K.
XXIV.
in
stealer of others'
a tender nature,
is
not
fickle
or cruel,
Emend hhagalaha
into bhogadaksu.
86b-88a).
3-4 (C,4b-5a).
'
Cf.
K.XXIV.
88b-89.
5-7 (C.56-7a).
>
Cf.
K.XXIV.
89b-92a.
8-10 (C.8b-lla).
covetous
K.XXIV.1).
'
low-
friend,
now speak
has
2-3 (C.2b-4a).
kill his
the honoured
insulting
ill-mannered,
1
Similarly female characters too are of three kinds
8-10.
as a "middling,
can
violent,
to be
as in Sastras, has
known
male character
ful, indolent,
as
crafts
manners]
An
kill
(nttama)
A man who
3-i
can
as a "superior"
versed
known
1 Read mitaihasinya?
THE NATYASA8TBA
528
speaks smilingly1
obedient to
is
is
XXXIV.
is
11
bashful,
and other
birth,
be known as a
to
11.
woman who
them,
to be
is
known
as a "middling''
An
12.
does
slight
faults
(madhyama)
mixed with
character.
A
13.
The
is
to
known
be
inferior type.
mixed character
A hermaphrodite
mixed
type.
Sakara 1
Jester, the
and
mixed type 3
as a character of the
characters
others like
all
them
in a
which
may
be male, female
and hermaphrodite.
The
15-16.
conduct.
to be of
I shall
Among
four
now
describe their
these [characters],
classes,
to the
controlled
The Hero
is
the
self-
the self-controlled
and
Read gumnam
exalted
vaccine,
11 (llb-12a).
Cf.
K.XX1V.
109-110a.
12 (I2b-13a).
13(13b-14a;KXXIV.10b,10a).
14 (I4bc K.XXIV.ll).
;
samkma
nataie.
dbttamay m,Q.(tatrottamayam,K.)
a
17(C.17jK.XXIY.3).
{dhlro.
.XXXIV. 24
TYPES OP CHABACTEBS
Gods
18-20.
529
1
kings are self-controlled and light-hearted {dUralalita)
cillors
the
coun-
To
of Heroes.
The
20-2
1 .
poetical composition).
of four
fi
classes
courtezan
21-22.
tezans
of high family
may
to
characteristics,
their
(lalit a),
possess
these
all
be exalted and
are
and
internal
characteristics 8
be of
exalted
qualities,
(abhjantm-a) 1
and
{bahija)
(lit.
may
Goddesses
of high family
24.
who
Heroines
of the
woman
(dhiw), light-hearted
self-controlled,
222.'J.
women
now speak
I shall
goddess, a queen, a
works
in dramatic
lour types-:
iidatta)
.Testers.
for characters
two kinds
are of
I shall
now
external
describe
their
-'
syur dhirlalita
nrfiah.
K.(folttas tu
(corrupt)
as follows:
They are
They
to
separation
K.XXIV.5).
couplets
(C.20-23a) which
two
may be
tentatively translated
types]:
And
in his
who feels
Among many
tion,
in
the
multiplicity of)
When
in a play
(lit.
there)
more [male
itto
in "irinnffwait:.
wn wn w$w "'fa
K. omits
67
24b.
We
with K.
fir.
24 (C.26; K.XXIV.12W.
a
Read prakaro
dvividhaij
mrlah
THE NATXASASTBA
630
XXXIV.
28-
25.
is
an external character.
called
women who
They
now
I shall
are the
chief
describe
and
the classes
function of
in the
live
king.
(devl), his
concubines
(hkxjui'i),
in constant
movement
of
(lahcarika),
maidens {himw'ij.
The
The
30-32.
chief queen
chief
advanced
fully
rites
affectionate, patient,
the good
for
of
and benevolent
her
possessed
rivals,
free
ter,
character,
in age, indifferent to
propitiatory
is
is
the
always engaged
is
[royal]
in
husband, calm,
harem 1
Other queens
Those [wives
33-34.
ties
being proud
of
spite
affection
splendid
[many
2
,
of the king]
who have
all
these
of
<;ood fortune,
are
eager for
quali-
who
in
enjoying
of their rivals
and
25 (C.27i KXX1V.13).
26-29 (C.28-31; K.XXIV.14-17). *
p. 289,
1.
11-18.
Cf.
BhP.
ber of wives. According to the Ceylon tradition Bindusara had sixteen wives
(see
K. reads 33b
as
ifar im$i\ i
tfireifatfTO.
'
Cf.
BhP.
p. 290,
19-21,
XXXIV.
43
TYPES OF CHABACrfEaS
631
High-born wives
35-36.
officers
when they
(. e.
by the king
elevated
through
favourite
own
are
merits,
known
the highborn
as
1
.
Ordinary wives
37-39.
physical
age,
is
are
the
violent [in
the wishes
"indolence
of
and
honest, and
rivals,
writing and
in
and are
from anger,
free
and ready
who know
the
painting, follow
their status
sleep,
and capable
[to act]
1
Concubines
40.
modest, affectionate
known
as well-
they are
in high
honour 1 .
Women
41-42.
perfume-making, and
know
all
artistes
know
are
the
different
skilled in
branches
different
modes
arts,
of the art of
of
painting,
known
words],
1
as women-artistes {iilpaharikd) .
Actresses
43-44.
beat (tufa)
Women who
and caesura
(jhiti)
[in
a song],
are associated
with a
35-36 (C.37-38;K.XXIV.23-24).
wftftft ft
'
K. reads 36b
as
wfiwUKWn
sfm. BhP.
40 (K.28).
'
C. omits this.
C. omits 41.
43-44 (CUlb-42).
THE NATYASASTKA
632
known
XXXIV.
young
to be actresses (natahlya)
44-
and beauty
age,
1
.
Dancers
Women who
44-48.
expert in the
are
know
Temperament
of the
(sattva),
playing musical
skilled in
instruments,
bold, free
to
singing,
women
other
all
representation of
and
due to
Maids
king, are
maids
in
pooing,
the art of
making
preparing and
wine and
victuals,
to
known
be
in constant
move
in different
followed in
to begin
it,
with
as maids of special
who knows
and
sham-
Maids
5 1-53.
bed, serving
work (pariearika) 1
work
of special
49-51.
as
constant attendance
in
Maids
who know
known
Women who
48-49.
their
song]
[a
and
to stop
it,
and
strike
A woman
is
X K. reads
between 47a and
7b an additional couplet.
48-49 (C.48a; K.XXIV.35). T C. omits 40a.
49-51 (O.48b-50a). A K'.s reading which
in trans, be as follows
brella,
bed and
wearing
a AS.
o{
seat,
woman who
and looks
after the
is
his
is
is slightly different
will
um-
toilet,
-XXXIV. 58
TYPES
the Yania
indicating]
the [bell
CHARACTERS
Off
known
to be
583
as
(sancarilca).
Errand
Women who
53-54.
commissions connected
be sent [in some
([jresanacarika)
girls
employed by
are
kings
secret
in
girls
1
.
Mahattarls
Women who
54-55.
[from
[singing]
are
and
evils]
hymns
known
for
immunity of the
for the
[the
king's]
prosperity
entire
takes
harem
pleasure
in
[to gods]
as Mahattaris (matrons).
Pratiharis
Women who
55-56.
lated to
various
affairs
lay before
the king
any business
re-
56-57.
Girls
(ratisami/oya)
ful
who have no
and are
[experience
love's
union
modest and
bash-
of]
Old dames
57-58.
character of
all
manners
the
honoured by them
of
the
departed
of the
be old dames
(orridlia).
Xyuktikas
Women who
58-60.
the
fruits,
yama= a
who examine
thinkers of)
(lit.
the
scent,
ornaments
pujitah,
K).
in>raswgwT smsgfiw:
vdm
56-57 (K.XXIV.45).
55-56 (K.XX1V.44).
57-58 (C. 54;
5w
*n: 9mifi*T.
K.XXIV.
s
46).
'
jmrvarajlmvai pujiWi,
sarvarajasu
',
The natyabastba
ss4
is
[ixxiv.ei-
to use],
many
in general the
These are
(overseer).
women
Qualities of
The
61-0-1.
to be
women
women
of those
qualities
mind
forgiving, satisfied
free
from
and
free
cruel in
are
to
be
should not be
have no passion
they should
senses,
and very
who
they
1
female diseases, attached and devoted" [to the king]
all
8
from womanly pride
04-09.
of characters, should be
about in
the
harem.
employed
constitute
Snarakas 1
But
the third
Kaficukins as
class
moving
in
as
well
made
harem
a Nataka.
in
Aryan manners.
and
should be employed,
errands
in
to observe
the Kaueukin
love-affairs
to
Kiiimmdas
women and
in
any
And maids
by kings
in sending
versed in
all
in constant attendance
gifts
to
women
[they
in the
use
should be employed
love]
women
of different
61-61 ((C.57b-60
K.XX1V 47-48).
'Here
expression
* matakah
K.
(karatah, C).
70 (C.64ai
*
limbs [in
.
explained.
...
an
occurs
well-
K.
K.XX1V.55).
Bead danakaryesu
70b
the
for
following
nwna'
(teste).
vn:<wfn(t
fir
.XXXIV. 76
TYPES OF OHABAOTEBS
536
Tho Varsadharas
Those women who have poor
71.
women and
are
vitality
voiceless
birth
are
Tho Nirmnnda9
72.
like
Nirmundas 1
called
The Kaflcukins
73-74.
known
[When
as the Kaflcukins.
and
clever, old
employ them
from
free
th<
Brahmins by
are]
birth,
to
1
.
75.
harem.
now speak
I shall
of persons
in public-
External persona
They
76-77.
are
leader of the
army
(mantrin) 1 ,
(senapnti),
the chaplain
councillors
{humamlhikfta) 2
71 (C.64b-65
and
many
other
K. XXIV.56).
72 (K.XXIV.57).
'
members
The readiug
'
K. omits
ministers
the
of
corrupt.
is
this.
1
Though
the later
have
writers
opined that the Kaficukin should be a Brahmin, the author of tho NS. did
not recognize any such rule.
(I. 5,
by
Bhasa
feet of
Duryodhana.
In Dutava
So we may
XIII112-113
the
'
notes.
For
later def.
0. omits 73
of
Nd.
% {C.66b-67a; K.XX1V.59).
76-77 (C67b-69aj K.XXIV.60-61).
with sactva
(I
8 and 9) distinguishes
1)
als
<Jom
see
IV.
'AS.
diff.
for
kumarakrtas tatKa. K.
THE NATYASASTBA
588
(sabhastam) 3
XXXIV.
78-
I shall speak of
'
about them.
The king
78-82.
intelligent,
grateful,
sweeMongued,
skillful
how
to divide
[amongst his
duties
always ready to
act, alert,
officers]
and
must know
and he should be
weakness and the must understand one's mind from his appearance,
he should be magnanimous, well-protected, capable of taking logical
view of anything, and a patron of various arts
and
crafts,
and an
The
82-83.
is
One who
always active
(lit.
is
leader of the
has given
army
truthful
up
idleness), sweot-tongued,
knows
the rules regarding the weakness of the enemy, and the proper time
for
society
Arthasastra and
is
army (seMpati) 1
place, should
be made
Councillors
81-85.
the
king]
(dharma) should be
laws
1
appointed Councill ors (wmfitya) by the king
Road sabAastarah, K.
l
78-82 (C.69b-73a).
some
for
82-83 (C.XX1V.67-68).
ministers (manlrin)
The
dot. of the
84-85 (C.73b-74).
K. XXIV.62-66 seems
On
significant variation.
manya jneya,
sweet
the subjects
be as follows
The
councillors
differently
(amMya) and
tho
they should besides being f ollow-oountrymen [of the king] and devoted [to
him], high-born, intelligent, honest, virtuous and well- versed in the Vedas
(jsruti) as well as in polity.
-XXXIV. 85
TYPES 01 CHABAOTEBS
85-87.
[well]
followers of
able
laws,
many departments
impartial,
537
knowledge,
of
good
discriminate between
to
and
(prainvaka) by kings1
all
Courtiers
The members
87-90.
the
qualities
should
for
be always ready
undaunted
by
hard
of
alert,
Next
I shall
tell
thinks
they
modest,
forbearing,
agrumentation and
other
all
branches of
like.
drama.
XXXIV
treats of the
85-87 (C.75-76;
of Bharata's Natyasastra,
K XXlV.70b-72a).
The
def.
of the
87-90 (C.77-79;
*K:
from indolence,
free
roles in a
who
affectionate,
should
(sabhastara)
views of Brhaspati
work,
work,
court
of the
wwft
9i*3Hi
K.XXIV.72b-73, 74b,
75a).
>
Read
warden of the
as ft*
'
*nfo
CHAPTER THIRTYFIVE
DISTRIBUTION OP ROLES
I shall [now] speak
1.
the
of
of
distribution
men by which
in
roles
roles are to be
different
represented.
movements
of the limbs
the experts
[in a play]
3.
are
the selection
their
1
of
After ascertaining
[if
5-C.
thick-set,
who
(lit
1 (G.
s
is
to
all
limbs
the
the peal
K. same).
K. reads
he
role of gods
a voice like
will
followed].
intact,
well-formed
who have
The
is
aptitudes
natural
by
7-8.
the master)
such a procedure
their
The
or lazy,
roles
different
be preceded
should
actors
The Director
merits.
in the choice
and
and nature 1 ,
Hence
feel difficulty
to
and
speech
their gait,
as their strength
well
an enquiry into
not
as
of
Danavas
etc.
fat,
thunder
(lit.
j/Magam {vinyamm,
cloud),
furious
looking
K.).
lb.
2 (C.2a; K.2).
sathakhih, K. (sattvasik
Emend yusfad, K.
'
2b.
C.).
into yujyad.
3(K.3).
'
of the Director.'
5-6 (K.S-6).
4 (K.4).
'
This
seems
to
conception of gods.
7-8(K.7.8).
>
This passage
Cf.Bhatti,II.30.
be
is slightly
comparable
to
corrupt.
the
Hellenic
-XXXV.
16
DISTRIBUTION OF BOLES
and
eyes
eye-brows
knit
naturally
Kaksasas
1
,
589
should
the
employed
be
to
for the
The
9-11.
limb
nor
and
should
employed
be
princes (kumara)
are
speech,
eloquent,
role of army-leaders
who
Persons
neither
have
nor
tall
fat
and not
ready-witted
role
well-formed
Kaficukin
like
and
of kings
limbs,
distinct
debate,
of
(he
leaders
of
should be
the
army
(armour-bearer),
Srotriya
(master
>
bo assigned
16-17.
the
should
roles
who
employed to represent
other cases
fn
fat
heroic, skilled in
stature] should be
tall [in
and the
been prescribed
dwarfish,
neither
are
The
latter's
possessed
15.
are
neck
face,
tall,
and councillors
14.
who have
are
and
gait,
wise
reprepresent
to
kind,
cheeks,
The
12-13.
dignified
well-behaved,
are
best
lips,
who
and
beautiful,
the
of
beautiful eyes,
of
role of kings
(bharata)
Actors
after considering
the
hunch-backed,
9-1HK.9-11).
uncouth,
odd-faced and
fat,
etc.
who have
which the
This
Amalya
seems
to
'
datavastftmurupena K.
See
15 (C.8; K.15).
8
'
"
1.
(desavesanu" C.).
THE NATYASASTBA
540
expressionless
motionless) eyes
(lit.
1
,
[XXXV.
one eye
blind
18-
small chin
evil nature,
The
18.
a play
who
person
there)
(lit.
fat
is
The
the
represent
persons
2
.
(lit.
9.
If,
a consideration of the
after
latter's
to
nature and
movement
as
well
20.
or middling
(lit,
should be regulated
master)
the
the States
and then
roles
The
22-23.
1
,
asses
2
,
horses and
Read vhlabdhaneiram
hyarogem
fira",
'
for
arms,
many
like,
the Director
(lit.
the
nMaidhanelram, K. mminelaram'\Q-
C. "mupayogesu,
20 (C.6b-7b; K.20ab.).
many
camels,
18 (C.4b-5a ; K.18).
getia,
after
(iw).
[all]
21.
of prey
represent
properly
they will
19 (C.5b-6a K. 19).
;
talha ciryayogena. K.
(tatka
canyayo-
C).
2
C. 6b and 7a seem
to be variant of
Which we accept.
21 (C. 8).
padasimhm
2
ca,
'
each other.
K. omits
Seo K. 20a
this.
x ivapadavaUrai
ca,
C.
kharostmvananai tatka
.24(C.liiKXXTI.lSb-16a),
C,
K. iva-
XXXV. SO
DISTKIBUTION 01 ROLES
should, according
master)
his discretion,
to
541
(lit.
The
entry of a character
first
After concealing
24.
his
identity
(lit.
own form) by
his
assigned 1
a play a
If in the production of
man who
body, and
it
renounces
person
to
is
be
naturally] represents
with the
a role which
then he [very
[He
his
The
25-20.
in
(lit.
renders his
States).
his
own nature
together
The
Thus
27.
a wise actor
speech, gait,
thinking within
after
am
he"
by
Human
28.
the
unnatural
[by actors]
stage
(riiTijia}
The
29.
into
fall
three classes
natural
(anuriijia),
When women
natural impersonation
is
men
the characters
or an old
When
man
that
of
role
an old man,
The
implication of this
is
not clear.
N&
XXIII.
27 (C.14;
'
firayojyam, K. firayiiktam, 0.
79.
KXXVI.18b
19a).
A very practical
instruction.
28(C.15jKXXVl.l).
29 (C17;
variation.
KXXVI.2).
'
C. reads
30 (C.18j K.XXVI.3).
THE HATYABASTBA
542
XXXV.
31-
Imitative impersonation
When
31-32.
the impersonation
man
by a woman.
represented
roles
(lit.
mutual
(lit.
character may,
But in
should
make them
women
Suitability of
iliat
represented by
gods
the
Urva& and
the
too
old or ugly).
[hence]
always 8 to be
are
the like,
similarly
good
holds
rule
{acaryaY
teachers
among
like]
Rambha,
the mortals
(mwmse
harem
kings.
the
in
among
[For] just as
(nvarge)"
same
be
an inversion of
in some roles
[aro
option,
33-35.
[Following
at one's
cases of such
efforts),
(mpamsarini).
"imitative"
is called
this
a woman's character 1
impersonates
should instruct
of
women
lohe)
And
[in
acting]
in
women
As
35-36.
they possess
amorousness
likewise
{v'dasa)
natural
is
limbs
naturally graceful
(lalitaf
should
37.
good Director
(lit.
production depending on
in different roles
by himself
supervised
roles
women
But masculine
(syai/am).
men when
assigned
to
women
(lit.
should
38.
Roles assigned to
Ag.
(p.
33-35 (C.21-23a
$i$lham, K.)
4
K.XXVL6-8.).
'
in
the Shakespearian
bkumikam sukumaram,
nityam, C. vrtlam, K,
manuslnam, C. prakrtinam, K.
The
As
'
stage.
Of. Vikram.'lII.
(Vhkambhaka).
trans, is tentative.
35-36 (C.24b-25;
KXXVI.12-13a).
88 (C.16; 26biXXXVL10b-lla).
C. bhu-
atyarllmm C. ilyartham K.
Soo NS.
XL
88-91.
DISTBI^UXION 0? 9QLHS
-XXXV. 44]
who depend on
natural
dramatic performance
limbs
40.
for acting
woman who
of various
Director]
[a
[many]
its
42.
The
is
a creeper
like
flowers.
in the least 1 .
drama which
of a
two kinds
of
dramatic production
types of
production
[in
States, the
The two
attention to the
attains
appears through
love-affairs
(nalyavila,na)
charms on account of
Hence
41.
to this
always
is
is
on the stage
acting
fatigue
an expert in [representing]
her graceful
full
women
39.
embellish a
[considered] a quality in
is
much
Result of employing
and
very
will
548
many
includes
(nukamam) and
delicate
violent (aviddha) 1 .
The
The Nataka,
43.
to be
of
the delicate
type 1
For they
of]
human
beings only.
1
Read
this
couplet as
39 (C.27; K.XXVI.9).
prayoge ca for
employment of boys
wit'u
'
gWTOifw^iTt
K.
bhajatt;
mtyam proyogena,
40 (C.28).
handicap
follows
represent
the stage
K. omits
Ki omits
this.
corrupt.
The
On
this seo
Companion to Shakespeare
this.
is
actresses.
to
43 (C.3lj K.XXV121,
was considerably a
41 (C.29).
The passage
of engaging
women on
jrafosrai
Road na(yam
(bhavati, C).
C. K.
<jft*r
XXH.#
See
'
See
S&
XIV.
61.
THB NATYASASTBA
544
44.
Hence plays
the Erotic
The play
44-
pleasing to kings.
is
45.
when they
of this class
XXXV.
women
[only,
for
1
.
in
much
fighting, great
not
46-47.
and
women 2
be produced by
The
48-49.
hiiras
type
violent
then
may be made
all
to
Anga-
number
small
(avitldha)
it
production
of
nature,
requires energetic
zonae
and requires
regulated utterance of
artificial objects
limbs,
well-seperated
of
(lit.
of
Time and
ordinary
movement
of
its
females
dramatis per-
who
are of quiet
and mostly the Grand and the Energetic Styles are applied
By
the
51.
1
.
44 (C.26; K.XXVI.22).
UL
Priyadarsika, Act.
46-47 (C.33a ;
instance
K.XXVI. 24-25).
2
tu, C.
EXXVI.23).
l
Read
anasiarasa-bahulam
for
na cavidyahgabhavas
XIV.
tatra
'
Read yac caviddMgaharantu
viddhmgafmram tu,
See NS.
37-8.
50 (C.35; K.XIII.47).
See
An
'
45 (C.32;
Mislarasakahalam. K.;
'.
made by
for
be
'
Bead 50b
51 (C.36;
as
etanyaviddkwm/nani, E.
KXai.48).
etc.
XXXV.
57
DISTBIBDTION OF ROLES
.12.
Now
545
shall
in
is to
,">:}-55,
ii
typical
How
number
limited
said
The
{nip") of dresses
king
qualities to be
repiesented
Tu this connexion
all
these,
by
has been
it
among
was devised by
me.
And
with
ornaments
the signs
reveal
will
of
the dramatic
when
that
impersonation
dignified attitude
of
1
.
when he
kingship
And
thus a person
will
will
it
of the earth.
ofi-57.
[in
the
role
a king and
of
pose,
and then he
will
Just as the
an actor
to be
king,
so the
king
is
to be like
by the both
The
by
means
similar Sausthava
tion of
like a
58-59.
the
is
of limbs
stage, so
K.XXIV,
'
76-78).
giimhhiryauictw'' K. gam-
C.
K.XXVJ.26a).
52 (C.87;
bluryakarya
movements and
accomplished)
(lit.
graceful
similar
of
K.XXIV.
79-80).
(w#t
This
is
but an ordinary
human
being,
an extraodinary appearance.
58-59 (K,XXIV.81-82a).
69
'
samalilaiigasauMava'
lie
is
nothinp
or unconsciously
2.
(text,
THE NATYA8ASTBA
Mfi
XXXV.
59-
The
59-60.
made
like
those
of kings,
give to the
actor
the natural
him with
associating
01-G2.
make-up 1
selection of
persons
for
The
characteristics of a Director
An
they arc
songs,
03-68.
One who
is
an expert
in
rites prescribed in
the
sects
of
Sastras,
and with
polity
and in poetics 1
zans,
Tiila,
relating to musical
[all]
Sentiments (rann),
is
an expert
in
feet,
and
is
with
acquainted
and
clever in
planets
working of the human body, knows the extent and customs of the
earth,
its
continents
descendants
and
divisions,
of different
3
royal lines
is
fit
K.XXIV.
89-60 (C43;
I*
..
?*
- pftr.;A.Mo
r.0-01
83b-83a).
-ii^fl
and
prose;
'
K.XXIV.84b and
prose).
'
K.
reads
the
differently.
ti:'.(M.(C.45-50;K.XXIV 93-98).
'
'
K. \d4abhma, C).
!.K.XXIV.83b-84a).
OJ-fc? (0.44
|iroo i>
''gatifiracura,
K. gitapracara,
C.),
'
kavya%astra.K.,kamimastra,C.
s
prasutivit,
K. prasutivan, O,
-XXXV. 75
DISTBIBUTION
01?
instruction
BOLES
517
The
Now
69-71.
me
listen to
He
ties
should be possessed of
manners J, forbearing,
poetical, free
quali-
memory
from diseases,
self-possessed, speaking
sweet
words with a smile, free from anger and greed, truthful, impartial,
and resourceful
honest
These
(prat'uiianla).
natural
his
are
qualities.
71-72.
number
be
known
as an
Characteristics
actor {aula)
of
an actor
should be lively
sessed of
slightly less
possess, should
to
An
72-73.
who has
is
and an expert
[lit,
pos-
bright],
and
theatrical accessories
own work 1
rules
73-74.
should be an expert in
production
theatrical
dealing
the
Parasite
capable of seeing
the pros
and cons
clever.
75.
The
The Sakara'
who
is
to
will
to that of regisseur.
The Theatre,
54b-55a
K.XX1V.
102b-103a).
'
Cf.
Komisarjevsky
p. 20.
em
Proyogitiatiiatoyuktahsarvaevaproyogeca.
75 (C.56; K.XX1V.105).
see Keith, Skt.
Drama,
p. 69.
'
Sometimes
connected
with
tlin
StoknsJ
518
gaudy
and he
will
clothes
brilliant)
(lit.
reason and
XXXV.
76-
and orna-
be pacified
like-
dialect.
The
76.
The
77.
rulous, uncouth in
expert in
distinguishing
Thus
78-81.
The
now speak
shall
characters
qualities
courtezan
and
in
always engaged
2
,
free
acting
in
Feeling
(hava),
good
(sattva),
other
Emotion
sportivencss,
Temperament
(lit.
be skilled in
she should be
(Wia"(i),
should
(ganika)
of
expert in
crafts,
unreserved, clever
and
uiicon-,
quered by fatigue*.
Characteristics of the typical Heroine
81-83.
woman
she
with the
following
qualities
should
young
and
age, sweetness
be
physical
strength,
with
1
(ij')ijija)
(tola)
<f
not,
unsteady
76 (0.57; K.XX1V.106).
in the exercise
'
ibijamiM, K. dviijhvo, C.
77 (C.58; K.XX1V.107).
78-81
(C.5il-6;2:i;
K.XXIV.108;
,;
rijopacarafot&ali'h C.
3
.'
perturbed)
tyle}.
.
(lit.
K.
vi'suU
111-113).
C. omits 78
(K.XXlV.
niitopaMrakmah, K.
81-8! ((J.G!b(ila;K'.XXlV.lU-ll6).
'
79.
yoffyay<m,0.(.MMifi}aughau).
XXXV. 89
DISTRIBUTION OF BOLES
Women
83-85.
made Heroines
not be
(yrabti,
on wrong occasions
smiling
manners], havi ;g
and scent
85-88.
Director
[They are
different
:]
musician
the
members
the
of
(tanr'nm),
(mtrwlhai'a),
playwright
of head-gears {lanhiitatam)
the
actor-dancer
{iiUijaltani),
the
garlands, the
3
efforts,
(li'ani)
and
all
(bhanita).
of their following
maker
a play
in
theatrical party
the
[to
Members
(juit'i),
characteristics should
character)
lit.
549
(7^//i)
artistes
known,
to be
'
acting in
As he conducts 1
many
roles
the [performance of a]
drama by
and
is
89-91.
shelter)
One who
creates [thereby]
himself to
betakes
movement
raiftj*.
3
tatha canibhrtodbhatjt K.
tathoiivrUodhhala
sadii,
85-88 (C.66b-69a;
f3p3t*Kta*Rt
p. 97.
% fn:
'
Bead 85a as
K. (astAana
ast/tana";
(f.
tadti
a-);
of.
XXXV.21-22).
2
wlfirel rc.
rt
fwt
"I
**siT
C).
tu
nibhrtodbhaKi,
C. reads 85a
'
Road mukutakiirakkah
for Autak'tniiah,
'
88-89 (C.69bc;
and
shelter
K.
K.XXXV.23).
'
K.XXXV.24-25).
as
follows
"89-91 (C.70-71;
(lit.
0.
places
raw
various
('.
kuntliavas ca, C.
THE NATYASASTBA
550
women
with
[for
a maker of
the
whoso speech
and.
funs,
XXXV.
ready-witted,
is
always connected
is
91-
(lit.
ideas,
is
One who
91-92.
is
an expert in playing
kinds of musical
all
is
called Turapati
1
,
Meaning
The meaning
92-93.
of the
of
its
word
'Nata'
root nala
As one
93-9.").
of blessing
in
is [called]
acts),
the Sentiments,
an Actor
(iiatn)
defined
addresses by
it
it
is
and
1
.
words
the Benediction.
called
the
many ways
(lit.
The Benediction
Because in
to act
men with
is
the
of
welfare
people
of
it
by means of reading
2
it is
called Benediction'
95-90.
all
music
is
instrumental
Sastra
the
the instruction of
(gaita),
(vadija)
one another
holder of principles).
lit.
As one
[in
assigns
play]
one
is
91-92 (C.72:
K.XXXV.26).
92-93 (C.73;
K.XXXV.27).
98-95 (C.74-75;
2
hw*
''
These two
the
def. see
96-97 (0.77;
K.XXXV.31).
For another
NS. V. 24-25
K.XXXV.30).
comparable to
to
dof. sec
K.
below 97-93.
195-96 (C.76;
'
K.XXXV.28-29).
def. of
'
'
107-113.
Bead bfmni-vilcalpatn
for "vikalpo, C.
Hejs
.XXXV. 97
DISTRIBUTION OF ROLES
551
97-98.
can act
(lit.
kinds of music,
is
called
an Actor (wtta).
Characteristics of the Actress
98-99.
the tempo, the
Time and
made an
The maker
He
99-100.
dresses
together
who
is
is
1
.
of headgears
makes
masks
and
various
special
(lit arising
and
Actress (iidtalaija)
is
called
maker
the
of
headgears (mnfattakara).
The maker
rules
the
is
to the
maker
called the
makers the
name
of ornaments
100-101.
different
ornaments]
The maker
maker
is
to be
various
to
;
[each
of
according
designated
1
.
of garlands
He who makes
101-102.
the
according
ornaments (nhharanakH)
of
five
kinds of garland
called
is
of garlands (nfahjahi)-
The costumer
And
he who
designs
costumes
is
costumer
the
called
[enahi /<>).
The
painting,
is
painter
{citraharct),
97-98-(0.78;
iiqri
K.
K. omits
reads 98a us
'irsw
<"*!'<.
Wi?*
98-99(C.7'i;.
The word
this.
ttatjata
(-tiataZ-iy)
99-100 (C.80;
1.4.7.
100-101(0.80;
is
K.XXXV.32).
mRi.
1
and
a dyer
called
is
K.XXXV34).
'
<vw
K.X XX V.1!'!
The Bigmrw.""
of
in t'mfcima,
).
;iiis
<*i. !,><>;.
not apparent.
sens,e of
'washerman'.
"!!'.<
-,<l
oCsmi
-ii*.!
THE NATYASASTBA
55a
XXXV.
103-
ont
of
The craftsman
One
103-104.
lac, stone,
who
fashions
different
objects
is
The Knsilava
He who
knows the
instrumental
brandies of
in playing them,
free
from
and who
(ah'lijn)
and
is
an
104-105.
of the party
a profession
So much about
name.
its
in
by
expert
(armlalu),
clever, refined
[besides]
is
of
principles
music
communities
the
called
known
who
in
relate to
production of various
the
in
(ia'i)
the Natas 1
of theatre as
is
it,
types
of plays.
106.
about the
what more
is
to be said
now 1
roles
their function,
Please mention,
and
and
sages,
The etymology
modern
of kuiilava
ha* very
Drama,
pictures.
106"(C87).
'
'
much
p.
'
K. reads 104a
differently.
of
30
Even now-a-days
the people of
dolls flower-garlands
K. omits
this.
and paint
CHAPTER THIRTYSIX
THE DESCENT OP DRAMA ON THE EARTH
Sages question
1-2.
to
the
else
1
.
.".,
[further)
who
attentively
it
curiosity
sir,
doubt)
(lit.
we may have
We shall
4-5.
(lit.
explain) any
For
in this matter.
?
We
So speak
(lit.
then) lest
Yon
0.
have said
drama
constitute the
things
(lit.
hidden).
tell
worshipped
Brahmin
the best
Why
is
(lit.
of the people
rest of
naries.
that exploits
[already")
the
7-9.
it
he
(lit.
the
bull of
who appears
the twice-born)
in the
Prelimi-
he do
unknown
still
meditated upon)
which arc
Why
does
the
when
it,
and
Director
Itrcy.i,
Sthulasiras,
Kama,
Nisthuti,
rtism.
7-9 (C12-14, K.7-9).
70
Theso
hov.'W
3 (C.8; K.3).
seem to be an interpolation.
'
K. reads 5b
6
as follows :-wnft
(0.11; K.6).
>
Slflwi
THE NATYASASTBA
XXXVI.
heaven
dropped) down
(lit.
Bharata's
10.
How,
from
to the earth
Why
10.
(lit.
reply
tell
men
you,
of excellent vows,
The
The
11.
uses
me in
conti-
12-16.
Homa 8
so the
covered
is
of
sins
with armours
kinds
tion
and
blessing,
playing of
4
all
their
of adora-
for
are checked by
all
sins
songs
of
'We
pleased with
the
singing of
the
The
17.
region which
is
resounded
with
heard
(lit.
As
18.
(vinayaka) of Vighna? 1
'
stay
all
11(C.16;K.12).
'
gitasvanena
n wiwfa
ft
wtfo
fi
K. gltasvan&ni
'
Read 18b
? i fiwmv-
19 (C.23; K.20).'
'
leaders
is
lacking
'SeoN&V.
mrlravaranam, K. sariracaranam, C.
iastranam, K. (mstranam,C).
ca,
no Raksasas or
18(C.22j K.19).
there
sound of musical
10(C.15 K.ll).
JhiC.
In marriages of
19.
and
as
ca,
17 (C.21 j K.18).
K, mwrt
avahe ca vivithe
hutenaiva, K. (smrtenaiva, C.
C).
w ftfaq i ^
ca,
ftuftirani:,
C.\
.XXXVI. 251
for
the
prosperity
of
the king,
the
555
beings will
ferocious
make
The
20.
instrumental
music,
or the
the Vodic
hymns 3
21.
will
.
and
after-
The
22.
and dramatic
will
surely
performance
of inauspicious happening.
23.
worshipping the
verses
and
The
As
24.
25.
ablution
head 1
the
is
'
with water
it
2
.
worship
the
This
20 (C.24; K.21)
8
or the song
never
of adoration for
Mantras 1
is
m\yam, K. (srulva,
<\).
This seems to show that in the beginning, the early Vcdic people
For more
21 (C.25; K.22).
s
cared
'Cf. 20
little
for the
asceticism,
above.
note.
This seems to indicate that not only the early Vcdic people who
such sects.
22(0.26;
alyasya,
K.
23 (C.27; K.24).
'Bead
K.23).
'
iV YVmiMj.
~atodya-riaiyc& c <
Read niicayam
for niscayih,
('
.v
drama wv-
24 (C.28a; K.25).
*
C omits 24b.
25 (K.26).
'
Read
'
utant /<W, K.
C. omits this
this.
See
Nii.
0.
*M4, K-
V. lu-83-
also
THE NATYASASTBA
656
now
I shall
26.
'
tell
you
in detail
how
XXXVI.
am
26
(lit.
unable to
27-29.
knowledge
Natyaveda
ofj the
tired
art)*
(lit.
in the
4
,
full of
unworthy
cruel,
And
of
(lit.
deeds, inspirer
in
of
which they
and
it
excited,
your intention
32.
What
it is
is
and what
As 1 due
to
to
pride in
the
knowledge
[of the
evil
drama]
knowledge
26 (C.28; K.27).
reconstructed and
'
26b
which
is
emended as follows:
3
4
fireffrn
to
modem
times.
nrertfo*?^
sex-appeals
just like
r^mrn nyahgakaratfam, K.
the
for
cinainctographic
shows of the
rmnam ahgakaranam;
K. should be
28b.
lh<
rafq
'
This seems to
resorted
its
27-29 (K.28-30).
2
fragmentary in
justification.
show
3J2(C.34;K.33).
K.3 1-32).
1
ya<tmt,K.(tast*at,V.)
C.
See
clearly that
early.
-XXXVI. 43
33.
meeting them
Vcdas and
34.
you
appear as
will
You
35.
no followers of the
will
Those
being
line will
367
line will be
actors (nurtaka)
who
Sudras
are
[too]
1
.
already born
in
your
who
The gods on
learning the
origin
of the
curse on
my
Gods
37.
Then
(Indra)
that, afflicted
38.
The
sages said
reply
in
that
the
On
30-10.
my
selves they
approached
me
anger and
in
said,
them-
Bharata
4142.
it;
For
pacifies
them
'Do not
to be sorry for
the rule that words of the sages will never prove untrue, has in-
43.
art].
Know
33 (C.35;
this
KM).
'These are
dramatic
words of consolation.
art
34 (C.36; K.35a).
87 (C.39; K.37b-38a).
that
has
been
K. omits
described
34a.
36 (0.38; K.36b-37a).
35 (C.37j K.35b-36a).
fwurft.
my
>
Read 37b
as follows:
'
Read
43 (0.48; 43).
C and tatoh, K.
"
558
by Brahman
through
its
its
origin in the
After
45.
to
it
difficulty
and has
and teach
[himself],
application.
Do
44.
great
[XXXV.44
Apsarasas, you
the
Nahusa
He
47.
And
desire.
Nahusa 1
then governed
kingdom and
the
He
thought
within
Then
49.
Gods
said
him
to
2
.
a divine
felt
these].
the
drama [produced] by
the
But
how
himself
'Let
attained the
performance (ijraiulharva)
a performance
such
for
50.
to
are
and prowess
all
46.
performance according
dramatic
the
heard from
holding
which
to the rules
lias
things,
(i.
e.
on the
the
earth).'
gods with
in reply, the
The meeting
of
divine
Brhaspati as their
damsels and
leader
mortals has
As you
which
advice
dramatic
art]
is
are the
lord of
go there
(ie. at
44 (C.46; K.44).
T Cf.
above 20
46 (C.47; K.45).
'
Emend 45a
46 (C.48; K.XXXVII.lb-2a).
notes.
as follows: ^\ff(li
'
voce.
in
historical
AST
^n.
tho Rgvoda,
person.
Sco
this.
47 (C.49; K.XXXVII2b-3a).
,f
48 (C.50;
K.XXXVII.3b-4a).
leyitva, C. istaciniasu,
iti
*ih Wira
Nahusa mentioned
'
iJL sub
[of the
K.
'
'
Read so'cintayai tu
for sa cin-
for
bhaved
6*0
(C.62;
K.XXXVlI.5b-6a).
49 (C.51 K.XXXVII.4b-5a).
61 (C.53;
K.XXXVU.6b-7a).
-XXXVI. 58
669
Then
52.
'0 revered
established
with
on the
1
fessional service (acan/nfai) .
got
the help
earlier
me,
to
your pro-
of
(njaklahhavairayom hrtva) 1
directly
it
said
earth.
53.
palms
folded
sir,
king
the
now
In the house
54.
my
of
grandfather (Pururavas)
members
to the
from the
of the harem.
But when
55.
members
the
56.
many
the
harem
mad 1 due
was
on
different
may
57.
Hence
(bamlha,
plays
characters produced in
ments of women,
will
add
to
my
were distressed
to her disappearance
lost.
of
of the
by the death
this
lit.
composition)
relating
to
your fame'.
Bharata grants the request and sends his sons to the earth
of conciliation
'This
shall
there.
my
sons along
king
may go down
drama
The
drama
of
spirit
that you
properly produced
being
there,
will
no longer be
So go down
to the earth to
K.XXXVII.7b-8ii).
'
Bead 53a
as
follows:
^fourf*
54 (C.56; K.XXXVII.9b-10a).
wfl ft qfanin.
55 (C.57;
folded palms
53 (C.55; K.XXXVII.8b-9.i).
56 (C.58;
Nahusa
to
(CM;
reply]
make an end
52
then [in
58-61.
K.XXXV]I.10b-lla).
K.XXXVII.
58-61 (C.60-63;
'
lb-l2a).
K.XXXVn.l3b-17a),
57 (C.59,
6, 7
Eef,
JK.
K.XXXVH.l2b-13a).
<S
NATYASASTRA
660
produce dramas
not
XXXVI,
G2
is
For us and
62-63.
The
instruction.
mentary
rest will
be uttered by Kohala
in his
own
supple-
treatise (iittara-tantra)
gies (nirnhta).
6k
been established by
me
in
(lit.
toy) has
of the Apsarasas
down
to the earth
Then,
6">.
to
in
Then
CG.
and devised
07.
for
they,
my
creation)
(lit.
on various themes.
devising plays in
due order
the future
Kohala and
69-70.
Kohala Vatsya
his associates
1
,
Sandilya
this
Hastra
the deeds of
which
2
,
Dhurtila
(Dattilaf)
intellect of
Worlds and
the Three
is
men,
an epitomw
W (C.66; KXXXVII.19b-20a).
66 (C.63; K.XXXVII.21b-22a).
>
65 (C.67; K.XXXVII.20b-2la).
67 (C.69;
KXXXVII.22b-23a).
68 (C.70; K.XXXVII.23b-24a).
69-70 (71-72; K.XXVII.24b-26a).
'
-8
XXXYI.
DESCENT OP DRAMA
77]
{81
He who
71-7;>.
which
very
is
who puts
same
[blessed] goal
[Sftstra]
Brahman's mouth,
from
this
into
will attain
the
lore,
Of
all
show
75.
the
with
The gods
[to people]
never so pleased on
are
and garlands
scents
For
(mahaphah).
as they
are
being worshipped
with
delighted
the
performance of dramas.
76.
gaiulharva) or dramas
[after
will
death]
his
attain the
happy
77.
The popular
Thus many
practices sanctioned
Whatever
practice
by experts
an observation
(lit.
The
What more
from diseases.
and
final Benediction
say
Let there
be
should
into
peace
to
cows and
to
Brahmins,
entire earth.
let the king give protection to this
which
71-73 (C.78-75;
the half of 71a).
76 (C.78;
XXXVf
K.XXXVII.26b,
74 (0.76;
of Bharata's Natyasastra,
K.XXXVH-31 ).
27, 28).
XXVII.29).
75 (C77,
K.XXXVII.80).
V (C.79; K.XXXVII.32).
XLVI
Road
line last
'depends'
XLVIII
14
'XXVII.
LXIV
14
'Natyasastra'
LXXII
16
'corresponding"
'of for
LXXIII
Page
63-69'
Road
and
'are'
3 Read 'summed'
1 line
,,
26
14
Omit the
15
,,
,.
,,
-4
Graceful Style'
11
13
Read
14
20
16
,,
19
Read
19
12
19
,,
it
beforo 'to
19
27
Read 'medium'
25
29
12
81
17 Put
.,
34
aftor (iv)
10
Read
srafy for
^<fa
'
who
Read B. 102b
Read
Add
for 1026.
the following
Yajnavalkya
Law and
Customs,
pp. 42-44)
35
35
Read
17
Put a comma
Omit
a See 'diagram
1.'
37
40
20
57
28 Put '(krama)'
after
a'.
'Cart'
last.
Omit 'Denned
(B)
Page 58
line
'.
Read Harivamsa
67
,,
>,
73
12
Read (sukumara)
,,
76
Put
2(
also' before
82
86
,,
97
,,
105
,,108
111
Add
BhP. and
,,
Read
...
'traditional authority'.
middliug type'
17
118
,,
II
US
j,
127
15
,,128
18
130
.,
'Sentiments'
132
,,
18
Omit
134
14
Read prakrti-vyasana
140
141
142
,,
10
,.143
145
10
,,146
16
Road 'Sentiment'
17
,,150
11
,,152
10
164
165
6, 18
168
the
comma
after 'biting'
10
'is'
Omit
for
'ie'
Omit
,,
'[slightly]'
Read
Add the
and
Read
Tiiriia' (full)
for 'lips'
'lip'
following after
'will'
of the night]
Read 'With'
173
,,174
i,
>
224
,,
.,
13
230
16
Read
240
17
,,
,,
'See
113
i,
for [sukmora).
after
Sitar probably
'(p.194)'
for Hraivainsa.
'gait of
Read 'Andre
Read wtfmftifa*
kancukin.
women'
'distant place'.
'Kw^ald.
et'.
i
(C)
Page 248
akhyata.
line 17
wm9?
}>
19
wwwf"
255
14
272
)>
17
,,277
>}
19
,,253
for
284
j<
For
the
,
287
294
?28
330
Bead
9 R<>ad
13
'fall
upon' for
to
100 B. C. onwards.
'Halayudha's'.
'rise
from'
Add
at the bottom.
See
following-
331
,333
335
,,
21
336
337
18
Bead
'leaders'
Read
...
(at the
33$
fill [stop
Add
bottom)
2 (from the
the
following
prince
is
referred to as
bhadramukha
after
1.
bkaddamuha by
For the use
7. 20.
p. 69.
342
345
351
361
,,
11
Read 'may
12
Omit
Read
the
Magadhan
of
1.)
'a
11 (from
Read
'a
supporting' for
'an
Explanatory'.
362
366
Add
after
Pancaratra
is
369
18
23
,i
,,
Read
Read
<basis'
for
P. 8).
following
"wiflc
Biioh'
'unless
the
wrft Wfftwft
Wis'.
the
to be taken as
368
370
.
'these'.
'available'
Karna' also
to
following
(B)
up
line
m 'wrt
Page 389
397
,,
.,
404
'4-
fift:
diptakavyarasayonih.
imn Ag
XX.
bottom
to the
(<fiwii ^Wtsror:
Omit
71.
Add
the
N&
38.
19 Bead 'KathodghSta'.
14
'samghctfyaka'.
420
10
Gauda
Ullekhya
20
425
for
Gauda
21
Kumbhipadaka', Avarta*
,,
21
,,
non-Aryans
25
Add
'See
431
431
The Usnlsa
Add
of the
as following
Bead
489
,,
13
486
14
,,
women's
22
i.
,,
,,
488
19,20
'quaternary'
419
491
following
The
Add
after
the
fullstop
the
of punishment such
(Manu,
8, 299f, Swiicha, 4.
Law and
' 493
502
.,508
15
5*1
,,
after 'time'
Read
'abhinayasya'.
'greet'.
16