The Natyasastra

English Translation with Critical Notes

Adya Rangacharya

Munshiram Manoharlal
Publishers Pvt Ud
110 , )'fvlb
 52 The Nafyasiistra
dhara in every respect. This sthapaka, with aceful body assumes
the Vaig1ava sthana. At his entry, a T sra or Caturasra dhruva,
the meaning of which is relevant to th play, is sung in the medium
tempo. Then he sings a cari song · praise of gods and Brahmins
in sweet and good phrases, of 1fferent bhava-s and rasas and,
propitiating the audience a ording to the rule and procedme,
mentions the play and the ory. He should introduce the story, in
a divine manner if it rel s to gods and in a worldly way if it relates
to human beings and · a worldly way if it is mixed one, leading to
the mukha or the bf (opening of the story). After this the sthapaka
should exit. This · the piirvaranga of the playwright.
Rewar<f:s of the
Finally, ere is benediction in the Purai;ta style promising
rewards one who follows the rules and punishment othenvise.
In som texts even the traditional ending has not been enough.
Tuer 1s summary :epetition and references to regional perform-
. an s like that of A,vanti ., Paiicala, Magadha, Andhra and South.
re than one person is apparently responsible for these layers of
interpolation.
f;
--
_ _\
CHAPTER VI
Rasa
The sage's questi()ns (1-3)
A TIER HAVING listened to the piirvaranga performance, the
r1gTeat sages once again said to Bharata, 'Please tell us about five
things: what are the rasa-s of which natya experts speak? What
constitutes a rasa? What are bhava-s (emotions)? What feelings do
they convey? and what is a saiigraha (essence of contents), akarika
and a nirukta?'
Bharata 's reply (4-8)
To these questions Bharata replied, giving his decided views
about rasa-s and b~\~-s. 'I shall tell you about saiigraha, karika
. and nirukta as well', he said.
It is in1possible, he said, to know all about naJ;ya since there is
!
l
no limit to bhava-s (emotions) and no end to the arts involved (in
natya). It is not possible to have a thorough knowledge of even one
of them, leave alone so many of them. Nevertheless, briefly, in short
L
1 phrases I shall give a reasonable account of rasa, bhava, etc.
1.
Characteristics of sangraha (9-13)
! Sarigraha is a brief thesis in sutra style, with explanations of
those things which are described at length. Now, a (natya-)
sa1igraha includes rasa, bhava, abhinaya, dharmi, vrtti, pravrtti,
siddhi, swara, atodya, gana, and raiiga.
A karika is that which is in sutra style and in fewer words,
briefly explains any subject-matter. Nirukta means explaining
briefly from the root-meaning the exact connotation of a word
that has a number of meanings. This explanation is given accord-
ing to scientific rules.
Sa1'1graha. of rasa and bhava ( 14-22)
Now the saiigraha which I have mentioned in brief will be
explained at length by me along with nirukta and karika.
 54 The Niifyasiistra
First the rasa: In natya, eight rasa-s are recognised, viz., Srngara,
Hasya, Karm_1a, Raudra, Vira, Bhayanaka, Bibhatsa, andAdbhuta. 1
Brahma himself has mentioned these eight rasa-s.
And now I shall tell you about the bhava-s both Saii.cari and
Sthayin. Love, humour, compassion, horror, the heroic, fear, repul-
sion and wonder are the eight Sthayi bhava-s. Dejection, lassitude,
suspicion,jealousy, infatuation, fatigue, laziness, helplessness, anxi-
ety, confusion, remembrance, boldness, bashfulness, fickleness,
pleasure, excitement, heaviness, pride, sorrow, impatience, sleep,
forgetfulness, dream, awakening, intolerance, dissimulation, fe-
rocity, desire; disease, insanity, death, fear and guessing, these are
the thirty-three Vyabhicari or Saii.cari bhava-s. Feeling stunned,
sweating, thrill, break in voice, trembling, pallor, tears and break.-
down are the eight ~attvika (or anubhava-s) bhava-s.
Sangraha of acting (23-30)
Accordingly there are four ways of expression (or acting) viz.,
physical, verbal, material and emotional. 2
Dharmi (characteristics) are of two kinds: Lokadharmi and
Natyadharmi.
There are four kinds of vrtti-s on which natya is based, viz.,
Bharati, Sattvati, Kaisiki and Arabhaµ. _
Pravrtti-s3, i.e., styles are also of ~our kinds, viz., Avanti,
-
~
Dak~i~atya, Orissi and Magadhi (Paii.cali is considered as the fifth).
Success (siddhi) is of two kinds: divine and human. 4
Swara-s, both vocal and instrumental, are seven in number.
Atodya-instrumental music is of four kinds: Tata (stringed),
Avanaddha (percussion), Ghana (bells, etc.), and Su~ira (wind
instrument).
Singing with rhythmic beats is of five kinds: (1) while a character
enters, (2) while he/she exits, (3) to express inner emotions, (4)
to please the audience, and (5) to convey ~ rasa.
5
• vour; likewise, aflavouris produced by the bhava-s through acting.
The theatre house has already been descnbed as of three kmds:
vikrsta (oblono-), caturasra (square), and tryasra (triangular).
Thus the s:11graha is briefly explained. Now I shall describe in
details what I have described in sutra style.
Rasa-kiirikii-nirukti ( 31-33)
Let me begin with the explanation of rasa first, because there
is no natya ·without rasa.
Rasa 55
Rasa is the cumulative result of vibhava (stimulus), anubhava
(involuntary reaction) and Vyabhicari bhava (voluntary reaction).
For example ,just as when various condiments and sauces and herbs
and other materials are mixed, a taste (different from the individual
tastes of the components) is felt, or when the mixing of materials
like molasses with other materials produces six kinds of tastes, so
also along with the different bhava-s (emotions) the Sthayi bhava
becomes a 'taste' (rasa, flavour, feeling).
But what is this thing called rasa? Here is the reply. Because it is
enjoyably tasted, it is called rasa. How does the enjoyment come?
Persons who eat prepared food mixed with different condiments
and sauces, etc., if they are sensitive, enjoy the different tastes and
then feel pleasure (or satisfaction); likewise, sensitive spectators,
after enjoying the various emotions expressed by the actors through
words, gestures and feelings feel pleasure, etc. This (final) feeling
by the spectators is here explained as (various) rasa-s ofnaiya.
Here are two verses handed down by tradition. 6
'Those who are connoisseurs of tastes ertjoy the taste of food
prepared from (or containing) different materials; likewise, the
intelligent, healthy persons enjoy various Sthayi bhava-s related to
(i.e., expressed by) the acting of emotions'.
Relation between rasa and bhiiva (34-38)
A question is asked here. Are the bhava-s produced by rasa-s, or
rasa-s produced by bhava-s? Some are of the opinion that their
relation is symbiotic. That however is not correct. It can be clearly
seen that rasa is produced from bhava-s and not vice versa.
Here are the verses in support of the above.
1. Theatre-producers say that a bhava is called as such because it
leads to (bhil-) a rasa arising out of various kind of acting.
2. Many materials of different kinds· produce a distinctive fla-
3. There is no rasa (flavour) without a bhava and there is no bhava
without rasa. Through acting, mutually they lead to a distinct result.
4. Condiments and herbs (i.e., vegetables) render food tasty; so
is the mutual relation between bhava-s and rasa-s.
5. Out of a seed grows a tree, out of a tree a flower, out of a
flower a fruit, so rasa is the seed of all (Sthayi) bhava-s (of the
spectators).
56 The Na{yasiistra
Origin, colour and deities of rasa-s (39-45)
Now we shall describe the origin, the colour and the deities of
the rasa-s. The source (i.e., basic) rasa-s are four: viz., erotic
(Spi.gara), heroic (Vi:ra), terror (Raudra), and disgust (Bibhatsa).
Further, Hasya (humour) is derived from Spi.gara (erotic), Karul).a
(compassion, pathos) from Raudra (terror), Adbhuta (wonder or
magical) from Vira (heroics) and Bhayanaka (dread) from Bi-
bhatsa (disgust). Humourresultswhenlove (erotic) is parodied (lit.
imitated), a terrible thing or situation produces pity, a heroic deed
appears marvellous, (or almost magical) and anything disgusting or
repulsive produces fright.
The colours are:
1. Spi.gara-dark blue
2. Hasya-white
3. Raudra-red
4. Karm:i.a-pigeon colour
5. Vira-yellowish
6. Adbhuta-yellow
7. Bibhatsa-blue
8. Bhayanaka-dark
Corresponding deities of the above are: (1) Vi~l).U, (2) Pramatha,
(3) Rudra, (4) Yama, (5) Mahendra, (6) Brahma, (7) Mahakala,
and (8) Kala.
These are the origins, colours and deities of the rasa-s.
The bhava-s (46-76)
Now we shall describe the characteristics and examples of the
combination ofvibhava, anubhava and also the Sthayi bhava-s of the
rasa-s serially in the order as above.
First' Sn.i.crara
. t,
which is based on the Sthavi
'/""'
bhava of rati (love).
It is revealed by gorgeous costumes. In our daily life whatever is pure,
holy, resplendent is referred to as Spi.gara (i.e., in the phrase
'bedeck oneself with'). Whoever has a luxurious dress is referred to
as 'ornamenting oneself. Attractive and beautiful dress is called
Spi.gara by common practice; the rasa-s and bhava-s in the na!Ya also
are given that name in the same way as men and women are given
names in accordance with the paternal and maternal family tradi-
tion.
Rasa 57
This Spi.gara results in the case of men and women, of healthy
youth. It is of two kinds: Sambhoga (fulfilment), Vipralambha
(non-fulfilment; lit. separation).
The Sambhoga Spi.gara is stimulated by season (i.e., spring),
garlands, scent (anointment), ornament and experience or by lis-
tening to, or seeing desired company, beautiful surroundings, de-
li_ghtful music, beautiful parks. This (Spi.gara) must be expressed
(1.e., acted) by loving looks, lifting (raising) eye-brows, side-glances,
graceful steps and gestures which are all anubhava-s or involuntary
(natural). The Vyabhicarf bhava-s are the thirty-three enumerated
earlier except laziness, cruelty and disgust.
The anubhava-s or the spontaneous reactions in the case of
Vipralambha Spi.gara are dejection, fatigue, suspicion, jealousy,
anxiety, impatience, sleepiness, dreaminess, lassitude, forgetfulness,
etc.
Actually these are th<:_ bhava-s of Karul).a rasa. "\,\lhy should they
be acted in the case of ~rngara? As already said, Srngara is of two
kinds. The authors of Sastra-s on erotics are also of the same
opinion. vVe shall elaborate on this in the context of emotional
acting.
Ka.rm:i.a, in fact, is the disinterestedness or indifference con-
sequent to curses, misery, separation from loved persons, loss of
wealth, murder, imprisonment, etc. Vipralambha, on the other
hand, is interestedness, or hopefulness because of impatience,
anxiety, etc. For this reason Karur:ia and Vipralambha are entirely
distinct from one another.
This Srngara may be considered (in its two type~) as related to
all the bhava-s. Moreover, a person enjoying happiness, achieving
his desires and helped by proper season, flowers, etc. when he is in
a woman's company-that is called Srngara.
_ There are two verses in Arya metre which say in sutra style:
'Spigara rasa is produced by seasonal flowers and ornaments, by
enjoying (the company of) beloved persons, music and poetry and
by diversions like going to a park. This should be acted by graceful
looks and worc;ls and sweet speeches and smiles and by pleasing and
attractive gestures'.
Thus ends the section on Srngara rasa.
Hasya rasa: Now hasya (humour) 7 is the Sthayi bhava of hiisya-
laughter. Laughter is stimulated by disfigurement of dress, deco-
58 The Natyasastra
ration, impudence, greediness, roguery, incoherent speech, de-
formed appearance, mistakes, etc. It is expressed by anubhava-s like
expanded (or blown) lips, nose, cheeks and wide-staring and
contracted eyes, sweating or red face and holding one's side, etc.
The Vyabhicari bhava-s are dissimulation, laziness, lassitude, sle_epi-
ness, sleep, awakening (from sleep), etc. Humour is of two kinds:
concerning oneself, or with others. When one laughs oneself, it is
individual ( the first variety); making others laugh is the second
variety.
In this connection the following two traditional verses in the Arya
metre may be quoted:
'With wrong kind of ornaments, with queer behaviour, with
distorted (incoherent) speech and with strange costumes and dis-
figured gestures, when one laughs it is Hasya rasa'.
'In a similar manner when one makes others laugh then also it
is Hasya rasa'.
This rasa is mostly seen in female characters and also tl1ose of
lovv8 status. It is of six varieties which I now explain:
Smita-gentle laugh
Hasita-laughter
Vihasita-broad smile
Upahasita-satirical laughter
Apahasita-silly laughter
Atihasita-Ioud laughter
The first two are found in case of high (jy~tha) characters and
the last t\vo in the case oflow characters. The following two verses
describe them:
'The smita of the high characters is expressed by slightly puffed
cheeks, by graceful glances and without showing the teeth.'
'When the face and the eyes are full blown, the cheeks puffed
and the teeth slightly showing, it is hasita (laughter) of the high
characters.'
The characteristics of the vihasita (broad smile) of the middle
characters are contracted eyes, gentle but (slightly) loud (lit. with
sound) laughter and the face gradually reddening.
When the nostrils are distended and when the eyes look with a
squint and when the shoulders and head are bent, it is the upahasita
(satiiical laughter) (of the middle characters).
Rasa 59
The apahasita (silly laughter) of the lower characters is laughing
in tl1e wrong context with tears in the eyes and head and shoulders
shaking.
And finally, tears flowing from the eyes, voice loud and screech-
ing and sides firmly dasped are the characteristics of the atihasita.
In this manner, in all places in a play when laughter is relevant,
the high, the middle and the low characters should act their laugh.
Thus laughter and making others laugh are two kinds of hiisya
and again it is of three varieties corresponding to three types of
characters. It may also be considered as of three-fold nature viz.,
gentle, normal and loud.
Thus ends the section on Hasya rasa.
Karu1J,a or pathos is the Sathayi bhava of grief. It is stimulated
by curse, pain, calamity, separation from dear ones, loss of wealth,
killing, panic, injury, misery, etc. The anubhava-s (to be acted) are
shedding tears, pallor and losing colour of face, drooping limbs,
sighs, absentmindedness, etc. The Vyabhicari bhava-s are disgust,
exhaustion, anxiety, impatience, excitement, delusion, confusion,
fear, regret, helplessness, forgetfulness, laziness, feeling stunned,
breaking down, etc. ·
There are these avo Arya-s in this connection:
'Karm:ia rasa is produced by seeing dear ones die (or killed) and
by hearing unpleasant things.'
'It is to be acted by weeping, fainting, lamenting and crying
loudly and also by acting physical fatigue and hurt.'
Thus ends the section on Karui;i.a rasa.
Raudra rasa: It is the Sthayi bhava of krodha or anger which gives
us the Raudra rasa. This rasa is (naturally) connected with (or
related to) the evil spirits, the rak'.;asa-s and persons of violent
nature. Its cause is fights. The stimulus (for this fight or rasa) is
anger, boldness, censure or abuses, insults, lies, provocation, harsh
words, cruelty, spite, etc. It is involved in actions like beating,
hitting, inflicting pain, cutting, striking, attacking with weapons,
shedding blood, dragging, etc. Its emotional acting is red eyes,
knitting eye-brows, gnashing teeth, biting lips, puffing up cheeks,
rubbing the palms, etc. The Vyabhicari bhava-s are cold-blooded-
ness, (animal) energy, excitement, intolerance, fickleness (deceit),
cruelty, vanity, trembling (with anger), sweating, stammering (due
to extreme anger), etc.
60 The Na(yasastra
When it is said to be natural to evil spirits, rak~asa-s, etc., does it
mean that the Raudra rasa is not to be found in the context of other
persons? It does not. It cmly means that it is in their very nature (lit.
that these persons are qualified). Why should it be so? Because they
are described as persons with more than one face, with bristling and
unkempt, tawny hair, with red, ill-matched eyes and of dark and
dreadful appearance. Whatever they do, even their natural speech
or gesture, is terror-striking. Even their love is ertjoyed by force.
Even their servants or entertainers must be credited with Raudra
rasa, for their fighting and quarrelling.
Here are two traditional Arya verses (concerning this rasa):
'The Rauclra rasa is produced by battles, striking, wounding,
killing, cutting and byviolence, etc. Itis to be acted by using various
weapons and cutting off heads, arms, etc.'
'This is Raudra rasa expressed through words and actions con-
sisting mostly of terrible deeds and plenty of weapon-wielding.'
Thus ends the section on Raudra rasa.
Vtra rasa: Now heroic or vira concerns noble and brave individu-
als. It is stimulated by cold-blooded (courage), determination,
justice, chivalry, strength, bravery, brilliance, etc. Its natural emo-
tional expressions (anubhava-s) are steadfastness, fearlessness,
large mindedness, skill. Its Vyabhicari bhava-s are understanding,
self-command, self-confidence, excitement, intelligence, memory,
self-consciousness, etc.
Here are the traditional Arya verses:
'Vira rasa is produced by an energetic, determined, unrelenting
nature which is neither taken by surprise nor by confusion. It is
to be well-acted by challenging words and by deeds showing cour-
age, boldness, bravery and self-confidence.
Thus ends the section on Vira rasa.
Bhayanaka rasa: Fear is the Sthayi bhava of Bhayanaka rasa. It
is stimulated by seeing or hearing words, sounds and objects, or by
fear of jackals and owls or by going into empty houses or lonely
forests, or by seeing or listening to the stories of persons one
knows being killed or imprisoned, etc.
It is acted by hands and legs trembling, eyes flitting to and fro,
hair standing on end, face losing colour and by the loss of (or break
in) the voice.
Rasa 61
Its Vyabhicari bhava-s are, being stupefied, sweating, stammer-
ing, pallor, confusion, fear, loss of memory, death, etc.
Here are the Arya verses in this connection: 'That is Bhayanaka
which is produced by fear (1) of seeing or hearing weird persons
or sounds, (2) of getting into fights, forests and uninhabited dwell-
ings, and (3) of having wronged the elders or the king.'
'By changes in bodily stance, in the look of the eyes, and by dry
mouth and a beating heart this fear is to be expressed.'
'Fear of this kind is natural to the low and even to the middle
characters. In the case of the high characters it is stimulated. Even
then it should be expressed likewise, but on a low key. The acting
is to be done by hands and legs trembling, body stiff and cowering,
heart beating and lips and mouth dry.'
Thus ends the section on Bhayanaka rasa.
Bibhatsa rasa: Disgust is the Sthayi bhava of Bibhatsa rasa. It is
stimulated by seeing or hearing whatever is undesirable, ugly, e\<il.
By withdrawing the body, by leering, by spitting and agitation, it
should be acted. The Vyabhicari bhava-s are loss of memory, agita-
tion, excitement, confusion, sickness, death, etc.
The traditional Arya-s say this in tl1e context:
'Bibhatsa rasa is produced by things which disturb the mind like
seeing something unpleasant or by wrong smell, touch, taste and
sound.'
'It is to be acted by a leering mouth, by holding the nose, by
hanging the head or walking stealthily.'
Thus ends the section on Bibhatsa rasa.
Adbhuta rasa: Surprise is the Sthayi bhava of Adbhuta rasa. It is
stimulated by the sight of divine persons, by the (sudden) achieve-
ment of whatever desired, by going to parks, temples and assemblies
and by tricks and magic.
Eyes distended, unwinking (steady) glances, thrill, tear, joy,
words of appreciation, twisting the body, the arms and the fingers are
the anubhava-s. The Vyabhicari bhava-s are, being stunned, shed-
ding tears, stammering, excitement,joy, restlessness, agitation, etc.
Here are the traditional Arya verses:
''Whatever remark or act or deed or appearance is out of the
ordinary should be considered as the stimulus of Adbhuta rasa.'
'It is to be acted by crying, words of appreciation, by praising, by
trembling and stammering and also by repeating it with laughter.'
62 The Natyasiistra Rasa 63
Thus ends the section on Adbhuta rasa. 7
See above, note 2.
[The final dozen or so verses of the chapter refer to two things: 8
In Sanskrit plays, the characters are classified according to their social and edu-
(1) the sub-division of the various rasa-s and (2) the ninth rasa cational status. Kings and Brahmins (except vidii~aka) are high (1ttt1,1ma), servants
called Santa. Obviously all these verses, except the last one are and all female characters are low ( nu.a) and the rest middle ( madhya).
irrelevant, hence probably interpolated. (1) The sub-division of the
rasa-s show more the traditional love of our ancestors for hair-split-
ting than any important point.] (2) The last verse clearly says, 'these
are the eight rasa-s which have been defined. Now I shall define
and explain the bhava~s•. [Against this, a ninth rasa has no, legiti-
mate place in his work.]
Thus ends, Bharata's Niityasastra, chapter VI entitled 'Rasa'.

NOTES
1
In this chapter the reader finds the Sa1'igraha-karika style i.e. first the words are
mentioned purely in their technical sense and then serially explained.
2
These words-bhava, vibhava, anubhava, Vyabhicari bhava and Sthayi bhava
are not easy to translate. These words are used to explain how and why rasa is pro-
duced and how it is conveyed to the spectators. And equally relevant is the explana-
tion as to how an actor should act all these emotions. Action and emotion are
naturally cause and result. Each action conveys an emotion; similarly, emotions
lead to deeds. Actions are individual, emotions are universal. No two men ex-
press their anger in the same manner, but every man is susceptible to anger. And fi-
nally, actions and emotions are stimulated usually by contact with external
objects. These external objects which stimulate are called vibhava-s; the universal
(usually physical) reactions are called anubhava-s, the particular individual reac-
tions are called Vyabhicari (sometimes Saiicari) bhava-s. Reacting in these tw-o
It
f
ways, the actor make us see him as a brave man or a man in sorrow, etc. to which
we react. The moment when the actor, by his detailed acting, makes us feel that he
is in such and such a condition is recognised as the Sthayi bhava and our reaction
to his condition next moment is called rasa. Because of this extreme contiguity of
Sthayi bhava and rasa in the following explanations, one is equated to the other.
3These are the regional variations of dialects, dress and manners etc. Bharata,
later, says that an actor must be able to know and express these variations according
to the region of his audience.
4
The divine elements like storm or earthquake may deprive the performance of
success; similarly forgetting the lines by the actor, etc. also may lead to failure. So
success depends on both human and divine factors.
5
These are respectively called Pravesa, Niskrama, Antara, Prasadika, and ~epa.
6
In the cases of all rasa-s, Bharata quotes verses in Arya metres. Apparently, they
are from writers and authorities earlier than Bharata. But since he also does not
know their authorship he says they are '.A.nuvarp.sya' -handed down in the family tra-
dition (of teachers and students).