1. Natya Sastra Gosh Vol 1 Manmohan Gosh 1967 (Sanskrit Text)

THE NĀTYASĀSTRA.

(A Treatise on Ancient Indian Dramaturgy and Histrionics) ascribed to BHARATA-MUNI =

Some other works by the authora Vol. I. (Chapters I-XXVII)

The Paninīya-siksā (critically edited with introduction, translation Completely translated for the first time from the original Sanskrit and notes) Calcutta, 1938. with an Introduction, Various Notes and Index

The Karpuramanjarī (critically edited with introduction and notes), Second Edition, Calcutta, 1948. The Natyasāstra (critically edited) Vol. II (XXVIII-XXXVI), Calcutta, 1956. The Abhinayadarpanam (cirtically edited with introduction, by translation and notes), Second Editon, Calcutta, 1957: MANOMOHAN GHOSH M.A., PH. D. (CAL.) Contributions to the History of Hindu Drama, Calcutta, 1958. The Natyasastra (translation), Vol. II (XXVIII-XXXVI), 1961. The Natyasastra (critically edited), Vol. I (I-XXVII), 1967. PK 293) Revised Second Edition .B4353 1967

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First Published in 1951 Revised Second Edition, May 1967

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THOSE GREAT SCHOLARS OF INDIA AND THE WEST Who by their study and interpretation of her Religion, Philosophy, Literature and Arts, have demonstrated the high value of India's culture to the World and have helped her greatly towards a reawakening and political liberation.

Manomohan Ghosh PK and

2931 Who by their discovery of the Universal aspect of this culture .B4353 have made patent India's spiritual kinship with the other

1967 ancient nations of the World and have paved the way for an ultimate triumph of Internationalism.

Printed by at Calcutta Oriental Press Pvt. Ltd., 9, Panchanan Ghose Lane, Calcutta-9. and Published by Chinmohan Sehanavis on behalf of Manisha Granthalaya Pvt. Ltd. 4/3B, Bankim Chatterjee Street, Calcutta-12, India.

ACKNOWLEDGEMENTS AND OTHER NOTES

I am indebted to some friends for their kind and willing assistance in this work. More especially I wish to express my sincere thanks to Dr. Pulin Bihari Chakravarti, M. A., D. Lit. of the Sanskrit Depart- ment of the Calcutta University for his kindly obtaining a loan of some rare books from the Central Library. I wish also to express similar thanks to Mr. Pramil Chandra Basu, the Librarian of the University and his Assistants for giving me all facility of using the reading room of the library. Besides, Mr. Basu very kindly procured for my use an important book from the National Library. Last but not the least I should express my gratitude to the manage- ment of the Manisha Granthalaya Private Limited, especially the Director, Mr. Chinmohan Sehanavis, M. A. During the printing of the work I made at times rather heavy demands on his patience and he most cheerfully met these for making the work as faultless as possible. If in spite of this, there still remain some shortcomings in printing, the faults entirely lie with me. It may be expected that the kind readers will look indulgently at these. A sad note should also be added here. Dr. Kalidas Nag whose impulsion was greatly responsible for my undertaking the work and who was happy to know about the publication of this second edition, passed away in November last before the work could be completed. - This event reduces greatly the pleasure of the author in seeing it in a second edition.

PREFACE TO THE SECOND EDITION INTRODUCTION Though there was a constant demand for it, the translation of the I. THE PRESENT WORK Nātyasastra vol. I (I-XXVII) which was out of print in 1959, could not be published earlier for a variety of reasons. The most important I. Scope and Importance of the Natyasastra of these was that the text which was reconstructed earlier and made 1. The Nātyasastra written more than two milleniums ago1 is the basis of translation, had to be revised very carefully after a study a unique work of Indian literature. Though the title relates to of the materials which accumulated during the years following its theatre, it is in fact an encyclopedia dealing with all possible subjects publication. These include not only the volumes IlI and IV of the connected with the stage. This voluminous work composed almost Baroda edition of the Natyasastra, but also some other works. Among entirely in verse (about 6,000 couplets) with a sprinkling of prose these latter mention should be made of Dr. Indu Shekhar's Sanskrit and divided into thirtysix chapters, contains besides other valuable Drama (Leiden, 1960) in which he has made an up to date study of data on the history of ancient Indian culture, discussions on the certain aspects of the history of ancient Indian theatre. This work following topics: based on all available materials is highly suggestive, and will prove i. Mythical origin of theatre, its coming down on the earth. useful to scholars. The next work of importance is an annotated (I, XXXVI.) ; translation of the Nataka-laksana-ratnakosa by Professor Dillon and ii. Construction of a playhouse, a stage, a tiring-room and others (Transactions of the American Philosophical Society, New auditorium etc., ceremonies relating to the construction (II, III) ; Series vol. 50, Part 9, Philadelphia). It is a meritorious work. iii. Preliminaties to a dramatic performance: ceremonies includ- Besides, it shows clearly to what extent a text compiled in the lines of ing songs, chants, dances and instrumental music (V) ; the Natyasastra more than six centuries before our time, has become iv. Choreographic elements: dance, gestures and movements of unintelligible. From the fact that the three learned authors of different parts of the body (head, neck, eyes, hands, legs etc.) and this work could not be unanimous on a number of points, one body in some conventional postures. (IV, VIII, XIII) ; will easily appreciate the difficulty of editing and interpreting the v. Costumes and make-up (XXIII), basic work which was compiled most probably more than two vi. Classification of plays, analysis of their structure (XX, XXI) ; milleniums ago. Besides these works, there are a few articles vii. Poetic aspects of plays, and metres and figures of speech on some relevant topics which appeared in different journals. used in them (XV, XVI, XVII) ; Publication of the present author's critical text of the Natyasastra viii. Theory of music, metres of songs, chants, elocution, modes vol. II (XXVII-XXXVI) has also made the revision more fruitful. of playing instruments (Vinās, futes and drums) and Tālas (time- It may be mentioned here that due to the very corrupt nature of measure) to be observed during songs, and playing of instruments. this part of the text treating of music and some aspects of theatre, (XXVIII-XXXIII) ; it was not possible to prepare earlier a tolerably critical version of ix. Roles and characters in plays: their classification, description, this; and at one stage of the work, it was seriously thought that the attempt should be given up. But fate willed otherwise. After I Grosset, Introduction, pp. vii-viii, note 3. See also the Introduction to a second thought I reconciled myself with the sorry state of the the Text, Section IV. MSS. as well as printed materials, and decided to place the resulee 2 Grosset, Introduction, pp. xii-xiii. a

INTRODUCTION xviii THE NATYASASTRA xix

and training of actors and actresses, members of theatrical troupes, This shows to what extent the ancient Indian writers were ready to go and qualification of an ideal stage-manager (XXXIV-XXXV) ; into details to clarify the subject in hand. But in spite of our great . Criticism of a dramatic performance (XXVII) ; respect for the author, it would be idle to pretend that he followed 2. Some of the topics, especially an analysis of typical plays a plan that can quite satisfy the modern readers.ª This, however, may and their poetic aspects (nos. vi and vii) may appear to be superfluous not prove to be a handicap in following his main lines of treatment. in connection with the production of plays. But this is not actually The real difficulty about understanding and interpreting his great

so. For during the early period of Indian drama, independent play- work comes from its peculiar textual tradition,5 which developed wrights as a class were non-exIstent, and every troupe had its own obscurities through being copied and recopied for persons who were playwright who accompanied it from place to place, and utilized local later cut off from the original tradition. And it is probably on this history and legends to compose plays for entertaining a large number assumption that one can explain the fact that from about the seventh of people as well as for adding to its repertoire. It was with a view century, a number of talented scholars began to study the work closely to help such playwrights that the author of the NS. discussed in and write commentaries on it.e Abhinavagupta (about 1oth-1Ith detail the structural design of the various types of play and its century) was perhaps the last great name amongst them.7 His work elaboratian. It is not known if Abhinavagupta looked into this alone has luckily come down to us, though not in accurate and com- matter in such a light; still his reply to the anticipated criticism was plete manuscripts. Publication of this commentary8 as well as the that "it (the Natyasastra) is for the guidance of playwrights as well very useful work done by a number of modern scholars® has consider- as of producers."3 As drama in any form is primarily and essentially ably reduced the initial difficulty of studying with profit the contents a spectacle, an acquaintance with the rules of its production should of the NS. A brief history of all this will be necessary for realizing be considered indispensable for playwrights. For it is a wellknown the nature and magnitude of the task undertaken. fact that good many literary dramas are not taken up for performance, because they are not suitable for being put up on the boards. 2. A Short History of the Study The author of the Natyasastra was evidently conscious about this close 4. Since the West came to know of the Sanskrit drama through connection between the literary and technical aspects of theatrical William Jones's translation of the Sakuntala (the popular name production, and treated both of these with almost equal care. Hence of the Abhijnana-Sakuntalam),1º the nature and origin of the ancient his work naturally assumed the form of an encyclopedia. It is Indian theatre, have always interested scholars, especially the Sans- therefore no wonder that this was often quoted and referred to by kritists, all over the world. H. H. Wilson who published in 1826 authors who wrote afterwards on gestures, poetics, prosody, music and even Prakrit grammar. With equal justification it was also utilized by commentators of different Sanskrit and Prakrit plays. Grosset, Introduction, p. v. All the later writers on dramaturgy depended greatly if not exclusive- 5 See Introduction to the Text, §§ 11-12. ly, on this valuable work, and acknowledged their debt to the 6 ibid. § 31.

mythical Bharata. 7 ibid. $$ 32-33. 8 Published from Baroda, 1926-1964. 3. Topics of the Natyasastra discussed above are, however, bibliography. 9 D.R. Mankad, V. Raghavan, M, Dillon, and others. For details see the principal ones, and many minor ones come up from time to time. 10 Sacoontala or the Fatal Ring. Translated from the original Sanscrit 3 See note 3 P. I. and Pracrita, Calcutta, 1789.

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the first volume of his famous work on the subject11 deplored that the nature of the ancient Indian plays, especially the manner of their Natyasastra, mentioned and quoted in several old commentaries production on the stage. Sylvain Levi's Le Theatre indien (1890) in and other works, had been lost for ever. F. Hall who published in which he discussed comprehensively the contribution of his predeces- 1865 his edition of the Dasarupa,12 a late work on dramaturgy, did sors in the field and added to it greatly by his own researches, made not see any MS. of the Natyasastra till the printing of his work unfortunately no great progress in this specific direction. Though he had greatly advanced. And for the time being he published the had access to three more or less complete MSS, of the NS., Lévi does relevant chapters of the work13 as an appendix to his Dasarūpa. not seem to have made any serious attempt to make a close study of Afterwards he undertook to critically edit the MS. of the the entire work except its chapters XVII-XX (XVIII-XXII of our text) Natyasastra he had acquired; but this venture was subsequently given and XXXIV. The reason for his relative indifference to the contents up.14 In 1874 W. Heymann, a German scholar, published on the basis of the major portion (nearly nine-tenths) of the work. seems to be of South Indian MSS. discovered up till that date a valuable article on principally the corrupt nature of his MS. materials. Like his predeces- the contents of the Natyasastra. 15 The French Sanskritist Paul sors, Lévi paid greater attention to the study of the literary form of Regnaud published in 1880 chapter XVII16, and in 1884 chapter XV ancient Indian plays with the difference that he utilized for the first (in part) and the chapter XVI1I of the Natyasastra with translation, time the relevant chapters of the NS. to check the accuracy of This was soon followed by his publication of chapters VI and VII in statements of later writers on the subject like Dhanañjaya20 and Visva- 188418. And J. Grosset, another French scholar and a pupil of Regnaud, natha21 who professed their dependence on it. But whatever may be published later (in 1888) its chapter XXVIII, (with a translation)19 the drawback of Levi's magnificent work, it did an excellent service which treated of the general theory of Indian music. to the history of ancient Indian drama by focussing the attention of 5. But the different chapters of the work and studies on them, scholars on the great importance of the NS. Almost simultaneously which were published up till 1888, though very helpful for the two Sanskritists in India as well as one in the West were planning understanding of some aspects of the ancient Indian dramatic works, its publication. In 1894 Pandits Shivadatta and Kashinath Pandurang cannot be said to have thrown any considerable light on the exact Parab published from Bombay the original Sanskrit text of the work.29 This was followed in 1898 by J. Grosset's critical edition33 of its I1 Select Specimens of the Theatre of the Hindus (3 Vols), Calcutta, chapters I-XIV based on all the MSS. available up till that date. 1826-1827. 6. Though nearly seventy years passed after the publication 12 The Dasarupa of Dhananjaya (Bibliotbeca Indica), Calcutta, 1861- of Grosset's incomplete edition of the NS. it still remains one 1865). 13 Chapters XVIII-XX, XXXIV. of the best specimens of modern Western scholarship, and though 14 Hall began to publish the only incomplete MS. which he procured. in the light of the new materials available, it is possible now-a-days Grosset saw some proof-sheets and the copy of the work which was abandoned. to improve upon his reconstruction in a few places, Grosset's work See his Introduction, p. iii. will surely remain for a long time a landmark in the history of the 15 Ueber Bharatas Natyasāstram in Nachrichten von der Königlischen Gesselschaft der Wissenschften, Götingen, 1874, pp. 86ff. (Ref. Grosset, p. x); ID. pp. 2-3. o The author of the Dasarupa. See note 12 above. 16 Annales du Musée Guimet, Tome I. 1880, pp. 85ff. 2I The author of the Sahit yadarpana. Annales du Musee Guimet, Tome II. 1884, pp. 65ff. 22 Kavyamala no. 42. Bombay, 1894. 18 Rhetorique sanscrite, Paris. 1 884. 17 23 Traite du Bharata sur le theatre. Texte sanscrite. Édition critique. 19 Contribution a l'étude de la musique hindou. Lyon. 1888. Tome I. Partie 1 (Annales de l'Université de Lyon) Fasc. 40. 1898.

xxii THE NATYASASTRA INTRODUCTION xxiii

study of this important text. It is a pity that this very excellent work remains unfinished. But a fact equally deplorable is that it Abhinava's commentary on the remaining chapters published later26

failed to attract sufficient attention of scholars interested in the subject. is also not appreciably better.

Incomplete though it was, it nevertheless contained a good portion of 8. But whatever may be the real value of the commentary, the first three volumes of the NS. published from Baroda, which were the rules regarding the presentation of plays on the stage, and included avowedly to give the text supposed to have been taken by Abhinava- valuable data on the origin and nature of ancient Indian drama ; but no one seems to have subjected it to the searching study it gupta as the basis of his work, presented also considerable new and

deserved. Whoever wrote on ancient Indian plays after Lévi, depend- valuable materials in the shape of variant readings collated from numerous MSS. of the text as well as from the commentary. These ed more on his work than on the NS. itself, even when this was available (at least in a substantial part) in a critical edition. It may sometimes throw a new light on the contents of the work. A study of these together with a new and more or less complete text of the very legitimately be assumed that the reasons which conspired to NS. published from Benares in 192927 was justifiably considered a render the NS. rather unattractive included among other things, the desideratum. The present work has been the result of such a study, difficulty of this text which was not yet illuminated by a commentary. and in it has been given for the first time a complete translation28 of 7. Discovery in the first quarter of the present century of the the NS. based on a textª8 critically reconstructed by the author. major portion of such a commentary written by the Kashmirian 2. The Basic Text Abhinavagupta24 seemed to give, however, a new impetus to the study of the work. And it appeared for the time being that the NS. 9, The text of the NS. as we have seen was not available in a complete critical edition, and Joanny Grosset's text (Paris-Lyon, 1898) would yield more secrets treasured in the body of its difficult text. But the publication in 1926 of the first volume of the Baroda edition does not go beyond the chapter XIV. Hence the translator had to

of the work (ch. I-VII)25 including Abhinava's commentary, disillu- prepare a critical edition of the remaining chapters before taking up

sioned the expectant scholars. Apart from the question of merit of this the translation.30 For this he depended principally upon Ramakrishna Kavi's edition (Baroda, 1926-1954) including Abhinavagupta's commentary and its relation to the available versions of the NS., commentary, as well as the Nirnayasagar and the Chowkhamba it suffered from a very faulty transmission of the text. Not only editions (the first, Bombay 1894 and the second, Benares, 1929). did it contain numerous lacunae, but quite a number of its passages As the text of the NS. has been available in two distinct recensions, were not liable to any definite interpretation due to their vitiated selection of readings involved some difficulty. After the most careful nature. Of this latter condition the learned editor of the commentary consideration, the translator has thought it prudent to adopt readings says, "the originals are so incorrect that a scholar friend of mine is -- probably justified in saying that even if Abhinavagupta descended 26 Published between 1936 and 1964 under the editorship of M. R. from the Heaven and saw the Mss. he would not easily restore his Kavi. original reading. It is in fact an impenetrable jungle through which 27 Šri-Bharatamuni-pranitam Natyasastram (Kashi Sanskrit Series) Benares, a rough path now has been traced". The textual condition of 1929. 8 The first edition of the translation Vol. I. (I-XXVI) published by the Asiatic Society, Calcutta, 1951 and Vol. II (XXVIII-XXXVI) in 1961. 24 Dr. S.K. De seems to be the first in announcing the existence of a MS. 29 The Vol, II (XXVIII-XXXVI) of the text was published by the Asiatic of the commentary and in recommending its publication. See his Sanskrit Poetics, Vol. I. pp. 120-121. publishers. Society in 1956, and the Vol. I (I-XXVII) has been published by the present

25 Edited by M. Ramakrishna Kavi and published in G.O.S. in 1926. 30 See the note above.

xxiv THE NATYASASTRA INTRODUCTION xxv

from both the recensions, whenever such was felt necessary from the : repeated (within curved brackets) in the translation in their basic context or for the sake of coherence. But no serious objection may form, especially where they are explained or defined. In cases where be made against this rather unorthodox procedure, for A. A. the technical terms could not be literally rendered into English they Macdonell in his critical text of the Brhaddevata (Cambridge, Mass. were treated in two different ways: (a) they were given in 1904) has actually worked in this manner, and J. Grosset too in his romanised form with initial capital letters e.g. Bhana and Vīthi edition does not give unqualified preference to any recension and (XX. 107-108, 112-113), Nyaya (XXII, 17-18) etc. (b) Words confesses that due to conditions peculiar to the NS. his text has given as translation have been adopted with a view to indicating as 'un caractère largement éclectique' (Introduction, p. xxv) ; but he far as possible the exact significance of the original, e.g. further says 'nous n'avions pas l'ambition chimérique de tendre à la Paychological State (bhava), Sentiment (rasa), (VI. 33-34), Discovery reconstitution du Bharata primitif ...... (loc. cit.)'. This is a too (prapti), Persuasion (siddbi), Parallelism (udāharaņa) (XVII. 1), Vital pessimistic view. Drop (bindu), Plot (vastu) (XX, 15), Explanatory Devices (arthopakse- paka) etc. Lest these should be taken in their usual English sense 3. Dfficulties of Translation they are distinguished by initial capital letters. Constantly occurring 10. If the reconstruction of the text was, for reasons stated optative verbal forms have also been mostly ignored. Such vetbs as above, not an easy affair, its interpretation was also no less difficult. kuryat and bhavet etc, have frequently been rendered by simple 'is' As the two questions are intimately related with each other, it is not or an equivalent indicative form ; and nouns used in singular number possible to say which should come up first. Though it is an admitted for the sake of metre have been silently rendered by those in plural principle that the text of a work must be settled before it can be number and vice versa, when such was considered necessary from the interpreted, yet it is equally true that the text cannot be reconstructed context. unless one has a sufficient knowledge of its contents ; and this is particularly true in case of NS. which has a complicated text-history 5. Notes to the Translation

of its own. Due to this peculiar text-history,s1 the NS. offered 12. Notes added to this volume fall generally into two categories.

difficulties to the commentators of the past as well as to scholars (a) Explanatory. These include among other things references to

who began to study it in modern times. Hence the present writer different works on allied subjects and occasional short extracts from

thought of taking up at once both the works. This appeared to be the same. Abhinavagupta's commentary naturally occupies a promi-

the best way of rightly interpreting the text. nent place among such works, and it has sometimes been quoted and often referred to. But this does not mean that the worth of this work

4. The Form of the Translation should be unduly exaggerated.33 (b) Materials for Comparative Study. A very old text like the NS. not illuminated by anything like a com- 11. Though the translation has been made literal as far as plete and lucid commentary, should naturally be studied in comparison possible except that the stock words and phrases introduced to fill up incomplete lines have been mostly ignored, it has been found with works treating of similar topics directly or indirectly. Hence such materials have been carefully collated as far as the resources at the necessary to add a number of explanatory words [enclosed in rectan- author's disposal permitted. But even when supplied with these gular brackets] in order to bring out properly the exact meaning of notes, readers of the translation may have some difficulty in reconstruct- the condensed Sanskrit original. Technical terms have often been 32 See M. Ghosh, The Natyasastra and the Abhinavabharati in IHQ. 31 See Introduction to the Text $$ 1I-12. Vol. X. 1934, pp. 161ff. and also Introduction to the Text § 33.

xxvi THE NATY ASASTRA INTRODUCTION xxvii

ing from the work written in a diffuse manner, the picture of the the fable or the plot, and considers decoration to be unimportant. On

ancient Indian drama in its theatrical as well as literary aspect as it this point the philosopher says: existed in the hoary antiquity. To give them some initial help the "Terror and pity may be raised by decoration-the mere spectacle; theory and practice of the ancient Indian drama have been briefly but they may also arise from the circumstances of the action itself, discussed below together with other relevant matters. which is far preferable and shows a superior poet. For the fable should be so constructed that without the assistance of the sight its II. THE ANCIENT INDIAN THEORY OF DRAMA incidents may excite horror and commisseration in those who hear

I. Meaning of Nātya them only; * * * But to produce this effect by means of the decoration discovers want of art in the poet, who must also be 13. The word "Natya"' has often been translated as 'drama' and supplied with an expensive apparatus" (II. XIII).55 the plays of ancient India have indeed some points of similarity with 15. But in case of ancient Indian dramas the decoration (i.e. the those of the Greeks. But on a closer examination of the technique of costumes and make-up) mostly plays an important part. Equally with their production as described in the NS. ancient Indian dramas repre- five other elements, such as gestures and postures (angika), words sented by the available specimens, will appear to be considerably (vācika), the representation of the Sattva, it gives the Natya its different. Unless this important fact is borne in mind any discussion characteristic from. But in the theatre of the Greeks, it was not the on the subject is liable to create a wrong impression. As early as case. In the performance of tragedies, for example, they did not care 1890 Sylvain Levi (pp. 423-424) noticed that Indian Natya differed much for the spectacle, if the declamation was properly made. For from the Greek drama from which the Westernets derived their early Aristotle himself says that, "the power of tragedy is felt without conception of the art. On this he says, "Le nātaka par sa nature representation and actors" (II. III).36 autant que par son nom se rapproache de la dance scénique; le drama est l'action même" (loc. cit). But this statement needs ample clari- 16. Another peculiarity of ancient Indian dramas was their general dependence on dance (nrtta), song (gita), and instrumental fication. For reasons stated above Lévy could not property utilize in music (vadya). Though the chorus of the Greek tragedy introduced this connection the NS. which contains sufficient materials throwing in it some sort of dance and songs, the function of these elements light on the question. seems to have been considerably different in the ancient Indian drama. 14. The essential nature of the Natya derived from its etymology Indian plays were produced through words, gestures, costumes, make- cannot by any means be called fanciful. For in the Harivamsa33 we up, songs and dances and the instruments were played during the meet with an expression like natakam nanrtuh (they danced a play) performance whenever necessary. But these different elements did and the Karpūramanjarī (c. 1000 A.C.) has an expression like sattaam not play an equal part in all the plays or their different types. naccidavvam (a Sattaka is to be danced or acted).34 The terms like According as the emphasis was to be put on words, music, or dance, rūpaka or rūpa (representation) and preksā (spectacle), all denoting a play or its individual part partook of the nature of what the moderns dramatic works, also characterize ancient Indian dramas and show their would call 'drama', 'opera', 'ballet' or 'dramatic spectacle'.37 Due to difference from the drama of the Greeks who laid emphasis on the plot this nature, the ancient Indian drama which connected itself in many and not on the spectacle. Of the six parts of the tragedy, the most typical of the Greek dramatic productions, Aristotle puts emphasis on 35 Poetics, (Everyman's Library) P. 27. 6 ibid. p. 17.

33 Visnuparva, ch. 93, 28. 37 H.H. Wilson, On the Dramatic System of the Hindus, Calcutta, 1827.

34 2nd ed. by M. Ghosh. p. 80. Pp. 16, 20.

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ways with song, dance and instrumental music, had a literary form kānka, Bhāna and Vīthi, only some of these (XX. 88, 96). Hence which was different from that of the ancient Greeks. But it was not only due to its literary form, but also due to the technique of its one may call into question the soundness of the fourfold theoretical division of the Styles of presentation. But logically defective though production on the stage that the ancient Indian drama received its this division may appear, it helps one greatly to understand the prevail- special character. ing character of the production of a play as it adopts one or more of the Styles, and gives prominence to one or the other. It is a variation 2. Four Aspects of Drama of emphasis on these, which is responsible for giving a play the 17. To understand the technique of dramatic production one character of a drama (including a dramatic spectacle), an opera or a must have knowledge of the Styles (vrtti) of dramatic production ballet. Considered from this standpoint, dramas or dramatic spectacles described in the NS. (XXII). These being four in number are as like Nāțaka, Prakaraņa, Samavakāra and Īhamrga may in their follows: the Verbal (bharati), the Grand (sattvati), the Energetic individual Acts, betray the characteristics of an opera or a ballet. (arabhati) and the Graceful (kaisiki). The theatrical presentation The Prahasana, generally an one Act drama, to be presented with which is characterized by a preponderating use of speech (in Skt.) and attractive costumes and dance, may, however, to some extent, partake in which male characters are to be employed, is said to be in the of the nature of a ballet. Dima, Vīthi, Bhāna, Vyayoga and Utrsti- Verbal Style (XXII. 25ff.). This is applicable mainly for the evocation kāńka scem to be dramas devoid of much dance and colourful of the Pathetic and the Mervellous Sentiments. The presentation costumes. which depends for its effect on various gestures and speeches, display 3. The Theory of Imitation of strength as well as acts showing the rise of spirit, is considered to 19. After forming a general idea of Natya, from the various be in the Grand Style (XXII. 38ff.). This is applicable to the Heroic, terms used to denote it, one should enquire what ancient Indian the Marvellous and the Furious Sentiments. The Style which includes theorists exactly meant by the term (Natya) or what they regarded as

the presentation of a bold person speaking many words, practising being the essence of the dramatic art as opposed to the arts of poetry, deception, falsehood and bragging and of falling down, jumping cros- fiction or painting. To satisfy, our curiosity on this point the NS. sing over, doing deeds of magic and conjuration etc., is called the gives us the following passage which may pass for a definition of Energetic one. This is applicable to the Terrible, Odious and the Nätya. "A mimicry of the exploits of gods, the Asuras, kings as Furious Sentiments (XXII. 55ff). The presentation which is specially well as of house-holders in this world, is called drama" (I, 120).

interesting on account of charming costumes worn mostly by female 20. This description has some semblance with Cicero's view that

characters, and in which many kinds of dancing and singing are "drama is a copy of life, a mirror of custom, a reflection of truth". included, and the themes acted relate to the practice of love and its For this statement Cicero probably depends on Aristotle who consider- enjoyment, is said to constitute the Graceful Style (XXII. 47ff). It is ed that the art in general consisted of imitation (mimesis). But this

proper to the Erotic and the Comic Sentiments. does not help us very much to ascertain the nature of drama as an 18. From a careful examination of the foregoing descriptions example of 'imitation'. For the Greek philosopher nowhere defines one will see that the Styles, excepting the Graceful, are not mutually this very essentially important term. So when he declares that "epic quite exclusive in their application. On analysing the description of poetry, tragedy, comedy, dythrambics as also for the most part the different types of play given in the NS., it will be found that the music of the flute and of the lyre all these are in the most general Nāțaka, Prakarana, Samavakāra and Ihamrga may include all the view of them imitations",88 one can at best guess how drama imitates. Styles in their presentation, while Dima, Vyayoga, Prahasana, Utssti- 38 Poetics, p. 5.

THE NATYASASTRA INTRODUCTION xxx xxxi

There seems to be no such difficulty about understanding the view of The Zonal division (XIX. 3-10) of the stage also is another instance ancient Indian theorists. The NS. lays down very elaborate rules as to of this kind. Besides, there are others (XIV. 11-17). how drama is to make mimicry of the exploits of men and their 22. A locality might change with the actor walking a few steps divine or semi-divine counterparts. It is due to the rules of represen- over the stage.39 Any Sanskrit play will furnish numerous examples of tation that an ancient Indian drama has been called by the later this convention. For example, in the first act of the Sakuntala, the theorists 'a poem to be seen' (SD. 270-271). By this term, epic or king appears at a distance from Kanva's hermitage, but shortly after- narrative poetry and fiction etc. are at once distinguished from drama wards he enters it simply by taking a few steps over the stage, looking which is preeminently a spectacle, including a mimicry of activities of around and saying, "This is the entrance of a hermitage; let me enter mortals, gods or demigods. It may now be asked what exactly was it." By this kind of convention, the inside and outside of a house meant by the word mimicry (anukarana) used by Indian theorists. Did was simultaneously presented.40 The rule relating to this was as this mean a perfect reproduction of the reality ? For an answer to this follows: According to the Zonal division, those who entered the stage question we are to look into conventions of ancient Indian drama, earlier should be taken as being inside (a house) while those entering later are to be known as remaining outside it. He who enters the 4. The Dramatic Conventions stage with the intention of seeing them (i.e. those entering earlier) 21. That ancient Indian theorists turned their attention very should report himself after turning to the right. To indicate going to a early to the problem of dramatic representation, and enquired about distant locality one is to walk a good few steps over the stage, and to the exact place of realism or its absence in connection with the indicate going to a place near by, a short walk only is needed, while a production of a play, is to be seen clearly from their very sensible divi- walk of medium duration would indicate going to a place at a medium sion of the technical practice into "realistic" (loka-dharmi, lit. popular distance. But in case a person leaves one country and goes to a distant nature) and "conventional" (natya-dbarmi, lit. theatrical nature)." land, this is to be indicated by closing the Act in which such an By the realistic practice, the NS. (XIV. 62-63) means the reproduction event occurs, and mentioning the same thing again in an Explanatory of the natural behaviour of men and women as well as the Scene at the beginning of the next Act. Examples of some of other cases of natural presentation. But from the very elaborate these conventional rules occur in the ninth Act of the Mrcchakatika treatment of various conventions regarding the use of dance, songs, where Sodhanaka appears first as being at the gate of the court of gestures and speeches etc. by different characters, it is obvious that the justice, and enters it by making a pantomimic movement; then again tradition of the ancient Indian theatre recognized very early the simple he goes out to receive the judge and re-enters the court-room after him truth that the real art to deserve the name, is bound to allow to itself by simply walking over the same stage. And when the judge has a certain degree of artificiality which receives its recognition through started work, Sodhanaka again goes out to call for the complainants. many conventions. One very patent example of this conventional This going out consists of actually walking a few steps over the stage. practice on the stage, is speeches uttered 'aside' or as soliloquy. The NS. describes (XIV. 64-65) in general the convention as follows :- 39 Due to this kind of convention, scenes of the Sanskrit plays are not "If a play contains acts modifying traditional stories, supernatural clearly separated as they are in a modern drama. This puzzled F. Hall who says: powers and disregards the practice about the languages, and requires So far as is known, Hindu dramas have always been parted into acts; but never have they had scenes. It is somewhat to be wondered at, that the acting with playful use of Angaharas, and possesses characteristics of Hindus, with their inordinate love for subdivision, should have left these un- dance, and requires conventional enunciations, and is dependent on invented (Introduction to the Daśarūpa, p. 28-29). divine personalities, it is to be known as conventional (nātya-dharmī)." 40 ibid.

THE NATYASASTRA INTRODUCTION xxxiii xxxii

23 The advocates of extreme realism may find fault with these The Seed (bija) of the play as well as its Vital Drop (bindw) was as unnatural, and the accusation cannot be denied; but on a closer always to relate to every Act of the play, and the Hero was sometimes examination ot circumstances connected with the construction of a play to appear in every Act or to be mentioned there (XX. 15,30) as well as its production on the stage, it will be found that if the 26. An Act was not to present too many incidents (XX.24). spectactors are to demand realism very rigidly, then no theatrical per- and such subsidiary events as might affect the unity of impression on formance of any value, may be possible. Indians of ancient times their being directly presented, were merely to be reported in an never ran after this kind of absurdity. Critics of ancient Indian drama Introductory Scene .* Besides this, short Explanatory Devices were will do well to remember this and take care to understand the scope sometimes put in before an Act, to clarify the events going to occur in and necessity of various conventions relating to the dramatic produc- it (XXI. 106-11I). All these, not only helped the play to guarantee tion, so that they may better appreciate the art of great playwrights an unity of impression, but also imparted to its plot a rapidity of move- like Bhāsa, Kalidāsa, Šūdraka, Bhavabhūtī and Viśākhadatta. ment which is essential for any kind of successful dramatic production.

5. Time and place in Drama 7. Criticism of Drama 24. Ancient Indian playwrights, unlike the majority of Greek 27. Indians from very early times considered a play to be essenti- tragedians, did never make any attempt to restrict the fictional action ally 'a spectacle' (preksa) or things to be visualized; hence persons to a length of time roughly similar to that taken up by the production attending the performance of a play were always referred to (XXVII. of a drama on the stage. In developing plots they had not usually 48-57) as 'spectators' or 'observers' (preksaka)42 and never as audience any restriction on the length of time, provided that individual (srotr), although in it there was always the speech-element. This Acts included incidents that could take place in course of a single disposes of the question of judging the value of a drama except in day, and nothing could be put in there to interrupt the routine duties, connection with its production on the stage. This importance of the such as saying prayers or taking meals (XX. 23) ; and the lapse of representational aspect of a play has possibly behind it an historical time between two Acts, which might be a month or a year (but never reason. Though in historical times we find written dramas produced more than a year)41 was to be indicated by an Introductory Scene on the stage, this was probably not the case in very early times, and (pravesaka) preceeding the second one (XX.27-28). Similarly there was the dialogues which constitute an important part of the drama were almost no restriction about the locality to which individual characters, often improvised on the stage by the actors,48 and this practice seems and gods in their human roles were to be assigned, except that the to have continued in certain classes of folk-plays till the late medieval human characters were always to be placed in India i.e. Bhārata-varsa times.44 Hence the drama naturally continued to be looked upon by

(XX. 97). Indians as spectacles even after great playwright creators like Bhāsa, 6. The Unity of Impression Kālidāsa, Sūdraka, Bhavabhūti and Visākhadatta had written their 25. In spite of having no rules restricting the time and place relating to different incidents included in the plot of a drama, the 42 Preksa occurring in the NS. seems to be the same as Pali, pekkba in the Brahmajalasutta, see Lévi, II. p. 54. playwright had to be careful about the unity of impression which it 3 M. Winternitz, Vol. I. pp. 101-102. was expected to produce. For this purpose the NS seems to have 44 This was witnessed by the present writer in his early boyhood in the the following devices: old-type Yatras of Bengal, which have now disappeared altogether. Sri-Krsna- kirtana of Early Middle Bengali literature seems to have been the musical 41 Bhavabhuti disregards this rule in the Uttara, in letting many years frame-work of a Yātra of this kind. pass between Acts I and II.

xxxiv THE NATYASASTRA

dramas which in spite of theit traditional form were literary master- INIRODUCTION XXXV

pieces. performance, merely shows in what diverse ways different types of 28. Now, dramas being essentially things to be visualized, play have their special appeal to the multitudinous spectators. their judgement should properly rest with the people called upon to And his very detailed treatment of this point, is for suggesting witness them. This was not only the ancient Indian view, even the what various aspects a drama or its performance may have for the modern producers, in spite of their enlisting the service of professional spectators. This manysidedness of an ideal type of drama has been very (dramatic) critics, depend actually on the opinion of the common aptly summed up by Kalidasa who says, "The drama, is to provide people who attend their presentation of a drama. The judgement of satisfaction in one [place] to people who may differ a great deal as a drama which is to depend on spectators has been clearly explained regards their tastes" (Malavi. I. 4), It is by way of exemplifying in the theory of Success discussed in the NS. (XXVII). In this connec- the tastes of such persons of different category that the NS. says: tion one must take into account the medley of persons who usually "Young people are pleased to see (the presentation of) love, the assemble to witness a dramatic performance and what varying tastes learned a reference to some (religious or philosophical) doctrine, the and inclinations they might possess. For, this may give us some seekers after money to the topics of wealth, and the passionless the guidance as to what value should be put to their judgement which topics of liberation. Heroic persons are always pleased in the Odious appears to have no chance of unity. In laying down the characteristics and the Terrible Sentiments, personal combats and battles, and the old of a drama the NS. has the following: "This (the Natya) teaches people in Puranic legends, and tales of virtue. And common women, duty to those who have no sense of duty, love to those who are eager children and uncultured persons are always delighted with the Comic for its fulfilment, and it chastises those who are ill-bread or untuly, Sentiment and remarkable costumes and make-up" (XXV. 59-61). promotes self-restraint in those who are disciplined, gives courage to 30. These varying tastes of individual spectators were taken cowards, energy to heroic persons, enlightens men of poor intellect and into consideration by the author of the NS. when he formulated his gives wisdom to the learned. This gives diversion to kings, firmness theory of Success. Success in dramatic performance was in his opi- (of mind) to persons afflicted with sorrow, and (hints of acquiring) nion of two kinds : divine (daiviki) and human (mānusī) (XXVII. 2). wealth to those who are for earning it, and it brings composure to Of these two, the divine Success seems to be related to the persons agitated in mind. The drama as I have devised, is a mimicry deeper aspects of a play and came from spectators of a superior order of actions and conducts of the people, which is rich in various emotions i.e. persons possessed of culture and education (XXVII. 16-17), and and which depicts different situations. This will relate to actions of the human Success related to its superficial aspects and came from men good, bad and indifferent, and will give courage, amusement the average spectators who were ordinary human beings. It is from and happiness as well as counsel to them all" (I. 108-112). these latter, who are liable to give expression to their enjoyment or 29. There may be an objection against the foregoing passage that disapproval in the clearest and most energetic manner, that tumultu- no one play can possibly please all the different types of people. But ous applause and similar other acts proceeded(XXVII. 3, 8-18, 13-14), to take this view of a dramatic performance, is to deny its principal while spectators of superior order expressed rather calmy their character as a social amusement. For, the love of spectacle is inherent appreciation of the deeper and more subtle aspects of a play (XXVII, in all normal people and this being so, every one will enjoy a play 5, 6, 12, 16-17). whatever be its theme, unless it is to contain anything which is anti- social in character. The remarks of the author of the NS. quoted . The Theory of Sentiments (rasa) above on the varied profits the spectators will reap from witnessing a 31. The spectators of a superior order did not, however, stop at the popular appreciation ot plays, They took the matter quite

xxxvi THE NATYASASTRA INTRODUCTION xxxvii

seriously, and as was the wont of the Indians of early times, made effects of the Durables9 (sthayin) Psychological States that they play an attempt to find out the philosophy of it. It was not enough for their part in the evocation of Sentiments. them that the spectators enjoyed witnessing a successful dramatic 32. To understand the theory of Sentiments properly one must performance. They were also curious to find out the process remember the distinction between the two groups of Psychological through which it provided enjoyment to them, and discovered what States. Those called Durable affect the human personality may be called the psychological basis of this enjoyment. Ancient so profoundly that the person concerned forget for the time being writers on plays already realized the importance of psychology in all other things in or around him. No one can deny that this is the classifying Heroes and Heroines according to their mental and emo- case of the Psychological States of love and sorrow ; and according tional conditions (XXIV, 210ff ; XXXIV. 15ff). This was because to the theory of Sentiments the same is true in case of other Psycho- without a knowledge of psychology neither the playwrights could build logical States as well. Hence each of the eight Durable Psychological up characters in a play nor could the actors and the actresses represent States of a person gives him an experience of singular spiritual these on the stage for evoking Sentiments in the spectators. The freedom.50 This condition, ideal though it might be, does not last theory of Sentiments occupy indeed an important position in the very long, and due to various reasons, may have afterwards compli- history of the ancicnt Indian literature.46 But the succinct manner in cations which are far from pleasant. But it is a different matter when which it has been formulated in the NS. gave rise to many problems a cultivated spectator witnesses the Durable Psychological State of the which the later authorities are not all unanimous in solving.46 How- Hero of a play reproduced on the stage by an able actor. Here the ever, in the light of their valuable discussions, the theory may be relevant representation of the Durable Psychological State acts as a

briefly stated as follows: stimulus in evoking in the spectator a verisimilitude of such a Psycho- Men have as many as fortyone Psychological States (bhāva, lit. logical State, which is then called a Sentiment. The Sentiment being feeling) such as, love, mirth, sorrow, anger, energy, terror, disgust, a vicarious experience does not affect him in any other way ; and astonishment, discouragement, (physical) weakness, apprehension, bringing in its wake a spiritual freedom,61 it may be said to purify his envy, intoxication, weariness, indolence, depression, anxiety etc. But soul. It is probably on a consideration like this that Aristotle spoke among them all the first eight only haves! a durable (sthayin) effect on of catharsis (Gk. katharsis)52 in connection with witnessing a drama of the human personality, and constitute the bases of Sentiments (rasa) while the remaining thirtythree have only a complementary Apte justly says that 'the Vyabhicari-bhavas act as feeders of the prevailing (vyabhicarin lit. casual)48 effect on it, and it is by strengthening the (i e. sthayin) sentiment and strengthen it in various ways, whether openly or covertly.' See his Dictionary, sub voce. 49 Early writers translated the word (sthayin) as 'Dominant.' But 45 The theory of Sentiments (rasa) related originally to dramatic perfor- 'Durable' seems to be its real meaning. In some pages of the present work

mance only, and was applied later to the poetical literature afterwards. the old rendering has been retained through mistake. Readers are requested to

46 See A.B. Keith, Skt. Drama. pp. 316-319. make necessary changes. 50 See the note 51 below. 47 When one of these becomes a Durable Psychological State, some of the 51 Viśvanatha compares the experience of a Sentiment with the realization rest may then act as 'Complementary' or 'Transitory' Psychological States of Brahman (brahmasvada-sabodarab). See SD, III. 36. (vyabbicari-bhava). Sce SD. III. 34 gloss. Also see below. 52 So far as the present writer's knowledge goes, Aristotle's katharsis has 48 Vyabhicarin (vi-abbi-car-in) really maans 'that which moves not yet been satisfactorily explained. See Allardyce Nicoll, The Theory of particularly (vi) towards (abhi) something.' It should be translated as 'Comple- Drama, London, 1937. pp. 119, 122-124; and also Lascelles Abercrombie, mentary' and not as 'Transitory' though it is ultimately such, The old Principles of Literary Criticism in 'An Outline of Modern Knowledge,' London, rendering has been retained through mistake in the present translation. V.S. 1932, pp. 887-889.

INTRODUCTION xxxix xxxviii THE NATYASASTRA Durable Psychological States do not disappear like this and may tragic contents which are not dissimilar to the Pathetic, the Odious and the Terrible Sentiments. indeed encumber the memory for a long time, if not for life. This

33. For appreciating the theory of Sentiments, it is also necessary relative strength makes them the vehicle of Sentiments (rasa).

to remember that the Psychological States, Durable as well as Comple- 35. The place of the Sattvika States (bhavas) in the theory of

mentary,5ª relate primarily to characters in a play, generally a Hero or Sentiments is not all clear from the NS. One later authority simply

a Heroine. The process through which his or her Durable Psychologi- ignores these while giving his definition of rasa (Sentiment), it seems with much justification.5€ In ultimate analysis these are nothing but cal States grow should receive our attention next. To illustrate this, let us take the case of the Pathetic Sentiment. Ic is the Durable the anubbavas or Consequents.

Psychological State of sorrow that can evoke it. How does this State 36. In spite of the learned theory of Sentiments formulated in the NS., the dramatic criticism never became in ancient India a pre- grow?, It grows from an affliction under a curse, separation from dear ones, loss of wealth, someone's death, captivity or similar other serve of the scholastic critics. The specialists in dramatic production

misfortune. Now all such things are called vibbavas (lit. causes of never forgot that this was basically a social amusement and as such

bhavas) or Determinants.54 But this is not enough for our appreciation depended a great deal for its success on the average spectators. In the

of the Durable Psychological States. For the spectators must witness NS. it has been said clearly more than once that the ultimate court of

this reproduced on the stage. This means that the effects of all these appeal concerning the dramatic practice was the public (XX. 125-126). Hence any theory or a fixed set of rules, be it of the Natyaveda or the vibhavas or Determinants upon the Hero or the Heroine should be made manifest through acting. As a natural consequence of the NS. was at n ) time considered enough for regulating the criticism of a performance. This seems to be the reason why special Assessors vibhavas or Determinants the characters concerned would shed tears, appointed to judge the different kinds of actions occurring in a play lament, change their colour or show drooping limbs etc. And these (XXVII. 63-69) decided in coöperation with the select spectators, who being the effect of the Durable Psychological States (bhava) are called among the contestants deserved to be rewarded. anubhāvas (sequel to bhavas) or Cosequents. 34. The Complementary Psychological States (vyabhicari-bhava)65 III. THE LITERARY STRUCTURE OF DRAMA are so called because they come along with the Durable Psychological States, and strengthen the latter. For example, in case 1. Two Major Types of Play57

of the Pathetic Sentiment which arises from not having the desired 37. Though the Indians unlike the Greeks paid no exclusive union with the beloved one or from being separated from him, there attention to the fable or the plot, they were fully conscious of its occur the following Complementary Psychological States: in- actual importance; and began very early to study the precess through

difference, langour, anxiety, yearning, excitement, delusion, fainting, which different plots assumed the form of plays presentable on the

sadness, dejection, illness etc. As these disappear after strengthening stage. After a study of available plays they generalized on their

the Durable Psychological States they are called Complementary. But essential characteristics and formulated certain rules of their construc- tion, not only for the guidance of future playwrights and stage-managers 53 See tbe note 48 above. but also helping the right understanding of drama. It was indeed 54 Vibhava really means that which distinctly (vi) causes a Psychological true that the ultimate court of appeal in case of judging a performance State (bhava) and as such the current rendering seems to be inaccurate. Though the old rendering has been retained in the translation the readers are 56 See SD. III. 34 gloss. requested to take the word in the sense suggested. 57 The NS. ignores the Uparupakas. For them see SD., NL. and BhP. 55 See the note 48 above.

xl THE NATYASASTRA INTRODUCTION xli

was the spectators. But a set of rules crystalizing the accepted tradi- of the play which is the triumph or the prosperity of the Hero. But tions and technique were nonetheless necessary. For a creative artist, all these except his (the Hero's) death, could be reported in an In- be he a littérateur, a painter or a musician, cannot properly fulfil his troductory Scene which may come before an Act. The presentation functions unless he keeps sufficiently close to the traditions and techni- of the Hero's death was for obvious reasons impossible in a comedy. que followed by his predecessors. Though he might be a genius, he 40. The first thing that attracts the attention of a reader on would scarcely succeed, if he should scatter all these to four winds. It opening a Nātaka, is its Prologue (sthāpanā or prastāvana). But is for this reason that the scholars of ancient India directed very early according to the NS. this was a part of the Preliminaries (pūrvaranga) their attention to the literary structure of plays. The first thing they and was outside the scope of the play proper (V. 171). That famous did in this regard was to classify the very numerous plays which were playwrights like Bhäsa, Kalidasa and others wrote it themselves and already in existence by this time. Unlike the threefold division made it the formal beginning of their dramas, seems to show that they of the Greeks based on a consideration of the sentiment involved, such made in this matter an innovation which as great creative geniuses as tragic, comic and an admixture of the both, the Indian classification they were fully entitled to. depended on the subject-matter as well as technique of construction 41. But unlike Greek plays ancient Indian Natakas are divided and presentation. To understand their point of view easily, it would be into Acts the number of which must not be less than five or more convenient to divide the ancient Indian plays into two groups accord- than ten (XX. 57). These Acts, however, are not a set of clearly ing to their relative complexity. divided scenes as they are in modern western compositions of this 38. Of the ten kinds of play, the Nataka and the Prakarana category. An Act of the ancient Indian drama consists of a series of being more complex than the rest, belong to the major types. more or less loosely connected scenes58 which due to its peculiar Anyone knowing sufficiently about their nature and construction, will technique could not be separated in writing from one another. These, have little difficulty in studying the remaining eight classes of play, however, will constitute Acts when taken along with the Explanatory which constitute the minor types. Of the two of the major types of Devices related to them. The Act has three following characteristics: play, it will be convenient to take up first Nataka which is more i. Only the royal Hero, his queen, minister, and similar other important than Prakaraņa. important personages are to be made prominent in it and not any minor character (XX. 18). This rule evidently follows from the leading (a) Subject-matter and division into Acts. position or importance of such characters. 39. Nataka is a play having for its subject-matter a well-known ii. It is to include only those incidents which could take place in story, and for its Hero a celebrated person of exalted nature. It des- course of a single day (XX, 23). If it so happens that all the incidents cribes the character of a person descending from a royal seer, the divine occurring within a single day cannot be accommodated in an Act, the protection for him, and his many superhuman powers and exploits, surplus events are to be reported in a clearly separated part of it such as success in different undertakings and amorous pastimes; and called the Introductory Scene (pravesaka) where minor characters only this play should have an appropriate number of Acts (XX. 10-12). can take part (XX. 27,30). The same should be the method of As exploits of the Hero of a Nataka have been restricted to his success reporting events that are to be shown as having occurred in an in different undertakings including love-matters, it is a sort of interval between two Acts (XX. 31). Evidently these latter should be 'comedy,' and as such it can never permit the representation of the of secondary importance for the action of play. But according to Hero's defeat, flight or capture by the enemy or a treaty with him under compulsion. Such a representation would negative the subject 58 See para 22 above.

xlii THE NATYASASTRA INTRODUCTION xliii

the NS. these should not cover more than a year (XX. 28). This describing some incident or occurrence that is to come immediately allowance of a rather long period of time for dispensable events after (XXI. 106-107). occurring between two Acts of a Nataka was the means by which iv. A Transitional Scene. When a scene which occurs between ancient Indian playwrights imparted speed to the action of the play two Acts or is a continution of an Act and is included in it, relates and compressed the entire plot distributed through many events over to the purpose of the Seed of the play, it is called the Transitional days, months and years within its narrow frame-work suitable for Scene (XXI. 112).

representation within a fow hours. v. An Anticipatory Scene. When the detached beginning of ili. An Act should not include the representation of events an Act is summarised by a male or a female character, it is called the relating to feats of excessive anger, favour and gift, pronouncing a Anticipatory Scene (XXI. 112). curse, running away, marriage, a miracle, a battle, loss of kingdom, death and the siege of a city and the like (XX. 20,21). The purpose (c). The Plot and its Development

of this prohibition was probably that, when elaborately presented in 43. The Plot or the subject-matter (vastw) of Nātaka may an Act, these might divert much of the spectator's interest from the be twofold: "The principal" (adhikarika) and the "incidental" line of the principal Sentiment which the play was to evoke and might (prāsangika). The meaning of the pricipal plot is obvious from its thereby interfere with the unity of impression which was expected name, and an incidental plot is that in which the characters acting

from it. in their own interest, incidentally further the purpose of the Hero of the principal plot (XXI. 2-5). The exertion of the Hero for the (b) Explanatory Devices object to be attained, is to be represented through the following five 42. The five Explanatory Devices (arthopaksepaka) were adopt- stages (XXI. 8) ; Beginning (arambba), Effort (prayatna), Possibility ed by playwrights for clarifying the obscurities that were liable to of Attainment (prapti-sambhava), Certainty of Attainment (niyatāpti) occur due to their extreme condensation of the subject-matter. and Attainment of the Result (phalaprapti). Besides these aspects of i. An Introductory Scene is the most important among them. the action and the plot of a Nataka, the elaboration of the latter It has been shown before how ancient Indian playwrights divided the has been viewed as depending on its division into the five entire action of a Nataka into two sets of events of which the one was Segments (sandbi) which are as follows: Opening (mukha), Progres- mere important than the other, and how they represented in its Acts sion (pratimukha), Development (garbha), Pause (vimarsa) and the important set, whereas the less important ones were reported, when- Conclusion (nirvabana). These, however, do not necessarily coincide ever necessary, in Introductory Scenes. The other Explanatory Devices with five Acts ; and a Segment may well include more Acts than are as follows: An Intimating Speech (culika), a Supporting Scene one. And the plot has been further analysed and described to give (viskambhaka), a Transitional Scene (ankāvatāra) and an Anticipatory detailed hints as to how the playwright was to develop an interesting

Scene (ankamukha). play imparting to it all possible literary and dramatic qualities. The ii. An Intimating Speech. When some points (in the play) Segments have also been analysed again with a similar purpose. are explained by a superior, middling or inferior character from bebind Kālidāsa's Šakuntalā and Bhāsa's Svapna-vāsavadattā are well. the curtain, it is called the Intimating Speech (XXI. 108). known examples of Nātaka. iii. A Supporting Scene. The Supporting Scene related 44. Prakarana. The second species of ancient Indian play, is originally to the Opening Segment only of a Nataka. Later it served a Prakarana which resembles a Nataka in all respects except that "it sometimes the purpose of an Introductory scene. It is meant for takes a rather less elevated range". Its Plot is to be original and

xliv THE NATYASASTRA INTRODUCTION xlv

drawn from real life and the most appropriate theme is love. The play with well-ordered construction in which the plot of love is to be Hero may be a Brahmin, merchant, minister, priest, an officer of the based on causing of discord among females, carrying them off and king or the leader of an army (XX. 49-51). Female characters in it oppressing (the enemies), and when persons intent on killing are on include a courtezan or depraved woman of good family (XX. 53).59 the point of starting a fight, the impending battles should be avoided But the courtezan should not meet the Hero when he is in the by some sttatagem (XX. 78-82). No old speciment of this type of company of a lady or gentlemen of high family, and if the courtezans play has been found. From the description given in the NS, it seems and respectable ladies must meet on any account, the former are to that Ihamrga was a play of intrigue, in which gods and goodesses only keep their language and manners undistorted (XX. 55-56). From were in volved. these and other features, the Prakarana has been called a bourgeois 47. Dima. Dima is a play with a well-constructed plot and its comedy or comedy of manners of the rank below royalty. Sūdraka's Hero should be well-known and of the exalted type. It is to contain Mrcchakatika and Bhavabhuti's Malatīmadhava are wellknown all the Sentiments except the Comic and the Erotic, and should consist examples of the Prakarana. of four Acts only, Incidents depicted in it are mostly earthquake,

2. Eight Minor Types of Play fall of meteors, eclipses, battle, personal combat, challenge and angry confict. It should abound in deceit, jugglery and energetic activity 45. Samavakāra. Samavakāra is the dramatic representation of many kinds. The sixteen characters which it must contain are to of some mythological story which relates to gods and some well- include different types, such as gods, Nāgas, Rāksasas Yaksas and known Asura, who must be its Hero. It should consist of three Acts Pisācas (XX 84-88). No old or new example of this type of play has which are to take for their performance eighteen Nādikas (seven hours reached us. It seems that like Samavakāra this was a dramatic spec- and twelve minutes).69 Of these the first Act is to take twelve and the tacle rather than a fullfledged drama. With the advent of literary second four, and the third two Nadikas only. The subject-matter plays of a more developed kind, it has become extinct. of Samavakara should present deception, excitement or love, and the 48. Vyayoga. Vyayoga was a play with a well-known Hero and the number of characters allowed in it are twelve. And besides this, a small number of female characters. The events related in it were to metres used in it should be of the complex kind (XX. 63-76). be of one day's duration. It was to have one Act only and to include No old specimen of this type of drama has reached us. From the battles, personal combat, challenge and angry conflict (XX. 90-92). description given in the NS. it seems that Samavakara was not a Bhasa's Madhyama-vyayoga is a solitary old specimen of this type of fully developed drama, but only a dramatic spectacle based on a play. mythological story. It naturally receded into back-ground with the 49. Utsrstikanka. Utsrstikanka or Anka is an one-act play with advent of fullfledged literary dramas, like those of Bhasa and Kālidāsa. a wellknown plot, and it includes only human characters. It should 46. Thamrga. Ihamrga is a play of four Acts in which divine abound in the Pathetic Sentiment and is to treat of women's lamenta- males are implicated in a fight over divine females. fc should be a tions and despondent utterances when battle and violent fighting have ceased, and its plot should relate to the downfall of one of the con- 59 As Wilson did not know this he said: We may, however, observe to tending characters (XX, 94-100). Bhäsa's Urubhanga seems to be its the honour of the Hindu drama that the parakiya or she who is the wife of another is never to be made the object of dramatic intrigue, a position which solitary specimen. This type of play may be regarded as a kind of could sadly have cooled the imagination and curbed the wit of Dryden and one-act tragedy. Congrave. See Select Specimens of Hindu Theatre, Vol. I. p. xiv. 50. Prabasana. Prahasana is a farce or a play in which the 60 See Wilson, On the Dramatic System of the Hindus, p. 16. Comic Sentiment predominates, and it too is to consist mostly of one

lvi THE NATYASASTRA INTRODUCTION xlvi

Act only. The object of laughter was furnished in this, mainly by classification in their case has been a little different. But the the improper conduct of various sectarian teachers as well as courtezans treatment of characters does not stop there. A more practical and Dhurta or gallant crooks (XX 102-106). The Mattavilasa and the classification according to their relative importance in the Bhagavadajjukiya are fairly old speciments of this type of play. drama is then taken up. First come the Hero and the Heroine 51. Bhana. Bhana is an one-Act play with a single character who are the leading characters. Naturally theit entourage also have who speaks after repeating words of persons who remain invisible, a share in the discussion (XXXIV. 17ff.). A more or less elaborate throughout. This play in monologue relates to one's own and other's description of these, which follow, made it easy for the playwrights to adventures. It should always include many movements which are to build up the characters by putting in their mouth appropriate words be acted by a Dhūrta (or gallant crook) or a Vita (XX. 108-110). which the changing dramatic situations demanded. These words The Bhänas included in the collection published under the title the constituted an essential part of the Verbal Representation (vācika- Caturbhani61 seem to be very old specimens of this type of play. bhinaya). And pursuing the method described, the playwright as 52. Vithi. Vithi should be acted by one or two persons. It well as the actors could express properly all possible nuances of feel- may contain any of the three kinds of characters superior, middling ings as well as meanings, for calling up the Psychological States which and inferior (XX. 112-113). It seems to be a kind of a very short are to evoke the Sentiments. one-Act play. But one cannot be sure about this; for no specimen of this type of play has come down to us. 4. Diction of a Play

3. The Characterization in a Play 54. When the playwright has organized his plot and conceived the characters, he is to give proper forms to the language to be put 53. As it is admitted that a drama is not actually such till it is in their mouth. Here he faces a difficult test of his abilities. As produced on the stage, the most important thing after the organization in the case of other types of literature, this language cannot be words of the plot is building up the characters. The relative importance of as they are spoken in everyday life. Moreover the time being the plot and the characterization may be best understood if we compare limited the speeches should be as brief as possible, and in some the art of drama with that of painting; and the drama being primarily cases, not only to break the monotony but also to heighten the charm a spectacle, the similarity between the two is quite natural. Hence otherwise, metrical passages should be introduced. Besides, there it will not be wrong to say that the plot is comparable to the lines should be adopted other means to get the maximum benefit from the and the characterization to the colours. It is on a consideration like speeches for furthering the representation of the character. this that one will easily appreciate the discussion on the types of 55. Use of Metre. One of the first things to receive the atten- characters in the NS. (XXXIV). First of all, the characters have been tion of ancient Indian writers on dramaturgy was the importance of broadly divided into three types according to their human qualities as verse in a dramatic dialogue. They discouraged long and frequent superior, middling and inferior (XXXIV. 2-3). Then the three types prose passages on the ground that these might prove tiresome to among the males have been described (XXXIV. 3-9); this is followed spectators (XX. 34). After giving a permanent place to verse in by the description of the three corresponding types among the females drama ancient Indian theorists utilized their detailed knowledge of the (XXXIV. 9-14). Women being biologically different, the principle of structure of metres which varied in caesura as well as the number and sequence of syllables in a pāda or foot (XV. 38ff, XIV. 1-86), 61 See the ed. of the work with a Hindi translation by Dr. Motichand for heightening the effect of the words used, by putting them in and Dr. V. S. Agrawal, Bombay, 1960, appropriate metres. In this respect they framed definite rules as to the

THE NATYASASTRA INTRODUCTION xlix xlviii suitability of particular metres to different Sentiments. For example, profitably be retained unaltered from the normal. Even in a modern the description of any act of boldness in connexion with the Heroic drama, dialects are very often used though with a very limited and the Furious Sentiments is to be given in the Arya metre, and purpose. compositions meant to express the Erotic Sentiment should be in gentle IV. THE ANCIENT INDIAN DRAMA IN PRACTICE metres such as Mālinī and Srīdhara (Mandākrantā), and the metres of the Sakkarī and the Atidhrti types were considered suitable tor the I. Occasions for Dramatic Performance Pathetic Sentiment (XVII, 110-112). In this regard ancient Indian 59. The Indian drama like similar other forms of ancient art and theorists, and for that matter, ancient Indian playwrights anticipated poetry seems to have been of religious origin, and it developed probably the great Shakespeare who in his immortal plays made "all sorts of out of dances and songs in honour of a deity like Siva who in later experiments in metre." times came to be styled the great dancer-actor (nataraja). As time 56. Euphony. After considering the use of metres the author of passed, the dance with songs gradually assumed the form of regular the NS. pays attention to euphony and says, "The uneven and even dramatic spectacles, and the range of subjects treated was extended metres which have been described before should be used in composi- beyond the legends connected with the exploits of a particular deity. tion with agreeable and soft sounds according to the meaning in- It is just possible that this development of the religious aspect came in tended. "The playwright should make efforts to use in his composi- course of time to be partially arrested, and plays began to be composed tion sweet and agreeable words which can be recited by women. A more with a purely secular character. This change considerably loosen- play abounding in agreeable sound and sense, and containing no ed its original connexion with popular deities. Possibly due to obscure or difficult words unintelligible to the country people, having this the ancient Indian drama in the historic period of its career, is a good construction, fit to be interpreted with dances, developing Senti- found to be acted sometimes for moral edification as in the case of

ments ...... ... becomes fit for representation to spectators" (XXII. the Buddhist plays, sometimes for the aesthetic enjoyment of the élite

119-122). as in the case of Kālidāsa's works, and sometimes in honour of a deity 57. Suggestive or Significant names. Another important aspect as in case of one of Bhavabhuti's plays. In spite of its various uses, of the diction was the suggestive or significant names for different the ancient Indian drama unlike its modern counterparts did characters in a play, Ic has been said of Gustave Flaubert that he possibly never become an ordinary amusement of everyday life. It was took quite a long time to find out a suitable name for the prospective mostly on special occasions like a religious festival, a marriage hero and heroine of his novels, and this may appear to be fastidious ceremony, a king's coronation, or a friend's visit that dramatic per- enough. But on discovering that Indian theorists two milleniums ago formances were held (IV. 269 ; AD. 12=14). But among all these laid down rules about giving names to the created characters (XIV. occassions religious festivals were the most common for the performance 30-36), we come to appreciate and admire the genius of the great of a drama. It was natural that on such occasions the drama was a

French writer. popular entertainment as well, the public being then in a holiday 58. Variety of Languages or Dialects. The use of Sanskrit along mood. with different dialects of Prakrit (XVIII. 36-61) must be ascribed Another fact about the dramatic performances of ancient India was that these were sometimes held in the form of contests 60. to circumstances in the midst of which the ancient Indian drama grew up. The dramas reflect the linguistic condition of the society (XXVII. 21-22, 71, 77-79). Different groups of actors vied with in which the early writers of plays lived. As the speech is one of the one another for winning people's appreciation, and reward for their essential features of a person's character and social standing, it may skill in the art. This, however, does not seem to have been a regular e

THE NATYASASTRA INTRODUCTION * li feature of the ancient Indian drama as was the case with that of the had better chance of impressing the spectator in the forenoon or in Greeks ; and theatrical troupes gave performance also for money with- the morning, when after the night's sleep and rest, he could be the out any spirit of rivalry towards others, and were paid by the rich most receptive in regard to these Sentiments. That a play including people or the different guilds. a story of energy and strength can better be assigned to the after- 2. Time of Performance noon is to be explained on the assumption that on taking rest after meals at the completion the morning's activities, one becomes 61. Except in the midnight or at noon or at the time of the psychologically more susceptible to appreciation of stories of strength morning and evening prayers, the ancient Indian drama could be and energy, presented on the stage. In a similar manner, a play with performed almost at any part of the day or of the night. But this love as its principal theme (i.e. with the Erotic Sentiment) may be does not mean that any play could be produced at any allowable time presented on the stage with more effect in the evening, when after during the twentyfour hours. Though at the command of the king the day's work, one may naturally be in a mood to enjoy the company or the patron, the director of a theatrical party could overlook strict of his dear woman, be she his wife or the hetaera. rules in this regard, the time of performance was to be regulated according to the nature of the subject-matter of an individual play. 3. The Playhouse or the Theatre For examiple, a play based on a tale of virtue was to be performed in the forenoon ; a performance which was rich in instrumental music, 63. The NS. describes various types of playhouse, and their and told a story of strength and energy, was to be held in the after- different parts have been mentioned to some extent in detail. But in the absence of evidence the like of which has been copiously available noon, and a play which related to the Graceful Style, the Erotic in case of the Greek theatre, it cannot be said how far the ancient Sentiment, and required vocal and instrumental wusic for its produc- tion, was to be performed in the evening ; but in case of plays which Indian plays were performed in specially constructed theatres. It related to the magnanimity of the Hero and contained mostly the may be possible that only kings and very wealthy people owned Pathetic Sentiment, performance was to be held in the morning playhouses constructed according to the NS. while dramatic spectacles (XXVII. 88-99). meant for the common people were held in the open halls called the 62. Though in modern times dramatic performance is mostly Nāt-mandir (Natya-mandira) in front of temples, or in a temporarily devised theatre under the cover of a canopy, as in the case of the held in the evening, ancient Indian rules regarding the assignment of modern Bengali Yätras which seem to have unmistakable resemblance a play of a particular type to a particular part of the day or of the and connexion with the ancient Indian Natya described in the NS. night, need not be considered queer in any way. On the other hand, One remarkable feature of the playhouses described there is that they appear very much to have been based on a proper understanding they are of a very moderate size, the largest among them (meant for of the effect of time on the ever-changeable nature of human persona- lity.62 Even if a play based on a tale of virtue or of woe, when mortals) being only thirtytwo yards long and sixteen yards broad, capable of accommodating about four hundred (400) spectators. This properly presented on the stage, might be appreciated at any time, it is in sharp contrast with the Athenian theatre which sometimes held as many as fifteen thousand (15,000) people. 62 That the Ragas and Raginis of Indian music of later times were assigned to clearly marked parts of day and night, seems to betray an influence of the 64. The comparative smallness of the ancient Indian theatre was very early tradition of restricting the performance of different kinds of play to a necessary consequence of the peculiar technique of the dramatic different times. (This note has been added at the suggestion of our friend production. For in a large playhouse the spectators could not all Sri Chinmohan Sehanavis, M.A.) have heard the delicate points on which depended in no small measure

lii THE NATYASASTRA INTRODUCTION liii

success of a performance. The inordinately large Athenian theatre gave utmost scope to imagination . and fancy. The one unmistakable was not much handicapped in this respect, for the Greek drama evidence of this is the total absence of any painted scenery from the depended on a considerably different technique. stage. This is but a negative side of it. If the Indians avoided bring- 65. The NS. describes three main types of playhouse; oblong ing in any kind of attificial scenery, they made positive efforts in (vikrsta), square (caturasra) and triangular (tryasra). These again might communicating the meaning of the drama and evoking the Sentiment be large, medium or small, with their length respectively as one (rasa) in the spectators through suggestive use of colours in the costume hundred and eight, sixtyfour, and thirtytwo cubits. This gives and make-up of the actors, and rhythmic movements of many kinds altogether nine different varieties of theatres, viz. (i) the large oblong, which have been summed up in their theory of four representation (ii) the large square, (iii) the large triangular, (iv) the medium oblong, (abbinaya) such as angika, vācika, ābārya, and sāttvika (VI. 23). (v) the medium square (vi) the medium triangular, (vii) the small oblong, (viii) the small square and (ix) the small triangular. These nine types can also be measured in terms of dandas instead of that of (a). Physical Representation cubits. This will give us eighteen different dimensions of playhouse. 68. Among these, the angika should be discussed first. This But NS. is silent about the use of the playhouse measured in terms of consists of the use of various gestures and postures of which the NS. dandas, and the playhouse of the largest types measuring 108 cubits in length have been prohibited by the NS. for the mortals. And it gives elaborate descriptions. Different limbs have been named and their manifold gestures and movements described, with various signi- has been mentioned before that a playhouse more in area than thirty- ficance attached to each one of them (VIII-XII). For example, two yards in length by sixteen yards in breadth, has been prescribed the head has thirteen different gestures which are as follows: for them. This should be divided into three parts: (i) the tiring room Akampita: Moving the head slowly up and down. (nepathya) (ii) the stage (rangapītha or rangasirsa) and (iii) the audi- Kampita: When the movements in the Akampita head are quick torium (rangamandala). Of these the tiring room would be at one end and copious. (Uses): The Akampita head it to be applied in giving of the theatre and would measure sixteen yards by four yards. On the a hint, teaching, questioning, addressing in an ordinary way (lit. two sides of the stage there should be two Mattavaranis, each occupy- naturally), and giving an order. ing an area of four yards by four yards and having four pillars. Thus The Kampita head is applicable (lit. desired) in anger, argument, the area to be occupied by the seats of spectators would be twentyfour understanding, asserting, threatening, sickness aud intolerance. yards by sixteen yards. Dhuta and Vidhuta: A slow movement of the head is called the 66. The tiring room (nepathya) was the place in which the actors Dhuta, and when this movement is quick it is called Vidhuta. (Uses): and the actresses put on the costumes suited to the different roles, and The Dhuta head is applicable in unwillingness, sadness, astonishment, from this place, the tumults, divine voices (daiva-vanī) and similar confidence, looking side ways, emptiness and forbidding (any one). other acts proceeded. This part of the theatre was separated from the The Vidhuta head is applied in an attack of cold, terror, panic, stage by two screens over its two doors. Between these two doors fever and the first stage of drinking (i.e. intoxication). the members of the orchestra (kutapa) were to sit and the direction Parivabita and Udvahita : when the head is alternately turned to facing them was to be considered conventionally the east. two sides it is called the Parivähita, and when it is once turned up-

4. Representation wards it is known as the Udvahita, (Uses): The Parivahita head is 67. To understand the technique of representation of the ancient applicable in demonstration, surprise, joy, (effort of) remembering, Indian drama one must remember that it avoided stark realism and intolerence, cogitation, concealment and (amorous) sporting.

liv THE NATYASASTRA INTRODUCTION İv

The Udvähita head is to be applied in representing pride, sbowing and movements relate to one hand only, while combined hands to height, looking high up, self-esteem and the like. both the hands. The following are examples of the three kinds of Avadhuta: When the head is once turned down it is called the hand-gestures: -Patāka (single hand): The fingers extended and Avadhuta. (Uses): it is to be applied in (communicating) a message, close to one another and the thumb bent. Anjali (combined hand):) invoking a deity, conversation and beckoning (one to come near). Putting together of the two Pataka hands is called the Añjali. Ancita: When the neck is slightly bent on the side the Ancita Caturasra (dance-hand): The Katakāmukha hands held forward eight head is the result. (Uses): It is applicable in sickness, swoon, intoxica- Angulis apart [from each other] on one's breast, shoulders and elbows tion, anxiety and sorrow. on the same level. Besides these gestures, hands have varied move- Nihancita: when two shoulders are raised up with the neck bent ments which are characterized by the following acts: drawing up- on the side the Nihancita head is produced. (Uses): It is to be used wards, dragging, drawing out, accepting, killing, beckoning, urging, by women in pride, Amorousness (vilāsa), Light-heartedness (lalita), bringing together, separating, protecting, releasing, throwing, shaking, Affected Indifference (bibboka), Hysterical Mood (kilakincita), Silent giving away, threatening, cutting, piercing, sqeezing and beating Expression of Affection (mottāyita), Pretended Anger (kuttamita),63 (IX. 161-163). Paralysis (stambha) and Jealous Anger (māna). 70. From the foregoing discussion about the gestures it is Paravrtta: when the face is turned round, the Paravrtta head is apparent that their uses fall into two different categories, viz. realistic the reault. (Uses): It is to be used in turning away the face, and and conventional. Of these two types, the gestures used convention- looking back and the like. ally far outnumber those of the other kind. But this should not Utksipta: when the face is raised up the Utksipta head is the appear strange. For ancient Indian dramatists and theatrical producers result. (Uses): It is used indicating lofty objects, and application were fully conscious of the limited scope of realism in arts of various of divine weapons. kinds, and hence they conceived action as something very closely Adhogata: The head with the face looking downwards is called allied to dance. This demanded that while moving on the stage the Adhogata. (Uses): It is used in shame, bowing (in salutation) with or without uttering any word, the actors should gesticulate and sorrow. rhythmically, to impart grace and decorative effect to their figures. Parilolita: when the head is moving on all sides, it is called For this very purpose another set of gestures called Dance-hands Parilolita. (Uses): It is used in fainting, sickness, power of intoxica- (nrtta-hasta) are also to be used. As their name implies these hands tion, possession by an evil spirit, drowsiness and the like. were exclusively to be used in dance, but for reasons mentioned above 69. The eyes are similarly to have different kinds of glance they were sometimes utilized at the time of declamation or recitation. according to the Psychological States (bhava) and Sentiments (rasa) Lower parts of the body down to the feet are also to be similarly used. they are to express. Eyeballs too are liable to similar changes to create Among these, feet are the most important. On them depend different impressions of different feelings and emotions, and so are eyebrows, movements of the entire body as well as various standing postures. the nose, cheeks, the chin, and the neck. Hands, however, are the Movements of feet are of three kind, viz, ordinary gait, Carī and most important limbs in the making of gestures. Gestures and move- Mandala. Of these, the Cari is a simple movement of the feet (XI.) ments of hands fall into three classes, viz. single (asamyuta), com- while Mandala, is a series of such movements considered together bined (samyuta) and dance-hands (nrtta-hasta). Single-hand gestures (XII.). During the stage-fighting the two combatants are to move with Caris and Mandalas in accompaniment with suitable music. 63 For the definition of these terms see XXIV. 15, 18-22. And the gait is very valuable for the representation of different roles.

lvi THE NATYASASTRA INTRODUCTION Ivii

In this matter too, convention plays a very considerable part. The his quitting the stage. It was also at such a time that the Dhruva NS. lays down elaborate rules about the width of footsteps and the was sung. This use of the instrumental and vocal music to the tempo of the gait for diffetent characters according to their social dance-like foot-steps of the acts and actresses at once imparted to the position, age, sex, health and feeling as well as the peculiar environ- play the character of a ballet as well as of an opera. Rules enjoining ments in which they might be placed (XIII. I-157). musicality to the speech in a play brought it again nearer to an

(b). Music accompanying the foot-movement opera. Such rules are being described below.

71. The rational attitude of the ancient Indians to convention in (c) Vocal Representation

producing plays has already been noticed. This was nowhere better 73. Another means of theatrical representation is the use of illustrated than in the movement of different characters on the stage, speech. It relates to the .proper musical notes (svara), voice-registers especially their entrance and exit.64 For they must not only come and (sthana), pitch of vowels (varna), intonation (kaku), speech-tempo (laya) go by measured steps, but their movements were to be accompanied to be used in reciting or declaiming a passage for the purpose of by suitable music, instrumental as well as vocal. Instruments played evoking different Sentiments in the spectators. For example, to call were drums, flutes and the stringed ones.65 And about the playing of forth the Comic and the Erotic Sentiments a passage should be recited drums of different kind, there were a set of definite rules. The same with the Madhyama and the Pancama notes, and for the Heroic and was the case with the songs called Dhruvas66 which were to be sung the Marvellous Sentiments the Sadja and the Rsabha, and for the at the time. One large chapter (XXXII) gives very detailed instruc- Pathetic Sentiment the Gandhara and Nisada, would be the suitable tions about the performance of these songs. They are comparable to notes (XIX. 38-40). the background music of the modern film-plays. But unlike their 74. To call a person staying at a distance, the voice should modern counterparts, they were performed on the stage in full view proceed from the head-register (siras), and when he is at a short distance

of the spectators. Though this may appear as bizarre, ancient Indian it should be from the chest (uras) and for calling a man at one's side

experts had a different notion in this regard. the voice from the throat-register (kantha) would be proper (XIX. 43). 72. Once it was admitted that the play was only an imitation of For any such speech with the Comic and the Erotic Sentiments, the the reality and not the reality itself, they made the maximum use of prevailing pitch would be Udatta (acute) and Svarita (circumflex), this liberty to add to the suggestive function of music in furthering while in the Heroic, the Furious and the Mervellous Sentiments it the main object of the play, which was to evoke Sentiments. The should be Udatta and Kampita. In the Comic and Erotic Sentiments necessity of such a procedure was real in their eyes when different the speech-tempo should be medium, in the Pathetic slow, and in characters came in view of the spectators, but did not start speaking other Sentiments a quick tempo is appropriate (XIX. 59). Besides the or had finished that. Hence the instruments like drums and flutes above aspects of speech, close attention was to be given to an observa- began to be played as soon as any character began entering the stage tion of rhythm and cadence. And the metrical character of any after tossing the curtain, and this did not cease till he occupied the passage in verse was to be fully expressed in its recitation or declama- proper position and began speaking. The same was the process of tion. Fot this purpose the Natyasastra devotes nearly two full chapters (XV-XVI.) which discuss prosody and allied topics. 64 See the Introduction to the Vol. II (transIation) p. 16. (d) Costumes and Make-up 65 ibid. 66 For the utility of the Dhruvas in a play see the Introduction to the 75. Important elements in theatrical representation of our days

Vol. II (translation) pp. 1off. are the various stage-appliances such as, painted scenery, costumes and f

İviii THE NATYASASTRA INTRODUCTION lix

make-up. However able the actors and actresses might be in deliver- place or the time described. The elaborate description of Vasantasena's ing the speeches assigned to their roles, without being placed against magnificent reisdence in the Mrcchakatika was calculated to call up properly painted scenery and without having proper costumes and vividly its picture before the mind's eye. The same thing may be make-up, by their acting and delivery alone they cannot create that said of the grand desctiption of the Dandaka forest in the Uttararāma- kind of stage-illusion which is necessary for the success of a modern carita. This device of making a scene lively, has been utilized dramatic production. But in the ancient Indian stage there was no by Shakespeare also. In appreciation of his very beautiful description painted scenery. Hence the actors had to depend a great deal upon of place and time, one critic says "The plays are full of such descrip- costumes and make-up. By the term Aharyabhinaya ancient Indian tive passages as can nullify the achievements of decorators and theorists understood these two items (XXIII). mechanics." It has already been mentioned that in the Shakesperian

(e) The mise-en-scène stage too painted scenery was unknown. 78. There being no scenery of any kind in the ancient Indian 76. Though painted scenery is considered indispensable in the theatre which made no effort at extreme realism, the spectators were modern theatre, the ancient Indians having a considerably different required to use their imagination to the utmost. Demand on the conception of drama, did not require its aid for the production of a play. The wall that separated the tiring room (nepathya) and the spectators' imagination made by the ancient Indian producers of plays was further testified by their rules of convention of Zonal division stage, together with the screens covering the two doors connecting the (kaksa-vìbhāga) of the stage (XIV. I-15). stage and the tiring room, served as the back-ground to show off to 79. Though painted scenery was not in use in the ancient Indian advantage the figures of performers. And these, the wall and the theatre, objects like hills, carriages, aerial cars, elephants etc, were screens, possibly did not contain anything other than the usual sometimes represented on the stage by suggestive models (pusta) of decorative designs. This simplicity in the character of the scenic these. According to the NS. the model works were of three kinds, apparatus was a necessary concomitant of the peculiar technique of viz. sandbima which was made up of mat, cloths or skins, wrapped the ancient Indian drama, and its cause may be looked for in its early round something, vyajima which was a mechanical contrivance of some history. The introduction of magnificent scenery appears to be a very kind, and cestima or moving objects or mechanical toys. From late development in the history of drama. It is well known that the Dhanika, the commentator of the Dasarupa (II. 67-58), we learn about back-scene of the Shakesperian stage consisted of a bare wall, and a model-work of an elephant for the production of the Udayanacarita, anything in the way of spectacular effect was created by the move- and the Mcchakatika owes its name to the toy cart which plays an ments and grouping of actors. indispensable role in the story. 77. The production of an impression by means of painted scenery would have been alien to the taste of the ancient Indians who V. DATE OF THE NATYASASTRA

were more or less conscious of the limitation of realism in their various 80. The scholars during the last one hundred years examined the arts. In order to make the spectators visualize the place and time of work to ascertain its date;67 and their labours were not fruitless. The the plot in hand, the ancient Indians had a different device. Numer- first important contribution in this regard was made by Paul Regnaud ous descriptions of place and time composed in rhythmic prose and who after a critical study of the rhetoric and the metrics of the work verse, which are scattered over the classical Indian plays served very concluded that it might go back to 100 B.C.68 Next should be men- efficiently indeed the purpose of painted scenery. When properly 67 See Intro. Text, § 35 note. spoken or sung, these passages very easily created an illusion of the 68 See Grosset, Introduction, p. viii, note 3.

lx THE NATYASASTRA INTRODUCTION Ixi

tioned, Haraprasad Shastri who on the strength of certain data conclu- 81. From a very close study of the Sanskrit76 of the work we find ded that the NS. might be placed in the second century B.C.58ª But that its vocabulary points to a period between 500 and 300 B. C. on the basis of the Prakrit passages (XXXII) Jacobi placed it in the Quite a large number of words used in it became totally forgotten, 300 A. C.69 Mahamahopadhyaya (later Dr.) P, V. Kane consideted and some are found only in very old works. As there occur in the that the NS. could not have been written later than that century,70 and NS. ārşa forms like grbya (for grbītva) and chādya (for chādayitva),77 this implied that it might be still earlier. Later researches proved the it seems to be not much later than Panini whose grammar was still worth of this valuable suggestion. In 1933 the present translator not yet an established authority at the time. The peculiar position discussed, in detail, some important data of the NS. and concluded of Prakrit and the use of its seven dialects such as, Magadhi, Avanti, that the work existed in 200 A, C. and might even go back to Prācyā, Šaurasenī, Ardhamāgadbī, Vāhlikā (Bāhlikā) and Dāksiņātyā 100 B. C. This attracted the notice of Dr. Kane (now a National most of which have vanished altogether, also point to a similar anti- Professor) who wrote in 1951, "Although I do not agree with several quity.78 things he says, the date he arrives at cannot, in my opinion, be far 82. That metres used in the NS. lack in many cases sandbì and from truth."72 This was encouraging indeed. When the first edition even allow hiatus in places of internal yati seems to show that it of the present work was published, the translator still stuck to the con- carried the Vedic tradition in its metres. This speaks indeed for its clusion referred to above. But when the critical edition of the NS. great antiquity; and on this ground alone it may be placed as ealy as Vol. II (XXVIII-XXXVI)73 was completed, he thought that the work 500 B.C. when the Vedic practice in metres still lingered.79 might go back even to 200 B. C. and this view was expressed in 83. A consideration of the figures of speech treated in the NS. the introduction to this.74 The translator is not ashamed to admit that shows that it is earlier than Asvaghosa (100 A.C.). For the poet his idea of the date of the work again underwent a change after he uses utpreksa which was not treated in this work. The same was the had revised the critical edition of the volume I of the text (I-XXVII), case with Bhäsa, and the chronological implication of this is quite and had separated in the process the original work from what should clear. The Prakrit Dhruvas though they have mostly changed their be considered later additions; he then finally came to believe that the orthography, may be said to have retained the tradition recorded in antiquity of the work could still be pushed upwards, and it was most the NS. about the use of figures of speech.80 proabably written in the fifth century B. C. All the arguments in 84. A comparison of the mythological elements of the NS. with favour of such a conclusion have been given in detail in the that in the R. and the Mbh. shows that these are similar.84 Consider- introduction to the volume I of the text.75 The most important among ing the fact that the NS. is much smaller than each of the epics, this them are given below. similarity is very striking. Hence this may enable us to assume that the NS. was compiled at a time when the two epics were already in 68a See Journal and Proceedings of the Asiatic Society, Bengal, Vol V existence and were very popular. But what might be the latest date (New Series) pp. 351ff. 6g Intro. Bhavisattakaha, p. 84. 76 See Intro. Text. 70 I. Ant. XL. 1917, 177ff. 77 See Intro. Text, § 39. 71 JDL. vol. XXV. 1934. 78 See Intro. Text, §§ 40-42. 72 P.V. Kane, Hist. of Skt. Poetics, 2nd ed. p. 40. 79 See Intro. Text, § 49. 73 Published by the Asiatic Society, Calcutta, 1956. 80 See Intro. Text, § 50. 74 Published by the Asiatic Society, Calcutta, 1961, Intro. p. 23. 81 See Intro. Text, $$ 55-56. There are some special data of mythology, 75 See Intro. Text, $$ 35ff, which may justify one in placing the NS. in 500 B. C. See §§ 57-58.

lxii THE NATYASASTRA INTRODUCTION İxiii when the two epics existed at least in their original form? Scholars authority; and Kautilya87 probably with a view to simplify the terms are not at all unanimous on this point. But still the assumptions and for his readers have changed them. Hence it may not be wrong to conclusions of some of the most celebrated among them may give us assume that the author of the NS. was either a predecessor or a light in this regard. Let us take the question of the R. first. Jacobi contemporary of the famous chancellor of Chandragupta Maurya. put forward some very strong arguments which enabled him to assume 86. The NS. (XIV, XVIII, XXIII) mentions quite a number of the pre-Buddhistic origin of the R.82 But Winternitz could not approve geographical names which relate to different parts of India. From of this and for their refutation advanced some counter-arguments this it is evident that India as known to the author of the NS. was which, however, do not appear to be convincing.83 He says, that no a vast region stretching from the Himalayas in the north to the Ocean Rama epic existed in the fourth and the third century B.C. But this in the south, and from Sindhu, Sauvira and Saurastra in the west to did not prevent him to conclude a little later that "It is proabable Anga, Vanga and Pragjyotisa in the east, and included besides, that R. was composed in the third century B.C."84 It appears that Vählika (Bāhlika) and Nepāla. Now, is this area to be identified with here he was accidentally on a surer ground. For Patanjali in his great a kingdom or an empire? Though it is not quite easy to answer this work quoted a line which Kielhorn traced in the Yuddha-kānda of the question, it is a fact that only kings like Chandragupta and Asoka R.85 If the R. existed in Patanjali's time it was probably not later were ever in the past, masters of such an extensive territory. Will this than 300 B.C. and might well be earlier even. As for the date of the not permit us to assume that the work was written during the rule of Mbh., Winternitz concluded that the Bhärata or the Mbh. as it was the Mauryas? The mention in the NS. of a name like Tosala (the called in the beginning already existed in the fourth century B.C.86 same as Asoka's Tosali) which vanished altogether from the later Hence the NS. may be assumed to have been written about the history, may be said to lend support to such an assumption.88 400 B.C. 85. The author of the NS. thrice mentioned an Arthasastra 87 The controversy over Kautilya's date is practically dead. Still a veteran historian like H.C. Raychaudhuri raised some objections, the two of which though with him the authority on the subject was Brhaspati and not need reply. (i) Indeed Kautilya (11.10) named Sanskrit for the official work, Kauțilya, as was the case with the Kāmasūtra of Vatsyayana, the But this could not bind Asoka to use this language in his inscriptions meant upper limit to whose date is the fifth century B.C.86a Another impor- evidently for the people as well as the lower subordinate staff of his govern- tant fact in this regard is that the NS. refers to functionaries like ment. Besides, there is no evidence to show that Sanskrit was not used in the dvāstha (XXXIV. 73) and kumārādhikrta (XXXIV. 95-97) which regular correspondence between the central and the provincial capitals. (ii) For Kautilya's mention of 'Para-samudra' we need not remember only Palaesimindu. correspond respectively to dauvārika and kumārādbyaksa of Kauțilya. For the word evidently goes back to pare-samudra envisaged by Panini(11.1.18). From this it appears that the NS. followed the terminology of a Indeed the word as given by classical geographers recalls unmistakably the different acarya, probably of Brhaspati whom he accepted as his Paninian form. The present writer has already shown that the name Cina for China was known to Indians as early as 700 B. C. (Annals of the Bhandarkar 82 Winternitz, Vol. I. pp. 510-511. Inst. Vol. XLII, 1961, pp. 150ff). India's relation with Kambu (Cambodia) 83 The same p. 511. was also much older than Kautilya's time. (See the present author's 'A Hist, 84 The same, p, 517. of Cambodia,' 2nd ed, p. 22). For Raychaudhuri's view see Majumdar and 85 For the passage see the Bombay ed. ch. 128 (Yuddhakanda) p. 238; Pusalker, Hist. and Culture of the Ind. People, Vol. II. pp. 286-287. and the ed. of Gorresio, Vol. V. ch. 110 P. 566 (I. Ant. 1874, p. 124). 88 See Intro: Text. § 61. See the map of Asoka's empire in Vincent 6 Winternitz, Vol. I. p. 473. A. Smith's The Oxford Students' Hist, of India, Calcutta, 196, p. 71. But 86a See Sten Konow, Kautalya Studies Oslo, 1945, p, 5. For Vatsyayana's this is not among the historical maps in the Oxford School Atlas, Calcutta, date see also § 51 and the note to the Intro. to the text. 1958 issued by the same publishers.

İxiv THE NATYASASTRA INTRODUCTION lxv

87. Apart from the fact that Bhasa once mentions the NS.89 there passages of Bhasa speak for the date of the MSS. tradition they is plenty of evidence to show that the dramatist was acquainted with followed, rather than that of the dramatist. Hence there is no bar the contents of the work.90 Still he deviated from its rules in some to place him between 400 and 350 B. C. just before Kautilya (350 cases, and as he was undoubtedly a genius, this was only natural that B. C.)95 who made a quotation from a play of his. Under these he would make some innovations, and the tradition clearly supports circumstances the most probable date for the NS, becomes about this assumption.90a This makes the author of the NS, a predecessor 500 B. C. because it was known to Bhāsa. of Bhäsa, and may give us some light on his date. But what is the 89. Here we are to take up again the question whether the NS. date of the dramatist? Some scholars are still unwilling to accord to should be assigned to the Maurya period (324-336 B. C.). For the him the antiquity which Ganapati Sastri claimed for him so legitima- geographical data seemed to have pointed in this direction. But tely.91 Hence a few words should be said on the subject. After a along with this it may be said that the NS. XIV described close study of the NS. and of Bhäsa, we are convinced about the vali- the areas where different Styles of Procedure were to be followed in dity of the arguments presented by this veteran scholar; and his the production of plays. The author was here handling a data of conclusion has been very ably upheld by Dr. Pusalker in his excellent cultural history. Hence there can be no objection to assuming that study on the dramatist.92 We are in complete agreement with him the popular art of Indian natya spread as far as the distant Vahlika when he concludes: (Bahlika) and Nepala in the pre-Maurya times, It may, therefore, be From the flowing tone of Bhasa's Sanskrit and the conversa- concluded that the work was written in 500 B. C. As the NS. tional style of his dialogues which are short, easy, graceful and mentions the Sakya śramanas, it cannot be assigned to a date much colloquial we are inclined to think that Sanskrit was a spoken prior to the mabā-pari-nirvāna of Buddha.96 language in Bhasa's time, and so we place him after Pānini, before the latter's grammer got a strong foot-hold, and probably betore Kātyāyana (350 B, C.).93 88. But the Prakrit of the plays of Bhasa, as they have reached us, needs some comments. As we have seen in the introduction to VI. DATA OF INDIA'S CULTURAL HISTORY, text,94 the Prakrit of dramas was always in a state of Aux. In the 90. The NS, written most probably in the fifth century B. C. beginning, the Prakrit of dramas was not considered a separate becomes an important historical document relating to India of the language, but a mode of speaking ; and such a condition prevailed periods in its immediate neighbourhood. But this relates not so much probably in the time of Panini and even continued for some time to the political as to the cultural history. As drama embraces all the after him. Most probably the original orthography of Bhasa's Prakrit different activities of men and the NS. recognizes the fact, it gives was not much different from that of Sanskrit, and the available Prakrit us a glimpse in varying degrees of the life of all classes of people. We are giving below very briefly an idea of the principal subjects on 89 Avimāraka, ed. Devadhar. II. which the NS. enlightens us in one way or another. 90 See Intro. Text, § 63. 90a See the note I on V. 167. 91 Intro. Svapnavāsavadattā, TSS. 95 See above note 89. A.D. Pusalker, Bhasa: A Study, Lahore, 1940. 96 This date is 486 B.C. according to Raychaudhuri. See The Political 93 ibid. p. 64. Hist. of Ancient India, 6th ed. pp. 226-228 The date 544 B.C. according to 94 See Intro. Text, §$ 41-43- the Ceylonese reckoning, is considered less authentic by most of the scholars. g

1xvi THE NATYASASTRA INTRODUCTION lxvi I. Geograpby being the first known writer on metres and figures of speech in 91. In its chapters XIV, XVIII and XXIII the NS. mentions Sanskrit has its special importance in for the study of the subjects.968 rhe regions like Anga, Antargiri, Andhra, Avanti, Arvudeya, Anarta, The same thing may be said about the theory of Sentiments (rasa) Utkalinga, Usīnara, Odra, Kalinga, Kāśmīra, Kosala, Tāmralipta, formulated first in connection with judging the performance of plays. Tosala, Tripura, Dasārnā, Dākșiņātya, Dramida (Dravida), Nepāla, The theory came later to occupy a very important position in the Pañcāla, Pulinda- (bhūmi), Paundra- (bhūmi), Prāgjyotisa, Pravanga, criticism of poetical works of all types. Prānga, Bahirgiri, Brahmottara, Bhārgava, Magadha, Madraka, Malada, 5. Costumes and Ornaments Malavartaka, Mārgava, Mālava, Mahāvaiņnā, Mahendra, Mṛttikāvat, 95. How men and women dressed themselves and decorated their Mosala, Vanga, Vatsa, Vanavāsa, Vāhlika (Bāhlika), Vidišā, Videha, body, furnish indeed a valuable data of sociology. The author of the Sūrasena, Sālvaka, Sindhu, Saurāstra, Sauvīra, and the rivers like the Ns. gives (XXIII) on this point, as in many other cases, a somewhat Carmanvati, the Vetravati, Gangā, and the Mahāvainna and the detailed information. From it we know in what way the women of mountains like Mahendra, Malaya, Sahya, Mekala, Kālapañjara, different regions treated their hair and showed preference in choosing Himālaya and Vindhya. It also names Bhāratavarsa, Jambudvīpa colours of their clothes etc. Descriptions of different sets of ornaments, (probably in the sense of Asia) and Bhadraśva, Ketumāla and worn by men and women reveal also to us an interesting picture of Uttarakuru. ancient India. 6. 'Art 2. Ethnography 96. From the NS. one can gather the principles not only of arts 92. Names of the following tribes occur in the NS. : Kasi, like dance, drama and music, but the work may prove valuable in Kosala, Barbara, Andhra, Dramida, Ābhīra, Šabara, Caņdāla, Šaka, studying painting and sculpture. For in the Visnudharmottara (II.2.4) Pahlava (Pahrava), and Yavana. As in some cases their costumes it has been said that the canons of painting are difficult to understand and colours have been mentioned, it may be possible to treat them without an acquaintance with that of dancing. Now the Indian better historically. The omission of the Hunas and the Cinas may drama, as we have seen before, depends a great deal on dance which also be of some value in this connection. was in fact its mainstay. The same work connects similarly the 3. Languages canons of painting with that of image-making. Thus the three arts being connected with one another, the NS, receives its additional 93. The N$. (XV. 1-35) gives a short description of Sanskrit importance. Hence it is natural for it to describe various male pos- and there is also description of Prakrit in the chapter XVIII (1-25). tures (stbāna) such as Vaisņava, Samapāda, Maņdala, Ālīdha and Specimens of Prakrit available in the Dhruvas are also of value in Pratyālīdha (XI. 50-71), and female postures (XIII. 159-169). These a connection with the historical study of Prakrit. We learn, besides. and the various gestures described in the NS. may be helpful in something about the position of languages of the tribes like the studying the ancient sculptures and painting. It should also be noted Barbaras, Kirātas, Andhras, Dramidas, Sabaras and Cņdālas. in this connection that the Samarangana-sūtradhara, a medieval 4. Literature encyclopedic work while describing the rules of making images, 94. The NS. contributes substantially to the study of the literary describes (ed. GOS. Vol. II, pp. 30ff.) the hand-gestures almost in the history of India by strengthening the conclusion of Ganapati Sastri language of the NS. about the high antiquity of Bhasa who compares not at all unfavour- ably with the better known Kalidasa. Besides, the author of the NS. 96a Writers like Dr. S. K, De and Dr. P, V, Kane have already, noted this.

Ixviii THE NATYASASTRA INTRODUCTION lxix 7. Ars amatoria Its classification of Heroes and Heroines according to their psychologi- 97. Besides giving other informations on the subject the NS. cal nature proves its admission of the importance of the subject on the devotes one entire chapter (XXV) on topics included into ars amatoria creative side of the dramatic art ; for, with a sufficient knowledge (vaisika). This, of course, was meant for helping the playwrights in of all possible reactions of environments and incidents upon the drawing female characters. It also supplements the knowledge of the different characters, the greatest possible success in characterization can subject that can be gathered from Vatsyāyana's Kamasūtra written be achieved. On the critical side also the importance of psychology probably about the fourth century B.C.97 was realized by the Indian theorists almost simultaneously. It was 8. The Arthasāstra discovered quite early that no objective standard of excellence ever

98. The NS. incidentally discusses certain topics which belong existed in matters relating to art, and the enjoyment of a theatrical

properly to the Arthasastra.98 For example, it describes the ideal production consisted particularly of reactions which the art of the

qualities which the king and his important functionaries such as, playwright as well as that of the actors could evoke successfully in the leader of the army (senapati), the chaplain (purodhas), ministers spectators of different types. It is on this assumption that the theory (mantrin), secretaries (saciva), judges (prādvivāka), warden of the of Sentiments (rasa) and the Psychological States (bhava), important princes (kumaradhikrta), and the members of the royal court (sabha- for the criticism of the theatrical production as well as the play on stära). All these descriptions might well have been taken from some which it depended, got an important place in the literature of India. ancient writer on polity like Brhaspati, whom the NS. mentions as One advantage of this is that not allowing any rigid objective stan- its authority. Some of the terms used in this work deserve a special dard, it made due allowance for views of the people who might differ discussion. The word sabhastara translated as a courtier occurs in the widely from one another in their tastes because of their varying Smrti of Vyasa who thinks that this officer should hold discussion on cultural backgrounds.

morals (dharma-vākya). Nilakantha explaining the word occurring in the Mbh. (4. 1. 24) was of the opinion that it was equivalent to sabbya i.e. a courtier particularly interested in gambling. It is also to be gathered from the NS. that the dvastha (XXXIV. 73-74) equivalent to Kauțilya's dauvārika was to be a snātaka i.e. a Brāhmaņa who duly finished his Vedic studies. This seems to give clue to the sudden rise of the Sungas (Brahmanas) after the Mauryas. Pusya- mitra Sunga described by Sylvain Lévi as "a mayor of the palace" was probably originally a snātaka employed as a dauvārika. Another im- portant word is kumārādbikrta, equivalent to Kauțilya's kumārādbyaksa, which became probably the kumaramatya of the Gupta times. 9. Psychology 99. The NS. seems to be the first in recognizing the twofold importance of psychology in connection with the production of a play.

97 See above 86a. 98 See XXXIV, 34-98

THE NĀTYASĀSTRA (TRANSLATION)

THE NĀTYASĀSTRA

CHAPTER ONE

ORIGIN OF DRAMA

Salutation 1. With a bow to Pitamaha1 (Brahma) and Maheśvara2 (Siva) I shall relate the Canons of Drama3, as these were

АЯТ: uttered by Brahmā.

Sages question. 2-5. Once in the days of yore, high-souled sages such as, Atreya1 and others who had subdued their senses, approached the pious Bharata2, the master of dramatic art during an intermission of studies. He (Bharata) then just finished the muttering [of Mantras] and was surrounded by his sons. The high-souled sages who controlled their senses,

1 1 Pitamaha (the Grand-father) is a Puranic epithet of the Vedic god Brahma. For the Pitrs (the Fathers) such as Angiras, Bhrgu, Daksa and Marici and others, whose descendants peopled this earth, were his progeny. In the later literature and religion of India, Brahma gradually recedes in the background and practically vanishes. His place is taken by Siva, and Vișnu. 2 Maheśvara (the Great God) is another name of Siva, who is originally a pre-Vedic deity. Salutation to Siva along with Brahma, is very rare in Indian literature. 3 By 'drama' in this connexion is to be understood any play in its theatrical and literary character. For on this point Ag. (I. p. 7) says that the NS. is meant for the producer (of a play) as well as the poet (=playwright). 2-5 1 Atreya-There are two Ātreyas. One is a disciple of Yājñavalkya (Mbh.) and another that of Vāmadeva (Brahma P.). See Vidyalankar, Jivanī- koșa, sub voce. 3 Puranas, except the Matsya (34. 28-30) are silent on this Bharata.

I. 5 THE NATYASASTRA 1 3 ORIGIN OF DRAMA 1.15 respectfully said to him, "O Brahmin, how did originate the Natyaveda3 similar to the Vedas, which you have properly the Lokapalas (guardians of the worlds) was full of gods,

composed ?, And for whom is it meant, how many limbs Dānavas, Gandharvas, Yaksas, Rāksasas and great Uragas

does it possess, what is its extent4 and how is it to be (Nagas), the gods with the great Indra as their head, applied ?. Please speak to us in detail about it all5". [approached] Brahma and spoke to him, "We want an object diversion, which must be audible as well as visible. As

Bharata Answers. the [existing] of Vedas are not to be listened to by those

6. Hearing these words of the sages, Bharata spoke thus born as Sudras, be pleased to create another Veda which will

in reply about the Nātyaveda: belong [equally] to all the Colour-groups4 (varna)."

7-12. "Get yourselves cleansed, be attentive and heat 13. "Let it be so," said he in reply and then having dismissed the king of gods (Indra) he resorted to yoga1 and about the origin of the Natyaveda devised by Brahma1. O Brahmins, in the days of yore when the Golden Age (Krta- recalled to mind the four Vedas.2

yuga) passed with the reign of Svayambhuva [Manu], and 14-15. He then thought: "I shall make a fifth1 Veda on the Natya with the Semi-historical Tales (itibasa),2 which the Silver Age (Tretayuga) commenced with the career of will conduce to duty (dharma),3 wealth (artha) as well as Vaivasvata Manu, and people became addicted to sensual pleasures2, were under the sway of desire and greed, became fame, will contain good counsel and collection [of traditional

affected with jealousy and anger and [thus] found their maxims], will give guidance to people of the future as well,

happiness mixed with sorrow, and Jambudvipa3 protected by in all their actions, will be enriched by the teaching of all authoritative works (sastra) and will give a review of all arts and crafts."4 3 Natyaveda-The 'Natyaveda' according to Ag, is a synonym for the 'Nātyasāstra', and is no Vedic work. 4 pramana=extent. Ag. takes the word in the sense of proof 4 This relates to the four classes such as Brāhmana, Ksatriya, Vaisya and (pramanam atra niscaya-janakatvam), but he cites another view as well, which Sūdra. takes the word to mean 'number'. 3 1 Yoga has been defined in Patanjali's work as cittavrttinirodhab. It 6 From the five questions put in here, it is not to be assumed that the however begins with the concentration of mind. treatment of subjects mentioned will follow the order of these. 2 After 13, B. reads one additional couplet, But G. considers this passage 7-12 1 The reference here is to the Natyaveda alleged to have been to be spurious and puts it in the footnote. composed by Brahma in about 36000 ślokas. See Preface to NS. (B.) pp. 6-7., # also Ag. (I. p. 8). 14-15 1 In the early Indian literature the itibasa alone was considered as the fifth Veda. See Chandogya Up. VII. If. and 7., and Sutta-nipata, II. 7 ª gramyadharma-Ag. explains the word differently. (sella-sutta). Kauțilya too gives the same position to the itibāsas. See 3 According to ancient Indian geography, the earth was divided first into Winternitz, Vol. I. p. 313. four and then into seven duipas (continents). Jambudvipa is one of them. It included Bharata-varsa or Bharata-varsa, known at present as 'India'. Visnu 2 On itibāsa see below. P. (ch. 1-12). See H. Lüders, Varuna, Goetingen, 1951, pp. 288-292 and * dharma also means virtue, law and custom etc.

Winternitz, Hist, of Indian Literature, Vol. I. p. 548. 4 The word śilpa is very, often synonymous with kala. As the 64 kalas enumerated in different works include different arts and crafts, these two

1. 15 THE NATYASASTRA 5 ORIGIN OF DRAMA I. 25

2. With this resolve the Holy One from his memory the gods who are skilful, learned, bold in speech and inured of all the Vedas, shaped this Natyaveda compiled from the to hard work." four of them. 21-22. At these words of Brahma, Indra bowed to him 17-18. The recitative (pathya) he took from the Rgveda, with folded palms and said in reply, "O the best and holy the song from the Sama[veda], the Histrionic Representation one, gods are neither able to receive it and to maintain it, (abhinaya) from the Yajur[veda] and Sentiments (rasa) from nor are they fit to understand it and to make use of it; they the Atharvaveda, [and] thus was created the Natyaveda are unfit to do anything with the drama. connected with the Vedas principal and subsidiary (vedopa- 23. "The sages who know the mystery of the Vedas veda),' by the holy Brahma who is omniscient. and have fulfilled their vows, ate capable of maintaining this 19-20. After the creation of the Natyaveda, Brahma (Natyaveda) and putting it into practice." said to Indra (lit. the lord of the gods), "Semi-historical Tales1 have been composed by me; you are to get them [dramatized Brabma's command and Bharata's instruction to bis sons

and] acted2 by gods. Pass on this Nātyaveda to those of 24. On these words of Sakra (Indra), Brahma said to me; "O the sinless one, you with your one hundred sons words may be translated as 'arts and cratts.' Silpa, however, is sometimes to will have to put it (the Natyaveda) to use." be distingnished from kala, and then it may mean merely 'a craft.' 17-18 'The Vedas are all well-known, and there are at least four Upavedas, 25. Thus ordered I learnt the Natyaveda from Brahma

one being attached to each of the Vedas. They are as follow: the Ayur- and made my able sons study it as also [learn] its proper veda (the Science of Medicine) to the Rgveda, Dhanur-veda (the Science of application. Arms) to the Yajurveda, Gandharva-veda (Musical Science) to the Sāmaveda, and Sthapatya-sastra (the Science of Architecture) to the Atharvaveda. Names of Bharata's one bundred sons 19-20 1 Kautilya in his definition of itibasa enumerates purāna and itivrtta 26-39. 1[Names of my sons are] Sāndilya, Vātsya, as belonging to its contents. An itivrtta, according to Winternitz, can only Kohala,2 Dattila,3 Jațila, Ambasthaka, Tandu, Agniśikha, mean an "historical event" and purana probably means "mythological and legendary lore." Vol. I. p. 518. Pargiter has, however, extracted solid his- torical facts from some of the extant Puranas (See his Ancient Indian Historical 23 1 The word muni is evidently to be derived from the Pkt. root Traditions, London, 1922). According to the Indian tradition itibasa is said muna 'to know' which is most probably not of Sanskritic origin. to be an account of events that occured in the past, carrying in it instructions 26-39 1 B. and G. read some of these names differently. The so-called about duty, wealth, enjoyment of pleasure, and salvation. The same tradition sons of Bharata were probably authors who wrote on dramaturgy, histrionic assigns the position of itihasa to the Mahabharata the great Indian epic. art, dance and music etc. Singabhūpala mentions the first four, See below It is possibly this itibasa that has been connected with the Natyaveda by the notes 2-7. author of the sastra. Hence it appears that Oldenberg's theory about the 2 Kohala has again been mentioned in XXXVI. 69. Ag. has referred to his original connexion between epic and dramatic poetry, is worthy of serious opinion several times and quoted from his work on nātya (Vol. I. pp. 140, consideration. Natyākhyam pancamam vedam setihāsam karomy abam (15) 173, 182, 183, 185; Vol. II. pp. 26, 55, 130, 133, 142, 144, 146, 147, 151, seems to be very significant. Ag. (I. p. 13) explains setibāsam as itibāso- 155, 47, 416, 421, 434, 452, 458, 459). Later writers like Dāmodaragupta, padesakarūpam saprabbedam, See Winternitz, Vol. I. pp. 100 ff. 312 n. Hemacandra, Sārngadeva, Šāradātanaya and Singabhūpāla acknowledge him 2 See note on 14-15 above. as an authority on drama and music (See S. K, De, Skt, Poetics, p. 25. f. n.)

1. 25 THE NATYASASTRA ORIGIN OF DRAMA 1. 45

Saindhava, Puloma, Sādvali, Vipula, Kapinjala, Bādari, Yama, Performance begins with the three Styles

Dhūmrāyana, Jambudhvaja, Kākajangha, Svarņaka, Tāpasa, 41. O Brahmins, I then prepared to give a performance Kedāri, Sālikarņa,4 Dīrghagātra, Sālika, Kautsa, Tāndāyaņi (prayoga) in which was adopted the dramatic Styles (urtti) Pingala, Citraka, Bandhula, Bhallaka, Musțika, Saindavāyana, such as the Verbal (bharati),1 the Grand (sattvati), and the Taitila, Bhargava, Suci, Bahula Abudha, Budhasena, Pāndu- Energetic (arabhati). karņa, Kerala, Rjuka, Maņdaka, Sambara, Vañjula, Māgadha, 42-43. I then went1 [to Brahma and] after bowing, Sarala, Kartā, Ugra, Tusāra, Pārșada, Gautama, Bādarāyana," informed him [of my work). Now Brahma (lit. the guru Viśāla, Sabala, Sunābha, Meșa, Kāliya, Bhramara, Pițha- of gods) told me to include the Graceful (kaisiki) Style also mukha, Muni, Nakhakutta,® Aśmakutta,7 Șatpada, Uttama, [in my performance], and he asked me to name materials Pāduka, Upānat, Śruti, Cāsasvara, Agnikuņda, Ājyakunda, conducive to its introduction. Vitaņdya, Tāņdya, Kartarāksa, Hiraņyāksa, Kuśala, Duḥsaha, 43-45. Thus addressed by the master I replied, "Give Lāja, Bhayānaka, Bībhatsa, Vicaksaņa, Puņdrāksa, Puņdra- me instruments (lit. materials) necessary for putting the nāsa, Asita, Sita, Vidyujjihva, Mahājihva, Śālankāyana, Graceful Style into practice. At the time of Nilakantha's1 Śyāmāyana, Māthara, Lohitānga, Samvartaka, Pañcaśikba,8 (Siva) dance I have seen his Graceful Style appropriate to the Triśıkha, Śikha, Šankhavarņamukha, Șanda, Šankukarņa, Erotic Sentiment, and this requires beautiful dresses and is Śakranemi, Gabhasti, Amśumālī, Šatha, Vidyut, Šātajangha, endowed with gentle Angaharas2 and has Sentiments (rasa), Raudra and Vira. States (bhava)3 and action as its soul. 39-40. [Thus] at the command of Brahma and for the benefit of the people I assigned to my sons different roles Creation of Apsarasas for the Graceful Style suitable to them. 46-47. This Style cannot be practised properly by men except with the help of women." Then the powerful Lord (Brahma) created from his mind nymphs who were skillful 3 Ag. has quoted a passage from the work of one Dattilācārya (Vol. I. p. 205). He seems to be identical with this Dattila. See also note I above. 4 Salikarna is probably identical with Satakarna referred to and quoted in the commentary of the Anargharaghava (p. 7. see Lévi, II. pp. 27, 65) and 41 1The four Styles probably related to four tribes such as Bharata, the N L. (p. 47, ed. M. Dillon). Cf. Sālivāhana=Sātavāhana. Sättvata, Keśika and Arabhata. Among these Bharata and Sāttvata are well- 5 The N L. (pp. 46, 114) refers to and quotes from him. known. The remaining two names might have been lost. Kaisiki has a 6The Natakalaksana (pp. 114, 121) refers to and quotes from this authority. variant Kansiki. See P. C. Bagchi. Bharat-O-Madhya-asiā (Bengali) pp. 49-52. So does SD (294). 42-43. 1pragrhya (=embracing) has been taken to mean 'going to.' 7 The N L. (pp. 4, 19, 144, 115) refers to and quotes from this authority, 43-45 1Siva is India's traditional god of dance. See M. Ghosh (ed.) 8 In 200 B. C. one Pañcasikha was considered to be Indra's musician. See Abhinayadarpana, Calcutta, 1957, English Translation, p. I. IHQ, XXXII (1956) p. 122. 2For angabāras see IV. 16 ff. ºFor details on States see VII.

I. 45 THE NATYASASTRA 8 9 ORIGIN OF DRAMA 1.61

in embellishing the drama,1 and gave them over to me [for Festival1 of Indra has just begun; make use of the Nātyaveda helping me] in the performance. now on this occasion." 47-50. [Their names1 are]e Manjukeśi, Sukeśi, Miśra- 55-58. I then went to that festival in honour of Indra's keśi, Sulocanā, Saudāmini, Devadattā, Devasenā, Manoramā, Sudatī, Sundarī, Vidagdhā, Sumāla, Santati, Sunandā, victory which took place after the Danavas and the Asuras

Sumukhī, Māgadhī, Arjunī, Saralā, Keralā, Dhrti, Nandā, (enemies of the gods) were killed. In this festival where

Supuskalā and Kalabhā. jubilant gods assembled in great numbers I uttered for their satisfaction the holy' Benediction (nandi) containing blessings

Svati and Narada engaged to belp Bharata with words in their eighttold2 aspects (astanga, lit. of eight

50-51. And by him (Brahma) Svati1 together with his limbs). Afterwards I devised an imitation of the situation

disciples was employed to play on musical instruments, (lit. in which the Daityas were defeated by gods [and], which

drums) and celestical musicians (gandharva) such as, Nārada1 represented [sometimes] an altercation and tumult and [sometimes] mutual cutting off and piercing [of limbs or and others were engaged in singing songs.2 bodies].

Bharata meets Brabma again The pleased gods reward Bharata's party. 51-53. Thus after comprehending the dramatic art (natya) which arose out of the Vedas and their [different] 58-61. Then Brahma as well as the other gods were

limbs, I along with my sons as well as Svati and Narada pleased with the performance and gave us all sorts of gifts1 as a token of joy that filled their mind. First of all the pleased approached Brahma (lit. lord of the worlds) with folded palms and said that the dramatic art has been mastered, and prayed Indra (Sakra) gave his auspicious banner, then Brahmā a

for his command. 53-55 1 This festival occurred on the twelfth day of the bright half of The Banner Festival of Indra and the first the moon in the month of Bhadra. It was a very popular festival in ancient

production of a play India. Aśvaghosa mentions it in his kāvyas. Maha of dhvaja-maba is simply a Pkt. form of the word makha meaning 'sacrifice'; cf. Indra-makha. 53-55. On these words. Brahma said, A very suitable 55-58 1 Veda-sammita means 'like the Veda' i, e. 'holy.' time for the production of a play has come:) the Banner 2 The eight aspects of words are noun (nāma). verb (ākhyâta), particle (nipata), prefix (upasarga), compound word (samasa), secondary suffix (taddhita), euphonic combination (sandbi), case-endings and verbal suffixes (vibhakti). 46-47 Inatyālankāra here may be taken also to mean nātyālankāras men- See XV. 4. tioned in XXIV. 4-5. 58-61 1 Making gifts to dancers, singers and actors at a performance, 50-51 1 One Sväti has been mentioned in the Visnu P. Nārada is also is a very old custom in India. Such gifts were made by rich members of the a well-known Puranic sage. He is mentioned as a musician in Bhagavata audience, while the common people enjoyed the performance without any and Vāyu P. See Vidyalankar. JK. sub voce. Payment, This old custom is now dying out under the infuence of modern ª Ag. thinks gana in this connexion means the playing of stringed instru- theatres which realise the price of the entertainment beforehand by selling ments and Autes. tickets. 2

1.61 THE NATYASASTRA 10 1I ORIGIN OF DRAMA I. 78 Kutilaka2 and Varuna a golden pitcher, Sūrya (the sun-god) gave an umbrella, Siva Success and Vayu (the wind-god) a 69-70. Then with eyes' turning in anger he adorned

fan. Visnu gave us a lion-seat, Kuvera a crown and the with all bright jewels rose and took up that best banner

goddess Sarasvati gave visibility as well as audibility.3 staff. With this Jarjara, Indra smashed to pulp the Asuras

62-63. The rest of the gods, and the Gandharvas, the and the Vighnas who were hanging about the stage [for

Yakşas, the Raksasas and the Pannagas (Nagas) who were mischief].

present in that assembly and were of different birth and 71-73. Then all the Vighnas together with the Danavas

merit, gladly gave my sons speeches suited to their different having gone, the gods said in joy, "O [Bharata,] you have

roles [in the play], States (bhava),1 Sentiments, [good physi- got a divine weapon with which all destroyers of a play have

cal] form, [proper] movement [of limbs] and strength as made jarjara (beaten to pulp). Hence it will have the name

well as beautiful ornaments. of Jarjara.1 73-75. The jealous Vighnas too who may come to do Anger of the Daityas violence to actors will go away on seeing the Jarjara." To 64-65. Now when the performance relating to the the gods Sakra (Indra) then said with pleasure, "Let this be killing of the Daityas and Danavas began, the Daityas who so; this Jarjara will be the protection of all the actors." came there [univited] instigated by the Vighnas (malevolent 75-76. [And afterwards], when the play was ready and spirits) with Virupaksa as their leader, said, "we shall not see Sakra's (Indra's) festival was going on in full force, the in this manner this dramatic ; performance come forward". jealous Vighnas began to create terror for the actors. 66. Then the Vighnas (evil spirits) together with the 76-78. Having noticed these attempts caused by the Asuras resorted to magical power and paralysed the speech, insult of the Daityas I, along with my sons, approached

movement as well as memory of the actors. Brahma [and said], "O holy one and best of gods, the 67-68. Seeing this injury to them, Indra sat in medita- Vighnas (the evil spirits) are determined to spoil this drama- tion to ascertain the cause of break in the performance and tic performance; so enlighten me about the means of its found out that, surrounded on all sides by the Vighnas (evil protection."

spirits), the Director (sutradbara) together with his associates 78-79. "O the high-souled one," said Brahma then to (actors) had been rendered senseless and inert. Viśvakarmā,1 "build carefully a playhouse of the best type." 79-81. After constructing it according to this instruc-

2 Kutilaka .- See XIII, 143-144, 'a curved stick fit to be used by the tion he (i.e. Viśvakarma) went with folded palms to Brahma's Jester.' In Kalidāsa's Mālavi, occur bhuangama-kudila-dandakattha and dandakattha (ed. Pandit, Bombay, 1889, IV, 150, 160). XXIII. 167-170 describes this dandakastha connected with the Jester. It is to be noted that 7T-73 1 This is evidently an instance of folk-etymology. Kalidasa does not use the conventional word for the Jester's staff. 78-79 1 Viśvakarmā is the architect of the gods. He is very frequently 3 From now on the numbering of couplets is wrong in B. met with in the Puranas. There was also a Vedic deity of this name. See 1 For details on States see VI. Vidyalankar, JK, sub voce.

I. 78 THE NATYASASTRA I2 13 ORIGIN OF DRAMA I. 99

court [and said], "O god, please have a look at the play- 93-94. Thus for the destruction of the Vighnas, gods house which has [just] been made ready." Then Brahma, were placed in different parts of the Jarjara, and Brahma along with Indra and all other gods, went to have a view of himself occupied the middle of the stage. It is for this the playhouse. reason1 that flowers are scattered there [at the beginning of 82-88. On seeing it Brahma said to the rest of gods, the performance]. "You ought to co-operate in the protection of the playhouse 95. Denizens of the nether regions such as, the Yaksas, in its several parts [and of the objects relating to dramatic the Guhyakas and the Pannagas were employed to protect performance]a Candra (the moon-god) to protect the main the bottom of the stage. building; the Lokapalas (guardians of the worlds) its sides, 96. Let Indra protect the actor who assumes the role the Maruts its four corners, Varuna the space [within the of the Hero, Sarasvati1 the actress assuming the role of the building], Mitra the tiring room, Agni the stage, clouds the Heroine, Omkärah2 the Jester, and Siva the rest of the musical instruments, deities of four Colour-groups the pillars, characters. the Adityas and the Rudras the space between the pillars, the 97. He (Brahma) said that the gods who were employed Bhutas (spirits) the railing [of seats= dbarani], the Apsarasas to protect it (i.e. the play) would be its guardian deities. its rooms, the Yaksinis the entire house, the ocean-god the ground, Yama the door, the two Naga kings (Ananta and Brabma pacifies the Vighnas. Vāsuki) the two blades of the door2 (dvarapatra), the Rod2 of Yama the door-frame, [Sivas'] Pike the top of the door. 98-99. In the meanwhile gods in a body said to

88-93. Niyati and Yama (mrtyu) were made two door- Brahma, "You should pacify the Vighnas by the conciliatory

keepers, and the great Indra himself stayed by the side of method (sama). This (method) is to be applied first, and

the stage. In the Mattavarani was placed Lightning which secondly the making of gifts (dana), and [these proving futile] one should afterwards create dissension (bheda) [among was capable of killing Daityas, and the protection of its pillars was entrusted to the very strong Bhūtas, Yaksas the enemies], and this too proving unsuccessful punitive

Pisacas and Guhyakas. In the Jarjara was posted Thunder force (danda) should be applied [for curbing them1].

(vajra) the destroyer of Daityas, and in its sections (parva) 100. Hearing these words of the gods, Brahma called the evil spirits and said, "Why are you out for spoiling the were stationed the best and powerful gods. In the topmost dramatic performance ?. " section was placed Brahma, in the second Siva, in the third Visnu, in the fourth Kattikeya and in the fifth great Ngas such as Šesa, Vāsukī and Taksaka." 93-94 1 See V. 74. 96 1 Sarasvati mentioned here seems to be the Vedic goddess of the same name. See Rk, I, 142. 9 and JK. sub voce. 82-88 1 Such deities are nowhere to be met with. 2 Omkāra as a deity is very rarely to be met with. 2 See III. 1-8 note 5. 98-99 1 This is an ancient Indian political maxim.

1. 100 THE NATYASASTRA 14 15 ORIGIN OF DRAMA 1. 116

101-103. Questioned thus by Brahmā, Virūpāksa1 restraint in those who are disciplined, gives courage to together with the Daityas and the Vighnas, said these con- cowards, energy to heroic persons, enlightens men of poor ciliatory words !: "The knowledge of the dramatic art which intellect and gives wisdom to the learned.1 you have introduced for the first time at the desire of the 110. This gives diverson to kings, and firmness [of gods, has put us in an unfavourable light, and this is done mind] to persons afflicted with sorrow, and [hints of acquiring] by you for the sake of the gods; this ought not to have money to those who are for earning it, and it brings com- been done by you who is the first progenitor (lit. grand- posure to persons agitated in mind. father) of the world, from whom came out alike gods as 1II-112. The drama as I have devised, is a mimicry1 well as Daityas." of actions and conducts of people, which is rich in various 104-105. These words being uttered by Virūpāksa, emotions, and which depicts different situations. This will Brahma said, 'Enough of your anger, O Daityas, give up relate to actions of men good, bad and indifferent, and will your grievance (lit. sorrow), I have prepared this Nātyaveda give courage, amusement and happiness as well as counsel which will determine the good luck or ill luck of you as to them all. well as of the gods, and which will take into account acts 113. The drama will thus be instructive1 to all, through and ideas of you as well as of the gods. actions and States depicted in it, and through Sentiments, arising out of it. Characteristics of a drama 114-115. It will [also] give relief to unlucky persons 106. In it (natya) there is no exclusive representation of who are afflicted with sorrow and grief or [over]-work, and you or of the gods: for the drama is a representation of the will be conducive to observance of duty as well as to fame, . States (bhavanukīrtana) of the three worlds.1 long life, intellect and general good, and will educate people. 107. [In it] sometimes there is [reference to] duty, 116. There is no wise maxim, no learning, no art or sometimes to games, sometimes to money, sometimes to peace, craft, no device, no action that is not found in the drama. and sometimes laughter is found in it, sometimes fight, 117-118. Hence I have devised the drama in which sometimes love-making and sometimes killing [of people]. meet all the departments of knowledge, different arts and 108-109. This teaches duty to those who go against various actions. So [O Daityas] you should not have any duty, love to those who are eager for its fulfilment, and anger towards the gods; for a mimicry of the world with its it chastises those who are ill-bred or unruly, promotes self-

108-109 1 All these lay stress on the educative aspect of dramatic perfor- 101-103 1 This name occurs in Ram. and Mbh. and in some Purānas, mances. See Vidyalankar, JK. sub voce, (See Poetics). 11I-112 1Aristotle also brings in 'imitation' to explain poetry and drama ty and d 106 1 A, K. Coomaraswamy has freely translated 106-109. (See MG., New York, 1936, pp. 16-17). u t 113 1 See above 108-109 note.

1. 1I7 THE NATYASASTRA 16 17 ORIGIN OF DRAMA 1. 125 Seven Divisions (sapta duipa)1 has been made a rule of, in 125. He who will hold a dramatic spectacle without the drama. 119. Stories taken out of the Vedic lore as well as offering the Püja, will find his knowledge [of the art] useless,

Semi-historical Tales [so embellished that they are] capable and he will be reborn as an animal of lower order.

of giving pleasure, in the world, is called drama. 126. Hence [producers of a play] should first of all

120. A mimicry of the exploits of gods, Asuras, kings offer by all means, Puja to the [presiding] deity of the stage,1

as well as house-holders in this world, is called drama. which is similar to the [Vedic] sacrifice.

121. And when human nature with its joys and 127. The actor (nartaka) or his wealthy patron (artha-

sorrows, is depicted by means of Representation through pati) who does not offer this Puja or does not cause it to be

Gestures, and the like (i. e. Words, Costume and sattva) it is offered, will sustain a loss. 128. He who will offer this Pūja according to the rules called drama." and the observed practice, will attain auspicious wealth and

Offering Puja to the gods of the stage will [in the end] go to heavens."

I22-123. Then Brahma said to all the gods, "Perform 129. Then Brahma with other gods said to me, "Let

duly in the playhouse a ceremony (yajana) with offerings, it be so, offer Pūja to the stage."

Homa,1 Mantras, (sacred) plants, Japa3: and the offerings in Here ends Chapter I of Bharata's Nātyasāstra, it should consist of eatables hard as well as soft (bhojya and which treats of the Origin of Drama.

bhaksya). 124. Thus you all will have a happy adoration among the mortals. A dramatic spectacle (preksa)1 should not be held without offering Puja2 to the stage.

119-118 1According to the later Puranic geography the world was divided into seven continents such as Jambu, Plaksa, Sālmalī, Kuśa, Kraunce, Šāka and Puskara. Each of these continents was further subdivided into nine regions, and Bharata (India) is a region ot the Jambu continent. See note 3 on 7-12 above. 122-123 1 homa-offering oblations to gods by throwing ghee into the consecrated fire. ª mantra-formula sacred to any deity. 3 japa-repeating a mantra or muttering it many times, ª See Ag. 124 Preksā (Pali pekkba) occurring in Sikkhāpadas (c. 600 B.c.). 9 puja-worshipping a deity with flowers, sweet scent, incense, music and offering of eatables. 126 1 See XXXVI. 12 ipd

3

19 DESCRIPTION OF THE PLAYHOUSE II. I1

playhouse and of the manner of offering Puja at the site [of its construction]. CHAPTER Two 7-8. There are three types of playhouse devised by the

DESCRIPTION OF THE PLAYHOUSE wise Viśvakarmā [the heavenly architect] in the treatise on his art (sastra). They are oblong (vikrsta)2 square (caturasra) 1,-2. On hearing Bharata's words, the sages said, "O and triangular (tryasra). the holy one, we would like to hear about the ceremony relating to the stage.1 And how are the men of future to Three sizes of the playhouse

offer Pūja in the playhouse or [to know about] the practices 8-II. Their sizes varya they may be large (jyestha),

related to it, or its accurate description ?. middle-sized (madbya) and small (avara).1 The length (lit. 3. As the production of a drama begins with the play- measurement) of these [three types] fixed in terms of cubits house, you should [first of all] give us its description." as well as Dandas, is one hundred and eight, sixtyfour or thittytwo. They2 should [respectively] have [sides] one Three types of a playhouse hundred and eight, sixtyfour and thirtytwo [cubits or 4. On hearing these words of the sages, Bharata said, Dandas]8 long. The large playhouse is meant for gods4 and "Listen, O sages, about the description of a playhouse1 and the middle-sized one for kings, while for the rest of people,

of the Pūja to be offered in this connexion. has been prescribed the smallest [theatre].5 5-6. Creations of gods [obsetved] in houses and gardens are the outcome of their [mere] will; but men's [creative] 8-11 1 Some are for identifying the oblong. the square and the triangular activity should be carefully guided by rules [laid down in the types respectively with the large, the middle-sized and the small playhouses,

Sāstras]. Hence, listen about the method of building a but Ag. very rightly objects to this. According to Ag.'s view there will be the following nine types of playhouse; (i) large oblong, (ii) large square, (iii) large triangular, (iv) medium oblong. (v) medium square, (vi) medium 1-2 1 ranga here means 'the stage.' It may also mean the auditorium as triangular, (vii) small oblong, (viii) small square and (xi) small triangular. For a free translation of the passages in this chapter (8, 17, 19, 24-28, 33-35, well as the spectators sitting there. See Kālidāsa; Šak. I. 4. 2. 4. 1 Except the cave (c. 200 B. C.) in the Ramgarh hill suspected by Th. 43-53, 63, 68, 69-92) relating to the construction of the playhouse see D. R. Bloch (Report of the Archacological Survey of India, 1903-4, pp. 123 ff) to Mankad, "Hindu Theatre" in IHQ: VIII. 1932, pp. 482 ff. have been the remains of a theatre, there is no other evidence of the existence ª They i. e. the large, the middle-sized and the small, of a playhouse in ancient India. From the description of the playhouse in the 8 As the measurements described are both in terms of cubits and dandas (4 cubits), eighteen kinds of playhouse will be available. present chapter we learn that it was constructed with brick walls and wooden 4 Ag. (I. p. 51) thinks that by gods, kings and other peoples mentioned posts probably with a thatched bungalow roof. The samgidāsala (samgitasala) mentioned by Kālidāsa in his Mālavi, was probably a playhouse. Large open in this passage, characters in a play have been meant. But this view does. halls called natmandir often found in front of more recently built temples in not seem to be plausible. So the other view, mentioned by him, which takes gods and kings etc. as spectators may be accepted. Bengal and the neighbouring provinces may be connected with the extinct 5 After this, B. reads three couplets which go rightly between 20 and 24. playhouse. This nat-mandir or nat-sala is often met with in the medieval G. also holds the same view. Bengali literature.

II. 12 THE NATYASASTRA DESCRIPTION OF THE PLAYHOUSE II. 27 20 21

The table of measurement [for the hearers] due to weak resonance of the sounds 12-16. Listen now about the measurement of all these uttered. theatres, which has been Alxed by Viśvakarma. Units of 20. [Besides this] when the playhouse is very big, the these measurements1 are: Anu, Raja, Bāla, Liksā, Yūkā, expression in the face [of actors] on which rests the Represen- Yava, Angula, cubit (hasta) and Danda. tation of States and Sentiments, will not be distinctly visible

8 Anus [to all the spectators]. = 1 Raja 8 Rajas 21. Hence it is desirable that playhouses should be of I Bala 8 Bālas medium size, so that the Recitatives as well as the songs in = I Liksā 8 Liksās it, may be more easily heard [by the spectators]. = I Yūkā 8 Yūkās I Yava 22-23. Creations of gods [observed] in house and gardens

8 Yavas = I Ańgula are the outcome of their [mere] will, while men are to make

24 Angulas careful efforts in their creation; hence men should not try to = I cubit rival the creation of gods.1 I shall now describe the charac- 4 cubits = 1 Danda. teristics of a [play] house suitable for human beings. With the preceding table of measurement I shall describe them (i. e. the different classes of playhouse). Selection of a suitable site 24. The expert [builder] should first of all examine a

A playhouse for mortals plot of land and then proceed with a good resolve to measure

17. An [oblong] playhouse meant tor mortals1 should the site of the building.

be made sixtyfour cubits in length and thirtytwo cubits in 25. A builder should erect a playhouse on the soil which

breadth. is plain, firm, hard, and black or not white. 26. It should first of all be cleared and then scratched

Disadvantage of a too big playhouse with a plough, and then bones, pegs, potsherds in it as well

18-19. No one should build a playhouse bigger than as grass and shrubs growing in it, are to be removed.

the above; for a play [produced] in it (i.e. a bigger house) Measurement of the site will not be properly expressive. For anything recited or 27a. The ground being cleared one should measure out uttered in too big a playhouse will be losing euphony [the building site].1

18-19 1 See Ag. on this point. 12-16 1 The table of measurement given here agrees substantially with the 22-23 1 That is, mortals (men) should not build a playhouse of the biggest one given by Kautilya (see IHQ. VIII, p. 482 footnote). type which has been prescribed for gods. 17 ' A medium oblong playhouse is meant here. It is described in detail 27a 1 This hemistich is followed in B. and G. by one couplet which in later on, See 33-38, 43-45, 63-65 below. trans, is as follows: The asterisms Uttaraphālguni (Beta-Leonis), Uttarāsā-

II. 27 THE NATYASASTRA 22 DESCRIPTION ON THE PLAYHOUSE II, 41 23 27-28. Under the asterism Pusya (Cancri) he should spread [for measurement] a piece of white string which may two [equal] parts. The part which will be behind him (i.e.

be made of cotton, wool, Munja grass or bark of some tree. at his back) will have to be divided again into two equal halves. Of these halves one [behind him] should be again Taking wp the string divided equally into two parts, and on one of these will be 28-31. Wise people should prepare for this purpose a made the stage (ranga-sirsa) and on the part at the back the

string which is not liable to break. When the string is tiring room.

broken into two [pieces] the patron1 [of the dramatic spectacle] will surely die. When it is broken into three a political The ceremony of laying the foundation

disorder will occut in the land, and it being broken into four 35-37. Having divided the plot of land according to

pieces the master of the dramatic art2 will perish, while if the rules laid down before, he should lay in it the foundation of

string slips out of the hand some other kind of loss will be the the playhouse. And during this ceremony [of laying the

result. Hence it is desired that the string should always be taken foundation] all the musical instruments such as, conchshell,

and held with [great] care. Besides this the measurement Dundubhi1, Mrdanga' and Panava3 should be sounded.

of ground for the playhouse should be carefully made. 37-38. And from the places for the ceremony, undesira-

32-33. And at a favourable moment which occurs in a ble persons such as heretics1 including Śramanas,2 men in

(happy) Tithi' during its good part (su-karana)2 he should datk red (kāsāya)8 robes as well as men with physical defects,

get the auspicious day declared after the Brahmins have been should be turned out.

satisfied [with gifts]. Then he should spread the string 38-39. At night, offerings should be made in all the

after sprinkling on it the propitiating water. ten directions [to various gods guarding them) and these offerings should consist of sweet scent, flowers, fruits and

The ground-plan of a playhouse etables of various other kinds.

33-35. Afterwards he should measure a plot of land sixtyfour cubits [long]1 and divide the same [lengthwise] into 35-37 1 dundubbi-a kind of drum. å mrdanga-a kind of earthen drum. 3 panava-a small drum or tabor. dhā (Tau-Sagittarii). Uttarabhādrapadā (Andromedœ), Mrgasiras (Lambda- 37-38 1 pāsanda-Derived originaly from pārsada (meaning 'assembly' or Orionis), Visākhā (lota-Lībra). Revatī (Piseium). Hastā (Corvii), Tișyā community') its Pkt. form was pasada. With spontaneous nasalization of the (Delta-Cancri) and Anuradha (Delta-Scorpii) are favourable in connexion with second vowel it gave rise to Asokan pasamda (Seventh Pillar Edict, Delhi- drama. Topra), which is the basis of Skt. pasanda in the sense of 'heretic.' 28-31 1 svaminab=paeksapateb, Ag. * B. reads śramina, but G. śramana; the word means naked Jain monks. 2 prayoktur=nātyācāryasya. (Ag.) See XVIII. 36 note 2. 32-33 1 tithi-a lunar day. å kāsāya-vasana-men in kāsaya or robe of dark red colour; such people 2 karana-a half of a lunar day, see below 43-45 note. being Buddhist monks who accepted the vow of celebacy, were considered an 33-35 1 See 17 above and the note I on it. evil omen, for they symbolised unproductivity and want of wordly success etc. See also XVIII, 36 note 2.

II. 57 II, 41 THE NATYASASTRA $5 DESCRIPTION OF THE DRAMA 24

39-41. The food-stuff offered in [the four cardinal 45-46. The master [of dramatic art], after he has tasted

directions1 east, west, south and north, should respectively for three [days and] nights, is to raise the pillars in an

be of white, blue, yellow and red colours. Offerings preceded auspicious moment at dawn. by [the muttering of] Mantras should be made in [all the 46-50. 'In the beginning, the ceremony in connexion

ten] different directions to deities presiding over them. with the Brahmin pillar should be performed with completely

41-42. At [the time of laying] the foundation ghee1 white,2 articles purified with ghee and mustard seed ; and in

and Payasa2 should be offered to Brahmins, Madhuparka3 to this ceremony Payasa should be distributed [to Brahmins].

the king, and rice with molasses to masters [of dramatic art]. In case of the Ksatriya pillar, the ceremony should be per-

42-43. The foundation should be laid during the formed with cloth, garland and unguent which should all be

auspicious part of a happy Tithi under the asterism Mūla of red3 colour; during the ceremony rice mixed with molasses

(Lambda-Scorpionis). should be given to the twice-born caste. The Vaisya pillar should be raised in the north-western direction of the play- Raising pillars of the playhouse house and [at the ceremony of its raising] completely yellow4

43-45. After it has been laid, walls should be built articles should be used, and Brahmins should be given rice

and this having been completed, pillars within the playhouse with ghee. And in case of the Sudra pillar, which is to be

should be raised in an [auspicious] Tithi and Karana1 which raised in the north-eastern direction, articles used in offering

are under a good asterism. This [raising of pillars] ought to should all be of dark5 colour, and the twice-born caste should

be made under the asterism Rohinī (Aldeberan) or Śravanā be fed with Krsara.

(Aquillae) [which are considered auspicious for the purpose]. 50-53. First of all in case of the Brahmin pillar, white garlands and unguent as well as gold from an ear-ornament should be thrown at its foot, while copper, silver, and iron

41-42 1 ghee-clarified butter. are respectively to be thrown at the feet of the Ksatriya, ª payasa-rice cooked in milk with sugar. It is a kind of rice-porridge. Vaiśya and Sudra pillars. Besides this, gold should be thrown 8 madhuparka-'a mixture of honey' ; a respectful offering prescribed to be at the feet of the rest [of pillars]. made in Vedic times, to an honourable person and this custom still lingers in ceremonies like marriage. Its ingredients are five: curd (dadhi), ghee (sarpis), 53-54. The placing of pillars should be preceded by the water (jala), honey (ksaudra) and white sugar (sita). display of garlands of [green] leaves and the utterance of 43-45 1 karana-half of the lunar day (tithi). They are eleven in number viz .- (1) vava, (2) vālava, (3) kaulava. (4) taitila, (5) gara, (6) vanija, (7) visti, (8) śakuni, (9) cutuspada. (10) naga and (11) kintughna, and of these the 46-53 1 Before 46, G. reads on the strength of a single ms. one couplet first seven and counted from the second half of the first day of the sukla.paksa which seems to record a tradition that the pillars should be wooden, (bright half of the moon) to the first half of the fourteenth day of the 2 white-symbol of purity and learning associated with the Brahmins. krsna-paksa (dark half of the moon). They occur eight times in a month. 3red-symbol of energy and strength, associated with the Ksatriyas, The remaining karanas occur in the remaining duration of titbis and appear 4 yellow-symbol of wealth (gold), associated with the Vaiśyas only once in a month. See Surya-siddhanta-II. 67-68- 5 dark-symbol of non-Aryan origin associated, with the Sūdras. 4

11. 58 THE NATYASASTRA 26 27 DESCRIPTION OF THE DRAMA II. 68 'Let it be well' (svasti) and 'Let this be an auspicious day' (punyāba). The Mattavarani

54-57. After pleasing the Brahmins with considerable 63-65. On [each] side of the stage should be built the

(analpa) gift of jewels, cows and cloths, pillars should be raised Mattavarani1 and this should be furnished with four pillars

[in such manner that] they do neither move nor shake nor and should be equal in length to the stage, and its plinth

turn round. Evil consequences that may follow in connexion should be a cubit and a half high.2 And the plinth of the

with the raising of pillars, are as follows: when a pillar [after auditorium (rangamandala) should be equal in height to that

it has been fixed] moves drought comes, when it turns round of the two [Mattavāranīs].

fear of death occurs, and when it shakes fear from an enemy 65-67. At the time of building them (the two Matta-

state appears. Hence one should raise a pillar free from vāranis) garlands, incense, sweet scent, cloths of different

these eventualities. colour as well as offerings agreable to Bhūtas should be

58-60 In case of the holy Brahmin pillar, a cow1 should offered [to them].

be given as fee (daksina)and in case of the rest [of the pillars] builders should have a feast. And [in this feast foodstuff] purified with Mantra should be given by the wise master of 63-65 1 matta-varani-The word does not seem to occur in any Skt.

the dramatic art. And the priest and the king should be dictionary. There is however a word mattavarana meaning 'a turret or small room on the top of a large building, a veranda, a pavilion.' In Ksirasvāmīn's fed with honey and Payasa. Then the workers should be commentary to the Amarakośa, mattvarana has been explained as follows: fed Krsara2 and salt. mattālambopāśrayab syāt prāgrīvo mattavāranab (see Oka's ed. p. 50). This is

60-63. After all these rules have been put into practice however not clear. Mattaviranayor varanbaka mentioned in Subandhu's Vāsavadattā (ed. Jivananda, p. 33) is probably connected with this word. and all the musical instruments have been sounded, one Sivarāma Tripathi's commentery on this work does not give any clear idea should raise the pillars with the muttering over them of a about mattavārana or mattavāranayor varandaka. But the word mattavarānj

suitable Mantra [which is as follows]as 'Just;as the mount of may be tentatively taken in the sense of 'a side-room'. Ag. seems to have no

Meru is immovable and the Himalaya is very strong, so be clear idea about it. See also Ag. (I. pp. 64-65). A Dictionary of Hindu Architecture, by P. K. Acharya (Allahabad. 1927) dose not give us any light thou immovable and bring victory to the king.' Thus the on this term,

experts should build up pillars, doors, walls and the tiring 2 According to a view expressed in the Ag. (I. p. 62) the plinth of the mattavarani is a cubit and a half higher than that of the stage. Tbe plinth of room, according to rules. i 10 abac the auditorium is also to be af the same height as that of the mattavarani, But nothing has been said about the height of the plinth of the tiring room. From the use of terms like rangavatarana (descending into the stage) it might appear that the plinth of the tiring room too, was higher than the stage.

58-60 1 This kind of payment is probably a relic of the time when here Weber however considered that the stage was higher. Indische Studien, XIV.

ii. 52. P, 225 Keith, 'Skt. Drama, p. 360 ; cf, Lévi, Le Théâtre indien, i. 374, was no metallic currency. krsara is made of milk. sesamum (tila) and rice. Compare this word with NIA. khicadi or kbicūdi (rice and pulse boiled together with a few spices, 65-67 1 According to one reading iron (ayasam) should be placed below them (pillars). But this is inconsistent, see 50-53 above.

II. 69 THE NATYASASTRA 28 29 DESCRIPTION OF THE PLAYHOUSE 1I. 82

And to ensure the good condition of the pillars, one which is as level as the surface of a mirror, is commendable. should give to the Brahmins Payasa1 and other eatables such Jewels and precious stones should be laid underneath this as Krsara. The Mattavaranis should be built up after observ- by expert builders. Diamond is to be put in the east, lapis ing all these rules. lazuli in the south, quartz in the west and coral in the north, The stage in the centre gold. 68. Then one should construct the stage after a due Decorative work in the stage performance of all the acts prescribed by rules, and the stage 75-80. The plinth of the stage having been constructed should include six piece of wood. thus, one should start the wood-work which is based on a 69-71. The tiring room should be furnished with two carefully though out (uha-pratyuha-samyukta)' [plan], with doors.1 In filling up [the ground marked for the stage] the many artistic pieces such as decorative designs, carved figures black earth should be used with great care. This earth is to of elephants, tigers and snakes. Many wooden statues also be made free from stone chips, gravel and grass by the use should be set up there, and this wood-work [should] include of a plough to which are to be yoked two white draught Niryūhas,2 variously placed mechanized latticed windows, animals. Those who will do [the ploughing] work should be rows (dharani) of good seats, numerous dove-cots and pillars free from physical defects of all kinds. And the eatth should raised in different patts of the foor." And the wood-work

be carried in new baskets by persons free from defective having been finished, the builders should set out to finish

limbs. the walls. No pillar, bracket,4 window, corner or door should

72-74. Thus one should carefully construct the plinth face a door.3

of the stage (rangasirsa).1 It must not be [convex] like the 80-82. The playhouse should be made like a mountain

back of a tortoise or that of a fish. For a stage the ground cavern1 and it should have two floors2 [on two different

75-80 ' aba and pratyuba may also be taken as two architectural terms 68 1 Some scholars following Ag. are in favour of taking rangapitba and (see Ag. I. p. 63). rangasirsa as two different parts of the playhouse (see D. R. Mankad, 'Hindu 2 niryūba is evidently an architectural term, but it does not seem to have Theatre" in IHQ, VIII. 1932, pp. 480 ff, and IX. 1933 PP. 973 ff. ; V. Ragha- been explained clearly in any extant work. Ag's explanation does not give van, "Theatre Architecture in Ancient India", Triveni IV-VI, (193J, 1933) us much light. also "Hindu Theatre". IHQ. IX. 1933. pp. 991. ff. I am unable to agree with 3 In the absence of a more detailed description of the different parts of the wood-work, it is not possible to have a clear idea of them. Hence our know- them. For my arguments on this point see "The Hindu Theatre" in IHQ. ledg of the passage remains incomplete till such a description is available in IX. 1933 pp. pp. 591 ff. and "The NS and the Abhinavabharati" in IHQ. X. some authentic work. 1934 pp. 161 ff. see also note 3 on 86-92 below. 4 nagadanta means 'a bracket'. The word occurs in Vatsyayana's Kāma- 69-71 ' On this point the Hindu Theatre has a similarity with the Chinese sūtra, I. 5.4). 3 On this passage see Ag, theatre. A, K. Coomaraswamy, "Hindu Theatre" in IHQ. IX. 1933. p. 594 72-74 ' See note I on 68. If rangasirsa and rangapitha are taken to mean 80-82 1 The pillars of the playhouse being of wood, the roof was in all probability thatched, and in the forms of a pyramid with four sides. Probably two different parts of the playhouse, the interpretation of the passage will lead that was to give it the semblance of a mountain cavern. us to unnecessary difficulty, 2 The two floors mentioned here seem to refer to floors of different heights

I1. 82 THE NATYASASTRA 30 31 DESCRIPTION OF THE PLAYHOUSE 11, 100

levels] and small windows; "And it should be free from wind parts2 by holding the string [of measurement], and its outer and should have good acoustic quality. For [in such a play- walls should be made with strong bricks very thickly set house] made free from the interference of wind, voice of together. And inside the the stage and in proper directions actors and singers as well as the sound of musical instruments3 [the architect] should raise ten pillars3 capable of supporting will acquire volume. the roof. Outside the pillars, seats should be constructed in 82-85. The construction of walls being finished, they the form of a staircase by means of bricks and wood, for the should be plastered and carefully white-washed. After they accommodation of the spectators. Successive rows of seats bave been smeared [with plaster and lime], made perfectly should be made one cubit higher than those preceding them, clean and' beautifully plain, painting should be executed on and the lowest row of seats being one cubit higher than the them. In this painting should be depicted creepers, men, floor. And all these seats should overlook the stage. women, and their. amorous exploits.' Thus the architect 92-95. In the interior of the playhouse six more strong should construct a playhouse of the oblong type. pillars capable of supporting the roof should be raised in. suitable positions and with [proper] ceremonies (i. e. with Description of a square playbouse those mentioned before). And in addition to these, eight 86 92. Now I shall speak of the characteristics of that more pillars should be raised by their side. Then after raising of the square1 type. A plot of land, thirtytwo cubits in [for the stage or rangapitha] a plinth eight cubit [square, length and breadth, is to be measured out in an auspicious more] pillars should be raised to support the roof of the moment, and on it the playhouse should be erected by experts playhouse. These [pillars] should be fixed to the roof by in dramatic art. Rules, definitions and propitiatory cere- proper fasteners, and be decorated with figurines of 'woman- monies mentioned before [in case of a playhouse of the oblong with-a-tree' (salastri-śālabhanjika) type] will also apply in case of that of the square type. It 95-100. After all these have been made, one should should be made perfectly square and divided into requisite carefully construct the tiring room. It should have one door leading to the stage through which persons should enter with their face towards [the spectators]. which the auditorium, mattavarani and the stage hae. See 63-65 above and There should also be a note 2 on it According to some old commentators dvibhūmi indicated a two-storied playhouse while others were against such a suggestion, See Ag. * The exact nature of this division is not clear from the passage. The (1. p. 65). view expressed by Ag. (1, p. 66) on this point does not seem to be convincing. $ The position of these ten pillars and others mentioned afterwards is not 3 kutapa-This word has been explained twice by Ag. as musical instru- clear from the text. Whatever is written on this point in Ag.'s commentary ments. See (I. pp. 73 and 186). But in two other places (I. p, 65) and is equally difficult to understand. Those who are interested in the alleged (I. p. 214) he explains it differently. view of Ag, may be referred to articles of D. R. Manked and V. Raghavan (loc. cit.). See also D. Subba Rao's article in the Journal of the Oriental Inst. 82-85 1 atmabhogajam literally means 'due to self-indulgence or enjoyment Baroda. vol Il. pp. 190 ff. of the self', Compare with this description the decorative paintings in the 92-95 ! salastri=sala-bhanjika (see A. K. Coomaraswamy, The Women Ajanta caves and tree or salabhanjikā in Indian literature', in Acta Orientalia, vol. VII., also 86-92 1 Caturasra gives rise to NIA, cauras or eoras. cf. this author's Yaksas, Part II. p. IT.).

11. 101 THE NATYASASTRA 32 second door facing the auditorium. The stage [of the square CHAPTER THREE playhouse] should be eight cubits in length and in breadth. It should be furnished with an elevated plinth with plain PŪJĀ TO THE GODS OF THE STAGE

surface, and its Mattavarani should be made according to the measurement prescribed before (i.e. in case of the oblong type Consecration of the playhouse

of playhouse). The Mattavarani should be made with four 1-8. In the auspicious playhouse constructed with all

pillars by the side1 of the plinth [mentioned above]. The the characteristics [mentioned obove] cows, and Brahmins

stage should be either more elevated than this plinth or equal muttering [proper Mantras] should be made to dwell for a

to it in height. In case of a playhouse of the oblong (vikrsta) week. Then the master of the dramatic art who has been

type, it should be higher than the stage, whereas in a play- initiated [for the purpose] and has put on new cloths, fasted

house of the square type it should have a height equal to for three days, lived away from his bed-room (lit. the dwell-

that of the stage. These are the rules according to which a ing house), has kept his senses under control and has [thus]

square type playhouse is to be built. become purified, will besprinkle his limbs with water over

Description of a triangular playhouse which purificatory Mantras have been muttered, and con-

101-104. Now I shall speak about the characteristics of secrate the playhouse. This [consecration] should take place

the triangular (tryasra) type of playhouse. By the builders, after he has made obeisance to the great god Siva, the lord of

a playhouse with three corners should be built, and the stage all the regions, Brahma who sprung from the lotus, Brhaspati,

in it also should be made triangular. In one corner of the the preceptor of gods, Visnu, Guha (Kārtikeya), Sarasvatī,

playhouse there should be a door, and a second door should Lakşmī, Siddhi, Medhā, Smțti, Mati, Candra (Moon), Sūrya (Sun), Winds, Guardians of all directions, Asvins, Mitra, be made at the back of the stage. Rules regarding walls and pillars1 which hold good in case of a playhouse of the Agni, and other gods, such as Rudra, Varnas1, Kāla2, Kali3, Yama, Niyati, the Sceptre of Yama4, Weapons of Visnu5, square type, will be applicable in case of the triangular type.2 These are the rules according to which different types of the Lord of the Nagas (Serpents), the Lord or the birds (Garuda), Thunderbolt, Lightning, Seas, Gandharvas, Apsar- playhouse are to be constructed by the learned. Next I shall describe to you the [propitiatory] Pūja in this connexion. Here ends Chapter II of Bharata's Nātyasāstra, which treats of the Characteristics of a Playhouse. 1-8 1 varnas-No gods called varnas are to be met with in any other wotk. They may be taken as deities ruling specially over the four varnas of people, 95-100 1 Both the sides are meant. There should be two mattavāranis as 2 Kāla-There are several legendary heroes (gods, sages and Asuras) of this

(17. 32,-35). in the case of an oblong medium (vikrsta-madbya) playhouse described before name ; see Vidyalankar, JK. sub voce. 3 Kali -There are many legendary heroes of this name, see JK. sub voce. 101-104 1 It is not clear how the triangular playhouse will have pillars like 4 See note 5 below. those of other types. 5 Weapons of Visnu appear as deities in the Act, I of Bhāsa's Bāla. 2 No mattavarani has been pescribed in case of the Triangular playhouse. 5

III. 9 THE NATYASASTRA 34 35 PUJA TO THE GODS OF THE STAGE III. 21

asas, Sages, Nātya-maids6, Mahāgrāmani (the great leader of [and pray to it as follows]. "Thou art Indra's weapon killing Ganas)7, Yaksas, Guhyakas8 and the hosts of Bhūtas. all the demons ; thou hast been fashioned by all the gods, 9-10. Having made obeisance to these, and other divine and thou art capable of destroying all the obstacles ; bring sages (devarsi), he should with folded palms invoke all the victory to the king and defeat to his enemies, welfare to gods to their respective positions, and say, "Ye, holy ones, cows and Brahmins, and progress to dramatic undertakings". should take us under your protection during the night, and 14-15. After proceeding thus according to rules and ye with your followers should offer us assistance in this staying in the phayhouse for the night, he (the master of the dramatic performance." dramatic art) should begin Puja as soon as it is morning.

Offering Puja to the Jarjara This Puja connected with the stage should take place under the asterism Ardra (Alpha-Orionis) or Magha (Regulus) or 11-13. Having worshipped [thus] all the gods as well Yāmyā (Musca) or Pūrvaphalgunī (Delta-Leonis) or Pūrvāșā- as all the musical instruments (kutapa)' he should offer Pūjā dha (Delta-Sagittarii) or Pūrvabhādrapadā (Alpha-Pegasi) or to the Jarjara2 for attaining good success at the performance Aśleșā (Hydrae) or Mūlā (Lambda-Scorpionis). 16. The stage should be illuminated and the Pūja of 6 natyakumari-Such goddesses are possibly mentioned nowhere else, the gods in its connexion should be performed by the master 7 mahāgrāmani-The great leader of Ganas. It is very difficult to accept Ag's identification of mabagrāmani with Ganapati (mabāgrāmanir ganapatib). of the dramatic art (acarya) after he has purified his body,

For in 58 below occurs the term mabaganêsvara (in the plural numbsr) indicat- concentrated his mind [to these acts] and initiated himself ing the different leaders of Ganas who followed Siva. One of such leaders has [to the Pūja]. been mentioned there as Nandiśvara (Nandin). Besides this the term Ganeśa (the leader of Ganas) has also been applied to Siva in 47 below. In describing pindibandhas the pindi of Ganesvara has been named as dasksayajna-vimardini Installation of the gods

(IV. 260). This too shows that the words ganesvara, gramani or mabagramani 17. During the concluding moments of the day, which meant simply the leader, one of the leaders or the great leader of Ganas. The fully developed Ganapati seems to be non-existent at the time when the NS. are considered to be hard and full of evils, and are presided

was composed. Our suspicion in the matter seems to be corroborated by the over by Bhūtas, one should perform Acamana' and cause the

variant tatha gramadbi-devata recorded in the ms tha of B. for mahagraman- gods to be installed. yam, Ganapati seems to be a late entrant into the Hindu pantheon. He is 18-20. [Along with these gods] should be [taken] red not mentioned in any one of the old Puranas. Only the Varāha, Vāmana, Garuda and Brahma-vaivarta P. which are late, know the deity (Winternitz, thread-bangle (pratisara)1, the best kind of red sandal, red

Vol. I. pp. 566-568, 573, Vidyalankar, JK. sub voce). Yājñavalkya mentions flowers and red fruits. [With these and] articles such as Ganesa (Hindu Law and Custom, pp. 42-44). 8 Kālidāsa makes no distinction between Yaksa and Guhyaka, See Meghadūta, 1 and 5. 17 1 acamana-ceremonial rinsing of the mouth by sipping water from 11-13 1 See below 72-73 note 3. The reading samprayujya in all editions the palm of the hand. and mss. seems to be wrong. It should be emended as samprapūjya. 18-20 1 pratisara-sutra-vinirmita-granthi-mantab kankanavisesah, Ag. ª See 73-81 below. (l. p. 74),

III. 22 THE NATYASASTRA 36 PUJA TO THE GODS OF THE STAGE III, 44 batley, white mustard, sunned rice, Nagapuspa2 powder and husked saffron (priyangu)3, the gods should be installed. in the north Kuvera, Mothers of the Natya, Yaksas with their followers, in the north-east leaders of Ganas such as

The Mandala for installing the gods Nandi, Brahmarsis and the host of Bhutas in their proper

20. In this ceremony one should draw in proper place a places.

Mandala according to the manner prescribed. 31. And [in the eastern] pillar should be placed Sanat-

21. This mandala should be sixteen Talas (hasta)' square kumāra1, in the southern one Daksa2, in the northern one

and it should have doors on all its four sides, Grāmanī (lit. leader of Ganas)3 and in the western one Skanda

22. In its middle should be drawn two lines vertically (Kārtikeya).

and horizontally (i.e. parallel to the sides), and in the apart- 32. According to this rule all the gods in their [proper]

ments made by these lines, should be installed the different form and colour should be placed in their respective positions.

gods. Offering Pūja to the gods 23-30. In the middle of this (mandala), should be put 33 .. After they have been installed with regular cere- Brahma who has lotus as his seat1. Then one should first mony in suitable places they should be worshipped in a fitt- of all put in the east Siva with his host of Bhūtas, Nārayana ing manner. (Vişņu), Indra, Skanda (Kārtikeya), Sūrya, Aśvins, Candra, 34. Gods [in general] should be given white1 garlands Sarasvatī, Laksmī, Śraddhā and Medbā, in the south-east and unguents, while Gandharvas, Agni and Surya should be Agni, Svāhā, Viśvedevas, Gandharvas, Rudras and Rsis, in given garlands and unguents of red2 colour, the south Yama, Mitra with his followers, Pitrs, Pisacas, 35. After being treated [thus] in due order and man- Uragas and Guhyakas, in the south-west the Rāksasas and ner, they should be worshipped according to rules with all the Bhutas, in the west the Seas and Varuna, in the suitable offerings. north-west the Seven Winds2 and Garuda with other birds, 36-39. [Offerings suitable to different gods and god- desses are as follows]: Brahma Madhuparka,1 Sarasvatī 2 nagapuspa=the campaka tree (Apte), but Ag. says nāgapuspam nāga- Pāyasa,2 gods like Siva, Visnu, and Indra sweetmeats, Agni dantab. 3 priyangu =saffron, and not the fruit of the priyangu creeper. rice cooked with ghee, Candra and Sūrya rice cooked with 21 1 hasta in this passage is to be interpreted as hasta-tala or tala i.e. the interval between the tips of the thumb and the middle-finger stretched in 31. 1 Sanatkumāra-ane of the great rsis, and a son of Brahmā. opposite directions. SR. VII. 1046. Otherwise it will be impossible to 2 Daksa-one of the lords of the creation (prajapati), son of Pracetas. accomodate the mandala on the stage which is eight cubits wide (See II. 33-35). There were other Daksas besides. See Vidyalankar, JK. swb voce. The ancient commentators like Sankuka and others pointed out how absurd it 3 See above 1-8 note 7. would be to take basta in the passage in the sense of cubit, (see Ag. I. p. 75), 34. 1 'White' here seems to be the symbol of purity and good grace. 23-30 1 According to Ag. a lotus is to be described in the centre of 2 'Red' here seems to be the symbol of energy. mandala, 2 For the seven winds see the Vamana P, (see Vidyalankar, JK. 36-39. 1 madbuparka-see above II, 41-42. note 3. sub voce). 2 pāyasa-sce above II. 41-42 note.

III. 44 THE NATYASASTRA 38 39 PUJA TO THE GODS OF THE STAGE III. 63 molasses. Viśvedevas, Gandharvas and sages honey and 49. (For Indra), O Purandara, the lord of gods, the Payasa, Yama and Mitra cakes and sweetmeats, Pitrs, thunder-bearer, the maker of the hundred exploits, accept Pisacas and Uragas ghee and milk, host of Bhūtas raw this my etc. and cooked meat, wines of different kinds and grams 50. (For Skanda), O Skanda the leader of the celestial covered with thick milk. army, the blessed one, the dear son of Siva, O the six- Consecration of the Mattavarani mouthed one, accept this my etc. 40-44 Similar shall be the rules regarding the Pūja in 51. (For Sarasvati) O the goddess of the gods, the very connexion with the Mattavarani. [Offerings to be made to blessed one, the dear wife of Hari, accept this my etc. gods and demigods are as follows]: Rāksasas raw and 52. (For goddesses Laksmī, Siddhi, Mati, Medhā) O cooked meat, Danavas wine and meat, the temaining gods Lakşmī, Siddhi, Mati and Medhā, ye who are honoured by cake and Utkarika2 and boiled rice, gods of seas and rivers all the worlds, accept this my etc. fish and cakes, Varuņa ghee and Payasa, Sages various roots 53. (For Märuta) O Maruta, you who know the might and fruits, the wind god and birds different edible stuff (lit. of all the creatures and are the life of all the world, accept bhaksya and bhojya), Mothers3 of the Natya, and Dhanada this my etc.

(Kuvera) with his followers eatables including cakes, and 54. (For Raksasas) O the great Rāksasas, the great-souled Locitās.4 ones, the sons of Pulastya, born of different causes, accept 45. These different kinds of foodstuff should be offered this my etc.

to them and the Mantras to be uttered at the time of making 55. (For Agni) O Agni, the mouth of the gods, the offering to different gods will be as followsa- best of the gods, the smoke-bannered one, the eater of things 46. (The Mantra for Brahma), O the god of gods, the offered in sacrifice, accept this my offering given with most lordly one, the lotus-born one, the grand-father [of the love.

worlds] accept this my offering consecrated by the Mantra. 56. (For Candra) O Soma, the lord of all the planets, 47. (For Siva) O the god of gods, the great god, the the king of the twice-born ones, the favourite of the world, lord of Ganas1 and the killer of Tripura, accept this my etc. accept this my etc. 48. (For Visnu), O Nārāyana, Padmanābha, the best 57. (For Surya) O the maker of day, the mass of heat, of the gods, with unrestrained movement, accept this my etc. the best among the planets, accept this my etc. 58. (For lords of Ganas such as, Nandiśvara) O the 40-44. 1 See above. great lord of Ganas, among whom Nandisvara is the fore- 2 utkarika=a kind of sweetment. most, accept this my etc. 3 These goddesses (natyamatrkas) seem to have been ingored by the Purānas. 4 locita-This word seems to be connected with the NIA loci, luei. 59. (For Pitrs) I bow to all the Pitrs, do ye accept my 47. 1 It should be marked here that Siva has been called Ganeśvara, a term offering. (For Bhūtas) I always bow to all the Bhūtas who applied in later times to Ganapati only. may have a liking for offerings.

III. 64 THE NATYASASTRA 40 41 PUJA TO THE GODS OF THE STAGE II1. 83

6oa. (For Kāmapāla) O Kāmapāla, I always bow to thee 70-71. To all other gods and Gandharvas too, who to whom this offering is made. occupy the heavens, the earth, the middle region and the ten 60.61. (For Gandharvas) O Gandharvas, amongst whom directions, these offerings are made (lit. let these be accepted Narada, Tumburu and Viśvavasu1 are the toremost, accept by them). this my best offering. 71-72. Then an [earthen] jar1 full of water with a 61-62. (For Yama and Mitra) O Yama and Mitra, the garland of leaves in its front, should be placed in the middle gods who are adored by all the worlds, accept this my ctc. of the stage, and a piece of gold should be put into it. 62.63. (For Nagas) I bow to all the Pannagas in the 72-73. All the musical instruments covered with cloth nether region, who are devourers of wind, give me success in should be worshipped with [sweet] scent, flowers, garlands, dramatic production after I have worshipped you. incense and various eatables hard and soft.1 63-64 (For Varuna) O Varuna, you who is the lord of Consecration of the Jarjara all waters and has the swan as your mount, be pleased along with the seas and rivers, after I have worshipped you all. 73-74. Having worshipped all the gods in due order,

64-65. (For Garuda) O the son of Vinata, the high- and offering Puja to the Jarjara [in the following manner] one should have the obstacles removed. souled one, the lord, the king of all the birds, accept this my 74-76. [One should fasten a piece of] white cloth at etc. (For Kuvera) O the superintendent of [all] the top [of the Jarjara], blue cloth at the Rudra joint, yellow 64-66. cloth at the Visnu joint, red cloth at the Skanda joint, and wealth, the king of Yaksas, the guardian of the world, the lord of riches, ye along with Guhyakas and Yaksas accept this variegated cloth at the lowest joint.1 And garlands, incense and unguents are to be offered to it (the Jarjara) in a fitting my etc. manner. 66-67, (For mothers of the Natya) O mothers of the Natya such as Brahmi and others, ye be happy and pleased 76-77. Having observed all these rites with incense, garlands and unguents one should consecrate1 the Jarjara with to accept my offering. the following Mantra : 67-68. (For others) O weapons of Rudra, ye accept my offerings. O weapons of Visnu, ye too accept [things given 77-78. "For putting off obstacles thou hast been made very strong, and as hard as adament, by gods such as by me] out of devotion for Visnu. Brahma. 68-69. O Yama, the Fate, the dispenser of death to all creatures and the end of all actions, accept my offerings. 78-79. Let Brahma with all other gods protect thy top-

69-70. Ye other gods who are occupying the Matta- 71-72. 1 For the significance of this jar see below 87-89. varani, accept this my etc. 72-73. 1 This passage with some minor variation has been repeated in B. and G. But this is out of place there. For the order in which musical instruments (kutapa) and the Jarjara should be worshipped see 11-13 above. 60-61. Three ancient masters of music. 74-76 1For identifying the joints see 78-79 below, 6

Iİ1, 84 THE NATYASASTRA 42 43 PUJA TO THE GODS OF THE STAGE III. 99

most part, Hara (Siva) the second part, Janārdana (Visnu) the third part, Kumara (Kartikeya) the foutth part, and the with ghee and the proper Mantra, the master of dramatic art should carefully break the jar. great Pannagas the fifth part. 88-89. In case the jar remains unbroken the king (lit. 80-81. Let all the gods protect thee, and be thou blessed. Thou, the killer of foes, hast been born under the master) will have a cause of fear from enemies; but when

Abhijit (Vega), the best of the asterisms. Bring victory and it is broken his enemies will meet with their destruction.

prosperity to the king!" Illumination of the stage

Homa or pouring ghee into sacrificial fire 89-90. After the breaking of the jar, the master of the

81-82. After the Jarjara has thus been worshipped and dramatic art should illuminate the auditorium with a lighted

all offerings have been made to it, one should with appro- lamp,

priate Mantras perform Homa and pour (ghee) into the 90-91. Noisily, that is, with roaring, snapping of fingers, jumping and running about, he should cover the sacrificial fire. auditorium with that lighted lamp [in his hand]. 82-83. After finishing the Homa he should with torches lighted [in the place of sacrifice] do the cleaning work 91-92. Then a fight1 should be caused to be made [on

which is to enhance the brilliance of the king as well as of the stage] in accompaniment with the sound of all the musical instruments such as conch-shell, Dundubhi, the female dancers. 83-84. After having illumined the king and the dancers Mrdanga and Panava,

together with the musical instruments one should sprinkle 92-93. If the bleeding wounds [resulting from the

them again with water sanctified by the Mantra, and say to fight] will be bright and wide, that will be a [good] omen indicating success. them: 84-85. "You are born in noble families and adorned Good results of consecrating the stage with multitudes of qualities, let whatever you have acquired 93-94. If the stage is properly consecrated it will bring by vittue of birth, be perpetually yours." good luck to the king (lit the master) and to people, young 85-86. After saying these words for the happiness of and old, of the city as well as of the country. the king, the wise man should utter the Benediction for the 94-95. But when the auditorium is not consecrated in success of the dramatic production. proper manner it will be indifferently held by gods, and 86-87. [The Benediction]: Let mothers such as Saras- there will be an end of the dramatic spectacle, and it will vati, Dhrti, Medhā, Hrī, Śrī, Laksmī, and Smțti1 protect likewise bring evil to the king.

you and give you success. 95-96. He who willfully transgresses these rules [of

Breaking the Jar 87-88. Then after performing Homa according to rules 86-87 1These are the seven Natya-matrkas. See 23-30 above. 91-92 1The significance of this fight is not clear.

III. 100 THE NATYASASTRA 44

consecration of the stage] and practises [the dramatic art], CHAPTER FOUR will soon sustain loss and will be reborn as an animal of lower order. DESCRIPTION OF THE CLASS DANCE

96-97. Offering worship to the gods of the stage is Brahma writes the first play and gets this performed. as meritorious as a [Vedic] sacrifice. No dramatic perfor- mance should be made without first worshipping the deities I. After having worshipped [the gods presiding over

presiding over the stage. When worshipped, they (these the stage] I said to Brahma, "Tell me quickly, O the

gods) will bring you worship, and honoured they will bring mighty one, which play should be performed?"

you honour. Hence one should by all efforts offer Pūja to 2. [In reply] I was told by the Lord, "Perform the

the gods of the stage. Amrta-manthana (the Churning of the Ocean)1 which is capable of stimulating efforts and of giving pleasure to gods. Evils following non-consecration of the stage 3. I have composed this Samavakara1 which is conducive 98-99. Never will fire fanned by violent wind burn to [the performance of] duties (dharma), to [the fulfillment things so quickly, as defective rites will burn quickly [the of] desire (kama) as well as [to the earning] wealth (artha)." master of the dramatic art]. 4. When this Samavakara was pertormed, gods and 99-1,00. So the stage should be worshipped by the demons were delighted to witness actions and ideas [familiar master of the dramatic art who is purified, disciplined and to them.] proficient in the rules of the art and initiated into the practice 5. Now, in course of time Brahma (lit. the lotus-born of it and has quiet of mind. one) said to me, "We shall present today the play before the 100-101. He who with an agitated mind places his great-souled Siva (lit. the three-eyed one)." offering in a wrong place, is liable to expiation like one who 6-7. Then on reaching along with other gods the abode pours ghee into the sacrificial fire without proper Mantras. of Siva (lit. the bull-bannered one) Brahma paid him respects This is the procedure prescribed for worshipping the gods of and said, "O the best of the gods, please do me the favour the stage. It should be followed by producers [of plays] in of hearing and seeing the Samavakāra which has been com- holding a theatrical show in a newly built playhouse. posed by me."

Here ends Chapter III of Bharata's Nātyaśāstra, 8. "I shall enjoy it," said the lord of gods in reply.

which treats of Pūja to the gods of the stage. Then Brahma asked me to get ready [for the performance]. 9-10. "O the best of the Brahmins, after the Prelimin- aries connected with the performance had been completed this

2 1The legend about the churning of the ocean occurs in the Mbh. (I. 17- 19.) and the Visnu P. (1) See Winternitz, Vol, I pp. 389, 546. 3 1See XX. 69 ff.

IV. 10 THE NATYASASTRA DESCRIPTION OF THE CLASS DANCE İV. 30 46 47

(Samavakāra named the Amrta-manthana) as well as a Dīma1 Angaharas

named the Tripuradaha (the Burning of Tripura)2 was per- 16-17. To these words of Siva, Brahma said in reply, formed in the Himalayan region which consisted of many "O the best of the gods, tell us about the use of the hills and in which there were many Bhūtas, Ganas3 and Angahāras." beautiful caves and waterfalls." 17-18. Then Siva (lit. lord of the world) called Tandu 11. Then all the [Bhūtas] and Ganas were pleased to and said, "Speak to Bharata about the use of the Angahāras." see actions and ideas familiar to them, and Siva too was 18-19. And by Tandu I was told the use of the Anga- pleased and said to Brahmā: haras. I shall now speak of them as well as of the various 12. "O the high-souled one, this drama (natya) which Karaņas and Recakas.1 is conducive to fame, welfare, merit and intellect, has been 19-27. The thirtytwo Angaharas are as follows :- well-conceived by you. Sthirahasta, Paryastaka, Sūcividdha, Apaviddha, Ākșiptaka, 13-14. Now in the evening, while performing it, I Udghattita, Viskambha, Aparājita, Vișkambhāpasrta, Mattā- remembered that dance made beautitul by Angaharas1 con- krīda, Svastikarecita, Pārśvasvastika, Vrścika, (Vrścikāpasrta) sisting of different Karanas.2 You may utilize these in the Bhramara, Mattaskhalitaka, Madavilasita, Gatimandala, Preliminaries (pūrvaranga) of a play. Paricchinna, Parivrttarecita, Vaiśākharecita, Parāvrtta, Alātaka,

Two kinds of Preliminaries Pārśvaccheda, Vidyudbhrānta. Uddhṛtaka, (Udvrttaka) Alīdha, Recita, Ācchurita, Āksiptarecita, Sambhrānta, Apasarpita, 14-1,6. In the application of the Vardhamanaka,1 the Ardhanikutțaka. Asarita,2 the Gita3 and the Mahagita you will depict properly the ideas [by means of dance movements]; and the Prelimin- Uses of Angabaras

aries which you have [just] performed are called "pure". 28-29. I shall now speak about their performance depen- [But] when these dances will be added to them (pure Pre- dent on the Karanas. [And besides this] "O the best of liminaries) they will be called "mixed". the Brahmins, I shall tell you about the movements of hands and feet that are proper to the Angaharas.

9-10 1 dima-one of the plays of the major type; for its characteristics see Karanas

XX. 84 ff. 29-30. 'All the Angaharas consist of Karanas; hence I 2 Tripuradaha- As Siva killed an Asura (demon) named Tripura, by burning shall mention the names of the latter as well as their descrip- him by one of his fiery arrows he is called Tripurantaka. See JK. sub voce. 13-14 1angabāra-major dance figures which depend on minor dance tions. figures (karanas) The word means 'movement of limbs'. See Ag. (I. p. 91). 3 See below 29-30 note 1. For details about the Angaharas see below 16 ff, 72 ff. 18-19 1 See below 247 ff. 14-16 1See V. 12-15 note 3. 28-29 1 For details about karana see 30 ff below. 2 See V. 21 note I. 3 See V. 60-63 note 3. 29-30 1 karana-minor dance figure. See Ag. (I 93)

IV. 30 THE NATYASASTRA 48 49 DESCRIPTION OF THE CLASS DANCE IV. 62 30-34. The combined [movement of] hands and feet in dance is called the Karana: Two Karanas will make one Vrsabhakrīdita, Lolitaka(Lolita), Nāgāpasarpita, Šakațāsya,

Mātrkā, and two, three, or four Mātrkas will make up one Gangāvataraņa.

Angahara. Three Karanas will make a Kalāpaka, four a 56. [These Karanas will be used] in dance, fight, per-

Sandaka, and five a Samghātaka. Thus the Angahāras sonal combat, walking as well as movements in general. Foot

consist of six, seven, eight or nine Karanas. I shall now movements which have been prescribed for the exercise of

speak of the hand and feet movements making up these Sthänas1 and Caris,2 will apply also to these Karanas.3

(Karaņas). 57. And application of the Nrtta-hastas1 which have

31-55. The Karanas are one hundred and eight in been prescribed for dance, is generally implied in the Karanas.

number and they are as follows: Talapuspaputa Vartita, 58. I shall treat the Caris suitable for [representing]

Valitoru, Apaviddha, Samanakha, Līna, Svastikarecita, fight at the time of discussing the foot movements. The

Mandalasvastika, Nikuttaka, Ardhanikutțaka, Kațicchinna, master [of dramatic art] should apply them on any occasion

Ardharecita, Vaksahsvastika, Unmatta, Svastika, Prsthasvas- according to his histrionic talents.

tika, Diksvastika, Alāta, Kațīsama, Āksiptarecita, Vikșiptā- 59. In the Karana the left hand should generally be

ksipta, Ardhasvastika, Ancita, Bhujangatrāsita, Urdhvajānu, held on the chest, and the right hand is to follow the [right]

Nikuncita, Matalli, Ardhamatalli, Recakanikutțita (Recita-), foot.

Padāpaviddhaka, Valita, Ghūrņita, Lalita, Dandapaksa, Bhuj- 60. Listen [now] about the movement of hands and

angatrastarecita, Nūpura, Vaiśākharecita, Bhramaraka, Catura, feet in dance in relation to that of hip, sides, thigh as well

Bhujāņgāncitaka, Dandakarecita, Vrścikakutțita, Kațībhrānta, as to chest, back and belly.

Latāvrścika, Chinna, Vrścikarecita, Vrścika, Vyamsita, Pārś- 61. The Sthanas, the Catis and the Nrtta-hastas men-

vanikutțana(-kuttaka), Latāțatilaka, Krāntaka, Kuñcita, tioned [before] are known as the Matrkas, the variations of

Cakramandala, Uromandala, Āksipta, Talavilāsita, Argala, which are called the Karanas.

Viksipta, Āvrtta (Āvarta), Dolapāda, Nivrtta, Vinivrtta, Definition of Karanas Parsvakranta, Nisumbhita, Vidyudbhrānta, Ātikrānta, 62. Talapuspaputa-Puspapuța hand held on the left Vivartitaka, Gajakrīdita, Talasamsphoțita, Garudaplutaka, side, the foot is Agratalasancara, the side is Sannata (Nata).1 Gandasūcī, Parivrtta, l ārśvajānu, Grdhrāvalīnaka, Samnata (Sannata) Sūcī, Ardhasūci, Sūcīviddha, Apakrānta, Mayūrala- 56, 1 See XI. 49 ff. lita, Sarpita, Dandapāda, Hariņapluta, Prenkholita, Nitamba, 3 B. G. read one hemistich more before 56a. It does not occur insome $ See XI. 2 ff.

Skhalita, Karihasta, Prasarpita-pitaka, Siņhāvikrīdita, mss. Ag. records this fact. Though these 108 karanas constitute general Upasrta, Talasmghattita, Janita, dance, which is sometimes interpolated in the acting to fill up its gaps, they Simhakarsita, Udvrtta, (karanas) may bie also used to embellish the movement of limbs in fights of Avahitthaka, Niveśa, Elakākrīdita, Urūdvrtta, Madaskhalita, any kind. See Ag. (I. pp. 96) Vişnukrānta, Sambhrānta, Viskambha, Udghattita (Udghațta), 57 1 For nrttabastasisee IX. 177 ff. 62 1 For the sake of convenience, constituent? parts :of the karanas have 7

IV. 63 THE NATYASASTRA 50 51 DESCRIPTION OF THE CLASS DANCE IV. 83

63. Vartita-Vyavrtta(= Vyavartita) and Parivartita 72. Katicchinna-the hip serially in the Chinna pose,

hands bent at the wrist, then these hands placed on thighs. two Pallava hands held alternately and repeatedly on the

64. Valitoru-Sukatunda hands to make Vyavartita and head.

Parivartita K., and thighs as Valita. 73. Ardharecita-hand with Sūcimukha1 gesture to

65. Apaviddha-the [right] hand with Sukatunda move freely, feet to move alternately up and down, side in

gesture to fall on the [right] thigh, the left hand held on the Sannata (i. e. Nata) pose.

chest. 74. Vaksahsvastikā -- two legs on each other in the form

66. Samanakha-the two Samankha' feet touching each of a Svastika, the two Recita hands brought together in a

other, two hands hanging down, and the body in a natural similar manner on the chest which is bent (nikuncita). 75. Unmatta-feet to be Ancita and hands to be Recita. pose. 67. Lina-the two Patäka hands held together in Añjali 76. Svastika-hands and feet respectively held together

pose on the chest, the neck held high, and the shoulder in the Svastika form. 77. Prsthasvastika-two arms after being thrown up bent. 68. Svastikarecita-two hands with Recita and Aviddha and down coming together as a Svastika, two feet also to

gesture held together in the form of a Svastika, then separated come together as a Svastika with Apakrānta and Ardhasūci

and held on the hip. Cārīs.

69. Mandalasvastika-two hands moved to unite in the 78. Diksvastika-turning sideways and towards the

Svastika gesture with their palms turned upwards in a similar front in course of a single (lit. connected) movement, and

manner, and the body in the Mandala Sthana (posture). forming Svastika with hands and feet.

70. Nikuttaka -- each of the hands to be moved up and 79. Alata-after making Alata Carī1 taking down hand

down1 alternately between the head and another arm, and from [the level of] the shoulder,3 then making Ūrdhvajānu Cāri.3 the legs also moved in a similar manner. 71. Ardhanikuttaka-hands with Alapallava1 gesture 80. Katisama-feet to be separated, after the Svastika

bent towards shoulders, and legs moved up and down. Karana, of the two hands one to be placed at the navel and the other at the hip, and the sides in the Udvahita pose. 81. Aksiptarecita-the left hand on the heart, the right been separately mentioned. This method has been followed by A. K. Coomara- swamy in MG. 66 1 samanakba feet has nowhere else been mentioned in the NS. 70 1 nikuttita=nikuttana. Ag. (I. p. 103) quoted the definition of 73 1 By apaviddha Ag. (I. p. 105) means the sūcimukha gesture. nikuttana from Kohala as follows: unnamanam vinamanam syad angasya 79 1 carana= cāri. 2 vyamsayet = amsād vinişkramanam kuryāt (Ag). nikuttanam. 71 ' For kuñcita B.G. read ancita. But Ag. (I. p. 204) read kuñcita and 3 krama=cārī. 80 1 udvabita side is nowhere else mentioned in the NS. means by this word the alapallava gesture.

hand Recita and thrown up and sideways, and then the two hands to be Recita with Apaviddha (Āviddhaka) gestures. 90. Recitanikuttita-the right hand to be Recita, left

82. Viksiptāksiptaka-hands and feet first thrown up, foot Udghattita (=Nikuttita), and the left hand with Dola

then again thrown down. gesture.

83. Ardhasvastika-the two feet to make the Svastika, 91. Padāpaviddhaka-the Katakāmukha hands with

the right hand making the Karihasta gesture, and the left their back against the navel, and feet to be in Suci and [then]

one lying on the chest. the Apakranta Cārī.

84. Ancita-in the Ardhasvastika the Karihasta to be 92. Valita-hands to be Apaviddha, feet to be in Sūci

alternately in Vyavartita (Vyavrtta) and Parivartita movement, Cari Trika turned round [in the Bhramarī Cārī]. 93. Ghurnita-the left hand in Valita and moved and then bent upon the tip of the nose. round, the right hand with Dola gesture, and the two feet 85. Bhujangatrasita-the Kuncita feet to be thrown up, to be drawn away from each other from Svastika position. the thighs to have an oblique Nivartana (Nivrtta) movement, the hip and the thigh also to have the same movement. 94. Lalita-the left hand with Karihasta gesture, the right one to be again turned aside (apavartita), two feet to 86. Ūrdhvajānu-a Kuncita foot to be thrown up, and the knee to be held up (lit. stretched) on a level with the be moved up and down.'

chest, and the two hands to be in harmony with the dance. 95. Dandapaksa-observing Ūrdhvajānu Cārī, Latā hands to be placed on the knee. 87. Nikuncita-feet to be moved as in the Vrścika K., two hands to be bent at the sides, the right hand to be held 96. Bhujangatrastarecita-the feet to be in Bhujanga- trasta Cari, the two hands to be Recita and moved to the left at the tip of the nose. side. 88. Matalli-making a whirling movement while throwing 'back the two feet (left and right), and moving 97. Nupura-the Trika to be gracefully turned round, [in the Bhramari Cari] the two hands to show respectively bands in the Udvestita and Apaviddha movement. Latā and Recita gestures, and the Nūpurapada Cari with the 89. Ardhamatalli-fect to be drawn away from the feet. position in the Skhalita K., left hand Recita, and atterwards 98. Vaisakharecita-hands and feet to be Recita, so the to be put on the hip. hip and the neck, and the entire body in Vaiśakha Sthāna (posture). 99. Bhramarka-Svastika feet in Āskipta Cārī, hands 87 NS, does not know any carana or cāri of this name, while a K. of this in Udvestita movement, and Trika1 turned round [in the name occurs, and one karana is very often used to define another karana; see Bhramari Cari]. texts for 84 above, 103 and 107 below. In all these cases some mss. read karana instead of carana. 89 1 skhalitapasrtan padaw feet drawn away from the position of the 90 1 According to Ag. udghattita= nikuttita for which see above 70 note. 94 1 See IX. 191. skhalita K. 99 1 Trika used here and many times afterwards means the trikāsthi

IV. 101 THE NATYASASTRA 54 DESCRIPTION OF THE CLASS DANCE IV. 124 100. Catura-the left hand with Ancita, (i. e. 55

Alapallava)' gesture, the right hand with Catura gesture, IIO. Pārśvanikuttaka-Svastika hands to be held on

the right feet in Kuttita (i. e. Udghattita) pose. 'one side, and the feet to be Nikuttita.1

101. Bhujangancita-the feet in Bhujangatrasita Cari, 111. Lalatatilaka-after assuming the Vrścika. K. a

the right hand Recita, the left hand with Lata gesture. mark (tilaka) in the forehead to be made with a great toe.

102. Dandakarecita-hands and feet to be freely thrown 112. Kräntaka-bending a Kuncita leg behind the back,

about on all sides like a staff (danda), and the same hands the Atikranta Cari, then the two hands to be thrown down.

and feet to be Recita afterwards. 113. Kuncita-a leg to be first Ancita and left hand to

103. Vrścikakuttita-assuming the Vrścika K. and the be held on the left side with its palm upwards.

hands with Nikuttita movement.1 114. Cakramandala-the inner Apaviddha (Additā)1

104. Katibhranta-the Sūci Cri, the right hand with Cari with the body bent and held down between the two

the Apaviddha (Aviddha) gesture and the hip to be moved arms hanging straight.

round. 115. Uromandala-two feet drawn away from the

1,05. Latāvrścika-a foot to be Ancita and turned back- Svastika position and used in Apaviddha (Addita) Cari and

wards, and the left hand to be with Lata gesture its palm hands in Uromandala gesture.

and fingers bent and turned upwards. 1,1,6. Aksipta-hands and feet to be thrown about

106. Chinna -- the Alapadma hand to be held on the swiftly in this Karana.

hip which in Chinna pose, the body in the Vaisākha Sthana 1,17. Talavilasita-foot with the toe and the sole turned

(posture). upwards and held high on the side, and the palm of hands

107. Vrścikarecita-assuming the Vrścika K., the two bent.

hands in the form of a Svastika gradually to be Recita and 1,18. Argala -- feet stretched backwards and kept two

to show Viprakīrņa gesture. Talas and a half apart, and hands moved in conformity with

108. Vrscika-the two hands bent and held over the these.

shoulders, and a leg bent and turned towards the back.1 119. Viksipta-hands and feet to be thrown backward

109. Vyamsita-assuming Alidha Sthana, the two or sideways in the same way.

hands to be Recita and held on the chest and afterwards 120. Avarta -- the Kuncita feet put forward and the

moved up and down with Viprakirna gesture. two hands moved swiftly to befit the dance. 121. Dolapada-the Kuncita feet thrown up, and two

(sacrum) the lowest point in the vertibral column where the two other bones of hands swinging from side to side in a manner befitting the

the legs meet. dance. 100 1 This is Ag's interpretation of Añcita. 2 This is Ag's interpretation. 108 1 Ag. interprets the passage differently. 103 1 See above 70 note. 11o 1 See above 70 note. 114 1 According to Ag. apaviddha=addita cari for which see XI. 22.

IV. 125 THE NATYASASTRA 56 57 DESCRIPTION OF THE CLASS DANCE IV. 145

I22. Nivttta-hands and feet first thrown out, and the 133. Parivrtta-the hands raised in Apavestita gesture, Trika to be turned round and the two hands to be Recita. the feet in Suci position, the Trika is turned round (in the 1,23. Vinivrtta-observing the Sūci Cari, the Trika to Bhramari Cārī). be turned round and bands to be Recita. 134. Parśvajānu-one foot in Sama position and the 124. Parśvakrānta-observing the Parśvakrānta Cāri, opposite thigh raised, and one Musti hand on the chest. throwing out hands towards the front, and moving them in 135. Grdhravalinaka-one foot stretched backwards and a manner befitting the dance. one knee slightly bent and the two arms outstretched, 125. Nisumbhita-a foot bent towards the back, the 136. Sannata-after jumping, the two feet are to be chest raised high, and the hand held at the centre of the put forward in Svastika form and the two hands to show forehead (tilaka).' Sannata1 (i.e. Dolā) gesture. 126. Vidyudbhranta1-foot turned backwards and the 137. Sūci-a Kuncita foot to be raised and put forward two hands in the Mandalaviddha2 gesture stretched very close on the ground, and the two hands to be in harmony with the to the head. performance. 127. Atikranta-observing the Atikranta Cari, the two 138. Ardhasuci-the Alapadma hand is held on the hands stretched forward ina manner befitting the dance. head, the right foot is in Sūci [Carī] position. 128. Vivartitaka-hands and feet to be thrown out, 139. Sucīviddha-one foot of Sūci Cari being put on the Trika to be turned round and hands. to be Recita. the heel of another foot, the two hands to be respectively put 129 .. Gajakrīdita-the left hand bent and brought near on the waist and the chest. the [left] ear, and the right hand in Lata gesture and the 140. Apakrānta-after making the Valita thigh, feet Dolapāda Cārī. Apakrāntā Cārī is to be performed, the two hands to be 130. Talasamsphotita-a foot to be swiftly lifted up and moved in harmony with the performance. put forward, the two hands showing Talasamsphotita2 gesture. 141. Mayuralalita-after assuming the Vrścika Cārī two 131. Garudaplutaka the two feet to be: stretched back- hands to be Recita, and the Trika to be turned round [in wards and the two hands-right and left-to be respectively the Bhramari Cari]. with Lata and. Recita gestures, and the chest raised up. 142. Sarpita-the two feet to be moved from the 132. Gandasūci -- the feet to be in Sūci position, the Ancita position and the head with Parivahita gesture, and the side to be Unnata, one hand to be on the chest and the two hands are Recita. other to bend and touch the cheek. 143. Dandapāda-after the Nūpura Cātī, Dandapāda Cari should be observed and the Aviddha hand should be 125 1 Ag. interprets differently. 126 1 Ag. interprets differently. 2 Nowhere defined in NS. shown quickly. o 1 Ag. interprets the passage, differently. 2 Defined nowhere in NS. 136 1 According to Ag. Sannata=Dolāhasta. 8

IV. 146 THE NATYASASTRA 58 59 DESCRIPTION OF THE CLASS DANCE IV. 167

144. Harinapluta-after observing the Atikrāntā Cāri 155. Janita-one hand to be on the chest, the other one jumps and stops, and then one of the shanks are bent hanging loosely and observing Talāgrasamsthita (Janita) Cāri. and thrown up. 156. Avahitthaka-after observing Janita K. raising 145. Prenkholitaka-after observing the Dolāpāda Cati hands with fingers spread out and then letting them fall (=krama) one is to jump and let the Trika turn round in slowly. the Bhramari Cari and come at rest. 157. Niveśa-the two hands will be on the chest

145. Nitamba-arms to be first thrown up and hands which should be Nirbhugna and the dancer should assume

to have their fingers pointing upwards and the Baddhā Cati Mandala Sthāna (posture).

to be observed. 158. Elakakridita-jumping with Talasancara1 feet and

147. Skhalita-after observing Dolāpādā Cātī, coming to the ground with the body bent and turned.

hands with Recita gesture to be turned round in harmony 159. Ūrudvrtta-a hand made Āvrtta (Vyavartita) and

with this. then bent and placed on the thigh, shanks made Ancita1 and

148. Krihasta-the left hand is to be placed on the Udvṛtta.

chest, the palm of the other hand to be made Prodvestita-tala, 160. Madaskhalitaka-two hands hanging down, the

the feet to be Añcita. head assuming the Parivahita gesture, the right and the left

149. Prasarpitaka-one hand to be Recita and the other feet to be turned round in Aviddha Cari.

with Lata gesture, and feet to be Samsarpitatala (=Tala- 161. Visnukranta-a foot stretched forward and bent as

sañcara). if on the point of walking, and hands to be Recita.

150. Simhavikrīdita-after observing the Alātā Cārī one 162. Sambhranta-a hand with Avartita (Vyavartita)

is to move swiftly and hands to follow the feet. movement placed on the thigh which is made Aviddha.1

151. Simhākarsita -- one foot to be stretched backwards 163. Viskambha-a hand to be Apaviddha,' Sūcī Cārī, foot to be made Nikuttita and the left hand on the chest. and hands to be bent and turned round in the front and 164. Udghatta-feet to be in Udghattita1 movements again to be bent. and hands in Talasamghattita movement2 are to be placed on 152. Udvrtta-hands, feet and the entire body to be two sides. moved violently (lit. thrown up) and then Udvrttā Cāri to 165. Vrsabhakridita-after observing the Alata Cāri be observed. 153. Upasrtaka-observing Āksiptā Cārī and hands in 155 1 According to Ag. Talagrasamsthita pada means Janita cari. harmony with this Cari. 158 1 Same as agratalasancara, see X. 46. 159 154. Talasamghattita-observe the Dolāpādā Cārī two 1 Defined nowhere in NS. 162 1 Defined nowhere in NS. 163 1 Defined nowhere in NS. palms will clash with each other and the left hand to be 164 1 Defined nowhere in NS.

Recita. 2 Defined nowhere in NS.

IV. 168 THE NATYASASTRA 6a DESCRIPTION OF THE CLASS DANCE IV. 196

two hands to be made Recita, and afterwards these should to another Viksipta. Āvartita, Nikuttaka, Ūrūdvrtta, Āksipta, be made Kuncita and Ancita. Uromandala, Karihasta, and Katicchinna Karaņas. 166. Lolita-hands on the two sides to be Recita and 178-180. Apaviddha-Apaviddha and Sūcīviddha Ancita, and the head Lolita and Vartita. Karanas, then observing Udvestita K. with hands and turning 167. Nagapasarpita-to draw back feet from Svastika the Trika, showing with hands Uromandalaka gestures and position and the head to be Parivahita and hand to be Recita. assuming Katicchinna Karaņa. 168. Sakatasya-beginning with body at rest, advancing 1,80-182. Āksiptaka-assuming successively Nūpura, with a Talasancara' foot and making the chest Udvahita. Vikşipta, Alātaka, Āksipta, Uromaņdala, Nitamba, Karihasta 169. Gangavatarana-foot with the toes and the sole and Katicchinna Karanas. turned upwards, hands showing Tripataka with the fingers 182-184. Udghattita1-moving Udvestita and Apavid- pointing downwards and the head being Sannata.1 dha (Aviddha) hands and the two feet to be Nikuttita, and

The Angaharas again changing them to Uromandala gesture and then assum-

170. I have spoken of one hundred and eight Karanas. ing successively Nitamba, Karihasta and Katicchinna Karaņas.

I shall now describe the different Angahāras.1 184-187. Viskambha-hands by turns made Udvestita,

171-173. Sthirahasta-stretching two arms and throw- feet are successively made Nikuttita and bent, then assuming

ing them up, taking up Samapada Sthana, the left hand Orudvrtta K. hands to be made Caturasra1 and feet Niku-

stretched upwards from the level of the shoulder, taking up ttaka, assuming then Bhujangatrāsita K. hands to be made

afterwards the Pratyalidha Sthana, then observing, successive- Udvestita, assuming Chinna and Bhramaraka Karanas while

ly the Nikuttita, Orūdvrtta, Āksipta, Svastika, Nitamba, Trika is to be moved, then Karihasta and Katicchinna

Karihasta and Katicchinna, Karanas. Karanas to be assumed.

174-176. Paryastaka-observing Talapuspapuța, Apa- 187-190. Aparājita-assuming Daņdapāda K., hands

viddha, and Vartita Karanas, then taking up Pratyālīdha having Viksipta and Akspita1 movement, then assuming Vyamsita K. the left hand moving along with the left foot, Sthana, then assuming Nikuttaka, Ūrūdvrtta, Āksipta, Uromandala, Nitamba, Karihasta, Katicchinna, Karaņas, then hands being Caturasra and feet having Nikuttaka move-

176-178. Sucīviddha-after showing Alapallava ment, assuming Bhujangatrasita K. and hands having

(Alapadma) and Sūci (-mukha) gestures assuming one atter Udvestita movement, then assuming successively the two Nikuttakas (i. e. nikuțța and ardhanikutta) Ākșipta, Uromandala, Karihasta and Kațicchinna Karaņas. 168 1 See above 158 note. 169 1 The term defined nowhere in NS. 190-1,92. Viskambhapasrta-assuming Kuttita and

170 1Angahara defined nowhere in NS. nrtta or dance. 182-184 1 In the definition of angaharas this term has been equated with 171-173 1 Definition of the angaharas have been translated like the karanas; above see, 62 note. Angbaras are mostly combinations of the karanas. 184-187 1 Defined nowhere in NS. 187-190 1 Defined nowhere in NS.

IV. r67 THE NATYASASTRA 62 63 DESCRIPTION OF THE CLASS DANCE IV. 223 Bhujangatrasita Karanas, Recita hand to show the Pataka gesture, then to be assumed successively Aksiptaka, Uroman- 206-208. Madavilasita-moving with Dola hands and

dala, Latā, Kațiccheda Karaņas. Svastikapasrta feet, making hands Ancita as well as Valita

192-195. Mattākrīda-assuming Nūpara K. by turning and then assuming successively Talasamghattita, Nikuttaka,

Trika, then assuming Bhujangatrasita K. assuming next Recita Ürüdvrtta, Karihasta and Kațicchinna Karanas.

K. with the right foot, and then assuming successively Aksip- 208-210. Gatimandala-after assuming Mandala

taka, Chinna, Bāhyabhramaraka, Uromandala, Nitamba, Sthanaka and making the hands Recita and the feet Udgha-

Karihasta, Kațiccheda Karaņas. ttita assuming successively Matalli, Āksipta, Uromaņdala

196-197. Svastikarecita1-hands and feet are Recita, and Katiccheda Karanas.

then assume Vrscika K. and again repeat this movement of 210-212. Paricchinna-after the Samapada Sthan'

the hand and feet, and then Nikuttaka K. and the Lata assuming Paricchinna (i. e. Chinna) K. then with Aviddha

gesture alternately with the right and the left hand, and then foot assuming Bahya Bhramara ka1 and with the left foot

Kațicchinna K. assuming Suci K. and then observing [successively] Atikrānta,

197-200. Parśvasvastika-assuming (Dik-) svastika from Bhujangatrasita, Karihasta and Katicchinna Karaņas.

one side and then the Ardhanikuttaka, all these to be repeated 212-216. Parivrttakarecita-holding on the head hands

on the side, then the Avrtta (Vyavartita) hand to be placed on in loose Svastika form and then after bending the body, the

the thigh, then to assume successively Ūrūdvrtta, Āksipta, left hand to be made Recita, and raising the body, again the same hand to be made Recita, after this hands to show Nitamba, Karihasta and Katicchinna Karanas. Vrścikāpasrta-assuming Vrścika K. holding Latā gesture and assuming successively Vrścika, Recita, Kari- 200-202. the Lata band to be held on the nose, after moving the same hasta, Bhujangatrāsita, Āksiptaka Karaņas, then have Svastika

hand in Udvestita movement, then assuming successively foot; all this to be repeated after turning back completely,

Nitamba, Karihasta and Kațicchinna Karaņas. then asssume [successively] Karihasta.

202-204. Bhramara-assuming successively Nūpurapāda, 216-219. Vaisakharecita-along with body the two

Āksiptaka, Katicchinna, Sūcīviddha, Nitamba, Karihasta, Uro- hands to be made Recita and all this is to be repeated with the body bent, then observe Nūpurpāda Cārī and Bhujanga- mandala and Kațicchinna Karaņas. träsita, Recita, Mandalasvastika, afterwards bending shoulder 204-206. Mattaskhalituka-assuming Matalli K. and Ūrūdvrtta, Āksipta, Uromaņdala, Karihasta and Kațicchinna moving round the right hand and bending and placing it Karanas are to be assumed. near the [right] cheek, then assuming [successively] Apavi- ddha, Talasamsphotita, Karihasta and Kațicchinna Karaņas. 219-221. Paravrtta-assuming Janita K. and putting torwards a foot, then assuming Alataka K. and turning the 210-212 1 According to Ag (I. p. 152) babya bhramaraka seems to mean 196-197 1 In the translation of this K. Ag. has been followed. a cari of that name. But it seems that by this bhramaraka, the movement 197-200 1 In the translation of this K. I have followed Ag. known as bhramari has been meant. See M. Ghosh AD. 289ff, also A. K. Coomaraswamy. MG. P. 74.

IV. 221

Trika, [in the Bhramri Cari] afterwards the left hand bent 234-235. Acchurita-assuming Nūpura Cāri, turning

and on the cheek, then assuming Katicchinna Karāna. the Trika round, assuming Vyamsita K. and again turning

221-223. Alātaka-assuming Svastika, Vyamsita [in it round the Trika, then assuming successively Alātaka K. from

hands being Recital, Alātaka, Ūrdhvajānu, Nikuñcita, the left [side] and Sūcī, Karihasta and Katicchinna Karaņas.

Ardhasūcī, Viksipta, Udvtta, Ākșipta, Karihasta and Kati- 236-238. Āksiptarecita-Svastika feet to be in Recita

cchinna Karanas one after another. and so the Svastika hands, then with the same (i. e. Recita)

223-225. Parsvaccheda-holding Nikuttita hands on movement they should be separated, and with the same

the chest assuming Ūrdhvajānu, Āksipta, Svastika Karaņas, Recita movement they are to be thrown up, then assuming

Trika to be turned round, then Uromandala, Nitamba, successively Udvrtta, Āksipta, Uromaņdala, Nitamba,

Karihasta and Katicchinna Karanas to be assumed. Karihasta and Katicchinna Karaņas.

226-227. Vidyudbhranta-assuming Suci K. using the 239-241. Sambhranta-assuming Viksipta K. throwing

the left foot first, and Vidyudbhranta K. using the right foot out the left hand with Suci gesture, the right hand placed on

first, then Suci K. with the right foot moved first, and the chest, Trika to be turned [in the Bhramarī Carī] then

Vidyudbhranta with the left foot moved first, afterwards assuming successively Nūpura, Āksipta, Ardhasvastika,

assuming Chinna K., and turning round the Trika, then Lata Nitamba, Karihasta, Uromandala and Kațicchinna Karaņas.

and Katicchinna Karaņas. 242-243. Apasarpita-observing Apaktāntā Cārī and

227-229. Udvrttaka-assuming Nūpurapāda Cārī hang- assuming Vyamsita K. with the hands moving in Udvestita

ing the right and the left hands by the side, and with them manner, then assuming successively Ardhasūci, Viksipta,

assuming Viksipta K., with these hands assuming [again] Sūci Kațicchinna, Udvrtta Āksiptaka, Karihasta and [again] Kați-

K., and turning round the Trika [in Bhramari Cari] and cchinna Karaņas.

then assuming Lata and Katicchinna Karanas. 244-245. Ardhanikuttaka-observing swiftly Nūpura-

229-231. Alidha-assuming Vyamsita K., striking the pādikā Carī, hands to move in harmony with the teet and

hands on the shoulder, and then Nupura K, with the left Trika to turn round [in the Bhramari Cari], then hands and

foot [moving first], afterwards Alāta and Āksiptaka Karaņas feet to make Nikuttita movement, afterwards assuming Uro-

with the right foot [moving first] and then making Uro- mandala, Karihasta, Kațicchinna and Ardhanikuttaka Karaņas.

mandala gestures with hands and assuming Karihasta and The Recakas Katicchinna Karaņas. 246. I have spoken of these thirtytwo Angahāras ; 231-233. Recita-showing Recita hand, bending it on I shall now describe the four Recakas1 ; please listen about one side and making the [same] Recita movement and then them :) repeating this movement after bending the entire body, assuming successively Nūpurapādā, Bhujangatrāsita, Recita, 246 1 For the relation between Recakas and the Angaharas and the use of

Uromandala and Katicchinna Karaņas. the Recaklas see Ag. 9

IV. 248 THE NATYASASTRA 66

247. Among the Recakas the first is that of the foot, 67 DESCRIPTION OF THE CLASS DANCE IV. 263

the second is that of the waist, the third is that of the hand 256. Ganas like Nandi and Bhadramukha seeing then [in

and the fourth is that of the neck. course of this performance of Siva], Pindibandha1 [of different

248. The term Recita |relating to a limb] means dance forms] gave names to them [and imitated these] well.

moving it round separately (i.e. not in any Karana or Cari) 257-263. Names of Pindis specially attached to

or its drawing up or its movement of any kind separately. different gods and [goddesses are as follows]: Siva-Vrsa,

249. Päda-recaka-Going from side to side with waver- Nandī-Pattisī, Candikā (Kālī )-Simhavāhini, Vișņu-

ing feet or with differently moving feet, is called their Tārksya, Svayambhu-( Brahmā )-Padma (lotus ), Šakra

Recaka. (Indra)-Airāvatī, Manmatha-Jhasā, Kumāra (Kārtikeya)-

250. Kati-recaka-Raising up the Trika and the turning Śikhi (peacock), Śri (Lāksmi)-Ūlu (owl), Jāhņavī (Gaņgā)- of the waist as well as its drawing back, is called the Kati- Dhara, Yama-Paśa, Varuna-Nadī, Dhanada (Kuvera)-

recaka. Yaksi, Bala (-rama)-Hala (plough), Bhogins (serpents)-Sarpa,

251. Hasta-recaka-Raising up, throwing out, putting Ganeśvaras (the krds of Ganas)1-Dakşayajnavimardinī, The

forward, turning round and drawing back of the hand is [Pindi] of Siva, the killer of Andhaka2, will be Raudri in the

called its Recaka. form of his trident. The Pindis of the remaining gods and

252. Griva-recaka-Raising up, lowering and bending the goddesses will be similarly named after (lit. marked with)

neck sideways, and other movements of it ate called its Recaka. their own banners.

253-254. Seeing Samkara (Siva) dance with Recakas and 263-264. After inventing the Recakas, Angaharas and Angahāras, Parvati too performed a Gentle Dance (lit. danced Pindis, Siva communicated them to the sage Tandu1 who in

with delicate forms), and this dance was followed by the his turn made out of them dance together with songs and

playing ot musical instruments like Mrdanga,1 Bherī, Pataha, instrumental music; and hence this dance is known as

Jhanjhā, Dindima, Gomukha, Panava and Dardura. Tandava (i.e. of Tandu's creation). 255. [Besides on this occasion] Maheśvara (Siva) danced in the evening after the break-up (lit. destruction) of Daksa's 256 1 Pindibandha-Ag. (I. 170-171) explains the word. But it is sacrifice1 with different Angaharas and in conformity with defficult to make any definite idea about the pindibandha or pindi from his

proper time beat (tāla) and tempo (laya). explanation. But a later work on dramaturgy discusses this word (Bh P. p. 264). From this, the meaning of the word seems to be a term relating to group- dance, For more about pindibandha see 257-262, 284-285, 291-294 below. 253-254 1 mrdanga, bheri, pataha, dindima, dardura and panava are drums 257-262 1 Ganeśvarī means relating to Ganeśvaras or lords of hosts; see of different sizes and shapes, and made of different materials such as clay, wood above III. 31, 58 and III, 1-8 note 7. etc. For bheri, panava and gomukba (possibly a horn) have see the Bhagavad- 2 The story of Siva's killing the Asura Andhaka occurs in Rām, Harivamsa

gītā, ch. I. 13. Jhañjba means large cymbols. and several Puranas. See JK. sub voce. 255 1 The story of the break-up of Daksa's sacrifice occurs in two different 263-264 1 Tandu's name does not seem to occur in any extant Purāna. It is just possible that the name of this muni has been derived from tāndava, a forms in the Bhägavata and the Varaha P. See JK. under Daksa. non-Aryan word which originally may have meant dance.

IV. 265 THE NATYASASTRA 68 69 DESCRIPTION OF THE CLASS DANCE IV. 278

Sages speak. accompany the adoration of gods, but its gentler form 265. Use of Gestures etc. (abhinaya) having been (sukumara-prayoga) relates to the Erotic Sentiment. devised by the experts, for drawing out the sense [of songs and speeches in a play], what led to the making of dance Vardbamānaka

(nrtta), and what is its nature ? 273. Now while coming to discuss the Vardhamānaka 266. Why is dance made in connexion with the Asarita I shall describe rules regarding the performance of the Class songs ?. It does neither relate to its meaning nor reflect its Dance as it was performed by Tandu. spirit. 274. As in its performance Kala and tempo (laya) attain 267. [In answer to these questions] it is said that the vrddhi (increment) due to the increment of Aksaras it is called dance is occasioned by no specific need ; it has come into the Vardhamānaka. use simply because it creates beauty. 268. As dance is naturally loved by almost all people, Āsārita

it is eulogised as being auspicious. 275. After setting down the musical instruments

269. It is eulogised also as being the source of amuse- (kutapa) the producers [of plays] should get the Āsārita per-

ment on occasions of marriage, child-birth, reception of a formed.

son-in-law, general festivity and attainment of prosperity. 276. Then after the Upohana has been performed to

270. Hence the host of Bhutas have ever praised the the accompaniment of drums and sttinged instruments, a

Pratiksepas1 which are used in songs and in regulating the female dancer should enter [the stage] with the playing of

division of dances. stringed instruments and drums.

271. Siva (lit. god) too was pleased to say to Tandu, 277. This playing of the [instrumental] music should

"Perform this dance in connexion with the singing of songs. be in pure Karana and Jati. And then a Cari should be

272. The Class Dance (tandava)1 is mostly to performed with steps in accompaniment of music. 278. On entering the stage with flowers in her hands the female dancer should be in the Vaisakha Sthana (posture) 270 1 pratiksepa-Ag. (I. p. 182) defines thie term and points out that the NS. does not mention this. and perform all the four Recakas (i. e. those of feet, hand, 272 1 Tandava has been translated by some as 'wild dance' (Haas, waist and neck). Daśarūpa, p. 5), but the adjective seems to be misleading. From the present 279. Then she should go round the stage scattering chapter of the NS, it appears that the word meant 'class dance' which has been flowers from her hands to gods, and after bowing to them, codified. It is to be distinguished from the folk-dance mentioued in later works. Tandava was no exclusively male dance. For the illustrations of the she should make use of different gestures. karanas taken out of old bas reliefs and printed in the Baroda ed. of the NS. 280. Instrumental music should not be played when show that these were performed by women as well, These karanas were there is any song to be delineated by gestures, but at the evidently elements of tāndava; lāsya performed by women was only a gentler form of the tandava. performance of Angaharas drums must be employed.

IV. 279 THE NATYASASTRA DESCRIPTION OF THE CLASS DANCE IV. 293 70 71

281. The playing of drums (lit. instrumental music) the song should be sung once, the second twice, the third during the Class Dance should be Sama, Rakta, Vibhakta thrice, and the fourth four times.2 and distinctly heard on account of clear strokes and should 291, The Pindis have four varieties: Pindi [proper] be properly following different aspects of the dance. Śrnkbalikā, Latābandha, and Bhedyaka.1 282. After following the song [with her dance] the 292. The name Pindi or Pindibandha is due to its dancer should make her exit and others [like her] will enter being a Pindi (lump), a cluster (gulma)1 is called Śrnkhalikā,2 [the stage] in the same manner. and that which is held together [as it were] by a net, is 283. These other women will in due order form Pindis1 Latäbandha,3 and Bhedyaka4 is to be the [separate] dance of and till all these are formed they will perform the Paryastaka. individuals.

282. After forming [Pindis] these women will make 293. The Pindibandha is to be applied in the first (lit. their exit, and during the formation of the Pindis an instru- shortest Āsārita), Srnkhalā at the Layāntara, the Latābandha in mental music which has various Oghas and Karanas should the middle one, and the Bhedyaka in the longest (i.e. Āsārita). be played, and it should be similar to the music at the time 294. Origin [of Pindis] is twofold: Yantra and of the Paryastaka. Bhadrasana.1 These should be learnt and properly applied 285-287. Then this Upohana should be again per- by the producers [of plays]. formed as before, and the Asarita too; a song also should be Chandaka sung and a female dancer should enter the stage in the 295. In the Vardhamana the producer should thus use manner described before, and she should delineate [the [dances]. I shall speak again about the rules regarding the meaning of the song in the second Asarita by suitable performance of Chandaka songs.

gesture] and translate the subject-matter (vastu)1 into a 2 These asaritas were distinguisbed by the kalas of time they required. dance. According to Ag. (I. 185) the shortest āsārita takes up seventeen kalas, the 288. After finishing the Asarita the female dancer medium asarita thirty-three kalas and the longest asarita sixty-five kalas. should make her exit, and then another female dancer should 291 1 See notes 256 above from a passage in the Bh P. (p. 246). It is quite clear that the pindibandha relates to the grouping of dancers. Of these the enter the stage and make a similiar performance. gulma is a general collective dance, the srnkhala is the dance in which partners 289. Thus at every step the rules of Asarita should be hold one another's hands, the lata is the dance of two putting their arms followed by singers as well as players of the instrumental from the group. around each other. and the bhedyaka is the dance of each one separately away

music. 292 1 See above 291 note. 290, [During all these performances] the first foot1 of ª BhP. does not identify the gulma and the srnkhalika. 8 See above 291 note. 4 See above 291 note.

283 1 See above 282 note 2. to 290 above. 293 1 Distinguishing features of the three asaritas have been given in note

285-287 1 For vastu (padavastu) see Mālavi. Il. 0, 5, 8, 13, 14. 294 1 This passage is not clear. Ag's explanation (I. p. 193) of the yantra 29q 1 Vastu here means padarastu. See above 285-287 note. and the bhadrasana is not convincing.

IV. 294 THE NATYASASTRA 72 7.3 DESCRIPTION OF THE CLASS DANCE IV. 312 296-297. I shall now speak of the dance and the instru- tempo. On an occasion like this the instrumental music mental music that should accompany songs consisting of the should follow the [proper] tempo. Vastu1 as well as of their (Angas). During the performance 305-308. The Tattva, the Anugata and the Ogha relate of this song and music, a female dancer should enter the to the Karana. Among these, the Tattva is to be applied in stage; at that time all the drums are to be sounded and all slow tempo, the Anugata in medium tempo and the Ogha the stringed instruments are to be played with Ksepa and in quick tempo. This is the rule regarding the instrumental Pratikșepa.2 music. [Different] parts of the song in case of a Chandaka 298. First of all, the entire words of the song should are to be repeated. This is always the rule in [combining] be represented by gestures, and next the same should be the dance, gestures and the song. In case of songs com- shown by a dance. posed in metre (nibaddha) commencement (graba of the 299. Directions given above regarding the dance, use playing of drums) should take place at their end, but in the of gestures and the instrumental music will apply equally repetition of the parts [of a large song] such commencement to the subject matter ot the songs in the Āsārita. should take place from the beginning. 300. This is the rule with regard to songs consisting of Gentle Dance the Vastu. Now listen to description of songs made by Angas. 309. This should be the procedure in performing the Asarita songs. Now consider the Gentle Dance relates to the 301. Rules regarding the dance, use of gestures and the adoration of gods. instrumental music which apply to words [of songs] are equally applicable in case of Chandakas which are composed 310. The Gentle Dance with the Erotic Sentiment [relates to] a dialogue between a man and a woman when of their Angas( limbs). they are in love. 302. During the Mukha and the Upohana the instru- Occasions suited to dance mental music should be played with heavy and light 3TI. Now listen, O Brahmins, about occasions in plays Akșaras (strokes) by keeping them distinct (lit. separate). when dance should be introduced in course of songs. 303. When in course of a song some of its parts are 312. Experts should apply dance when the principal repeated, the parts uttered first should be delineated by words of a song [in a play] as well as its [ornamental adjunct gestures and the rest are to be translated into dance. known as] Varna1 comes to a close or when any character 3°4-305. When in course of a song some of its parts attains good fortune [in a play]. are repeated, it should be followed by the instrumental music 313. And dance should take place on an occasion in a which observes the rule of three Pänis and thtee kinds of play when something connected with love occurs between a married couple, for it (the dance) will be a source of joy. 296-297 1 See above 285-287 note I. * For pratiksepa see above 270 note 2. 312 1 See XXIX. 17-30. 10

IV. 313 THE NATYASASTRA 74 75 DESCRIPTION OF THE CLASS DANCE IV. 328

314. Dance related to the meaning of the song should 322. Playing of drums should begin with the Sannipāta also take place in any scene of a play when the lover is near Graha at a time when a foot of the Dhruva of the Khanja or and a [suitable] season or the like is visible. the Narkuta class has been sung. Occasions when dances are probibited 323. In course of a Dhruva which consists of even

315. But dance should not be applied to the part of a number of feet with equal number of syllables, the drum

young woman who is enraged (khandita),1 deceived (vipra- should be played with the Graha by the fore finger after its

labdha);2 or separated [from her lover] by a quarrel (kalahan- [first] foot has been sung.

taritā).3 324. [After performing the Dhruva song with the

316. Dance should not be applied also at a time when playing of drums as directed above] this song should be

a dialogue is going on with a female friend or when the repeated with proper gestures [to delineate it], and it should

beloved one is not near at hand, or has gone abroad. be again sung, and at the end of its last foot drum should be

317. And besides this when one realises the appearance played.

of one of the seasons or the like from the words of a Messen- When drums are not to be played

ger, and feels eagerness or anxiety on account of this, no 325. Drums should not be played at a time when the dance should be applied. principal song or its Varnas have been finished or it is 318. But if during the performance of any part of the beginning afresh. play, the heroine is gradually pacified, dance is to be applied 326. During the Antara-marga which may be made by till its end. Trantris or Karanas, the Class Dance should be followed by 319. If any part of a play relates to the adoration of Siva drums as well as the Sūci Cari. (lit. the deity) one should perform there a dance with energetic 327. One who will perform well this dance created by Angaharas which he himself Mahesvara (Siva) created. Maheśvara (Siva) will go [at his death] free from all sins to 320. And any love-song mentioning relations between the abode of this deity. men and women should be followed by a dance with delicate 328. These are the rules regarding the Class Dance Angahäras which Parvati (lit. the goddess) created. arising out of its application. Tell me what more I am to

Playing of drums speak now about the rules of the Natyaveda.

321. I shall now speak of the rules about the playing of Here ends Chapter IV of Bharata's Nātyasastra, drums which should follow four-footed Narkutaka,1 Khanjaka' which treats of the Characteristics of the Class Dance. and Parigitaka.

315 1 See XXIV. 216. 9 ibid. 217. 8 ibid. 215. 321 1 See XXXI. 466 XXXII. 321 ff. 2 See XXXI. 466; XXXII. 466.

77 THE PRELIMINARIES OF A PLAY W. 16

CHAPTER FIVE as well as with Recitatives (pathya). Pratyahara,1 Avatarana',

PRELIMINARIES OF A PLAY Ārambha3, Āśrāvaņā4, Vaktrapāņi5, Parighattanā®, Samgho-

The Sages question. țana', Margasarita®, and Asarita® of the long, the medium and the short types, are the songs outside the performace of I-4. On hearing the words of Bharata who continued the topic of drama, the sages were pleased in mind and said, a play to be sung by persons behind the curtain10 to the

"We have heard from you about the origin of drama1 and accompaniment ot drums and stringed instruments.

the Jarjara2 as well as [the means of] stopping obstacles,3 12-15. Then after removing the curtain1, dances and recitals2 are to be performed with the playing of all musical and the worship of gods.4 Having grasped the meaning we instruments, and some song of the Madraka3 class is to be would like to know in detail (lit. exhaustively), O the very sung, or one of the Vardhamanaka4 class along with the splendid one, about the Preliminaries with all their charac- Class Dance [suitable to it] should be applied. Then should teristics; it behoves you, O Brahmin, to explain [every- thing] for our understanding [the same properly]." take place [one after another] duting the Preliminaries the following :- Utthapana5, Walking rounde, Benediction', Bharata answers. Suşkāpakrstā8, Rangadvāra9, Carī10, Mahacārī11, Three Men's 5-6. Hearing these words of the sages, Bharata spoke Talk12 and Laudation1. thus about the rules of the Preliminariesy "O the blessed 16. I shall now explain in due order the characteristics ones, listen to me. I am speaking about the Preliminaries as of all these which are to be included in the ceremony of the well as of the Padabhaga,1 the Kalas2 and the Walking- Preliminaries. round' [which relate to them]. Preliminaries defined 8-11 1 See below 17. 2 See below 18. s See below 18. 7. As it is first performed at the beginning (purvam) * See below 18. 5 See below 19. 6 See below 19. in the stage (ranga) it is called the (pūrvaranga)1 7 See below 20, 8 See below 20. 10 From this statement it appears that the first nine items of the prelimi- 9 See below 21,

Parts of the Preliminaries naries were performed behind the curtains on two doors of the tiring room. 8-II. Its different parts are to be performed in due 12-15 1 See 8-11 note 10 above. order with the playing of drums and stringed instruments ' Recitals of the Benediction (nandi) and the Laudation (prarocana) etc. 3 madraka-a class of songs. 3 See I. 54-68. 4 See III. 4 vardhamanaka-a class of songs with dance. See XXXI 76-101; XXXII. 1-4 1 See I. 13-18. ª See I. 69-73. 5:6 1 padabbāga-See XXXI. 247. This is a term relating to tala. 259 ff. 224ff.

2 kala-unit of the time measure in music. See XXXI. 1-4 See Ag. (I. 211). 5 See below 22-23. 3 parivarta. On this see below 23-24, 65-89. 7 See below 24-25, 107-113. 6 See below 23-24, 65-89.

, 9 See below 26-27. 8 See below 25-26, 113-116, 7 BhP. defines purvaranga as follows: कलापाताः पादभागाः परिवर्ताश्च 11 See below 27-28, 127-130, 10 See below 27-28, 119-120. सूरिभिः। पूर्व क्रियते यद्रङ्ग पूर्वरज्नो भवेदतः (SR. p. 742). The definition in the 13 See below 29-30, 141-142. 12 See below 28-29, 137-141. comm. of DR. (III. 2) is corrupt. 16 1 It appears that these items of the Prelimineries to be performed

V. 17 THE NATYASASTRA 78 79 THE PRELIMINARIES OF A PLAY V. 24 Pratyābāra Samghotanā 17. Arranging of the musical instruments (kutapa) is 20. The Samghotana1 is meant for rehearsing the use called the Pratyahāra1. of different hand-poses [for indicating the time-beat.] Avatarana Mārgāsārita The seating of singers is called the Avatarana (lit. The playing together [in harmony with one another] of coming down)2. Ārambha drums and stringed instruments is called the Mārgāsārita.2 Āsārita 18. The commencement of vocal exercise for singing 21. The Asarita is meant for practising the division of (parigita) is called the Arambha (lit. beginning).' kalās (kalābbāga).1 Āśravanā Application of songs

Adjusting the musical instruments for playing them in And the Application of songs (gitavidhi)2 is for singing

due manner is called the Āśrāvaņā.2 the glory of gods. Utthapana Vaktrapāņi 22-23. I shall now speak about the Utthapana (lit. 19. Rehearsing (lit. dividing) the different styles (urtti) raising) ceremony which is so styled because from this, the of playing musical instruments is called the Vaktrāpāni.1 reciters of the Benediction start (lit. raise) first of all in the

Parighattana stage the performance [of the play]. Hence the Utthapana The strings of instruments are adjusted duly during the is considered by some to be the beginning [of the per- Parighattaņā.2 formance]. Walking-round behind the curtains of the tiring room have been made needlessly elaborate. 23-24. The Walking-round (parivartana)1 is so styled But it is not so. In ancient times people due to different conditions of their because in it, the guardian deities of different worlds are life, were not so much punctual in coming to the theatrical show. They did praised [by the Director] walking all over [the stage]. not come to it all at once and at any. fixed time. Quite a long time passed before they all assembled. Hence from behind the curtain the Director offered Benediction to the early-comers whatever they could, while preparing for the actual per- 24-25. The Benediction1 is so called because it must formance. Ag. (I. p. 215) says that nine items of the Preliminaries were meant always include [and invoke] the blessing of gods, Brahmins for a [common] women, children and fools. The same practice about the Preliminaries may be observed even now in case of the Yatras or the open air and kings. theatrical performances in Bengal. 18 1 arambha-See XXIX. 131 ff. 20 1 samghotana-For the performance of this see XXIX. 143ff. * asravana-For details about the performance of this see XXIX, 135ff. 2 mārgasārita-For the performance of this see XXIX. 151 ff, 19 1 vaktrapani-For details about the performance for this see XXIX. I 1 asarita-For the performance of this see XXXI, 62ff; 170ff. 157 ff. ª See XXX. 200 ff. " parighattana-For the performance of this see XXIX. 148-150. 23-24 1 parivartana=parivarta see below 65 ff, 24-25 1 For its specimens see below 107 ff.

V. 25 THE NATYASASTRA 80 THE PRELIMINARIES OF A PLAY V. 37 Šuskāvakrstā Dhruvā 25-26. When an Avakrsta Dhruva is composed with 31-32. Now when songs in seven forms1 and in Citra2

meaningless sounds it is called Suskāvakrstā.1 It indicates and Daksina3 Märgas together with the Upohana1 and the verses for the Jarjara.2 Nirgīta5 were started by musical experts like Nārada in

Rangadvāra praise of gods, all the gods and the Danavas, in the assembly

26-27. The Rangadvara is so called, because from this were made to hear the Nirgita6 performed with proper tempo

part commences the performance which includes Words and and time-beat.7

Gestures. Daityas and Raksasas provoked to jealousy Cari and Mahacāri 27-28. The Cari is so called because it consists of move- 33-34. Now on hearing these happy songs praising the

ments depicting the Erotic Sentiment, and in the Mahacati gods, the Daityas and the Rāksasas were all provoked to

occur movements delineating the Furious Sentiment. jealousy. 34-36. Under these circumstances they pondered [over Three Men's Talk the matter] and said to one another :; "We are glad to hear 28-29. The conversation of the Director (sūtradhāra), (lit. accept) this Nirgita in accompaniment of the instru- the Assistant (pariparsvaka) and the Jester1 is called the Three Men's Talk (trigata). mental music; and the gods were pleased to hear the songs in seven forms1 about their exploits. [But] we shall hear the Laudation Nirgita only and shall always be pleased with it. Then these 29-30. An appeal with a view to success which is made [by the Director] after suggesting the action (karya) Daityas [and Raksasas] pleased with the Nirgita urged for

of the play in hand with [proper] reasoning and arguments its repeated performance."

is called the Laudation (prarocana). Gods approach Narada to stop the Nirgita. Origin of the Bahirgita and its justification 37-38. This enraged the gods who said to Narada, 30-31. I shall now describe in detail the Āśravana "These Danavas and Raksasas are pleased with the Nirgīta which is included in the Bahirgita and shall speak of its only [and do not want anything else i. e. songs]. Hence we origin as well as its justification. wish this performance [of the Nirgita] to come to an end. What do you think of this?," 25-26 1 See below 113-115. 2 B. G. read between 25b and 26a two prose lines. 28-29 1 The Jester's role is assumed by one of the Assistants. See below 31-32 1 See XXXI. 220ff; 365ff. 70 where two Assistants enter along with the Director, For details of the 2 See XXXI. 358 3 See XXXI. 357- Three Men's Talk see below 137-141. 5 Another name for babirgita. See below 33-42. 4 See XXXI, 138f.

29-30 1 For details about the Laudation see below 141-142. See also Ag. 6 nirgita-instrumental music. for the meaning of siddhenāmantrana. ? For different aspects of the tala see XXVIII. 18-20, and XXXI. 34-36 1 The seven forms-On this see Ag. (1. p. 224) 11

V 38 THE NATYASASTRA 82 83 THE PRELIMINARIES OF A PLAY V. 59

Nārada pacifies the gods. 38-41. Hearing these words of the gods Nārada replied, are [again] pleased. By the Samghotana Guhyakas are satisfied, while the Margasarita pleases the Yaksas. When "Let the Nirgita dependent on the music of stringed instru- songs (gitaka) are sung the gods enjoy them, and Rudra ments be not stopped, and this (nirgita) combined with the with his followers is pleased by the performance of the Upohana and accompanied by the music of stringed instru- Vardhamana. Similarly in the performance of the Walking- ments will have seven forms. Enraptured (lit. bound down) round (parivartana) Lokapālas (the guardians of the worlds) by this Nirgita the Daityas and the Raksasas will not be are delighted, and the Moon-god is pleased with the Bene- provoked, and they will not create any obstruction [of the diction, During the singing of the Avakrstā (Dhruva) Nagas performance]. are pleased, while Šuskāvakrstā (Dhruvā) pleases the host of 41-42. This is called the Nirgita to satisfy the vanity Pitrs (ancestors). In the Rangadvära Visnu is pleased, while of the Daityas while in honour of the gods it is called the the Jarjara ceremony pleases the leaders of Vighnas. On Bahirgita. the Cari being performed Uma takes pleasure while in the 42-44. This is to be played by experts in the Citravina1 performance of Mahacari the Bhutas are delighted. with Dhatus2 containing light and heavy strokes (aksara) and 55. So much about worshipping the deities in different Varnas3 and Alamkaras4. It is called the Nirgita because parts of the Preliminaries beginning with the Pratyahara and in it there is sung a combination of sounds carrying no sense, ending in the [Mahā] cārī. and to satisfy the vanity of the gods it is called the 56. O the best of Brahmins, in course of describing the Bahirgita", different patts of the Preliminaries I have named the gods Gods are pleased with the Nirgita (Bahirgita). pleased by them, and mentioned [the individual] parts of it

44-45. The reason behind the Nirgita in its seven forms in which they take delight.

as well as the Utthapana and the like, will now be given. 57-58. The performance ot the Preliminaries which

45-54. The Pratyahara pleases the Rāksasas (Yatudhāna) means worshipping the gods, is praised by them (i.e. gods)

and the Pannagas, while the Apsarasas are delighted with and is conducive to duty, fame and long life. And this per-

the Avatarana. The Gandharvas are pleased when the formance whether with or without songs, is meant for

Arambha is performed, and in the performance of the pleasing the Daityas and the Danavas as well as the gods (lit.

Aśtāvaņā the Daityas take delight. The Vaktrapāni pleases denizens of the celestial region).

the Danavas and in the Parighattana the hosts of Rāksasas 59. I shall tell you [afterwards] while discussing the rules of Dhruvas1 the characteristics and function of perfor- 42-44 1 cītravīnā-nātyoparanjanārthā yā vinā; a kind of vina (Ag.) mances with or without songs as well as of the Vardhamana.2 suitable for being played during the performance of a drama. But Ag. ignores XXIX. 120 which describes a Vina of this name. 2 See XXIX. 82ff. 59 1 See XXXII. 3 See XXIX. 8-22. 4 See XXIX. 23ff. 3 Before this couplet (59) B. reads one additional śloka (B. 60).

V. 60 THE NATYASASTRA 85 THE PRELIMINARIES OF A PLAY V. 74 The Caturasra Preliminaries The three should simultaneously enter [the 60-63. After performing the songs1 and the Vardha- 68-69. stage] with handfuls of flower-offering. But before that mana,2 one should sing the Utthapani (Raising) Dhruva3 which has in its feet of eleven syllables the first two, the they should get themselves purified, initiated and furnished

fourth, the eighth and the eleventh as long. It should be with charms for protection [against evil spirits]. They should

[sung in] the Caturasra (Tala)4 and [should consist of] four be clad in white, and flowers carried by them should [also]

feet and four Sannipatas5 as well as three kinds of tempo® be white, and they should be looking with the Adbhuta glance1 and be in the Vaisnava Sthana2 with Sausthava of and three caesura. Besides this it should consist of four the body. Walking-rounds and of three Pänis,8 and it should be in the 70. The two1 Assistants should carry a golden pitcher Viśloka° metre and in the same kind of Tāla. and the Jarjara, and with them by his side the Director 64. The Tala in question should consist consecutively should put forward five steps. of Šamyā1 of two Kalās, Tāla of two Kalās, Šamyā of one Kalā and Sannipāta of three Kalās. 71. These five steps [will be] for the purpose of worshipping Brahma, and the manner of putting them for- First Walking-round ward will be described [below] in detail. 65. Thus a Sannipata Tala of eight Kalas should be 72. They should slowly place their two feet three Tālas1 observed by the experts. And it is said that a Walking- apart and then raise [them one by one] on each side and round is made up of four such Sannipatas. again put them down at the same [distance]. 66. The first Walking-round in the Preliminaries should 73. After going five steps1 in the manner described be made in slow tempo (sthitalaya) and on the termination of above, the Director and his two Assistants (lit. others) should the third Sannipata in it (i.e. the first parivarta) drums should perform the Suci Cari with left foot moved first and the be played. right foot afterwards. Second Walking-round 67. On the termination of the first Walking-round the 74. Then the Director should offer flowers in Brahma's Circle (Brahma-mandala) which is another name for the centre second one (i.e. Walking-round) having commenced in medium of the stage where the deity is supposed to be present. tempo, the Director [and the two Assistants]1 should enter [the stage]. 75-77. And afterwards he (i. e. the Director) should respectfully bow to Brahma (lit. Pitamaha) with Lalita 60-53 ' See XXXI. 200 ff. 2 See note 4 on 12-15 before. 3 The term utthapani dbruva does not occur in the Dhruvadhyaya (XXXII.). 68-69 1 See VIII. 48. ª See XI. 50-52. 4 See XXXI. 7 5 See XXXI. 39. 6 See XXXI. 3 70 1 One of the Assistants is to assume the role of the Jester in the Three 7 See XXXI, 486-488. 8 See XXXI. 493-495. 9 See XXXII. 148. Men's Talk. See above 28-29, 137-141. 64 1 Cf. XXXI. 173. 2 Jarjara-see III, 73 ff. 67 1 Entrance of the two Assistants is implied in this passage. See below 72 1 tala-a unit of length. The distance from the tip of the middle 68-69. finger to the wrist. See III, 21 note.

V. 75 THE NATYASASTRA 86 87 THE PRELIMINARIES OF A PLAY .V. 89 gesture,1 and to measure the length of time during the and salutation he should thrice touch the ground with his hand, round the centre of the stage (i. e. Brahma-mandala)' ending with the taking up of the Jarjara should be performed and his steps should be [suitably] divided. The second Walking-round which begins with the entrance of the in a quick tempo. Fourth Walking-round Director and ends with the salutation [to Brahmã] and use of 84-87. After taking up the Jarjara to ward off evils he gestures [related to it], should be performed in medium should mutter [some Mantras] in eight Kalas. Then he tempo. should perform the Suci (Vedha) Cari by putting forward Third Walking-round the left foot first and the right foot afterwards, and then, 77-78. Next during the third Walking-round the move five steps towards the musical instruments. And then Director should go round the Brahma's circle (i.e. the centre again he should observe the Sūci (Vedha) Cari by putting of the stage), perform Acamana and take up the Jarjara. forward the left foot first and the right foot afterwards. The [The manner of taking it up is as follows:] fourth Walking-round which begins with the taking up of 78-80. Rising up quickly from [Brahma's] Circle he the Jarjara and ends with an approach to the musical instru- should perform the Sūci (lit. Vedha) Cari with this foot (i.e, ments, should be made in a quick tempo. the right foot) put forward first and the left foot afterwards. 87-88. In this [pūrvaranga of the Caturasra type] And then he should again raise his right foot which was movements of hand and feet, will occupy sixteen Kalās on the side and perform the Sūci (Vedha)1 Cari putting for- while it being of the Tryasra type such movements will ward the left foot first and the right foot afterwards. occupy Twelve Kalās only. 80-83. Going round [the centre of the stage] the 88-89. [The Director and the two Assistants] should Dircetor should call the person (i.e. one of the Assistants) make three salutations by touching the ground, with the who carries the golden pitcher1 and perform ablution (sauca) hand, and before this they are to sprinkle themselves with [with water from this vessel]. He should then perform water, but in case of the Tryasra [Preliminaries such sprink- Acamana and sprinkle himself with water in due order. Thus ling] has not been prescribed.1 after performing properly the ablution, the Dircetor should Parivartani Dhruva carefully take up the Jarjara, the destroyer of obstacles, and 89-90. In this manner they should perform the Uttha- this act should be performed along with the beginning of pana (lit, raising). Then comes the Parivartani (Walking- the last Sannipata [of this second Walking-round]. round) Dhruva which should be performed in the Caturasra 83-84. The third Walking-round beginning with going (Tala) and medium tempo and with eight Sannipātas.

75-77 1 See IX. 201. 83-84 1 See III, 23-30 note. 78-80 1 According to Ag. (I. p. 233) Vedha=Sāci Cāri. 88-89 1 This and the preceding (87-88) passage should properly go after 80-83 1 See above 70. NS. 64 for they relate to the Utthapana which should come before the Walking- round; see 22-23 above.

V. 90 THE NATYASASTRA 88 89 PRELIMINARIES OF A PLAY .V. 105

90-91. The Dhruva (song) which has only the last 99-100. . The right foot is 'masculine' and the left foot syllable long in its four feet of eleven syllables, is called the is 'feminine' while the right foot not much raised is called Parivartani (Walking-round) Dhruva. 'neuter.' 91-92. During the singing of this Dhruva the Director 100-101. Īsa (Siva) should be bowed to with the should move leftwards in the Vartika Marga1 with graceful masculine foot [put forward first] while in bowing to Brahma step in accompaniment of instrumental music and should the neuter foot [should be so put forward]. bow to [different] deities in directions belonging to them. 92-93. And during the foot movement [mentioned The Fourth Man enters.

above] each step of the Director should consist of two 101-102. The Walking-round should be [finished] Kalas and movement in each direction should consist of two thus, and then the Fourth Man (caturtha-kara) should duly Sannipātas. enter [the stage] with flowers [in his hands]. 93-94. Then he would observe the Sūci (Vedha) Cari 102-103. And he should duly offer Pūja to the Jarjara putting forward the left toot first and the right foot after- and to all the musical instruments (kutapa) as well as to the wards and putting the latter at a distance of two Tālas. Director. 94-95. In this manner he should go five steps with the 103-104. His foot-movements during the Puja should Atikrāntā Cārī,1 and bow to different deities in directions be made to accompany the playing of drums, and there belonging to them. should be no song sung then, but only meaningless syllables 95-97. First of all he should bow to the eastern direc- should be chanted (stobhakriya). tion presided over by Sakra (Indra). Secondly he should bow to the southern direction belonging to Yama. Thirdly he Singing of the Apakrsta Dhruva

should bow to the western direction ruled by Varuna. 104-105. After offering the Puja the Fourth Man Fourthly he should bow to the northern direction of which (caturtha-kara) should make his exit. And then should be Dhanada (Kuvera) is the protector. sung an Apakrsta Dhruva1 in Caturasra (Tala) and slow 97-98. After bowing to these directions he should tempo.

perform the Suci Cati putting forward the left foot first and 105-106. This Dhruva should abound in heavy syllables the right foot afterwards and begin the Walking-round. and depend on the Sthäyi-varna1 and be made up of eight 98-99. Then with his face towards the east the Director Kalās, and its Tāla should be Avapāņika. should bow to Rudra (Siva), Brahma and Upendra (Visnu) 106-107. The Apakrsta Dhruva is a song consisting of while going forward three steps by 'masculine', 'feminine' and 'neuter' feet [one after another]. 102-103 1 See III. 11-13. 104-105 1 One of the six kinds of Dbruvas. See XXXII. 155-160. 91-92 1 See XXXI. 491-492. 94-95 1 See XI. 29. 105-106 1 See XXIX, 19. 12

V.106 THE NATYASASTRA 90 PRELIMINARIES OF A PLAY V. 118 91 four feet of ten syllables of which the fourth, the fifth, the seventh and eighth will be short. 11I-112. kāvyakartur yaśaś cāstu dharmaś cāpi pravardhatām | Benediction ijyayā cānayā nityam 107-108 Then the Dircetor will recite in a medium prīyantām devatā iti |I tone the Benediction which should consist of eight or twelve Tr. Let the playwright (lit. writer of the kāvya) attain fame, and let feet.1 his virtue increase, and by this kind of sacrifice let the gocs be always

108-109. (These are the specimens of Benediction):) pleased [with him].

namo'stu sarvadevebhyo 112-113. After the recitation of each of such Benedic-

dvijātibhyaḥ subham tathā | tory poems, the two Assistants should loudly and distinctly

jitam somena vai rājnā say, "Let this be so."

ārogyam gobhya eva ca || The Suskapakrsta Dhruva

Tr. Salutation to all the gods. Blessed be the twice-born class. 113-114. The Benediction should thus be performed

Let the king and the cows attain good health by his Soma-sacrifice. duly according to the rules [mentioned above]. Then should

109-11O. brahmottaram tathaivāstu be sung the Suskāpakrstā Dhruva and verses praising the

hatā brahmadvisas tathā | Jarjara.

praāstvimām mahārājaḥ 114-115. This Dhruva should consist of nine long

prthivim ca sasagaram II syllables first and then six short syllables followed by three long syllables, e.g. Tr. Let there be an advancement of the cause of the Brahmins, and let their enemies be killed, and let the great king rule this earth together 115-1,16. digle digle jhande jhande jam with all the seas. bu ka va li ta ka te te jā.

IIO-III. rastram pravardhatam caiva Rangadvāra rangaś cāyam samrdhyatām | 116-118. After properly performing the Suskāpakrstā preksākartur mahān dharmo Dhruva, he (the Director) should recite in a loud tone one bhavatu brahmabhavitah !I Śloka in adoration of the deity in course of whose worship Tr. Let this state prosper, and this theatre1 flourish and let [the dramatic performance is going to be held], and then the producer of the theatrical show attain virtues inspired by the Vedic [another Sloka] paying homage either to the king or to the knowledge. Brahmins should be sung. 118-L19. After reciting the Jarjara Sloka in what is 107-108 1 For different interpretations of pada see Lévi, pp. 132-133, II. 25-26. Raghavabhatta's quotation from Ag. in bis Sākuntalațikā (p. 6) does called the Rangadvära (lit. entry into the performance) he

not occur in the published Abhinavabhārati. should again read another Sloka in lowering the Jarjara.1 108-109 1 See Lévi, p. 133. 110III 1 According to Ag. this means the actors and their associates. 118-119 1 B. reads is jarjarasya vināsanam and G. (vināmatab). But these give no relevant meaning.

.V. 119 THE NATYASASTRA 92 93 PRELIMINARIES OF A PLAY V. 134

Carī Mabacārı

119-120. And after the Jarjara has been lowered,1 he 127-128. And after placing the Jarjara in the hands of should perform a Cari, and the two Assistants should step one of the Assistants, he should perform the Mahacati in backwards. accordance with the rules laid down below. 120-121. Then the Addita Dhruva1 should be performed 128-130. During this Cari the Dhruva song should be with the medium tempo, Caturasra Tala and four Sannipātas. of the Caturasra type and in quick tempo, and it should have 121-I:22. The Dhruva (song) which has the first, the four Sannipatas and eight Kalas. This Dhruva song should fifth and the last syllables long and the remaining syllables have feet of eleven syllables of which the first, fourth, seventh, short in all its four feet of twelve syllables, is called the tenth and the last are long and the remaining ones short. Additā. 130-131. (An example of the Caturasra Dhruva) .: 122-123. I shall relate its application according to the pādatalāhati-patita-śailam procedure adopted by Maheśvara (Siva) and Umā when per- ksobhita-bhūta-samagra-samudram | forming it in the past with [the display of] different States tāndava-nrttam idam pralayānte and movements. pātu harasya sadā sukhadāyi || 123-125. After assuming the Avahittha Sthana Tr. Let the ever-pleasing Class Dance of Hara (Siva) after the (posture),1 and placing the left hand [first] with its palm destruction of the world, which smashed the hills by the imract of his

downwards on the navel and holding the Jarjara loosely on his feet and agitated the ocean with all creatures living in it, always give

[other] palm,2 the Director should go five steps, with his left you protection.

hand showing the Pallava gesture; and while going he should 131-132. Then he should step towards the drums

cover one Tala at each step and move his limbs gracefully. (bhanda) and afterwards perform the Suci Cari followed by a

125-127. Afterwards he should perform the Sūci Cari change of the Viksepa.

by putting forward his left foot first and the right foot after- 132-133. Afterwards he should move his feet gracefully

wards. Then the Director (lit. the expert one) should recite with a quick tempo, and keeping them three Talas apart, he

a Sloka with love as its subject-matter. And after reciting should go five steps. There again he should perform the

this Cari Sloka and performing the Walking-round, he should Suci (Vedha) Cari with his left foot put forward first and the

with his face towards the front, withdraw backwards with right one afterwards.

steps described before. 134-135. And with the foot movement [described above] he should move backwards with his face towards the

120-121 1 See below 121-122, also XXXII, 11, 388. front, and again he should go three steps forward in a similar 123-125 1 Defined in XIII. 164-165. manner, and then he should again perform the Sūci Cari with 9 Mss. read tuladbrtam. But its meaning is not clear. It is just possible his left foot put forward first and the right foot afterwards. that the original reading has been changed. We therefore emend this to taladbrtam. 135-137. Then he should recite a couplet calling up

V. 136 THE NATYASASTRA 94 95 PRELIMINARIES OF A PLAY V. 151

the Furious Sentiment while bringing his feet together, and should perform the Sūci (Vedha) Cari, and they should go then after going three steps he should call for the two Assis- out together while performing any Cari other other than the tants, and on their coming up, a Narkutaka Dhruva should Āviddha one. be sung. At the time of singing this Dhruva he should Tryasra Preliminaries perform the Sūci (Vedha) Cari by putting forward the left 143-144. Thus, O Brahmins, should be performed the foot first and the right foot afterwards. Preliminaries of the Caturasra type; now I shall speak of that of the Tryasra type. Its use is similar and its component Three Men's Talk parts are the same; the only feature that distinguishes it 137-138. Then in case of a play in the Verbal Style from the Caturasra one, is its abridged measure of Tala. (bharati vrtti) the Three Men's Talk should take place. 145-146. [In it] the Samyā should consist of two Kalās During it (this Talk) the Jester should suddenly come in and and the Tala of one Kala, and again the Samya is to consist deliver a discourse consisting mostly of irrelevant words to of one Kala and the Sannipata of two Kalas. With this excite the smile of the Director.1 kind of measurement of Kala, Tala and tempo, should be 139. [In this discourse] should be brought in some performed the Tryasra Preliminaries which include the controversial topic (vitanda) with an abrupt remark (ganda) Utthäpana and such other items. or an enigmatical utterance (nalika) [of some kind], and 147. The Dhruva (song) which has the fourth, the questions such as who is [there] and who has won, leading eighth, the tenth and the last syllables long in all its four to the plot of the play (lit. the poem). feet of twelve syllables, is called the Utthāpanī Dhruva of 140. In the Three Men's Talk an Assistant talks with the Tryasra (type). the Jester who finds fault with his words which are, [how- 148. In the Tryasra Preliminaries an expert dancer ever,] supported by the Director. should abridge the instrumental music, movements [of

Laudation persons], Dhruva songs and their Tāla.

141. Then the Director (lit. an expert) should put in 149. The actions and movements [of a dancer] are to

the Laudation and the appeal [to members of the audience], be made of two types-elaborate and abridged-according as

and for the success1 of the performance (lit. the stage) the the instrumental and vocal musics are such.

subject of the play should again be mentioned. 150-151. It is said that each movement of hands and feet should be of two Kalas' duration, and in any Walking- I42. After putting into practice all these rules, all the three persons (i. e. the Director and the two Assistants) round in the Caturasra (Preliminaries) the hands and feet should be moved sixteen times, while in the Tryasra Preliminaries they are to move only twelve times. 137-138 1 See D. R. III. 36. 141 See Ag. on B. 30 for the meaning of siddenopanimantrana=siddhana 151-152. This is the measurement of both (i. e. of mantraņa. hand and foot movements) in the Preliminaries. But in

V. 153 THE NATYASASTRA 96 the Walking-round, the foot movement should consist of 97 PRELIMINARIES OF A PLAY V. 167

three steps only, but in bowing to [the different] directions 161. After the 'pure' Preliminaries have been duly in the Caturasra Preliminaries, one should go five steps. made 'mixed', [all the dancers dressed as] goddesses should 153. [But all these matters] should be performed in make their exit. the Tryasra Preliminaries according to the measure of Tala 1,62. After the exit of all the female dancers the other as the master of the art thinks fit. Hence to avoid repetition parts of the Preliminaries should be performed. no [elaborate] direction about the same has been given. 163. This is the manner in which the pure Preliminaries [here]. should be changed into mixed ones. But in the Preliminaries, 154. O the best of Brahmins, thus should be per- be they of any type, there should not be too much dance and formed the pure Preliminaries of the Caturasra and the song. Tryasra types, which relate to a play depending on the Verbal 164. If [at the beginning of a performance] songs, Style. music and dance continue for too long [a time] they tire out Mixed Preliminaries the artistes as well as the spectators. 155. So much about the pure Preliminaries (Caturasra and 165. Tired [persons] can neither attain or give help in Tryasra) which I was to describe. I shall now tell you how attaining a clear impression of the Sentiments and the States, the producers may turn them to one of the mixed (citra) type. and because of this, the rest of the performance (i.e. of the 156-157. During the Utthapani Dhruva when the play itself) cannot [properly] excite feelings. Walking-ground has been decorated with flowers given by 1,66. After performing the Preliminaries, be they Catur- the Fourth Man and [the stage] resounded with the well asra or Tryasra of the pure or mixed type, the Director along measured loud songs of musical experts, divine Dundubhis with his Assistants should make their exit from the stage. (drums) should be played again and again.1 Introduction of the play 158. [And in the mixed Preliminaries thus begun] 167. After the Preliminaries have been duly performed1 clusters of white flowers should be scattered all over [the in the manner described, the Introducer (sthapaka)2 should stage], and the Angaharas should be performed by [dancers dressed as] goddesses. 167 1 The reading praywjya in this passage is defective; for the nomina-

159-160. The Class Dance which has been described tive to this prayujya cannot be sthapaka (Introducer). Dhananjaya (c. 10th century) clearly says that the sutradhara (the Director) having gone out after above with its [Piņdīs], Recakas, Angahāras, Nyāsas and the Preliminaries (purvaranga), another actor enters to introduce the drama Apanyasas should intervene the separate feet of the Benedic- (III. 2). The same is the opinion of Sāradātanaya (c. 1175-1250). See the tory poems. This rule should be put into practice by those Bh P. p.228, lines 56. Visvanatha also expressed a similar opinion. See the SD. VI. 26. Hence this has been emended. It seems that Bhasa cut down who would turn pure Preliminaries into mixed ones. the Preliminaries and made an end of the practice of getting the play introduced by the sthapaka. This assumption will explain why Bāna wrote sūtradhāra- 156-157 The text here seems to be corrupt. krtārambhaib etc. (Harsacarita, Introduction, 15). 2 Ag. says sūtradbāra eva sthāpakab, cf. note 1 above. 13

PRELIMINARIES OF A PLAY V 168 99 .V. 179 THE NATYASASTRA 98

enter [the stage], and he should resemble the Director in cious will happen to him, and [after his death] he will reach

every respect (lit. in quality and form). the heavenly region. 176. [On the contrary] whoever produces a play in an 168. He should assume the Vaisnava Sthana (posture)1 wilful violation of the rules [in this matter] will sustain and have the Sausthava2 of the body, and on entering the a great loss, and will [after his death] be reborn as a creature stage he should observe the foot movements which the of lower order. Director had used. 177. Fire fanned by a strong wind does not burn [any- 169. At the entrance of the Introducer, the Dhruva thing] so quickly as does the wrongly made production. should be made suitable to the occasion (lit. meaning) and 178. In this manner the Preliminaries of two different it will be either Caturasra or Tryasra and be in medium extents (pramana) should be performed by the people of tempo. Avanti, Pancāla, Dāksiņātya and Odra regions. 170. Then he should perform a Cari in praise of gods 179. O Brahmins, these are the rules regarding the and Brahmins in accompaniment with the recitation of Ślokas Preliminaries. Tell me properly what other rules relating to containing sweet words and evoking various Sentiments and the Natyaveda should be discussed now1. States. 171. After thus pleasing the spectators (lit. the stage) Here ends Chapter V of Bharata's Nātyaśāstra, he should announce the name of the play-wright (lit. the which treats of the Preliminaries to the production of a play. poet), and then he is to start the Prologue (prastavana) which relates to proclaiming the theme of the play (lit. the poem). 172-173. Then by mentioning (lit. having recourse to) a god in a divine [play], a man in a human [play] and a god or a man in [a play] where gods and men [meet, he] should proclaim in dfferent ways the subject of the play [lit. the poem] by variously alluding to its Opening (mukha) and Seed (bija). 174. After introducing the play the Introducer (lit. the Brahmin who makes the introduction of the play) should go out [of the stage]. Thus should be performed the Prelimin- aries according to the rules. 175. If any producer of a play will perform the Pre- liminaries according to the rules laid down, nothing inauspi- 179 1 The portion of this chapter following this couplet is not from the

168 1 See XI. 50-51. ª See XI. 89b, 91a. hand of the author of the NS. Its translation is given as an Appendix. 13₺ r

101 SENTIMENTS ,VI 14

CHAPTER SIX its contents embodied in a small number of Sutras but which SENTIMENTS promotes inference [in connection with the subject].

The sages question. Digest, Memorial Verse and Etymology defined 1-3. After hearing about the rules regarding the Pre- liminaries, the great sages continued their inquiries and said 9. When subjects taught in detail have been com-

to Bharata, "Answer five of our questions. Explain how the pressed and brought together in [a number of] Sūtras and

Sentiments enumerated by experts in dramatic art attain their Bhasyas (commentary), these constitute according to the

their [special] qualities. And why are the bhavas (Psychologi- learned a Digest.

cal States, lit. feelings) so called, and what do they bhavayanti 10. The Digest [of the Nātyaveda treats] the Senti-

(make us feel) ?. Besides these, what are the real meanings of ments, the Psychological States, the Histrionic Representation,

terms, such as, Digest (samgraha)1, Memorial Verse (kārika) the Practices (dharmi), the Styles (urtti), Local Usages (pravrtti),

and Etymology (nirukta)"?, Success (siddbi), the notes (svara), the instrumental music (atodya), songs and the stage. Bharata answers. 4. At these words of the sages, Bharata continued speak- 11. When a rule (lit. meaning) is explained (lit. uttered)

ing, and mentioned in reply to their question the distinction briefly in a Sutra with a minimum (lit. small) number of

between the Sentiments and the Psychological States. words, it is called the Memorial Verse which shows the

5-7. And then he said, "O sages, I shall tell you in meaning [of the rule clearly].1

detail and in due order about the Digest, the Memorial Verse 1,2-13. Etymology is the definitive meaning which

and the Etymology. I am not able by any means to exhaust arises in connexion with various nouns, is helped by diction-

all the topics about drama; for knowledge,1 and arts and aries (lit. vocabularies), and the rules of grammatical inter-

crafts2 connected with it are respectively manifold and endless pretation, includes the significance of the root involved as well

in number. And as it is not possible to treat exhaustively as the reasons modifying it, and is helped by various findings

(lit. to go to the end of) even one of these subjects which [of Sästras], and this meaning [of a noun] is established

are [vast] like an ocean, there cannot be any quesrion of [mainly] from a consideration of its root [and pratyaya or affix]. mastering them all. 8. [Hence] I shall tell you about the Digest on Senti- 14. O the best of Brahmins, [the subjects included into] the Digest which I mentioned earlier, will now be ments, Psychological States and such other matters, which has discussed in detail with the necessary Memorial Verses and Etymologies connected with them. I-3 1 For an assumed chronology of samgraba, kārikā, nirukta, sūtra and bhāsya mentioned here see S. K, De, Skt. Poetics, Vol, I. PP. 28ff. 5-7 1 jnānāni vyākaranādini sāstrāņi (Ag). I1 1 One additional characteristic of the karika may be that it should be 2 silpāni citrapustādi-karmāni (Ag). generally composed in metres like āryā or anustup, e.g. the Sāmkhyakārikā.

VI. 15 THE NATYASASTRA 102

Eight Sentiments 103 SENTİMENTS VÌ 24

15. The eight Sentiments1 recognized in drama are as Eight Sattvika States

follows: Erotic (srngara), Comic (hasya), Pathetic (karuna), 22. Paralysis, Perspiration, Horripilation, Change of

Furious (raudra), Heroic (vira), Terrible (bhayanaka), Odious Voice, Trembling, Change of Colour, Weeping and Fainting

(bibhatsa) and Marvellous (adbhuta)2. are the eight Sattvika States.1

16- These eight are the Sentiments named hy Druhina Four kinds of Histrionic Representation

(Brahma). I shall now speak of the Durable and the 23. Four kinds of Histrionic Representation are Ges- Complementary Psychological States and the Sāttvika ones1. tures (angika)1, Words (vacika)2, Dresses and Make-up (aharya)3 and the Representation of the Sattva (sattvika).4 Durable Psychological States Two Practices

17. The Durable Psychological States (sthayibhava)1 are 24. Practice of Representation (dharmi)1 in a dramatic known to be the following: love, mirth, sorrow, anger, performance is twofold: realistic (lokadharmi, lit. popular) energy, terror, disgust and astonishment. and coventional (natyadbarmi, lit. theatrical). 18-21. The thirtythree Complementary Psychological Four Styles

States (vyabhicaribbava)1 are known to be the following:) And the Verbal (bharati), the Grand (sattvati), the Grace- discouragement, weakness, apprehension, envy, intoxication, ful (kaisiki) and the Energetic (arabhati) are the four Styles.2 weariness, indolence, depression, anxiety, distraction, recollec- tion, contentment, shame, inconstancy, joy, agitation, stupor, 22 1 sattvilca-bbava-The word sattvika cannot be properly translated into English. Keith does not make any such attempt (see Skt. Drama). Haas arrogance, despair, impatience, sleep, epilepsy, dreaming, translates the sattvika-bhava as 'Involuntary States.' But this seems to be

awakening, indignation, dissimulation, cruelty, assurance, very misleading, for the NS. takes sattva to be connected with manas. (see

sickness, insanity, death, fright and deliberation. These are VII 93), and most of the later writers follow this work in this respect. So the author of the ND. (III. 153) writes अवहितं मनः सत्त्वं तत् प्रयोजनं हेतुरस्येति defined by their names. सास्विकः ; मनोऽनवधाने हि न शक्यन्त एव खरभेदादयो नाट्येन दर्शयतुम्. The NS. has also a definition of sattva which is as follows: देहात्मकं भवेत् सत्वम् (XXIV. 7). The author of the BhP. elaborately defines the term sattva and 15 1 rasa-A.K. Coomaraswamy is for translating the word as 'favour' discusses the psychological process connected with its use; see (pp. 13-14). (M G. p. 17). Visvanatha in his SD. (164) defines sattva as follows: सर्वं नाम सात्मविश्राम- 2 Later writers on Skt, poetics add one more rasa (sante) to this number. 16 1 bbaua-A.B. Keith translates this word as 'feeling' or 'emotion.' प्रकाशकरो कश्चनान्तरो धर्मः

See Skt. Drama, p. 319. A. K. Coomaraswamy and others translate it as "mood" VIII-XII. 23 1 angika-means Gestures of special kind defined in the sastra; see

(loc. cit.). Haas translates it as 'State.' See DR. p. 108. 17 1 sthayibbava-Keith translates the term as 'dominant emotion' (Skt. 2 vacika-means words suitable for representation of the different States (bhava) composed by the playwright. See XV-XXII. Drama) and Haas as 'Permanent State' (DR.) and others as 'permanent mood' (e. g. S. K. De, Skt Poetics, Vol. II. p. 26). 3 See XXIII. 4 See XXIV.

18-21 1 These are also known as sancāri-bhava which was translated 24 1 dbarmi-This word has not been very correctly used. But the

as 'transitory emotion or mood'. See SD. meaning is clear; for details about dharmi see XIII. 69-81. ª Haas translates vrttis as Styles of Procedure (DR. p. 67). The four Styles

V.I 25 THE NATYASASTRA 104 105 SENTIMENTS VI. 31

Four Local Usages pleasing (prasadika) and intermediate (antara). And the play- 25-26. Āvanti, Dāksinātyā, Odramāgadhi and Pañcāla- house is of three typesa oblong, square and triangular.

madhyama are the four Local Usages (pravrtti)1 in a drama- 31. So much about the Digest on drama giving its con-

-tic performance. tents (lit. meaning) by a small number of Sūtras (concise rules).

Success I shall now speak about contents of the Sutra-work. The Success2 in the dramatic performance is of two Sentiments explained kinds: divine (daiviki) and human (mānusī). In that connexion I shall first of all explain the Senti- Notes ments (rasa). No [poetic] meaning proceeds [from speech] 27-29. And [musical] notes such as, Sadja, Rsabha etc. without [any kind of] Sentiment. Now the Sentiment is are seven1 in number, and they fall into two groups3 human produced (rasa-nispattib) from a combination (samyoga)1 of (sarīra, lit. from body) and instrumental (vainava, lit. from Determinants (vibhava), Consequents (anubhava) and Comple- the Vina).1 mentary Psychological States (vyabhicāri-bbava). Is there any Four kinds of musical instrument instance [parallel to it]. [Yes], it is said that, as taste (rasa) The musical instruments are of four kindss2 stringed results from a combination of various spices, vegetables and (tata) covered (avanaddha), solid (ghana), and hollow (susira). other articles, and as six tastes are produced by articles such Among these, the 'stringed' means an instrument with as, raw sugar or spices or vegetables, so the Durable Psycho- strings, the 'covered' means a drum, the 'solid' a cymbal logical States (sthayibhava), when they come together with and the 'hollow' a flute. various other Psychological States, attain the quality of a Senti-

Five kinds of Dhruva ment (i. e. become Sentiment). Now one enquires, "What is

29-30. Songs which relate to Dhruvas are of five kinds!1 the meaning of the word rasa"?, It is said in reply [that rasa

entering (praveśa), casual (aksepa), going out (niskrama), is so called] because it is capable of being tasted (asvadyate). How is rasa tasted?, [In reply] it is said that just as well- are trans'ated by him as Eloquent (bharati), Grandiose (sāttvati), Gay (kaisiki) disposed persons while eating food cooked with many kinds of and Horrific (arabhati). We follow Keith's translation (Skt. Drama, p. 326). spice, enjoy (asvadayanti) its tastes, and attain pleasure and For details about vrttis see XXII. Iff 25-26 1 pravrtti-Haas translates this word as 'Local Characteristics,' satisfaction, so the cultured people taste the Durable Psycho- (See DR, p. 74). The five geographical names (Avanti, Dākșinātya, Odra, logical States while they see them represented by an expression Magadha and Pancala) indicate that these were the parts of India where of the various Psychological States with Words, Gestures and dramatic show gained special popularity. For details about pravrttis see XIV. 36-56. 2 siddbi (success)-For details about the Success see XXVII. Iff. 1 The NS. nowhere explains the terms nispatti and samyoga of this defini- 27-29 1 See XXVIII. 21, 10. tion and does not include the sthayibhava in it (the def.). Hence the theory 2 See XXVIII. 1-2. of rasa has come to be interpreted differently in later times by Lollata, Šankuka, 29-30 1 See XXXII. 60 ff. (Bhatta) Nāyaka and Abhinavagupta, 14r

I. 32 THE NATYASASTRA 106 107 SENTIMENTS V.I. 41 the Sattva, and detive pleasure and satisfaction. Thus is explained [the Memorial Verse ending with] tasmān natyarasa along with different kinds of Histrionic Representation will iti.2 For in this cannexion there are two traditional couplets cause the Sentiments to be felt.

32-33. Just as connoisseur of cooked food (bhakta) 36. There can be no Sentiment prior to (lit. without) while eating food which has been prepared from various spices the Psychological States, and no Psychological States without and other articles taste it, so the learned people taste in their the Sentiments [following it], and during the Histrionic heart (manas) the Durable Psychological States (such as love, Representation they result from their interaction. sorrow etc.) when they are represented by. an expression of 37. Just as a combination of auxiliary cooked eatables the Psychological States with Gestures. Hence these Durable (vyanjana) and rice, imparts good taste to the food [in Psychological States in a drama are called Sentiments.1 totality], so the Psychological States and the Sentiments cause

Relation between Sentiments and Psychological States. one another to manifest themselves (bhavayanti). 38. Just as a tree grows from a seed, and flowers and 'Now one enquires, "Do the Psychological States come fruits from a tree, to the Sentiments are the source (lit. root) out of the Sentiments or the Sentiments come out of the Psychological States?'s On this point, some are of opinion of all the Psychological States, and likewise the Psychological States exist [as the source of all the Sentiments] that they arise from their mutual contact. But this is not so. Why? Eight Sentiments from four original ones Now we shall describe the origin, colours, [presiding] It is apparent that the Sentiments arise from the Psychological States and not the Psychological States from the deities, and examples of these Sentiments. Sources of these

Sentiments. For [on this point] there are [traditional] [eight] Sentiments are the four [original] Sentiments e. g. Erotic, Furious, Heroic and Odious.1 couplets such as:) 39. The Comic [Sentiment] arises from the Erotic, the 34-35. The Psychological States are so called by experts Pathetic from the Furious, the Marvellous from the Heroic, it drama, for they make one feel (bhavayanti) the Sentiments and the Terrible from the Odious. in connexion with various modes of dramatic representation. Just as by many articles of various kinds, auxiliary ,cooked 40-41. A mimicry of the Erotic [Sentiment] is called

eatable (vyanjana)' is brought forth, so the Psychological States the Comic,' and the result of the Furious Sentiment is the Pathetic, the result of the Heroic Sentiment is called the 3 See below 33-34. Marvellous, and that which is Odious to see, results in the 32-33 1 For a discussion on Bharata's theory of rasa see Skt. Poetics, Vol. Terrible. II. pp. 25 ff. " The reading of this passage seems to be confused. If it is really an instance of textual corruption it may be said to have been (anna), and the various preparations from vegetables, meat and fish are only sanctified by time; for Bhoja who refuted Bharata's view on bhavas giving rise auxiliary eatables (vyañjana). to rasas, relied on this text. Cf. V. Raghavan, Sr. Pr. p. 26. 38 1 Bhoja criticises this view of the author of the NS. in his Sr. Pr. See 34-35 1 According to Indian practice. boiled rice is the principle food Ramaswamy Sastri, Bh. P. Introduction p. 28; also V. Raghavan, Śr. Pr. 27. 40-41 1 An example of this is the Prahasana.

VI, 42 THE NATYASASTRA 108 109 SENTIMENTS VI. 45

42-43. The Erotic Sentiment is light green (syama), the Comic Sentiment white, the Pathetic (Sentiment) It has two bases :; union and separation. Of these two,

(kapota), the Furious Sentiment red, the Heroic (Sentiment) grey the Erotic Sentiment in union arises from Determinants like

yellowish (gaura), the Terrible (Sentiment) black, the Odious the pleasures of the season, the enjoyment of garlands,

(Sentiment) blue and the Marvellous (Sentiment) yellow. unguents, ornaments, [the company of] beloved persons, objects [of senses], splendid mansions, going to a garden, Presiding 'deities of Sentiments and enjoying [oneself] there, seeing [the beloved one], 44-45. Visnu is the god of the Erotic, Pramathas of hearing [his or her words], playing and dallying [with him the Comic, Rudra of the Furious, Yama of the Pathetic, or her]. It should be represented on the stage by Con- Mahakala (Siva) of the Odious, Kala of the Terrible, Indra sequents such as clever movement of eyes, eyebrows, glances, of the Heroic, and Brahma of the Marvellous Sentiments. soft and delicate movement of limbs, and sweet words and 'Thus have been described the origin, colours and deities similar other things. Complimentary Psychological States in of these [Sentiments]. Now we shall explain the Determi- it do not include fear, indolence, cruelty and disgust. [The

nants, the Consequents, the Complementary Psychological Erotic Sentiment] in separation should be represented on the

States, their combination, definition and examples. stage by Consequents such as, indifference, langour, fear, We shall now enumerate the Durable Psychological jealousy, fatigue anxiety, yearning, drowsiness, sleep, dream- States in different Sentiments. ing, awakening, illness, insanity, epilepsy, inactivity, fainting,

The Erotic Sentiment death and other conditions.

Of these, the Erotic (srngara) Sentiment proceeds from Now it has been asked, "If the Erotic Sentiment has

the Durable Psychological State of love (rati), and it has as its origin in love, why does it [sometimes] manifest itself

its basis (lit. soul) a bright attire; for whatever in this world through pathetic conditions?," [In reply to this] it is said,

is white, pure, bright and beautiful is appreciated in terms of "It has been mentioned before that the Erotic Sentiment has

the Durable Psychological State of love. For example, one its basis in union as well as in separation. Authorities on

who is elegantly dressed is called a lovely person (srngārin). ars amatoria (vaisikasastra) have mentioned ten conditions [of

Just as persons are named, after the profession of their father, the persons separated from their beloved ones, which are

mother or family in accordance with the traditional authority, pathetic]. We shall discuss them in the chapter on the Hat-

so the Sentiments, the Psychological States and other objects monious Histrionic Representation.' The Pathetic Sentiment

connected with drama are given names in pursuance of the relates to a condition of despair owing to the affliction under

practice and the traditional authority. Hence the Erotic a curse, separation from dear ones, loss of wealth, death or

Sentiment has been so named on account of its usually captivity, while the Erotic Sentiment based on separation

being associated with a bright and elegant attire. It owes its relates to a condition of retaining optimism arising out of

origin to men and women and relates to the fulness of youth. 1 See XXIV.

VI. 46 THE NATYASASTRA I10 111 SENTIMENTS VI. 56

yearning and anxiety. Hence the Pathetic Sentiment, and ment), but when he makes others laugh, it (the Comic the Erotic Sentiment in separation differ from each other. Sentiments therein) is centred in others. And this is the reason why the Erotic Sentiment includes There are two traditional Aryas here:) conditions available in all other Sentiments. 49. As one laughs with an exhibition of oddly placed 46. And the Sentiment called Erotic is generally happy, ornaments, uncouth behaviour, words and dress and strange connected with desired objects, enjoyment of seasons, garlands movements of limbs, it is called the Comic Sentiment. and similar other things, and it relates to [the union of] man 50. As this makes [other] persons laugh by means of and woman. his uncouth behaviour, words, movement of the limbs and There are besides two Aryās related to the preceding strange dress, it is known as the Comic Sentiment. Sūtra : 51. This Sentiment is mostly to be seen in women and 47-48. The Erotic Sentiment arises in connexion with men of the inferior type, and it has six varieties of which favourable seasons, garlands, ornaments, enjoyment of the I shall speak presently. company of beloved ones, music and poetry, and going to 52. They area Slight Smile (smita), Smile (hasita), the garden and roaming there. It should be represented on Gentle Laughter (vihasita), Laughter of Ridicule (upahasita), the stage by means of composure of the eyes and the face, Vulgar Laughter (apabasita) and Excessive Laughter (atibasita) sweet and smiling words, satisfaction and delight, and Two by two they belong respectively to the superior, the graceful movements of limbs. middling and the inferior types [of persons]. The Comic Sentiment In persons of the superior type Now the Comic (basya) has as its basis the Durable Psycho- 53. To persons of the superior type belong the Slight logical State of laughter. This is created by Determinants Smile and the Smile, to those of the middling type the such as, showing unseemly dress or ornament, impudence, Gentle Laughter and the Laughter of Ridicule, and to those greediness, quarrel, defective limb, use of irrelevant words, of the inferior type the Vulgar Laughter and the Excessive mentioning of different faults, and similar other things. This Laughter. (the Comic Sentiment) is to be represented on the stage There are Ślokas on this subjectsg by Consequents like the throbbing of the lips, the nose 54. The Slight Smile (smita) of the people of the and the cheek, opening the eyes wide or contracting superior type should be characterized by slightly blown cheeks them, perspiration, colour of the face, and taking hold and elegant glances, and in it teeth are not be made visible. of the sides. Complementary Psychological States in it 55. Their Smile (basita) should be distinguished by ate indolence, dissimulation, drowsiness, sleep, dreaming, blooming eyes, face and cheeks, and in it teeth should insomnia, envy and the like. This (Sentiment), is of two be slightly visible. kinds aself-centred and centred in others. When a person In persons of the middling type himself laughs, it relates to the self-centred (Comic Senti- 56. The Gentle Laughter (vibasita) should have slight

VI. 57 THE NATYASASTRA 112 113 SENTIMENTS VI. 66 sound, and sweetness, and should be suitable to the occasion, and in it eyes and cheeks should be contracted and the are indifference, langour, anxiety, yearning, excitement

face joyful. delusion, fainting, sadness, dejection, illness, inactivity,

57. During the Laughter of Ridicule (wpahasita) the insanity, epilepsy, fear, indolence, death, paralysis, tremor,

nose should be expanded, eyes should be squinting, and change of colour, weeping, loss of voice and the like.

the shoulder and the head should be bent. On this point there are two Aryas: 62. The Pathetic Sentiment arises from seeing the In persons of the inferior type death of a beloved person, or from hearing something very 58. The laughter on occasions not suitable to it, the unpleasant, and these are its Determinants. laughter with tears in one's eyes, or with the shoulder and 63. This is to be represented on the stage by Conse- the head violently shaking, is called the Vulgar Laughter quents like weeping loudly, fainting, lamenting and bewail- (apahasita). ing, exerting the body or striking it. 59. The Excessive Laughter (atihasita) is that in which the eyes are expanded and tearful sound is loud and excessive, The Furious Sentiment

and the sides are covered by hands. Now the Furious (raudra) Sentiment has as its basis the 60. Comic situations which may arise in the course of Durable Psychological State of anger. It owes its origin to a play, for persons of the superior, middling or inferior type to Rāksasas, Dānavas and haughty men, and is caused by are thus to be given expression to. fights. This is created by Determinants, such as anger, 61. This Comic Sentiment is of two kindsg self-centred rape, abuse, insult, untrue allegation, exorcizing, threatening, and centred in others; and it relates to the three types of revengefulness, jealousy and the like. Its actions are beating, personsi superior, middling and inferior, and has thus [on breaking, crushing, fighting, drawing of blood, and similar the whole] six varieties. other deeds. This is to be represented on the stage by The Patbetic Sentiment means of Consequents, such as red eyes, knitting of eye-

Now the Pathetic (karuna) Sentiment arises from the brows, defiance, biting of the lips, movement of the cheeks,

Durable Psychological State of sorrow. It grows from Deter- pressing one hand with the other, and the like. Comple-

minants such as affliction under a curse, separation from dear mentery Psychological States in it are presence of mind,

ones, loss of wealth, death, captivity, flight accidents determination, energy, indignation, restlessness, fury,

or any other misfortune. This is to be represented on perspiration, trembling, horripilation, choking voice and the

the stage by means of Consequents such as, shedding tears, like.

lamentation, dryness of the mouth, change of colour, Now one enquires, "Is it to be assumed from the [above] drooping limbs, being out of breath, loss of memory and the statement about Räksasas that they only give rise to the like. Complimentary, Psychological States connected with it Furious Sentiment, and that this Sentiment does not relate to others?," [Reply]. "No, in case of others too, this

V1.66 THE NATYASASTRA 114 115 SENTIMENTS VI. 74

Sentiment may arise. [But in case of Rāksasas] it is to be agitation, energy (vega). determinatin of purpose, indignation, understood as their special function. They are naturally remembrance, horripilation and the like. There are two furious, for they have many arms, many mouths, standing ryas [on these points] : and unkempt hairs of brown colour, and prodigious physical 67. The Heroic Sentiment arises from energy, perseve- frame of black complexion. Whatever they attempt, be it rance., optimism, absence of surprise, and presence of mind their speech, movement of limbs or any other effort, is by and [such other] special conditions [of the spirit]. nature furious. Even in their love-making they are violent.1 68. This Heroic Sentiment is to be properly represented It is to be easily inferred that persons who imitate them give on the stage by firmness, patience, heroism, pride, energy, rise to the Furious Sentiment from their fights and battles. aggressiveness, influence and censuring words. On these points there are two Āryas: The Terrible Sentiment 64. The Furious Sentiment is created by striking, Now the Terrible (bhayanaka) Sentiment has as its cutting, mutilation and piercing in fights, and tumult of the basis the Durable Psychological State of fear. This is created battle and the like. by Determinants like hideous noise, sight of ghosts, panic 65. It should be representtd on the stage by special and anxiety due to [untimely cry of] jackals and owls,1 acts, such as the release of many missiles, cutting off the head, staying in an empty house or forest, sight of death or the trunk and the arms, capitivity of dear ones, or news of it, or discussion about it.

66. Such is the Furious Sentiment viewed [by experts]; It is to be represented on the stage by Consequents, such as

it is full of conflict of arms, and in it words, movement and trembling of the hands and the feet, horripilation, change

deeds are terrible and fearful. of colour and loss of voice. Its Complementary Psychological States are paralysis, perspiration, choking voice, horripilation, The Heroic Sentiment trembling, loss of voice, change of colour, fear, stupefaction, Now the Heroic (vira) Sentiment, relates to the superior dejection, agitation, restlessness, inactivity, fear, epilepsy and type of persons and has energy as its basis. This is created death and the like. by Determinants, such as presence of mind, perseverance, On these points there are two traditional Aryas8 diplomacy, discipline, military strength, aggressiveness, repu- 69. The Terrible Sentiment is created by hideous noise, tation of might, infuence and the like. It is to be repre- sight of ghosts, battle, entering an empty house or forest sented on the stage by Consequents, such as firmness, patience, offending one's superiors or the king. heroism, charity, diplomacy and the like. Complementary 70. Terror is characterized by looseness of the Psychological States in it are contentment, judgement, pride, limbs, the mouth and the eyes, paralysis of the thighs, looking around with uneasiness, drynes of the droop-

1 Cf. Bhattikāvya, VIII. 98. 68 1 These were considered omens of impending calamity.

VI. 74 THE NATYASASTRA 116 117 SENTIMENTS VI. 75 ing mouth, palpitation of the heart and horripilation. 71. This is [the character of] natural fear; the artifici- temple, audience hall (sabha), and seven-storied palace and

ally shown fear also should be represented by these conditions. [seeing] illusory and magical acts. It is to be represented

But in case of the feigned fear all efforts for its representation on the stage by Consequents, such as wide opening of eyes,

should be milder. looking with fixed gaze, horripilation, tears [of joy],

72. This Terrible Sentiment should be always repre- perspiration, joy, uttering words of approbation, making gifts,

sented by tremor of hands and feet, paralysis, shaking of the crying incessantly ba, ha, ha, waving the end of dhoti or

body, palpitation of the heart, dryness of the lips, the sari, and movement of fingers and the like. Complementary

mouth, the palate and the throat. Psychological States in it are weeping, paralysis, perspiration choking voice, horripilation, agitation, hurry, inactivity, The Odious Sentiment Now the Odious (bibhatsa) Sentiment has as its basis the death and the like.

Durable Psychological State of disgust. It is created by On this point there are two traditional Aryas:

Determinants like hearing of unpleasant, offensive, impure 75. The Marvellous Sentiment is that which arises

and harmful things or seeing them or discussing them. It from words, character, deed and personal beauty.

is to be represented on the stage by Consequents, such as 76. This is to be represented on the stage by a gesture

stopping movement of all the limbs, narrowing down of of feeling [sweet] smell, joyful shaking of limbs, and uttering

the mouth, vomitting, spitting, shaking the limbs [in disgust] ba, ba, ha sounds, speaking words ot approbation, tremor,

and the like. Complementary Psychological States in it choking voice, perspiration and the like.

are epileptic fit, delusion, agitation, fainting, sickness, Three kinds of the Erotic, the Comic and the

death and the like. On these points there are two tradi- Terrible Sentiment

tional Āryās: 77. The Erotic Sentiment is of three kinds, viz, of

73. The Odious Sentiment arises in many ways from words, dress and action. And the Comic and the Terrible

disgusting sight, tastes, smell, touch and sound which cause Sentiments are likewise of three kinds, viz, of limbs, dress

uneasiness. and words.

74. This is to be represented on the stage by narrow- Three kinds, of the Pathetic Nentiment

ing down the mouth and the eyes, covering the nose, bending 78. The Pathetic Sentiment is of three kinds, viz that

down the head and walking imperceptibly. arising from obstruction of lawful deeds, from loss of wealth The Marvellous Sentiment and from bereavement. 'The Marvellous (adbhuta) Sentiment has as its basis the Three kinds of the Heroic Sentiment Durable Psychological State of astonishment. It is created 79. The Heroic Sentiment is likewise of three kinds, by Determinants, such as sight of heavenly beings or events, viz. that arising from making gifts, from fulfilling one's attainment of desired objects, entry into a superior mansion, duty (dharma) and from fighting [one's enemy].

.VI. 80 THE NATYASASTRA 118 CHAPTER SEVEN

Three kinds of the Terrible Sentiment EMOTIONAL AND OTHER STATES 80. The Terrible Sentiment is also of three kinds, viz feigned fear, fear from a wrong action, and fear from an Bhavas (Psychological States) explained

apprehension of danger. o. Now I shall speak of the bhavas (Psychological Three kinds of the Odious Sentiment States, lit. fealings). An anquiry in this connexion is, "Why 81. The Odious Sentiment is of three kind, viz, are the bhavas so called?, Is it because they bhavayanti nauseating, simple, and exciting. Of these, the Sentiment (pervade) and are hence called bbavas ?. " It is said in reply from a sight of stool and worms is nauseating, and the sight that bhavas are so called, because through Words, Gestures of blood and similar objects is exciting. and Representation of the Sattva they bhavayanti (infuse) the meaning of the play [into the spectators]. Bhava is an Three kinds of the Marvellous Sentiment 82. The Marvellous Sentiment is of two kinds, vix. 'instrument,' of causation; for words, such as bhavita, vāsita

celestial and joyous. Of these the celestial is due to seeing and krta are synonymous. An expression like, 'O, all these things are bhavita (pervaded) by one another's smell or mois- heavenly sights, and the joys due to joyful happenings. 83. These are eight Sentiments and their definitions, tened by one another's juice,' is current even amongst the

I shall hereafter speak of the characteristics of the Psycho- common people. Hence the root bhavaya means 'to cause to pervade.' On this point there are the following Ślokas: logical States. I. When the meanings presented by Determinants and Here ends Chapter VI of Bharata's Nātyasāstra, Consequents are made to pervade (gamayte) [the heart of the which treats of Sentiments. spectators] they are called bhavas. 2. As in these, the inner idea of the playwright is made to pervade [the mind of the spectators] by means of Words, Gestures, colour of the face and Representation of the Sattva, they are called bhāvas. 3. As they cause the Sentiments relating to various kinds of Histrionic Representation to pervade [the heart of spectators], they are called bhava (States) by those who produce a drama. Vibhavas ('Determinants) explained "Now, why is the word vibbava used ?. " [Answer]a "The word vibhava is used for the sake of clear knowledge. It is synonymous with karana, nimitta and hetu. As Words, Gestures and Representation of the Sattva are vibhavyte (determined) by this, it is called vibhāva (Determinant).

VII. 7 THE NATYASASTRA 120 121 EMOTIONAL AND OTHER STATES VII. 1

Vibhavita [also] means the same thing as vijnata (clearly eight in number. These are the three varieties of the known). On this point there is a Śloka:) Psychological States. Hence we are to understand that there 4. As many things are vibhavyate (determined) by this ate fortynine Psychogical States capable of drawing out the through Words, Gestures and the Representation of the Sattva, it is named vibbava (Determinant). Sentiment from the play, The Sentiments arise from them when they are imbued with the quality of universality

Anubhavas (Consequents) explained (sāmanya, lit. commonness). On this point there is a

"Now, why is the word anubbava used?" (Answer) Śloka:)

"Because this anubhavayati [the spectators] (i.e. make them 7. The Psychological State proceeding from the thing

feel afterwards) [the effect of] the Histrionic Representation which is congenial to the heart, is the source of the Senti-

by means of Words, Gestures and the Sattva, it is called ment and it pervades the body just as fire spreads over dry

anubhava (Consequent). On this point there is a Śloka: wood.

5. As in it the play (lit. meaning) is anubhavyate (made Durable and other Psychological States to be felt) by means of Words and Gestures, it is called It is said in this connexiong "If the fortynine Psycho- anubhava, and it relates to words as well as to [gestures and logical States being represented by Determinants and Conse- movements of] major and minor limbs. quents coming into contact with one another become Senti- Now we have explained that the Psychological States are ments when they are imbued with the quality of universality, related to Determinants and Consequents. Thus are Psycho- how is it that Durable Psychological States only are changed logical States created. Hence we shall discuss the definitions inro Sentiments [and not others]? [In reply to this] it is and examples of the Psychological States together with their said: "Just as among persons having same characteristics and Determinants and Consequents. Of these, the Determinants similar hands, feet and belly and celebrity, some due to their and the Consequents are well-known among the people. They birth, manners, learning and skill in arts and crafts, attain being connected with the human nature, their definitions are kingship, while others endowed with an inferior intellect not discussed. This is for avoiding prolixity. On this point become their attendants, in a similar manner, Deter- there is the Śloka: minants, Consequents and Complementary Psychological 6. Determinants and Consequents are known by the States become dependeut on the Durable Psychological States. wise to be things which are created by human nature and Being the shelter [of others] the Durable Psychological are in accordance with the ways of human nature and with States become masters. Similarly other Psychological States the ways of the world. (lit. feelings) reduced to subordination take sheter with Now the the Durable Psychological States are them (i.e. the Durable Psychological States) due to superior eight in number. The Camplementary Psychological merit [of the latter]. Those becoming their retinue are the States are thirtythree and the Sattvika States are Complementaly Psychological States. "Is there any parallel 16r

VII. 9 THE NATYASASTRA 122 123 EMOTIONAL AND OTHER STATES VII. 14

instance?" [Answer.] "Just as only a king surrounded On this point there is a traditional Ślokaj: by numerous attendants receives this epithet and not any 10. Laughter arises from a mimicry of other people's other man be he ever so great, so the Durable Psychological States only followed by Determinants, Consequents and actions. It is to be represented on the stage by the learned

Complimentary Psychological States, receive the name of with Smile, Laughter and Excessive Laughter. Sorrow Sentiment. [On the point] there is a traditional Sloka: Sorrow (soka) is caused by Determinants such as death of 8. Just as a king is superior to other men, and the the beloved one, loss of wealth, experience of sorrow due to preceptor is superior to his disciples, so the Durable Psycho- any one's murder or captivity and the like. It is to be logical States are superior to the other Psychological States. represented on the stage by Consequents such as shedding Durable Psychological States tears, lamentation, bewailing, change of colour, loss of voice, Characteristics of these which are known as the Senti- looseness of limbs, falling on the ground, crying, deep breath- ments have been mentioned before. Now we shall discuss ing, paralysis, insanity, death and the like. Weeping here the marks of the Psychological States common to them. (i.e. in a play) is of three kindsta [weeping] of joy, [weeping] First of all we shall take up [the case of] the Durable of affliction and [weeping] due to jealousy. On these points Psychological States. there are traditional Āryās !: Love 1I. Weeping in which the cheeks are blooming in joy, Love (rati) which has pleasure as its basis, is caused by the body is horripilating, there are words of remembrance, Determinants like seasons, garlands, unguent, ornaments, and tears are not concealed, is called weeping of joy. dear ones, enjoyment of a superior residential house, and 12. Weeping in which there is a loud sound, copious absence of opposition [from any one]. It is to be represented shedding of tears, uneasiness of the body, want of steady on the stage by Consequents such as a smiling face, sweet movements and efforts, lamentation after falling on the words, motion of eyebrows, and glances and the like. ground, and rolling on the earth, is called weeping due to There is a Sloka [on this point]s affliction. 9. Love arises from the attainment of desired objects. 13. Loud weeping of women in which the lips and the Because of its agreeableness, it is to be represented on the cheeks are throbbing and the head is shaking, the eyebrows stage by sweet words accompanied by, [suitable] gestures and and the glances are moving in anger, is called weeping due to movements of limbs. jealousy. Laughter 14. Sorrow relates to women, persons of the inferior Now, Laughter (basya) is caused by Determinants such as type, and it has its origin in affliction [of any kind]. With mimicty of others' actions, incoherent talk, obtrusiveness, relation to it, persons of the superior and the middling types foolishness and the like. It is to be represented on the stage are distinguished by their patience and those of the inferior by means of Smile and the like. type by their weeping.

VII. 20 THE NATYASASTRA 124 125 EMOTIONAL AND OTHER STATE VII. 24

Anger power, patience, heroism and the like. It is to be represented Anger (krodha) is caused by Determinants such as inso- on the stage by Consequents such as steadiness, munificence, lence, abusive language, quarrel, altercation, opposing [persons boldness in an undertaking, and the like. On this point or objects] and the like. It is to be represented on the stage there is a Śloka: by Consequents such as swollen nose, upturned eyes, bitten 21. Energy which has effort as its basis and which grows lips, throbbing cheeks and the like. out of alertness and such other qualities, should be represented 15. Anger is of five kinds, viz., anger caused by ene- on the stage by acts of vigilance and the like. mies, superior persons, lovers, servants, and feigned anger. On this point there are traditional Aryas: 1,6. One should show anger against control by the enemy Fear

with knitting of eyebrows, fierce look, bitten lips, hands Fear (bhaya) relates to women and persons of the inferior

clasping each other, and with threatening arms, shoulder and type. It is caused by Determinants such as acts offending chest. one's superiors and the king, roaming in a forest, seeing an

17. One should show anger against control by superiors elephant and a snake, staying in an empty house, rebuke

with slightly downcast eyes, wiping off slight perspiration from one's superiors], a dark rainy night, hearing the hooting

and not expressing any violent movement. of owls and the cry of animals that go out at night, and the

18. One should show one's anger to the beloved woman like. It is to be represented on the stage by Consequents

by. a very slight movement [of the body], by shedding tears, such as, trembling hands and feet, palpitation of the heart,

and knitting eyebrows and with sidelong glances, and paralysis, dryness of the mouth, licking the lips, perspiration,

throbbing lips. tremor, apprehension [of danger], seeking safety, running

19. Anger to one's servants should be represented on away, loud crying and the like. On this point there are

the stage by means of threat, rebuke, dilated eyes and by Ślokas:i

casting angry looks of various kind. 22. Fear arises from an embarassment due to offending

20. Anger which is shown with a view to the realiza- one's superiors and the king, seeing terrible objects and hear-

tion of an ulterior motive and which mostly betrays marks of ing awful things.

effort, is called feigned anger, and it relates to (lit. moves 23. This is to be represented with tremor of the limbs,

between) two Sentiments, panic, drying up of the mouth, hurried movement, widely opened eyes and such other gestures and actions. Energy 24. Fear in men arising from terrifying objects should Energy (utsaba) relates to persons of the superior type. be represented on the stage by actors (lit. dancers) with slack- It is caused by Determinants such as absence of sadness, ened limbs and suspended movement of the eyes.

VII. 27 THE NATYASASTRA I26 127 EMOTIONAL AND OTHER STATES .V.II. 30 There is also an Ārya on this point& 25. This (fear) should be represented on the stage with [In answer] it is said that vi and abbi are prefixes, and the

tremor of hands and feet, and palpitation of the heart, para- root cara means 'to go,' 'to move. Hence the word vyabhi-

lysis, licking the lips, drying up of the mouth, loosened limbs carinab means 'those that move in relation to Sentiments

and sinking (visanna) body. towards different [kinds of objects.]' 'Move in' implies carrying. It is questioned, "How do they carry?" In answer it Disgust Disgust (jugupsa) relates to women and persons of the is said, "It is a popular convention to say like this, just as the

inferior type. It is caused by Determinants such as hearing people say, "The sun carries this naksatra (star) or that day." It does not, however, mean that these are carried on arms or and seeing unpleasant things, and the like. It is to be repre- shoulders. But this is a popular belief. Just as the sun sented on the stage by Consequents such as, contracting all carries this star, so is to be understood that the Com- the limbs, spitting, narrowing down of the mouth, heart-ache plementary Psychological States [carry the Sentiments]. and the like. On this point there is a Śloka. These Complementary Psychological States as mentioned in 26. Disgust is to be represented on the stage by covering the Digest are thirtythree in number. We shall describe the nose, contracting all the limbs, [general] 'uneasiness and them now. heart-ache. Despondency Astonishment Despondency (nirveda) is caused by Determinants such as, Astonishment (vismaya) is created by Determinants such being reduced to poverty, getting insulted, abusive language, as illusion, magic, extraordinary feats of men, great excellence anger, beating, loss of beloved persons, and the knowledge of in painting, art-works in parchment and the like. It is to be the ultimate (lit. essential) truth and the like. It is to be represented on the stage by Consequents such as wide open- represented on the stage by Determinants such as weeping, ing of the eyes, looking without winking of the eyes, [much] sighing, deep breathing, deliberation and the like, on the part movement of the eyebrows, horripilation, moving the head of women, and of persons of the inferior type. to and fro, the cry of "well done," "well done," and the On this point there is a Śloka like. On this point there is a Ślokaa 28. Despondency grows out of being reduced to poverty, 27. Astonishment arising from joy due to extraordinary and loss of dear ones, and it is to be represented on the stage acts should be represented by means such as joy, tears, faint- by deliberation and deep breathing. ing and the like. On this point there are two traditional Aryast

Complementary Psychological States 29. Despondency arises from loss of dear ones, poverty, Durable Psychological States are to be known as des- disease, envy from seeing the prosperity of others. cribed here. We shall now explain the Complementary 30. A despondent man has the eyes bathed in tears,

Psychological States. "Why are these called vyabhicarinab?" face and eyes miserable due to heavy breathing, and he is like a yogi absorbed in meditation.

VII. 33 THE NATYASASTRA 128 129 EMOTIONAL AND OTHER STATES V.II. 39 Weakness Weakness (glani) proceeds from Determinants such as, There are two Aryas in this connexiona

vomitting, purgation, sickness, penance, austerities, fasting, 34. Apprehension is of two kinds9 viz. that arising from

mental worry, too much drinking, sexual indulgence, too one's ownselt and that arising from another person. That

much exercise, walking a long way, hunger, thirst, sleep- arising from one's own self is to be known from one's look

lessness and the like. It is to be represented on the stage by and efforts.

Consequents such as a weak voice, lustreless eyes, pale face, 35. A man with Apprehension has a dark face, a thick

slow gait, want of energy, thinness of the body, change of and protruding tongue, slightly trembling limbs, and he constantly looks sideways, colour and the like. Envy On this point there are two Aryas: Envy (asūya) is caused by Determinants such as various 31. Weakness grows out of vomitting, purgation and offences, hatred, other people's wealth, good luck, intelligence, sickness, penance, and old age. It is to be represented on the sports, learning and the like. It is to be represented on the stage by thinness of the body, slow gait and tremor [of the stage by Consequents such as finding fault with others, decry- limbs]. ing their virtues, not paying any heed to these, remaining 32. Weakness is to be represented on the stage by a with downcast face, knitting eyebrows in disparagement, and very weak voice, weakness of the eyesight, poor gait, constant abusing others in the assembly [of men]. slackness of the limbs. On these points there are two Aryasa Apprebension 36. Envy arises in a person who is displeased to see Apprehension (sanka) has doubt as its basis, and it relates other people's good fortune, wealth, intelligence, and exuber- to women and persons of the inferior type. It is caused by ence of sportiveness. Determinants such as theft, giving offence to the king and the like. It is to be represented on the stage by Consequents 37. It is to be represented by a distorted face, knitting eyebrows, face turned away in jealous anger, decrying other such as constantly looking on, hesitating movement (avakun- people's virtues and showing hatred towards them. thana), dryness of the mouth, licking the lips, change of Intoxication facial colour, tremor, dry lips, loss of voice and the like. There is Sloka on these pointsa Intoxication (mada) is caused by drinking of liquor and

33. Apprehension in the Terrible Sentiment is due to similar other things. It is of three kinds, and has five Deter- minants. robbery, and the like, and in case of the Erotic Sentiment it There are the following Aryas on this point:

is due to [a possible] deception on the part of the lover. 38. Intoxication is of three kinds, viz. light, medium

Some authorities prescribe (lit. desire) in this case a con- and excessive. It has five causes which should be represented on the stage. cealment of appearance which is to be characterized by [adop- tion of] clever tricks and gestures. While intoxicated some sing, some laugh and some use harsh words while others sleep. 39.

17

VII. 40 THE NATYASASTRA 130 131 EMOTIONAL AND OTHER STATES VII. 49 40. Among these, persons of the superior type sleep, There is an Arya on this point:) those of the middling type laugh and sing, and those of the 47. Weariness in man is caused by walking [a long dis- inferior type cry or use harsh words. tance] and exercising [the limbs], and it is to be represented 41. Light intoxication is characterised by a smiling face, on the stage by [deep] breathing, tired gait and the like. pleasant feeling, joyful body, slightly faltering words, delica- tely unsteady gait, and relates to persons of the superior type. Indolence 42. Medium intoxication is characterised by drunken Indolence (alasya) is caused by Determinants such as and rolling eyes, drooping arms or arms restlessly thrown nature, lassitude, sickness, satiety, pregnancy and the like. about and irregularly unsteady gait, and relates to persons of And it relates to women, and men of the inferior type. It it the middling type. to be represented on the stage by Consequents such as aver- 43. Excessive intoxication is characterised by loss of sion to any kind of work, lying down, sitting, drowsiness, sleep memory, and incapacity to walk due to vomitting, hiccup and the like. On this point there is an Arya:) and cough, and a thick protruding tongue and spitting, and 48. Indolence arising from lassitude as well as nature relates to persons of the inferior type. should be represented on the stage by discontinuance ot all 44. A character who [acts] drinking on entering the activity except taking food. stage is to show that his intoxication is increassing, but the Depression character who enters the stage as drunk should show that his intoxication is decreasing. Depression (dainya) is caused by Determinants such as 45. But the intoxication should be stopped by exit poverty, mental agony and the like. It is to be represented when there is panic, grief and increase of terror due to some on the stage by Consequents such as want of self-command, dullness of the body, absent-mindedness, giving up of cleans- cause. 46. On account of these special conditions, intoxication ing [the body] and the like. disappears quickly just as grief passes away on hearing the There is in Arya on this point: happy news of [sudden] prosperity. 49. Depression of men proceeds from anxiety, eager ex- pectation and misery. Different modes of representing it on Weariness the stage includes giving up of cleansing [the body] in any way. Weariness (śrama) is caused by Determinants such as Anxiety walking a long way, exercising of limbs and the like. It is Anxiety (cinta) is caused by Determinants such as loss to be represented on the stage by Conseqents such as gentle of wealth, theft of a favourite object, poverty and the like. rubbing of the body, [deep] breathing, contraction of the It is to be represented on the stage by [deep] breathing, sigh- mouth, belching, massaging of the limbs, very slow gait, con- ing, agony, meditation, thinking with a downcast faee, thin- traction of the eyes, making Sitkara and the like. ness of the body and the like.

VII. 50 THE NATYASASTRA I32 133 EMOTIONAL AND OTHER STATES, VII. 57

There are two Aryas on this point@ On this point there is a Śloka and an Āryā:) 50. Anxiety of men arises in various ways from the 54. One is said to be recollecting something when one loss of wealth, theft of a favourite object, and a heart full of remembers past happiness and misery which were either con- expectation. ceived in mind or did actually occur and was forgotten, 51. It is to be represented on the stage by sighing, 55. Recollection arising from health, or relating to the deep breathing, agony, and absent-mindedness, giving up of Vedas and Darśanas is to be represented on the stage by rais- cleansing [the body] and want of self-command. ing or nodding of the head and raising the eyebrows.

Distraction Contentment Distraction (moba) is caused by Determinants such as Contentment (dhrti) is caused by [Determinants such as] accidental injury, adversity, sickness, fear, agitation, remem- heroism, spiritual knowledge, learning, wealth, purity, good bering past enemity and the like. It is to be represented on conduct, devotion to one's superiors, getting excessive amount the stage by Consequents such as want of movemenr, [exces- of money, enjoying sports, and the like. It is to be represent- sive] movement of [a particular] limb, falling down, reeling, ed on the stage by Consequents such as enjoyment of objects not seing properly and the like. gained, and not grumbling over objects unattained, the past, There is a Sloka on this pointy [objects] partially enjoyed and lost and the like. 52. Due to seeing a robber in an unexpected place or On this point there are two Aryast from panic of different kinds distraction occurs in a man when he finds no help [near by]. 56. Contentment arising from spiritual knowledge, purity, wealth and power, is always to be represented on the There is also an Arya on this point:) stage by an absence of fear, sorrow end sadness. 53, Distraction occurs due to adversity, accidental in- 57. When one enjoys attained objects such as [sweet] jury, memory of past enmity. It is to be represented on the sound, touch, taste, form and smell, and is not sorry over stage by suspension of the activity af all senses. their non-attainment, one is said to have Contentment.

Recollection Shame Recollection (smrti) is remembering every condition of Shame (urida) has improper action as its basis. It is caused happiness and misery. It is caused by Determinants such as by Determinants such as repentance on account of transgress- health, troubled night, disturbed sleep, seeing parallels, having ing words of superiors or disregarding them, nonfulfilment of an example, thinking, constant practice and the like. It is vows and the like. It is to be represented on the stage by to be represented on the stage by Consequents such as nodd- Consequents such as covered face, thinking with downcast ing of the head, looking down, raising up the eyebrows and face, drawing lines on the ground, touching clothes and rings, the like. and biting the nails, and the like.

VII. 58 THE NATYASASTRA 134 135 EMOTIONAL AND OTHER STATES VII. 63 There are two Aryas on this point :; Agitation 58. When a man, after he has done anything improper, Agitation (avega) is caused by Determinants such as por- is seen by those who are pure, he becomes repentant and is tents, wind or rains, [outbreak of] fire, running about of ashamed. elephants, hearing very good or very bad news, stroke of cala- 59. The ashamed man will cover his face, draw lines mity and the like. In this connexion portents include [a on the ground, bite the nails and touch clothes and rings. stroke of] lightning and [falling]of meteors or shooting stars, Inconstancy eclipse of the sun and the moon, and appearance of comets. Inconstancy (capalata) is caused by Determinants such as love, hatred, malice, impatience, jealousy, opposition and the It is to be represented on the stage by looseness of all the like. It is to be represented on the stage by Consequents limbs, distraction of the mind, loss of facial colour, surprise and the like. [Agitation] due to violent winds is to be repre- such as harsh words, rebuke, beating, killing, taking prisoner, goading and the like. sented by veiling [the face], rubbing the eyes, collecting [the ends] of clothes [worn], hurried going and the like. [Agita- There are two Aryas on this pointa tion] due to [heavy] rains is to be represented by lumping 60 When a man does anything like killing or beating together of all the limbs, running, looking for some covered any one withot any forethought, he is said to be inconstant shelter, and the like. [That] due to [an outbreak of] fire is because of his not being definite in his action. to be represented by eyes troubled with smoke, narrowing Joy Joy (harsa) is caused by Determinants such as attainment down all the limbs, or shaking them, running with wide steps, flight and the like. That due to running about of of a desired object, union with a beloved person, mental elephants is to be represented by hurried retreat, unsteady satisfaction, favour of gods, preceptor, king, and husband (or gait, fear, paralysis, tremor, looking back and the like. · master), receiving [good] food, clothing and money and en- [That] from hearing something favourable is to be represented joying them, and the like. It is to be represented on the by getting up, embracing, giving away clothes and ornaments, stage by means of Consequents such as brightness of the face weeping, horripilation and the like. That due to hearing and the eyes, using sweet words, embracing, horripilation, anything unpleasant is to be represented by falling down tears, perspiration and the like. on the ground, lamentation, rolling about [even] on a rough There are two Aryas on this point: surface, running away, bewailing, weeping and the like. 61. Joy is caused to a man when he has attained any And that due to a stroke of calamity (vyasana) is to be object or obtained anything which was unobtainable or has represented by sudden retreat, taking up weapons and armour, met his beloved one or has his heart's desire fulfilled. mounting elephants and horses and chariots, determination 62. It is to be represented on the stage by brightness of and the like. the eyes and the face, loving words, embrace, delicate move- 63. Agitation of these eight kinds has hurry as its ment of the limbs, and perspiration and the like. basis. This is characterised by patience on the part of persons

VII, 64 THE NATYASASTRA 136 137 EMOTIONAL AND OTHER STATES VII. 70

of the superior and the middling types; but agitations of the and attainment of wealth is to be represented by movement inferior type is marked by flight. of the eyes and the limbs. On this point there two Aryasg Despair

64. Agitation occurs over an unpleasant report, disre- Despair (visada) is caused by Determinants such a non- gard of instruction, throwing a missile, and panic. fulfilment of the work undertaken, natural calamity and the 65. Agitation due to an unpleasant report, has as its like. It is to be represented on the part of persons of the superior Consequents assuming a sad look, and that due to a sudden and the middling types by Consequents such as looking for appearance of enemy is to be represented by clash of weapons. allies, thinking about means, loss of energy, absentmindedness, Stupor deep breathing the like. And on the part of persons of the Stupor (jadata) is caused by Determinants such as cessa- inferior type it is to be represented by running about aimlessly tion of all activity, hearing of a much desired thing or a looking down, drying up of the mouth licking the corner of [very] harmful thing, sickness and the like, It is to be re- the mouth, sleep, deep breathing, meditation and the like. presented on the stage by Consequents such as not uttering There are two Aryas on this pointa any word, speaking indistinctly, remaining absolutely silent, 68. Despair arises from nonfulfilment of the work looking with a steadfast gaze, dependence on others and the begun, being taken at the time of committing theft, and like. giving offence to the king and like. There is an Arya on this point: 69. In case of persons of the superior and the middling 66. A man is called stupid when due to senselessness he types this is to be represented by mental distraction and cannot distinguish between good and evil as well as happiness thinking about various means, and in case of persons of the and misery, and remains silent, and dependent on others. inferior type sleep, deep breathing, and [aimless] reflection Arrogance are to represent it. Arrogance (garva) is caused by Determinants such as king- Impatience ship, noble birth, personal beauty, youth, learning, power, Impatience (autsukya) is created by Determinants such as attainment of wealth ond the like. It is to be represented on separation from beloved persons, remembering them, sight of the stage by Consequents such as contempt [for others], a garden and the like. It is to be represented on the stage harassing [people], not giving reply [to one's question], not by Consequents such as sighs, thinking with downcast face, greeting [others], looking to shoulders, flurry, contemptous sleep, drowsiness, desire for lying down and the like. laughter, harsh words, transgressing [commands of] the supe- There is an Arya on this point :] riors, rebuking and the like. 70. Impatience arises from the loss of beloved persons There is an Arya on this point: òr from remembering them. This is to be represented on the 67, Arrogance of persons of the inferior type due to stage by thinking, want of sleep, drowsiness, dullness ot the acquisition of learning, youth, personal beauty, royal power body and the like. 18

VII. 71 THE NATYASASTRA 138 139 EMOTIONAL AND OTHER STATES VII. 76 Sleeping Sleeping (nidra) is caused by Determinants such as weak- [eats] Ucchista1, stays in a deserted house, disregards ness, fatigue, exhaustion, intoxication, indolence, [too much] proper interval of time [for taking food etc.], and is impure thinking, too much eating, [soporific] nature and the like. It [in body]. is to be represented on the stage by Consequents such as heavi- 74. Falling down suddenly on the ground, trembling, foaming in the mouth, and rising up while senseless, are ness of the face, streching the limbs, rolling of the eyes, yawning, rubbing of the body, deep breathing, relaxed body, conditions during Epilepsy. closing the eyes, bewilderment, and the like. Dreaming There are two Aryas on this point [:) Dreaming (supta) is caused by Determinants such as inter- 71. Sleep comes to a man through weakness, fatigue, ruption of sleep, enjoying objects of senses, infatuation [of exertion, [too much] thinking, natural tendency [to sleep] any kind], spreading the bed on the ground, dragging the and keeping awake throughout the night. bed over the ground and the like. The dreaming which 72. It is to ba represented on the stage by Consequents occurs in sleep is to be represented by Consequents such as such as heaviness of the face, closing the eyes, or their rolling, deep breathing, dullness of the body, closing the eyes, stupe- stupor, yawning, massaging of the body and the like. faction of all the senses, dreams and the like. Epilepsy There are two Aryas on this point: Epilepsy (apasmara) is caused by Determinants such as 75. Dreaming occurs due to interruption of sleep, enjoy- being possessed by a god, a Nāga, a Yaksa, a Rākșa, a Piśāca ing objects of senses and infatuation [of any kind]. It is to and the like, and a memory of such beings, eating food left be represented on the stage by closing the eyes, deep breath- after somebody's partaking of it, staying in a deserted house, ing, dreaming dreams and talking while asleep. non-observation of proper interval of time [in taking food, 76. Dreaming is to be represented on the stage by deep in sleeping etc.], derangement of humours (dbatu)1 and the breathing, imperfectly closing eyes, stupefaction of all senses like. It is to be represented on the stage by Consequents and absence of all activity. such as throbbing, trembling, running, falling down, perspi- Awakening ration, foaming in the mouth, hiccup, licking [the lips] with Awakening (vibodha) is the break of sleep, and it is caused the tongue, and the like. by Determinants such as digestion of food, bad dreams, loud On this point there are two Aryas sound, sensitive touch and the like. It is to be represented 73. Epilepsy occurs in a person when he is possessed on the stage by Consequents such as yawning, rubbing the by Bhutas and Pisacas, when he remembers these beings, eyes, leaving the bed, and the like. 72. 1 They are three in number viz, wind (vāyu), bile (pitta) and three in 73. 1 That which is left over in the plate after a person has Anished phlegm (kapha). his meal.

VII. 80 THE NATYASASTRA 140 141 EMOTIONAL AND OTHER STATES VII. 82 There is an Arya on this point: 77. Awakening is caused by digestion of tood, [loud] is to be represented on the stage by Consequents like killing, imprisoning, beating, rebuking and the like. sound, [sensitive] touch and the like. It is to be represent- ed on the stage by yawning, rubbing the face and the eyes, There is an Arya on this pointt and the like. 81. Cruelty occurs when a robber is arrested or the king Indignation is given affence. It is to be repressented on the stage by Indignation (amarsa) is caused to persons abused or insul- Consequents such as killing, imprisoning, beating, rubuking ted by those having superior learning, wealth or power, It and the like. is to be represented on the stage by Consequents such as Assurance shaking the head, perspiration, thinking and reflectiug with. Assurance (mati) is caused by Determinants such as a downcast face, determination, looking for ways and means thinking about the meaning of many Sastras and considering and allies, and the like. the pros and cons of things. It is to be represented on the There are two Ślokas on this points 3 stage by Consequents such as instructing pupils, ascertainment 78. Indignation grows in energetic men who have been of [any] meaning, removal of doubt and the like. abused or insulted in an assembly by those having superior There is a Ślokā on this point9 learning and wealth. 82. Assurance comes to men when they are well-versed 79. It is to be represented on the stage by energy, in the meaning of many Sastras. It is to be represented on determination, reflection with a downcast face, shaking the the stage by Consequents such as instructing pupils and ex- head, perspiration and the like. plaining the meaning [of Śāstras]. Dissimulation Disease Dissimulation (avabittha) is the concealment of appearance. It is caused by Determinants such as shame, fear, defeat, res- Disease '(vyadhi) owes it origin to [an attack of three humours such as] wind (vāta), biles (pitta) and phlegm pect, deceit and the like. It is to be represented on the stage (kapha).1 Fever and similar other illnesses are special varieties by Consequents such as speaking like another person, looking of it. Fever is of two kinds, viz. that with a feeling of cold downwards, break in the speech, feigned patience and the like. (sita) and that with a feeling of heat (daha). Fever with a There is a Sloka on this point: 80. Dissimulation is due to impudence, deceit, fear and feeling of cold should be represented by Consequents such as the like. It is to be represented by carelessness about an action, shivering, tremor of the entire body, bending [the body], shaking of the jaws, natrowing down the nasal passage, dry- and not speaking much in reply or in addressing [others]. ness of the mouth, horripilation, lamentation and the like. Cruelty And that with a feeling of heat, is to be represented by Cruelty (ugrata) is caused by Determinants such as arrest of robbers, offence to kings, offending words and the like. It 82, 1 See the Kāśyapasamhitā, XXVII. 6.

VII. 83 THE NATYASASTRA 242 143 EMOTIONAL AND OTHER STATES .VII. 86

throwing out clothes, the hands and the teet, desire [to roll Death on] the ground, [use of] unguent, desire for coolness, lamen- tation, crying and the like, The other types of sicknesses Death (marana) comes through disease as will as acciden-

are to be represented on the stage by Consequents such as tal injury. Of these two kinds of death, that from sickness

narrowing down the mouth, dullness of the body, [deep] is caused by Determinants such as a malady of the intestine

breathing, making [peculiar] sounds, ctying, tremor and the and the liver, colic pain, disturbance of humours, tumours,

like. boils, fever, cholera, and the like. And that due to acciden-

There is a Sloka on this point :) tal injury is caused by weapons, snake-bite, taking poison,

83. Sickness in general should be represented on the [attack of] ferocious animals, injury due to falling down from

stage by looseness of the limbs, throwing out the limbs and elephant, horse, chariot and other vehicles. I shall now speak of the different methods of their representation on the narrowing down the mouth due to illness. stage. Death from disease is to be represented on the stage Insanity by Consequents such as looseness of the body, motionlessness Insanity (unmada) is caused by Determinants such as of the limbs, closed eyes, hiccup, deep breathing, looking death of beloved persons, loss of wealth, stroke of adversity, for family members, speaking indistinct words and the like.1 derangement of [the three humours]: wind (vata), biles (pitta), phelgm (slesma), and the like. It is to be represented on There is a Sloka on this pointg

the stage by laughing, weeping, crying, talking, lying down, 86. Death due to disease is to be represented on the

sitting, running, dancing, singing and reciting [something] stage by one mark viz. loose body and inactive sense-organs.

without any reason, smearing [the body] with ashes and dust, But death due to accidental injury is to be represented on

taking grass, Nirmalya1. soiled cloth, rags, potsherd and the stage in different ways: e.g, [death due to] wound by

earthen tray as decoration [of the body], many other senseless weapons is to be represented by Consequents such as sud-

acts, and imitation of others. denly falling down on the ground and the like. In case of snake-bite or taking poison [there is a gradual] development There are two Aryas on this point: 84. Insanity occurs owing to death of beloved persons, of its symptoms which are eight in number, viz. thinness (of the body), tremor, burning sensation, hiccup, foam at the loss of wealth, accidental hurt, wind (vata), biles (pitta), phlegm (kapha),derangement of the heart in various ways. mouth, breaking of the neck, paralysis and death.

85. Insanity is to be represented by laughing, weeping, sitting, running and crying without any reason, and [other] 85. 1 Earlier writers on the Hindu drama wrongly believed that NS. senseless acts. excluded scenes of death from the stage. See Keith, Skt. Drama, pp. 222; also M. Ghosh, "A so-called convention of the Hindu Drama," IHQ. IX. 83. 1 Remains of a flower-offering to a deity, which is supposed to 1933, pp. 981 ff. Windisch thought that Sudraka in his Act. VIII violated purify a person who takes it with reverence. a rule in showing the murder of Vasantasena by Sakara (Der griechische Einfluss in indische Drama, Berlin, 1882. p. 43).

VII. 88 THE NATYASASTRA 144 149 EMOTIONAL AND OTHER STATES VII. 92 There are two traditional Slokas on this pointa There is a Śloka on this point8 87-88. The firt symptom of the development [of the effect of poison] is thinness of the body, the second tremor, 92. Deliberation which arises from discussions and which

the third a burning sensation, the fourth hiccup, the fifth has doubt as its basis, is to be represented on the stage by

foaming at the mouth, the sixth breaking of the neck, the shaking of the head, the eyebrows and the eyelashes.

seventh paralysis and and ths eighth death. These are the thirtythree Transitory States; they are to be produced in a play by men and women of the superior, There are besides two Aryas ou this pointd middling and inferior types in conformity with [proper] 89. Death due to [an attack of] a ferocious animal, place, time and occasion. elephant, horse, or falling from chariots and mounts, and 93. These thirtythree are known as the Transitory wound by weapons should be represented by absence of any States. I shall now explain in detail the Sattvika States.1 further movement of the body. 90. Thus death occurs under various conditions. It Sattvika States should be represented by suitable words, gestures and move- Now it may be asked, ments. "Are these States called Sāttvika, because other States .. Fright (Determinants, Consequents and Transitory States) are said Fright (trasa) is caused by Determinants such as flash of to be devoid of Sattva?" [In answer] it is said that the lightning, a meteor, thunder, earthquake, clouds, crying or Sattva in this connexion is [something] originating in mind. howling of big animals and the like. It is to be represented It is caused by the concentrated mind. The Sattva is accom- on the stage by Consequents such as, shaking of narrow plished by concentration of the mind. Its nature [which in- limbs, tremor [of the body], paralysis, horripilation, speaking cludes] horripilation, tears, loss of colour and the like, cannot with a choked voice, talking irrelevantly, and the like. be mimicked by an absent-minded man. The Sattva is There is a Sloka on this points desired in a play because of its imitating human nature. 91. Fright is caused by a very terrible sound and the If the question is, 'Is there any example in support of this like. It should be represented on the stage by looseness of view?' then it may be said that in theatrical practice, situa- limbs and half-shut eyes. tions of happiness as well as misery should so purely accord with the Sattva behind them that they may appear to be Deliberation realistic (yathasvarupa). How can sorrow which has weeping Deliberation (vitarka) is caused by Determinants such as as its basis, be represented on the stage by any one who is not doubt, cogitation, perplexity and the like. It is to be repre- sorry ?. And how can happiness which has joy as its basis sented on the stage by Consequents such as various discus- be represented on the stage by any one who is not happy? sions, settling the definition, accepting the deliberation and the like. 93. 1 See above note 1 on VI 22. 19

VII, 99 THE NATYASASTRA 146 147. EMOTIONAL AND OTHER STATES VII. 109

Hence the Sattva being desired [in acting] in connexion with (pralaya) due to too much toil, swoon, intoxication, sleep, certain States the latter are called Sattvika. This Sattva injury, astonishment and the like. is explained by the fact that tears and horripilation ate respectively to be shown by persons who are not [actually] Representation of the Sattvika States sorry or happy. I00. These are to be known by the wise as the eight 94. The eight Sattvika States are as follows Paralysis, Sattvika States. I shall speak afterwards about actions which Perspiration, Horripilation, Change of Voice, Trembling, Change of Colour, Weeping and Fainting. will represent these States. 101. Paralysis should be represented on the stage by Among these, being inactive, motionless, dispirited like an inert object, Perspiration senseless, and stiff-bodied. 95. Perspiration (sveda) occurs as the result of anger, 102. Perspiration should be represented on the stage by fear, joy, shame, sorrow, toil, sickness, heat, exercise, fatigue, taking up a fan, wiping off sweat and looking for breeze. summer and massage. 103. Horripilation should be represented on the stage

Paralysis and Trembling by repeated thrills, hairs standing on the end, and by touch- ing the body. 96. Paralysis (stambha) occurs as being due to joy, fear, 104. Change of Voice should be represented by broken sickness, surprise, sadness, intoxication and anger, and and choking voice, and Trembling by quivering, throbbing Trembling due to cold, fear, joy, anger, touch [of the beloved] and shivering. and old age. 105. Change of Colour should be represented by altera- Weeping tion of colour of the face by putting pressure on the artery, 97. Weeping (asra) occurs as being due to joy, indigna- and this is dependent on the limbs. tion, smoke, collyrium, yawning, fear, sorrow, looking with a 106. Weeping should be represented on the stage by steadfast gaze, cold and sickness. rubbing the eyes and shedding tears, and Loss of Conscious-

Change of Colour and Horripilation ness by inaction, motionlessness, imperceptible breathing and

98. Change of Colour (vaivarnya) occurs as being due [finally] by falling on the ground.

to cold, anger, fear, toil, sickness, fatigue and heat, and Hortipilation (romanca) due to touch, fear, cold joy, anger Application of States to different Sentiments and sickness. 107. These are the fortynine States of the three kinds Change of Voice and Fainting mentioned by me. Now you ought to hear of the different 99. Change of Voice (svara-sada) occurs as being due to Sentiments to which they are applicable. fear, joy, anger, fever, sickness and intoxication, and Fainting 1,08-109. All rhe [fortynine] States except indolence,

VII. 109 THE NATYASASTRA I48 149 EMOTIONAL AND OTHER STATES VII. 125

cruelty and disgust are applicable to the Erotic Sentiment (lit. raise the Erotic Sentiment by their own name). should be considered the Dominant Sentiment and the rest the Transitory ones. IIO. Weakness, apprehension, envy, weariness, incon- 121. That which stands on the principal theme [of the stancy, dreaming, sleeping and dissimulation are the States play] and is combined with Determinants, Consequents and applicable to the Comic Sentiment. Transitory States is the Dominant Sentiment. III. Discouragement, anxiety, depression, weariness, I22. 1This Dominant Sentiment should be represented weeping, stupor and death are the States applicable to the with an exuberence of the Sattva, but the Transitory Pathetic Sentiment. States by mere physical gestures (lit. form), for they are to 112. Arrogance, envy, energy, agitation, intoxication, support the Dominant Sentiment [and as such should not anger, inconstancy and cruelty are the States applicable to the excel it]. Furious Sentiment. 123. [Independent representation of] a variety [of 113-114, Presence of mind, energy, agitation, joy, as- Sentiments] does not displease and such a variety is rare surance, cruelty, indignation, intoxication, horripilation, change in practical life (lit. amongst people). But a mixture of of voice, anger, envy, contentment, arrogance and deliberation different Sentiments will, however, bring pleasure [to the are the States applicable to the Heroic Sentiment. spectators] when such is carefully represented. 115. Perspitation, trembling, horripilation, choking 124. In [the production of] plays the Dominant, the voice, fear, death, change of colour are the States applicable Sättvika and the Transitory States which are suppor- to the Terrible Sentiment. ters of the Sentiments and which are accomplished through

116. Epilepsy, insanity, despair, intoxication, death, many objects and ideas, should be assigned to male1 sickness and fear, are the States applicable to the Odious characters.2

Sentiment. 125. The Sentiments and the States in plays are thus

117. Paralysis, perspiration, loss of consciousness, horri- to be created. One who knows this well will attain the best

pilation, astonishment, agitation, stupor, joy and fainting Success [in the production of a play].

are the States applicable to the Marvellous Sentiment. Here ends Chapter VII of Bharata's Nātyasāstra,

118. These Sattvika States which depend on the which treats of the Representation of the States.

various kinds of Histrionic Representation are included into all the Sentiments by experts in the production of plays. 122. 1 A disregard of this principle is liable to cause undue prominence

119-120, No play in its production can have one Sen- to minor characters in a play and thereby to frustrate the principal object of the playwright. timent only. If in an assemblage of the many States, Senti- 124. 1 pumsānukirņah (puspāvakīrņāb B.G.). ments, Styles (urtti) and Local Usages (pravrtti) [in the pro- 2 An analysis of the plays of the best kind, known to us seems to explain

duction of a play] any one item has varied representation, it this rule. For in almost all of them superior roles are assigned to men who can better be made the vehicle of different and complex psychological states,

VIII. 13 151 GESTURES OF MINOR LIMBS

CHAPTER EIGHT certainment of its meaning,' so [the word made out of them] GESTURES OF MINOR LIMBS becomes abhinaya (carrying towards).

The sages question. Meaning of abhinaya

1-2. Through your kindness we have heard in due order 7. Abbinaya is so called because in the performance [of everything relating to the origin of the States1 and Senti- a play] it together with the Sakha1, the Anga2 and the ments2. We shall now like to know also what the experts say Upanga3 explains the meaning of different [things]. about the different kinds of Histrionic Representation, their Four kinds of abhinaya meanings and different subdivisions. 8. O Brahmins, the Histrionic Representation of a play 3. O the blessed one, you are also to tell us accurately what kinds of Histrionic Representation are to be applied to takes place in four ways, and on this [Representation] the

which [places or occasions] by persons aiming at Success. plays of different types rest. 9. O Brahmins, this Histrionic Representation is known Bharata answers. to be fourfold: Gestures1 (angika), Words, (vacika) Dresses

4. On these words of the sages, Bharata spoke thus and Make-up (abarya) and the Sattva. relating to the four kinds of Histrionic Representation. Gesturea its three varieties 5. "O sages, I shall now speak to you in detail so that the Histrionic Representation becomes properly explained to 10. Of these, the Sattva has been described before1, along with the States; now listen first of all above the you. 'We shall speak of [the fact that] the abhinaya (His- Gestures.

trionic Representation) is of four kinds. The question is, 11. The Gesture is of three kinds, viz. that of the

"Why is it called the abhinaya?," It is said in teply to this limbs (sarira), that of the face (mukbaja) and that related to

that the abhinaya is derived from the prefix abbi, and the [different], movements of the entire body (cestakrta) including the Sakha, the Anga and the Upanga. verbal root ni meaning 'to cause to get' (to attain), and the 12. Dramatic performance in its entirety relates to the sufix ac attached to these two. Hence a [full] answer to six limbs including the major and the minor ones, such as this should be made after a consideration of the root and its head, hands, lips, breast, sides and feet. meaning. There is a Sloka on this point 13. The six major limbs (anga) are head, hands, breast, sides, waist and feet, and the (six) minor limbs (upanga) are 6, As the root ni preceded by abhi means 'carrying the performances (prayoga) of a play [to the point of direct] as- eyes, eyebrows, nose, lower lip and chin.

7. 1 See 15 below. I-2. 1 See VIII. 2 See VI, 5. ' This portion till the beginning of 6 is originally in prose. 2 See 13 below. 3 See 13 below. 9. 1 More properly 'gestures and postures.' 10. 1VII. 92.

VIII. 14 THE NATYASASTRA 153 GESTURES OF MINOR LIMBS VIII. 31 152

14. Producers of plays should reckon the Sakha, dance 22. Dhuta and Vidhuta:j A slow movement of the (nrtta) and the Ankura as the three aspects of the Histrionic head is called the Dhuta, and when this movement is quick, Representation. it is called the Vidhuta. 15. The Gestures are called the Sakha;1 pantomiming 23, (Uses) :: The Dhuta head is applicable in unwilling- through them is the Ankura2 and that which is based on the ness, sadness, astonishment, confidence, looking sideways, Karanas8 and consists of the Angaharas4 is called dance emptiness and forbidding. (nrtta). 24. The Vidhuta head is to be applied in an attack of 16. O Brahmins, listen first of all about the different cold, terror, panic, fever and the first stage of drinking. gestures of the head, which are included in the facial gestures 25. Parivahita and Udvähita: When the head is alter- and which support many Sentiments (rasa) and States (bhava). nately turned to the two sides it is called Parivahita, and when it is once turned upwards it is known as Udvahita:) Gestures of the head and their uses 26. (Uses): The Parivähita head is applicable in 17-18. The gesture of the head is of thirteen1 kinds, demonstration, surprise, joy, remembering, intolerance, cogita- viz. Akamptita, Kampita, Dhuta, Vidhuta, Parivāhita, tion, concealment and [amorous] sporting. Udvahita, Avadhuta, Ancita, Nihancita, Paravrtta, Utksipta, 27. The Udvähita1 head is to be applied in pride, show- Adhogata, and Lolita. ing height, looking high up, self-esteem and the like. 19. Akampita:) Moving the head slowly up and down 28. Avadhuta: When the head is lowered once after is called the Ākampita. turning it up it is called Avadhuta. (Uses): It is to be Kampita:) When the movements in the Akampita head applied in [communicating] a message, invoking [a deity], are quick and copious the same is called Kampita.1 conversation and beckoning [one to come near]. 20. (Uses): The Akampita head is to be applied in 29. Ancita: When the neck is slightly bent on one giving a hint, teaching, questioning, addressing in an ordinary side the Ancita head is the result. (Uses): It is applicable way (lit. naturally), and giving an order. in sickness, swoon, intoxication, anxiety and sorrow. 21. The Kampita head is applicable (lit. desired) in 30-31. Nihancita3 When two shoulders are raised up anger, argument, understanding, asserting, threatening, sick- the neck bent on one side, the Nihancita head is produced. ness and intolerance. (Uses) It is to be used by women in pride, Amorousness (vilasa),1 Light-heartedness (lalita)2 Affected Indifference, 15. 1 From Sarngadeva's definition (SR. VII. 37-38) we learn that the sakba means the flourish of the gesticulating hand (kara-vartana) preceding (bibboka),3 Hysterical Mood, (kilakincita),4 Silent Expression one's speech, whereas the ankura means such a flourish following it. 2 See IV. 299 ff. 3 See IV. 170 ff, 4 See IV. 170 ff. 25. 1 G. names the head movement as adhūta. 17-18. 1 The AD. has nine gestures of the head. See ed. M. Ghosh, 30-31. 1See XXIV. 15. 49-65, and A.K. Coomaraswamy, MG. pp. 36-38. 3 See ibid 21. 2 See ibid 22. * See ibid 18. 20

VIII. 31 THE NATYASASTRA 154 155 GESTURES OF MINOR LIMBS VIII. 47 of Affection (mottayita),5 Pretended anger, (kuttamita),6 Paralysis and Jealous anger (mana)- 39. Glances to be used in the Dominant States are

32. Paravrtta When the face is turned round, the Snigdhā, Hrstā, Dinā, Kruddhā, Drptā, Bhayānvitā, Jugu- Paravrtta head is the result. (Uses):) It is to be used in psitā and Vismitā. turning away the face and looking back and the like. 40-42. Glances to be used in the Transitory States 33. Utksipta: When the face remains is raised up, the such as Śūnyā, Malinā, Šrāntā, Lajjānvitā, Glānā, Śankitā, Utksipta head is the result. (Uses): It is used to indicate Visaņņā, Muktā, Kuñcitā, Abhitaptā, Jihmā, Lalitā, Vitar- lofty objects and application of divine weapons. kitā, Ardhamukulā, Vibhrāntā, Viplutā, Ākekarā, Vikośā,

33. Adhogata: The head with the face looking down- Trasta and Madira, make up their number thirtysix.1

wards is called Adhogata. (Uses): It is used in shame, bowing [in salutation] and sorrow. Glances to express the Sentiments

35. Parilolitaa When the head is moving on all sides, 43. I shall now explain the characteristics of these it is called Parilolita. (Uses): It is used in fainting, sickness, Glances in connexion with the various Sentiments and the power of intoxication being possessed by an evil spirit, drow- States; and shall describe their functions. siness and the like. 44. Käntā:) When with a feeling of love a person con- 36. Besides these there are many other gestures of the tracts his eyebrows and castes a sidelong look, he is said to head, which are based on popular acting. These are to be have a Kāntā (pleasing) Glance which has its origin in joy used according to the popular practice (lit. nature). and pleasure. It is used in the Erotic Sentiment. 37. I have spoken about the thirteen gestures of the 45. Bhayanaka:i The Glance in which the eyelids are head. Now I shall discuss the characteristics of the Glances. drawn up and fixed, and the eyeballs are gleaming and turning up is called Bhayānaka (terrible). It indicates a great T hirtysix Glances fear and is used in the Terrible Sentiment.

36. Glances expressing the Sentiments1 are Kāntā, 46. Hāsyā: In the Hāsya (smiling) Glance the two Bhayānakā, Hāsyā, Karuņā, Adbhutā, Raudrī, Vīrā, and eyelids are by turns contracted, and they open with the

Bibhatsā. eyeballs moving and slightly visible; it should be used in representing jugglery. 47. Karunā:) The Glance in which the upper eyelid 5 See ibid 19. 6 See ibid 20. has descended, the eyeball is at rest due to mental agony, and 38. The AD. has only eight glances, see ed. M. Ghosh, 66-78, and A. K. Coomaraswamy, MG. p. 40. But curiously enough the names of the the gaze is fixed at the tip of the nose, and there is tear, is eight glances in the AD. even if referred by Coomaraswamy's text to the called Karuņā (pathetic). Bharataśastra, does not occur in the NS. which has no less than thirtysix glances. Besides the eight glances Coomaraswamy's text records (loc. cit.) fortyfour glances which include those mentioned in the NS. 40-42. 1 See note I to 38 above.

VIII. 48 THE NATYASASTRA 156 VIII, 63 157 GESTURES OF MINOR LIMBS

48. Abdhuta:) The Glance in which eyelashes are 56. Kruddha:) The rough Glance in which eyelids are slightly curved at the end, eyeballs are raised in wonder, and the eyes are charmingly windened till the end, is called the motionless and drawn up, eyeballs are immobile and turned

Adbhutā (of wonder). up, and the eyebrows are knitted, is called Kruddhā (angry);

49. Raudri: The pitiless Glance in which the eyeballs it is used in anger.

are rough, red, raised, and the eyelids are still and the eye- 57. Drpta: The steady and widely opend Glance in

brows knitted, is called Raudri (cruel), and it is used in the which eyeballs are motionless, and which shows forth (lit.

Furious Sentiment. emits) prowess is called Drpta (haughty); it is used in showing

50. Vira: The Glance which is bright, fully open, energy (lit. grows out of energy). 58. Bhayanvita: The Glance in which the eyes are agitated, serious, and in which eyeballs are at the centre of the eye (lit: level) is called Vira (heroic), and it is used in the widely opened, the eyeballs are mobile in fear and are away

Heroic Sentiment. from the centre [of the eye], is called Bhayānvitā (awe- stricken); it is used in fear. 51. Bibhatsa: The Glance in which the corners of the 59. Jugupsita: The Glance in which eyelids are con- eyes are nearly covered by eyelids, the eyeballs are disturbed in disgust and the eyelashes are still and close to each other, tracted but not joined together, and the eyeballs are covered and are turning away from the object coming in view (lit. is called Bībhatsā (odious). the place in view) is called Jugupsita (disgusting); it is used in disgust. Glances to express Dominant States 60. Vismita: The level Glance which is fully blown 52. Glances defined here are known to occur in relation and in which eyeballs are throughly turned up and the two to the Sentiments. I shall now explain the Glances relating eyelids are motionless, is called Vismitā (astonished); it is to the Dominant States. used in astonishment. 53. Snigdha: The Glance which is not much widened (lit. medium widened), is sweet, and in which eyeballs are Glances to express Transitory States still, and there are tears of joy, is called Snigdha (loving); it 61. These are the Glances relating to the Dominant is used in love (lit. grows out of love). States, that I have just defined. I shall now explain the 54. Hrsta: The Glance which is moving, slightly bent characteristics of the Glances in the Transitory States. and in which eyeballs are not wholly visible (lit. entering), and there is winking, is called Hrsta (joyful); it is used in 62. Sūnya: The Glance which is weak and motionless and in which the eyeballs and the eyelids are in ordinary laughter. position (lit. level), and which turns to the: space and is not 55. Dina: The Glance in which the lower eyelid is attentive to external objects is called Sūnyā (vacant). slightly fallen, eyeballs are slightly swollen, and which is 63. Malina: The Glance in which ends of the eyelashes moving very slowly, is called Dina (pitiable); it is used in sorrow. are not shaking and ends of the eyes are pale, and which is

VIII. 63 THE NATYASASTRA 159 GESTURES OF MINOR LIMBS VIIt. 82 158 characterised very much by half-shut eyelids, is called Malina 73. Lalita: The Glance which is sweet, and contracted (pale). at the end [of the eye] and which is smiling and has move- 64. Sranta: The resting Glance in which eyelids have ment of the eyebrows, and shows signs of love is called Lalita been let down due to fatigue, corners of the eyes are narrowed, (amorous). and the eyeballs are fallen, is called Srāntā (tired). 74. Vitarkita: The Glance in which the eyelids are 65. Lajjanvita: The Glance in which ends of the turned up for guessing, the eyeballs are full blown and moving eyelashes are slightly bent, the upper eyelid is descending in downwards is called the Vitarkita (conjecturing). shyness, the eyeballs are lowered due to shame, is called 75. Ardhamukula: The Glance in which owing to joy Lajjānvitā (bashful). the eyelids are of the Ardhamukula: type, the eyeballs are 66. Glana: The languid Glance in which the eyebrows half-blown and slightly mobile is called Ardhamukulā. and the eyelashes are slowly moving and eyeballs are covered 76. Vibhranta: The Glance in which the eyeballs are [under the eyelids] due to fatigue, is called Glānā (lazy). moving and so are the eyelids, and the middle [of the eye] is 67. Sankita: The concealed Glance which is once moved, wide open and full-blown, is called Vibhranta (confused). and once at rest, slightly raised, obliquely open and in which 77. Vipluta: The Glance in which the eyelids [first] the eyeballs are timid, is Sankita (apprehensive). tremble and then become motionless and the eyeballs are 68. Visanna: The bewildered Glance in which eyelids [again] disturbed, is called Viplutā (disturbed). are down wide apart in dejection, and there is no winking and 78. Akekara:) The Glance in which the eyelids and the the eyeballs are slightly motionless, is called Visannā corner of the eyes are slightly contracted and joined together, (dejected). and is half-winking, and the eyeballs are repeatedly turning 69. Mukula: The Glance in which eyelashes are slightly up, is called Ākekarā (half-shut). trembling, the upper eyelids are of the Mukula type and the 79. Vikośa: The joyful Glance in which the two eyelids eyeballs are opened in happiness, is called Mukulā. are wide open and there is no winking and the eyeballs are 70. Kuncitā:1 The Glance in which ends of eyelashes not immobile, is called Vikośā (full-blown). are bent due to the eyelids being contracted and the eyeballs 80. Trasta: The Glance in which the eyelids are drawn are also contracted, is called Kuncitā (contracted). up in feat, the eyeballs are trembling and the middle of the 71. Abhitapta:) The Glance in which the eyeballs are eye is full-blown due to panic, is called Trasta (frightened). slowly moving due to the movement of the eyelids, and which 81. Madira:) The Glance in which the middle of the indicates much distress and pain, is called Abhitapta (distressed). eye is rolling, the ends of the eyes are thin, the eyes are bent, 72. Jihma: The Glance in which the eyelids are hang- and the corners of the eyes are fully widened, is called Madira ing down and slightly contracted and the eyeballs are con- (intoxicated). It is to be used in representing light cealed, and which casts itself obliquely and slyly is called intoxication. Jihmā (crooked). 82. In medium intoxication this Glance should have its

VIII. 82 THE NATYASASTRA 160 161 GESTURES OF MINOR LIMBS VIII. 98

eyelids slightly contracted, the eyeballs and and the eyelashes Ardhamukula-in joy due to an experience of [sweet] slightly mobile. smell or touch. 83. In excessive (lit. the worst) intoxication the Glance Vibhranta (confused)-in agitation, hurry and confusion. should have [either too] much winking or no winking at all, Viplutā (disturbed)-inconstancy, insanity, affliction of and the eyeballs in it should be slightly visible, and it (the misery and death. look) should be turned downwards. Ākekarā (half-shut)-in looking to a distant [object], 84. These are the thirtysix Glances due to the Senti- separation, and consecration by sprinkling (proksita)1. ments and the Dominant States described by me. Now listen Vikośa (full-blown)-in awakening, arrogance, indignation, about their uses. cruelty and assurance. Uses of Glances expressing Transitory States Trasta (frightened)-in fright. 85. Glances due to the Sentiments are to be used in Madira (intoxicated)-in intoxication. representing them, while Glances due to the Dominant (States) 94-95. Here I have finished the proper description of should be used in expressing these. Now listen about the uses thirtysix Glances; now listen about the [additional] Glances, of Glances due to the Transitory States in representing these and gestures of the eyeballs, the eyelids and the eyebrows due (States), to the Sentiments and the States.

86-93. Sunya (vacant)-in anxiety and paralysis (motion- lessness). Eyeballs

Malina (pale)-in discouragement, change of colour. 95-96. Eyeballs have gestures of nine kindsy Bhramana

Śrāntā (tired)-in weariness and depression. (moving round), Valana (turning), Pata=Patana (relaxing),

Lajjānvita-(bashful)-in shame. Calana, (trembling), Sampraveśana, (drawing inside), Vivartana,

Glānā (lazy)-in epilepsy, sickness and weakness. (turning sideways), Samudvrtta (raising up), Niskrama (going

Šankitā (apprehensive)-in apprehension. out) and Prakrta (natural).

Visannā (dejected)-in despair. 96-98. Bhramana (moving round)-turning round the

Mukula-in sleeping, dreaming and happiness. eyeballs at random.

Kuñcitā (contracted)-in envy, undesirable object, objects Valana (turning)-moving (the eyeballs) obliquely. Patana= Pata (relaxing)-relaxation (of the eyeballs.) visible with difficulty and pain in the eye. Calana (trembling)-tremor (of the eyeballs.) Abhitapta (distressed)-in discouragement, accidental hurt Sampraveśana = Praveśa (drawing inside)-drawing (the and distress. eyeballs) in. Jihmā (crooked)-in envy, stupor and indolence. Vivattana (tutning) -- turning the eyeballs sideways in a Lalita (amorous)-in contentment and joy. sidelong glance. Vitarkitā (conjecturing)-in recollection and deliberation. Samudvrtta (raising up)-raising up of the eyeballs. 21

VIII. 101 THE NATYASASTRA 162 163 GESTURES OF MINOR LIMBS VIII. 108 Niskramana (going out)=going out [as it were of the eyeballs.] Sama (level)-the eyeballs are in a level position and at

Prakrta (natural)-eyeballs in the natural (glance.) rest. Sacī (side-long) the eyeballs are covered by eyelashes.

Uses of eyeballs Anuvrtta (inspecting)-Glance which carefully observes

99-IO1. Now listen about their uses in [different] Senti- any form.

ments and States. Ālokita (casual) (the eyeballs) in suddenly seeing any

Bhramana (moving round), Valana (turning) and Samud- object.

vrtta (raising of eyeballs)-in the Heroic and the Furious Vilokita (looking round)-(eyeballs) in looking back. Pralokita (carefully looking)-turning (eyeballs) from side Sentiments. to side. Niskramana (going out), and Valana (turning of the Ullokita (looking up)-(turning the eyeballs) upwards. eyeballs)-in the Terrible Sentiment. Avalokita (looking down)-(turning the eyeballs) towards Sampraveśana (drawing of the eyeball)-in the Comic and the ground. the Odious Sentiments. These are the gestures of eyaballs in relation to all the Patana (relaxed eyeballs) in the Pathetic Sentiment. Sentiments and the States.

Niskramana (going out of the eyeballs)-in the Marvell- Eyelids ous Sentiment. Präkrta (natural) eyeballs-in the remaining Sentiments 108-III. Now listen about the gestures of eyelids

(lit. States). which follow the movements of eyeballs. They area Unmesa

Vivartana (turning sideways of the eyeball)-in the Erotic (opening), Nimesa (closing), Prasrta (expanding), Kuñcita (contracted), Sama (level), Vivartita (raising up), Sphurita Sentiment. (throbbing), Pihita (resting), and Vitadita (driven). 102. These are the natures of eyeballs based on the Unmesa (opening)-separating the eyelids. popular practice. They are to be applied [suitably] to all the Nimesa (closing) bringing together the eyelids. different States. Prasrta (expanding) separating the eyelids widely.

Additional Glances Kuñcita (contracted)-contracting the eyelids.

103-107. I shall speak about the varieties of Glance in Sama (level)-eyelids in a natural position.

special relation of these (lit. there). These are of eight kinds, Vivartita (raising up)-raising up the eyelids.

viz. Sama (level), Sācī (sidelong), Anuvrtta (inspecting), Ālokita Sphurita (throbbing)-when the eyelids are throbbing.

(casual), Vilokita (looking round), Pralokita (carefully looking), Pihita (resting)-when the eyelids are at rest (lit. closed).

Ullokita (looking up), and Avalokita (looking down). dentally]. Vitādita (driven)-when the eyelids are struck [acci-

VIII. 112 THE NATYASASTRA 164 VIII. 126 165 GESTURES OF MINOR LIMBS

Uses of Eyelids Kuncita (contracted)-slightly bending of eyebrows one I12-115. Now listen about their uses in different Senti- by one or the both at once. ments and States: Recita (moving) -- raising of one of the eyebrows in an Vivartita (raising up)-in anger. Nimesa (closing)-in anger. amorous way. Sahaja (natural)-the position which the eyebrows main- Unmesa (opening) -- in anger. Prasrta (expanding)-in objects causing wonder, joy, and tain by nature. Uses of Eyebrows heroism. Kuncita (contracted)-in seeing undesired objects. [sweet] 121-125. Now I shall speak about their uses in [expres-

scent, flavour and touch. sing] the Sentiments and the States.

Sama (level)-in love. Utksepa (raising)-in anger, deliberation, passion, sporti-

Sphurita (throbbing)-in jealousy. veness, in seeing and hearing only one eyebrow is raised, and

Pihita (resting)-in dreaming, fainting, affliction due to in surprise, joy and violent anger both the eyebrows are

storm, hot smoke, rains and collyrium and eye-disease. raised up. Patana (lowering)-in envy, disgust, smile, and smelling. Vitādita (driven)-in accidental injury. Bhrukutī (knitting)-in objects of anger, dazzling light. These are the uses of eyeballs and eyelids in expressing Catura (clever)-in love, sportiveness, pleasing [object], the Sentiments and the States. [pleasing] touch and awakening. Eyebrows Kuncita (contracted)-in manifestation of affection, pre-

116-120. Now, listen about the gestures of eyebrows, tended anger and hysterical mood.

which accord with those of the eyeballs and the eyelids. Recita (moving)- in dance.

[They] are seven in number and are as follows:] Utksepa Sahaja (natural)-in simple (anaviddba) conditions.

(raising), Patana (lowering), Bhrukuti (knitting), Catura Nose (clever), Kuncita (contracted), Recita (moving) and Sahaja 1,26-128. Gestures of the eyebrows have been described; (natural). now listen about those of the nose. They are of six kinds: Utksepa (raising)- raising of eyebrows simultaneously or Natā, Mandā, Vikrstā, Socchvāsā, Vikūņitā and Svābhāvikā. one by one. Nata-lobes cling for a while [to the base]. Patana (lowering)-lowering of eyebrows simultaneously Manda-lobes are at rest. or one by one. Vikrstā-lobes are blown. Bhrukuti (knitting)-raising the root of the eyebrows. Socchvasa-lobes when air is drawn in. Catura (clever)-slightly moving and excending the eye- Vikūnitā-lobes in the contracted nose. brows in a pleasing manner. Svābhavika-lobes in the natural nose.

VIII. 135 THE NATYASASTRA VIII. 140 166 167 GESTURES OF MINOR LIMBS

Uses of the nose The lower lip 129-132. This is the description of the gestures of the 137-139. Gestures of the lips are six in number. (They. nose. Now listen about their usesa are): Vivartana (narrowing), Kampana (trembling), Visarga Natä-in slight weeping at intervals. (spreading out), Viniguhana (concealing), Sandastaka (biting), Manda-in discouragement, impatience and anxiety. Samudgaka (contracting). Vikrsta-in strange smell, breathing, anger and fear. Vivartana (narrowing)-lips narrowed down. Socchväsa-in sweet smell and deep breathing. Kampana (trembling)-throbbing (of lips). Vikūņitā-in laughter, disgust and envy. Visarga (spreading out)-to spread out (lips). Svābhāvikā-in the remaining conditions. Viniguhana (concealing)-drawing in (of lips). Sandastaka (biting)-(lips) bitten by teeth. Cheeks Samudgaka (joining)-moving the lips together.

132-134. Cheeks are of six kindsa Ksama (depressed). Uses of the lower lip Phulla (blown), Pūrna (full). Kampita (trembling) and Kuñcita 140-142. These are the gestures of the lower lips; now (contracted) and Sama (natural). listen about their uses. Kșāma (depressed)-(cheeks are) fallen. Vivartana (narrowing) in envy, pain, contempt, laziness Phulla (blown)-(cheeks are) raised. and the like. Pürna (full) (cheeks are) expanded. Kampana (trembling)-in pain, cold, fear, anger, japa Kampita (trembling)-(cheeks are) throbbing. and the like. Kuncita (contracted)- (cheeks are) narrowed down. Visarga (spreading out)-in women's amour, affected Sama (natural)-as (cheeks are) by nature. indifference and painting of lips. Vinigūhana (concealing) in making efforts. Uses of Cheeks Sandastaka (biting)-in manifestation of anger. 135-137. Cheeks have been described. Now listen about Samudgaka (contracting)-in pity, kissing and greeting. their uses. Chin Ksāma (depressed)in sorrow. 143-146. So much about the gestures of lips; now Phulla (blown)-in joy. listen about those of the chin; (they are): Kuttana, Khandana, Pürna (full)-in energy and arrogance. Chinna, Cuksita, Lehita, Sama and Dasta. Kampita (trembling)-in anger and joy. Kuttana-when the upper teeth clatter with the lower Kuñcita (contracted)-in horripilation (sensitive) touch, ones. cold, fear and fever. Khandana-when (the two lips) repeatedly come together Sama (natural) in the remaining conditions. with each other.

VIII. 143 THE NATYASASTRA 168 169 GESTURES OF MINOR LIMBS VIII. 159 Chinna-when (the two lips) very closely meet each other. Cuksita-when (the two lips) are held widely apart. Vidhuta-in restraining, saying 'not so' and the like.

Lehita-in licking the (lips) with the tongue. Nirbhugna-in looking into depth and the like.

Sama-when (the two lips) slightly parted from each Bhugna-in being ashamed, despondency, impatience,

other. anxiety, summoning. It is natural for the ascetics.

Dasta-when the lower lip is bitten by the teeth. Vivrta-in laughter, sorrow and fear.

Uses of the chin Udvähi-in sportiveness and pride of women, in saying

146-149. Kuttana-in fear, cold, attack of old age, and 'go away,' and disregard, in saying 'so indeed' and angry words. sickness. Khandana-in muttering mantras (japa), studying, speak- 156-157. The experts should also use the mouth in conformity with the varieties of Glances such as, Sama and ing and eating. Chinna-in sickness, fear, cold, (taking) exercise, and Saci and the like mentioned by others. Colour of the face angry look. Cuksita-in yawning. 157-158. The colour of the face according to the

Lehita=Lehana-in greediness. circumstances (lit. meaning) is of four kinds8 natural

Sama-in a natural position. (svabhavika) bright (prasanna), reddened (rakta) and dark

Dasta-in angry efforts. (śyāma).

So much about the gestures of the chin in relation to the Uses of the colour of the face. teeth, the lips and the tongue. 159-1,60. Natural face -- in a natural and indifferent Mouth (mood). 149-156. Gestures of the mouth are: Vidhuta, Bright face-in wonder, laughter and love. Vinivrtta, Nirbhugna, Bhugna, Vivrta and Udvāhi. Reddened face-in intoxication and in the Heroic, the Vidhuta-the obliquely open (mouth). Terrible and the Pathetic Sentiments.

Vinivrtta-spread out (mouth). Dark face-in the Terrible and the Odious Sentiments.

Nirbhugna-(the mouth) very much crooked 161-162. The colour of the face should be thus used

Bhugna= Vyabhugna-(the mouth) slightly spread out. to represent the States and the Sentiments. The acting done

Vivrta-the mouth with the lips kept apart. with the Gestures of the Sakha1, the Anga and the Upanga Udvāhi-(the mouth) turned up. is good, but without proper colour of the face it will not be

Uses of the mouth charming (lit. beautiful).

Vinivrtta-in women's envy, jealousy, anger, contempt 162-163. Even a few Gestures when combined with

and bashfulness and the like. 161-162. 1 See 11 and 15 above. 22

VIII. 161 THE NATYASASTRA GESTURES OF MINOR LIMBS VIII. 172 170 the proper colour of the face will double their charm (lit. Ancita-the neck with the head turned back. (Uses)a in beauty) just as the moon will enhance the charm of the night, hanging [to death], arranging hair and looking very high up. 1,63-164. Glances too when combined with the proper Vāhita-the neck with the face turned sideways. (Uses):] colour of the face will clearly express the different States and in looking with the neck turned round. the Sentiments, and on this (i.e. the colour of the face) the Nivrtta -- neck with the face towards the front. (Use): Histrionic Representation rests. in (indicating) going towards one's own place. 1,64-165. The colour of the face suitable to the represen- 172-173. These are the many varieties of the neck tation of the States and the Sentiments, should follow every gestures according to their [expressing different] customary gestures of the eye (Glance), the eyebrow and the mouth. So states of men. Gestures of the neck are all to follow the much about the colour of the face which is the basis of the gestures of the head, and the head gestures also are reflected States and the Sentiments. in those of the neck. So much about the description of the gestures of the head and the connected minor limbs (upanga) Neck and their uses. Now listen about the gestures of the remain- 166-167. I shall now tell you, O Brahmins, about the ing limbs (anga), which I am going to describe. gestures of the neck. They are of nine kinds& Samā, Natā, Here ends Chapter VIII of Bharata's Nātyaśāstra, Unnatā, Tryasrā, Recitā, Kuncitā, Ancitā, Valitā, and which treats of the Gestures of Minor Limbs. Nivrttā.

Description and uses of neck gestures 167-171. Sama-the natural neck. (Uses): in medita- tion, natural pose, and muttering of mantras. Nata -- (neck with) face bent down. (Uses) in wearing (lit. binding) ornaments, putting one's arms round (lit. taking) somebody's neck. Unnata-neck with the face upturned. (Use): in looking up. Tryasra-neck with the face turned sideways. (Use): in carrying weight on the neck, and sorrow. Recita-the neck shaken or moved. (Uses)& in emotion (bava), churning and dance. Kuncitā -- the neck with the head turned back. (Uses)9 in pressure of weight and in protecting the neck.

173 GESTURES OF MAJOR LIMBS IX. 17

Kațakāmukha,2 Sūcyāsya (Sūcīmukha), Padmakośa, Sarpaśiraḥ, Mrgaśīrsa, Kāngula, Alapadma (Alapallava), Catura, Bhra- CHAPTER NINE mara, Hamsāsya, Hamsapaksa, Sandamśa, Mukula, Ūrņanābha GESTURES OF MAJOR LIMBS and Tāmracūda. 8-10. Gestures of combined hands (samyuta-hasta)1 are Bharata speaks. thirteen in numbery Anjali, Kapota, Karkata, Svastika, 1-3. So much about the minor limbs such as head, eyes, Kațakāvardhamānaka,2 Utsanga, Nișadha, Dola, Puspapuța, eyebrows, nose, lips and cheeks, and their description that I Makara, Gajadanta, Avabittha and Vardhamana. was to tell you. I shall now define the gestures of [major 10-17. Dance-hands (nrtta-basta)1 are Caturasra,2 Udvrtta, limbs] hands, breast, sides, belly, waist, thighs and feet and Talamukha, Svastika, Viprakīrņa, Arālakațakāmukha, Āvid- their proper use.1 In this connexion I shall [first of all] dhavaktra, Sucyasya, Recita, Ardharecita, Uttanavancita, explain the gesture of hands and the like, that are used in Pallava, Nitamba, Keśabandha, Latā, Karihasta, Pakșavanci- the production of a play. You are to listen how they are to taka, Pakşapradyotaka, Garudapaksa, Daņdapaksa, Ūrdhva- be applied [in acting]. maņdali, Pārśvamandalī, Uromaņdalī Uraḥ-pārśvārdhamandalī, Mustikasvastika, Nalinīpadmakośa, Alapallava, Ulbana, Sixtyseven gestures of hands Lalita and Valita. '4-7. Gestures of single hands (asamyuta-hasta)1 are These are the sixtyfour8 gestures of hands. twenty-four in number: Patāka, Tripatāka, Kartarīmukha, Ardhacandra, Arāla, Sukatunda, Musti, Šikhara, Kapittha, 2 Some mss, read this name as khatakamukba. Our reading is supported by the AD. (See ed. M. Ghosh, verse 124. A, K. Coomaraswamy MG. p. 50). 1-3. 1 This use relates to the two-fold Practice (realistic and coventional) 8-10. 1 See note I to 4-7 above. on the stage (See XIV. 62ff). The Realistic Practice (lokadbarmi) in this 2 Some mss, read this name as khataka°; Katakavardbana, is the name of a connexion is of two kinds, viz. (1) that reflecting one's emotion, as in arrogant samyuta-hasta in the AD. ed. M. Ghosh, 187, and A. K. Coomaraswamy, MG. p. 60. reference to one's ownself, this (pataka) hand is to be raised on a level with the forehead (IX. 19), (2) that representing the external form of an object, as 10-17. 1 These gestures (dance-hands, nrttahasta) as their name implies, the use of the Padmakosa hand to represent lotus and similar flowers. The are ordinarily to be used in dance; but in course of acting too they are often Conventional Practice (natyadharmi) is likewise of two kinds, viz. (1) that to be used along with other gestures (single and combined) to create an orna- mental effect (See note I to 1-3 above). See Ag. creating an ornamental effect, as the use of the four karanas of the hand (See IX. 205-211 below), (2) that partially suggesting a popular behaviour, as the 2 In the Skt, text these names are given in dual number e.g. our caturasra use of the tripataka hand to represent words spoken aside (janantika). See Ag stands as caturasrau. The reason for this is to be sought in the fact that 4-7. 1 These hands gestures are ordinarily used singly; but at times two unlike the single and combined hands which must represent one single idea or hands showing one of these gestures are used simultaneously. But still these object, the hands in the dance-hand gestures are to be individually moved, not are called single (asamyuta) hands. For, combined (samyuta) hands are so for representing any idea or object, but for creating an ornamental effect in called because they are always to be shown by both the hands; see Ag. acting as well as in dance. See Ag. 3 In actual enumeration hand-gestures are sixtyseven in number (single 24,

IX. 26 THE NATYASASTRA 174 175 GESTURES OF MAJOR LIMBS IX. 39 Gestures of single hands 26-32. Tripataka (flag with three fingers)=the third 17-26. Now listen about their definition and uses. Pataka (flag)-the fingers extended and close against one finger of the Pataka hand to be bent. (Uses)a It is to be used in representing invocation, des- another, and the thumb bent. (Uses): To represent an administration of blows, scorching cent, bidding goodbye, prohibition, entrance, raising up [anything],1 bowing [in salutation], comparing,2 suggesting heat, urging, attainment of happiness and arrogant reference of one's ownself1 this hand is to be raised on a level with the alternatives, touching [the head with] auspicious objects or

forehead. To represent the glare of heat, torrential rain and putting them on the head, putting on a turban or a crown

shower of flowers two Pataka hands with the fingers separated and covering the mouth or the ears. This very hand with its

and moving, are to be joined together. A shallow pool of fingers pointing downwards and moving up and down is to

water, present of flowers, grass and any design [lit. object] be used in representing flight of small birds, stream, snake,

made on the ground are to be represented by two such hands bees and the like. And with the third finger of the Tripataka

separated from the Svastika position. The same Pataka should be represented wiping off tears, drawing a Tilaka or

hands with their fingers pointing downwards are to be used Patralekha3 and touching of hairs.

to represent anything closed, made open, protected, covered, 32-37. Two Tripatāka1 hands held like a Svastika repre-

dense or private (to be concealed). This very hand with its sent adoration of the feet of venerable persons (guru)2. Two

fingers pointing downwar'ds and moving up and down, is to such hands are to meet each other's end for representing

express the speedy movement of wind and [ocean] waves, marriage. Separated and moved to the forehead they indicate

[ocean waves] breaking against the shore, and an objection. a king. When obliquely forming a Svastika they represent

The Recaka of this hand should be used to represent planets. To indicate an ascetic they are to be raised with

encouragement, many [in number], a great crowd of men, palm turned forward. To represent a door they are to face

height, beating of drums, and flight of birds upwards. And each other. Submarine fire, battle and sea-monsters are to

anything washed, pressed, cleansed, pounded, or holding up be indicated by two Tripataka hands, first raised near one's

a hill or uprooting it, should be represented by the palms of face and then moved with the fingers pointing downwards.

two such hands rubbing each other. This is also the manner of representing man and woman,2 26-32. 1 Ag. thinks that this relates to objects like one's chin. 2 nidarsanam upamānopameyabhāvam (Ag.). combined 13 and Dance-hands 30). Catuhsasthi in the text should be emended 3 rocanalabhanakam-touching (the body) with go-rocana or drawing orna-

to saptasasthi. mental designs (patralekha) on the body with this substance. Gorocana is a 17-26. 1 In saying 'I too,' 'of me too,' 'by me too,' 'in me too' and the bright yellow pigment prepared from the urine or the bile of a cow. like (Ag). 33-38. 1 This portion does not occur in all mss., and may well have been 2 Ag. gives detailed rules about the use of the pataka hand in all the cases a later addition. 2 Parents, grand-parents and the spiritual guide etc. are meant by this mentioned above. term.

IX. 42 THE NATYASASTRA 176 177 GESTURES OF HANDS IX. 45 With these very hands should be indicated jumping of monkeys, waves, wind and women. To show the crescent 45-50. Arala (bent)-the forefinger curved like a bow,

moon this hand should put forward its thumb, and to indicate the thumb also curved and the remaining fingers separated

a king's march [against his enemy] this hand should turn and turned upwards. (Uses): With this should be represented courage, pride, itself towards the back. 38-40. Kartarīmukha (scissors' blades)-the forefinger of prowess, beauty, contentment, heavenly [objects], poise, act

the Tripataka hand is to bend backwards. of blessing and other favourable states. And this, again,

(Uses)& This [hand with its fingers] pointing downwards will represent woman's gathering of hairs or scattering them

will represent showing the way, decorating the feet1 or dying and looking carefully over their entire body. The preli-

them,2 and the crawling [of babies]. With fingers pointing minaries to the marriage by bride's going round the bride-

upwards it will represent biting, horn and letters. And groom1 and [marital] union2 are to be represented by two

when the fingers in it are turned differently (i. e. the middle Arala hands moving around each other and their fingers

finger is bent backwards) it will represent falling down, meeting in the form of a Svastika. And with similar hands

death, transgression,8 reversion, cogitation and putting should be represented circumambulation, round objects,

[anything] in trust. great crowd of men, objects arranged on the ground.8 In

42. And with the two such (samyuta) hands or one calling any one, in making offering to the manes, saying too

such (asamyuta) hand should be represented an antelope, yak, many things, in censure and rebuke etc., wiping off sweat

buffalo, celestial elephant (airāvata), bull, gate (gogūra) and and enjoying sweet smell, the Tripataka hands have been

hill-top. prescribed before by me, but women are to use the Arāla

42-44. Ardhacandra (crescent moon) the fingers and hand to represent these.

the thumb so bent as to make a curve like a bow. 51-53. Sukatunda (parrot's beak) the ring-finger (third

(Uses) :. With this should be represented young trees, finger) of the Arala hand is bent.

crescent moon, conchshell, jar (kalasa), bracelet, forcible (Uses): With this should be represented words such as

opening, exertion,1 thinness and drinking. With this '(It is) not I', '(It is) not you, (It should) not be done,

[very] Ardhacandra hand women should represent girdle, hip invocation, farewell, and saying 'Fie (upon you)' in contempt.

waist, face, Talapatra2 and earring. 54-55. Musti (fist-fingers have their ends [bent] into the palm and the thumb [is set] upon them. (Uses):) It is used to represent beating, exercise1 exit, 38-41. 1 racanam kasturikādinā patrabhangādikriyā (Ag.). 2 ranjanam alaktakena (Ag.). 3 vyatikramah aparadhab (Ag.). vabab (Ag.). 45-50. 1 kautukam-vivābāt pūrvabbāvī vadhūvaravor ācārab antarvi- * vivābab-agnau sāksini pānigrabanam (Ag.). 43-45. 1 ayastam khedam (Ag.). 2 Mss. read talapatra (tadapatra) meaning a kind of ear-ornament (tādanks * Objects such as Alpana and flowers arranged on the ground. For Alpana see L'alpana by Andre et Suzanne Karpelles, Paris, 1930 (?) or tatanka). It is different from kundala which is also an ear-ornament. 54-55. 1 Vyāyāma according to Ag. means yūddba. $3

VII. 65 THE NATYASASTRA 179 GESTURES OF HANDS IX. 65 178 pressing,2 shampooing,3 grasping sword and holding spears (Uses): I shall tell you briefly of its various uses as the

and clubs. forefinger [in it] is raised and bent, moving sideways, shaking,

56-57. Sikhara (peak)- in this very hand (musti) the moving up and down, and moving up without any rest. By

thumb raised. moving the forefinger upwards [in this hand] are to be

(Uses)a It is used to represent reins, whip, goad, bow, represented discus, lightning, banners, blossoms, earring,1

throwing a javelin (tomara) or a spike (sakti), painting the zigzag movement, a cry of approbation,2 young serpent,

two lips and feet and raising up hairs. young sprout,3 incense, lamp, creepers,4 Sikhanda,5 falling

58-59. Kapittha (elephant-apple)-the forefinger of the down, curve and roundness and with the forefinger raised

Sikhara hand to be bent and pressed by the thumb. this [hand] again should be used in [representing] stars, nose,

(Uses) : It is to represent weapons such as sword, bow, [the number]' one, club and stick. And [this hand with

discus, javelin (tomara), spear (kunta), mace, spike (sakti), the forefinger] bent should meet the mouth to represent a

thunderbolt and arrows, true and wholesome deeds. being with teeth, and by the circular movement of this hand

60-63. Katakāmukha-the ring-finger and the little one should represent the taking away [a man's] everything.

finger of this Kapittha hand to be raised and bent. And the forefinger in this hand should be quite near the

(Uses)a It is used to represent sacrifice,1 oblation,2 ears in yawning, and by the mouth lowered to represent long

umbrella, drawing up reins, fan, holding a mirror, drawing study and long day. And the same should be curved near

[patterns],3 powdering, taking up big sticks, arranging a pearl the face to represent a sentence. And to indicate 'no'

necklace, wearing garlands, gathering the ends of clothes, or 'speak' the forefinger should be stretched, shaken and

churning, drawing out arrows, plucking flowers, wielding a moved up.

long whip, drawing out a goad, a rope, and representing a 72-75. This hand should be shaken to represent anger,

woman. perspiration, hair, ear-ring, armlet and decoration of the cheeks.

65-71. Sūcimukha-the fore finger of the Katakāmukha And to represent pride, 'I am,' enemy, 'Who is this' man?, and

hand to be stretched. in scratching of the ear it should be held near the forehead. [And two Sūcīmukha hands] should be united to represent the union [of men], and be separated to indicate separation, 2 'Pressing' of the teats of cows and buffaloes while milking them; stana- and to represent a quarrel the two hands should be crossed, pidane-mabisyādidohane (Ag.). 3 Samvahana according to Ag. means mrtpīdana. 60-63. 1 hotram-srugādi-uttānena, Ag. 65-71. 1 karņacūlikā-karņapūra (Ag.).

2 havyam-ajyādyāmukhena (Ag.). 2 Saying 'welldone,' 'how beautiful' etc.

3 khandanam-drawing decorative patterns or designs on anything. Ag's 3 pallava but B. balyava.

explanation of this seems to be wrong. Cf. alakā-tilakā patrāvalim khandante 4 The text uses two words valli and lata meaning 'creeper.' Ag. distinguishes between the two as follows: alavu-prabbrtayo vallyah and draksāprabhrtayo (draws the alaka-tilaka and patravali) in the Kīrtilatā of Vidyāpati. See ed. latab. Haraprasād Sāstrī, Calcutta, BS. 1331 (1924) pp. 13-14, and the root kha d (to 5 sikhanda-kumārakānām kakapaksab (Ag.). draw) in E. Bengal dialect of Tippera.

IX. 82 THE NATYASASTRA 180 18I GESTURES OF HANDS IX. 83 and to show bondage they are to press each other. The two Sucimukha [hands] facing each other and held separately 83. Two such hands with moving fingers meeting at

on the left side will represent the close of the day, and held the wrist and turning backwards will represent the full-

on the right side they will indicate the close of the night. blown lotus and water-lily.

76. This hand moved in the front will indicate [any] 84. Sarpasirah (snake-head)-the fingers including the thumb to be close to one another and the palm to be form, stone, whirlpool, mechanical contrivance and a hill, and hollowed. to represent the serving up of meals the same movement of the hand pointing downwards is required. 85. (Uses):] It is used to represent the offering of water, movement of serpents, pouring water [on anything], 77. To represent Siva this hand pointing downwards challenging [for a duel], motion of the elephant's frontal is to be held close to the forehead and to indicate Sakra (Indra) this hand is to be raised [to the forehead] and held globes (kumbha) and the like. 86. Mrgasirsa (deer-head) -- the Sarpaśirah hand with all across it. 78. By two such hands the orb of the full moon is to its fingers pointing downwards, but the thumb and the little finger raised up. be represented, and to indicate the rising of Sakra (Indra) (i.e. 87. (Uses)3 It is moved to represent here, now, "It is," raising his banner) it should be held close to the forehead. to-day, able, shaking (ullasana), throw of dice, wiping off 79. [This hand] moved all around will represent the perspiration and pretended anger. orb of the moon, and to indicate Siva's [third] eye, it should 88. Kängula-The middle and the fore-fingers and the be held on the forehead and [in case of] Sakra's (Indra's) thumb to be separated and the ring finger to be bent but the [eyes it should be] raised obliquely. little finger raised. 80. Padmakośa (lotus-bud)-the fingers including the 89. (Uses): By this are to be represented immature thumb to be separated and their ends to bend, but not to fruits of various kinds and angry words of women. meet one another. 90. Alapallava (Alapadmaka)-all fingers turned towards 81. (Uses)a To represent Bilva and Kapittha (elephant- the palm, standing on its side and separated from one another. apple) fruits and the breasts of women [this hand is to be 91. (Uses)a It is to be used for indicating prevention, used]. But to represent accepting [these fruits] or flesh, words like "Of whom are you," "It is not," "nonsense" and this hand should be slightly bent at its end. a woman's allusion to herself. 82. [This hand] should be held [to represent] offering 92. Catura-the four fingers stretched and the thumb Pūja to a deity, carrying tribute, casket, offering the first bent near the middle finger. funeral cake,1 and a number of [small] flowers, are also to be 93. (Uses)& It is to be applied in representing policy, indicated by the Padmakośa hand. discipline, penance, cleverness, a young girl, a sick person,

8 -. 1 agrapinda-dana-nandimukhaśrāddha (Ag.). 88. 1 trertāgnisamsthitāh=viralāb (Ag.).

IX. 103 THE NATYASASTRA 182 183 GESTURES OF HANDS IX. 104 perfidy, gambling, proper words, salutary truth, and tran- quillity. 104. (Uses)a It with the slightly throbbing end is

94. By one or two such hands moved round should be used specially to indicate fine, small, loose, lightness, exit,

represented openness, deliberation, moving, conjecture and and softness.

shame. 105. Hamsapaksa (swan-wings)-the three fingers

95. By the combined Catura hands are to be repre- stretched, the little finger raised and the thumb bent.

sented lotus-petals compared with eyes, and ears of deer. 106-108. (Uses): It is used to indicate pouring libation

96-98. Besides these, the Catura hand is to indicate of water, and things connected with smell, acceptance of a

sports, love, brilliance, memory, intelligence, judgement, gift, Acamana and taking meals by Brahmins, embrace,

forgiveness, nutrition, consciousness, hope, affection, reason- excessive stupor, horripilation, touch, unguent and gentle

ing, union, purity, cleverness, sweetness, favourableness, massage. It may again be used to indicate according to the

softness, happiness, good conduct, its want, question, liveli- Sentiment, amorous action of women relating to the region hood, propriety, dress, soft grass, a small quantity, wealth, between their breasts, their sorrow and touching of their chin.

defeat, sexual intercourse, merit and demerit, youth, houses, 109. Sandamsa (pincers) the forefinger and the thumb

wives and various colours. of the Arala hand crossed and the palm a little hollowed.

99. [To represent] while it (the Catura hand) should 110. The Sandamsa (hand) according to the Sentiments

be held up; red and yellow are indicated by moving it round, and States, is of three kinds, viz. that [held] in front, that

and blue by pressing [one such hand with another]. near the mouth and that on one side.

100. Bhramara (bee)-the middle finger and the thumb III-II5. (Uses)a In representing the plucking of crossing each other, the forefinger bent, the remaining two flowers, taking up grass, leaves, hairs or thread and holding fingers separated and raised. or pulling out an arrow or thorn the Sandamsa should be

101. (Uses): It is used to indicate the plucking of held in one's front. And to represent taking off a flower flowers with long stems such as lotus blue, and white water- from its stem, the wick [of a lamp], [collyrium] stick, etc. lily, and earring. filling up [any vessel with any thing], in saying 'fie [upon 102. It should fall down with a sound to represent you'], in anger, this should be held near the mouth. To rebuke, pride of power, quickness, beating time and produc- represent taking off the sacred thread, piercing a hole [in ing confidence. pearls and similar objects], bow-string, fineness, arrow, and

102. Hamsasya (swan-beak)-the forefinger, middle objects aimed at, yoga, meditation and small quantity [two] finger and the thumb close1 to one another and the remain- such hands should be combined. This shown by the left ing fingers stretched.1 hand held on one side and slightly turning its tip is used to represent softness, abuse and envy. It is used also to indicate 103. 1 nirantarā iti viralatvam nisedhati (Ag.). painting, colouring one's eyes, deliberation, stem, drawing Patralekha and squeezing of lac-dye by women.

IX. 125 THE NATYASASTRA 184 185 GESTURES OF MINOR LIMBS IX. 126

116. Mukula (bud)-the fingers bent and close to one Gestures of Combined hands another and their tips meeting together in the Hamsasya 126. O the best of Brahmins, these are the single hands hand. described by me. Now hear about the combined hands 1,17-118. (Uses)a It is used to represent the making which I am going to describe. of offerings in worshipping a deity, bud of a lotus or a water- 127. Anjali-Putting together of the two Pataka hands lily, throwing a kiss (vita-cumbana), contempt, miscellaneous is called Añjali. things, taking meals, counting of gold coins, narrowing (Uses):] It is used to greet gods, venerable persons of the mouth, giving away [anything], quickness and buds (guru) and friend. of flowers. 128. In greeting gods it is to be held on the head, in 119-120. Ūrņanābha (spider)-the fingers of the case of venerable persons like father, teacher etc. it is to be Padmakośa hand [further] bent. held near one's face, and for greeting the friends it is to be (Uses): It is used to represent holding one by hair, placed on the chest and in case of the remaining persons receiving stolen goods, scratching one's head, skin disease, there is no fixed rule. lions, tigers and such other animals, and seizing a stone. 129. Kapota (pigeon) Two (Añjali) hands meeting 121-122. Tāmracuda (lit. copper-crest i.e. cock)-the on one of their sides will make the Kapota hand. Listen middle finger and the thumb crossed, the fore-finger bent, about its uses. the remaining [two fingers] at the palm. 130. (Uses): It is to be used to indicate an approach (Uses): It should fall down with a sound to represent with inimical intention, bowing and talking to a venerable rebuke, beating time, inspiring confidence, quickness, and person. To indicate cold and fear, women are to hold this making signs. hand on their breasts. 123. This hand is also to be used to indicate small 131. The hands [showing the Kapota gesture] released fractions of time such as Kalā, Kāșthā, Nimeșa and Ksaņa as after the meeting of fingers will indicate anxious words, or well as talking to a young girl and inviting her. 'This much can be done' or 'Nothing more can be done.' 124. When the fingers in a hand are close to one 132. Karkata (crab)-When the fingers of the hands another, bent and the thumb is set on them, the same is are interlocked the Karkata hand is produced. [also] called the Tāmracuda hand. 133. (Uses): It is used to indicate the bees-wax, 125. By this hand are to be indicated hundred, thousand massaging of the limbs, yawning just after awakening from and lac of gold coins, and when the fingers in it are suddenly sleep, a big body, supporting the chin and holding a conch- made to move freely it will represent sparks or drops. shell [for blowing it]. 134. Svastika-Two Arala or Vardhamana hands 117-118. 1 vitacumbanam-svabhiprāyam aviskartum svahastam eva kumu- litam vitas cumbantīti vitacumbanam (Ag.). upturned and held together at the wrists on the left side will

119-120, 1 Cf, Ag's explanation of cauryagraha. form the Svastika. It is to be used by women. 24

IX. 142 THE NATYASASTRA 186 187, GESTURES OF HANDS IX. 143

135. (Uses): When the hands are separated from the Svastika position, it will indicate directions, clouds, the sadness, fainting, fit of intoxication, excitement, state of

sky, forests, seas, seasons, the earth and similar [other] illness and wound by a weapon. 143. Puspaputa-Two Sarpaśirah hands with their extensive things. 136. Katakāvardhamānaka-When one Kațakā (mukha) fingers close to one another meeting on one side very closely

hand is placed on [the wrist of] another Kataka [mukha] will give rise to the Puspaputa hand.

hand, the Katakavardhamānaka hand will be produced. 144. (Uses)a lt is to be used to indicate the receiving

(Uses)a It is to be used in movements connected with or carrying of rice, fruits, flowers, foods and lawfully obtained

love-making and in bowing [to a person]. money of various kinds and the carrying and removing of

I37. Utsanga-When the Arala hands are contrarily water.

placed and are held upturned and bent, the Utsanga hand 145. Makara-When the two Pataka hands with their

will be the result. thumbs raised are turned down and placed on each other the

(Uses): It is used to indicate feeling of touch. Makara hand is produced. 146. (Uses): It is used to indicate lion, tiger, elephant, 138. It is also used to indicate acts of anger and crocodile, shark and fish and other carnivorous animals. indignation, in pressing of hands similar to women's acts of 147. Gajadanta-Two Sarpasirah hands touching the jealousy. opposite arms between the shoulder and the elbow will give 139. Nisadha-When the Kapittha hand surrounds the Mukula hand the Nisadha hand is made. rise to Gajadanta hand.

140. (Uses)a It is used to indicate collecting, accep- 148. (Uses): It is to be used to indicate the carrying of the bridegroom and the bride, excessive weight, clasping a tance, holding, a doctrine, and to indicate brief truth the two pillar and uprooting a hill or a block of stone. hands are to press (each other). 149. Avahittha-When the two Sukatunda hands meet 140. Ka-Kha:) Nisadha-The left hand holding the each other on the breast and are bent and then slowly low- [right] arm above the elbow and the right hand similarly ered, the Avahittha hands will be the result. touching the left arm with a clenched fist will make a 150. (Uses): It is to be used in indicating weakness, Nisadha hand. sigh, showing one's body, thinness [or the body] and longing 140. Ga, (Uses)3 It is to indicate patience, intoxication [for a beloved]. pride, elegance, eagerness, valour, arrogance self-conceit, 151. Two Hamsapaksa hands turned down will be the haughtiness, motionlessness, steadiness and the like.' known as the Vardhamana. (Uses)a It is to be used to 141. Dola-When the two shoulders are at ease in a represent the opening of objects like latticed windows. Karana and the two Pataka hands are hanging down the Dola 152. The two kinds of hands (single and combined) hand is produced. described briefly may be used elsewhere also in conformity 142. (Uses)a It is to be used in indicating hurry, with the rules laid down here.

IX. 162 THE NATYASASTRA z88 189 GESTURES OF HANDS IX. 163

General rules regarding the use of hand gestures Spheres of hand gestures

153. In acting, hand [gestures] should be selected for 163. The experts are to use the hand gestures according their form, movement, significance, and class according to the to the popular practice and, [in this matter] they should have personal judgement [of the actor]. an eye to their movement, object, sphere, quantity, appro-

154. There is no gesture (lit. hand) that cannot be priateness and mode.

used in indicating [some] idea. I have profusely described 164. Hand gestures of persons of the superior type

whatever forms (lit. gestures) are usually seen [to be as- should move near their forehead, that of the middling type

sociated with different ideas]. of persons at about their breasts while the inferior persons

155. There are besides other popular gestures (lit. [should move their hand gestures in regions] below this.

hand) connected with other ideas, and they also are to be Quantity of gestures

freely used along with the movements inspired by the 165. In the superior persons, hand gestures should

Sentiments and the States. have scanty, movement, in the middling ones there should

156. These gestures should be used by males as well as be medium movement, while in the acting of the ordinary

females with proper regard to place, occasion, the play under- persons, there should be profuse movements of hand gestures.

taken and a suitability of their meaning. 166. For relevant purposes the hand gestures of persons of the superior and the middling types should conform the

Different movements of hand gestures definition given [in the Sāstra] while gestures of persons of

157. I shall now describe the varied movements which the inferior type should follow the popular practice and their

these gestures (lit. hands) [should] have in connexion with [own] natural habit.

[different] Sentiments and States. 167. But when [specially] different occasions or times

158-160. [These movements are] drawing upwards, present themselves, wise people should make contrary uses of the hand gestures. dragging, drawing out, accepting, killing, beckoning, 168-171. While a person is to represent himself as sad, urging, bringing together, separating, protecting, releasing, fainting, terrified, overcome with disgust or sorrow, weak, throwing, shaking, giving away, threatening, cutting, pier- asleep, handless, inactive, drowsy, inert, sick, attacked with cing, squeezing and beating. fever, seized with panic, attacked with cold, intoxicated, 161. Hand gestures according to the theory of His- bewildered, mad, thoughtful, practising austerities, residing trionic Representation are to have three kinds of general in a cold region, prisoner under arrest, running very swiftly, movements, viz. upwards, sideways and downwards. speaking in dream, suddenly moving away and bursting nails 162. These movements of hands should at the time of he is not to use hand gestures, but he should resort to the their use, be embellished by means of [suitable] expressions Sattvika Representation as well as to the change of voice in the eyes, the eyebrows and the face. suitable to the different States and Sentiments.

IX. 181 THE NATYASASTRA 190 191 GESTURES OF HANDS IX. 182 172. At the time of verbal acting (i.e. when the actor 182. Ardharecita-The left hand should be as in the will speak his part) the eyes and the look are to be directed to points at which the hand gestures are moving, and there Caturasra and the right hand as in the Recita.

should be proper stops so that the meaning may be [clearly] 183. Uttanavancita-The two Tripataka hands are

expressed (lit. seen).' slightly bent obliquely and the shoulders and the elbows are

173. These are the hand gestures connected with the moved.

various kinds of Histrionic Representations. I shall now speak 184. Pallava-the two Pataka hands joined at the wrist.

of Dance-hands (i.e. gestures to be used in dance). Nitamba-the two Pataka hands taken out from the

Dance-hands shoulder [to the hip].

174. Caturasra -- two Katakamukha hands held forward 185. Kesabandha-the two hands moved out from the

eight Angulis away [from one's chest,] the two shoulders and hair-knot (kesabandha) and held on the sides.

elbows on the same level. 186. Lata-the two hands to be obliquely stretched 175. Udvrtta-the two Hamsapaksa hands waved like sideways.

a palm-leaf (fan). Its alternative name is the Talavrnta 187. Karihasta-the Lata hand held up and swung (palm-leaf). from side to side and the Tripataka hand held on the ear. 176. Talamukha-the two hands from the Caturasra 1,88. Paksavancitaka-one Tripatāka hand placed on position to be held obliquely facing each other. the waist and another on the head.

177. Svastika-the Talamukha hands crossed at the 189. Paksapradyotaka-the Paksavancitaka hands chang- wrists ; but released after this they are called Viprakirna. ing places (i.e. the hands placed on the waist to be put on 178. Arālakatakāmukha-the two Alapallava (Alapad- the head and vice versa). maka) hands with palms upwards changed into Padmakośa 190. Dandapaksa-the two Hamsapaksa hands moved hands. Its another name is Arālakataka. alternately and then held out like a staff. 179. Āviddhavaktraka-The two hands are to have a graceful (kutila) movement after touching [successively] the 191. Ordhvamandali-the two hands to have circling movement near the upper region (i.e. the upper part of the opposite shoulder, elbow and hands, and the palms [of the body). hands] moved are to turn towards the back. Parśvamandali-the same movement made on one side. 180. Sucimukha-The two Sarpasirah hands with their 192. Uromandali-after circling movements one hand thumbs touching middle fingers are to stretch their tips to be raised up and the other to hang down, and movements obliquely. to take place near the breast. 1,81. Recita-the two Hamsapaksa hands swiftly 193. Urahpārśvārdhamandala-the Alapallava (Alapad- moving with the palms facing upward. This is like the maka) and Arāla hands moved by turns above the chest and ordinary Recita [of the hands]. by the sides.

IX. 204 THE NATYASASTRA 192 193 GESTURES OF HANDS IX. 205 194. Mustikasvastika-the two Katakamukha hands bent at the wrists and moved round. time [the hand] moves round, the Karana thus produced is

195. Nalinipadmakośa-the hands to be moved by called Udvesțita.

turns with Vyavartita and Parivartita Karana. 205. Vyavartitag When fingers beginning with the last

196. Allapallava-the two hands to have the Udvestita one (the little finger) are gradually pointing inwards at the

Karana in their movements. time [the hand] moves round, the Karana thus produced is

Ulbana-the two hands to be stretched up and waved. called Vyavartita.

197. Lalita-two [Ala]-pallava (Alapadmaka) hands to 206. Parivartita When the fingers beginning with the

be moved above the head. last one (the little finger) are gradually pointing outwards at

Valita-the two Lata hands crossed at their elbows. the time [the hand] moves round, the Karana thus produced, is called Parivartita. Dance hands 198. The Dance-hands are to be used in forming 207. Hand gestures in their [various] movements when applied in drama and dance should be followed by Karanas Karanas, and hands such as the Pataka should be used in representing the meaning [of words]. having [appropriate expression of] the face, the eyebrows and the eyes. 199. [But] sometimes, out of necessity their uses are inter-changed, and the names given are due to their predomi- Movements of arms

nant use in drama and dance. 208-209. Persons dealing in drama and dance have 200. The Dance-hands are of two kinds a single and com- prescribed ten [movements] of armsa Tiryak, Ordhvagata, bined. I shall now speak of hands in relation to the Karanas.1 Adhomukha, Āviddha, Apaviddha, Mandala, Svastika,

Karanas of Dance hands Ancita, Kuncita and Prsthaga.

201-202. Instructors of hand gestures are to note care- 210. O Brahmins, I have now finished the brief descrip-

fully the four classes into which all such gestures are grouped. tion of rules regarding the Karanas and shall speak afterwards

The four classes are: Āvestita, Udvestita, Vyavarita and about the movements of the breast, the belly and the sides. Parivartita. Here ends Chapter IX of Bharata's Nātyasāstra, 203. Ävestitay When the fingers beginning with the which treats of the Gestures of Hands. first one (the forefinger) are gradually pointing inwards at the time [the hand] moves round, the Karana [thus produced] is called Āvestita. 204. Udvestita: When the fingers beginning with the first one [forefingers] are gradually pointing outwards at the

200. 1 This Karana is evidently from the K. mentioned in IV. 62ff, 25

195 GESTURES OF OTHER LIMBS X. 11

II. Sides are of five kinds, viz., Nata (bent), Samunnata (raised), Prasārita (extended), Vivartita (turned round) and CHAPTER TEN Apasrta (drawn away). I,2-15. Nata (bent)-the waist slightly bent, one side GESTURES OF OTHER LIMBS slightly bent, one shoulder drawn away slightly. Breast Unnata (raised)-the other side [on the assumption of 1. The breast is known to be of five kinds: Äbhugna the Nata position] will be Unnata (raised), [because in rela- (slightly bent), Nirbhugna (unbent), Prakampita (shaking), tion of it] the waist, the side, the arm and the shoulder will Udvahita (raised) and Sama (natural). be raised.

2. Abhugna (slightly bent)-(the breast) lowered, back Prasärita (stretched)-the stretching of the sides in their high, shoulders slightly bent and at times loose (not stiff). (respective) directions. 3. (Uses): in hurry, despair, fainting, sorrow, fear, sick- Vivartita (turned round)-the Trika (sacrum) is to be ness, broken heart, touching of cold objects, rains and being turned round.

ashamed of some act. Prasrta (drawn away)-the side restored to its original 4. Nirbhugna (unbent)-(the breast) stiff, back depressed, position from the Vivartita movement [described above]. shoulders not bent and raised. These are the definitions of the various kinds of side. 5. (Uses):) in paralysis, having resentment, look of Uses of Sides surprise, assertion of truth, mentioning oneself haughtily, 16-17. Nata (bent)-in approaching any body. and excess of pride. Unnata (raised)-in going backwards. 6. Prakampita (shaken) -- the breast incessantly heaved Prasarita (stretched)-in joy and the like. up [and down]. Vivartita (turned round)-in turning about. 7. (Uses) : in laughter, weeping, weariness, panic, [fit Apasrta (drawn away) in returning. of] asthma, hiccup, and misery. These are the uses of sides. Now listen about those of 8. Udvahita (raised)-the breast raised up. the belly. (Uses): in (representing) deep breathing, viewing some Belly lofty [object], and yawning. 18. The belly is of three kinds:) Ksama (thin), Khalva 9. Sama (natural)-All the limbs being in the Caturasra (depressed), and Pūrņa (full). Of these, the thin (belly) is and with Sausthuva the breast will be called Sama (natural). Kşāma, the bent is Khalva and the full belly is Pūrna.

Sides Uses of the belly

10. I have properly described the variety of the breast 19-20. Ksama, (thin): in laughter, weeping, inhalation and yawning. movements. And I shall now define here the two sides.

X. 25 THE NATYASASTRA 196 197 GESTURES OF OTHER LIMBS X. 27

Khalva (depressed): in sickness, penance (tapas), Weari- Thigh ness and hunger. Pūrna (full)a in emitting breath, corpulence, disease, too 27-30. The thighs have five conditions, viz. Kampana

much eating and the like. (shaking), Valana (turning), Stambhana (motionlessness),

These are the uses of the belly. Now listen about that Udvartana (springing up) and Vivartana (turning round).

of the waist. 30-32. Kampana (shaking)-raising and lowering of heels repeatedly. Waist Valana (turning)-drawing the knees inwards [while going].

21-24. The waist in dance and drama is of five kinds, Stambhana (motionlessness)-suspension of movement.

viz. Chinna (turned aside), Nivrttā, (turned round), Recitā Udvartana (turning very quickly)-observing Valita

(moved about), Prakampitā = Kampitā (shaken) and Udvāhitā (Valana) with force.

(raised). Vivartana (turning round)-drawing the knee inwards

Chinna (turned aside)-in turning the middle of the waist. and moving it.

Nivrtta (turned round)-in turning to the front from the Uses of the thigh reverse position. Recita (moved about)-in moving in all directions. 32. Kampana (shaking): in the frightened movement

Prakampitā (shaken)-in obliquely moving up and down. of persons of the inferior type. Valanaa in the movement of women at ease. Udvāhita (raised)-in raising the two sides of the waist Stambhanad in perturbation and despair. slowly. Udvartana in exercising [limbs] and the Class Dance. These are the movements of the waist. Now listen about Vivartana :; in going round due to causes like hurry. their uses. 33. Similar other [conditions of the thigh] as they are

Uses of the waist found in popular practice, may be assumed. So much about the description of the thigh. Now listen about the shank. 25-26. Chinna (turned aside): in exercising [the limbs], hurry and looking round. Shank

Nivrtta (turned round): in turning round. 34-37. The shank is of five kinds, viz. Avartita (turned)

Recita (moved about): in movements [of the general type] Nata (bent), Ksipta (thrown out), Udvahita (raised) and Parivrtta (turned back). Prakampita (shaken)& in the walking of hunch-backs, Avartita (turned)-the left foot turning to the right and dwarfs and persons of the inferior type. the right [one] to the left. Udvāhita (raised): in the [movement of] corpulent Nata (bent)-the knee bent. [persons] and the amorous movements of women. Ksipta (thrown out) shank thrown out.

A. 30 THE NATYASASTRA 198 Udvāhita (raised)-raising (a shank) up. 199 GESTURES OF OTHER LIMBS X. 51 Parivrtta (turned back)-the turning back [of a shank]. throwing away [something], various Recaka movements and Uses of the shank walking forward when there is a wound at the heel. 38-40. Avartita (turned): in the Jester's walking. Ancita-the heels on the ground, the forepart of the feet Nata (bent): in assuming Sthana (standing) and Āsana raised and all the toes spread. (sitting) postures. (Uses):l It is to be applied in representing a movement Ksipta (thrown out): in the exercise with wound at the forepart of the foot, turning round in every [of limbs] and the Class Dance. way, foot being struck [by something] and in various Bhramari Udvāhita (raised): in movements like quick (aviddba) movements. Kuncita-the heels thrown up, toes all bent down and the walking. Parivrtta (turned back): in Class Dance and the like. middle of the feet too bent. 51. (Uses): It is to be used in aristocratic (udatta) gait, These are the movements of the shank. Now listen about the movement of feet. turning round to the right and vice versa and in the Atikrāntā Cārī.1 Feet and their uses Caris 41-50. The feet are of five kinds, viz, Udghattita, 52. Persons practising [the Catīs] should take up simul- Sama, Agratalasancara, Ancita and Kuncita. taneously the movements of the feet, the shanks and the Udghattita-standing on the fore part of the feet and thighs. [For] in the movement of feet are included all the then touching the ground with the heels. movements of shanks and thighs. (Use): In practice this is to follow the Udghattita Karana The thighs follow the way in which feet are and this should be applied once or more in the high or 53. moved, and these two [limbs] constitute together the Cati of medium speed. the feet. Sama (natural)-[feet] naturally placed on an even ground. 54. These are the descriptions and uses of [various] It telates to representing a natural posture. limbs. I shall now describe the system of [different] Cāris. (Use) : It should be kept still in representing the natural position of the body in connexion with the various Karanas, Here ends Chapter X of Bharata's Natyasastra, but in the Recaka movement of the feet it should be moved. which treats of Gestures of other Limbs Agratalasancara-the heels thrown up, the big toe put forward and the other toes bent. (Uses)a This [is to be used] in urging, breaking, stand- 51. 1 B. reads after this three additional hemistichs which define the Sūci ing posture (sthanaka), kicking, striking the ground, walking, 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 Suci feet. It is used in dance and playing the Nūpura.

CARI MOVEMENTS XI. 8 201 Thirtytwo Caris

CHAPTER ELEVEN 8-10. The following sixteen are the earthly (bhaumi)

CĀRĪ MOVEMENTS Cārīs: Samapādā, Sthitāvartā, Šakațāsyā, Adhyardhikā, Cāșagati, Vicyavā, Edakākrīditā, Baddhā, Ūrūdvrttā, Additā, Definitions Utsyanditā,1 Janitā, Syanditā2, Apasyanditā,3 Samotsarita- T. Moving thus simultaneously feet, shanks and the matalli and Matalli. hip is Cārī. 11-13. The aerial (akasiki) Cāris are sixteen in number. 2. As the Caris prescribed by rules and connected with They are as followsa Atikiāntā, Apakrāntā, Pārśvakrāntā, [different] limbs relate to (vyayacchante from vya-yam = stretch Ūrdhvajānu, Sūcī, Nūpurapādika, Dolapādā, Āksiptā, Āviddhā,

out to) one another, they constitute (lit. are called) a vyayama Udvrttā, Vidyudbhrāntā, Alātā, Bhujangatrasitā, Hariņaplutā, (system). Dandā and Bhramari. 3. Cari: The movement [mainly] with a single foot, is called the Cārī. Earthly Caris

Karana1: The two feet moving [together] is called the 14. Samapäda-the two feet close together, the nails

Karaņa. [of the toes] meeting, and standing on the spot.1

4. Khandag A combination of the [three] Karanas is 15. Sthitavarta-one Agratalasancara foot drawn up to

called the Khanda. cross the remaining foot and this movement repeated with

Mandala: Three or four Khandas combine to make up another foot after separating the two.

the Mandala. 16. Sakatāsyā-the body held upright, one Agratalasan-

Uses of the Cari cara foot put forward and the breast being Udvahita.

5. From the Caris proceed dance as well as movements 17. Adhyardhika-the left foot on the back (i.e. heel)

[in general] and release of missiles; and [the stage] fighting of the right one, the latter to be drawn away [a Tala and

[in general] should be made with the Caris. half a part].1

6. Whatever has been described as Histrionic Repre- 18. Casagati-the right foot put forward and then

sentation is included in the Caris, and no part of it can take drawn back and at the same time left foot drawn back and

place without the same. put forward afterwards.

7. Hence I shall describe the rules of the Caris which are to be used in dance, ordinary movements and fights [on 1 G. reads these names as Utspandita, Apaspandita and Spandita and B. as Utspandita, Syanditā, and Apasyandita. I have taken the root syand as the the stage]. basis of all these names. Mss. erratically give -syand-and -spand -. 2 See note 1 above. 3 ibid. 3. 1 This karana should be distinguished from that mentioned in IV. 30, 13. 1 On the appropriateness of this name see Ag. 34-75, 63ff. 16. 1 The exact measure (I} tala) is given by Ag. 26

XI, 31 THE NATYASASTRA 203 CARI MOVEMENTS XI. 32 202 . Vicyava-separating the feet from the Samapādā 32. Parsvakranta-one foot Kuncita and another thrown position and striking the ground with their fore part. up and brought near the side. 20. Edakākrīditā-jumping up and down with the 33. Ordhvajanu-throwing up a Kuncita foot and its Talasancara feet. knee brought up to the level of the breast. and the remaining 21. Baddha-The sideways movement of the thighs knee without movement, and then this second foot thrown up when the two shanks are crossed. in the manner of the first, and the first foot kept motionless. 22. Ūrūdvrttā-the heel of a Talasancara foot placed 34. Suci-a Kuncita foot thrown up and brought above outwards, one of the shanks to be slightly bent and the thigh the knee of the remaining foot and then to let it fall on its turned up. fore part. 23. Addita-one Agratalasancara foot rubbing against 35. Nūpurapadikā-one Ancita foot raised up and taken the fore part or the back of another foot. behind another foot and then quickly caused to fall on the 24. Utsyandita-the two feet to move gradually side ground. ways (lit. in and out) in the manner of the Recaka. 36, Dolapada-one Kuncita foot thrown up and moved 25. Janita-a Musti hand held on the breast and from side to side and then caused to fall on the ground as an another hand moved round, and the feet to be Talasancara. Añcita foot. 26. Syandita-one foot put forward five Talas away 37. Aksiptā- one Kuncita foot thrown off and then from the other. placing it quickly on an Ancita foot by crossing the shank of Apasyandita-the reverse of the Syandita Cari (i.e. another the remaining leg. foot being put forward five Talas away from the other). 38. Aviddha-one Kuncita foot from the Svastika posi-

27. Samotsarita-matalli-going back with a circular tion stretching and falling on the ground quickly as an

movement and the feet being of the Talasancara kind. Añcita foot.

28. Mattalli -- going back with a circular movement and 39. Udvrttā-the (Kuncita) foot of the Aviddha Cari

hands being Udvestita and motionless. taken round [the thigh of the remaining leg] and thrown up and then caused to fall [on the ground]. 29. These are the Caris used in personal combat as well 40. Vidyudbhranta-one foot turned to the back and as in the Karanas. I shall now describe the aerial Caris. after touching its top part to be stretched, and the head moved in a circle. 'Aerial Caris 41. Alata-one foot stretched backwards and then put 30. Atikranta-a Kuncita foot thrown up, put forward. in and afterwards caused to fall on its heel. and caused to fall on the ground. 42. Bhujangatrasita-one Kuncita foot thrown up and 31. Apakrāntā-the Valana posture of the two thighs, the waist and the knee being turned round and the thigh a Kuncita foot raised and thrown down sideways. [of the remaining foot] to be turned round too.

XI. 52 THE NATYASASTRA 204 205 CĀRI MOVEMENTS XI. 34

43. Harinapluta-the foot in the Atikranta Cari to be caused to fall on the ground after a jump, and the shank of with toes pointing sideways and the shank bent (ancita) and

an Añcita foot to be put in the Ksipta posture. limbs with Sausthava. Visnu is the presiding deity of this Sthana. 44. Dandapādās the foot in the Nūpura-[pādikā] Cārī 54. (Uses): From this Sthana persons of the superior to be stretched and quickly to turn. 45. Bhramari: the foot in the Atikrāntā Cāri to be and the middling types should carry on their ordinary (lit.

thrown up and the entire body turned round (lit. the Trika natural) conversation in connexion with various duties. 55. It should also be assumed in throwing a disc, hold- turned round) and then the second foot to be moved on its ing a bow, in patient and stately movement of the limbs, sole. 46. These are the aerial Caris, consisting of graceful and in anger. 56-58. On being reversed it is to be used in anger of movements of limbs. These are to be applied in the release love. And similarly in the administration of rebuke, and in of weapons like an arrow and the thunderbolt (vajra). 47. O Brahmins, in all these cases the two hands should love, distress, apprehension, envy, cruelty, assurance, and re- collection, it is to be assumed when the Erotic, the Marvell- according to the circumstances, either precede, go simultane- ous, the Odious and the Heroic Sentiments are prominently ously with or follow the feet. introduced. 48. Where the foot [moves], there the hand [should follow] and where the hand [moves], there the entire body. 59-60. Samapada-the feet in the natural posture and

[Hence] after taking a step, all the minor limbs should be kept one Tala apart, and the body with the natural Sausthava. Brahma is its presiding deity. made use of. 61-63. (Uses):It should be assumed in accepting bles- 49. When in course of a Cari a foot comes to rest on sings from the Brahmins1, and in mimicking birds. The the ground the [corresponding] hand should be moved round bridegroom at the marriage ceremony, persons in the sky, and brought on the waist. chariot and aerial car (vimāna), person2 of marked sects 50. I have finished describing Caris consisting of (lingasthà) and persons practising vows are also to graceful movements of limbs. I shall now speak of Sthanas assume this. (standing posture) to be used in the release of missiles of all 63-65. Vaisakha-the two feet three Talas and a half kinds. apart and the thighs without motion; [besides this] the two Sthānas feet to be obliquely placed pointing sideways. Skanda 51. Six Sthanas (standing posture) for men are (Kārtikeya) is its presiding deity. Vaisņava, Sampāda, Vaisakha, Mandala, Ālīdha, and Pratyā- 65-66. (Uses)aThis Sthana should be assumed in riding līdha. horses, and in exetcise, exit [from any place], mimicking large 52-53. Vaisnava-the feet two Talas and a halt apart, one foot in the natural posture and another obliquely placed 58-60 1 vipramangala-vipraib yan mangalasirvacanadi etc. (Ag.). ' lingasthan-saivad yab vratastha urdbvakayadi prajnangab (?) (Ag.).

XI. 73 THE NATYASASTRA 206 207 CARI MOVEMENTS XI. 85 birds, practice of shooting arrows and in the Recakas [of the feet]. 74-75. In these Nyayas arising out of various Caris, 65-66. Mandala: It relates to Indra (i.e. its presiding actors should walk about [on the stage] at [the time of] deity is Indra). In it the feet are four Talas apart and they using weapons.

are obliquely placed and turned sideways, the waist and the 75-76. The Nyayas (way) are so called1 because fights knee are in the natural position. [on the stage] are niyante (carried on) with the Angahāras 66-67. (Uses):The Mandala Sthana should be assumed relating to the Nyayas and arising out of them. in the use of weapons like the bow and the thunderbolt, driv- 76-80. Bharata: Putting forward the shield with the ing of elephants, and mimicking large birds. left hand and taking the weapon the actor should 67-68. Alidha : The right foot in the Mandala Sthana walk about on the stage. Stretching the hand forward fully drawn five Talas apart [from the other foot] will make the and then drawing it back he should move the shield at Ālidha Sthana, Rudra (Siva) is its presiding deity. his back from side to side and flourish the weapon

68-70. (Uses):This Sthana should be assumed in all around his head, and it should also be turned round [about

acts relating to the Heroic and the Furious Sentiments, duel the wrist] near the cheek. And again the hands holding the

of wrestlers an'd in the representation of enemies, an attack weapon and the shield should be flourished gracefully around

[on them], and release of missiles. the head.

70-71. Pratyalidha: When the right foot is bent and 81-82. Sattvata : I shall now speak of walking about in

the left foot is put forward in the Alidha Sthana the Pratya- the Sattvata Nyaya. In it the same flourishing (i.e. as in

līdha will be produced. Bharata) of the weapon and the shield holds good, but this (the flourishing of the weapon) should take place at one's back. 71-72. (Uses): After taking an aim from the Alidha Sthana the missile to be [actually] released from the 82-83. Varsaganya. The walking about in the Vārsaganya

Pratyalidha Sthana. The actor should release various weapons Nyaya will be similar to that in the Sattvata, and the

from this Sthana. weapon and the shield also should be flourished similarly but these should go round the head. Four Nyayas in using weapons 84-85. KaisikaThe flourishing of the weapon

72-73. There are four Nyayas (ways) of using weapons near the breast or the shoulder which is to take place in

(lit. releasing missiles), viz. Bhārata, Sāttvata, Vārsaganya, the Bharata [Nyaya] will hold good in case of the Kaisika. But [in the latter] the weapon should be made to strike and Kaisika. 73-74. In the Bharata[Nyaya the weapon] should strike only after being flourished over the head.

(lit. cut) at the waist, in the Sättvata at the foot, in the Vär- 85-86. With these graceful movements of the limbs, weapons like the bow, the thunderbolt and the sword are to saganya at the breast and in the Kaisika at the head. be flourished at the time of their use.

X1. 94 THE NATYASASTRA 208 209 CARI MOVEMENTS X1. 100

86-88. In the stage-fight there should be no [actual] Method of exercise piercing, cutting or flow of blood and the actual striking. The use of weapons (lit. release of missiles) should be done 95-96. One should perform exercise [in 'Angahāras

with its mimicry, or the cutting off [of any one's limb] and Caris] on the floor as well as [high up] in the air, and

should be represented, according rules, by the use of gestures should have beforehand one's body massaged with the

and postures only, [sesamum] oil or with barley gruel.

87. The exercise should be performed in the 'Angahāras 96-97. The floor is the proper place (lit. mother) for

embellished with the Sausthava and accompanied by music exercise. Hence one should resort to the floor, and stretch-

with [proper] tempo and Tala. ing oneself over it one should take exercise.

Sausthava Health and nourishment of persons taking exercise

89-92. Those performing exercises [in Āngahāras] 97-99. For the strength of body one should take [pro- should take care of the Sausthava, for the limbs without it per] nasal medicine and get oneself purged [lit. resort to the (Sausthava) create no beauty (lit. do not shine) in drama or rule regarding the abdomen], take oily food, juice of dance. The Sausthava of limbs is to be presented by being sugarcane and sherbet. For, vitality is dependent on one's still, unbent, at ease, not very upright and not much bent. nourishment, and the exercise is dependent on vitality. Hence When the waist and the ears as well as the elbow, the one should be careful about one's nourishment. When bowels shoulder and the head are in their natural position (sama) and are not cleansed and one is very tired, hungry, thirsty, has the breast is raised, it will be the Sausthava [of the body]. drunk too much [water], eaten too much, one should not take exercise. The wise [teacher] should give training in Caturasra exercise to his pupil who has a graceful body and square 92-93. Caturasra :The Vaisnava Sthana with the two breast and is not coverad with garment. hands moving about at the waist, and the navel together with 100. These are the rules regarding Caris in connexion the breast raised, is called the Caturasra of the limbs. with the exercise of [limbs]. I shall hereafter speak of

Four acts relating to the bow different Mandalas.

93-94. There are four acts relating to the bow, viz. pre- Here ends Chapter XI of Bharata's Natyasāstra, paring (parimarjana), taking an arrow (adāna), taking an aim which treats of the Rule of Caris. (sandhana) and shooting (moksana). 94-95. The preparing (parimarjana) is the bending [of the bow], taking (grahana) is the pulling out of [the arrow], taking an aim (sandbana) is to put the atrow to the bow and shooting (moksana) is the release [of the arrow]. 27

XII, 20 211 MANDALA MOVEMENTS 10-13. Vicitra-the right foot [successively to be moved]

CHAPTER TWELVE in the Janita Cari and in the Talasañcara1 (Nikuttana), manner, (then) the left foot in the Syandita Cari, the right MAŅDALA MOVEMENTS foot in the Parsvakranta Cari, (again) the left foot in the

Mandalas Bhujangatrasita Cari and the right foot [successively] in the

I. I have now properly described Caris in connexion Atikranta and Udvrttā Cārīs, (next) the left foot in the Sūci

with the use of weapons (lit. release of missiles). [Now] Cari, the right foot in the Viksitpā (Āksipta) Cari and the

learn about Mandalas arising out of a combination of Caris. left foot in the Apakrāntā Cārī.

2-3. The aerial Mandalas areg Atikranta, Vicitra, 14-17. Lalitasancara-the right foot with the knee

Lalitasancara, Sūcividdha, Dandapāda, Vihrta, Alāta(-ka), raised [to move] in the Suci Cari, (next) the left foot in the

Vāmaviddha, Lalita and Krānta. Apakrānta Carī and the right one in the Pārsvakrāntā Cāri

3-5. The earthly Mandalas are Bhramara, Askandita,1 (again) the left foot [successively] in the Sūci and the Bhra-

Āvarta, Samotsarita, Edakākrīdīta, Addita, Šakațāsya, mari Carīs [this latter by turning round the Trika] and the

Adhyardha(-ka), Pistakutta and Cāsagata. Listen about their right foot in the Parsvakranta Cari and the left foot in the

description. Atikränta Cari which is to be changed (lit. divided) into the Bhramarī Cari.

Aerial Mandalas 18-19. Sucividdha-the left foot [to be moved] in the

6-9. Atikränta-the right foot [to be moved successi- Süci and the Bhramari Caris [the latter by turning the Trika

vely] in the Janita Cari and [the Sakațāsyā Cārī in which the round], the right foot in the Parsvakranta Cari, the left foot

breast is] Udvähita, the left foot in the Alāta Cari and the in the Atikranta Cari, next the right foot in the Sūci, the

right foot in the Pārsvakrāntā Cari, (next) the left foot in the left foot in the Apakranta Cari and the right foot again in

Suci Cari and the right foot in the Apakranta Cari, [again] the Pārsvakrāntā Cārī.

the left foot [successively] in the Sūci Cari and [the Bhramari 20-22. Dandapada-the right foot to be moved in the

Cari by] turning the Trika, (then) the right foot in the Janita and the Dandapada Caris, the left foot in the Suci and

Udvritta Cari and the left foot in the Alata Cari which should the Bhramari Caris [the latter by turning the Trika], (next) !

be changed (lit. divided) to the Bhramari Cari, again this left the right foot in the Orudvrtta Cari and the left foot in the

foot in the Alata Cari and the right foot in the Dandapāda Alata Carī, (again) the right foot in the Pārsvakrāntā Cāri and the left foot [successively] in the Bhujangatrasta and the Cāri. Atikrāntā Cārīs to meet the right foot in the Dandapāda Cari and the left foot [successively] in the Sūci and the

3-5. 1 Mss, sometimes give this name as aspandita which seems to be a Bhramari Caris [the latter by turning the Trika]. corruption for askandita. Cf. The note 1 on XI. 7-9. 10-13. 1 See Ag.

XII. 23 THE NATYASASTRA 212 MANDALA MOVEMENTS XII. 48 213 23-26. Vihrta-the right foot [to be moved] in the Janita Cari (then) its Nikuttana, (next) the left foot in the the Parsvakranta Cari, next the left foot in the Atikrantā

Syandita Cari and the right foot in the Orūdvrtta Cari, (then) Cari with graceful steps. 38-40. Kränta-the right foot [to be moved] in the the left foot in the Alata Cari and the right foot in the Suci Cari, again the left foot in the Pārsvakrānta Cari and the Süci Cari and the left foot in the Apakranta Cari, then the

right foot in the Aksipta and the Bhramari [this by turning right foot in the Parsvakranta Cari and the left foot too in

the Trika] and the Dandapada Caris, (then) the left foot in the same Cari (Parśvakrama), moving round alternately in

the Suci and the Bhramari Caris [the latter by turning the these Caris in all directions, again the left foot in the Sūci

Trika] again the right foot in the Bhujangatrasita Cari and Cari and the right foot in the Apakrantā Cari. This

the left foot in the Atikrantā Cari. Mandala is prescribed for a natural gait. Hence it is called Krānta i.e. going. 27-29. Aläta-the right foot [to be moved] in the 41, These are the aerial Mandalas. Now I shall des- Suci Carī and the left foot in the Apakranta Cari, then the cribe those on the earth. right foot in the Parsvakranta Cari and the left foot in the Alāta Cari, after moving by turn in these [two] Cārīs Earthly Mandalas six or seven times with graceful steps, again the right foot in 42-44. Bhramara-the right foot [to be moved] in the the Aprkranta Cari and the left foot [successively] in the Atikrānta and the Bhramari Carīs. Janita Cari and the left foot in the Syandita Cari, than the

30-33. Vamaviddha-the right foot [to be moved] in right foot in the Sakatāsya Cati and the left foot to be stret-

the Suci Cari, the left foot in the Apakranta Cari, (then) the ched, (next) the right foot in the Bhramari Cari [by turning

right foot in the Dandapada Cari and the left foot in the the Trika], again the left root in Syandita Cari and the right

Suci Cari and right foot in the Bhramati [this by turning the foot in the Sakatasya Cari, then the left foot in the Apakranta

Trika] and the Pārsvakrāntā, Cārīs, (next) the left foot in the (Apasarpi) Cari and the Bhramari Cari by turning about the back. Aksipta Carī and the right foot in the Dandapada and the Orūdvrttā Carīs, (then) the left foot [successively] in the 45-47. Asyandita-the right foot [to be moved] in the Bhramari Caris and the left foot in the Addita and the Bhra- Suci, the Bhramari [this by turning the Trika] and the Alāta Caris, (next) the right foot in the Prasvakranta Cari and the mari Caris [the latter by turning the Trika], then the right foot in the Orūdvrtta Cari and the left foot in the Apakrāntā left foot in the Atikrāntā Cāri. (Apasarpita) and the Bhramari Caris [the latter by turning the 34-37. Lalita-the right foot [to be moved] in the Trika then] the right foot in the Syandita Cari, (next) the left Suci Cari and the left foot in the Apakranta Cari, (then) the foot in the Sakatasya and the same foot to violently strike right foot in the Parsvakranta and the Bhujangatrasitā Cāris, the ground. (then) the left foot in the Atikranta Carī and the Ūrūdvrtta 48-50. Avarta-the right foot [to be moved] in the Caris the left foot and the Alata Cari, and the right foot in Janita Cari and the left foot in the Talasancara (Nikuttana)

XII. 51 THE NATYASASTRA 214 XII. 59 215 MANDALA MOVEMENTS

Cari, then the right foot in the Sakatāsya and the Ūrūdvrtta Cari, (next) the right foot the Atikrāntā (Apasarpi) Cari 59-60. Sakatāsya-The right foot (to be moved) in the Janita Cari, and next to move in the Talasancara turning backwards and the Casagati Cari, then the right foot in the Syandita Cari and the lett foot in the Sakatasya Cari, (Nikuttana) manner, the same foot in the Sakatāsyā Cārī and

again the right foot in [the Bhramari Cari with the Trika the left foot in the Syandita Cari, moving round in this

turned round), and the left foot in the Apakrantā (Apasarpi) Cari. manner alternately with the Sakatāsyā Cārī. This Cāri

51-53. Samotsarita-assuming firsr ot all the Samapāda Mandala named the Sakatāsya is to be used in fight.

Sthana, then stretching the two hands with their palms turned 61-62. Adhyardha-the right foot (to be moved succes-

upwards, (next) their intermittant Āvestana and Udvestana sively) in the Janita and Syandita Caris, then the left foot in

movements, [then putting the left hand] on the waist, the the Apakrānta (Apasarpita) Carī and the right foot in the

right hand moved in the Avartita manner [next the right Śakațāsyā Cārī. Moving around alternately in these Cārīs,

hand to be put on the waist] and the left hand moved in the will be the Cari Mandala named Adhyardha to be used in

Avartita manner, moving round alternately with this Cari, personal combat.

will give rise to the Samotsarita Mandala. 63-64. Pistakutta-The right foot (to be moved) in the Suci Cari and the left foot in the Apakranta (then) the 54-55. Edakakridita-the two feet on the ground (to be moved successively) in the Sūci and the Edakākridita tight foot in the Bhujangatrasita Cari and the left foot too in the same Cari. Thus going round in the Bhujangatrasitā Caris, (next) the swift moving Bhramari Cari by turning the Trika, (then) moving (the feet) round alternately in the Sūci Cari is known as the Cari Mandala named the Pistakutta to be used in personal combat. and the Aviddha Caris. This will give rise to the Khanda- 65. Casagata-Going round with feet in the Casagatā maņdala named Edakākrīdita. Cari is called the Cari Mandala named Casagata. It is to be 56-58. Addita-the right foot [to be moved] in the used in personal combat. Udghatta manner and then (simply) moved round, next [to 66. Here I have described in btief the Mandalas arising be moved] in the Syandita Cari and the left foot in the out of the various Caris. Now I shall describe Sama Caris. Śakațāsyā Cārī, next the right foot to be moved backwards in the Apakrāntā (Apasarpi) and the Casagati Caris, (then) the 67. The use of the Sama Caris ate known as Samā

left foot in the Addita Cari and the right foot in the Mandalas. [An actor] using them is to follow the instruction of the master-actor. Apakrāntā (Apasarpitā) Cāri (next) the left foot in the 68. These Mandalas to be used in fight and personal Bhramari Cari and the right foot in the Syanditā (Āsyanditā) combat, are to be performed with sportiveness and graceful Carīs and to violently strike the ground.1 movements of limbs, and should be accompanied by [suitable] instrumental music.

54-55 1 This khandamandala seems to be another name for edakakrīdita. Here ends Chapter XII of Bharata's Nātyaśāstra,

56-58 1 āsphotana-padatalena bhūmitādanam (Ag.). which treats of the Rules about Mandalas. ...

217 DIFFERENT GAITS XIII. 15

Interval of their feet

CHAPTER THIRTEEN 8-9. [In the posture described above] the interval between the two feet [of the actor] should be two Talas and a DIFFERENT GAITS half. Raising of his teet will take should be according to his

Il. So much about the formation of Mandalas by a own measure [of the hand] four or two Talas or one Tala high.

combination of the System of Carīs (cārī-vyāyama). I shall 9-10. In case of [characters such as] gods and kings

hereafter describe the Gaits suitable for (lit. existing in) these should be four Talas high, of the middling [type

different characters [in a play]. of characters] two Talas, and of women, inferior persons and those in disguise only one Tala high. Entrance of dramatis personae Time for their steps 2-3. After the Overture (Upavahana1) with drums I0-1I. [And the time required for the steps should be] and other musical instruments has been performed by observ- four or two Kalas or one Kala only. [Steps] of the superior ing Kalas suitable to the Märga [adopted in it], and the [characters] should take four Kalas, those of the middling Dhruvas [to be sung] at the entrance of dramatis personae, type two Kalas, and those of the inferior type one Kala only. have commenced, and the curtain has been drawn away, the actors who are to develop Sentiments in the various items Tempo of their Gait

[of a play] should enter (lit. be made to enter) the stage. 12. An expert in the theatrical art should apply three kinds of tempo (slow, medium and quick) to the Gait [of

Posture for superior and middling characters different characters] according to their nature. 13. The Gait of superior [characters should be] slow, on entrance that of middling [characters should have] the medium 4-7. In case of characters of the superior and the middl- ing types [the actor] should assume the Vaisnava Sthāna, his [tempo, while the steps of] inferior [characters should be]

breast being raised, Sama and Caturasra, shoulders at rest and quick and copious. [Thus] should be applied the three

not raised very much, the neck as graceful as that of a tempos according to the spirit [of different characters].

peacock, the shoulders eight Angulas apart from the ears, . So much about the rule regarding the timing and

the chin four Angulas apart from the breast, and the two tempo [of steps]. O the sinless ones, listen now about

hands (the right and the left) respectively at the navel and the manner of taking steps [suitable to different characters].

at the left waist. Natural Gait 15. In his natural [Gait] a superior [character] is to 1 1 On the Gait Ag. says: "The Gait is to be prescribed with a view to raise his knee up to the height of the waist and, in case of the person, Sentiment, situation, place and occasion." 2-3 1 It seems that upavahana gave rise to upohana (Pkt.) which after- wards was adopted in its place ; for wpobana see 138ff. It is defined by Ag. as follows: wpohyante samāsa-vyāsatab padakalātālasamabhibitāh svarā yasminn ange tat tathoktam (vol. I.p. 186). 28

XIII. 16 THE NATYASASTRA 218 XIII. 32 219 DIFFERENT GAITS

Carīs to be used in fighting the same (i.e. the knee) is to be raised up to the height of the breast. of medium [width]. But those among them who are majes-

16-19. With graceful steps of the Pārśvakrāntā Cāti tic2 should have Gait similar to that of gods.

and in accompaniment of the instrumental music he should Gait of kings

go five uniform steps, towards the corner of the stage, and The sages question : then he should move in the Suci Cari by putting forward his 25-28. "If the kings are human beings why should left foot first and the right foot afterwards. Then turning they have a Gait similar to that of gods?" It is said [in round he should go [five similar steps] towards the second reply], "Why should not the kings have Gait suitable for corner of [of stage] and then move in the Sūci Cati by these (i.e. gods)?, In drama and dance the characters [are of putting forward his left foot first and the right foot after- three kinds, viz.] divine, semi-divine (lit. divine-human) and wards. Next time he should [again turn round and] go human. Of these, the nature of gods is divine, that of the towards the musical instruments. Thus completing twentyone kings is semi-divine and that of the others known to people steps by going and turning back he should again move in are called human. For kings have been described in the the Suci Cari by putting forward his left foot first and the Vedas and the adhyātma (Upanisad)1 as being made up (lit. right foot afterwards. born) of parts of [different] gods. Hence there cannot be 20. In an oblong stage the actor (bharata) should make any fault in kings imitating gods.3" elaborate foot-movements (lit. going and turning back by foot- 29. This is the rule of Gait in ordinary walking; steps), but in square and triangular stages such movements but, for Gait in cases of hurry, insanity and anger the rule should respectively be of the Caturasra and the Tryasra types. about its measure will not apply. 21. When [a character] is walking along with his equals, the basis of the tempo [of his Gait] will be [accord- Gait under special conditions

ing to his own rank] of four or two Kalās or one Kalā. 30. [In those cases] producers of plays are to apply 22. But when any one is walking accompanied by to all different characters, superior, middling and inferior,

persons of the middling and the inferior types [the basis of Gaits as modified by their peculiar condition.

the tempo of the Gait of the group] will be four and two 31, Their Gaits should be of the duration of four Kalās or one Kalā1. or two Kalas, one Kala or half of a Kala, and these should

23. The wise actors should make the steps four Tālas be so on attaining conditions other than normal ones, wide in case of gods, Dānavas Pannagas (Nāga), Yaksas, 32. [Relative position of different characters as regards kings, and Rāksasas. the timing of their Gaits is as follows]a While a

24. All other dwellers of the heaven1 will have steps superior [character] will have a Gait of four Kalas, a middling

22 1 Significance of this rule is not clear. 2 mātaliprabbrtayab (Ag.). 24 1 By such dwellers devadūtas are meant (Ag.). 25-28 1 vedādbyātmasu = vedesu tathā adhyātmasāstresu vedāntesu (Ag.).

XIII. 33 THE NATYASASTRA 220 221 DIFFERENT GAITS XIII. 48 [charácter] is to have that of two Kalas and an inferior [character] that of one Kalā, with a slow tempo in the Atikranta Cari, and his limbs should 33. When a middling character will have a Gait of a have the Sausthava, and he should move with proper tempo and Kala, an inferior character is to have that of half a Kalā. Tala. His hands should always follow the feet. The former Thus one should reduce [in different Gaits under special con. should be raised along with the falling of the latter, and with ditions] Kalas by half. the raising of the latter the former should fall (lit. vice versa)8.

34. Gait of superior persons is not to be applied to 45-48. Now listen about the Gait in case of concealed that of the middling type, and Gait of the middling cha- love. After dismissing his servants (lit. men) the lover is to walk [at night] along with the female messenger as his guide. racters is not to be applied to that of the inferior type. Tempo of Gaits under special conditions He is to put out the lamp. He is to be dressed in [simple] clothes suited to the time and is to not wear too many 35-37,- In case of an attack of fever, hunger, fatigue ornaments. In making love secretly a person is to walk in due to austerities, [excessive] panic, surprise, dissimulation, company of the female messenger with slow and silent steps. uneasiness, love [in separatiou], sorrow, and in walking at ease, Being apprehesive of sounds [heard at the time] he is to steps should be of slow tempo falling. at the interval of uneasy and to look constantly around and to tremble in his more than four Kalas1. But in case of anxiety the Gait body and to have a faltering Gait. should be of four Kalas' [duration]. Gait in the Terrible Sentiment 37-40. In case of concealed (lit. uneasy) love, panic, 48-54. [In treating Gait] in the Terrible Sentiment fear, agitation, joy, hurried action, hearing of unwelcome I shall speak only with regard to Daityas, Rāksasas and Nāgas. news, insult, sight of porentuous objects, of urgent work, O Brahmins, the Terrible Sentiment only is dominant in search for enemies, pursuit of an offender and pursuit a their case. And this Terrible Sentiment is of three kinds, ferocious animal, the wise [actor] should have Gait with viz. Terrible in make-up, Terrible in limbs and Terrible by steps of two Kalas' [duration]. nature. [An example of] the Terrible in make-up is [a Gait in the Erotic Sentiment Raksasa] with his body dripping in blood, mouth moistened 40-44. Gait in open (i.e. very clear) love-making with it and having pieces of flesh in the hands. An example should be graceful. [The lover] is to enter the stage with of the Terrible in limb is a very tall [Rāksasa] with a pro- the female messenger showing the way. He is to act his digious physical frame, many heads, and many hands holding part (lit. meaning connected with the play) by means of the weapons of various kinds. And an example of the Terrible Sūca1. He should use pleasant perfumes and be dressed by nature, is a person with red eyes, tawny hair, black com- with lovely garments, ornaments2 and garlands of various plexion and rough voice, and a person who always scolds sweet-smelling fowers. He should walk with graceful steps [others] and who walks by raising the feet four Talas high, and takes steps three Talas wide. This is the Gait which 35-37. 1 See Ag. [characters] resembling them are to have.

XIII. 54 THE NATYASASTRA 222 223 DIFFERENT GAITS XIII. 70 Gait in the Odious Sentiment 63-66. [In connexion with the Pathetic Sentiment] 54-56. Gait [of a person walking] on the ground superior characters should be patient, tearful, heaving deep which is either a place of cremation or a place gruesome on sighs and looking upwards and [their Gait in conformity with account of a battle [having taken place there] should be used these conditions] is to be of no [regular] measure and [they in acting in connexion with the Odious Sentiment. The are] not to have the Sausthava [of the body]. Middling feet in the Edakākridita Cari falling in quick succession characters are also to be given Gait according to rules. In sometimes close to and sometimes wide apart from each other, case of death of their beloved persons and relatives, they are with the hands following them, will constitute Gait in to bend down on their breast in dejection and to become the Odious Sentiment. senseless due to grief, and to walk with the feet not raised

Gait in the Heroic Sentiment very high. When violently struck, the shoulder should recede

57. In the Heroic Sentiment Gait should consist of and be protected by arms, and the [entire] body is to be made

swift brandisheing of arms and observing of various Caris. unsteady (lit. moved round), and walking [should be] with

58. In case of mental excitement Gait should consist short steps.

of footsteps of proper Kalā and Tāla (kāla) in the Pārśva- 67-69. A [special] Gait is to be assigned to women

kranta, Aviddha and Suci Carīs. and persons of the inferior type when they are atttcked with cold or are overtaken by a torrential shower. [In such a case] Gait in the Marvellous and the Comic Sentiments they are to draw all their limbs together, to shiver greatly, to

59-60. These are Gaits prescribed for generally superior put their two hands on the breast, to bend down their body,

characters. I shall now describe the Gait for middling and their teeth are to clatter and lips are to throb and the

and inferior characters. In their astonishment and joy they chin is to quiver, and in representing an attack of cold the

are to take agitated steps, and in their laughter too they are Gait should be slow.

to take to this and similar other foot movements. Gait in the Terrible Sentiment

Gait in the Pathetic Sentiment 70-75. In the Terrible [Sentiment] the experts should make the Gait of women, and men of inferior type who 61-63. Gait in the Pathetic Sentiment should be in are lacking in spirits, suitable to their nature (lit. in that slow tempo [and it should be connected with] eyes full of manner). tears, drooping limbs, arms thrown up and down, and loud [In the Terrible Sentiment] they are to have wide open weeping. And in case of a recent calamity one is to walk and moving eyes, the Vidhuta head, and the look awe-stricken as well with the Adhyardhika Cari. This [Gait] is and turned alternately to sides, and holding the Kapota hand also to be used in case of women and persons of the inferior they are to walk with quick short steps, trembling body, dry type. lips and faltering Gait. This [movement] should be resorted

XIII. 63 THE NATYASASTRA 224 225 DIFFERENT GAITS XIII. 95 when a person is to mimic any one in fear. [And the same rule will applyl in frightening as well as in threatening (lit. not drooping) limbs. The best ascetics with a great vow are to have such a Gait, and to others is to be given a Gait persons. The Aksiptā Cari is to be assigned to men as well contrary to this. Às for the rest of the ascetics, according to as to women when they have seen a strange animal or heard the vow [enjoined by their own sects] they are to have a Gait a strange sound. Gait in the terrified state will consist confused or stately or sober or mild. And in case of the of movement of feet in the Edakākrīditā Cāri falling in members of the Pasupata sect they should walk in the quick succession sometimes close to and sometimes at a Sakațasya and Atikranta Carīs with haughty steps. distance from each other, and the hands are to follow them. Gait of merchants and ministers Gait of a person in 'darkness or of a blin'd man 76-78. Gait of merchants and ministers is to be 87. Gait [of a person] walking in darkness or Gait made natural. They should walk in the Atikranta Cari with of a blind [man] should consist of feet gliding over the steps two Talas wide. Their [left hand] showing the up- ground and hands groping for the way. turned Katakämukha should be on the navel, and the right [[lit. the first hand] showing the upturned Arala should be on Gait of one riding a chariot

the side away [from the left one]. Without making their 88-92. Gait of a person riding a chariot should

limbs drooping, motionless or excessively moving they should consist of short (cūrna) steps. From the Samapāda Sthana

walk with the same Cārī. (posture) he is to make a mimicry of the being carried in a chariot (lit. go the movement of a chariot), and with one Gait of ascetics and sectarians [hand he is to take up] the bow and with the other the 79-86. Gait of Yatis, Sramanas, those practising pole [of the chariot]. And his charioteer is to remain austerities should be made like that of one observing the vow busy with the whip and reins, and the varied draught of Brahmacarya. [In playing his part] a wise [actor] should animals should be represented according to their distinc- have immobile eyes looking only fout cubits [in front]1, tive class. And with quick and simple steps he (i.e. the a ready memory, the entire body in steadiness, and he is to charioteer) is to enter the stage. Gait of one in a celestial keep the mind at rest, to assume the marks2 belonging to car (vimana) should be made like that of one riding a chariot. his sect and to have modest robes or clothes dyed in dark One who is about to mount [these vehicles] is to move his red, and to stand with the Samapada feet and to assume the body up with the face looking up and with the [motion] Sthana of the same name. Then he should make two Catura contrary to this one is to make one's discent [from them]. hands one of which is to be stretched. And assuming a serene appearance in conformity with the performance he Gait while moving in the sky should execute the Atikrāntā (Atikrama) Cari with natural 92-95. Gait of a character moving through the sky is to include the aerial Caris and looking downwards, and 79-86 1 See Ag. 2 lingam i,e, japabbasmakaupinādi (Ag.). [besides this] one is to move [first] from the Samapāda 29

XIII. 96 THE NATYASASTRA 226 227 DIFFERENT GAITS XIII, 110 Sthana (posture) with short steps. Gait of one who descends from the sky is also to be of this kind. This Gait is to with the tucking up of one's clothes, and in the deep

consist of steps straight and wide or high and low, or [water] with the throwing out of hands one is to move with

irregular and round about. the fore part of one's body slightly bent. And in case of a

Gait of a person falling from the sky is to include person's being carried away by the current (lit. water) he is

the Apaviddha arms, scattered ends of clothes, and eyes set to stretch out his arms one by one to push forward water

on the ground [below], repeatedly, and during this movement all his limbs are to be busily engaged and the mouth filled up [with water]. Gait in ascending any high place Gait in travelling by boat 96-98. [In a play sometimes] there is necessity of 105. Gait of a person travelling by a boat should ascending [stairs of] a palace, a tree or a hill or any other be made up of quick steps. According to these rules one high object, and descending from them or getting down into a should observe the various Gaits and movements. river or some lower region and getting up from it. In ascend- 106-107. All these [conveyances] are to be represented ing [the stairs of] a palace a person should move the feet in (lit. made) by a [suggestive] sign (samjna) only. [If you the Atikranta Cari, and with the body held up he should ask] "why", [the reply will be the question], "Will put forward his steps on [the flight of] stairs. In descending the actors (lit. producers) have to die when the character from the same, the body should be slightly bent and one [to be represented] is said to be dead?," The elephant foot should be in the Atikranta Cari and the other in the will be represented by taking up a goad, the horse by a Ancita movement. bridle and other conveyances by a whip.1 98-100. This Gait suited to ascending ([the stairs of] a palace should be applied in climbing hills. But in the case Gait in riding a horse

of hills the limbs are to be thrown up. The climbing of 108. Gait of a person riding a horse will consist of

trees [should be represented] by steps in the Atikrāntā, Sūci, the Vaisakha Sthana (posture) and short foot steps of various kinds. Apakrāntā and Pārśvakrāntā Cārīs. Gait of serpents Gait in getting down into low places 1,09. Gait of serpents will be by the Svastika feet.

I0I-104. This should also be the Gait in coming down [To represent it the actor] is to move in the Parśvakrāntā

[from trees] and the same should apply in case of getting Cari and then to make a Recaka of the Svastika feet.

down into a river. Gait of a Parasite Gait in [case of coming down from the top of] a 11O. Gait of a Parasite (vita) should be made graceful. palace will apply only in crossing [a river]. [An actor] is to represent (lit. go) the Gait of a Parasite Gait of a person moving in a river will be according to the depth (lit. measure) of water, In shallow water, 106-107 1 This passage shows that use of painted scenery was not indis- pensible in the ancient Indian stage. See on this point Ag.

XIII. 112 THE NATYASASTRA 228 229 DIFFERENT GAITS XIII. 123

by, putting foward Akuncita (Kuncita) feet within one and depressed belly, feeble voice, lustreless eyes, slow move- Tala and holding the Kataka-vardhamana hands with the ment of the hands and the feet, tremor and affliction of the proper Sausthava and letting [these] hands follow the feet. limbs, and with [every] step he is to emit breath.

Gait of a Kancukīya Gait of a person walking a long distance

II2-113. [Gait] of a Kancukiya (armour-bearer)1 should 118. Gait of a person walking a long distance is to be made [suitable] to his particular age and condition. consist of slow steps, narrowing of limbs and the rubbing of When he is not old2 his Gait should be as follows:j With the the knees. feet raised half a Tala high and simple steps he should walk Gait of a corpulent person carrying his limbs like one who is treading upon (lit. touching) mud. 119-120. A corpulent person is to walk with the feet

114. But in case of his being [quite] old he should raised slowly and he is to drag on his body with great effort,

walk with the trembling body and raise the feet slowly, and and while going with slow steps he should be copiously

with [every] step he is to take his breath. breathing, and be covered with perspiration due to fatigue, and his steps should be short.

Gait of emaciated, sick and fatigued persons Gait of intoxicated persons 115-1L7. Gait of an emaciated person should consist I2T. Gait of persons with light (lit. young) and of slow steps. And in case of an overpowering illness, or medium intoxication will be reeling, with the two feet [some- of fatigue due to austerities, a person is to walk with lean times going] backwards. 122. Gait of persons heavily (lit. worst) intoxicated will consist of unsteady feet, reclining body and staggering 112-113 1 The word kancukiya (kancukin) should be translated as 'armour- bearer' and not as 'chamberlain' which term should be used for sannidbatr; See steps.

Kauțilya's Arthaśāstra (2. 4. 23). BhP. (p. 292) defines the Kañcukīya as Gait of a lunatic follows: Passionless Brahmins who have knowledge and wisdom being 123-130. Gait of a lunatic will consist of irregular in charge of (the king's) armour and crown, and holding a cane-stick (as symbol of their authority), are called Kancukiya by the wise. steps, many Caris in imitation of [various types of] men. He 2 a-vrddhasya. The adjective of the kancukiya renders invalid the late has unpolished and dishevelled hair, and body covered with definition according to which he should necessarily be old. Such a definition dust; he talks without any reason and talks too much in an has been wrongly ascribed to Bharata in Rucipati's commentary to the Anar- gharaghava (ed. in Kavyamala, p. 109). The kancukiya in the plays ascribed unnatural manner; sometimes he sings and sometimes laughs to Bhāsa (i.e. Svapna., Pratimā,, Abhi, Panca., Dūtavā, and Bāla.) does not show and is not ready to accompany [any one]; and he [sometimes] any trace of old age. The kancukin in the Sak. deplores that the cane-stick dances in joy and [sometimes] makes drumming [with any which he had to take up as the symbol of his office, has become in old age the support of his body which he could move with difficulty (V.3.). From this it object he may find before him]. Once he runs swiftly and

may be assumed that he was appointed long before old age came upon him. at other times stands still; [again] sometimes he is seated and

XIII, 131 THE NATYASASTRA 230 231 DIFFERENT GAITS XIII. 146 sometimes lying down. He is to wear rags of different kinds and to make the public road his irregular dwelling place. hunch on the back, lameness and distorted face will be

lunatic will be of the above description (lit. this man). His causing of laughter due to limbs. When one walks like a

gait will be as follows :] crane looking up and looking down with wide strides, this

After moving in the Baddha Cati he is to cross his feet. too becomes an object of laughter due to limbs.

Then going round in all the four directions with this Cari he 140-141. Talking incoherently, meaninglessly, garru-

is to perform the Bhramara Mandala outwards and reach one lously and uttering obscene words are to be known as

corner of the stage. Then turning the Trika gracefully and [causing] laughter due to words.

holding the Lata hand with irregular movements he is to 141-142. A person covered with tattered clothes or

move with his feet. skin, or smeared with ink (or lamb-black), ashes or yellow

Gait of lame men, cripples and dwarfs ochre will be [causing] laughter due to the costumes and make-up. Hence the [Jester] after considering the character 131-136. Gait of lame persons, cripples and dwarfs [he is to represent] should cerefully (lit. essentially) assume in connexion with the display of physical defects for the sake of the Comic Sentiment, will be of three kinds. In one [one or more of] these states.

[kind of] Gait of lame persons, feet are to remain stiff. In 143-146. Gait of the Jester should be distinguished

the second one, feet are to be made Agratalasancara and the according to his different conditions. [For example], in

body is to be held up (lit. raised) by the stiff foot. [And in the his natural Gait he is to carry the Kutilaka1 (kutila) in his

third] the body is to move on one foot, and to rest on ano- left hand and to show the Catura [gesture] with the right

ther foot, and setting feet in this order [the lame men] are to hand. Besides, he is to lower by turns one of his sides,

go. This will be one's Gait when one has run a thorn into head, hands and feet observing proper tempo and Tāla.

the sole of one's foot. Gait of cripples will consist of Gait other than this which is natural, will be abnormal [in his

the Agratalasancara and the Añcita feet, the steady body and casel. His Gait on having some food which was difficult to

Nata shanks. During the Gait of dwarfs all their limbs get, will be arrested.

are to be narrowed down and they should neither move Gait of menials [quickly] nor take [wide] steps. 146-148. The Gait to represent the walking of servants Gait of the Jester of lower order or other persons of the inferior type should be 137-140. The Jester will have the same Gait consisting as follows: in the walking of servants, one of their sides or ot simple laughable steps with feet raised high [and put for- head or a hand or a foot is to be lowered and their eyes ward]. And his Gait will relate to three kinds of laughters are to move to [different] objects. laughter due to limbs, due to words and due to the costumes and make-up. Of these the ugly and big teeth, bald head, 143-146 I See p. 10 note 2 144 1 For an old kancūkin see Sak. loc. cit. Mudrā, II, 9. and III. I.

XIII. 148 THE NATYASASTRA ≥33 DIFFERENT GAITS XIII. 167, 232 Gait of the Sakara 157. As for the rest of animals the Gait and the Sthana 148-149. Gait of the Sakara will consist of proud for them when entering the stage or carrying any one or but ordinary steps, and while walking he will touch his anything on the back should be made suitable to the clothes and ornaments and often look at them, and due to an occasion. unnatural motion of his body, his garlands, and suspended 158. These [different] Gaits are thus to be used by wise parts of the clothes are to flutter to and fro. [actors]. The Gaits that have not been described by me, are

Gait of lowly persons to be adopted from [the practice of] people.

150. Persons of inferior birth are to walk with eyes looking around, protecting their limbs from the contact of Walking postures of women

other people. 159-160. I shall now speak of the Gaits and movements

Gait of the Mleccha tribes of women. The Sthana of women in walking and speaking

151. Gait and movements of men of different Mleccha [to others] will be Ayata, Avahittha and Asvakranta. tribes such as the Pulindas and the Sabaras should be made 1,60-161. Ayata: In the Ayata Sthana (posture) the according to the land they inhabit. right foot will be Sama, the left (lit. the other at the side)

Gait of birds foot Tryasra (obliquely placed) and the left raised.

152. Gait of birds, beasts of prey and other animals 161-164. (Uses): This Sthana is to be used in invoca-

is to be made according to the character natural to them. tion, dismissal, observing carefully, thinking and dissimula-

Gait of lions, bears and monkeys tion. And the first appearance on the stage, scattering handfuls of fowers on the stage, anger due to jealous love, 153. Gait of lions, bears and monkeys is to be made [like that] which was assumed properly by the mighty Visnu twisting the forefinger, prohibition, pride, profundity, silence,

in the days of yore. [It is as described below]. fit of resentment (mana) and looking to the horizon are also to be represented from this Sthana.1 154-155. [In this Gait] after assuming the Alīdha Sthana (posture) with limbs conforming to it, that is, one hand 164-165. Avahittha: The left foot will be Sama and

on the knee and the other on the breast, one is to look all the right (lit. the other at the side) foot Tryaśra (obliquely placed) and the left waist raised up. around and put one's chin on one's shoulder and to walk with feet raised five Talas high and placed at the same interval. 165-167. (Uses)a This Sthana is known (lit. remem-

156. This Gait should be applied to [represent] lions1 bered) as natural for women during conversation [with any- one], in determination, satisfaction and conjecture. In and such other animals2 at the time of personal combat as representing anxiety, amorousness, sportiveness, grace, the well as on entering the stage. Erotic and the like [Sentiments] and looking towards the way

156 1 Lions etc. here indicate actors with the mask of these animals. of someone [coming or going] this Sthana is to be used. ª Reference here is to animals like Sugriva and Jāmbavat (Ag). 167-168. Asvakrantag The Sthana in which one foot 30

XIII. 168 THE NATYASASTRA 234 DIFFERENT GAITS XIII. 186 is raised and the other is resting on its fore-part and [ready 235

for] the Sūci or the Aviddha Cari is called Aśvakrānta. I shall speak [now] about the Gait of women who are aged 168-169. (Uses): This Sthana is to be assumed in (sthavīyasī).1 taking hold of the branch of a tree, plucking a cluster [of Gait of aged women

flowers] or in taking rest by inferior persons or women for 179-181. After assuming the Avahittha Sthana and

any purpose. putting the left hand on the waist and the right hand with 169-171. The Sthana will be [maintained by a dancer] the Arala gesture upturned, placed between the navel and

till any movement begins. For during a dance the Sthana the breasts, they are to walk gradually with their body is at an end when the Cari has begun (lit. is present). This neither relaxed nor stiff nor [much] moving about. is the rule of the Sthana for women and for men as well. I Gait of handmaids shall now describe women's Gait in relation to their nature. 181-183. The Gait of hand-maids should be made

Gait of passionate women (pramada) distracted (udbbranta). They are to walk with slightly raised body and flourishing arms, after assuming the Avahitta Sthana 171-176, [Such a Gait will serially include the follow- with the left hand pointing downwards and the right hand ing Sthana and movements]: The Avahittha Sthana, the left showing the Katakamukha hand held on the navel. hand pointing downwards, the right hand with the Katakā- Gait of half-women mukha gesture placed on the navel, the right foot raised gracefully up one Tala and thrown on the left one and simul- 183-184. The Gait of the half-women, an admixture of that of men and of woman, will consist of stately but taneously with that, the left hand with the Lata gesture placed on the navel and the right side bent, placing the right graceful movement of limbs and playful steps.

hand on the hip, and the Udvestita movement of the left 184-186. The time required for the Gait which has

hand, then the left foot put forward, the right hand with the been prescribed for persons of the superior type will be

Lata gesture. [After assuming this Sthana and movement] halved in case of women and the infeior types of men.

they are to walk five steps with the body slightly bent and And the Gait [prescribed for persons] of the superior, the

the head gracefully held in the Udvāhita posture. middling and the inferior types will apply in case of women

176-177. The rules for going about on the stage which [of those types] except for the footsteps which will be

have been prescribed for men will apply also for women. graceful [for the latter]. Gait of children

Gait of young women 186-187. The Gait of children will be according to their

L77-179. The steps of women should not be made will and no Sausthava and [fixed] measurement will be required.

of six or eight Kaläs duration. Such a step will be irksome 177-179 1 B.G. read sthānīyā yā strīyas tāsām for sthavīyasīnām etasām. for them. This will be the Gait of women in their youth. The word sthaviyas may well be a comparative form of sthavira. Cf, daviyas for dūra.

XIII, 187 THE NATYASASTRA 236 237 DIFFERENT GAITS XIII. 200

Gait of hermaphrodites 194-195. An expert in dramatic art should not assign [187-188. The third type of persons will be herma- energetic Angaharas, Caris and Mandalas to women. phrodites in whose case women's Gait to the exclusion of Sitting posture for men and women their [partial] male character, should be applied. 195-196. Sitting posture (sthana) for men and women Gait in the change of role should be made conforming to (lit. combined with) the

188-189. A change [of their role] by men, women different States which they are in, and similar should be

and hermaphrodites should be represented by assumption their postures while in bed.

on their part of Gaits suitable to those of [new roles] to the Sitting at ease exclusion of their own [original] character. 196-197. In sitting at ease the two feet are at rest

Gait of persons in disguise (viskambhita) and kept doubled up '(ancita), the Trika is slightly raised, and the two hands are put on the thighs 189-191. For disguise, sports or deception [of others] on the two sides. a woman assumes the role of a man, and a man that of a woman. [In such cases] the woman should play the role of Sitting in a pensive mood

a man with patient and liberal spirit and intelligence, and 197-198. When a person is to assume [deep] thinking,

with acts as well as dress, words and movement suitable to he is to stretch slightly one of his feet, and the other

that [character]. foot is to rest on the seat and the head is to bend on one side. 191-192. To play the role of a woman a man is to wear her clothes, speak like her and look at things and Sitting in sorrow

abstain from looking at these as she does, and is to assume 198-199. When a person is in grief and uneasiness

a delicate and slow Gait. he is to put up his hands for supporting the chin, or his head is to rest on the shoulder, and he is [to look like] Gait of tribal women one whose mind and sense-organs are not working. 192-193. Women of inferior birth and of the Pulinda Sitting in fainting and in intoxication and the Sabara tribes are to have Gaits natural to their 199-200 When a person is unconscious, fainting or is community. intoxicated, tired, weakened or sad, [from the above posture] he is to stretch his arms loosely and to sit depending on Gait of women ascetics [some] support. 193-194. In case of women observing a vow or practis- Sitting in shame and in sleep etc. ing austerities or bearing the mark [of religious sects.] of 200-20Ij. When a person is ill, ashamed, asleep or in contented women the Samapada Cari is to be used [as their meditation he is to lump together his limbs between legs and Gait]. knees.

XIII. 20I THE NATYASASTRA 238 239 DIFFERENT GAITS XIII. 216

Sitting on ceremonial occasions the cane-seat2, the commander of the army and the crown- 201-202. In offering a libation of water to the prince the Munda-seat,2 the Brahmins the wooden seat and spirits of diseased parents, muttering (japa) of Mantras, the other princess the carpet-seat. This rule of seats should saying the Sandhya prayers and making Acamana, one is be observed in the royal court. to assume the sitting posture with the hump raised, in Seats for female characters which the hip and heels come together. 210-21,4. I shall now speak of the rule of seats for Sitting in pacifying a beloved woman women. The chief queen should be given the Lion-seat,

202-203. In appeasing [the anger of] a beloved woman the female relatives and highborn wives of the king other and pouring ghee into the sacrificial fire and doing similar than the chief queen the Munda-seat, the wives of priests

other acts, a person is to put one of his stretched knees on and ministers the cane-seat, ordinary wives [of the king] the ground [from the sitting posture mentioned above]. the seat consisting of cloth, skin or carpet, the wives of Brahmins and female ascetics the seat made of wood (patta), Sitting in worshipping a deity the wives of Vaisyas the seat of pillow (cushion) and for the 203-206. Downcast face and the sitting posture with remaining women the ground will be the seat. So much about the two kness on the ground (i.e. kneeling down) is to be the rule of seats in the inner appartments as well as in public assumed in adoring a diety, pacifying the angry [superiors], places. While residing in one's own house one can take any, bitterly crying for sorrow, seeing a dead body, the fear of seat according to one's liking. persons of low spirits, the begging of something by lowly Seats for ascetics and sectarians persons and servants, and attendance during the Homa 215. The seats for the ascetics should be according and the sacrificial work. Ascetics (muni) while practising to the rules [of the order], they are observing1. For the austerities are [also] to assume this sitting posture '(lit. rule members of different sects with special marks the seats will about sitting). be according to their vows. Seats for different characters 216. While pouring ghee into the sacrificial fire or 206-207. Now the seats (lit. rules regarding the seats) doing the sacrificial duty in general or offering a libation of for males and females in a drama are twofolde public (bahya) water to the departed parents one is to stand or to sit and private (abhyantara). [These two terms] public and on a Vrsi1, Munda-seat or cane-seat. private relate to the royalty (lit. the king). 208-210 1 A cane-chair. Seats for male characters 2 mundasana is probably nothing other than Bengali modā. 208-210. O Brahmins, gods and kings are to be given 215 1 For example, some have tiger-skin as their seat, some deer-skin or a piece of woollen blanket. the Lion-seat (i.e. throne), the priests and the ministers 216 1 A seat made of kusa grass (see Apte, sub voce).

XIII. 217 THE NATYASASTRA 240 241 DIFFERENT GAITS XIII. 228 General rules about seats senting] wound from any weapon, death, vomitting, intoxica- 217. Other local officers (sthaniya) who are of [high] tion and lunacy. birth and possess [great] learning should be honoured by the 226. Udvahitay Lying down with the head resting on king by [an offer of suitable] seats. the hand and making a movement of the knee, is called the 218. To his equals he (i.e. the king) is to offer Udvahita posture. It is to be used in sports, and on hearing seats equal in height to that of his own, to persons of medium the master's words. importance, the seats of middling height, and to persons who 227. Nata Lying down with the legs (lit. shanks) are superior to him should be given a more elevated seat, slightly stretched and the two hands loosely resting is called while the lowly persons are to be seated on the ground. the Nata posture. It is to be used in laziness, fatigue and 219. Before the preceptor, the king or the spiritual distress. guide (guru) wise persons are to sit on the ground or on an 228. This is the [rule of] Gait and movements I was to wooden seat. tell you. Whatever remains unsaid should be devised accord-

220. Sitting together with the spiritual guide, the pre- ing to the demand of circumstances. I shall hereafter speak

ceptor or the king in a boat, on an elephant or in a chariot, or about the division of the stage into Zones in connexion with

on [large] wooden seats is allowed (lit. not to be objected to). going about on it.

Lying-down postures Here ends Chapter XIII of Bharata's Nātyasastra, which treats of Gaits and other Movements. 221. Postures in the bed are known as Akuncita, Sama, Prasarita, Vivartita, Udvāhita and Nata. 222. Akuncitaa Lying down with limbs narrowed down and the two kness sticking to the bed is called the Ākuñcita posture. It is to be used in representing persons attacked with cold. 223. Samaa Lying down with the face upwards and the hands free and turning downwards is called the Sama posture. It is the posture in deep sleep. 224. Prasarita Lying down with one arm as the pillow and the knees stretched, is called the Prasarita posture. It is to be used to represent one enjoying a sleep of happiness. 225. Vivartitaa Lying down with the face downwards is called the Vivartita posture. It is to be assumed in [repre-

31

243 ZONES AND LOCAL USAGES XIV. 14

and the Serpents, houses, and forests. Zones should be CHAPTER FOURTEEN imagined with reference to a city, a forest, a part of a

ZONES AND LOCAL USAGES continent or a mountain where the action takes place.

I. One should fix the Zones [of the stage] after know- Indicating relative location

ing the division of three [kinds of] playhouse, that have been 8. One should assume by convention whether a place mentioned before by me. is outside or inside a locality or in the middle of it, or away

Arrangement of drums from it or near it. 9. According to [the convention of]' Zonal division, 2. The producer [of a play] should arrange the drums those who have entered [the stage] earlier, should be taken between the two doors of the tiring room, which I have as being inside [a house], while those entering it later are to described before. be known as remaining outside. The Zonal division 10. He who enters the stage with the intention of 2. The Zonal division1 is to be indicated by going about seeing them (i. e. those entering earlier) should report himself on the stage. [When one is in a particular] Zone [of the turning to the right. stage, it] will change [lit. be another] with his walking out of it. The east on the stage

Utility of the Zonal division 11. The direction which drums and two doors of the

4-7. [It is] from the [convention of] the Zonal division tiring room face, should always be considered as the east in

that one is to know [whether the place in which the scene course of a dramatic performance.

has been laid] is a house, a city, a garden, a pleasure-resort, a The rule of exit river, a hermitage, a forest, the earth, the sea, [any part of] the Three worlds, with movable and immovable objects, 12. If any person will go out from the place (lit. there

any one of the nine great divisions of the earth or its seven i.e. inside the house) on any business, he is to make his exit

continents or any of the different mountains, the by the very door he used when entering.

invisible world, the [surface of] the earth or the nether 13. If after going out he is to re-enter that house he

world (rasātala), places of rest or abodes of the Daityas will make his exit [if necesseary] by the door through which the men [who enter later] came. 14-15. If out of necessity he goes along with the latter, 1 1 See II. 63ff. 3 1 As modern device of the change of scenes was absent in the ancient and [re-] enters the house with the latter, or by himself alone,

Indian theatre, the convention of the Zonal division indicated the locality, in the different Zones should be prescribed for the two. This which different characters met. other Zone will be indicated by their [order of] walking.

XIV. 16 THE NATYASASTRA 244 245 ZONES AND LOCAL USAGES XIV. 32

Indication of rank in group-walking regard (lit. in non-attainment of the object) the Act should 16. With the equals, one is to walk side by side, and be brought to an end. with one's inferiors one is to walk surrounded [by the latter], 24. [Incidents in a play occurring for] a Ksana, a and handmaids are to be known by their walking before [the Muhurta, a Yama and a day are to be accommodated in an master] Act in pursuance of the Seed (bija) [of the play]. Indicating distance great, small and medium 25. But a month or a year is [to be considered] finished 17. The same place if much walked over will be taken with the end ot an Act; and events occurring more than one

as a distant land. And nearby land or lands of medium year after, should not be put in one Act. distance are to be indicated likewise [on the same principle]1. 26. Zones of the stage [and allied conventions]

Movement of gods and demigods concerning movements of men are thus to be observed in

18-20. According to various needs of the plot (lit. a play in connexion with Bhārata-varsa (India). Now let it be

play) gods and demigods are to move to cities, forests, seas known that gaits of gods and demigods are like that of men.

or mountains through the sky, by an aerial car, by their 27-32. Yaksas, Guhyakas, followers of Kuvera (lit. the

occult power or by different other acts. But while in disguise giver of wealth), Raksasas, Bhūtas and Pisacas who live in

in a play they (i e. gods and demigods) are to move on the the best mountain Kailasa included in the Himalayas,

earth, so that they may be visible like human beings (lit. are known as dwellers of the latter mountain. Gandharvas,

through human causes).1 Apsarasas and Ganas are known to live in the Hemakūta. In the Nisadha [mountain] live all the Nägas (Serpents) such as Movement of men in Bharata-varsa Šesa, Vāsuki and Takșaka. The thirty-three groups of gods 21. Gods and demigods can at their will move to all [the nine] divisions [of the continent], but it is prescribed dwell in the great [mountain] Meru, and Siddhas and Brah- marsis in the Blue [Mountain] full of lapis lazuli. The White that men are to move in Bharata-[varsa] (India) alone. Mountain is the abode of Daityas and Danavas, while Pitrs Departure for a distant place resort to the Srngavat [mountain]a These are the best moun- 22. If a person departs on business to a distant place, tains where gods and demigods dwell. With reference to the this is to be indicated by closing the Act [with his departing] Zonal division they should be [placed] in Jambudvipa [where and mentioning again this fact in an Introductory Scene these mountains exist]. '(pravesaka). Time allowed for events of an Act Movement of gods

23. To indicate the attainment of an object one is to 32-35. Their efforts and exploits should be represented traverse a measure of distance. But in case of failure in this (lit. made) according to their habits and powers, but their costumes and make-up should be like that of human beings. 17 1 For an example of this sce Uttara. I. All the States of gods are to be made human. Hence they

XIV. 36 THE NATYASASTRA 246 247 ZONES AND LOCAL USAGES XIV. 42 should not be represented (lit. made) as winkless [which they Daksinātya Local Usage traditionally are]. For the States and the Sentiments [in a Now [it is said] in this connexion (lit. there) that the play] depend on Glances. And the States are [first] indicated Southern [countries] favour various kinds of dance, song and by Glances and then represented by gestures and postures (lit. instrumental music, an abundance of the Graceful (kaisiki) by limbs). This is all about the Zonal division. Style, and clever and graceful gestures. They are as followsg 37. Countries adjacent to mountains named the Ma- Four Local Usages hendra, the Malaya, the Sahya, the Mekala1 and the Kāla- 36. I shall now resume the description of the Local pañjara2, are known as the Dāksiņāpatha (Deccan). Usages (pravrtti) which according to experts in drama are 38-39. Kosala, Tosala', Kalinga Mosala2 and countries foura Āvantī, Dākșiņātyā, Pāncālī (Pāncāla-madhyamā) and like Dramida, Andhra, Mabā-vaiņņā and Vanavāsika which Odra-Māgadhī1. lie between the Southern Ocean and the Vindhya [mountain] [Now comes the question]d Why is [it called] praurtti are always to take to the Daksinātyā Local Usage3. (report) [of the Local Usages]? [In answer to this] it is said Avanti Local Usage that praurtti is so called because it gives us properly informa- 40-41. Avantī, Vidiśā, Saurāstra, Mālava, Sindhu, tion regarding costumes, languages, and manners in different Sauvīra, Ānarta1, Arvudeya2 Daśārņa, Tripura, and Mrttikāvat3 countries of the world. Vrtti means 'information'. There always take to the Avanti Local Usage. are many countries in this world. Hence it is asked, "How 42. This Local Usage depends on the Grand (sattvati) a fourfold division of these (i.e. the four pravrttis) [can be] and the Graceful (kaisiki) Styles. Hence these should be justified ? For an observance of all these pravrttis has common used in plays and should be adopted by the producers [related characteristics." [In reply] it has been said, "It is true that to the area]. their observance has common characteristics; but as people have different native countries, costumes, languages and man- 37 1 For Mekala see the Buddhacarita XI. 31 ners, I have prescribed a fourfold classification of the dramatic 2 Kālapañjara seems to be same as modern Kāliñjar (=Kālapiñjara); piñjara performance attached to [four] different Styles. [Different] is a variant of panjara; see Paia-saddhamahannavo, sub voce. 38-39 1 Asoka's Tosali. 3 Older name of Masulipattanam in Andhra. countries are attached to performances which relate to the ª Maha-venna, a Skt. name of the Krsna-venna river. The name indicates Styles such as the Verbal (bharati), the Grand (sāttvati), the attached river-valley. the Graceful (kaisiki) and the Violent (arabhati). Because ' Geographical names mentioned in this passage and the passages that follow, are mostly to be met with in the Puranas (sometimes with variant read- of this the four Local Usages develop, and performances ings). For a discussion on the same see D.C. Sircar, 'Text of the Puranic [following them] originate. Lists of Peoples' (IHQ. Vol, XXI. 1945, pp. 227-314). 40-41 1 Anarta was probably N. Kathiawar peninsula. 2 Arvuda or modern Abu in Rajputana is probably meant by this name. 36 1 The passage following this till the beginning of 37 is in prose. 8 Sometimes identified with Merta in Rajasthan. See JAS. Vol XVII. PP. 180-181.

XIV. 43 THE NATYASASTRA 248 $49 ZONES AND LOCAL USAGES XIV. 56 Odra-Magadhi Local Usage Twofold entrance in observing Local Usages 43-45. Eastern [countries such as] Anga, Vanga, [Ut]ka- linga1, Vatsa, Odra Magadha, Pundra, Nepāla, Antargiri, 50. In going about on the stage the Local Usages,

Bahirgiri, Pravamga2, Māhendra, Malada3, Mallavartaka,4 will operate in two ways, viz. by entering from the right

Brahmottara (Suhmottara)5 Bhargava6, Mārgava', Prāgjyotișa, and by entering from the left.

Pulinda, Videha, Tamralipta, and Pranga8 adopt the Local 51. In the Avanti and the Daksinatya Local Usages the

Usage known as the Odra-Māgadhī. going about [on the stage] will be from the right, and in the

46. In relation also to other countries known in the Pancali and the Odra-Magadhi it will be from the left.

Puranas as belonging to the East, the Odra-Magadhi Local 52. In the case of the Avanti and the Dāksinātyā Local

Usage is applied. [This Local Usage depends on the Verbal Usages the door to be used in entering should be the North-

(bharati) and the Graceful (kaisiki) Styles.]1 ern one, while in case of the Pancali and Odra-Magadhi Local Usages the Southern door should be used. Pancāli Local Usage 53. But in view of the special assembly, place, occasion 47-48. Countries such as Pancala, Sūrasena, Kāśmīra, and expression of meaning these rules may be combined (lit. Hastināpura, Vālhīka, Šālvakā,1 Madra and Uśīnara which are be made into one). contiguous either to the Himalayas or to the Northern bank 54. Experts should produce their plays in Styles which of the Ganges, take to the Pancāli (Pancāla-madhyamā) Local have been prescribed before for the Local Usages in different Usage. countries1.

49. In this Usage the Grand and the Violent Styles Two general types of play are known [to predominate]. The application of these 55. The production of a play in conformity with the [means] paucity of song, and excessive movement and extra- rules of dramatic practice is of two types;j. delicate (sukumāra) ordinary Gaits and steps. and energetic (aviddha). The violent type 43-45 1 Utkalinga is the older name of the later Utkala. This occurs 56-57. The play which requires energetic (aviddha) ges- in the Brahma P. ª The region beyond Vanga. 3 Malada be may modern Maldah District of W. Bengal. tures and dance movements (angabara) to represent, cutting, 4 Mallavartaka may be modern Mallabhum (Bankura in W. Bengal). piercing and challenging, and contains the use of magic and 5 For Brahmottara see Viśvabhāratī Patrikā, Vol. IV. pp, 250ff occult powers as well as artificial objects and make-up, and has e Bhargava remains unidentified. 7 Margava remains unidentified more men and less women 8 The region beyond Anga. [among its dramatis personae] 46 1 This is from a conjecturel restoration. See Introduction to the text. 47-48 1 The reading Salyaka of some mss. may be a variant of Salvaka. 54 1 B.G. add one couplet which in translation is "In musical plays As in the Purānas an expression like salvāh sākalavāsinab is met with, Sālvas or (ganakadi) these rules should be simplified. One should produce them Salvakas might have been the name of a tribe residing in the ancient Šākala (lit. practice those acts) in disregard of the multiplicity of Local Usages." region. See Pānini, IV. 2. 135, 169, 173 and Mbh. Bhīsma 10. 3. But this seems to be spurious. 32

XIV. 58 THE NATYASASTRA 250 251 ZONES AND LOCAL USAGES XIV. 72 and applies [in its production] mostly the Grand and the Violent Styles, is of the energetic type. of languages, and requires acting with graceful Angaharas, and

58, According to the [expert] producers, [plays of] the possesses characteristics of dance, and requires conventional

Dima, the Samavakara, the Vyayoga and the Ihamrga [clases] enunciation and is dependent on a heavenly scene and heaven-born males, it is to be known as Conventional are known to be of the energetic type. 66. If anything not admitted as real by people is 59. Production of a plays of this type should be made by [an impersonation of] gods, Danavas and Raksasas who are invested in a play with a corporal from and speech the practice is [also] called Conventional (natyadbarmi)1. majestic and haughty, and have herorism, energy and strength. 67. [The practice in a play according to which persons The delicate type are supposed] not to hear words uttered in proximity, or to

60. The Nātaka, the Prakarana, the Vithi and the hear what bas not been uttered at all, is [also] called Conven-

Anka are plays of the delicate type, and they depend [for their tional.

production] [on an impersonation of] human beings only. 68. If objects like a hill, a conveyance, an aerial car, a shield, an armour, a weapon or a banner-staff are made to Two Practices appear on the stage (lit. are used) in [human] form, it is 61. I shall now define (lit. relate the characteristcs of) known as an [instance of] Conventional Practice. the two Practices (dharmi) which have been mentioned before. 69. If after appearing in a role, one assumes a different

Realistic Practice role [in the same play], on account of his being an expert in

62-63. If a play depends on natural behaviour [in its both the cases or being the sole actor available for both

characters] and is simple and not artificial, and has in its [plot] the roles, it is known to be an instance of Conventional Practice. profession and activities of the people and has [simple acting and] no playful flourish of limbs and depends on men and 70. If a woman for whom marital connexion with a

women of different types, it is called Realistic (lokadharmi)1. particular person in actual life is forbidden by the Sastras is made to appear in a play in the role of woman with whom Conventional Practice such connexion is permitted, it becomes an instance of Con-

64-65. If a play modifies a traditional story, introduces ventional Practice. The same will be the result if the

supernatural powers, disregards the usual practice about the use situation in the above case is reversed. 71. That, [in a play instead of simple walking] one

62 1 For a discussion on Dharmis see V. Raghavan, Natya Dharmi and dances or goes with graceful movement of limbs as well

Loka Dharmi (Idealism and Realism of Bharata's Stage), Journal of Oriental as with similarly made steps, is known as Conventional Researches. Madras, Vol. VII. pp. 359-375. Practice. 63-64 1 See note I to IX. I-3. 64-65 1 I accept Ag's interpretation. 66 ' An instance of this is the personification of the Bhrahmaśapa in Māyāpușpaka (Ag.).

XIV. 77 THE NATYASASTRA 252 72. If the [ordinary] human nature which has acts of joys and sorrows as its essence (lit. soul) is represented by (lit. combined with) [special] gestures, it becomes [an instance of] CHAPTER FIFTEEN the Conventional Practice. VERBAL REPRESENTATION AND PROSODY 73. The Zonal division on the stage, which observes (lit. depends on) many rules, is also [an instance of] Conven- The actor's speech

tional Practice. I. O the best of Brahmins, I shall now speak about the

74. A play should always be produced with the conven- nature (lit. characteristics of) the Verbal Representation which

tional movement [of limbs], for without acting through the has been mentioned before1 and which relates to (lit. arises

[use of] Gestures etc. [by the actors] no feeling is evoked in from) vowels and consonants. [the spectators]'. Importance of speech in drama 75. The States are natural to all [persons] in a play and 2. One should take care of words1. For these are known all the gestures [in connexion with them are used] from a as the body of the dramatic art. And Gestures, Costumes paticular necessity; [hence] decorative movements of limbs and Make-up and the acting of Sattva [merely] clarify the [in producing a play] have been considered as [an instance meaning of words. of] Conventional Practice. 3. In this world; (lit. here) the Sastras are made up of 76. So much about the Zonal Division, [the two] Prac- words and rest on words; hence there is nothing beyond words, tices and the [four] Local Usages. Experts in dramatic pro- and words are at the source of everything.1 duction should know these and put them properly into 4. The Verbal representation is related to [a knowledge practice. of] nouns (nāma), verbs (akbyāta), particle (nipāta), preposi- 77. I have described properly the Histrionic Representa- tion (upasarga), nominal suffix (taddbita), compound words tion by the Sakha and by Angaharas. I shall afterwards (samāsa), euphonic combination (sandbi) and case-endings speak similarly about the Representation depending on (vibhakti). Words which consist of vowel and consonantal sounds. Two kinds of recitation

Here ends Chapter XIV of Bharata's Nātyasāstra, 5. The Recitation (pathya) [in a play] is known to be

which treats of the Zones and Local Usages. of two kinds: Sanskritic and Prakritic. I shall speak of their difference in due order,

I 1 For the four kinds of Histrionic Representation which includes the Verbal one see VI. 23.

Ag. on this. 2 1 This rule applies to the actors as well as to the play-wright. See

3 1 This view is also held by Bhatrhari (circa 600 A.C.) in his Vākya- Padiya (Āgamakāņda). See B, p. 224, footnote.

XV. 6 THE NATYASASTRA 254 255 VERBAL REPRESENTATION XV. 16

Different aspects of Recitation 10. These [consonants] are to be classified (lit. known 6-7. [This consists of] vowels, consonants, euphonic as) voiced and unvoiced, velar, labial, dental, lingual (jihvya)1, combinations, case-endings, nouns, verbs, prepositions, particles nasal, sibilant, palatal and Visarjanīya. and nominal suffixes, The Sanskritic Recitation is characteri- Ir. In these groups [of consonants] ga, gha, na, ja, jha, zed by [a due regard to minor rules regarding these as well as] ñ, da, dha, na, da, dha na, ba bha, ma, ya, ra, la, and va are to various vebal roots. Now shall speak briefly about its voiced, while ka, kha, ca, cha, ta, tha, ta, tha, pa, pha, śa, șa, application. sa and ha are unvoiced. Speech-sounds 12-14. Ka, kha, ga, gha, and na, are velar (kanthastha)1 8. The fourteen sounds beginning with 'a' and ending ca, cha, ja, jha, ña, i, i, ya and śa palatal, ta, tha, da, dha, ņa, in 'au', are known as vowels, and the group of sounds begin- r, ra, and sa cacuminal (mūrdbanya), ta, tha, da, dha, na, la, ning with 'ka' and ending in 'ha' are known as consonants. and sa dental, pa, pha, ba, bha, and ma labial; i, c-group, Vowles are fourteen in number1. A, a, i, i, u, ū, r, y and s are labial, r. t-group r and s are cacuminal, and r(long) !, !(long) e, ai, o and au are to be known as vowels. ha are from the throat (kanthastha), o and au are The group of letters beginning with 'ka', are consonants. throat-labial (kanthostha-sthana)2, e and ai, throat-palatal Ka, kha, ga, gha, na, ca, cha, ja, jha, ña, ta, tha, da, dha, ņa, (kantha-tālavya). ta, tha, da, dha, na, pa, pha, ba, bha, ma, ya, ra, la, va, śa, șa 14-15. The Visarjaniya is from the throat, and ka and sa and ha2 [constitute] the group of consonants.3 [kha] are from the root of the tongue1. The place of articula- Consonants : their articulation tion for pa and pha are lips, and the same will be for the 9. The first two sounds of each group [of the stop con- closed (avivrta) vowels u and u2. sonants] are known as unvoiced (aghosa) and the rest [of the 15-16. [The group of sounds] beginning with ka and group] are called voiced (ghosa). ending in ma are called stops (sparśa), śa, sa sa, and ha are

8 1 Different Šiksās and Prātiśākhyas enumerate vowels differently. open (vivrta) while semivowels (antabstha) are closed (samurta) According to the PS, they are 22 in number, while the Atharva, Taittiriya, and na, ña, na, na and ma are nasal [sounds]. Vājasaneyi Prātišākhyas and the Rktantra Vyākaraņa (Sāmaveda Pr.) give 86-17. Sa, sa, and sa and ha are sibilants (usman, lit. their number respectively as 13, 13, 16, 23 and 23. See PS. (ed. Manomohan hot); ya, ra, la and va are semivowels (antabstha, lit. inter- Ghosh) p. 51. 2 PŠ. count anusvāra, visarga, jihvāmūlīya and upadbmāniya among conso- nants. See ed. Ghosh, p. 50. 10. 1 The jibvya does not seem to occur in any well-known grammatical 3 B. reads after this a couplet (B. 10) from PS, See ibid, p. 59. Not occurr- work. This is perhaps synonymous with murdhanya; for in the production of ing in most of the mss. this may be taken as spurious. This is followed in B. murdhanya sounds jibva (tongue) plays the most important part. The Taittiriya by a prose passage which also seems to be such. The same is our view Pr. describes the manner of their production as follows: Jibvagrena prativestya about the couplet B. 11 which follows this prose passage. The substance of mürdhani ta-vargasya (II. 37). Curiously enough the term jibvya has never this cuuplet (B. 11) occurs in 9 below. again been used in the NS. 9 1 In C. this couplet occurs after 8 and before the prose passage that 12-14 1 For different traditional views about the places of articulation of follows it. consonants see PS. p. 62.

XV. 18 THE NATYASASTRA 256 VERBAL REPRESENTATION XV. 28 mediate), hka from the root of the tongue (jibvamūliya) and 257.

hpa from the throat as well as the chest (kanthorasya) 24. It (the noun) is known to be of seven2 classes, and

1:8-1,9. The Visarjaniya should be known as a sound has six cases, and it is well-known as something to be consti-

from [the root of] the tongue,1 These are the consonants tuted (sadbya), [and when combined thus with different case-

which have been briefly defined by me. I shall now discuss endings] it may imply indication (nirdesa)2, giving to (sam-

the vowels with reference to their use in words. pradāna), taking away (apadana) and the like.

Vowels:their quantity 25. The verbs relate to actions occurring in the present

20. Of the above mentioned fourteen1 vowels ten con- and the past time and the like; they also are well-known as

stitute homogenous pairs (samana), of which the first ones something to be constituted (sadhya), are distinguished and

are short and the second ones long. divided according to number and person.

Four kinds of word The verb

21. 1Constituted with vowels and consonants [described 26. [A collection of] five hundred roots divided into above] the words include verbs (akbyata), nouns (nāma,) roots twenty-five1 classes is to be known as verbs in connexion with (dhatu), preposition (upasarga) and particles (nipata), nominal the Recitation, and they add to the meaning [of the nouns]. affixes (taddhita), euphonic combinations (sandbi) and 27. Those that wpasrjanti (modify) by their own special terminations for cases and verbs (vibhakti). significance the meaning of the verbal roots included in the 22. The characteristics of vocables have been mentioned basic words are for that [very] reason called upasarga1 (preposi- in details by the ancient masters. I shall again discuss those tion) in the science of grammar (samskāra-sastra). characteristics briefly. The particle The moun 23. The noun has its functions determined by the case- 28. 1As they nipatanti (come together) with declined

endings such as 'su' and the like, and by special meanings 24 1 The seven classes probably relate to the seven groups of case-ending. derived therefrom; and it is of five1 kinds and has a basic 3 Nirdeśa seems to relate 'nominatives; for it is one of the meanings of the

meaning (pratipadikartha) and gender2. case-endings. For an enumeration of these see Haldar, Itihasa, p. 170. 26 1 There are different numbers of roots in lists (Dhatupatha) attached to different grammatical works. It is not known which gives their number as five 18-19 1 See note I to 12-14 above. 20 1 About the number of vowels see 8 note 1 above. hundred. Dhanapala (970 A.C.). in his commentary to Jaina Šākațāyana's 23 1 Five kinds of noun have been enumerated by Goyicandra, in the Dhatupatha gives some information on the subject, See Haldar, Itihāsa, pP. 44), Samksiptasāra-vivaraņa (Ref. Haldar, Itihāsa, p. 174). Verbal roots are divided according to Panini into ten classes (gana). Their 2 There is a difference of opinion about the number of basic meanings (pratipdikartha) of a word. According to Panini they are two: charcteristics of division into twentyfive classes does not seem to occur in any well-known work.

a species (jati) and object (dravya). Kātyayana adds one more to the number 27 1 This definition of the upasarga follows Sakatayana's view on the which is gender (linga). But Vyaghrapat-a rather less known ancient autho- subject as expressed in the Nirukta (I. 1.3-4). According to this authority rity-took their number to be four. According to bim they are: characteristics of a species, object, gender and number (samkbya). Patanjali however consi- #pasargas have no independant meaning, and they are merely auxiliary words

dered them to be five in number, e.g. characteristics of a species, object, gender, modifying of the verbal roots. (Haldar, Itihāsa, p. 346). number and case (karaka). (Haldar, Itibāsa p. 447-48. 28 1 According to Panini indeclinables (avyaya) of the ca-group are particles (nipata). See I. 5.57. According to Patanjali nipātas do the function 33

XV. 29 THE NATYASASTRA 258 259 VERBAL REPRESENTATION XV. 36

words (pada) to strengthen their basic meaning, root, metre2 The euphonic combination

or etymology3, they are called nipata (particles). 32. Where a separated vowel or a consonant sandhiyate

The affixes (combines with another)1 by coming together2 (yogatab) in a word or words, it is called sandbi (euphonic combination). 29. 1As it distinguishes ideas (pratyaya) and develops the meaning [of a root] by intensifying it or combining [it 33. As due to the combination of words and the meet-

with another] or [pointing out] its essential quality (sattva), it ing of two sounds (lit. letters) their sound sequence (karma-

is called pratyaya (affix). sambandha) sandhiyate (develops in a combination), it is called sandhi (euphonic combination). The nominal affix Compound words 30. 1As it develops suitable meanings [of a word] by an elision [of some of its sounds], a separation [of its root and 34. The Samasa (compound word) which combines

affix] or their combination and by [pointing out] an abstract many words to express a single meaning, and suppresses affixes, has been described by the experts to be of six kinds, such as notion, it is called taddhita (nominal affix). Tatpurusa and the like.

The case-ending 35. With these rules of grammar (sabda-vidbana) which

31. As they vibhajanti (distinguish between) the mean- include minute details and suggestiveness, one should make a

ing of an inflected word or words with reference to their roots composition by conbining words in verse or puiting them

or gender, they are called vibhakti (case-endings).1 loosely in prose.

Two kinds of word

of case-endings and intonation (svara=pitch accent). (on P.III.4.2) The author 36. Padas are inflected words, and are of two kinds, viz. of the Kasika too accepts this view in this comments on P.I, 4.57 .. those metrically used and those loosely put together in prose, 2 Ca. vai, tu, and bi are instances of such nipātas. 3 It is not clear how nipätas, strengthen the etymology given here. Probably Now listen [first] about the characteristics of words loosely the reading here is corrupt, used in prose. 29 1 Such an elaborate definition of the pratyaya does not not appear to occur in any exant grammatical work. Ag, seems to trace it to the Aindra school of grammarians. The meaning of the definition is not quite clear. 32 1The sandbi is strictly speaking, not merely a combination of two Acccording to the common interpretation the pratyaya means that which helps sounds (vowels or consonants); in a great number of cases their mutual phonetic

to develop a meaning from root influence constitutes a sandbi. This is of five kinds, and relate to savara-s,

30 1 This definition of the taddhita does not seem to occur in any well- vyañjana-s, prakrti-s, anusvāra-s, and visarga-s. known grammatical work. It describes the processes through which the tad- 2 This 'coming together' depends on the shortness of duration which sepa- dhita suffix transforms a word. rates the utterance of the two sounds. According to the ancient authorities 31 1 This definition follows the etymological sense of the term (vibhakti). sandhi will take place when this duration will not be more than half a mātra, Durgasimha of the Kalapa school says that the case-endings are so called because It is for this reason that the two hemistichs in a couplet are never combined. of their giving distinctive meaning to a word. See Haldar, Itihāsa, p. 169. (Hāldar, Itihāsa p. 166).

XV. 37 THE NATYASASTRA 260 $61 VERBAL REPRESENTATION XV. 76

Words in prose with twelve syllables Sakkari, with fifteen syllables Atiśakkarī, 37. Padas used loosely in prose are not schematically with sixteen syllables Asti, with seventeen syllables Atyasti, combined, have not the number or their syllables regulated, with eighteen syllables Dhrti, with nineteen syllables Atidhrti, and they contain syllables required [only] to express the with twenty syllables Krti, with twentyone syllables Prakrti, meaning [in view]. with twentytwo syllables Äkrti, with twentythree syllables Words in verse Vikrti, with twentyfour syllables Samkrti, with twentyfive

38. Padas metrically used consist of schematically combi- syllables Atikrti1, and with twentysix syllables Utkrti ..

ned syllables which have feet and caesura, and which have Possible metrical patterns

their number regulated. 49-51. Those containing more syllables than these are known as Mala-vrttas. And the Rhythm-types being of many Syllabic metres different varieties, metrical pattens according to the experts1 39. Thus arises a Rhythm-type (chandas) called Vrtta are innumerable. The extent of these such as Gayatri and the (syllablic metre) made up of four feet which expresses different like, is being given [below]. But all of them are not in use. ideas and consists of [short and long] syllables. 51-76. [Possible] metrical patterns of the Gayatri[type] Rhythm-types are sixtyfour, of the Usnik one hundred and twenty-eight, of

40-41. Rhythym-types with feet are twenty-six in the Anustup two hundred and fiftysix, of the Brhati five hun-

number. Vrttas (syllabic metres) which are compositions dred and twelve, of the Pankti one thousand and twentyfour,

including these Rhythm-types, are of three kinds, viz. even of the Tristup two thousand and forty-eight, of the Jagati four

(sama), semi-even (ardba-sama) and uneven (visama). thousand and ninetytwo, of the Sakkari, sixteen thousand three

41-42. These Rhythm-types which assume the form of hundred and eighty-four, of the Atisakkari thirtytwo thousand

different syllabic metres, have their bases in words. There is no seven hundred and sixty-eight, of the Asti sixtyfive thousand

word, without rhythm and no rhythm without a word. Com- five hundred and thirty-six, of the Atyasti one lac thirty one

bined with each other they are known to illuminate the drama, thousand and seventy-two, of the Dhrti two lacs sixty-two thousand one hundred and forty-four, of the Atidhrti five lacs Twentysix Rhythm-types twenty-four thousand two hundred and eighty-eight, of the 43-49. [The Rhythm-type] with one syllable [in a foot] Krti ten lacs forty-eight thousand five hundred and seventy-six, is called Uktā, with two syllables is Atyuktā, with three sylla- of the Prakrti twenty lacs ninety-seven thousand one hun- bles Madhya, with four syllables Pratistha, with five syllables dred and fifty-two, of the Akrti1 forty-one lacs ninety-four Supratistha, with six syllables Gayatri, with seven syllables Usnik with eight syllables Anustup, with nine syllables 49-51 1 They are mathematicians like Bhāskaracārya. See Lilāvāti, section 84, (ed. Jivananda, p. 50). Couplets following this are mostly spurious. See Brhati, with ten syllables Pankti, with eleven syllables Tristup, Introduction to the text. with twelve syllables Jagati, with thirteen syllables Atijagati, 51-76 1 Slokas giving the numbers of metres of the akrti, vikrti, samkrti, abbikrti (atikrti) and utkrti classes seems to be corrupt in C.

XV. 77 THE NATYASASTRA 262 thousand three hundred and four, of the Vikrti eighty-three 263 VERBAL REPRESENTATION XV. 93

lacs eighty thousand six hundred and eight, of the Samkrti 86-87. A single heavy syllables should be known as ga one crore sixty-seven lacs seventy-seven thousand two hundred and such a light syllable as la. and sixteen, of the Abhikrti (Atikrti) three crores thirty-five Separation of two words [in speaking a verse] required by lacs fifty-four thousand four hundred and thirty-two, of the rules [of metre] is called caesura (yati). Utkrti six crores seventy-one lacs eight thousands eight 87-88. A heavy syllable is that which ends in a long hundred and sixty-four. or prolated (pluta) vowel, Anusvära, and Visarga or comes 77-79. Adding together all these numbers of different after a conjunct consonant or sometimes occurs at the end metrical patterns we find their total as thirteen crores forty-two [of a hemistich]. lacs seventeen thousand seven hundred and twenty-six. 88-89. Rules regarding the metre, relate to a regular Another method of defining metres couplet (sampat), pause, foot, deities, location, syllables, colour, 79-81. I have told you about the even metres by count- pitch and hyper-metric pattern. ing [their number]. You should also know how the triads A regular couplet make up the syllabic metres. Whether these are one, twenty 89-90. A couplet in which the number of syllables is thousand or a crore, this is the rule for the formation of all neither in excess nor wanting is called a regular one (sampat). the syllabic metres or metres in general. Tha pause 81-82. Triads are eight in number and have their own 90-91. The pause (virama) occurs when the meaning definitions. Three syllables heavy or light, or heavy and light has been finally expressed. make up a triad which is considered a part of each metrical The foot pattern. The foot (pada) arises from the root pad, and it means 83-84. [Of these eight triads] bha contains two light one quarter [of a couplet]. syllables preceded by a heavy one ( -~ ), ma three heavy syllables (- - -), ja two light syllables separated by a heavy 91-92 Presiding deities of metres Agni and the like presiding over different metres syllable( - ), sa two light syllables followed by a heavy are their deities. syllable (-) ra two heavy syllables separated by a light one Location ( --- ), ta two heavy syllables followed by a light one( --- ) Location is of two kinks, viz, that relating to the body ya two heavy syllables preceded by a light one and (~ - -). and that to a [particular] region. na three light syllables (). 85-86. These are the eight triads having their origin in Quantity of syllables

Brahma. For the sake of brevity or for the sake of metre 93. Syllables are of the three kinds, viz. short, long and

they are used in works on prosody, with or without [inherent] prolated (pluta).

vowels (i.e. a). Colours of metres Metres have colours like white and the like.

XV. 94 THE NATYASASTRA 264 Pitch of vowels 94-95. The pitch of vowels is of three kinds, viz. high, CHAPTER SIXTEEN low and medium. I shall speak about their character in con- nexion with the rules of Dhruvas. Rules [about their use] relate METRICAL PATTERNS

to the occasion and the meaning [of thing sung or recited]. Tanu-madhyā Three kinds of syllabic metre I. Tanu-madhya is a variety [of metres] of the Gayatri 95-97. Syllablic metres are of three kinds, viz, even class. [In each of its feet] the first two and the last two (sama), semi-even (ardha-sama) and uneven (visama). syllables are heavy.1 Example: If the number of syllables in a foot of any metre is diffi- 2. santyakta-vibhūsā bhrastânijana-netrā | cient or in excess by one, it is repectively called Nivrt or Bhurik. hastârpitagandā kim tvam tanu-madhyā |I If the deficiency or excess is of two syllables, then such a Tr. O fair lady (lit. slim-waisted one), whyl have you cast off metre is respectively called either Svarat or Virat. your ornaments ; why are your eyes without collyrium and why are you 98. All the syllabic metres fall into three classes such as resting the cheek on the palm of your hand ?

divine, human and semi-divine. Makaraka-sırsa

99. Gayatrī, Usnik, Anustup, Brhatī, Tristup and Jagatī 3. [Of the same class is] Makaraka-sirā which has [in belong to the first or the divine (divya) class. each of its feet] the first four syllables light and the last two 100. Atijagatī, Šakkarī, Atiśakkarī, Aști, Atyasti, Dhrti heavy.2 Example: and Atidhrti belong to the next (i.e. human) class. 4. svayam upayantam bhajasi na kantam | 101. Krti, Prakrti, Vyākrti (Ākrti), Vikṛti, Samkṛti, bhayakari kim tvam makaraka-śīrsā || Abhikrti (Atikrti) and Utkrti belong to the semi-divine Tr. You are not greeting the beloved one who has come fo you class. of his own accord. O terrible one, why1 are you so dull-headed.2 102. O the best of Brahmins, now listen about the Mālini metrical patterns which are to be used in plays and which are included in the Rhythm-types described by me1. 5. [The metre with] the feet of six syllables of

I The definition of this metre is also its example, though an independent Here ends Chapter XV of Bharata's Natyasastra, example also follows. Such is the case with many other metres defined in the which treats ol the Verbal Representation NŠ.

and the Rules of Prosody. 2 1 Kim tvam-why (are) you ...? Cp. Kim akāranam eva darsanam Tataye na dīyate, Kumār. IV. 7. 3 1 This is called Šaśivadanā by Pr. P., Vr. R. and Šț. B. 4 1 See above I note I. 102 1 Some versions of the NS. read this couplet as the beginning of the Makarakasirsa-having a head (i.e. brain) like that of a makara. The next chapter. allusion is perhaps to the foolish makara in the Vanara-makara-kathā in the 34

XVI. 6 THE NATYASASTRA 267 METRICAL PATTERNS XVI. 17 266

which the second one is light [and the rest heavy] is which the first two and the last two are heavy [and the rest

called Mālini1. Example : light] is called Bhramara-mālika. Examplea

6. snana-gandha-sragbhir vastra-bhusayogaih | I 2, nānā-kusuma-citre prāpte surabhi-māse |

vyaktam evaisām tvam mālinī prakhyātā |! eșā bhramati mattā kānte bhramara-mālā ||

Tr. By your perfumed bath, [wearing of] garlands, [good] dress Tr. O beloved one, this being the month of Caitra which is variega- ted with different flowers, cluster of bees are flying about intoxicated and ornaments, you are recognised among these as the well-known wife of a garland-maker. [with their smell].

Mālatī Simba-lila

7. [The metre with] the feet of six syllables of which 13. [The metre with] the feet of eight syllables of which

the second and the fifth are light and the rest heavy, is the first, the third, the fifth, the seventh, the last and [the

called Mālatī. Example: eigth] are heavy [and the rest light] is called Simha-lilo.1 Ex.

8. sobhate baddhayā satpadâviddhayā | 14. yat tvaya hy-aneka-bhavais cestitam rahah sugātri |

mālatī-mālayā māninī līlayā || tan-mano mama pravistam vrttam atra simha-līlam ||

Tr. The self-possessed woman wearing the Malatī garland in Tr. That you have planned the love's embrace in various ways,

which the bees are clinging, looks charming. O fair one, has entered into my mind as a lion's sport.1

Uddbatā Matta-cestita 9. [The metre with] the feet of seven syllables of which 15. [The metre with] the feet of eight syllables of which the the second, the fourth and the fifth are light [and the rest second, the fourth, the sixth and the eighth are heavy [and heavy] is called Uddhata. Example: the rest light] is called Matta-cestita.1 Example:1

I0. danta-kunta-krtânkam vyākulâlaka-śobham | 16. sadā vighūrņitêksaņam vilambitâkulâlakam | samsatîva tavasyam nirdayam rata-yuddham Il asamsthitaih padaih priya karoti matta-cestitam || Tr. Your face which bears the marks of spear-like teeth [of the Tr. The beloved one with her eyes always rolling, hairs hanging beloved] and is strewn over with your dishevelled hair, indicates indeed down dishevelled, and footsteps unsteady, is behaving like a person an un-relenting fight of love. who is intoxicated.

Bhramara-malika Vīdyul-lekba I I. [The metre with] the feet of seven syllables of 17. [The metre with] the feet of eight syllables of which all are heavy, is called Vidyul-lekhā.1 Pancatantra, IV., which really believed that the monkey had left its heart behind in the tree on the river-bank, Hence I translate the word as "dull- headed one." 13 1C. gives the name as Simhalekha. 14 1 The translation follows Ag. 5 1 This is quite different from the metre Malini defined by Pingala and 15 1 This metre is named as Pramānikā in Pr. P. his followers. The NS. calls this second Malini (with 15 syllables in each 17 1 B. gives the name as Vidyun-mālā. This is the name in Pingala pāda) Nāndīmukhī. See below 73-74. and Šr. B.

XVI. 18 THE NATYASASTRA 268 26g METRICAL PATTERNS XVI. 27 Example3 Kuvalaya-mālā [vyomni | 1,8. sambho-bharair anardadbhi śyāmâmbhodair vyāpte 23. [The metre which has] the feet of ten syllables of

ādityâmsu-spardhiny-esā diksu bhrāntā vidyul-lekhā Il which the first and the last three are heavy [and the rest light] is called Kuvalaya-mālā.1 Examples Tr. The sky being overcast with dark clouds which are roaring and are laden with masses of water, a flash of lightning which rivals the 24. asmims te bhramara-nibhe kānte sun-beam, is running [there] in all directions. nānā-ratna-racita-bhūsâdhye I sobham āvahati subhā mūrdhni Citta-vilasita protphullā kuvalaya-mālêyam |I 19. [The metre with] the feet of eight syllables of Tr. O dear one, this shining garland of full-blown Kuvalaya which the fifth, the seventh and the last are heavy [and the flowers fastened on the lovely bee-like hairs of your head, richly decorat- rest light] is called Citta-vilasita.1 Example: ed with various jewels, brings forth a special glamour.

20. smita-vaśa-viprakāśair daśana-padair amībhiḥ | Mayūra-sāriņī

varatanu pūrņa-candram tava mukham āvrnoti || 25. [The metre which has] the feet of ten syllables of

Tr. O fair lady (lit. fair-limbed one),1 your face with the teeth re- which the second, the fourth, the sixth and the eighth are vealed on account of the smile, outshines (lit. covers) the full moon. light [and the rest heavy] is called Mayūra-sarini.1 Example:

Madbukarı 26. naiva te'sti samgamo mānușair

[The metre which has] the feet of nine syllables of nâsti kāmabhoga-cihņam anyat | 2I. which the last three are heavy [and the rest light] is called garbhiņîva drśyase hy-anārye

Madhukarī.1 Example: kim mayūra-sāriņi tvam evam II Tr. O ignoble one, you have no union with men, neither have you 22. kusumitam abhipaśyantī vividha-taruganaiś-channam | any sign of love's enjoyment. Still you look like one who is enceinte. vanam anila-gandhādhyam bhramati madhukarī hrstā || You indeed behave like a pea-hen.'

Tr. Seeing the woodland covered with various trees full of flowers, Dodbaka and redolent with a fragrant breeze, the female bee is flying about in 27. [The metre with] the feet of eleven syllables of [sheer] delight. which the first, the fourth, the seventh the tenth and the last are heavy [and the rest light] is called Dodhaka. Example :!

19 1 C. omits this metre. 20 1 This mode of addressing a beloved woman is at least as old as the time 23 1 This is called Panava by Pingala and his followers. of Patañjali who quotes the fragment of a poem as follows: varatanu samprava- 24 1 Kuvalaya is a blue aquatic flower of the lotus class. danti kukkuțāb (Ref. Apte's Guide to Skt. § 319). 25 1 Pingala gives the name as Mayurasa° and so does Vr. R. 21 1 This metre is called Bhujagaśiśubhrtā (°yutā, °vrtā) by: Pingala and 6 1 This relates the belief that the pea-fowls' sexual union takes place in his followers. complete seclusion.

XVI. 28 THE NATYASASTRA 270 271 METRICAL PATTERNS X.I. 37 28. praskhalatâgrapada-pravicāram matta-vighūrņita-gātra-vilāsam | and in the practice of love, you are unfit (ayogya) at every stage; and in

paśya vilāsini kuñjaram etam short you are [like] the thunder-bolt of Indra, Upendra-vajra dodhaka-vrttam ayam prakaroti || 33. [The metre with] the feet of eleven syllables of Tr. O merry lady, look at this elephant which with its faltering steps of the front legs, and with the body playfully moved about [as which the first, the third, the sixth, the seventh, the ninth are if in] intoxication, is imitating the manner of a dodhaka.1 light [and the rest heavy] is called Upendra-vajra. Example:

Motaka 34. priye śriyā varņa-viśeșanena

29. [The metre with] the feet of eleven syllables of smitena kāntyā sukumāra-bhāvāt |

which the first two, fifth, the eighth, and the last are heavy ami guņā rūpa-gunânurūpā

[and the rest light] is called Motaka. Exampleg bhavanti te kim tvam upendra-vajrā II Tr. O beloved one, due to your beauty, the special colours [of . 30. eso'mbuda-nisvana-tulya-ravah your dress], smile, grace and delicate bearing, these qualities of yours ksībah skhalamāna-vilamba-gatiḥ | have matched the qualities of the [beautiful] form. Are you the śrutvā ghana-garjitam adri-tațe thunder-bolt of Upendra (Vişnu)?1

vrksān prati moțayati dviradah II Ratbôddhatā

Tr. This elephant hearing the clouds roaring in the mountain 35. [The metre with] the feet of eleven syllables of valley, is trumpeting in excitement as loudly as the [rain]- clouds, and which the first, the third, the seventh, the ninth and the last is rushing with faltering steps to the trees. are heavy [and therest light] is called Rathoddhata. Example: Indra-vajrā 36. kim tvayā subhata [dhūrya] varjitam 31. [The metre with] the feet of eleven syllables of nâtmano na suhridām priyam krtam | which the third, the sixth, the seventh and the ninth are yat palayana-parāyanasya te light, [and the rest heavy] is called Indra-vajra. Example yati dhūlir adhuna rathôddhata II

32. tvam durņirîksyā durita-svabhāvā Tr. O good soldier, having left the van you have done neither

duḥkhaika-sādhyā kațhinaika-bhāvā | any good to yourself nor to your friends, for while running away [from the battle field] the dust [on your road] rises now [as if] sarvasv-avasthasu ca kama-tantre' scattered by chariots.1 yogyâsi kim vā bahunêndravajrā ll Svāgatā Tr. You are hard to be looked at, have a troublesome nature, are 37. [The metre with] the feet of eleven syllables of difficult to be won over, and you have an unmixed (lit, one) hard feeling, which the first, the third, the seventh and the tenth and the last are heavy [and the rest light] is called Svagata. Example: 28 1 We are not sure of the meaning of the word dodhaka. Ag. writes dodhakena giyamānam vrttam dodhaka-vrttam. 29 1 This is named as Moțanaka by Gangādāsa in Ch. M. 34 1 Cf. Upendra-vajram tu indra-dhanusa upamitam etc. (Ag.). 36 1 B. gives an additional example of this metre (B. XV. 48).

XV1. 38 THE NATYASASTRA 272 273 METRICAL PATTERNS XVI. 48 38. adya me saphalam āyata-netre which the first four, the eighth and the tenth are light [and jivitam madana-samśraya-bhāvam the rest heavy] is called Kumuda-nibha1. Examplet; āgatâsi bhavanam mama yasmāt 44. kumuda-nibhā tvam kāma-bāņa-viddhā svagatam tava varoru nișīda l! kim asi natabhrūḥ sīta-vāta-dagdhā | Tr. O the large-eyed one, today my life and love have attained mrdu-nalinîvâpāndu-vaktra-śobhā their object; because you have come to my house. O fair lady, you are katham api jātā agrataḥ sakhīnām Iļ welcome, please be seated. Śalini Tr, O fair-eyed damsel, being like a Kumuda flower, why have you 39. [The metre with] the feet of eleven syllables of been struck with cupid's arrow and why do you appear before your friends with a pale face like a delicate Nalini blasted by cold wind ? which the sixth and ninth are light [and the rest heavy] is Candra-lekha called Sālinī. Example: 45. [The metre which has] feet of twelve syllables of 40. śīlabhraste nirguņe yā'prakopā which the first five, the seventh and the tenth as are light loke dhairyād apriyam na bravīsi | [and the rest heavy], and the caesura falls after the first five āryam silam sadhvaho te'nuvrttam syllables, is called Candra-lekha. Example: mādhuryâdhyā sarvadā śālinī tvam || Tr. You have no anger for one who lacks good conduct and is 46. vaktram saumyam te padma-patrâyatâksam worthless, and on account of your patience with the people you do not kāmasyâvāsam subhruvoś câvabhāsam | utter harsh words to any one. O good lady, you have adopted a kāmasyâpîdam kāmam āhartu-kāmam noble conduct; you are a housewife full of sweetness in every respect. kāntyā tvam kānte candra-lekhêva bhāsi |I Totaka Tr. O beloved one, your sweet face with eyes as large as lotus-petals 41 [The metre with] the feet of twelve syllables of and the splendour of your beautiful eyebrows, are the abode of love, which the third, the sixth, the ninth and the last are heavy and they are prone to bring love even to the god of love; you shine as it were like the moon. [and the rest light] is called Totaka. Example: Pramitâksarā 42. kim idam kapațâraya-durvisaham 47. [The metre with] feet of twelve syllables of which bahu-sāthyam athôlbaņa-rūksa-katham | the third, the fifth, the ninth and the last are heavy [and the svajana-priya-sajjana-bheda-karam rest light] is called Pramitâksara. Examplefg nanu toțaka-vrttam idam kurușe |I 48. smita-bhāsīņi hy-acapalâparușā Tr. Why is this crooked and insufferable conduct full of villainy, and unambiguous (lit. direct) and harsh words hurting the relations, nibhrtâpavāda-vimukhī satatam | dear ones and [other] good people? You are indeed behaving like a yadi kasya cid yuvatir asti sukhā hammer. pramitâksarā sa hi pumān jayati |l Kumuda-nibbā 43. [The metre with] the feet of twelve syllables of 43 1 B. gives another metre of this name with a different scheme and an example of this (B.XV. 56-58). 35

XVI. 49 THE NATYASASTRA 274 275 METRICAL PATTERNS XVI. 58

Tr. If any one has a pleasing young wife with restrained speech, who is always smiling and averse to speaking ill of him [even] secretly, which the sevenrh, the ninth, the eleventh and the last are

and is never fickle or harsh, that person verily thrives. heavy [and the rest light] is called Kamadatta1. Example 54. karaja-pada-vibhūșita yathā tvam Vamśasthā sudati daśana_viksatâdharā ca | 49. [The metre with] the feet of twelve syllables of gatir api caranâvalagna-mandā which the second, the fourth, the fifth, the eighth, the tenth tvam asi mrga-samâksi kāmadattā |I and the last are heavy [and the rest light], is called Tr. O fair lady1, you have been adorned with the marks of nails, Vamśasthā. Example: your lips have been bitten by teeth, and your gait also is faltering and

50. na me priyā yad bahumāna-varjitā slow. It seems, O deer-eyed one, that -you have given[yourself up]

krtâpriyâ [taiḥ] parusâbhibhāsanaih | to [the enjoyment of] love. Aprameya tatha ca pasyamy-aham adya sā dhruvam 55. [The metre with] the feet of twelve syllables of kşaņena vamśastha-gatim karisyati || which the first, the fourth, the seventh and tenth are light Tr. She is not dear to me, for she is wanting in esteem [for me] [and the rest heavy], is called Aprameya1. Examplea and her harsh words [also] have made her displeasing [to me]. So I see today that she will surely make at once the movement of a sabre. 56. na te kā-cid anyā samā drśyate strī guņair yā dvitiyā trtīyâpi cāsmin | Harina-pluta mameyam matir sarvam lokam ālokya 51. [The metre with] feet of twelve syllables of which jagaty-aprameyâsi srstā vidhātrā |! the fourth, the seventh, the tenth and the last are heavy Tr. Nowhere to be seen another woman who is your equal, and [and the rest light] is called Harina-pluta1. Example: there is in this [world] none who is [even] second or third to you in order of merit. The creator has made you matchless. 52. parusa-vākya-kaśâbhihatā tvayā bhaya-vilokana-pārśva-nirīksaņā | Padmini

varatanuh pratata-pluta-sarpanair 57. [The metre with] the feet of twelve syllables of

anukaroti gatair hariņa-plutam il which the second, the fifth, the eighth and the eleventh are

Tr. Smitten by the whip of your harsh words, the fair lady (lit. light [and the rest heavy], is called Padmini1. Example:)

fair-limbed one)1, looking with territied eyes to her sides and running 58. deha-toyâśayā vaktra-padmôjjvalā away continuously with quick steps, is imitating by her movements a netra-bhrngâkulā danta-hamsaiḥ smitā ! deer's gallop. keśa-patrac-chadā cakravāka-stani Kamadattā padminîva priye bhāsī me sarvadā ll 53. [A metre with] the feet of twelve syllables of 53 1 C. calls this Kāma-mattā.

51 1 This is called Druta-vilambita by Pingala and his followers. 54 1 Sudati-O fair-toothed one. : 55 1 See above 20 note I. 1 This is called Bhujanga-prayata by Pingala and his followers. 52 57 1 This is called Sragvini by Pingala and his followers.

XVI. 59 THE NATYASASTRA 276 277 METRICAL PATTERNS XVI. 68 Tr. O dear lady, you always appear to me like a lotus-lake, for your body is a pool of water which shines by the lotus-face, and your eyes are Praharsani the restless bees [there], and you smile with the swan-like teeth, and 63. [The metre with the] feet of thirteen syllables of your hairs are [the lotus]- leaves, and the breasts are like the Cakra- vākas [swimming there].1 which the first three, the eighth, the tenth and the twelfth

Patuvrtta and the last are heavy [and the rest light] is called Praharsani. Example3 59. [The metre with] the feet twelve syllables of which the first six and the tenth are light [and the rest heavy], is 64. bhavasthair madhura-kathaih subhāsitais tvam

called Patuvrtta.1 Example: satopa-skhalita-vilambita-gataiś-ca | nānângair harasi manāmsi kāmukānām 60. upavaņa-salilānām bāla-padmair suvyaktam hy-atijagatī praharsaņī ca || bhramara-parabhrtānām kantha-nādaih | Tr. [O fair one], by your loving and sweet words, witty sayings, samada-gati-vilāsaiņ kāminīnām majestic, faltering and slow steps, and by the various graceful move- kathayati patu-vrttam madhu-māsaḥ i| ments of other limbs you captivate the mind of lovers. It is very clear Tr. The month of Caitra (lit. honey-month) with lotus-buds in the that you are enrapturing beyond [anything else in] this world.

garden-lakes, songs of bees and cuckoos and the playful movements of Matta-mayūra intoxicated women, is announcing its smart manners.1 65. [The metre with] the feet of thirteen syllables of Prabhāvati which the sixth, the seventh, the tenth and the eleventh are 61. [The metre with] feet of twelve syllables of which light [and the rest heavy], is called Matta-mayura. Example: the second, the fourth and the ninth the eleventh and the last 66. vidyun-naddhāh sêndra-dhanur-dyotita-dehā are heavy [and the rest light] is Prabhavati. Example vātoddhūtāh śveta-balākā-krta-śobhāḥ ! 62. katham nv-idam kamala-viśāla-locane ete meghā garjita-nādôjjvala-cinhḥā grham ghanaih pihita-kare niśâkare | prāvrt-kālam matta-mayūram kathayanti ||

acintayanty-abhinava-varsa-vidyutas Tr. These clouds [characterised] by a thundering noise and brilliant

tvam āgatā sutanu yathā prabhāvatī || signs containing lightning and rainbow, moved about by the wind, and adorned with white cranes speak of the [arrival of the] rainy season Tr. O fair one, with eyes as large as a lotus, how have you come like which maddens peacocks. a goddess (lit. radiant being) to this house [of mine] when rays of the Vasanta-tilaka moon have been covered by clouds, and you have not cared for the impending (lit. new) rains and the lightning? 67. [The metre with] the feet of fourteen syllables of which the first two, the fourth, the eighth and the eleventh 58 1 B. gives a second example (B.XV. 77) which seems to be a variant and the thirteenth and the last are heavy [and the rest light] of this. is called Vasanta-tilaka. Example:, 59 1 This is called Puta by Pingala and his followers. 60 1 I am not certain about the exact meaning of the term putavrtta. 68. citrair vasanta-kusumaiḥ krta-keśa-hastā One ms. gives it as patuurtta (see B.) which I adopt. srag-dāma-mālya-racanā-suvibhūsitângī |

XVI. 69 THE NATYASASTRA 278 ≥79 METRICAL PATTERNS XV1. 76

nāgâvatamsaka-vibhūsita-karņa-pāśā what a pity, the fool that I am, I could not understand that due to anger säkşād vasanta-tilakêva vibhāti nārī |I she is openly playing the graceful role of a young elephant.

Tr. This well-dressed woman who has adorned her braid of hairs Nāndīmukbī with many-coloured vernal flowers, and the rest of her body with various types of flower garlands1 and lobes of her ears with snake-like ear- 73. [The metre with] the feet of fifteen syllables of ornaments, looks indeed like the decoration (tilaka) on the forehead [of which the first six, the tenth, and the thitteenth are light the goddess] of spring. [and the rest heavy], is called Nândīmukhi.' Example: Asambadba 74. na khalu tava kadā-cit krodha-tāmrâyatāksam 69. [The metre with the] feet of thirteen syllables, of bhrukuți-valita-bhangam drsta-pūrvam mayâsyam | which first five and the last three are heavy, [and the rest kim- iha bahubhir-uktair yā mamaısā hrdisthā light] is called Asambādha. Example: tvam-asi madhura-vākyā devi nāndīmukhîva ll 70. māni lokajnah śruta_bala-kula-sīlâdhyo Tr. Never before have I seen your face with eyes red in anger and yasmin sammanam na sadrsam anupasyed-dhi with eyebrows curved by a frown; O lady, what more shall I say? Are

gachet-tam tyaktvā druta-gatir-aparam deśam you the [same] sweet-tongued one who resides in my heart and has a jolly face? kīrņa-nānârthair avanir-iyam asambādhā lI Gaja-vilasita 0 Tr. A proud person who knows the world and is learned, strong, of high birth and character, must leave [a country] in which he does not 75. [The metre with] the feet of sixteen syllables of receive adequate honour, and should quickly go to a different land; which the first, the fourth, the sixth and the last are heavy for this world is scattered over with wealth of many kinds and offers no [and the rest light] is called Gaja-vilasita.1 Example: obstruction [to such a person]. 76. toyadharah sudhira-ghana-patu-pataha-ravaḥ Śarabba sarja-kadamba-nīpa-kuțaja-kusuma-surabhim | 71. [The metre with the] feet of fourteen syllables of kandala-sêndragopaka-racitam avanitalam which the first four. the tenth, the eleventh, the thitteenth vīksya karoty-asau vrsabha-gaja-vilasitakam |! and the last are heavy [and the rest light] is called Sarabhā. Tr. On seeing the surface of the earth adorned with the Kandala and Example: the Indragopa, and perfumed with the flowers of Sal, Kadamba1, Nipa,9

72. esā kāntā vrajati lalitam vepamānā and Kutaja, this cloud with its loud and clear drum-like peals of thunder (lit. sounds of the clouds) imitates the sportful movement of a bull gulmacchannam vanam-uru-nagaih sampraviddham I and an elephant. hā hā kastam kim idam-iti no vedmi mūdho vyaktam krodhāc-charabha-lalitam karťu-kāmā || 73 1 This is called Malini by Pingala and his followers. 75 1 This is called Rsabha-gaja-vilasita by Pingala and his followers. Tr. This beloved lady goes trembling in a graceful manner to the 76 1 Kadamba and nipa are usually considered synonymous. It is just forest covered with shrubs and interspersed with high hillocks. Ah, possible that these are two different trees with these two names, and later writers have ignored the difference which may be very slight. It may be noted here 68 1 Srak and malya are used here probably to indicate two different that the Concise Oxford Dictionary defines nipa as a 'kind of E. Indian palm.' kinds of garlands, 2 See note I above.

XVI. 77 THE NATYASASTRA 280 281 METRICAL PATTERNS XVI. 86

Pravara-lalita 82. jalada-ninadam śrutvā garjan madoccaya-darpitah 77. [The metre with the] feet of sixteen syllables of vilikhati mahim śrngâksepair mrgah pratinardya ca | which of the second, third, the fourth, the fifth, the sixth, sva-yuvati-vrto gosthād gostham prayāti ca nirbhayo the twelfth the thirteenth, the fifteeth and the last are heavy vrşabha-lalitam citram vrttam karoti ca sādvale |I [and the rest light] is called Pravara-lalita. Example:) On hearing the thundering noise of the clouds the beast maddened 78. nakhâlidham gātram daśana-khacitam côstha-gandam with an excess of rut, is striking the earth with its horns and is bellow- śirah puspôn-miśram pravilulita-keśâlakântam | ing in reply. And then, surrounded by young females of its class

gatih khinnā cêyam vadanam api sambhrānta-netram goes fearlessly from one cow-pen to another and has the ox's sportive exploits of many kinds on the green [pasture]. aho ślāghyam vrttam pravara-lalitam kāma cestam || Śridbarā Tr. Her body has been scratched by nails, and lips and cheeks are 83. [The metre with] the feet of seventeen syllables of bitten by teeth, the head is set with flowers, hairs have their ends scattered, and her gait is languid, and the eyes are restless. Ah, a very which the first four, the tenth, the eleventh, the thirteenth, graceful exploit of love, has taken place in a praisworthy manner. the fourteenth and the last are heavy [and the rest light], is Šikharini called Śrīdharā. Example: 79. [The metre with] the feet of seventeen syllables of [dhūpaiḥ which the second, the third, the fourth, the fifth, and sixth, 84. snānais cūrnaih sukha-surabhibhir ganda-lepaiś ca the twelfth, the thirteenth and the last are heavy [and the puspais cânyaih sirasi-racitair vastra-yogaiś-ca tais-taiḥ ! rest light], is called Sikharini. Example nana-ratnaih kanaka-racitair anga-sambhoga-samsthair 80. mahānadyâbhoge pulinam iva te bhāti jaghanam vyaktam kānte kamala-nilayā śtīdharêvāti bhāsi || tathâsyam netrābhyām bhramara-sahitam pankajam-iva O beloved one, by your bathing, powders, pleasently fragrant paste tanu-sparsaś-cāyam sutanu sukumāro na parusah smeared on your cheek, the [hair-perfuming] incense, flowers set on the hair (lit, head), various clothes and many jewels combined with gold stanābhyām tungābhyām sikhariņi-nibhā bhāsi dayite lI worn on the limbs, you shine indeed very much like the lotus-dwelling Tr. Your hip is like the sand-bank on the margin of a river, your face [one] who is the goddess of beauty. together with the eyes, is like a lotus with the bees. the touch of your body O fair one, is soft and not rough; with your two elevated breasts Vamsa-patra-patita you look like a lake between two hills, O dear one. 85. [The metre with] the feet of seventeen syllables of Vrsabba-cestita which the first, the fourth, the tenth and the last are heavy 81. [The metre with the] feet of seventeen syllables of [and the rest light], is called the Vamsa-patra-patita. which the first five, the eleventh, the thirteenth, the four- Examplea teenth, and the sixteenth are light [and the rest heavy] is 86. esa gajo'dri-mastaka-tațe kalabha-parivrtaḥ. called Vrsabha-cestita1. Example: krīdati vrksa-gulma-gahane-kusuma-bhara-nate |

81 1 This is called Harini by Pingala and his followers. 3 1 This is called Mandakranta by Pingala and his followers. 36

XVI. 87 THE NATYASASTRA 282 283 METRICAL PATTERNS XVI. 96

megha-ravam niśamya muditah pavana-java-samaḥ O beloved one, you shine very much with the many bejewelled orna- sundari vamsa-patra-patitam punar-api kurute | ments worn on your limbs, various pleasant cosmetics rich in passion-

O fair lady, this elephant which surrounded by young ones is playing inspiring scents, hairs wet after bath and decorated with flowers, and

near the peak of the hill in the thick forest of trees and shrubs laden varied colours of your clothes. What shall I say more ?. To be brief, you appear like Citralekhā, (the heavenly nymph). with flowers, is delighted to hear the roaring of clouds, and is moreover causing, like the wind, the bamboo leaves to fall [on the ground]. Šardūla-vikrīdita

Vilambita-gati 91,-92. [The metre with] the feet of nineteen syllables 87. [The metre with the] feet of seventeen syllables of which the first three, the sixth, the eighth, the twelfth, the

of which the second, the sixth, the eighth, the twelfth, the thirteenth, the fourteenth, the sixteenth, the seventeenth and fourteenth, the fifteenth and the last are heavy [and the rest the last are heavy [and the rest light], is called Sārdūla- light], is called Vilambitagati1. Examplea vikrīdita. Exampleg

88, vighūrņita-vilocanā prthu-vikīrņa-hārā punah 93. nana-śastra-śataghni-tomara-hatāh prabhtasta-sarvâyudhāh pralamba-raśanā calat-skhalita-pada-manda-kramā | nirbhinnôdara-bāhu-vaktra-nayanā nirbhartsitāh satravah |

na me priyam idam janasya bahumāna-rāgena yan dhairyôtsaha-parakrama-prabhrtibhis-tais-tair-vicitrair-gunaih madena vivaśā vilambita-gatih kritā tvam priye il vṛttam te ripu-ghāti bhāti samare śārdūla-vikrīditam lI

O belove one, your eyes are rolling, the large necklace is displaced, The enemies have been repelled [after some of them have been]killed the girdle is hanging loose, and your slow steps are faltering; I indeed with various weapons, Sataghni and Tomara, and [some have] their like1 this your slow gait that you assume out of overwhelming pride due bellies, arms, face and eyes pierced and [some have] lost all their to this man's love and respect [for you]. weapons. Your enemy-killing exploits in the battle, comparable to the

Citra-lekbā tiger's sports and characterised by virtues such as, patience, energy and valour, are splendid.1 89. [The metre with the] feet of eighteen syllables of Suvadana which the first five, the eleventh, rhe twelfth, the fourteenth, 94-95. [The metre with the] feet of twenty syllables of the fifteenth, the seventeenth and the last are heavy [and the which the first four, the sixth, the seventh, the fourteenth, rest light] is called Citra-lekha1. Example: the fifteenth, the sixteenth and the last are heavy [and the 90. nānā-ratnâdhyair-bahubhir-adhikam bhūsaņair- rest light], is called Suvadana. Example: anga-samsthaih 96. netre lilâlasânte kamala-dala-nibhe bhrū-cāpa-rucire nana-gandhadhyair madana-jananair anga-ragais-ca hrdyaih gandostham pina-madhym sama-sahita-ghanah snigdhas ca keśaih snānârdraih kusuma-racitair vastra-rāgair vicitraiḥ daśanāḥ I kānte samksepāt kim iha bahunā citra-lekhêva bhāsi || karņāv-amsa-pralambau1 cibukam api natam ghoņā surucirā sarvasmin martya-loke varatanu vihitâsyêkā suvadanā |l 87 1 This is called Prthvi by Pingala and his followers. 88 1 lit. Is it not dear to me ? 93 1 B. gives an additional example of this (B.XV. 123). 89 1 This is called Kusumita-lata-vellita by Pingala and his followers. 96 1 For long ear-lobes as signs of beauty see Buddha-images.

XVI. 97 THE NATYASASTRA 284 285 METRICAL PATTERNS XVI. 107

Your eyes are like lotus-petals, beautiful with the bow-like eyebrows O fair lady, with one of your hands raised up and another and their ends are playfully lazy; the cheeks and lips are plump in their bent, you are dancing today in accompaniment of sweet sounds of middle, the teeth are all equal, in a line, thickly set and shining, the ears flutes and drums the Madraka dance in which your feet being restless are hanging down as far as the shoulders, the chin is bent and the nose is beautiful. O fair lady, in this mortal world you are indeed the only in a hurry, you are making happy, clever and graceful foot-movements

fair-faced woman whose face has been [carefully] fashioned. in pursuance of many and various Karanas, and this dance giving rise to delicate acts, is imbued uniformly with a Sentiment (rasa).

Sragdbara Asvalalita 97-98. [The metre with] the feet of twentyone syllables 1,03-104. [The metre with] the feet of twentythree of which the first four, the sixth, the seventh, the fourteenth, syllables of which the fifth, the seventh, the eleventh, the the fifteenth, the seventeenth, the eighteenth, the twentieth thirteenth, the seventeenth, the nineteenth and the last are and the last are heavy [and the rest light], is called Sragdhara. heavy [and the rest light], is called Aśvalalita. Example: Exampled 105, ratha-haya-naga-yaudha-purusaiḥ 99. cūtâsokâravindaih kuruvaka-tilakaiḥ karņikāraiḥ śirīșaiḥ samkulam alam balam samuditam punnagaih parijatair-vakula-kuvalayaih kimsukaih sâtimuktaiḥ | śara-śata-śakti-kunta-parighâsi- etair nānā-prakāraiḥ kusuma-surabhibhir viprakīrņaīś-ca tais-tair yasti-vitatam bahu-praharaņam | vāsantaiḥ puspa-vrndair naravara vasudhā sragdarêvâdya bhāti |I ripu-śata-mukta-śastra-rava-bhīta- O king (lit. best among men), due to the many and various sweet samkita-bhațam bhayâkulam idam smelling vernal flowers such as, Cūta. Aśoka, Aravinda, Kuravaka, Tilaka, Karņikāra, Širīşa, Punnāga, Pārijāta, Vakula, Kuvalaya, Kiņśuka krtam abhivîksya samyuga-mukhe

and Atimukta, this earth looks today like a woman wearing [many] samîpsita-gunam tvayâśvalalitam || garlands of flowers. [Even after] seeing this completely assembled army consisting of

Madraka chariots, horses, elephants, and fighters, the manifold assaults spread by hundreds of arrows, darts, javelins, clubs and swords, and the foot- 100-101. [The metre with] the feet of twentytwo syll- soldiers terrified and afraid on account of the noise of released missiles, ables of which the first, the fourth, the sixth, the tenth, the and the terror-sticken directions, you have practised in the van of the

twelfth, the sixteenth, the eighteenth, and the last are heavy battle the sportful movements of a horse, the merit of which is very much emulated [by people]. [and the rest light], is called Madraka. Examplea 102. udyatam eka-hasta-caraņam dvitīya-kara-recitam Megha-mala

suvinatam 106-107. [The metre with] the feet of twentyfour sylla- vamsa-mrdanga-vādya-madhuram vicitra-karaņânvitam bahu- bles of which the first six, the eighth. the eleventh, the four- vidham | teenth the seventeenth, the twentieth and the twentythird madrakam etad adya subhagair vidagdha-gati-cestitaih su_lalitair are light [and the rest heavy], is called Megha-mālā. ntyasi vibhramâkula-padam varôru lalita-kriyam sama-rasam Il Example :1

XVI. 108 THE NATYASASTRA 286 287 METRICAL PATTERNS XVI. 118

108. pavana-vala-samâhrtā tīvra-gambhīra- and put the gods and the Pitrs to flight in Daksa's great sacrifice, always nādā balākâvalī-mekhalā destroy all your enemies like the same (sacrifice).1 kşitidhara-sadrśôcca-rūpā mahānīla- Bhujanga-vijrmbhita dhumâyamanâmbu-garbhôdvahā 112-1L3. [The metre with] the feet of twentysix sylla- sura-pati-dhanur-ujjvala-badha-kaksya bles of which the first eight, the nineteenth, twentyfirst, tadid-dyota-sannāha-pattôjjvalā- twentyfourth and the last are heavy [and the rest light], is gagana-tala-visāriņī prāvrsenyôn- called Bhujanga-vijrmbhita. Example : natā megha-mālā 'dhikam sobhate I! 114. rūpôpetām devaih srstām samada-gaja-

The expanse of high-soaring clouds of the rainy season, massed vilasita-gatim nirîksya tilottamām together by a strong wind and moving in the sky, having deep and prādaksinyāt prāptām drastum bahu-vadanam piercing sounds, wearing a flight of cranes as their girdle, carrying in acala-nayanam śirah krta-vān haraḥ | the womb watery vapour, looking like smoke of deep blue colour, girding the waist with the rainbow as the belt, having the armour-plates drgham nihśvasyântar-gūdham stana-vadana- illumined by the flash of lightning, looks indeed very magnificent. jaghana-rucirām nirîksyā tathā punah prsthe nyastam devêndreņa pravaramaņi- ganaka-valayam bhujanga-vijrmbhitam || Karunca-padī Seeing the beautiful Tilottama created by gods with the graceful 109-110. [The metre with] the feet of twentyfive sylla- gait of an elephant in rut, Siva to abserve her while she came to circu- bles of which the first, the fourth, the fifth, the sixth, the mambulate him multiplied his faces and made the eyes motionless.

ninth, the tenth, and the last are heavy [and the rest light] Then the lord of gods (Siva) on seeing her who was charming for her breasts, face and the hip, sighed silently and put away on his back the is called Karunca-padi. Example: coils of yawning snakes with the best of jewels [on their head].

III. yaḥ kila dāksam vidruta-somam kratuvaram The uneven and the semi-even metres

a-camasam apagata-kalaśam 115. These ate, O the best of Brahmins, the even metres pātita·yūpam ksipta-casālam vicayanam I mentioned [before]. Now listen about the uneven and the a-samidham a-paśukam acarukam | semi-even metres.

kārmuka-muktenâśu cakāra vyapagata- 116. The metres of which the feet belong to different, suragana-pitr-ganam isunā metrical types and are dissimilar, are called uneven (visama). nityam asau te daitya-ganārih pradahatu 117-1,18. The metres in which the two [alternate] feet makham iva ripu-ganam akhilam |I are similar while the two [contiguous] feet are not similar, Let Siva (lit. the foe of the demons) who by arrows discharged from are called semi-even (ardha-sama). And the metre in which his bow quickly spilled the Soma-juice, threw away the Camasa, broke the Kalaśa, felled the Yūpa, dislodged the Cașāla, put out the fire, des- troyed the fuel, scared away the [sacrificial] animals, spilled the Caru III 1B. gives one additional example (B.XV. 148) which occurs in Halayudha's commentary on Pingala.

XVI. 119 THE NATYASASTRA 288 $89 METRICAL PATTERNS XVI. 130

all the feet are dissimilar is called uneven. The semieven O dear one, you have no [good] conduct, no friend and you have no metre is to have its even and odd feet dissimilar and the first good action towards the relatives and are in every way very rough ; so of such groups of feet may be shorter or longer than the rest, you are not agreeable.

or one of them may be longer and the other shorter than the Inverted Pathya

rest. 125. These are the characteristics of the firt and the third feet1. They being inverted i.e. the second and the Even metres fourth being of this description, the metre will be called the 119. An even metre is defined by defining one of its feet inverted Pathya. Examplet while uneven metre requires the derinition of all its feet. And 126. krte[ca] ramanasya kim sakhi rosena te' pyartham | from a definition of the two feet, the semi-even metre is tvam jade kena mohītā vipatītā na pathyâsi II known. This is the division of feet [in different semi-even O friend, what is the use of this anger shown to your beloved one ? metres]. You will not be agreeable, if you are hostile. O foolish woman, you

120. I have described the even metres with reference to have been deluded by some-body.

their division of feet. Now I shall describe the characteristics Capala

of the uneven metres in terms of triads, (i.e. ganas). 127. [The metre with the feet of eight syllables of

Pathya which] the fourth, the fifth and the sixth [in the hemistictis] are short, is called Anustup Capala. Examplea 121. If [in an Anustup] the first foot contains sa, sa, ga, ga, and the second sa, ra, la, ga, and such will be the re- 128. na khalv-asyāh priyatamah srotavyam vyahrtam sakhyā |

maining even and odd feet, it is called Pathya. Example :; nāradasya prrtikrtih kathyate vipulā hîyam Il [He] is not this girl's dearest one, This [information] to be heard 122. priya-daivata-mitrâsi priya-sambandi-bāndhavā | [privately] was proclaimed loudly by the female friend. This bulky priya-dāna-ratā pathyā dayite tvam priyâsi me lI woman is indeed [to be] called an image of Nārada (the god of You respect the gods and the friends, you love the matrimonial rela- quarrel).

tions and the kinsmen, you are disposed to make affectionate gifts and Vipula you are agreeable, O beloved one, you are dear to me. 129. [Is a metre with the feet of eight syllables has]

Uneven Pathyā the seventh syllable short in its second and the fourth feet, it is also called [Anustup] Vipula. According to some2 the 123. [The Anustup metre of which] the first foot con- Example3 seventh syllable in all the feet will be short in [such] Vipulā. tains ma, ra, ga, ga the second ya, sa, la, ga, the third ra, bha, la, ga and the fourth ja, sa, la, ga [is called an all-uneven 430. samksipta vajra-madhye he hema-kumbha-nibha-stani | (sarva-visama)] Pathyā. Example: vipulâsi priye śronyām pūrna-chandra-nibhânaņe || 124. naivâcāro, na te mitram na sambandhi-guņa-kriyā | sarvathā sarva-vișamā pathyā na bhavasi priye II 125 1 A passage before this seems to be lost. 129 1 Saitava-mentioned in Pingala and Agni P. See CSS. p. 38. 37

XV1. 131 THE NATYASASTRA 290 291 METRICAL PATTERNS XVI. 144

O dear one, you are thin [in body], your waist is slender in the Your lips are throbbing, the eyes which are like lotus-petals, are middle like a Vajra, your breasts are like golden pitchers, your hips are trembling and the cheeks are red. Tell me why has your face robbed large and your face is like the full moon. of its beauty by anger, become like Ketumati (flame)?

131. gangêva meghôpagame āplāvita-vasundharā | Udgatā

kula-vrksān ārujanti sravantī vipulâcalāt |I 139. In Udgata metre the first foot consists of sa, ja, sa,

You are like the Ganges at the advent of the rains, flooding the earth, la, the second of na, sa, ja, ga, the third of bha, na, ja, la, ga destroying the trees on the bank and flowing down from a high mountain. and the fourth of sa, ja, sa, ja, ga. Example: 132. The feet of Pathya are thus of various types; in 140. tava roma-rājir atibhāti the remaining [types of Anustup] even and odd feet may be sutanu madanasya manjarīm | made up with other triads (trika). nābhi-kamala-vivarôtpatita-

133. In this metre a triad ending in a heavy syllable (i.e bhramarâvalîva kusumāt samudgatā ||

ma, ra, ya, sa) or consisting of light syllables (i.e. na) is never O fair one, the hairs which rise from the hollow of your lotus-like

to occur (lit. disired) after the first syllable, while after the navel, are comparable with a swarm of bees coming out of flowers, and

fourth syllable a short syllable must occur (lit. is presctibed). they exceed in beauty Cupid's [shaft of] blossoms, Lalitā 134. If in the feet of a Pathya there are three heavy 141. The metre Lalita has its first foot consisting of sa, syllable at the end it is called [Anustup] Vaktra. Example; ja, sa, la, the second foot of na, sa, ja, ga, the third foot of na, 135. danta-ksatâdharam subhru jāgara-glāna-netrântam | na, sa, sa, and the fourth foot of sa, ja, sa, ja, ga1.

pratah sambhoga-khinnam te darsanīya-tamam vaktram II 142. lalitâkula-bhramita-cāru-vasana-kara-pallavā hi me | O fair lady, the lips being bitten by teeth, eyes being languid due to pravikaśita-kamala-kānti-mukhī pravibhāsi devi surata- keeping awake, your face has become most charming, in the morning śramâturā II after the exhaustion in love's enjoyment [at night]. O lady. hurriedly but gracefully moving the beautiful clothes and the 136. These are all-uneven metres of the Anustup class. delicate hands and having the beauty of a blooming lotus in the face you The authorities differ from one another as regards [the arrange- look charming to me after the fatigue of love's sports.

ment of] the triads and syllables. Aparavaktra

Ketumati 143. In the metre called Aparavaktra the first and the third feet consist of na, na, ra, la, ga and the second and the 137. The metre of which the first and the third feet fourth of na, ja, ja, ra. Exampleg consist of sa, ja, sa, ga, and the second and the fourth bha, ra, na, ga, ga is called Ketumati. Example: 144. sutanu jala-parīta-locanam jalada-niruddham ivêndu-mandalam ! 138. sphuritâdharam calita-netram kim idam apara-vaktram eva te rakta-kapolam ambuja-dalâksam | kim idam rusâpahrta-śobham mamatu tathapi manoharam-mukham |!

ketumatī-samam vada mukham te || 141 1 Pingala's Lalita has the fourth foot similar to that of Udgata.

.XVI. 144 THE NATYASASTRA 292 293 METRICAL PATTERNS XVI: 159

O fair lady, why does your face with tearful eyes looking like the have been mentioned here collectively. They are not to be orb of the moon obscured by the clouds, appear like some one else's ? Still they enrapture my heart all the same. used because they do not embellish [a composition].

Puspitâgrā 151 The syllabic metres forbidden hereafter may be

145. In the Puspitagra metre the fitst and the thitd feet used in songs. I shall deseribe their varieties while treating

consist of na, na, ra, ya, and the sccond and the fourth of na, the Dhruvas. Ārya metres ja, ja, ra, ga. Example9 1:46. pavana-raya-vidhūta-cāru-śākham 152. This is the definition of various syllabic metres

pramudita-kokila-kantha-nada-ramyam | briefly treated by me. Next I shall give the definition of

madhukara-parigīyamāna-vrksam Āryās.

varatanu paśya vanam supuspitâgram |I 153. Āryās are of five types, viz. Pathyā, Vipulā Capalā, Mukha-capalā, and Jaghana-capalā. O fair lady, look at the top of the blossoming forest in which the wind is shaking the beautiful branches of trees, the gladdened cuckoos 154. I shall speak about their caesura and division of are singing with a sweet voice, and the bees are humming the praise of Matras and their varieties depending on Ganas which have trees. Vānavāsikā been prescribed as their characteristics.

147. The metre which has its feet consisting of sixteen 155. In these metres the caesura marks the division [of feet]; the Gana consists of four Matras; the second and the Matras as parts of a Gatha to be divided into four sections in fourth (lit. the last) feet are the even ones, and the first and terms' of triads and the part of triad, is called Vānavāsika.1 Examples the third (lit. the rest) odd ones.

148. asamthita-padā suvihvalângi 1,56. [In an Arya] the odd Ganas consisting of four

mada-skhalita-cestita-manojna Matras should have noja, and the even Ganas may be of any

kva yāsyasi varôru surata-kāle type according to the choice [of the poet].

vişamā kiņ vānavāsikā tvam || 156a. The eighth Gana in every Arya is to be known as half a Gana (i.e. two Mātrās). O fair lady, your gait is unsteady, limbs are agitated, and your falter- ing movements due to ardent passion are charming. Where are you 157. The sixth Gana may be of two alternative types and going at the time of love's enjoyment? Are you a perverse woman of the eighth will consist of one [syllable]. The sixth Gana in Vanavāsī? the second hemistich will consist of one Mātra only. 149. These are the syllablic metres of the even and un- 158. In one alternative the sixth Gana will be ja, even types, to be used in dramas and poems. (,) and in the other it will consist of four short syllables, 150. There are besides many other syllablic metres which (-S) and these relate to the caesura (yati).

144 1 Pingala calls this Mātrāsamaka. His Vānavāsikā is simply a variety 159. The caesura may occur when the second la after of this. See CSS. p. 21. the fifth Gana has been completed, or it may occur from the

XVI. 160 THE NATYASASTRA 294 295 METRICAL PATTERNS XVI. 169 first syllable [of the sixth Gana], or after the fifth Gana [has been completed]. Mukha-capalā and Jaghana-capala Āryā

Pathya-Arya and Vipula-Āryā 166. When the definition of a Capala applies to the first

160. The Arya metre of which the caesura occurs after hemistich [only] of an Arya it is called the Mukha-capalā.

the three Ganas (lit. feet are made up of three Ganas) is called And when the same applies to the second hemistich [only] it

Pathyā. The Vipula Arya is different from this, only because is called Jaghana-capara. And if [in an Āryā] the marks of

it observes no caesura (yati) of any kind [within its hemis- both these are seen then it is called an all-round Capala.

tichs]. Example: Mukha-capala Āryā

Pathya Arya Examples:

161. 167. arya mukhe tu capala tathâpi nârya na me yatah sa tu | rakta-mrdu-padma-netrasita-dirgha-bahula-mrdu-[kuñcita]-keśi | dakşā grha-krtyesu tathā duhkhe bhavati [ca] duḥkhitā |i kasya tu prthu-mrdu-jaghanā tanu-bāhvamsôdarā' pathyā | My lady is talkative, but still her conduct [in general] is not bad, for To whom is disagreeable a woman with lovely and lotus-like soft she is an expert in the household work, and in my misery she feels eyes, copious long, black and[curled] hairs, large and soft hip, slim miserable.

arms and abdomen? Jaghana-capala Āryā 162. The Arya which has twelve Mātras in its first [nibhâsye ] and the third feet, is called Pathya, and other (Aryas) 168. vara-mrga-nayane capalâsi varôru śaśānka darpaņa- which have been defined before are Vipulā. kāmasya-sārabhūtenâpūrva-mada-cāru-jaghanena |I Vipula Āryā O fair lady, with the eyes of the best deer, and a face like the moon 163. vipula-jaghana-vadana-stana-nayanais or the mirror, by your hips which constitute the best prize of love and

tämrâdharôstha-kara-caranaih | which are charming on account of your unique passion, you are restless. āyata-nāsā1-gandair lalāta- Sarvataś-Capala karņaiḥ śubhā kanyā |l Example3

A maiden is auspicious when her hip, face, breasts and eyes are large, 169. udbha [ttr] -gāmini parusa-bhāsini kāma-cihna-krta-veśā | lips, palm and feet are red and nose, cheeks, forehead and ears are ya nâti-māmsa-yuktā surā-priyā sarvataś-capalā || prominent. 164. The Arya which has its odd Ganas made up of The woman who goes defying her husband, speaks barshly, has erotic signs in her dress, is not very fleshy and is fond of wine is inconstant long syllables, and even Ganas with a long syllable in the in every respect. middle, is called Capalā. 170. The first and the third feet should be made up of Capala Arya twelve Matras and the second and the fourth, of eighteen 165. In the Capala (Arya) the second and the foutth and fifteen respectively. Ganas in each hemistich are to consist of a ja (lit. Gana with a heavy syllable in the middle). 169 1 B. reads janāti, for ya nati. Prof. S. P. Bhattacharya suggested this emendation.

XVI. 170 THE NATYASASTRA 296

171. This metre is known to have thirty Mātras in its first hemistich and twenty-seven in the second.1 This is the total number of matras in the two halves of an Ātya. CHAPTER SEVENTEEN

172. Following these rules (lit. thus) one should compose DICTION OF A PLAY

plays (lit, poetical composition) utilising (lit. having) therein Excellent points of a dramatic composition different metrical patterns belonging to (lit. arising from) different Rhythm-types, and such plays are to have the thirty 1-5. The thirtysix excellent points (laksana)1 of [a

six characteristic marks (laksana). good] dramatic composition (kavya)2 are as follows: Ornateness (bhūsana), Compactness (aksara-samghāta), Brilliance (sobhā),

Here ends Chapter XVI. of Bharata's Nātyasastra Parallelism (udaharana), Causation (hetu), Hesitation (samsaya)

which treats of the Metrical Patterns. Favourable Precedent (drstanta), Discovery (prapti), Fancy (abhipraya), Unfavourable Precedent (nidarsana), Additional Explanation (nirukta), Persuasion, (siddhi), Distinction (visesana) Accusation of Virtue (gunatipata), Excellence (gunātisaya), In-

1-5 1 About the significance of the term laksana, the commentators of the NS, are not at all unanimous. Ag. mentions no less than ten different views on the subject. Evidently some of these are far-fetched and off the mark. It seems that laksana in this connexion is comparable to the same word occurring in the compound word mabapurusa-laksana (characteristic marks of a superman). According to one view this laksana differs from the alamkara (ornament) and the guna (qualities) of a person as figures of speech (alamkara) and excellences (guna) of a composition differ from its characteristic marks (laksana). The composition in this connexion is evidently a dramatic one though some of the commentators think otherwise. For a discussion on the position of laksanas in the history of the Alamkara literature see S. K. De, Skt. Poetics, II. pp. 4-5; see also Ramakrishna Kavi, (B.II.pp. 348-349) and V. Raghavan's paper on Laksanas in the Journal of Oriental Research, Vol. VI. pp. 70, 71, 81, 82. Mss. of the NS. fall into two distinct recensions as regards the text treating the thirty-six laksanas. According R. Kavi (loc. cit.) one recension followed by older commentators, and late writers like Viśvanātha, and Šingabhūpāla, uses ślokas for defining laksanas. We have adopted this. The second recension (our 42ka-42sa) which seems to be later, has been followed by commen- tators like Kirtidhara, Abhinavagupta and late writers like Dhanañjaya and others. This greatly varies from the first with which it has not more than seventeen names (of laksanas) in common, and among these, definitions of 171 1 The couplets after this (B.XV.222-226) are corrupt and appear to seven only are similar in both the recensions. (XVII, 6-8, 11, 17, 34, 37.).

be spurious, ª Kavya in this connexion means the drsya-kavya or dramatic composition. 38

XVII. 6 THE NATYASASTRA 298 299 DICTION OF A PLAY XVII. 12

ference from Similitude (tulya-tarka), Multiplex Predication (padoccaya), Apt Description (dista), Pointed Utterance (upadis- of double entendre (ślesa), a less-known meaning is called forth

ta), Deliberation (vicara), Inversion (viparyaya), Slip of Tongue along with the well-known meanings, it is called Brilliance

(bhramsa), Mediation (anunaya), Series of Offers (mala), Clever (sobbā, lit. beauty).

Manner (daksinya), Censure (garhana), Presumption (artha- Parallelism

patti), Celebrity (prasiddhi), Interrrogation (prccha), Identity 9. When by a sentence expressing a similar situation a

(sarupya), Indirect Expression of one's Desire (manoratha), suggestion is made by clever people to accomplish some Wit (lesa), Concealment (samksobha), Enumeration of Merits objects, it is called Prarallelism (udaharana, lit. example).1

(guna-kirtana), Semi-uttered Expression (anukta-siddbi) and Causation

Compliment (priyavacana = priyokti). I0. When a brief and pleasing sentence by the force of

Ornateness its [tactful] use achieves the desired object, it is called 6. 'To provide a composition with many figures of Causation (hetu)1. speech (alamkāra), and Gunas placed like ornaments, is Hesitation called Ornateness (bhūsana, lit. ornament). II. When due to many considerations a sentence is

Compactness brought to an end without fully communicating the essential 7. 'When a wonderful sense is expressed by means of theme [in view], it is called Hesitation (samsaya, lit. a small number of syllables with double entendre, it is called doubt).1 the mark named Compactness (aksara-samghata, lit. assem- Favourable Precedent blage of syllables). I2. That which supporting the case in hand1 is an Brilliance expression of its reason and is pleasing to all people, is a 8. Where for the purpose of giving distinction to a case Precedent Favourable to the speaker (drstānta, lit. example),

6 ' A close study of Ag's. commentary on passages dealing with laksanas 8 Ag. reads this with a slight difference. cf. SD. 437. is liable to give one an impression that the exact meaning of some of the terms 9 1 Cf. SD.438. Ag's text in trans. is as follows: When from the occur- at least relating to this subject, has been to some extent lost, and various rence (lit. sigbt) of a single word good many unmentioned ones can be inferred explanations have been partly based on guess. But in the absence of anything (lit. accomplisbed) it is called Sample (udāharana), B. XVI. I1. better we are to depend on them though very cautiously. Definitions of 10 1 Cf.SD.439. Ag. reads this definition as follows: वहूनां भाषमानानां various laksanas are mostly not at all clear without examples which have been त्वेकस्यार्थविनिर्णायम्। सिद्धोपमानवचनं हेतुरित्यभिसंजञितम् (B.XVI. 14). Its meaning very liberally given by Ag. To avoid prolixity we refrain from quoting them is not clear, Ag's explanation does not seem to be convincing. here. Interested persons may see them in the Baroda ed. of the NS. (Vol. II. I1 1 Cf. SD. 440. pP. 294ff.). As any old commentary to these (NS.) passages dealing with 12 1 Cf. SD. 341. Ag's text (B. XVI. 25) in trans. is as follows: That a laksanas, has not come down to us, we used in this connexion the one prepared by M. Ramakrishna Kavi. See B. II. pP. 348ff. (Referred to learned person discovers similarity [of anything] with something perceived by him earlier, is called Illustration (drstanta). Cf. the figure of speech of as Kavi). this name in SD. 697.

XVII. 13 THE NATYASASTRA 300 301 DICTION OF A PLAY X II. 21 Discovery Distinction 13. When on seeing some indications, the existence of 18. When after mentioning many well-known great ob- something is assumed, it becomes [an instance of] Discovery jects something is said to distinguish a thing from them, it (prapti, lit. attainment)1 which is included among the marks is [an instance of] Distinction (visesana)1. of a [good] drama. Fancy Accusation of Virtues . When an idea interesting to people [but] hitherto 19. When virtues are mentioned with sweet words of non-existent, is conceived on the basis of similarity [of two ob- harsh import,1 which carry a contrary implication, it is [an jects], it is [an instance of] Fancy (abhiprāya, lit. belief)1 instance of] Accusation of Virtues (gunatipata, lit. opposition Unfavourable Precedent of virtue)2. 15. When well-known instances are mentioned for re- Excellence jecting the contrary view, it is [an instance of] Unfavourable 20. When after enumerating the qualities available in Precedent (nidarsana, lit. example)1 common men, one mentions some special qualities, it is [an Convincing Explanation instance of] Excellence (atisaya)'. 16. Words that are spoken in support some unobjection- able statement made before, constitute Additional Explanation Inference from Similitude

(nirukta, lit. etymology)1 21. When an object not believable, is inferred from

Persuasion a mataphor or a simile applied in a similar sense, it is [an 17. When name of many relevant1 persons are men- instance of] Inference from Similitude (tulya-tarka, lit. reason- tioned with a view to accomplish the object aimed at, it is [an ing from the comparables)1. instance of] Persuasion (siddbi, lit. success)2. 18 1 Cf. SD. 452, Ag. (B. XVI. 31) reads this as a variant of ksamā which 13 1 Cf. SD. 446, Ag. similar (B.XVI.32). in translation is as follows: When one being hurt by barsh and provoking 14 1 SD, 445, Ag, reads this as a variant of yukti (B. XVI. 36) which in words utterred by a wicked person in the presence of good people, remains translation is as follows: The meaning which is made wp only of many without anger, it is [an instance of] Forgiveness (ksama). mutually compatible objects combining with one another, is called Combination 19 1 Cf. SD. 450. Ag. reads this as a variant of gunanuvada (B. XVI. (yukti). Cf. SD. 501. 15 1 See SD. 444. Ag. reads this as a variant asib (B. XVI. 28). The 13a) which is translation is as follows: Eulogy (gunânuvada) relates toin- ferior subjects compared with superior ones. meaning of this def. is not clear. Ag. offers no explanation of this, but gives 20 1 Cf. SD. 451 Ag.'s reading (B. XV. 13 b) in translation is as follows: an example which it is very difficult to fit in with the definition. Cf. SD. 471. When anything compares favourably with the best thing [to which it can be 16 1 Cf. SD. 453. Ag.'s text (B. XVI. 12) in trans, is as follows: Explana- compared] it is [an instance of] Exeellence (atisaya), tion (nirukta) is two kinds: factual and non-factual, [Of these] the factual [explanation] is that which is well-known (lit. accomplished before), and the 21 1 Cf. SD. 442. Ag. reads this is as a variant of the definition of akranda (B.XVI. 19) which in translation is as follows: To say sometbing very poin- non-factual is that which has not been so (lit. not accomplished). tedly through suggesting one's own idea by means of likening it to others' 17 1 Cf. SD .: 454. Ag. (B. XVI. 17) reads this with a slight variation. actions, is called Exhortation (akranda). Cf. SD. 472.

XVII, 22 THE NATYASASTRA 302 303 DICTION OF A PLAY XVII. 30

Multiplex Predication Deliberation, is made on account of a doubt, it is called 22. When a number of words are used along with a Inversion (viparyaya).1 number of other words to form [different] groups for the same Slip of Tongue purpose, it becomes [an instance of] Multiplex Predication 27. Manifold and sudden deviation of haughty and such (padoccaya, lit. collection of words)1. other persons from the intended words to something else, is Description called Slip of Tongue (bhramsa, lit. lapse)1. 23. When any object or incident directly seen or not, is Mediation described in harmony with locality, time or from related to it, 28. [Words] which [are used to] please two persons with it becomes [an instance of] Apt Description (dista lit. described)1. mutually opposed resolution and [are aimed at] accomplishing Pointed Utterance some object, constitute Mediation (anunaya, lit. imploring)1. 24 When one says something with a happy end on the basis of Sastras and thereby pleases the learned, it is a Pointed Series of Offers

Utterance (upadista, lit. utterance)1 29. When for the purpose of accomplishing a desired

Deliberation object one (lit. learned men) suggests to a person his many

25. That which establishes something not direcrly percei- needs [that may be met], it is [an instance of] Series of

ved and is in harmony with the meaning expressed earlier1 and Offers (mala, lit. garland)1.

includes much elimination of errors (apoha), is called Deli- Clever Manners

beration (vicara). 30. When one attends another person with a happy and

Inversion 26. When due to seeing [something], an alteration of 26 1 Cf. SD. 456. Ag. reads this as a variant of the def. of mithyâdbya- vasaya (B. XVI, 16) which in translation is as follows: When in place of a non-existent object one takes for certain something similar to it, it [become 22 1 Cf. SD. 443 Ag.'s reading (B. XVI. 18) in trans. is as follows: When an instance of] Wrong Perception (mithyâdhyavasaya). anything is described as possessing different aspects by means of many words of 27 1 Cf. drptādinam bhaved bhramso vacyad anyatarad vacab, SD. 455. similar import, it is [an instance of] Multiplex Predication (padoccaya) which Ag. reads this as a variant of the def. of priyavacana which in trans, is as puts together many objects. follows: That which is apparently liable to provoke anger, but brings joy 23 1 BC. drsta for dista, Cf. SD. 448. Ag. reads this as a variant of in the end and includes a blessing, is called Witty Compliment (priyavacana= sārupya (B. XVI, 15) which is different from XVI. 35 priyokti), B. XVI, 29. 24 1 Cf, SD. 449; Ag. reads this is as a variant of. Argumentation (upa- 28 1 Cf. SD. 458 Ag. reads this as a variant of the def. of Subservience patti). The def. (B. XVI. 35), in translation is as follows: When faults dis- anuvrtti which in trans. is as follows: To follow with a purpose another covered are explained away as being otherwise, it is called Argumentation person as a matter of courtesy, love or favour, is called Subservience (anuvrtti), (upapatti) in connexion with drama. Cf. SD. 482. B.XVI. 34. Ag. reads this differently. Cf. SD. 494. 25 1 Cf. SD. 447. Ag.'s reading of the definition in translation is as 29 1 Cf. SD. 459, Ag, (B. XVI, 26) reads this as a variant of the def. follows: Deliberation (vicara) is the critical examination of many things of bhasana, which in trans. is as follows: When a statement with many (B. XVI. 33). Ag. reads this as a variant of pascāttapa, The def. in trans. is follows: Mental agony after doing something improper or failing to do what (bhāsana). agreements is made in many sentences for different purposes, it is called Shining

was proper is called Remorse (paścāttāpa). 30 1 Cf. SD. 457. Ag. reads this as a variant of the def, of Clever Request

XVII. 31 THE NATYASASTRA 304 305 DICTION OF A PLAY xvII. 38 pleased face, [sweet] speech and other [agreeable] movements, it [is an instance of] Clever Manners (daksinya).' Identity

Censure 35. When from seeing, hearing or feeling something

31. If any one mentions [someone's] faults and explain [suddenly] one is excited by its likeness [with another, it is them as merits, or decries one's merits and calls them faults, it [an instance of] Identity (sārūpya)1. becomes [an instance of] Censure (garhana)1. Presumption Indirect Expression of Desire

32. When from a sweetly-worded mention of some- 36. Expressing one's secret desire of the heart1 by a

thing, some other object is to be understood, it is [an instance pretence of referring to sumebody else's condition, is called

of] Presumption (arthapatti).1 Indirect Expression of Desire (manoratha, lit. object of the Celebrity mind). 33. That which is expressed with excellent words men- Wit tioning many well-known exploits, gives rise to Celebrity 37. Words which are spoken in a [clever] manner by (prasiddbi)1. Interrogation expert disputants and which relate to accomplishment of similar objects1, constitute Wit (lesa)2. 34. When with gesticulating' words one questions oneself or another and speaks something, it is [an instance Concealment

of] Interrogation (prccha). 38. When being faultless one takes upon oneself various faults of another, or ascribes them to another blameless person, (yacna) which in translation is as follows: Words which are apparently liable it is [an instance of] Concealment (samksobha, lit. to provoke anger, but bring joy in the end and turn favourable, are called Clever Request (yacña) See B. XVI. 22 Cf. SD. 496. upsetting)1. 31 1 Cf. SD. 461, Ag. reads this as a variant of the def. of Deceit (kapata- samghata) B.XVI.30) which in translation is as follows: Application of some 35 1 Cf. SD. 464. Ag. reads this as a variant of the def. of Wounded stratagem for the deception or defeat of others, is called Deceit (kapata). When Self-respect (abbimana, B,XVI.8) which in translation is as follows: When two or three (stratagems) are applied together it becomes a Multiplex Deceit (kapata-samghāta). Cf. SD, 473. one is not pacified even when one is consoled by means of many words and acts, it is [an instance of] Wounded Self-respect (abhimana). Cf. SD. 493. 32 1 Cf. SD. 460. Ag. reads this as a variant of the def. of Embellishment (karya, B.XVI. 37) which in translation is as follows: When defects of an 36 1 Cf. SD. 468. Ag. reads this in a substantially identical manner (B.XVI. 20). object are explained as merits or merits are derived from the defects it is [an 37 1 Cf. SD. 467, Ag. reads this as a variant of the def. of Obstruction instance of] Embellishment (kārya lit. action). (pratisedba B.XVI.23) which in translation is as follows: When one sets out 33 1 Cf. SD. 463. Ag. reads this as a variant of the def. of Submission to do something contrary to another's desire and is opposed by clever persons (anuniti, B.XVI, 38) which in translation is as follows: Sweet words which (lit. those who know the business) it is called Obstruction (pratisedha). are uttered, to please one after forgiving one's singular offence due to anger, is 38 1 Cf. SD. 465, samksepo yat tu samksepad atmanyartbe prayujyate. called submission (anuniti). See also under B.XVI. 21. Cf. abhyarthanāparair vākyair, SD. 462. Ag. (B. XVI. 24) reads this Ag. reads this as a variant of the def. of paridevana (parivadana of Bhoja, parivāda of Sāradātanaya, parivedana of Sarveśvara) See B.XVI.39 foot note identically. (*). The meaning of its def, is not clear. 39

XVII. 43 THE NATYASASTRA 306 307 DICTION OF A PLAY XVII. 44 Enumeration of Merits Simile . When merits of men who excel [others] in qualities 44. When in a poetical composition anything is compa- in this world, are ascribed to one single person, it is [an instance of] Enumeration of Merits (guna-kirtana)1. red on the basis of some similarity, it is [an instance of] Simile (upama). It relates to quality and form. Semi-uttered Expression Number of objects compared 40. When from the mere commencement of subject 45-48. This comparison may be of one with one or the rest of it is comprehended without being actually expres- sed in words1 it is [an instance of] Semi-uttered Expression many, or of many with one, or of many with many. (Exam- ples of these are as follows)a your face is like the moon (one (anukta-siddhi, lit. unuttered achievement). compared with one), stars shine like the moon (many compa. Compliment red with one), having an eye like that of a hawk, a peacock 41. When words are uttered in a pleasant mood to and a vulture (one compared with many); and elephants are honour an honourable person and to express joy [for his acts] like clouds (many compared with many). it is [an instance of] Compliment (priyokti, lit. pleasing utterance)1. Five kinds of simile

42. These thirtysix excellent points of a dramatic 49. A Simile is of five kinds, viz. [that of] praise (pra- (lit. poetical) composition conducing to the object in view (i.e. samsa), censure (ninda), conceit (kalpita), uniqueness (sadsri). writing plays) will beautify a play (lit. composition) and [hence and partial likeness (kimcit sadrsi). they] should be properly used according to the Sentiment Ex. of Simile of praise [intoduced in it]. Four figures of speech 50. The king was pleased to see that large-eyed lady just as the sages are pleased to see the success incarnate after 43. Four figures of speech available in drama are& Simile it has been achieved with austerity. umn! (upama,) Metaphor (rūpaka), Condensed Expression (dīpaka, lit. lamp) and Yamaka. Ex. of Simile of censure 51. The woman clung to that rough-looking person devoid of all good qualities just as a creeper clings round 39 1 Cf. SD. 466. Ag. reads this def. in translation as follows: When a a thorny tree which has been scarchedby the forest- proclamation of various qualities of a person takes place, but bis faults are not given out, it is [called an instance of] Enumeration of Merits (guna-kirtana). fire. See B.XVI. 9. 40 1 Cf. SD. 46g. Ag. reads this as a variant of the def. paridevana etc, Ex. of Simile of conceit (see 38 note above). 52. Elephants exuding ichor and moving slowly with 41 1 Cf, SD. 470. Ag. reads this differently. See above 27 note I. gracefulness look like mobile mountains.

XVII. 59 THE NATYASASTRA 308 309 DICTION OE A PLAY XVII. 60

Ex. of Simile of uniqueness the trees, intoxicated bees in the lotuses and by friendly groups

53. What you have done today to satisfy someone else's [of men and women] in the gardens and the parks.

desire, is worthy of you and is comparable only to your [other] Yamaka superhuman deeds. Ex. of Simile of partial likeness 60. Repetition of words at the beginning of the feet and the other places, constitute Yamaka (lit. twin). Listen to their 54. Here has come my lady friend whose face is like characteristics which I am going to tell [you]'. the full moon, eyes are like the petals of a blue lotus and the gait is like that of an elephant in rut. Ten kinds of Yamaka

55. These briefly are the varieties of similes. Those not 61-63. Yamakas are of the ten kinds: Pādānta-

described here are to be gathered from [different] poetical Yamaka, Kānci-Yamaka, Samudga-Yamaka, Vikrānta-Yamaka,

works and from the people (i.e. the folk-poems). Cakravāla-Yamaka, and Sandasta-Yamaka, Pādādi-Yamaka,

Metaphor Amredita-Yamaka, Catur-vyavasita-Yamaka and Mālā-Yamaka.

56. An image of slight likeness which is conceived due !1 Padānta-Yamaka

to indecision [from objects] characterised by similar limbs, is 64. When similar syllables occur at the end of all the

called Metaphor (rūpaka)1. Example: four feet, they constitute Padanta-Yamaka. Examplea

57. Lake-women, with their lotus-faces, Kumuda-smiles, 65. dina-ksayāt samhrta-raśmi-mandalam open and beautiful Nilotpala-eyes and swans cackling around; diviva lagnam tapaniya-mandalam i seem to be calling one another. vibhāti tāmram divi sūrya-mandalam

Condensed Expression yathā tarunyāh stana bhāra-mandalam Il

58. Combining of words in different topics in a single At the decline of the day, the reddish (lit. copper-coloured) orb of

sentence for their mutual illumination, is called Condensed the sun shorn of its cluster of rays, shining like a golden disc in the heavens, looks like the big round breast of a young maiden.1 Expression (dipaka, lit. light)'. Examplea Kancī-Yamaka 59. In that region (lit. there) fullness (lit. want of empti- ness) was always effected7 by swans in the lakes, by flowers in 66. Two similar words occurring at the beginning and at the end of each foot constitute Kanci-Yamaka.

56 (C.58; B.XVI. 56). 1 (B.XVI.57) and (C.57) give a second def. which does not appear in all mss. 58 1 B. gives an additional def. (XVI. 54). 60 1 For an old definition of Yamaka see Bhamaha, II. 17.

59 1 The plain meaning is that the lakes were full of swans, the trees full 61-63 1 Bhamaha mentions a fivefold division of Yamaka. See II. 9. He

of flowers, lotuses full of bees, and the parks and gardens full of friendly groups seems to have known the tenfold division of the NS., and is of opinion that his fivefold includes at least Sandasta and Samudga Yamakas. See II, 10. of people. 65 1 B. gives an additional def. (B. XVI.65).

XVII, 73 THE NATYASASTRA 310 311 DICTION OF A PLAY XVII. 74 Example8 67. yāmâyāmās-candravatīnām dravatīnām 73. [śarais] tathā satrubhir āhata hatā hatas ca bhuyas tv anupumkhagaih khagaih | vyaktâvyaktā sāra-janīnām rajanīnām khagaiś ca sarvair yudhi sancitās citāś phulle phulle sa-bhramare va'bhramare vā citâdhirūdhā nihatās talais talaih II rāmā'rāmā vismayate ca smayate ca1 II Thus they were killed after being struck by arrows of the enemies as The length of hours (yama) of the moon-lit nights, passing swiftly in well as by birds of prey flying closely behind such missiles; the pyres of the company of women are scarcely perceived. the battle-field were surrounded with such birds and the dead bodies Flowers having blown whether with or without bees, the lady looks placed on the funeral pyre were being repeatedly pounced upon by them at them admiringly, and has a beautiful smile. with their [sharp] talons.2 Samudga-Yamaka Sandasta-Yamaka 68. When the same hemistich by its repetition completes 74. When the two words at the beginning of a foot are the verse, it is [an instance of] Samudga-Yamaka. Exampleu similar, it is [an instance of] Sandasta-Yamaka1. Exampley 69. ketaki-mukul-pāndara-dantah 75. paśya paśya me ramanasya gunān sobhate pravara-kanana-hastī yena yena vaśagām karoti mām | ketakī-mukul-pāndara-dantaḥ yena yena hi mamaiti darsanam sobhate pravara-kānana-hastī |I tena tena vaśagām karoti mām |I The very big wild elephant with its tusks as pale-white as Ketaki buds looks beautiful ; and the elephant-like large forest looks beauti- Look at the qualities of my lover, by which he makes me bow to him, and he charms me by those qualities with which he comes to my ful with Ketakī buds as its pale-white tusks. view. Vikranta-Yamaka Padādi-Yamaka 70. When two alternate feet are similar, it is [an in- 76. When the same word occurs at the beginning of stance of] Vikrānta-Yamaka. each foot, it is [an instance of] Pādādi-Yamaka. 71. sa pūrvam vāraņo bhūtvā dviśranga iva parvatah | Example9 abhavad danta-vaikalyād-viśrnga iva parvaraḥ I| 77. visnub srjati bhūtāni visnuh samharate prajāh | Formerly being an elephant comparable to a two-peaked mountain, visnuh prasūte trailokyam visnur lokâdhi-daivatam || [now] its two tusks being broken it has become like a mountain without any peak, Vişnu creates all living beings ; Vișņu destroyes all creatures ; Vișņu Cakravāla-Yamaka creates (lit. gives birth to) the three worlds and Visnu is the overlord 72. When the word at the end of a foot is similar to of [all] the worlds.

the word at the beginning to the next foot, it is [an instance Āmredita-Yamaka

of] Cakravāla-Yamaka1. Exampleg 78. When the last words of a foot are reduplicated, it becomes [an instance of] Amredita-Yamaka. Examplea 68 (C.70;B.XVI.68). 1 (C). This Yamaka occurs in Bhāmaha, II. 10, and Dandin, III.53-54. 74 1 This term occurs in Bhamaha. II. 10, and Dandin, III. 51-52, But 7a 1 B. has an additional definition (B,XVI,73) of Cakravāla Yamaka, the latter's def. is different.

XVII. 85 THE NATYASASTRA 312 313 DICTION OF A PLAY XVII. 89

79 vijrmbhitam nihśvasitam muhur-muhuh 85. sa puskarāksaḥ ksatajôksitāksad yathâbhidhānam smaranam pade pade | kşarat kşatebhyaḥ ksatajam duriksam | yatha ca te dhyanam idam punah punar kşatair gavāksair iva samvrtangah dhruvam gatā tām rajanī vinā vinā || sāksāt sahasrâksa ivâvabhāti |I

You yawned and had deep repeated sighs, as you remembered her The lotus-eyed one having his eyes batbed in blood, letting fall from name frequently and as [you were] in constant meditation [of her] your his wounds awful blood and having his body covered with wounds like [sad] night passed absolutely without her.1 cow's eyes appeared as the thousand-eyed god (Indra) in person, Catur-vayavasita-Yamaka 86. A play (lit. poetical work) should be composed by 80. When all the feet consist of similar syllables, it is [introducing] these [excellent] points after considering their [an instance of] Catur-vyavasita-Yamaka. Example3 objects and functions. I shall speak hereafter about faults 81. vārananam ayam eva kalo varananam ayam eva kalah (dosa) in such works. vāraņānām ayam eva kālo vā ranānām ayam eva kālab il Ten faults This is the time of the Värana [flower]; this is the season when the 87. Faults in a play (lit. poetical work) may be of ten elephants (vārana) are free from disease. This is the time [for] the enemies to come; or this is the time for [going to] battle, kinds, such as Circumlocution (gūdhartha), Superfluous Expres-

Māla Yamaka sion (arthantara), Want of Significance (arthabina), Defective

82. When one consonant with different vowels occurs in Significance (bhinnartha), Tautology (ekartha), Want of Syn- thesis (abhiplutartha), Logical Defect (nyāyadapeta), Metrical various words, it is [an instance of] Māla Yamaka. Example: 83. halī balī halī mālī śūlī khelī lalī jalī | Defect (visama), Hiatus (visandbi) and Slang (sabdacyuta)1.

balo balocca-lolâkso muşalī tv-ābhiraksatu | Circumlocution and Superfluous Expression Let the strong Balaräma, the garlanded Balarama (hali) who holds 88. Mentioning [anything] by means of a [manufactu- a spike, is sportive, faltering [in gait] and is full of wine and red] synonym, is to cause Circumlocution (gudhartha, lit. Balarama who is high in strength and who has his eyes rolling and who holds a club, protect you. hidden meaning)1. 84. asau hi rama rati-vigraha-priya When anything not necessary is mentioned it is [a case of] rahah-pragalbha ramanam raho-gatam | Superfluous Expression (arthantara)2.

ratena rātrau a[g]mayet parena vā na ced udesyaty arunah puro ripuh II 87 1 For a discussion of the faults in NS. see S. K. De, Skt. Poetics, II, Pp. 19. This beautiful woman who is fond of love's fight and is unashamed 88 1 An example of such a synonym is Ekadhika-nava-vimana for Dasasa- in bed1 will go on secretly pleasing her dear one in bed at night with her tha, Cf. Bhamaha (I. 37.) seems to be using gudhasabdabbidbāna in an identi- best embrace if the sun will not rise in the east as her enemy. cal sense. See 1. 45-46. S. K. De translates this term as "use of difficult expressions" (loc cit.) 9 ' The trans. is not very literal. 81 Trans. followed Ag. 2 An example of such an expression is चिन्तामोहम् अनन्म् अङ् तनुते विप्रेतितं 84 1 Rahas means bed. Cf, Gk. lekhos. ga: The beautiful lady's look injects (lit. spreads) indeed love as well as 40

XVII. 90 THE NATYASASTRA 315 DICTION OF A PLAY XVII. 96 314 Want of Significance Logical Defect 89. An expression which is irrelevant1 or which remains 92. Anything devoid of reasoning is an example of incomplete2 is [an instance of] Want of Significance (arthabina)3 Logical Defect (nyāyad-apeta)1. Metrical Defect Defective Significance Lapse in the metrical structure is called Metrical Defect Defective Significance (bhinnartha, lit. broken meaning) (visama, lit. unevenness). includes an expression which is not refined3 or is worthy of Hiatus a rustic.4 93. When words [which should combine in Sandhi]are 90. When the intended sense is changed into another kept separate, it is [an instance of] Hiatus (visandbi). sense it is also called Defective Significance. Slan g When a vulgar word is added, it is an instance of Tautology and Want of Synthesis slang ( sabha-cyuta, lit. lapse in a word)1. 91. Tautology (ekartha), means [indiscriminating] use Gunas of [many] words for a single purpose1. 94. These are the faults of a poetical work properly [When a sentence is]completed within[each]foot [of a verse] described by me. Gunas (merit) are their negation and are it [is an instance of] Want of Synthesis (abhiplutartha)2. characterised by sweetness and depth of meaning'. Ten Gunas

anxiety. and insensibility. Here "anxiety and insensibility" are superfluous, 95. The ten Gunas are: Synthesis (stesa, lit. union), for love includes these two states of the mind. Perspicuity (prasada), Smoothness (samata), Concentration 89 1 An example of such an expression is अद्यापि स्मरसि (स्मरति) रसालसं (samadbi), Sweetness (madhurya), Grandeur (ojas) Agreeable- मनो मे मुग्धाया : स्मरचतुराणि. To say that a mugdha heroine can be smara-catura ness (saukumarya, lit. delicacy), Directness of Expression" (expert in love) as well, is incoherent. (Ag.). 2 The ex. of savasesa is स महात्मा भाग्यवशान् महापथम् उपागत: For mabatma (artha-vyakti, lit. expression of meaning), Exaltedness (udara, bhagyavaśāt may be construed as mabātmā abhāgyavašāt and thereby its lit. deep) and Loveliness (kānti). meaning may remain incomplete or undecided without a reference to the context (Ag.). 92 1 nyayad-apetam = desakala-viruddham etc. (Ag.) 'defying the limita- 3Ag's ex, is not clear. tion of place and time,' Bhamaha's desa-kala-kala-loka-nyayagama-virodhitā 4 Ag's ex. भद्रे भजस मामिदं ते दास्यामि, (IV. 28ff) seems to be included in this. 91 1 An example of Tautology (ekartha) is kundendu-bara-hara-hasa- 93: 1 Such a fault occurred probably due to the Prakritic habit in sitam. White like a Kunda flower, the moon and the laughter of Siva. Any Speech. one simile would have been enough. Each simile here serves the same purpose. 94 1 Vamana holds the opposite view (gunaviparyayatmano dosab II. I.I.) and hence Tautology has occurred (Ag.). See Bhamaha, IV. 12. and according to him Guņas are positive entities (kāvya-sobhāyāb kartāro 2 An example of this is स राजा गीतिकुशलः सरः कुमुदशोभितम्। सर्वप्रिया dbarma gunab, III, I. I). Here all the four feet contain four complete sen- 95 1 Bhāmaha, III. 1. 4., and Dandin, I. 41-94., have ten Gunas and वसन्तश्रीर्ग्रीष्मे मालतिकागमः name them similarly. But their descriptions are different. Cf. De, Skt. Poetics, tences which are not connected with one another by sense. II. pp. 15ff, Nobel, Foundations, pp. 104ff.

XVII. 97 THE NATYASASTRA 316 317 DICTION OF A PLAY XVII. 105

Synthesis Grandeur 96. Union of words connected through meaning inten- ded is called Synthesis (slesa)1. IO1. If a [composition otherwise] censured and deficient in quality reflects an exalted sense through its words and is Perspicuity rich in sound and sense it becomes [an instance of] Grandeur 97. Where the unexpressed word or sense is comprehen- ded through a use of easily understood words and sense, it is (ojas)1.

[an instance of] Perspicuity (prasāda)1. Agreeableness

Smoothness I02. When a composition consists of words easy to pro-

98. When alamkāras and gunas match and illuminate nounce, euphonically combined, and giving agreeable impression [even when treating some unpleasant topic], it is one another it is called [an. instance of] Smoothness (samata)1. [an instance of] Agreeableness (saukumārya)1.

Concentration Directness of Expression

99. Careful condensation of meanings suggested by 103. When the meaning of a composition can be

and derived from similes and other figures of speech grasped by the penetrating mind just after its recital (lit. use)

is called Concentration (samādhi)1. it is [an instance of] Directness of Expression (artha-vyakti)1.

Sweetness Exaltedness

100. When a sentence heard or uttered many times 104. When the composition includes witty and graceful does not tire or disgust [anyone], it [is an instance of] Sweet- words having many special senses which are marvellous, ness (madhurya)1 it is [an instance of] Exaltedness (udatta)1.

96 ª Cf. Vāmana, III. I. 11; Dandin I. 43-44. BC. give another descrip- tion (C. 98, B.XVI. 98) of this Guna, which in translation is as follows: A 101 1 Cf. Vamana III, 1. 5; Dandin I. 80-85. B. (XVI, 106) and C. (103)

[composition] which is, imbued with deep logic but from its nature is [very] gives a second definition of this Guna which in translation is as follows :

plain and is very well-knit-together is called Compact (ślista). When a composition consists of a use of many and varied compound words

97 1 Cf. Vāmana III. I. 6; Dandin I. 45. exalted [in sense] and agreeable [in sound] it is [an instance of] Grandeur

98 1 Cf. Vāmana III. 1. 12; Dandin I-47-50. (B. XVI. 100) and C. (100 f.n) (ojah). 102 gives an additional description of this Guna which in translation is as follows : 1 Cf. Vamana III. 1. 22; Dandin calls this sukumaratā.

When a composition does not contain too many uncompounded words, 103 and C. (105). gives a second definition of this Guna, which in transla-

redundant expressions and words difficult to understand it is [an instance of] tion is as follows: It any subject (lit. action) relating to the [common] events

Smoothness (samatā). occurring in the world gets expressed by means of well-known predicates, it

99 1 Cf. Vämana, III. 1. 13; Daņdin I. 93-94. B. (XVI. 102) and C (101 f.n) becomes [an instance of] Directness of Expression (arthavyakti).

gives an additional description of samadbi, which in translation is as follows: 104 1Cf. Vāmana, III, 1. 23; Dandin, I. 76-78. B. (XVI. III.) and C (106)

Possessing some special sense which the men of genins can find out in a com- give along with this a definition of the Guna named udara. In translation it is as follows : When in a composition superhuman characters are described in position (lit. here) is called Concentration (samadhi). 100 1 Cf. Vamana III. 1. 11-21; Dandin I. 51-53. relation to the Erotic and the Marvellous Sentiments and the various States, it is [an instance of] Exaltedness (udātta).

XVII. 106 THE NATYASASTRA 318 319 DICTION OF A PLAY XVII. 118 105. When a composition gives delight to the ears as well as to the mind on account of its well-put-together words, : In the Heroic Sentiment it is [an instance of] Loveliness (kānti)1. 110-I1I. In the Heroic Sentiment when the recitative Alamkāras, and Gunas according to Sentiments includes a dialogue, it should be in metres of the Jagati,

106. These are the figures of speech, faults and Gunas Atijagati and Samkrti types. In the description of battles

[available in a poetical composition]; I shall now describe their and tumults, the Utkrti has been presctibed by the

application in connexion with different Sentiments. experts. In the Pathetic Sentiment Sounds and Figures of Speech according to Sentiments The Sakkari and the Atidhrti would be the proper metres 107. The poetical composition in connexion with the in the Pathetic Sentiment. Heroic, the Furious and the Marvellous Sentiments should consist mostly of light syllables and should include similes and In the Heroic and the Furious Sentiments metaphors. II2. The metres prescribed for the Heroic Sentiment 1,08-109. In the Odious and the Pathetic Sentiments it may be applied in the Furious Sentiment as well; and as for [the composition] should likewise consist mostly of heavy metres in the rest of the cases (i.e. those not mentioned) they syllables. should be made suitable to the mening intended.

Metres according to Sentiments: in the Heroic Vowel-length in different Sentiments and States and the Furious Sentiments 113. In connexion with the drama the poets should use Sometimes when any act of boldness is described (lit. short, long and prolated (pluta) vowels for representing differ- occurs) in connexion with the Heroic and the Furious Senti- ent Sentiments and States. ments, it (the composition) should be in the Atya metre and 114. In the intonation [in Recitation] a vowel consist- should have Metaphor and Condensed Expression in it. ing of one Matra is short, of two Matrs is long and of three Mātras is prolated (pluta). In the Erotic Sentiment In the Erotic Sentiment the composition should be in Uses of the prolated vowel gentle metres. 115. In remembering anything, in [expressing] indigna- tion, in lamenting or in the reading of [the Vedas] by Brahmins, the prolated (pluta) vowels occur. 105 1 Cf. Vāmana, III, I. 25; Dandin, I. 85-88. C (107), gives an 116. [Syllables concerned in these connexions] will be additional definition of this Guna, which in translation is as follows: That which [in a composition] while describing the sportive movement of 'a' in remembering, 'u' in indignation, 'ha' in lamentation [a character] delights the ear and the mind just as the moon [ pleases us] is and 'om' in the reading of [the Vedas] by Brahmins. (an instance of) Loveliness (kānti). 117. Besides these, other syllables in a play (lit. poetical

XVII. 119 THE NATYASASTRA 320 composition) should also be made short, long or prolated according to the Sentiment and the State [they express]. CHAPTER EIGHTEEN 118. The even and the uneven metres which have been described before should be used in composition with agreeable RULES ON THE USE OF LANGUAGES

and soft sounds according to the meaning [intended]. Prakritic Recitation 119. The playwright should make efforts to use in his dramatic composition sweet and agreeable words which can be I. 1Thus I have spoken in brief2 of the Sanskritic

recited by women. For, furnished with these (i.e. such words) Recitation. Now I shall speak of the characteristics of the Prakritic Recitation. a play will appear very much beautiful just as lotus-lake [will appear] adorned with swans. 2. The former (lit. this) [when] changed and devoid of the quality of polish, is called the Prakritic Recitation, and 120. The delicate dramatic art with harsh words, such as cekrīdita1, does not appear beautiful, just as a hetaera does not it has as its chief feature changes due to different conditions.1

fit in with the company of Brahmins who carry the Ruru- Three kinds of Pkt. Recitation

skin,2 are annointed with ghee, are clad in the skin of 3. In connexion with the dramatic representation, it black antelopes3 and have a rosary, (a Kamandalu) and a (the Pkt. recitation) is of three1 kinds, viz, that with the

staff in hand. same words [as in Sanskrit] (samana-sabda), that with corrupt 121. A play abounding in agreeable sounds and senses, (vibhrasta) words and that with words of indigenous origin containing no obscure and difficult words, intelligible to (deśī).

country-people including clever speeches fit to be interpreted 4. A sentence containing words like kamala, amala, with (lit. fit for) dances, developing Sentiments by many renu, taranga, lola, salila and the like are used in the Prakrit [characters]8 and having suitable Segments (sandbi) and their composition [in the same manner] as in Sanskrit.1

[proper] union, becomes in this world fit for presentation to 5. 1Sounds which change their combined form or vowels,

spectators. 1 1 For an English translation (with the text and notes) of XVIII. 1-24, Here ends chapter XVII of Bharata's Nātyasastra see M. Ghosh, "Date of the Bharata-Natyasastra," JDL. Vol. XXV. (1933). which treats of the Excellent Points of a good play in For a French translation (together with the romanised text) of this chapter see L. Nitti-Dolci, Les Grammairiens Prakrits, 1938, pp. 64-76. connexion with the Verbal Representation. 2 samāsatab (C. dvijottamāb). 2 1 Cf. Nitti-Dolci, p. 70. 3 1 Later Prakrit Grammarians called the above three classes of words tatsama, tadbhava and desi respectively. 120 1 The word cekridayatam occurs in the Avi. (III.18) ascribed to Bhasa. 1 B. reads one additional hemistich (4a) before this. Cf. Nitti-Dolci, (See A,D. Pusalker, Bhāsa, Lahore, 1940, p. 131). p. 20.

2 As the upper garment (uttariya). 5 1 Cf. Nitti-Dolci, p. 70. 3 As the lower garment. 4I

XVIII. 6 THE NATYASASTRA 322 323 RULES ON THE USE OF LANGUAGES X III. 17 or sustain loss and that often in the middle of a word are corrupt (vibhrasta). 10. Sa it should be known, always become cha in words

Vowels and simple consonants such as satpada.1 The final syllable of kila should be ra and the word khalu should become khu. 6. Sounds following e and o (i.e. ai and au) and the Anusvara [in the alphabet] do not occur in Prakrit. And such II. Ta becomes da in words such as bhata, kuti, and

is the case with sounds between va and sa (i.e. sa and sa) and tata, and śa and sa always become sa, e.g. visa (visa) and

the final sounds in the ka, ca and ta groups (i.e. na, na, na).' samkā (śanka).

7. Ka, ga, ta, da, ya, and va are dropped [in Prakrit] 12. In words such as itara and the like, ta standing not and the meaning is carried by the [remaining] vowels, and in the beginning of a word becomes an indistinctly pronounc- kha, gha, tha, dha and bha become ha without giving up the ed da.1 Da in words such as vadava and tadaga becomes la. meaning of the word. 13. Dha in words such as vadha and madhu become 8. In Prakrit ra does neither precede nor follow [a dha, and na becomes na everywhere in pronunciation. consonantal sound] except in cases of bhadra, vodra, hrada, 14. Pa [in it] changing into va, apāna becomes avāna. candra and the like.1 And except in case of words like yatha and tatha, tha 9. Kha, gha, tha, dha and bha always become ha in becomes dha. words such as mukha, megba, katha and vadhu prabhūta.1 1,5. One is to know parusa as pharusa, for pa becomes And as for ka, ga, ta, da, ya2 and va, the vowel3 following pha [in it], and mrga will be changed to mao while mrta them always represents them. will also be mao.1 16. Au employed in words like ausadha etc. will change 6 1 This together with three following couplets are written not in Skt. to o, and ca in words such as pracaya, acira and acala etc. but in Prakrit. Hence they should be taken as an interpolation. The will change into ya.1 first of these occurs as a quotation (without the author's name) in a late work on metrics edited by M.H.D. Velankar (Annals of the Bhandarkar Inst. 17. Thus [change] the sounds in Prakrit when they XIV. 1932-33, pp. 1-38, citation of Nitti-Dolci, p. 71). are not mutually connected (i,e. they are simple). Now I 7 1 Nitti-Dolci and B. reads padra for draba. See the chaya in B, and Ag., shall describe the change of conjunct sounds. and also PSM. for the Pkt, words. Cf. Nitti-Dolci, p. 71. 8 1 See the cbaya in B., and Ag. and also PSM. for the Pkt. words. Cf. Nitti-Dolci, p. 71. 10 1 Ag. is silent about this satpadādi gana. 9 1 Evidently the hard aspirates in case of other words did not change. 12 1 This indistinctly pronounced da is perhaps a spirantised da. Ag. Ag's. example of such words are kheta, parigha, atha. This speaks of the thinks that it is somewhat like a la. high antiquity of the Pkt. of the NS, though not of these rules written in Pkt. 15 1 The word maa (maya) from mrta as well as mrga had its spirantised ª The non-aspirate consonants mentioned here are to be understood as da reduced to ya-sruti which however was not shown in writing during the devoid of the inherent vowel 'a'. early days of this phonetic change (See IHQ. VIII. 1933, suppl. p. 14-15). $ The word saro (=svarab) here means "vowel" and not "sound". Cf. elimination. 16 1 This ya-śruti for ca did not probably at once lead to its graphic Nitti-Dolci p. 71.

XVIII, 18 THE NATYASASTRA 324 325 RULES ON THE USE OF LANGUAGES XVIII. 30

Conjunct consonants and the Language of Other Animals (yonyantari bhasa)2 are 18. Sca, psa, tsa and thya change into (c)cha, bhya, the [four] languages occurring in plays. hya and dhya into (i)jha, sta into ttha, sta into ttha, sma The Superbuman and the Noble Languages into mha, ksna and sna into nha, and ksa into (k)kha. 19. Aścarya will be acchariya and niścaya nicchaya, 27. The Super-human Language is for the gods, and

utsaha ucchaha and pathya, paccha.1 the Noble language for the kings.1 These have the quality of refinement (samskära) and are current over the seven great 20. Tubhyam becomes tujjham, mahyam majjham, vindhya vimjba, dasta dattha and hasta hattha. divisions2 (dvipa) of the world. The Common Language 21. Grīsma becomes gimba, ślaksna sanha, usna unha;1 jaksa jakkba, and paryanka pallamka. 28. The Common Language prescribed for use [on the

22. There is metathesis in the group bma occurring in stage] has various forms. It contains [many] words of

words such as brabman etc., and in brhaspati [the group spa] Barbarian (mleccha) origin and is spoken in Bhārata-varsa

becomes pha, yajna becomes janna, bhīsma bhimha. [only].2

23. Ka and similar other letters (sound) while on the. The Animal Language

top of another letter (sound) will have to be disjointed in 29. The Language of Other Animals1 have their origin their pronunciation.1 in animals domestic or wild, and in birds of various species,

24. Thus are to be learnt the pronunciations of Prakrit and it follows the Conventional Practice.

and Sanskrit. I shall discuss hereafter the classification of Two kinds of Recitation regional languages (desa-bhāsa). 30. The Recitation in the Common language which 25. The [languages] to be used in drama are of four types in which Recitation should be either of the refined 2 C. reads jāt yantari for yonyantari. 27 1 The atibhāsā and āryabhasā are possibly the dialects of the pure (samskrta) or of the vulgar (prakrta) kind. Indo-Aryan speech. It should be noted that "samskrta" (Sanskrit) as the name of a language is absent here. Bhoja takes ati-, ārya- and jāti- bbāsas res- Four types of language pectively as śrauta (Vedic), arsa (Puranic) and laukika (literary) speeches, See 26. The Super-human Language (atibhasa), the Noble Sr. Pr. ed, V. Raghavan pp, 191ff, 2 This may be said to show that Sanskrit was used all over the civiliged Language (arya-bhasa)1 the Common Language (jati-bhasa) world at the time of the NS. 28 1 The common speech or the speech of the commoners is distinguished here from that of the priests and the nobility by describing it as containing 19 1 B. reads one additional hemistich between 19a and 19b. words of Barbarian (mleccha) origin. These words seem to have been none 23 1 This probably relates to svarabhakti (anaptyxis). Kilesa (kleśa), other than vocables of the Dravidian and the Austric languages. They entered radana (ratna) and duvara (dvara) may be examples of this. into Indo-Aryan quite early in its history. See S. K. Chatterji, Origin and 24 1 Cf. Nitti-Dolci. p. 73. Development of the Bengali Language, Calcutta, 1926. pp. 42, 178. 26 1 Some commentators think that arya-bhasa means a language in which Vedic words preponderate (Ag.). 29 1 Neither the NS. nor any extant drama gives us any specimen of the conventional language of lower animals, which is to be used in the stage.

XVIII. 31 THE NATYASASTRA 326 327 RULES ON THE USE OF LANGUAGES XVIII. 36 relates to the four castes, is of two kinds, viz, vulgar (prakrta) and refined (samskrta). religious mendicants4 and jugglers should be assigned the Prakrit Recitation. Occasion for Skt. Recitation 35. 1Similarly Prakrit should be assigned to children, 31. In case of the self-controlled (dbira) Heroes of the persons possessed of spirits of lower order, women in teminine vehement (uddhata), the light-hearted (lalita), the exalted character2 persons of low birth, lunatics and phallus-wor- (udatta), and the calm (prasanta) types, the Recitation should shippers.3 be in Sanskrit. Exception to the rule for Pkt. Recitation

Occasion for Pkt. Recitation 36. But to itinerent recluses,1 sages,2 Buddhists,3 pure Srotriyas4 and others who have received instruction [in the 32. Heroes of all these classes are to use Prakrit when the occasion demands that.1 4 bhiksu .- religious mendicant in general. It should not be restricted to 33. In case of even a superior person intoxicated with Buddhists alone. The alternative name of the Brahma-sutra is the Bhiksu-sūtra. the kingship (or wealth) or overwhelmed with poverty no 35 1 B.'s reading in translation is as follows: Similarly Pkt. should be assigned to Saiva teachers, lunatics, children, persons possessed of spirits of Sanskrit should be used.1 lower order, women, persons of low birth and hermapbrodites (B.XVII.37). 34. To persons in disguise,1 Jain monks,2 ascetics,8 2 In a queen's role a woman may sometimes speak Skt. See 38-39 below. The parivrajika in the Mālavi. speaks Skt. 3 salinga .- This possibly means the member of a sect which like the Lingā- 32 1 As Arjuna disguised as Brhannalā. yets wears a phallus suspended from their neck. 33 1 No extant drama seems to furnish any illustration of this rule. B. 36 (C.34b-35a; B,XVII.38). 1 parivraj-a person of the fourth asrama. reads one additional hemistich before this. A recluse belonging to the Vedic community. 34 1 vyājalingapravistānām= persons in disguise of different kinds of pro- 2 muni .- This word, probably of non-Indo-Aryan origin meant in all fessional and religious mendicants etc. See Kautilya's Arthaśāstra, An example likelihood "wise man." See NS. I.23 note I. In the ancient world, wisdom of this is Indra in the guise of a Brahmin speaking Pkt. in Karna, ascribed to was usually associated with religious and spiritual elevation. This might have Bhāsa. Nitti-Dolci takes this expression as an adjective of sramananam etc. been the reason why the word was applied to persons like Vasistha and But it need not be construed like this. This part of the rule seems to relate to Nārada etc. Skt .- speaking characters assuming disguise. Virādhagupta (Mudrā. II.) assum- 3 sakya .- a follower of the Buddha. There is nothing very astonishing in ing the guise of a snake-charmer, is an example of such characters. And so Skt. being assigned to Buddhist monks. Buddhist teachers like Aśvaghosa, Nāgārjuna, Aryadeva, Vasubandhu were the all very great Sanskritists, and are Yaugandharayana and Rumanvan in the Pratijna, (III) ascribed to Bhāsa. 2 Sramana (Pkt. samana). The word is to be taken to mean here a Jain the Mahayana literature was written in the Sanskrit of corrupt as well as of pure monk. See Jadi vattham avanemi samanao bomi, Avi. (V.) ascribed to Bhāsa; variety. This might have been the general linguistic condition before the schism śramana was sometimes used also in connexion with the Buddhists. See arose among the Buddhists. In Asvaghosa's Sāriputra-parakarana Buddha and his below 36. disciples speak Sanskrit (Keith, Skt. Drama p.82). Aśvaghosa assigns Skt. to 3 tapasvin .- It appears that the author of the NS. meant by this term a śramana as well (loc. cit). This śramana was possibly a Buddhist; see 34 f.n. ascetics in general. Though we find Brahmin ascetics in ancient literature, 4 cauksesu (caiksesu, C.) śrotriyesu-for the pure śrotriya or a learned the institution of asceticism was most probably of non-Aryan origin, This Brahmin. The adjective "pure" (cauksa) used with śrotriya is possibly to scems to be the justification of assigning Prakritic Recitation to all the ascetics separate him from an apostate who might have entered into Jain or any other irrespective of their sectarian affiliation. heterodox fold and was at liberty to use Pkt. Ag. takes cauksesw (his coksesu) as a noun.

XVIII. 37 THE NATYASASTRA 328. RULES ON THE USE OF LANGUAGES Vedas] and wear costumes suitable to their position (lingastha)5 329 XVIII. 48

should be assigned Sanskritic Recitation. same] should be assigned when an occasion (lit. reasons and

37. Sanskrit Recitation is to be assigned to queens, need] will occur.1 44. In the production of a play their [native] language courtezans,1 female artistes to suit special times and situations in which they may speak. should not be assigned to tribes such as, Barbaras, Kitātas, Andhras and Dramidas.1 38-39. As matters relating to the peace and war 45. To pure tribes of these names, should be assigned may occur in course of a talk and the movements of planets dialects current in Sūrasena. and stars and cries of birds concerning the well-being or 46. The producer of plays may however at their option distress of the king are to be known by the queen, she use local dialects for plays may be written in different regions is to be assigned Sanskritic Recitation in connexion with [for local production]. these (lit. in that time).1 Seven major dialects 40. For the pleasure of all kinds of people, and in con- 47. The Seven [major] dialects (bhasa) are as followsa nexion with the practice of arts, the courtezans are to be Māgadhī, Āvanti [Avantijā], Prācyā, Saurasenī (Sūrasenī), assigned Sanskritic Recitation which can be easily managed. Ardhamāgadhi, Bāhlīkā, Dākśinātyā.1 41. For learning the practice of arts and for amusing 48. In the dramatic composition there are, besides, the king the female artiste has been prescribed to use Sanskrit many less important dialects (vibhasa)1 such as the speeches recitation in dramatic works.1 of the Sakāra, Ābhīras, Candālas, Śabaras, Dramidas,2

38. The pure speech of Apsarasas1 is that which has Odras, and the lowly speech of the foresters. been sanctioned by the tradition (i.e. Sanskrit), because of their association with the gods; the popular usage conforms (Vikram). 43 1 Urvaśi is an example of an Apsaras who became the wife of a mortal. to this [rule]. 44 1 See XXIII. 99 notes. 43. One may however at one's pleasure assign Prakritic 47 1 Magadhi, Sauraseni and Ardhamagadhi are well-known. But any old Recitation to Apsarasas [while they move] on the earth. [But and authentic description of Āvanti, Prācyā, Bāhlīkā and Dāksiņātyā Pkt. seems to be non-existent. According to Prthvidhara, a very late authority to the Apsarasas in the role of] the wife of a mortal also [the Mrcch. contains the specimens of Avanti and Pracya only. It is to be noted that the present list does not include Maharastri. See M. Ghosh. "Mahā- rastri, a late phase of Sauraseni," JDL. XXIII 48 1 By the word vibbasa Prthvidhara understands vididhā bhāsā bīna- * šistab lingastbab-religious mendicants who have received instruction patra-prayojyatvad binab. See Pischel, Grammatik, §§ 3-5. No old and (in Vedas). authentic specimen of the vibhasas has reached us. According to Prthvidhara the Mrcch. contains Sakari and Candali besides Dhakki which last the NS. 37 1 An example of this is Vasantasena speaking Skt. (Mrcch. IV.). does not know. 38-39 1 This not very clear rule cannot be illustrated by any extant drama. 2 It is curious that after forbidding the use of languages like Dramida 41 1 This is possibly no example of this in any extant drama. Dramila) in 44 above, the author is including it among the dialects that can 42 1 No play with an Apsaras speaking Skt. is available. All the Apsa- be allowed in dramatic works. One possible explanation of this anomaly may be that here we meet with a late interpolation, and passages from 48-61 belong rasas in Vikram, speak Pkt. to a later stratum of the text. 42

XVIII. 49 THE NATYASASTRA 330 331 RULES ON THE USE OF LANGUAGES XVIII. 57 Uses of major dialects 53. To charcoal-makers, hunters and those who earn 49. [Of these] Māgadhi is assigned to guards (lit. their livelihood by [collecting] wood and leaves should be inmates) of the royal harem,1 and Ardhamagadhi to menials, assigned Sabari' as well as the speech of forest-dwellers. princes and leaders of bankers' guilds.2 54. For those who live in places where elephants, 50. Pracya is the language of the Jester1 and the like; horses, goats, sheep, camels or cows are kept [in large num- and Avanti is of gallant crooks (dhūrta).2 The Heroines, and bers] Abhiri1 or Sabari2 has been prescribed, and for forest- their female friends are also to speak Sauraseni without in dwellers and the like, Dravidia [is the language]. any exception. 55. Odri is to be assigned to diggers of subterranean 51. To soldiers, gamesters, police chief of the city and passages, prison-warders, grooms for horses;1 and Heroes and the like should be assigned Dāksinātya,1 and Bāhliki is the others like them while in difficulty are also to use Māgadhi native speech of the Khasas who belong to the north. for self-protection.

Uses of minor dialects Distinguishing features of various local dialects

52. Sākārī should be assigned to the Sakāra and the 56. "To the regions [of India] that lie between the Śakas and other groups of the same nature,1 and Cāndāli to Ganges and the sea, should be applied a dialect abounding the Pulkasas and the like.2 in e2 57. To the regions that lie between the Vindhyas and the sea should be assigned a language abounding in na1 (or ta).

2 According to Pischel this passage assigns AMg. to servants, Rajputs 49 9 1 For a list of such persons see DR. II.74. 2 Prthvidhara thinks that Candalas in Mrcch (V.) speak the Cāndali dialect. (rajaputra) and leaders of bankers' guild (sresthi). See Grammatik § 17. Cf. Pischel, Grammatik, § 25. But no extant drama seems to illustrate this rule. For Candanadāsa who is a 53 1 This dialect seems to have been the parent of the modern Sora śrestbi, does not speak AMg. (Mudrā, I) while Indra in the disguise of a language Brahmin speaks this dialect of Pkt. (Karna, ascribed to Bhāsa). 9 See 54 note 3. 50 1 According to Prthvidhara Vidusaka in the Mrcch. speaks Prācya the 54 1 Abhiri dialect is not available in any extant drama. sole characteristic of which is abundance of pleonastic ka. See Pischel, 2 See 53 note I. Grammatik, § 22. 3 Dravidi dialect is not available in any extant drama. It is possible that it 2 According to Prthvidhara the two policemen Viraka and Candanaka in was not a pure Dravidian speech (See 44 above). Possibly a Middle Indo-Aryan the Mrcch. (Va.) speak Avanti. But according to the latter's own admission dialect in which Dravidian phonetic and lexical influence predominated was he was a Southerner and a man of Karnata. No old and authentic description meant by this. Its habitat was in all likelihood some region of North India. of this dialect is available. See Pischel, Grammatik § 26. Cf. Nitti-Dolci, p. 120-122. 51 1 Candanaka's language in Mrcch. in spite of Prthvidhara's testimony 55 1 For Odri Pkt. see 48 note 3. and Nitti-Dolci, pp. 120 f.n. 4 and 122. to the contrary may be taken as a specimen of Dāksinātyā. See 50 note 2 56 1 B. again reads 44 after 55. above. No old and authentic description of this dialect is available. Cf. Pischel, Grammatik § 24. in Mg. and AMg. 2 This "e" is perhaps termination of the nominative singular the a-bases

52 1 According to Prthvīdhara, Sakāra in Mrcch, speaks Sākāri dialect. Cf. 57 This relates to a dialeet of Pkt. which does not change na always Pischel, Grammatik, § 24. into na. Though according to some grammarians Pkt. is always to change na

XVIII. 58 THE NATYASASTRA 332 58. Regions like Surastra and Avanti lying on the north of the Vetravati one should assign a language abounding ca1. 59. To people who live in the Himalayas, Sindhu and CHAPTER NINETEEN Sauvira a language abounding in u should be assigned.1 MODES OF ADDRESS AND INTONATION 60. To those who live on the bank of the Carmanvati river and around the Arvuda mountain a language abounding Different modes of address

in o1 (or ta) should be assigned. I-2. These are, O the best of Brahmins, the rules on

61. These are the rules regarding the assignment of the use of languages [in a drama]. Now listen about the dialects in plays. Whatever has been omitted [here] should rules of popular modes of address1 or the manner in which be gathered by the wise from the popular usage. persons of equal, superior or inferior status in a play are to

Here ends Chapter XVIII of Bharata's Nātyasāstra, be addressed by those of the superior, the medium or the

which treats of the Rules regarding the Use of Languages. inferior class.2 Modes of addressing males: addressing great sages

3. . As the great sages are adorable (lit. god) even to the gods they are to be addressed as "holy one" (hhagavan)1 and their wives are also to be similarly addressed.2 Addressing gods, sectarian teachers and learned men 4. Gods,1 persons wearing sectarian teacher's dress2, and persons observing varied vows3 are to be addressed as "holy one" (bhagavan)3 by men as well as women.

1-2 1 This manner of addressing different persons includes referring to them before their ownselves or before others, e.g., in Sak. (I), Dusyanta is referred to by his charioteer as ayusman, ayusman pasya pasya). 2 Rules given hereafter do not cover all the numerous and different cases occurring in the exant dramatic literature in Skt. and Pkt.

into na, it seems that such was not strictly the case with all its dialects. For 3 1 Ex. Kāśyapa (Kaņva) addressed by his disciple (Sak. IV.) Mārīca by

example in the so-called Jain Pkt. (AMg. of Hemacandra) has initial n and Dusyanta (ibid. VII.) and Rāvana in ascetic's disguise by Rāma (Pratimā, V). ª No ex. of this seems to be available in any extant drama. intervocal nn. 58 1 It seems that at the time of the author of the passage intervocal ca 4 1 Ex .: Agni (Abhi. VI). & Varuna (ibid. IV).

in this particular region was yet maintained or dental t sounds were mostly 2 Ex. (Rāvana disguised as an ascetic addressed by Rāma (Pratimā. V.). The Jester in Pratijna (III) addressing the Jain monk (sramanaka) as bhaavam changed into c sound (as in cittha for tistha). 59 1 This u perhaps relates to a close pronunciation of the o vowel. (bhagavan) to create laughter; bhadanta would have been the proper term in this case. See below 15. 60 1 This o perhaps relates to an open pronunciation of the u vowel. 2 Read here nanavratadbara (bha in B) for nanasrutadhara (B) and nanasruti-

XIX. 5 THE NATYASASTRA 334 335 MODES OF ADDRESS AND INTONATION XIX. 10 Addressing the Brabmin Addressing the equals 5. The Brahmin is to be addressed as "noble one" (arya),1 8. One is to accost one's equals by the name with which they are styled.1 Addressing the king And the king [is to be addressed] as "great king" Privileged inferiors addressing superiors (mahārāja).2 A superior person may however be addressed (or referred Addressing the teacher to) by name by inferior persons when the latter are privileged The teacher [is to be addressed] as "professor" (acārya).3 to do so.2

Addressing an old man 'Addressing employees, artisans and artists And an old man [is to be addressed] as "father" (tata).4 9. Men and women in one's employment,1 and artisans Brahmins addressing the king and artists2 are to be addressed as such (i.e. according to their 6. Brahmins may address the kings at their pleasure, by status).3

their names. This should be tolerated, for the Brahmins are Addressing persons of respect to be adored by the kings. 10. A respected person is to be addressed as 'honoured Brahmins addressing ministers sit' (bhava), and a person slightly less so, as "comrade 7. A minister is to be addressed by Brahmins as "Coun- (mārsaka or mārsa).' cillor" (amatya) or "minister" (saciva),' and by other persons, inferior to them (i.e. Brahmins) he [is] always [to be addressed] as "sir" (arya).' I.). But curiously enough Raksasa has been addressed not as 'Arya' but as 'Amatya' (counciller) by the door-keeper, and by his friend Virādhagupta too he is addressed likewise (Mudrā, II). dhara (C). Ascetics belonging to minor heterodox sects seem to have been 8 1 Ex. Cāņakya addressing Rāksasa and vice versa (Mudrā, VII,). included in this term. Ag. reads nānasrutadbarab and explains this as 2 Ex. Hamsaka referring to Yaugandharāyana before the latter. (Pratijñā. babuśrutab. 1. 13. 14). See above note I. 5 1 Ex. Brahmin (Keśavadāsa) in Madhyama. addressed by Bhīma. 9 1 Yaugandharāyana addressing Sālaka by name (Pratijñā, I. 2. 4) and 9 Ex. Sumantra addressing Dasaratha (Pratimā, II), and Vibhișana address- the hero Carudatta addressing the maid-servant Radanīkā (Cāru. I. 21. 15). ing Rāvana (Abhiseka II). 2 Ag. explains karuka and śilpi as follows: artisans (karuka) are those that 3 Ex. Cāņakya addressed by his disciple (Mudrā, I). build stupas and the like objects, artists are painters and the like. Ex. Bharata addressing Sumantra, the old charioteer (Pratima VI.). 3 Ex. The king addressing Haradatta, one of the teachers of dramatic art 6 1 Ex. Indra disguised as a Brahmin addressing Karna (Karna.), Cf. (Mālavi. II. 12. 4). Canakya addressing Candragupta mostly as Vrsala in Mudrā. 10 1 Ex. pariparsvika addressing sutradhara as bhava, and sutra° addressing 7 1 Cf. XXXIV. 82-83. No example of this rule seems to be available Paripārśvika as mārșa (Abhi. I. 1. 6, 8). Sākara once addressing vița as bhāva and next time as mālisa (marisa) in Cāru. I. 17. 3; 26. 3.) The word in any extant drama. See note 2 below. ' Ex. The door-keeper (pratibāri) addressing Yaugandharāyana (Pratijñā, mārsaka does not seem to occur any extant drama while marisa occurs very often. See Uttara. (I. 4. 7) and Mālavi (I. I. 3).

XIX. 11 THE NATYASASTRA 336 337. MODES OF ADDRESS AND INTONATION XIX, 14

Addressing persons of equal status (saumya),3 "auspicious-looking one" (bhadra-mukha)4 and A person of equal status should be addressed as 'brother" such terms should be preceded by 'O' (he).5 (vayasya)2 and a low person as 'hey man' (ham-bo)3 Addressing persons by their occupation or birth

The charioteer addressing the chariot-rider 13. In a play a person is to be addressed by a term

11. The chariot-rider should always be addressed by appropriate to his birth or to the vocation, art or learning

the charioteer as "long-lived one" (ayusman).1 practised by him.1

Addressing an ascetic or a person with beatitude Addressing a son or a disciple

An ascetic or a person who has attained beatitude 14. A disciple or a son is to be addressed by the guru

(prasanta) is to be addressed as "blessed one" (sādho).2 or the father as "child" (vatsa)1, "son" (putraka),2 "father" (tāta)3 or by his own name or clan-name (gotra).4 Addressing princes 12. The crown-prince is to be addressed as "sire" 2 The word has been used with reference to the crown prince in Pratima.

(svamin),1 and other princes as "young master" (bhartr- (loc. cit. 1). In referring to other princes play-wrights use the word kumara.

daraka).2 In Pratima. (III. 14. 12) Bharata has been addressed with this term. In Mudrā, (IV. 12. 5) Malayaketu has been addressed similarly. Avimāraka, the

Addressing inferior persons lover of Kurangi is addressed as bhattidaraa by her maid (Avi. III, 17. 2). 3 This use of the term saumya does not seem to occur in extant dramas, and Inferior persons are to be addressed as "pleasing one" bhadra appears to have taken its place, e.g. Bharata addressing the messenger (bhata) in Pratima (III. 4.2). Dusyanta addresses his chief of the army (senāpati) similarly (Sak. II. 3. 5.4). 2 Ex. Siddhärthaka and Samiddhärthaka addressing each other (Mudrā. 4 Ex. Rāksasa's spy (purusa) addressing his door-keeper (Mudrā. IV. 8.2). VI. 2. 14, 16). In Abhi, (VI. 31. 1) Agni (god of fire) addresses Rama as bhadramukba though 3 Ex. Canakya's spy addressing his disciple as ham-ho bambhana, (Mudrā, earlier, (VI. 26. 7) he says : na me namaskāram kartum arhati devesab. The I. 18. 4). Jester addresses the candalas as bho bhaddamwha (Mrcch. X, 23. 3). The 11 1 Ex. Dusyanta's charioteer addressing him (Sak. I). Magadha prince is addressed as bhaddamuba by the female ascetic in Svapna 2 Ex. Dusyanta's priest addressing the two disciples of Kāśyapa (Kanva) I. 7. 20. For the use of bhadramukba in inscriptions see Select Inscriptions, and Gautami tapasvinab (Šak. V. II. 6). no, 72. See also Keith, Skt. Drama, p. 69. The word sadbu as a form of address does not seem to occur in any extant 13 1 Not many examples of this rule seem to be available in any extant

drama. drama. In Mrcch. (X. 20.1) Carudatta's son addressing the Candālas as are 12 1 No example of this rule seems to be available in any extant drama. candala may be an example of this. On the other hand svamin is very often used in addressing a king. Ex. 14 1 Ex. The Sauvira king addressing Avimāraka (Avi. VI. 17. 4). Cf. Yaugandharāyana addressing the king Udayana (Svapna. VI. 17. I). Kauñjā- Drona addressing Duryodhana (Pañca, 1,22.3). yana and Bhutika addressiug the king Kuntibhoja (Avi. I. 5. 3; 8. 5). On 2 Ex. The form putraka does not seem to occur in any extant play. Drona the use of the word svamin in inscriptions see Sylvain Levi, Journal Asiatique, addressing Duryodhana as putra (Panca I. 23.3.) Duryodhana addressing his Ser. 9, XIX. 95ff. I. Ant. Vol. XXXIII. p. 163. Sitā's maid addresses Rāma son similarly (Uru. I. 42. 3). as bhatta (Pratima. I. 9. 2). The door-keeper (pratibari) refers to the crown 3 No example of this seems to be available in any extant drama. prince Rāma as bhattidāraassa rāmassa (Pratimā. I. 2. 9). 4 Ex. Vāli addressing Angada by name (Abhi. I. 25.2). Kāśyapa (Kanva) 43

XIX. 15 THE NATYASASTRA 338 339 MODES OF ADDRESS AND INTONATION XIX. 20

Addressing Buddhist and lain Monks A Jester addressing the king 15. Buddhist and Jain (nirgrantha) monks are to be 'And he should be addressed as "friend" '(vayasya)3 or addressed as "blessed sir' (bhadanta),1 "king" (rajan)4 by the Jester. Addressing persons of other sects 'A Tester addressing the queen and her maids

Persons of other sects2 are to be addressed by terms The queen and her maids are to be addressed by him as

enjoined by their own rules.3 "lady" (bhavati).5

People addressing the king A king addressing the Jester

16. The king is to be addressed by his servants as well The Jester is to be addressed by the king by his name

as his subjects as "lord" (deva),1 but when he is an overlord or as "friend" (vayasya).®

[of other kings] he is always [to be addressed] by his servants Women addressing their husband

as "sire" (bhatta).2 19. By all women in their youth the husband should

Sages addressing the king be addressed as a "noble one's son" (arya-putra);1 but in other

17-18. The king is to be addressed by sages (rsi) as cases, the husband is to be addressed simply as "noble one"

"king" (rajan)1 or by the patronymic term.2 (arya),2 and in case of his being a king he may be addressed as "great king" (maharaja)3 also. addressing Sārngarava by name (Šak, IV. 16. 1). Instances of a son or a disci- 'Addressing the elder and the younger brothers ple addressed by clan-name (gotra) do not seem to occur is any extant drama. 20. The elder brother should be addressed as "noble 15 1 Ex. Kşapaņaka addressed by Rāksasa and Siddhārthaka as bhadanta (Mudra, IV. 18. 2; V. 2. 1). A Buddhist monk is very rarely met with in one" (arya)' and the younger brother like one's son.2

extant dramas. Aśvaghosa's drama included such a character, but one cannot say from the fragments how he was addressed. (See Keith, Skt. Dr, p. 82) 3 Ex. The Jester in Sak. (II. 2. 1) and Mālavi. (V. 3. 18). 2 According to Ag. one is to understand by 'other sects' Pasupatas and the 4 No example of this seems to occur in any extant drama. In Ratnā.

like. (I. 16. 35) the Jester once addresses the king as bhattā. 8 An example of such a rule is a term like bhapusan or bhasarvajna used in 5 Bhavati in the Jester's speech would be bhodi. Ex. The Jester addressing

addressing Pāśupata. teachers (Ag.). the queen's maid in Svapna, (IV. o. 28) also addressing the queen (Malavi, 16 1 Ex. The Kancukin addressing the king (Mudra. III. 10. 3). IV. 4. 23.) and addressing the queen's maid Susamgatā (Ratnā. IV. o. 30). Gaņadāsa addressing the king (Mālavi. I. 12. 8). Vibhīșaņa refers to Rāma 6 Examples are easily available. See Svapna, Sak. Vikram, etc. The Jester as deva (Abhi. VI. 20. 3) when he is not yet a king; besides this the same is addressed also as sakbe. See Mālavi. (IV. I. 1. and Vikram. II. 18. 11. etc.) Vibhișaņa addresses Rāvaņa as mabārāja (Abhi. III. 15. 1). See also 12 note I. and as bhadra (Vikram. II. 18. 15). 2 Ex. Yavanika addressing the king Dusyanta (Sak. VI. 24. 10). But in 19 1 Examples are easily procurable. See Šak, Mālavi, Svapna etc, Bāla. (III. 3. 1.) the cowherds address Sankarasaņa as bhattā, and Nandagopa 2 Ex. Nati in the prologue (prastävana) addressing the sātradbāra her hus- too addresses Vāsudeva likewise (Bāla. I. 19. 30). band (Caru. and Mudrā). 17-18 1 Ex. Bhagavan (Yudhisthira) addressing the king Virāta (Pañca. 3 Ex. Gāndhāri addressing Dhrtarāștra (Ūru, I. 38. 2), Urvaśi refers to the II. 14. 2). king likewise (Vikram, IV. 39. 2). 2 No ex. of this seems to occur in extant dramas. Narada addresses the 20 1 Ex. Lakşmaņa addressing Rāma (Pratimā I. 21. 2). Sahadeva two kings simply as Kuntibhoja and Sauvīrarāja in Avi. (VI, 20, 8, 12). addressing Bhīma (Veņi. I. 19. 12). 2 Usual from in such a case is vatsa; but the younger brother is also some-

XIX. 21 THE NATYASASTRA 340 341 MODES OF ADDRESS AND INTONATION XIX. 26 These are the modes of address to be used to male characters in a play. (svamini)1 and "lady" (devi).2 24. [Of these], the term "lady" (devi)1 should be Modes of addressing women applied to the chief queen (mabisi) by her servants as well as 21. I shall now speak of the modes of address to be by the king. The remaining [wives of the king] may be used to female characters in a play. addressed [simply] as "madam" (svāmini).3

Addressing female ascetics and goddesses Addressing unmarried princesses

Female ascetics and goddesses are to be addressed as "holy 25. Unmarried princesses are to be addressed by their

lady" (bhagavati).1 handmaids as "young mistress" (bhartr-darika).1 Addressing a sister 'Addressing wives of senior persons, and elderly ladies An elder sister is to be addressed as "sister" (bhagini)2 22. Wives of respectable seniors, and of king's officers (sthaniya) are to be addressed as "lady" (bhavati).1 and an younger sister as 'child" (vatse).3 Addressing a Brahmin lady, a nun or a female ascetic Addressing an accessible woman and an old lady 26. A Brahmin lady, a nun (lingastha) or a female An accessible woman (gamya)2 is to be addressed as "gentle-woman" (bhadre)3 and an old lady as "mother" ascetic (vratini) is to be addressed as "noble lady" (arye).'

(amba).4 'Addressing a king's wives 23 1 Ex. (i) bhattini, Nipunika addressing the queen (Vikram. II. 19. 19); Kancanamālā addressing the queen (Ratna 1. 18. 11). But in Pratimā (I. 5. 4) 23. In a play king's wives are to be addressed by their the maid (ceti) addresses Sita who is not yet a queen, as bhattini, (ii) Svamini servants and attendants as "mistress" (bhattini), "madam" as a term of address to the queen does not seem to occur in any extant drama. 2 Ex. The maid (ceti) addressing the queen Bhānumati (Veni. II. 2. 14). 24 1 See above 23 note 2. For an example of king addressing the queen as devi see Pratijñā. II. 10. 12, times differently addressed, e. g. by name of the mother, as Saumitre, (Pratimā. 3 The term bhogini meant those who were merely an object of enjoyment I. 21. 1), Kaikeyīmātaḥ, (ibid. IV, 2. 21). See above 14 and 4. i.e, those who were not dharma-patnis (wives elligible to take part in religeous 21 1 The king addressing the privrājika (Malavi. I. 14. 2); the Kancukin rites. addressing the female ascetic (tāpasi) in Vikram. (V. 9. 2). 22 1 Ex. Sumantra addressing the widowed wives of Daśaratha as 3 No. example of svämini being used in addressing such a wife seems to

bhavatyab (Pratima. III. 12. 2). The Kancukin addressing the Pratihari in occur in any extant drama. In Mālavi. IV. 17. 8 Nipuņikā addressing Irāvati the second wife of Agnimitra uses the term bhattini. Svapna. (VI. o. 6). 25 1 Ex. The maid (ceti) addressing Padmāvati (Svapna. I. 15. 11) and 2 gamya-not within the prohibited degree of sexual relationship. Kurangi (Avi. III. o. 45). 3 Ex. Avimāraka addressing Kurangikā (Avi. III. 19. o). Dusyanta address- ing Priyamvadā (Sak. I. 22. 6). But the king addresses Citralekhā as bhadra- Karp. I. p. 18. 2 This mode of address does not seem to occur in any extant drama. cf.

mubki (Vikram. II. 15. 9). as well as bhadre (ibid. III. 15. o). 3 Ex. Yaugandharäyana in the role of an elder brother addresses the queen 4 Ex. The king, Urvasi and their son addressing the female ascetic. (Vikram. who is playing the role of his younger sister as vatse (Pratijn ā. I. 9. 11). V. 12. 3, 5, 18). 26 1 No ex. of this rule seems to be available in any extant drama. Pari-

XIX, 27 THE NATYASASTRA 342 343 MODES OF ADDRESS AND INTONATION XIX. 33

Addressing one's wife merchants' wives are always to be addressed as "noble lady" 'A' wife is to be addressed as "noble lady" (arye)2 or by (arye).2 referring to her father's3 or son's* name. Giving names to different characters in a play

Women addressing their equals 30. The playwrights should always assign significant

27. Women friends among their equals are to be names [to characters] which are not well-known and which

accosted by one another with the word "hallo" (hala).1 have been created [by them].1 Name of Brahmins and Ksatriyas Addressing a handmaid 31. Of these, Brahmins and Ksatriyas in a play should, By a superior woman a handmaid (presya) is to be be given, according to their clan or profession, names ending accosted with the word "hey child" (ham-je).2 in sarman or varman.1 Addressing a courtezan Naming merchants and warriors

28. A courtezan is to be addressed by her attendants 32. The names of merchants1 should end in datta.2

as Ajjuka,1 and when she is an old woman she is to be To warriors should be given names indicating much addressed by other characters in a play as 'Atta.2 valour.3

Addressing wife in love-making Naming king's wives, and courtezans

29. In love-making the wife may be accosted as "my 33. The king's wives should be given names [which

dear" (priye)' by all except the king. But priests' and are connected] with the idea of victory (vijaya).' Names of courtezans should end in datta,2 mitra3 and sena.4 vrājikā in Mālavi (I) and the female ascetic in Vikram. (V) could have been addresses as arye instead of as bhagavati. In Madhyama. Ghatokaca addresses the occasion is strictly not one of love-making (srngara). Udayana while the wife of the Brahmin as bhavati. lamenting for Vāsavadattā says Hā priye, hā priya-sisye etc. (Svapna. I. 12. 53). 3 Ex. Sutradbara addressing his wife (Mrcch. I Malati. I) 2 No example seems to be available in any extant drama. 3 e.g. Māțharaputri (Māthara's daughter (Ag). No example seems to occur 30 1 No example of such names seems to occur in any, extant drama. in any extant drama. 31 1 No example of such names seems to occur in any extant drama. 4 e.g. Somaśarma-janani (Somaśarman's mother) Ag. No example seems to 32 1 Ex. Carudatta the hero of Bhasa's play of the same name. occur in any extant drama. 2 B. reads after this one additional hemistich which in translation is as 27 1 For ex, see Šak, Vikram, etc. follows: 'The name of Kapalikas should end in ghanta.' The interpolator had 2 Ex. Sitā addressing her maid (Pratimā, 1. 4. 21), Irāvati addressing Nipu- evidently Bhavabhūti's Aghoraghanta (Mālati) in mind. ņikā (Mālavi. III. 14. I). 8 Ex. Virasena in Mālavi. (I. 8. I). 28 1 Ex. the heterae (ganika) addressed by her maid (Caru. II. o. 6). 33 1 No example of this seems to occur in any extant drama. The word ajjuka (*aryaka, OIA) "madam" afterwards came to mean 'heterae' 2 No example seems to occur in any old drama. And the name Väsava- dattã for the queen in several dramas seems to be a clear violation of the rule as in the title of the Prahasana Bhagavadajjukiyam by Baudhayana Kavi (See Svapna. Ratnā, etc.). 2 No example of this seems to be available in any extant drama. But the 8 No example seems to occur in any old drama. But Asoka's daughter was word occurs in the form of attia in Mrcch. (IV. 30). named Samghamittā, 29 1 Šakuntalā is addressed as priye by Dusyanta (Sak. VII. 20. 6), but 4 Ex. Vasantasenā in Bhāsa'a Cāru. and Sudraka's Mrcch.

XIX. 34 THE NATYASASTRA 345 MODE OE ADDRESS AND INTONATION XIX. 42 344 Naming hand-maids and menials The seven notes are:] Sadja, Rsabha, Gandhāra,

34. In a play hand-maids should be given the names Madhyama, Pancama, Dhaivata and Nișāda. These are to of various fowers.1 be used in different Sentiments.

Names of menials should bear the meaning of auspi- Seven notes to suit different Sentiments ciousness.2 38-40. In the Comic and the Erotic Sentiments the Naming superior persons notes should be made Madhyama and Pancama. Similarly in 35. To superior persons should be given names of deep the Heroic, the Furious and the Marvellous Sentiments they significance so that their deeds may be in harmony with such should be made Sadja, and Rsabha. In the Pathetic Senti- names.1 ment the notes should be Gandhara and Nisada, and in the Naming other persons Odious and the Terrible Sentiments they should be Dhaivata. 36. The rest of persons1 should be given names suitable Uses of the three voice-registers to their birth and profession. There are three voice-registersa the chest (uras) the throat Names [that are to be given] to men and women [in a and the head. play] have been properly described [by me]. 40-41. In the human body as well as in the Vina notes 37a. Names in a play should always be made in this and their pitches proceed from the three registers: the chest, manner by the playwright. the throat and the head. 37-38. After knowing exhaustively everything about 41-42. In calling one who is at a distance, notes pro- the rules of language in a drama, one should practise Recita- ceeding from the head register should be used; but, for calling tion which is to have six Alamkāras. one who is not at a great distance, notes from the throat Qualities of Recitation register is to be used, while for a person who is by one's side, I shall now. describe the qualities of Recitation. In it notes from the chest [will be proper] there are seven notes, three voice-registers, four Varnas (lit. 42-43. At the time of Recitation, a sentence begun with manner of uttering notes), two ways of intonation (kaku), notes from the chest should be raised to notes of the head six Alamkäras and six limbs (anga). I shall now explain register, and at its close it should be brought down to notes their characteristics. of the throat. Uses of the four accents

34 1 Nalinikā in Avi. (II) and Padminikā in Svapna (V) seems to be rare 43. In Recitation the four accents will beg acute (udātta), examples of this. grave (anudatta), circumflex (svarita) and quivering (kampita). 2 Ex. Jayasena the servant (bhata) of the king (Avi. I). Recitation in circumflex and acute accents is suitable to 35 1 No example seems to occur in any extant play. 36 1 Ex. Brahmacarin (Svapna. I). Vita (Cāru.). Devakulika, and Sudbākāra the Comic and the Erotic Sentiments, acute and quivering (Pratimā. IV.) etc. accent is suitable to the Heroic, the Furious and the

44

XIX. 43 THE NATYASASTRA 346 347 MODE OF ADDRESS AND INTONATION XIX. 45 Marvellous Sentiments, while grave, circumflex and quivering accents are appropriate to the Pathetic, the Odious and the The excited note proceeds from the head register and is

Terrible Sentiments. of extra high pitch (taratara); it is to be used in reproach, quarrel, discussion, indignation, abusive speech, defiance, Two ways of intonation anger, valour, pride, sharp and harsh words, rebuke, lamenta- There are two ways of intonation, e.g. one entailing tion and the like. expectation (sakanksa) and another entailing no expectation The grave note proceed from the chest register and is to (nirakanksa). These relate to the sentence uttered. be used in despondency, weakness, anxiety, impatience, low- 44. A sentence which has not completely expressed its spiritedness, sickness, deep wound from weapons, fainting, [intended] meaning, is said to be entailing an expectation, intoxication, communicating secret words and the like. and a sentence which has completely expressed such a sense, The low note proceeds from the chest register, but has a is said to be entailing no expectation. very low pitch (mandra-tara) sound; it is to be used in Now, entailing an expectation relates to [the utterance natural speaking, sickness, weariness due to austerities and of a sentence] of which the meaning has not been completely walking a distance, panic, falling down, fainting and the like. expressed and which has notes from the throat and the chest, The fast note proceeds from the throat register, and is and begins with a high pitch and ends in a low pitch swift; it is to be used in women's soothing children (lallana) (mandra) and has not completed its Varna or Alamkāra. refusal of lover's overture (manmana),1 sexual passion, fear, And, entailing no expectation relates to [the utterance of cold, fever, panic, agitation, distressed and secret acts, pain a sentence] the meaning of which has not been completely and the like. expressed and which has notes from the head, and begins The slow note proceeds from the throat register and is of with a low pitch (mandra) and ends with a high pitch (tara) slightly low pitch; it is to be used in love, deliberation, and has completed its Varna and Alamkāra. discrimination, anger, envy, saying something which The six Alamkaras cannot be expressed adequately, bashfulness, anxiety, threaten-

45. The six Alamkaras of the [note in] Recitation are ing, surprise, censuring, prolonged sickness, squeezing and

that it may be high (ucca), excited (dipta), grave (mandra), the like. [On this subject] there are the following tradi- low (nica), fast (druta), and slow (vilambita), Now listen tional coupletsa

about their characteristics. 46-48. To suit various Sentiments the intonation (kakw)

Uses of the six Alamkāras should always be made high, excited and fast in a rejoinder,

The high note proceeds from the head register and is of confusion, harsh reproach, representing sharpness and rough-

high pitch (tara); it is to be used in speaking to anyone at a ness, agitation, weeping, challenging one who is not present

distance, in rejoinder, confusion, in calling anyone from a distance, in terrifying anyone, in affliction and the like. 45 1 On the meaning of lalla (lallana) and manmana there is no unanimity. We follow Ag.'s upâdbyāya.

XIX. 46 VIC THE NATYASASTRA 348 349 MODES OF ADDRESS AND INTONATION XIX. 59

(lit. away from the view) threatening and terrifying [anyone], Six limbs of enunciation calling one who is at a distance, and rebuking [anyone]. Now there are six limbs [of enunciation], such as Separa- 49-50. Intonation should be made grave and low (nica) tion (viccheda), Presentation (arpana), Closure (visarga), Conti- in sickness, fever, grief, hunger, thirst, observation of a lesser nuity (anubandba), Brilliance (dipana) and Calming (prasa- vow (niyama), deliberation, deep wound from a weapon, mana). Of these, Separat:on (viccheda) is due to pause (virama). communicating confidential words, anxiety and state of Presentation (arpana) means reciting something by filling up austerities. the auditorium with graceful modulation of voice. Closure 51. Intonation should be made grave and fast in (visarga) means the finishing of a sentence. Continuity women's soothing children (lalla), refusal to love's overture (manmana), panic and attack of cold. (anubandba) means the absence of separation between words [in a sense group] or not taking breath while uttering them. 52-55. The intonation should be made slow, excited Brilliance (dipana) means the gradually augmented notes and of low pitch in following an object lost after being seen, which proceed from the three voice-registers (sthana), and hearing anything untoward about a desired object or a person, Calming (prasamana) means lowering the notes of high pitch communicating something desired, mental deliberation, lunacy, without making them discordant. envy, censure, saying something which cannot be adequately Now about their uses in connexion with different Senti- expressed [by words], telling stories, rejoinder, confusion, an ments. In the Comic and the Erotic Sentiments the enuncia- action involving excess, wounded and diseased limb, misery, tion should include Presentation, Separation, Brilliance and grief, surprise, jealous anger, joy and lamentation, Calming. In the Pathetic Sentiment it should include 56. Grave and slow intonations have been prescribed Brilliance and Calming. In the Heroic the Furious and the for words containing pleasant sense and bringing in happiness. Marvellous Sentiments it should abound in Separation, 57. Exited and high intonations have been prescribed Calming, Brilliance and Continuity. In the Odious and the for words which express sharpness and roughness. Thus the Terrible Sentiments it should include Closure and Separation. Recitation should be made to have different intonations All these are to be applied through notes of high, low by the producers.1 and medium pitch proceeding [from the three voice-registers] Intonation in different Sentiments In addressing one at distance, the notes should be made of 58-59. Slow intonation is desired in the Comic, the high pitch from the head; the person addressed being not at Frotic, and the Pathetic Sentiments. In the Heroic, the a great distance the notes should be made of medium pitch Furious and the Marvellous Sentimets the excited intonation from the throat, and to speak to one at one's side notes is praised. Fast and low intonations have been prescribed in should be made of low pitch from the chest. But one should the Terrible and the Odious Sentiments. Thus the intonation not proceed to the high pitch from the low one, and from should be made to follow the Psychological States (bhava) the low pitch to the high one. The three kinds of tempo and the Sentiments. of these notes are to be utilised in different Sentiments. In

XIX. 60 THE NATYASASTRA 350 351 MODE OF ADDRESS AND INTONATION XIX. 71

the Comic and Erotic Sentiments the tempo should be medium, 63-64. In the Heroic and the Furious [Sentiments] the in the Pathetic it should be slow, and in the Heroic, the hands are mostly occupied with the weapons, in the Odious Furious, the Marvellous, the Odious and Terrible Sentiments they are bent due to contempt, in the Comic they are to point it should be quick. to [something], in the Pathetic they ate to hang down and Pause defined in the Marvellous they are to remain motionless due to Now, Pause (virama) in connexion with enunciation is surprise. due to the completion of sense, and is to depend on the situa- 65. On similar other occasions too, the meaning should tion (lit. practical), and not on metre. Why?, Because it is be made clear by means of Alamkaras and Pauses. found in practice that there occurs pause even after one, two 66-67. Pauses which are prescribed in a verse require three or four syllables, e.g. Alamkāras. Pause should be observed after a word, when 60. kim, gaccha, mā viśa, sudurjana, vāritô'si | the meaning or the breath (prana) requires it. And when kāryam tvayā na mama, sarva-janôpabhukta || words and syllables are combined into a [big] compound or Tr. What [is the matter]? Be off. Don't enter. You are barred out, [the utterance is] quick, or confusion about different mean- O very wicked man, the enjoyed-by-all, I have nothing to do with you1. Use of Pause ings is liable to arise, Pause should be observed at the end of a foot or as required by the breath. In the remaining cases Thus in a play (lit. poetical composition) occur words Pause should depend on the meaning. containing small number of syllables in cases of Sūca2 and Ankura3 [which are connected with Pause]. Here one should know about the four kinds of syllables known as Drawn-out Syllables (krsyaksaras) which conform Hence, care should be taken about Pause. Why? Because [an observation of] Pause clears the meaning. There is a to the proper Sentiments and Psychological States.

couplet [on this subject]. Drawn-out syllables and their use 61. In the [Verbal] Representaion the producers should 68-69. The consonant ending in a long vowel like o, always take care about Pause; for, on it depends the meaning e, ai, or au is known as a Drawn-out Syllable. In sadness, [of words uttered]. argumentation, questioning, or indignation, such a syllable Hands in connexion with Alamkaras and Pause should be pronounced by observing proper Kalas of time. 62. Keeping the eyes fixed in the direction in which the 70. As for the rest of the syllables they may be pro- two hands move one should make the Verbal Representation nounced with Pause required by their meaning, and such a by observing proper Pauses for indicating the [intended] pause may be of one, two, three, four, five or six Kalās

meaning. duration. 71. The Pause being of greater duration, the syllable 60 1 These are the words of a vipralabdba Hercine. pronounced will always be [rendered] long. But its duration 2 See XXIV. 43. 3 See XXIV. 44. should not be more than six Kalās.

XIX. 71 THE NATYASASTRA 352

72. Or taking account of the practice as required by some cause, or of the particular incident, one should observe Pause in a verse to suit the Psychological State or the Senti- ment [involved]. CHAPTER TWENTY

73. In verse, Pauses arising from the foot-division TEN KINDS OF PLAY

[only] are recognized; but the position of these may be varied on the stage by experts to suit the meaning [of a passage]. . I shall now describe the division of plays into ten

74. But [while observing Pause as directed above] one classes1 with their names, functions and modes of production.

should not create ungrammatical words (apasabda) or spoil 2-3. For defining them the plays are to be known as

the metre, and one should not pause too long except in places Nāțaka,1 Prakaraņa, Anka2 (Utsrsțikânka), Vyāyoga, Bhāņa,

of caesura, and in [uttering words expressing] sorrow one Samavakāra, Vithi, Prahasana, Dima, and Ihamrga which is

should not make the Intonation excited [dipta]. the tenth [in order]. I shall describe their characterestics

75. One should recite a dramatic composition which in detail.

is free from literary defects, possesses the best characteristics, . Styles (urtti)' are traditionally known as the consti-

and has [literary] qualities; in such a Recitation, one should tuent elements of all dramatic works (lit. poems). With

observe proper rules relating to the utterance of notes and respect to their production, the ten kinds of play are consi-

their Alamkāras. dered to have proceeded from these.

76. Alamkaras and Pauses that have been prescribed 5. Just as the [musical] notes (svara) constitute scales

in case of Sanskritic Recitation should all be observed in un- (grama)1 due to the Srutis2 together with their Jatis3, so the

Sanskritic (Prakritic) Recitation as well. [Varieties] of plays (lit. poetical works) come into existence due to Varieties of Styles. 77. Thus in the representation of the ten kinds of dramatic work, producers should prepare the Recitation 6. Just as the Sadja1 and the Madhyama2 scales include

subject to an observance of proper note, Kalā, time (tala) and all the notes, so these two [kinds of] dramatic composition

tempo (laya) (Nāțaka and Prakarana) are made up of all the Styles.

78. Rules of Intonation have been prescribed [by me] 7. The Nataka and the Prakarana are to be known as

in proper sequence. I shall describe hereafter the ten kinds of I 1 Early writers on the subject like Kohala mentioned additional types of dramatic work. play such as, Sattaka, Toțaka and Rāsaka (Ag.). Bhoja ignores Toțaka and

Here ends Chapter XIX of Bharata's Natyasāstra, which recognizes only twelve kinds of play including the Natikā mentioned in the NS. See V. Raghavan, Sr. Pr. p. 27. treats of Intonation in connection with the Verbal Repre- 2-3. 1 This word is often loosely used as a synonym of rūpa or rūpaka.

sentation. 2 To distinguish it from anka (an Act) it is also called Utsrstikânka. 4 1 See XXII. 5 1 See XXVIII. 36ff. 2 ibid. 3 ibid. 6 1 See XXVIII, 22ff. 2 ibid.

45

XX. 8 THE NATYASASTRA 354 355 TEN KINDS OF PLAY XX. 19

made up of all the Styles, and they include varieties of 14. The Anka is the customary word. As by means situation. 8-9. The Bhana, , the Samavakāra, the Vithi, the of presentation of the Psychological States and Sentiments,

Īhāmrga, the Utsrstikânka (Anka), the Vyayoga, the Dima, it causes the purposes of the play to develope, and as it

and the Prahasana should not include the Graceful Style. adheres to some technical rules [for this purpose] it is called

I shall describe hereafter the different methods of constructing an Anka1 (Act).

plays. 15. An Act should be brought to a close by (lit. in)

The Nataka a division of the play, and no final disposal of the Seed (bija)

10-11. [The play] which has for its subject-matter a should be made in it. And the Vital Drop (bindu)1 of

well-known story,1 for its Hero a celebrated person of exalted (lit. arising from) the play should again and again be

nature2 and which describes the character of a person born made to occur in the plot (vastu).

in the line of royal seers,3 divine protection [for him], his 16. That [part of the play] where a [particular]

many superhuman powers,4 and exptoits such as, success incident, is fully expressed, but where the Seed is not finally

[in different undertakings], and amorous pastimes, and which disposed of, is always to be known as an Act which slightly

has suitable number of Acts (anka)5 and Introductory Scenes clings to the Vital Drop (bindu):

(prāveśaka)® is called a Nāțaka. 17. An Act which relates to the direct exploits of the

[1.2. Behaviour of kings due to their joys and sorrows, persons mentioned before (i.e. the Heroes) and their various

when revealed by means of acts expressing in varied ways conditions, should not be made too long.

the Psychological States carrying many Sentiments, is styled 18. It should also be known that an Act is to contain

a Nātaka. more Sentiments than one, arising from [words and deeds of] of the Hero, his queen,1 and their superiors,2 priest, The Act minister and leader of the caravan (sarthavaha).3 I3. An expert should properly make an Anka con- taining changed conditions [of the Hero] and restricting it 19. Pacification of anger, grief, pronouncing a curse,

to the mere transmission of the Vital Drop (bindu). terrified Aight, marriage ceremony, commencement of any

14 1 This is a folk-etymology and does not help as at all to understand 1O-11 1 It must occur in some from in the Purana, Itihāsa (Rām. and Mbh.) or any such celebrated work (e.g. Brhatkathā). the real meaning of the word.

3 Räma, Krsna and Udayana are ex. of such persons. This and the other 15 1 From a repetition of the Vital Drop the play seems to attain compactness. conditions mentioned in the above note exclude living persons as a Hero of the 16 1 The emendation of the text was necessary from the special meaning Nāțaka. Cf. NL, p. 27. of the wor bija. cf. sarvesām ankānām yo'rtho bījalaksanab (Ag.). 3 Janaka and Viśvāmitra are ex. of such persons. Divine persons may be mentioned in a Nataka only as Heroes of an 18 1 Queens include his chief queen (mabadevi) as well as other consorts (Ag) episode (pataka) or Episodical Incident (prakari). See Ag. and ND. (loc, cit.). 2 Superiors include the parents and teachers (Ag). 5 For the description of an Act (anka) see below 13-15, and 23. 6 For the Introductory Scene see below 19-21 and 27-35. 3 Ag. interprets sārthavaha as senāpati (leader of the army). This is inadmissible.

XX. 20 THE NATYASASTRA 356 357 TEN KINDS OF PLAY XX. 33 miracle and its actual occurrence, should not be made visible in an Act.1 (lit. there) would go out after performing things connected with the Seed and the purpose of the play, and should lead 20. A battle, loss of a kingdom, death, and siege of a city not being presentable in an Act1 should be referred to to relevant Sentiments. 26. Knowing the length of a day which is divided by means of Introductory Scenes. into Ksanas, Yāmas and Muhūrtas, one should distribute 21. In an Act or in an Introductory Scene of the Nātaka or the Prakarana, there should be no killing of a exhaustively the entire action in different Acts.

person who is known as the Hero.1 Introductory Scene

22. His flight, or capture or treaty [with the enemy] . When events that are to be finished in course of

should be brought about, and these should be indicated in a day cannot be accommodated in an Act, these should be

the Introductory Scenes by referring to relevant actions. presented in an Introductory Scene after closing the [same] Act. 23. An Act should cover events that can take place in course of a single day. And it should relate to the Seed 28. By closing the Act [in which they begin1 events

of the play and should proceed without a clash with the requiring a month, or a year but never more than that2 for their happening, are also be presented similarly. routine duties. 29. When in an Act any person starts on business on a 24. A wise play-wright should not put in [too] many long journey, it should be brought to a close [at that point] events in a single Act.1 Events in it should be dopicted without a hindrance to routine duties.2 as prescibed before. 30. With an Act of the Nataka and the Prakarana the 25. Persons appearing on the stage during an Act Hero should be closely associated. And an Introductory Scene should be made up of a conversation of attendants. 19 1 B. and C. read before this an additional couplet which in trans, is "The 31. In plays so for as they relate to the Nataka and the number of Acts in the Nataka and the Prakarana should not be less than five Prakarana, an Introductory Scene coming between two Acts and more than ten." But in view of couplets 25 and 57 this seems to be super- fluous. For a support of the emendation see Rucipati's commenty on A.R. (p.53) will refer briefly to the [next] Segments. where we have अद्ध तदर्शनमङ्क प्रत्यक्षजा न क्वापि स्युः see below note 2 on 20, 32. It (the Introductory Scene) should not consist of 20. 1 Cf. See Sagaranandin's view on the point (NL, p. 13). exploits of the superior and the middling characters, and there 20 1 A misunderstanding of this rule as adopted by SD. (274) gave rise should be no exalted speech in it. And in practice it should to the belief of modern scholats that the ancient Indian playwrights did not permit death-scenes in on the stage. See Keith, Skt. Drama, pp. 293, 354; adopt speeches and manners of the common people. Haas, DR. p. 93. 33. An Introductory Scene may have many purposes.1 23 1 Sagaranandin quotes other views on the duration of events presented in an Act. See NL. p. 13. 28 1 The meaning of this rule seems to be that interval between two 24 1 Some mss, read the text here ekankena instead of ekanke na. The Acts should include events requiring a month or a year only. Controversy over the reading is much older than the time of Ag. (See Ag). 33 1 B. reads the first hemistich with the change accepted by Ag. The 2 Routine duties include prayers as well as taking meals. passage in B. in trans. will be as follows : An Introductory Scene may have many

XX. 34 THE NATYASASTRA 358 359 TEN KINDN OF PLAY XX. 45 [For example], it may explain the advent1 of time, change of purpose, or the inversion of movement, or making a begin- Hero's attendants (lit. men of work) in such plays (lit. there)

ning [of some event]. should [at most] be four or five.1

34. Events which depend on many [persons] are to be 40. Plays of the Vyayoga, the Ihamrga, the Samavakāra,

compressed in Segments by means of Introductory Scenes. and the Dima classes should be made to have ten or twelve For a play containing [too] many prose passages1 will be Acts.1

tiresome [to the spectators] at [the time of] the production [of a play]. Introducing chariots and palaces on the stage

35. When a particular item cannot be completely 41. A chariot, an elephant, a horse and a palace should

presented in an Act, lest it should be too large for [successful] not be presented on the stage. These should be provided [in

production, its account should be compressed in a few words a play] by means of appearance and costumes [of men related

and put in an Introductory Scene. to them] and [their] Gaits1 and movements (gati-vicāra).2

The Supporting Scene 42. But model works of an elephant, a horse, a palace,

36. In the Nataka the Supporting Scene (viskambhaka) a hill or any conveyance as well as [imitation] weapons out

should always be made up with the middling characters1 and of cheap marerials are to be made for a presentation of these

it should be concise, and adopt Sanskritic speech.2 by those who know the rules [for their construction].1

37. It should be of two kindsa pure (suddha) and mixed (samkirna). Of these, the pure is made up with the Introducing an army on the stage

middling characters [only]1, and the mixed with the inferior 43. If due to any reason1 a detatchment of an army is

and the middling characters.2 to be introduced on the stage (lit. here), only. four or six

38. In the Nataka and the Prakarana Supporting Scene persons are to make their appearance.

between two Acts or at the beginning of an Act, should 44. [The show should be made as consisting of a small always include the middling and the inferior characters. number of men, horses, vehicles and attendants, and it

Number of dramatic personae should move slowly. For in the military role (ksatra)1

39. The Nataka and the Prakarana should not be made [actual] rules of polity do not apply. to contain a great number of attendants [to the Hero]. The 45. In the composition of a play Action should be

purposes. For example, it may indicate the advent or passage of time, or present some explanation or other aspects of planning the action (kārya). 39 1 This rule is possibly meant for avoiding the practical difficulty of 34 (C.35; B.XVIII.36). 1 See NL. 351-352. producing a drama with too many characters. 36 (C.37; B.XVIII.54). ' This is meant that superior characters are not 40 1 C. only gives it in a mutilated form. Its second hemistich should appear in a Supporting Scene. 2 See below 37 note 1. be read as dasabhib dvadasabhir vankaih kāryāni ...... 37 1 Ex. Pratijñā II. Šak. III. 41 1 See NS. XXIII. 6-9. 2 See NS. XII. 2 Ex. Pratimā. II, Vikram. III. 42 1 See above 41 note 2.

XX. 46 THE NATYASASTRA 360 361 TEN KINDS OF PLAY XX. 56

made [like] the tip of the cow's tail,1 and all the exalted [when presented in a play] are to be known as the situations in a play should be placed at the end. Prakaraņa.2 46-47. At the conclusion of all the plays which contain 52. The Prakarana should be known as not made up various Psychological States and Sentiments, experts should with an exalted Hero. And it does not contain the character always introduce the Marvellous Sentiment.1 Thus I have of any god, has no story of king's enjoyment [of pleasures], briefly but properly spoken about the characteristics of the and it is connected with the men outside [the royal palace]. Nātaka. I shall hereafter describe the Prakarana by men- 53. The play of the Prakarana type should include [in tioning its characteristics. some cases] slaves, Vita1 and head of the bankers' guild [as

The Prakarana characters and should contain incidents arising from] the

48. The play (lit. where) in which the writer prakurute attendance of courtezans as well as exploits of depraved women

(devises)1 by his own intellect an original plot with its Hero, of good family.2

and works up its elaboration (sarira), is called the Prakarana. 54. [In an Act of the Prakarana] where a minister,

49. When a playwright constructs a play of marvellous head of bankers' guild, Brahmin, priest, minister and leader of

qualities with an original (lit. invented) Seed, and a Hero not caravans stay in their family circle, no courtezan should be

coming out of Rsi's works to carry on the action the same brought in there.1

is also called the Prakarana.1 55. [In the Prakarana] when a person is in the com-

50. The plot and its elaboration as the basis of the pany of a courtezan, there should not be [at the same time]

Sentiments,1 which have been prescribed in case of the his meeting with any respectable woman (lit. woman of good

Nataka are also to be applied to the Prakarana.2 Only its family), and while he is with a woman of high family no

plot should be newly created. courtezan should meet him then.

51. The varied exploits1 of Brahmins, merchants, minis- 56. If out of necessity (lit. reason) there occurs a

ters, priests, officers [of the king] and leaders of caravan meeting1 of courtezans and respectable ladies in [any scene of] a Prakarana, their language and manners should be kept undistorted. 45 1 The exact significance of this expression as well as the implication of the entire rule is not quite clear. Ag. however quotes two different views on 2 The types of characters mentioned in the tule are mostly absent in the the subject, scanty number of extant plays of this typs. The Pratijñā, is an example of a 46-47 1 This is mostly to be done by causing unexpected things to happen. Prak. having a minister as its Hero. The sudden revelation of Āvantikā as Vāsavadattā in Bhāsa's Svapna. (VI) and 53 1 For Vita see the Introduction. the dramatic re-union of Sakuntala with Dusyanta in Sak. (VII) are examples 2 Extant plays do not contain such characters. of this rule. 54 1 See 56 below. 49 1 Rām. and Mbh. are examples of such works. 56 1 The nature of the necessity, and the language which the author of 1 Bhasa's Pratijna is an example of this. See its Prologue. the NS. had in view in formulating this rule, has probably been indicated in 51 1 From this "varied exploits" one is to understand that Prakarana was the following couplet: शिल्पादिव्यपदेशेन भवेद्वेश्याभागमः। भाषते प्राकृतं वेश्या not concerned exclusively with love-themes. See Mudrā. संस्कृतं कुलनायिका. See Bh. pp. 242. also Ag. 46

XX. 57 THE NATYASASTRA 362 363 TEN KINDS OF PLAY XX. 66 57. In the Nataka and the Prakarana the playwrights and to have the Hero,3 his queen, the female Messenger and should have the number of Acts as not less than five and more than ten1; and this should be furnished with the various the attendants [as its dramatis personae].

Sentiments and the Psychological States.2 63. 'The characteristics of the Nataka and the Pra-

58. After considering the need and action of the plot karana have been briefly described by me. I shall now speak about the characteristics of the Samavakāra. one should place between two Acts the Introductory Scenes The Samavakāra which are to compress the events in the Segments (sandbi)'. i 64-65. It should have the [exploits of] gods and Asuras The Natika as its subject matter and one of them as its well-known 59. In a play of the Nātikā (Nāti) class, producers are and exalted Hero, and it is to consist of three Acts [presen- to recognise a more or less well-known variety of these two (the Nataka and the Prakaraņa).1 ting] the three kinds of deception, the three kinds of excite- ment or the three kinds of love.2 [Besides this] it should 60. Different in origin from the two [types of plays] the Nataka and the Prakarana, its plot should be invented, have as many as twelve dramatis personae and require a

the Hero should be a king, and it should be based on [an duration (lit. length) of eighteen Nādikas3 [for its perfor-

incident relating to] music or affairs of the harem.1 mance]. I shall now speak about the rule regarding the number of Nadikas to be alloted to the different Acts. 61. And it contains an abundance of female characters, 66. A Nadika' should be known as the half of the has four Acts, graceful gestures as its soul; well-arranged Muhurta2 which is a [well-known] measure of time. The constituents, many dances, songs and recitations, and love's Acts in a Samavakāra should be measured according to the enjoyment are its chief features.1 directions given in terms of chis Nādikā. 62. The Natika should be known also to contain [a display of] royal manners,1 [a fit of] anger2 and its pacification, 63 1 B.C. read one additional couplet (C. 64; B.XVIII.61) on the basis of two mss. It does not give any new information. 58 1 Cf. DR. I.118 (ed. Haas, pP. 34-35) and SD. 302. The Introductory 2 C. Prakarananātaka-nāți-laksanam uktam for °nāțaka-laksanam uktam Scene cannot be placed at the beginning of a play and it must be in Pkt. vipra. Evidently the interpolator who is responsible for the description of the 59 1 See Avaloka on DR. (ed. Nirnayasagar) III.43. Description of the Nati (Natika) inserted nati in the reading of C. See above 59 note. Nāțikā given here (59-63) has been rightly suspected as an interpolation, 64-65 1 No old specimen of this type of play is available. The Samudra- though Keith is for rejecting this suspicion. See Skt. Dr. p. 349. manthana by Vatsaraja (12th century) is a very late work. See Keith, Skt, Dr. 60 1 Keith seems to be in error about the nature of the subject matter) P. 267. Bhasa's Pañca, is not a Samav. Cf. Mankad, Types of Skt. Dr, p. 58; (plot) of the Natika. See Skt. Dr. p. 349. Justification for calling the Pratijna. Pusalker, Bhäsa, pp. 202-210 a Națikā may be found in the facts that its plot is based on musical lessons 8 It is not likely that any one play of this type will include all three objects given by Udayana to Vasavadattā, and it has four Acts. But according to the (deception, excitement and love) in their three varieties. Prologue it is a Prakarana. Pusalker, Bhāsa, pp. 271-272, also note I on 59. 3 As the topics (and hence the Acts) in the Samavakara are to be loosely 61 1 But for this feature of having four Acts only, the Malavi. may be related (see 69 below), this limitation has been placed on the time lest it should be made too long. considered a Nātikā. See Keith. Skt. Dr. p. 350. Ratnā. is a well-known 66 1 nādikā= 24 minutes, Sce below 67 note. example of the four Act Nātikā. 2 mubūrta = a period of 48 minutes. See below 66 note 1. Curiously enough Saradatanaya thinks that nadika is one tourth of a mubūrta. See BhP. p. 249.

XX. 67 THE NATYASASTRA 364 365 TEN KINDS OF PLAY XX. 78

The first act of the Samavakara 67. The first Act [of the Samavakara] should have a duty (dbarma), that actuated by material gain (artha) and that actuated by passion (kāma).1 duration of twelve Nadikas1 and it is to contain laughter, excitement, deception or a Vithi.2 Love together with duty

The second and the third acts of the Samavakara 73. When in [sticking to] the duty one's [much]

68. The second Act also should be similar [except that] desired well-being1 is accomplished in many ways, by2 regular

it is to have a duration of four Nadikas.1 And the third austerities it is to be known as love in relation to duty

Act, as enjoined in the rule about the length of the plot (dharma-śrngāra).

will have a duration of two Nadikas2 only. Love together with material gain

69. 'In composing such a play the different Acts 74. Love for money according to its meaning is of

should be made to have different topics. And topics in the various kinds, due to a desire for money. In it one shows

Samavakära are to be loosely related to one another.2 simulated passion in the matter of intercourse with a woman. Three kinds of Excitement Love due to passion 70. Excitement (vidrava) is known to be of three kinds, 75. Love actuated by passion (kāma-srngāra) includes such as being due to battle, flood (lit. water), storm (lit. wind) the seduction of a maiden and also gentle or excited love- and fire, or to a big elephant1 at large, or the siege of a affair of a man with a woman. city. Three kinds of Deception Metres not allowed in the Samavakāra 76. 'In the Samavakāra the playwright should make 7.1. Deception (kapata) is known to be of three kinds, such as being due to a devised plan,1 accident or that [practis- proper use of metres other than Usnik and Gayatri etc.,

ed] by the enemy. It creates joy or sorrow [to persons]. which are of complex construction.2 77. In this manner an expert should compose a Sama- Three kinds of Love vakāra which will deal with joys and sorrows.1 I shall here- 72. In this connexion (lit here) three kinds of love to after speak about the characteristics of the Ihamrga. be presented through different actions are: that in relation to The Thamrga

67 1 12 nādikās (nādīs)=4 hours and 48 minutes. 78. It (Ihamrga) has as its dramatis personae divine 2 See 113-129 below. males who are implicated in fights about divine females. It 68 ' 4 nādikas (nādis)=1 hour 36 minutes. 3 2 nadikās= 48 minutes. 76 1 The reading accepted by Ag. seems to be corrupt. For Usnik and 69 1 Before this B. reads one additional couplet (B.69) which does not Gayatri type of metres cannot by any means be considered as being of complex give any important information and has the support of two mss. only. In C. construction (bandhakutila). Our emendation has in a way the support of this occurs after C. 68. 2 From this it appears that Samav. was not a play of the regular type and Udbhata (the noted commentator of the NS.) who too thinks that the rule prescribes complex metres such as Sragdhara for the Samav. See Ag. belonged to a very early stage of evolution of Indian drama. 2 Lengthy, sami-even and uneven types of metres.

XX. 79 THE NATYASASTRA 366 367 TEN KINDS OF PLAY XX. 90 should be constructed with a well-arranged plot and should (udatta) type. It is to contain the six Sentiments and to be convincing.1 consist of four Acts only1. 79. It is to abound in vehement (uddhata) Heroes and 85-86. It should contain all the Sentiments except the to have its construction dependent on feminine anger which Erotic and the Comic, a plot (kavyayoni) with exciting is to give rise to commotion (samksobba), excitement (vidrava) Sentiments and various Psychological States, and it is [also] and angry conflict (sampheta). to include incidents such as an earthquake1, fall of meteors, 80. The Ihamrga should be a play with well-ordered an eclipse of the sun or of the moon, fighting in battle2 and construction in which the plot of love is to be based on personal combat, and angry confliet. causing discord among females, carrying them off and oppress- 87-88. The Dima should should abound in deceit and ing [the enemies]. jugglery, and should include energetic activity of many 81. All that are to be made [available] in the Vyāyoga- persons, and dissention (bheda)1 among themselves, and its male characters, Styles and Sentiments-should be brought it is to include sixteen characters which may be gods, Asuras in the Thamrga also, except that the latter is to include (lit. Rāksasas, Bhūtas, Yaksas and Nāgas, and [besides this] the have connexion with), the goddesses (lit. divine females) only' play is to be carefully made in the Grand and the Energetic as its female characters.1 Styles and is to have many Psychological States to support 82. [In the Ihämrga] when persons intent on killing1 it2.

are on the point of killing, [the impending] battle should be 89. The Dima has been described by me in all its avoided on some pretext. eharacteristics. I shall speak now about the characteristics

83. The characteristics ot the Thamrga have been briefly of the Vyāyoga.

mentioned by me. I shall speak hereafter on the charac- The Vyāyoga

teristics of the Dima. 90. The Vyayoga should be constructed by experts with one well-known Hero as its basis, and it should include The Dima a small number of female characters and [the events related 84. The Dima should be constructed with a well-known in it] will be of one day's duration only1. plot, and its Hero should be well-known and of the exalted 84 ' No old example of this type of drama is available. 90 1 Bhāsa's Madhyama. is its solitary old specimen unless Karna. also is 78 1 No old specimen of this type of drama is available. Rukmiņīharana to be taken as such (see ID. p. 52). Prahlādanadeva's Pārtha-parākrama (12th by Vatsaraja is an artificial production of a very late period (12th century). cent.), Vatsarāja's Kirātârjunīya (12th cent,) and Viśvanātha's Saugandhikā- (See Keith, Skt. Dr. p. 266). Two other late specimens of this kind are harana etc. are very late specimens of this type. See Keith Skt. Dr. p. 265. Krsnamiśra's Vira-vijaya and Krsna Avadhūta's Sarva-vinoda-nāțaka (See Sten Pusalker, Bhāsa. p. 203. Dūtavā., Dūtagha., Pañca, and Oru. cannot be called know, ID. p. 114). Vyāyogas. Cf. Pusalker, Bhāsa, pp. 186, 187, 190, 209. Mankad, Types of 81 1 See below 90-23. Skt. Dr. p. 59-61.

XX. 91 THE NATYASASTRA 368 369 TEN KINDS OF PLAY XX. 104

91. Many males ate to take part in the Samavakāra, 99-100. [But scenes of their] garden party (lit. going to but it is not to have the latter's length, for it is to have only a garden), sports, pastimes, and enjoying the company of one Act. females, are always to be laid in these varsas; for there is 92-93. It should have a royal sage as its Hero and not neither any sorrow nor any grief there. Their enjoyments a divine personage, and it should include battle, personal should take place in the mountains which are connected with combat, challenge and angry conflict. Thus the Vyāyoga those varsas in the Puranic accounts, but their [other] deeds should be made with exciting Sentiments as its basis. I should begin here (i.e. in Bhārata-varsa). shall now speak of the characteristics of the Utsrstikânka 101. The characteristics of an Utsrstikânka (Anka) (Ańka). have been exaustively explained by me. I shall now speak The Utsrstikânka of the Prahasana with its characteristics. 94. The plot in it is [usually to be] well_known, but it The Prahasana may sometimes be otherwise, and it is to be furnished with 102. The Prahasana should be known to be of two male characters other than those who are divine.1 kinds:] pure and mixed. I shall separately treat their 95-96. The Utsrstikânka should abound in the Pathetic characteristies.1 Sentiment; it will treat women's lamentations and despon- The pure Prabasana dent utterances at a time when battle and violent fighting has ceased; it should include bewildered movements [of ro3-104. The Prahasana is known as pure (suddha)

mourners], and it must be devoid of the Grand, the Energetic when it contains comic disputations by Saiva gurus (bhagavat)2

and the Graceful Styles, and its plot should relate to one's ascetics, Bhiksus, Srotriya Brahmins, and others, and abounds

fall (lit. end of the rise).1 in jocular remarks by persons of low class; and all this gives uniformly to the Plot a realistic picture of the language Scenes with celestial Heroes 97. [Scenes of] all the plays which have celestial Heroes, 102 1 Sankhadhara's Lațaka-mela (12th century), Jyotiriśvara's Dhūrta- and which [treat] a battle, capture and killing [of enemies], samāgamā (15th century) and Jagadiśvara's Hāsyârņava (date uncertain), etc. are very late works (See Keith Skt. Dr. pp. 261-262). The Matta-vilāsa of should be laid in Bharata-varsa.1 Mahendra-vikrama-varman (620 A.C.) and the Bhagavad-ajjukiya ascribed to 98. Why, of all the varsas (sub-continents) created by Baudhayana Kavi, are fairly old specimens of the Prahasana, See Keith Skt. Dr. the gods,1 is Bharata-varsa chosen [in this connexion]? Pp. 182. Bhagavad-ajjukiya ed. P. Anujan Achan, Cochin, 1925.

Because the entire land here is charming, sweet-smelling and 103-104 1 The word bhagavat relates primarily to a Saiva saint. It is in this sense that the word has been used in the Prahasana named Bhagavad- of golden colour. ajjukiya, and this speaks for the antiquity of this work (See above 102 note). A Saiva saint appears in the Matta-vilasa, the Dhurta-nartaka and the Hāsya- cudamani. The last two Prahasanas are however late. See Keith, Skt. Dr. 94 1 Bhasa's Oru, is a solitary example this type of drama. See Pusalker, Pp. 182, 262, 265. Bhāsa, pp. 199, 200. Keith seems to be in error when he says that a play 2 Prahasanas named in note 1 above may be taken as specimens of the pure within a play is often called an Anka. See Skt, Dr. P. 268. variety 47

XX. 105 THE NATYASASTRA 370 37ª TEN KINDS OF PLAY XX. 118

and the conduct of all these in passages describing their to consist of one Act, and should include many incidents special Psychological States.3 which are to be acted by a Dhurta or a Vita. The mixed Prahasana III. All the characteristies of the Bhana have been 105. That Prahasana is called mixed1 in which courte- described by me according to the tradition (agama). I shall

zans, servants, eunuchs, Vitas and Dhūrtas and unchaste [now] speak of the characteristics of the Vithi in due order. women appear with their immodest appearance, dress and The Vithi

movements. 112-113. The Vithi should have one Act and is to be 106-107. Some popular topic [of scandal] or incident of acted by two persons or one. And it is to include characters hypocrisy should be introduced in the Prahasana through the of the superior, the middling or the inferior type, and it may disputations of Dhurtas1 and Vitas. The Prahasana should include [any of] the types of the Vithi it may properly require. contain [any of] the Sentiments, and it may be the thirteen types. I shall now speak of the characteristics of all these. The Bhana Thirteen types of the Vithi 107-108. I shall now speak of the characteristics of the Bhana. The Bhana is to be acted by a single character, and 114-115. The thirteen types1 of the Vithi are: Aeci-

it is of two1 kindsy that [with one's] recounting of one's dental Interpretation (wdghatyaka), Transference (avalagita),

own feelings, and that [with] describing someone else's acts.2 Ominous Significance (avaspandita), Incoherent Chatter

109. [The Bhana which is to include] somebody else's (asat-pralapa), Compliment (prapanca), Enigma (nali = nalika)

words addressed to oneself, should be acted by means of replies Repartee (vakkeli), Outvying (adhivala), Deception (chala),

in course of conversations with an imaginary person (akasa- Declaration (vyabara), Crushing (mrdava), Three Men's Talk

bhasita) along with the [suitable] movements of the limbs. (trigata), and Undue Combination of Words (ganda).

110. The Bhana should include characters of Dhūrtas 116. [Any of these] thirteen types is always to be

and Vitas and treat their different conditions, and it is always attached to the Vithi. I shall now speak of their charac- teristics in due order.

105 I Prahasanas like the Dhurta-samagama and the Hasyarnava may be Accidental Interpretation

taken as specimens of the mixed variety. See Keith, Skt. Dr. pp. 260-262. 117. If, in order to explain them, men connect words of 106-107 1 For the meaning of Dhurta see the Introduction to the text. obscure meaning with words other than [those intended by 2 See below 112-129. 107-108 1 The four Bhanas (Ubhayâbhisārīka, Padma-prābhrtaka, Dhūrta- the speaker] it becomes Accidental Interpretation.1 vița-samvāda and Pāda-tāditaka) published under the title Caturbhāni placed by Transference F. W. Thomas between the 6th and the 7th century, are the oldest available specimens of this type (F.W. Thomas, J,R AS. 1922, pp. 262ff. F.W. Thomas, I18. When [anything] occurring in [relation to] some- Centenary Supplement J R A S. 1924 PP. 129-136; S,K. De, in J R A S. 1926, pp. 63-90, Hist of Skt. Lit. pp. 241ff. The first three Bhanas, however, may. 114-115 1 Anga in this connexion has been translated as 'division' (Haas, be much earlier. For later Bhānas see Keith, Skt. Dr. pp. 263-264. DR. p. 84). But 'type' seems to be a more suitable word.

XX. 119 THE NATYASASTRA 372 373 TEN KINDS OF PLAY XX. 128

thing, will be made to accomplish something else, it becomes [an instance of] Transference (avalagita).1 (lit. followed by laughter) is called an Enigma (nālika)' Repattee (vakkeli) arises from a single or twofold reply.2 Ominous Significance Outvying 119. That, one attaches (lit. creates) out of misunders- 124. When somebody else's words and those of one's tanding an auspicious or inauspicious meaning (lit. auspicious ownself, in course of a dialogue, lead to their mutual modi- or inauspicious rise) to the words (lit. meaning) mentioned, fication, it is [an instance of] Outvying (adbivala).' is [an instance of] Ominous Significance (avaspandita).1 Deception

Incoherent Chatter 125. When after alluring one by replies, something

120. When an irrelevant question (lit. sentence) is opposite is done through those very replies being considered

followed by [an equally] irrelevant answer, it is [an instance meaningless, it is [an instance of] Deceptlon (chala).1

of] Incoherent Chatter (asat-pralapa) 1 Declaration

121. When to a foolish person a learned man speaks 126. If anything [liable to occur] is described vividly

the right words, but his words are not listened to, it is [an in the presence of the Hero and is similarly made to happen

instance of] Incoherent Chatter.1 [there] without any fear, it is [an instance of] Declaration

Compliment (vyābāra).1 Crushing 122. When comic and untrue words purpotting to be mutual praise of two persons, are uttered in the interest of 127. That due to an altercation one represents [another's]

one [of them] it is [an instance of] Compliment (prapañca).' merits as demerits by [showing] cause [for it] and vice versa, is called Crushing (mrdava).1 Enigma and Repartee Three Men's Talk

123. An enigmatical remark that gives rise to laughter 128. When exalted words with the Comic Sentiment are shared by three [characters] it should be known as Three 117 1 Haas translates the word as 'Abrupt Dialogue' (DR. p. 84). For Men's Talk (trigata).1 an example see SD. 228; cf, Ag. DR. (III. 13-14) seems to define it differently. 118 1 Haas translates it as 'Continuance' (See p. 85). For an ex. See SD. 123 1 See Haas, pp. 87; SD. 529, 292; Ag. Cf. DR.III. 14b-15a. 2 See Haas, p. 86, SD. 525. 119 1 The spelling avasyandita though accepted by SD. and DR. seems 124 1 See Hass, p. 86; SD. 526, to be wrong (See Ag.). Haas translates the word as 'Re-interpretation' (pp. 125 84, 87) probably under the influence of the SD. (528). DR. (III, 19a) has a 1 See DR. 17a; Haas, p. 96; SD. gives two def. of this including the present one; see 524-525. different deflnition. For an example see Ag. 126 1 B.s reading seems to agree with the def, given in DR. III. 20b and 120 1 We accept the reading of mss, da and da in B. (under 119) which SD. 531. Haas translates the term as 'Humourous Speech.' See p. 88, has the support of DR. III, 20 and SD. 530. Ag. differs and accepts the reading of 121 below. See Haas. p. 87. p. 88. 127 1 DR. III. 21a; SD. 532. Haas translates the term as 'Mildness'; see

1 See 120 note and Ag. 128 1 DR III. 16 and SD. 523 define this differently and they agree with 12I 122 1 See Haas, p. 85; SD, 522. DR III. 15b. the reading of B. Our reading is supported by the pa ms. in B. Haas translates the term as 'Triple Explanation." See p. 84.

XX. 129 THE NATYASASTRA 374 375 TEN KINDS OF PLAY XX. 140

Undue Combination of Words Trimūdha, Saindhava, Dvimūdhaka, Uttamottamaka, Vicitra- 129. Undue Combination of Words (ganda) according pada, Ukta-pratyukta and Bhāvita (Bhāva)1 to the wise, occurs due to excitement, confusion, quarrel, Geyapada reviling and many people's abusive words.1 130-131. If in a play any of these thirteen types1 with 136. When [the Heroine] being seated1 surrounded

clear meanings, occur and they possess all the characters, with stringed instruments and drums, songs are sung by

Sentiments and Psychological States prescribed for them by her dryly i. e. without any accompaniment of these, it is

the Sastra, it is called the Vithi. It may be acted by one or called the Geyapada (simple song).

two persons.2 137. If a woman in a sitting1 posture sings a song in the

The Lasya praise of her beloved, and delineates the same with a dance

132. [Similar] other limbs are attached to the Nātaka including gestures of her different limbs, it is called the

in connexion with the performance of the Lasya,1 and they Geyapada.

owe their origin to this (i. e. Nataka), and are to be acted Sthitapāthya

like the Bhāna by a single person. 138. If a separated woman burning with the fire of

133. The Lasya has a form similar that of the Bhana, love, recites anything in Prakrit while resting on her seat,1

and it is to be acted by one person.1 Its action is to be it is [an instance of] the Sthita-pāthya.

imaginery like that of the Prakarana and should relate to Āsīna (pātbya)

many Psychological States. 139. When one sits1 without making any toilet and is

Twelve types of the Lasya overcome with anxiety and sorrow, and looks with oblique

134-135. The [twelve] types of the Lāsya areg Geya- glances it is [an instance of] the Āsina (pathya).

pada, Sthitapāthya, Āsīna (pāțhya), Puspagaņdikā, Pracchedaka, Puspagandika 140. When a woman in the guise of a man recites 3 DR. III. 18b and SD. 527 seem to def. it differently. Haas translates the term as 'Abrupt Remark' see p. 87. 130-131 1 Ag. reads Läsyangas in the next chapter (his XIX). It is 134-135 1 SD. (504) gives only ten and BhP. (p. 245-246) eleven lāsy- possible that these were introduced later in the NS. For the ms, bha of B. angas; but DR. (III. 52-53) gives their number as ten, but does not define them, and some eommentators using it ignore them altogether. Saradātanaya and 136 1 See SD. 505. The sitting posture included in this and some of the others reads lasyangas differently. See Kavi's Intr. to B. pp. XI-XII. foot note. other varieties of the lasya need not appear to be puzzling. For the Gentle 132 1Lasyangam is an one act play which requires lasya or a gentle form of Dance in this connexion did not imply the movement of the entire body. See dance for its representation; for this term may be interpreted as lāsyam angam Gilbert Murray, Euripides and His Age, London, 1946, p. 150. yasyab tat (that which which has lasya as its principal element). The ten 137 1 See above 136 note I. lasyangas seem to be only, so many varieties of the Lasya. These are not its 138 1 SD. 509; also ncte 1 above of 136. Cf. K. XVIII. 173. BhP. p. 'elements' as some scholars are apt to consider. 245, 1. 17-18. 133 1 See above 132 note; lasya used in this passage means merely 139 1 SD. 507; see above 136 note 1. The Gentle Dance (lasya) in this lāsyānga. connexion will consist of slowly moving glances only. Cf. BhP. p. 245, 1.19-20.

XX. 141 THE NATYASASTRA 376 377 TEN KINDS OE PLAY XX. 150 something sweetly in Sanskrit for the pleasure of her female friends, it is [an instance of] the Puspagandikā.1 Vicitrapada

Pracchedaka 146. If any woman burning with the fire of love soothes

141. When a [separated] woman pained by the moon- her mind by seeing the portrait [of her lover], it is [an in-

light prepares to go to her beloved, even if he has done her stance of] the Vicitrapada.1

wrong, it is [an instance of] the Pracchedaka.1 Ukta-pratyukta

Trimūdbaka 147. The Ukta-pratyukta is a duett (lit. a dialogue) 142. A play adorned with even metres and abounding expressing anger or pleasure, and it [sometimes] contains in manly feelings and composed of words which are neither words of censure. It should contain interesting things harsh nor large, is called the Trimūdhaka.1 in a song.1 Saindbavaka Bhavita 143. When [one represents] a lover who has failed to 148. If a woman who is burning with the fire of love keep his tryst and is using Prakrit [to express his grief] after seeing her beloved in a dream, expresses [her] different through well-performed Karanas, it is [an instance of] the Psychological States, it is [an instance of] the Bhavita.1 Saindhavaka.1 149. These are the characteristics of the [different] Dvimūdbaka types of Lasya that I had to tell you "in detail. If 144. Delineating a song of the Caturasra type which has an auspicious meaning and which treats (lit. has) clear anything more has not been said, it has been due to the fact that nothing more is required in this connection. Psychological States and Sentiments, with the pretension of efforts, is called the Dvimūdhaka.1 150. The rules regarding the ten kinds of play with their characteristics, have been stated by me. I shall now Uttamottamaka 145. The Uttamottamaka is composed in various kinds speak about their bodies and the Segments with their

of Slokas; it includes various Sentimentts and is adorned with characteristics.

the condition of Passion (hela). Here ends chapter XX of Bharata's Natyasastra, which treats of Ten Kinds of Play. 140 1 Cf. SD. 507; see above 136 note 1. Cf. K. XVIII. 175, BhP. P. 245, 1. 21-22. 141 1 The def. given in SD. (507) is different DR. and SD, read the term as Trigūdhaka. Cf. BhP. p. 246, I. I-2. 142 1 See BhP. p. 246, 1. 3-4. 143 1 Cf. SD. 508. Cf. K. XVIII. 178, BhP. p. 246. 1. 5-6. 144 1 Cf. SD. (509) which reads the term as Dvigūdha. Cf. K. XVIII. 179, BhP. p. 246, 1. 7-8. 146 1 SD. and BhP. omit this.

145 1 Cf. SD. (509). Cf. BhP. p. 246, 1. 9-10. 147 1 See BhP. p. 246. 1. 11-12. Cf. SD. 509. 148 1 SD. omits this, See BhP. p. 246. 1. 13-14. 48

379 LIMBS OF SEGMENTS XXI, 12

Five stages of the Action 6. The exertion of the Hero (lit. one who strives) CHAPTER TWENTYONE towards the object to be attained is known to have five stages

LIMBS OF SEGMENTS occurring according to their due order.1 7. These stages [of the Action] are known to arise in Five Segments of the Plot · the Nataka and the Prakarana. And [their] Fruition (phala- 1. The Plot (itivrtta)1 has been called the body of the yoga) relates to duty (dbarma), enjoyment of pleasure (kama) drama (lit. poem). It is known to be divided into five and wealth (artha)1. Segments (sandhi)2. 8. The five stages area Beginning (prarambha), Effort

Two kinds of the Plot (prayatna), Possibility of Attainment (prapti-sambhava), Cer-

2. The Plot is of two kindsg Principal (adhikarika) tainty of Attainment (niyata-prapti) and Attainment of the

and subsidiary (prasangika).1 Object (phala-prāpti). Beginning Definition of the two 9. That part of the play (lit. composition) which merely 3. An [assemblage of] acts which are fabricated with creates a curiosity about the Attainment of the great Object a view to [lit. by reason of] the attainment of [some parti- with reference to the Seed (bija), is called the Beginning cular] result, is to be known as the Principal Plot. [Acts] (arambba).1 other than these constitute a Subsidiary Plot.1 Effort 4-5. The attainment of the object and its exaltation 10. [Hero's] striving towards the Attainment of the which the ingenuity of the playwright (lit. poet) plans by Object when the same is not in view, and his steps exciting means of the associated characters (lit. Heroes) acting in a curiosity [about it], is called the Efforts (prayatna).1 regular manner (lit. reasorting to rules), constitute the Possibility of Attainment Principal Plot on account of an attainment of the result. 1I. When the Attainment of the Object is slightly sug- And any incident (lit. anything) mentioned for helping any gested by some Psychological State [of the Hero], it is to be other [incident] in it, is called the Subsidiary Plot.1 known as the Possibility of Attainment (prapti-sambhava).1 Certainty of Attainment

1 1 Also called vastu. Cf. DR, I. II, SD. 294-295. I2. When the Hero visualizes due to a Psychological

2 See DR. I. 22-23. Cf. SD, 330 and etc. See also NL. 216-217. 2 1 See DR.I. 11, SD. 295 and NL, 218-219. 6 1 Cf. NI. 55-56. 1 Cf, DR.I. 12-13, SD. 296-297; NL, 223-224. 8 1 Cf. DR. I. 19; SD. 324; NL. 57-58. 2 See above note I. 3 9 1 Cf. DR. 20; SD. 325; NL. 59-60, 4-5 1 See above 3 note 1 and NL. 228-229, I0 1 Cf. DR. I. 20; SD. 326; NL. 66, ª Cf. Ag. II 1 Cf. DR. I. 21; SD. 327; NL. 69-70.

XXI. 13 THE NATYASASTRA 380 381 LIMBS OF SEGMENTS XXI. 24

State [of his], a sure attainment of the Object, it is called Five Elements of the Plot Certainty of Attainment (niyata phala-prapti).1 20. The five stages of the Plot such as the Beginning Attainment of the Object (arambha)1 etc. have five means of attaining objects of the 13. When a suitable Result of intended actions appears Plot (artha-prakrti)2. in full at the end of events [of a play], it is called 21. The Seed (bija), the Vital Drop (bindw=semen), Attainment of the Object (phala-yoga).1 the Episode (pataka), the Episodical Incident (prakari) and the 14. These are the five successive stages of every action Action (karya) are the five Elements of the Plot1, which begun by persons looking for results. should be reckoned and applied in a proper manner. 15. Putting together of all these naturally different Seed stages which come together [in a play] for the production 22. That which scattered in a small measure, expands of the result, conduces towards the fruition [of the Seed]. itself in various ways and ends in fruition, is called the Seed1 Play to begin with the Principal Plot of the Plot. 16. The Principal Plot which has been described before Vital Drop

should be taken up at the Beginning [of a play], for it is to 23. That which sustains the continuity (lit- non-separa- end in fruition (i.e. Attainment of the Object). tion) till the end of the play even when the chief object [of 17. The Plot may either have all the Segments the play] is [for the time being] suspended, is called the or lack some of them. The [general] rule requires that all Vital Drop (bindu)1. the Segments should occur in it; but due to a [special] reason Episode

some of them may be left out.1 24. The event which is introduced in the interest of

Rules about the omission of Segments the Principal [Plot] and is treated like it, is called an Episode1.

1,8. If one Segment is to be omitted then the fourth one 20 1 See DR. I. 19; SD. 324 NL. 57-58. goes; in course of an omission of the two Segments, the third ª See DR. I. 18; SD. 317; NL. 134-135. and the fourth are to be left out, and in case of the three to 2I 1 See above 20 note 2. be omitted, the second, the third and the fourth should be 22 1 Cf. DR. I. 17; SD. 318; NL. 136-137. 23 1 Cf. DR. I. 17; SD. 319; NL. giving a second view about the mean- given up. ing of the bindu says :- अन्ये तु, यद्धि नाटकार्थस्य प्रकृतिभूतमवमानोत्साहाभ्यां प्रत्यङ्गं 19. In case of the Subsidiary Plot this rule will not परिकोर्त्यते स बिन्दुः। यथा राधवाभ्युदये केकय्याः प्रत्यङ्कमुत्कीतनम्। वेरायां च कीत्यते apply; for it is to serve the purpose of another [Plot]. Any द्रौपदीकेशाकर्षराम्। उत्साहे च नागानन्दे जीभूतवाहनस्य सर्वाङ्के कीर्तनमिति। सच event can be introduced in this [Subsidiary Plot] without कार्यस्य समाप्तिं यावत् प्रर्वतथितव्यः (159ff. 173ff.) There is a third view also;

violating the rule. see NL. 183ff. But bindu literally means 'semen'. Cf. मरणां बिन्दुपातेन जीवनं बिन्दुधारणात्

I2 1 Cf. DR I. 21; SD. 328; NL. 77. 24 1 Cf. DR. I. 13; SD. 320; NL. gives also a second view about the

13 1 Cf. DR. I. 22; SD. 329; NL. 89. 1 See NL. 442ff. (195ff.). meaning of the pataka as follows: अन्ये पताकेत्युपनायकचरितमेव स्थूलार्थमुपवर्णायन्ति I7

XXI. 25 THE NATYASASTRA 382 383 LIMBS OF SEGMENTS XXI. 36 Episodical Incident bhava), it is called Episode Indication (pataka-sthāna).1 25 When merely the result of such an event is pre- The First Episode Indication sented for the purpose of another (i.e. the Principal Plot) and it has no continuation it is called the Episodical Incident.1 31. The sudden development of a novel meaning (arth- sampatti) due to an indirect suggestion, is called the First Action Episode Indication1. 26. The efforts made for the purpose of the Principal Plot introduced [in a play] by the experts, is called the The Second Episode Indication

Action (kārya)1. 32. Words completely carrying double meaning and

27. Among these means that which has others for its expressed in a poetic language, are called the Second Episode

support (lit. purpose) and to which the rest are taken as Indication.1

subordinate, should be made prominent and not the remain- The Third Episode Indication

ing ones.1 33. That which suggests with courtesy the object [of a

Continuation in the Episode play] in a subtle manner and in the form of a dialogue, is called the Third Episode Indication.1 28, One or more Segment should be attached to the Episode. As these serve the purpose of the Principal [Plot] The Fourth Episode Indication

they are called Continuation (anubandha)1. 34. Words with a double meaning expressed in a well- knit poetic language and having a reference to something Limit of the Episode [other than what appears at first sight] is called the Fourth 29. The Episode should come to an end either at the Episode Indication.1 Development or at the Pause. Why? Because its treatment 35. The play (lit. poetical composition) meant to be is for the purpose of something else (i.e, the Principal Plot). acted should have at most four Episode Indications Episode Indication (patākāsthānaka)1. I shall next speak of this made up of five 30. When some matter being taken in hand (lit. already Segments. thought about), another matter of similar nature (lit. charac- Five Segments teristics) is suggested through an accidental idea (agantuka- 36. The five Segments of a play are the Opening (mukha), the Progression (pratimukha), the Development 25 1 As opposed to this, the pataka possesses continuity. Anubandho nairantaryena pravartanam (NL. 204). 30 1 DR. (I. 14) merely defines the term, and ignores its varieties. But 2 Cf. DR. I. 13; SD. 321 NL. 199ff. SD. (298-299) follows NS. and defines them. See NL. 1000-1001. Sāgara- 26 1Cf, DR. I. 16; SD. 323; NL. 209ff. nandin says that these should not be applied to the last Segment (nirvabana). 31 1 See SD. 300; NL. 1007. 27 1 Cf. NL. 234ff. 28 1 Ag. and others read anubandba as anusandbi. Cf. DR. III. 26-27. 32 1 See SD. 301 and NL, 1015. See 25 above. 33 1 See SD. 302; NL. 1021-1022. 34 1 See SD. 303; NL. 1033.

XXI. 37 THE NATYASASTRA 384 385 LIMBS OF SEGMENTS XXI. 50 (garbha), the Pause (vimarsa) and the Conclusion (nirvahana)1. (bija), when they have attained fruition, is called the 37. The Principal [Plot] is known to be consisting of Conclusion (nirvahana1. five Segments (sandhi). The remaining Segments are 43. These are the Segments of a Nataka, to be known to be subordinated to the Segments of the Principal [Plot]1. by the producers of a drama. They may occur in the Opening Prakarana and the other types of plays as well. 38. That part of a play, in which the creation of the Segments vary in different types of drama Seed (bija) as the source of many objects and Sentiments 44. The Dima1 and the Samavakāraa are to have four takes place, is called in relation to its body the Opening.' Segments, and the playwright should never make the Pause Progression (vimarsa) in them. 39. Uncovering of the Seed placed at the Opening 45. The Vyayoga1 and the Ihamrga2 are to have three after it has sometimes been perceptible and sometimes Segments. There should be no Development and Pause been lost, is called the Progression.1 (avamarsa= vimarsa) in these two, and the Graceful (kaisiki) Development Style also has no place in them. 40. The sprouting of the Seed, its attainment or non- 46. The Prahasana1 the Vithi2, the Anka3 and the attainment and search for it, is called the Development Bhana4 are the to have only two Segments which should be (garbha)1. the Opening (mukha) and the Conclusion (nirvahana), and Pause their Style should be the Verbal one (bharati). 41. One's pause (vimarsa, lit. deliberation) over the 47. These are the Segments to be planned by the pro- Seed (bija) that has sprouted in the Development (garbha) on ducers in the ten types of play, Listen now about the contents account of some temptation, anger or distress, is called the of the Segments which are as it were their limbs. Segment of that name (i.e. Pause)1. Distinction of the Segments Conclusion 48-50. Contents of the Segments which give them 42. Bringing together the objects [of the Segments] distinction are twentyone&1 Conciliation (sama), such as the Opening (mukha) etc. along wirh the Seed Dissention (bheda), Making Gifts (pradana), Chastisement (danda), Killing (vadha), Presence of mind (pratyut- 36 1 See DR. I. 23-24; SD. 331-332; NL. 458. These Segments do not necessary coincide with Acts. One Segment may well include more than one Act. 37 1 These relate to the Subsidiary Plot. 42 1 Cf. DR. I. 48-49; SD. 337; NL. 554f. ª See ibid 78ff. 38 1 See DR. I. 24-25; SD. 333; NL. 536f, quotes NS. 44 1 See NS. XX. 90ff. 45 1 See NS, XX. 48f. See ibid. 64f. 39 1 Cf. DR. I. 30; SD. 334; NL. 634f, 46 1 See NS. XX. 102ff. 2 See ibid 112ff. 40 1 Cf. DR. I. 36; SD. 335; NL. 710f. 3 See ibid 94ff. 4 See ibid 107ff. 41 DR. I. 53 calls this avamarsa, SD. 336; NL. 770ff, gives two more definitions of this Segment. 48.50 1 B. om. 48-50. NL. 925ff. seems to give this passage in a form more correct. All these items are for giving an impetus to the Action 49

XXI. 51 THE NATYASASTRA 386 387 LIMBS OF SEGMENTS XXI. 66

panna-matitva), Blunder in Addressing (gotra-skhalita), playwright should give them the Limbs in proper places and with Rashness (sahasa), Terror (bhaya), Imaginative Fancy (dbi), proper sentiments. Now listen properly about about them, Deceit (maya), Anger (krodha), Strength (ojas), Concealment Sixtyfour Limbs of the Segments (samvarana), Error (bhranti), Ascettainment (avadharana), 58-59. The Limbs of the Opening (mukha) are; Messenger (dūta), Letter (lekha), Dream (svapna), Portrait Suggestion (upaksepa), Enlargement (parikara), Establishment (citra) and Intoxication (mada).1 (parin yāsa), Allurement (vilobhana), Decision (yukti) Acces- Segments and their limbs sion (prapti), Settling (samadbana), Conflict of Feeling 51. The events in the Segments in their respective (vidhana), Surprise (paribbavana), Disclosure (udbheda), parts (pradesa) will in due order support those Limbs [of the Activity (karana), and Incitement (bheda). Now listen about Segments] by means of their own qualities.1 the Limbs in the Progression1.

Sixfold need of the Limbs of the Segments 60-61. The Limbs of the Progression (pratimukha) are

52-53. Expressing the desired object, non-omission of Amorousness (vilasa), Pursuit (parisarpa), Refusal (vidhūta),

any cssential item in the Plot, attaing the quality of pleasing Pessimism (tāpana), Joke (narma), Flash of Joke (narmadyuti),

in production, concealment of the objects to be concealed, Moving Forward (paryupasana), Sweet Words (puspa),

telling tales of surprise and disclosing things to be disclosed Thunderbolt (vajra)1. Referenee (upanyasa), Meeting of easts

are the sixfold needs of the Limbs described in the Sastra1. (varnasamhāra).

Uses of the Limbs of Segments 62-64. The Limbs of the Development (garbha) areg

54. Just as a man deficient in his [limbs is unable] Mis-statement (abhutabarana), Indication (marga), Supposition

to fight a battle,so a play deficient in the limbs [of Segments] (rūpa), Exaggeration (udaharana), Progress (krama), Propitia-

will be unfit for [succassful] production1. tion (samgraba), Deduction (anumana), Supplication (prartha-

55. A play (lit. a poem) though it may be poor as na), Revelation (aksipta), Quarrel (totaka), Outwitting

regards its theme (lit. meaning) will, when furnished with (adhibala), Dismay (udvega) and Consternation (vidrava)1.

requisite Limbs, attain beauty because of the brilliance of its 64-66. The Limbs of the Pause (vimarsa= avamrsa) are

production. Censure (apavada), Angry Words (sampheta) Insolence

56. And a play having a lofty theme, but devoid of (abhidrava), Placation (sakti), Assertion (vyavasaya), Mention

[requisite] Limbs, will never capture the mind of the good (prasanga), Injury (druti), Lassitude (kheda), Opposition

[critics] because of its [possible] poor production. (nisedhana), Altercation (virodhana), Sumning up (adana),

57. Hence in planning the Segments [in a drama] the Humiliation (sadana), and Foresight (prarocana)1.

58-59 1 See DR. I. 25-26; SD. 338; NL. 552ff. 51 1 See NL. 923. 60-61 1 DR. I. 31-32 reads samana for tapana; SD. 351. NL. 645ff. 52-53 1 Cf. DR. I. 55; SD. 407ffi. 62-64 1 DR. I. 37-38, omits prarthana and vidrava, adds sambhrama, and

54 1 Cf, SD. 407ff. gives āksipta as āksepa; SD. 365. See NL. 724ff. 64-66 1 DR. I. 44-45. omits abbidrava, kheda, nisedbana and sadana and

XXI. 66 THE NATYASASTRA 388 389 LIMBS OF SEGMENTS XXI. 75 66-68. The Limbs of the Conclusion are3 Junction (san- Decision dhi), Awakening (vibodha), Assembling (grathana), Ascertain- Settling the issues is called Decision (yukti)2. ment (nirnaya), Conversation (paribhasana), Confirmation Accession (dhrti), Gratification (prasada), Joy (ananda), Deliverance 72. Accession (prapti) is summing up the purpose of (samaya), Surprise (apaguhana), Clever Speech (bhāsana), the Opening (mukha)1. Retrospect (pūrva-vakya), Termination of the Play (kāvya-sam- Settling bara) and Benedication (prasasti)1. These are the sixtyfore Settling (samadhana) is summing up the purpose of the Limbs of the Segments [in a play]2. Seed (bija)2. Limbs of the Opening Conflict of Feelings 69. I shall now give their definitions in due order1, 73. Joys and sorrows occurring in a situation, is called Suggestion confict of Feelings (vidhana)1. Suggestion (upaksepa) is the origin of the object of the Surprise play2. Surprise (paribbavana) is an excitement giving rise to Enlargement Establishment curiosity2. 70, Enlargement (parikara) is the amplification of the Disclosure object originated.1 74. The sprouting of the purpose of the Seed (bija), is Describing it (i.e. the object) thoroughly is called Esta- called Disclosure (udbheda)1, blishment (parinyāsa)2. Activity Allurement Taking up the matter in question is called Activity (karana)2, 71. The mentioning of good qualities is known as Incitement Allurement (vilobhana). 75. That which is meant for disrupting an union is called Incitement (bheda)1. These are the limbs of the adds vidrava, drava chalana and vicalana; SD. 378ff. follows NS. except that abbidrava appears there as drava; see NL. 798f. Opening. 66-68 1 See SD. 391 reads krti as dhti. DR. I. 49-50 gives dbrti as Limbs of the Progression kṛti, pūrvavākya as pūrvabbāva, upasambāra as kāvyasambāra. NL. 250ff. omits I shall now speak of those of the Progression (pratimukha). sandhi and vibodha, gives dhrti as dyuti, and gives instead of the first two artha and anuyoga. 2 See SD. 343; DR. I. 28; Haas translates it differently. SD. 343 and 2 Cf. DR. I. 40; SD. 374; NL. 755. NL. 593 seem to misunderstand this definition. 69 1 C. reads before this another couplet which in trans. is as follows: 72 1 See NL. 598-599. DR, I. 28; and SD. 344 follows what seems to be For the development of the Seed, all these (i.e. 64 limbs) should make up the a wrong reading of the NS. 2 See NL. 605f. Cf. DR. I. 28 ; SD. 345. Segments properly and have clear meanings. This does not occur in K. 73 1 See DR. I. 28; SD. 346; NL. 609-610. 2 See NL. 556; SD. 338 Cf. DR. I. 27. 2 See NL. 617; Cf. DR, I. 29; SD. 347. 70 1 See NL. 569; SD. 340; DR. I. 27. 74 1 See SD. 348; NL. 620. Cf, DR. I. 29. 2 See NL. 575; SD. 341; DR. I. 27. ª See SD. 349; NL. 623. Cf. DR. I. 29. 71 1 See DR. I. 27; SD. 342; NL. 586. 75 1 See NL, 626; SD. 350. Cf. DR. I. 29.

XXI. 76 THE NATYASASTRA 390 391 LIMBS OF SEGMENTS XXI. 83

Amorousness Pacification 76. Amorousness (vilasa) is the desire for the sport of 80. Conciliating an angry person is called Pacification love (rati)1. (paryupāsana)1. Pursuit Sweet Words Pursuit (parisarpa)2 is the pursuing of an object once Mentioning some favourable peculiarity is called Sweet seen and then lost. Words (puspa, lit. flower)2. Refusal Thunderbolt 77. Refusal (vidhūta)' is not complying with the request 81. Harsh words uttered on one's face is called Thunder- made [by any one]. bolt (vajra)1. Pessimism Reference Thinking about (lit. seeing) some danger [in future] is Reference (upanyasa) is a remark based on reason. called Pessimism (tāpana)2. Meeting of Castes Joke 78. The laughter which is meant for sports, is called 82. Coming together of the four castes is called Meeting ot Castes1. These are the Limbs of the Progression. Joke (narma)1. Flash of Joke Limbs of the Development

The laughter which is meant for concealing one's fault Now listen about those in the Development (garbha).

is called Flash of Joke (narma-dyuti)2. Mis-statement

Moving Forward 83. [A speech] founded on deceit is called Mis-state-

79. Speaking words which bring in other words after ment (kapatâsraya)1.

them is called Moving Forward (pragamana)1. Indication

Hindrance Speaking out [one's] real intention (lit. reality) is called

Appearance of some calamity is called Hindrance Indication (marga)2.

(nirodha)2. 80 1 See NL. 687. Cf. DR. I. 34; SD. 360. 76 1 See SD. 352; NL. 650ff. Cf. DR. I. 32, 3 Cf. DR. I. 34; SD. 361; NL. 691. 2 See SD. 353; DR. I. 32-33. Cf. NL. 657. 81 ' Cf. NL. 697; I, 35; SD. 362. 77 1 Cf. NL. 663; DR. I, 33 and SD. 354. 2 See NL. 700; cf. DR. I. 35; SD. 363ff. defines it differently and refers to 2 See NL. 669. Cf. SD. 355 defines it as upayadarsana. DR. defines sama the view of the NS as kecit tu etc. instead of tāpana (I.33). 82 1 NL. 704ff. defines it as varnitasyârthasya tiraskarab (concealing the 78 1 Cf. DR. I. 33; DR. 356; NL. 1310ff. matter expressed), and refers to the view of the NS. as caturnām varnanam 2 Cf. DR. I. 33; SD. 357; NL. 672. sammelanam api ke'pi varnayanti. See SD. 364; DR. I. 35. 79 1 Cf. NL. 676; DR. I. 34; SD. 358. 83 1 Cf. DR. 1. 38; SD. 365; NL. 727. 2 See NL. 683; DR. I.34; SD. 358 2 Cf. SD. 366; NL. 730; DR. 1. 38.

XXI. 84 THE NATYASASTRA 392 393 LIMBS OF SEGMENTS XXI. 92

Supposition Dismay 84. A hypothesis with which novel meanings are com- Fear arising from a king, an enemy or a robber is called bined, is called Supposition (rūpa)1. Dismay (udvega)2. Exaggeration Panicky Commotion A speech with an overstatement is called Exaggeration 89. Flurry caused by fear from a king or fire is (udabarana)2. called Panicky Commotion (vidrava)1. Progress These are the Limbs in the Development (garbha). 85. Foreseeing of what is coming afterwards, is called Limbs of the Pause Progress (krama)1. Propitiation Now listen about those in the Pause (avamarsa = vimarsa). Censure Contact for the use of sweet words and gift, is called Protection (samgraha)2. 90. Proclaiming anyone's fault is called Censure

Deduction (apavāda).1

86. Perceiving something by the name of a thing similar 'Angry Words

to it in from, is called Deduction (anumana)1. Words spoken in anger are called. Angry Words

Supplication (sampheta)2.

Request for love's enjoyment (rati), rejoicing festivity and 91. Transgression of the superiors is called Insolence

the like, is called Supplication (prarthana)2. (abhi-drava)1. Placation Revelation Coming into conflict [with anyone] is called Strength 87. The unfolding [of the Seed] in the Development (śakti)2. (garbha), is called Revelation (aksipta)1. Assertion Quarrel 92. A promise made on account of some reason is An angry speech is called Quarrel (totaka2.) called Assertion (vyavasāya)1. 88. Deception by means of a trick called Outwitting Mention (adbibala)1. Speaking of one's superiors is called Mention (prasanga).2

84 1Cf. DR. I. 39; SD. 367; NL. 735. 3 Cf. SD. 376; NL. 761; DR, I, 42. ª Cf. NL. 738; DR. I. 39; SD. 368. 89 1 Cf. DR. I. 42; SD. 377. NL. 766. 85 1 Cf. SD. 369; NL. 740; DR, I. 39. go 1 See NL, 801; Cf. DR. I. 45; SD. 378. 2 Cf. SD. 370; NL. 744; DR. 1, 40. 2 See NL, 807, Cf. DR. I. 45; SD. 379. 86 1 Cf. NL. 746; DR. 1. 40; SD. 371. 91 1 See NL. 813. SD. 381 and DR. I. 45, has drava in place of abbi- ª Cf. SD. 372; DR. I. 40. NL. 749. drava. 87 1 Cf. DR. I. 42 has aksepa; SD. 373 has ksipti=aksipti; NL. 751 Cf. NL. 819; DR. I. 49; SD. 383. has utksipta. 92 1 CE. NL. 824; SD. 380 DR. I. 47. 88 1 Cf. SD. 375; DR. I. 40; NL. 758. 2 Cf. DR. I. 46; SD. 384. NL. 826 defines differenely. 50

XXI. 93 THE NATYASASTRA 394 395 LIMBS OF SEGMENTS XXI. 100 Injury Juncture 1. 93. Words spoken in contempt are called Injury (druti)' The coming up of the Opening (mukba) and the Lassitude 97. Seed is called a Juncture (sandbi)1. Fatigue arising from a mental effort is called Lassitude Awakening (kheda).2 Opposition Looking duly for the Action (karya) is called Awakening (vibodha)2 94. Obstruction to one's desired object is called Opposition (nisedha)'. Assembling

5 Altercation 98. Intimation of [the various aspects] of the Action

Speaking and counter-speaking in excitement is called is called Assembling (grathana)1.

Altercation (virodhana)2. Ascertainment

Summing wp Declaration of facts personally known is called Asertain-

95. Bringing together (lit. attaining) [all aspects] of the ment (nirnaya)2. Seed (bija) and the Action, is called Summing up (adana)'. Accusation

Humiliation 99. That which is said to blame someone, is called Putting in insulting words for some purpose, is called Accusation (paribhasana)1. Humiliation (sadana)2. Confirmation Foresight Turning to use (lit. going) the object gained is called 96. That which expresses the purpose of the Conclusion Achievement (krti)2. (sambara) [in advance], is called Fotesight (prarocana)'. Gratification These are the limbs in Pause (avamrsa= vimarsa). 100. Treating one with waiting upon or the like, is Limbs in Conclusion is called Gratification (prasada)1. Now listen about those in the Conclusion (samhara= Joy nirvahana). Attaining objects [of one's desire] is called Joy (ananda)2.

93 1 Cf. NL. 829; DR. I. 46, SD. 382; SD. 385. 9 Cf, NL. 832; SD. 385. 97 1 Cf. DR. 1, 51; SD. 392. 94 1 Cf. NL. 838, and SD. 386. ª Cf. DR. I. 51; SD. 393. 2 Cf. DR. I. 47, NL. 840; SD. 387. 98 1 Cf. DR. I. 51, SD. 394: NL. 864. 95 1 See NL. 844, DR. I. 48; SD. 389. 2 Cf. S. 395; DR. I. 51; NL. 870 2 See NL. 848. DR. I, 46 has wrongly chalana for sadana SD. 390 also 99 1 Cf. NL. 873; SD. 396, DR. I. 52 defines the Limb differently. has chadana wrongly. ' Cf, DR. I. 53; SD. 397. 96 1 See SD. 388; NL. 850. DR. I, 47. 100 1 Cf. NL. 879; SD. 398; DR; I. 52. Cf, NL. 881; SD, 399; DR. I. 52.

XXI. 101 THE NATYASASTRA 396 397 LIMBS OF SEGMENTS XXI. 110 Deliverence Five Explanatory Devices 101. Passing away of all misery, is called Deliverance 106. The Supporting Scene (viskambhaka), the Intima- (samaya)1. ting Speech (cūlika), the Introductory Scene (pravesaka), the Surprise Transitional Scene (ankâvatara), and the Anticipatory Scene Appearence of something wonderful is called Surprise (ankamukha) are five Explanatory Devices (arthopaksepaka)1. (upagūhana)2. A Supporting Scene Clever Speech 107. A Supporting Scene (viskambhaka)1 should 102. Words mentioning conciliation, gift and the like employ the middling2 male characters, and relate to the are called Clever Speech (bhasana)1. opening Segment (mukhasandhi)3 only of the Nātaka, Retrospect and it is [to be] graced by a priest, minister or Kañcukin Retrospect (pūrva-vakya)2 is to be understood as a reference (armour-bearer). to something spoken before. 108. A Supporting Scene is of two kindsa pure and Termination mixed. Of these the pure is made up of the middling 103. Giving and receiving of a boon is called Termina- characters, and the mixed of the infetior and the middling tion (kāvya-samhāra)1. ones.

Benediction An Intimating Speech

[A prayer seeking perfect] peace to the king and the 109. When some points are explained by a superior, country is called Benediction (prasasti)2. middling or inferior character from behind the curtain, it is 104. With a view to introducing Sentiments (rasa) and called an Intimating Speech (cūlika)1. Psychological States an expert playwright should insert all IIO. An Introductory Scene (pravesaka) in relation to these Limbs into appropriate Segments of his wotk1. the Nataka and the Prakarana, is to occupy a place between 105. Considering [the scope] of the Action or its two Acts and to treat the summary of the Segments.1

condition he may sometime insert all the Limbs or a com- bination of two or three [of them] into the Segments.1 106 1 Cf. DR. I. 58; SD. 308. NL 393. Haas translates arthopaksepaka as "Intermediate Scenes," see p. 33. complete scenes; vide infra. But the 'Explanatory Devices' are all not 107 1 Cf. SD. 308; DR. 338; DR. 1. 59 NL. 362 f. quotes the view of 101 1 Cf. DR. I. 52; SD. 400; NL. 883. Carayana as follows: प्रकरणनाटकविषयो विष्कम्भक इति. (Viskambbaka relates to 2 Cf. NL. 889; SD. 401; DR. I. 53. the Prakarana and the Nataka only). It seems that such was the case at a later stage of the development of Indian drama. First it related to the Natakas 102 1 Cf. SD. 402; DR. I. 53. NL. 891. only. Also cf. XX. 36ff. 2 Cf. NL. 891; SD. 403. 2 For a definition of the middling character see XXXIV. 4 103 1 See SD. 404; cf. NL. 895, DR. I. 54. 3 According to this direction the viskambhaka at the beginning of Panca, ª Cf. SD. 407, NL. 897, DR. 1. 54. would be an ideal one. 104 1 Cf. SD. 406; NL. 906. 109 1 Cf. NL. 414 f., 438f .; DR. I. 61; SD. 310. 105 1 See above 104 note I. 110 1 Cf. DR. I. 60-61; SD 309; NL. 307ff,

XXI. III THE NATYASASTRA 398 399 LIMBS OF SEGMENTS XXI. 124

A Transitional Scene enjoyments, exalted speeches, characters of great people, III. As in practice it falls between two Acts, or within description of good conduct, and it should be popular, an Act, and relates to the purpose of the Seed (bija), it is wellknit in its Segments, easy for production [on the stage], called a Transitional Scene (ankâvatara). composed with soft words, and capable of giving pleasure. An Anticipatory Scene 1,17. The condition of the world arising from the

II2. When the detatched beginning of an Act is happiness and misery and connected with the activity of summarized beforehand by a male or a female character, it is various people, should find a place in the Nātaka1. called a Anticipatory Scene (ankamukha)1 1,18. There is no wise maxim, no learning, no art or An ideal Nataka craft, no device and no action that are not found in the drama 113-116 The playwright should write a Nataka having (nātya)1. [different] Styles and minor Limbs (pratyanga)1, Episode 119. And the human nature with its joys and sorrows Indication (pataka)2 Explanatory Devices (athapratikrya)3 depicted by the means of representation such as Gestures, arising from the five stages (avastba)4 having five Segments [Words, Costume and Sattva] is also called a drama (sandbi)5, twentyone Distinction of Segments6, sixtyfour Limbs (nātya)'. (anga)1, thirtysix laksanas8, Gunas (excellenee)9 and figures 120. A mimicry of the past exploits of gods, sages, and of speech (alamkara)10, many Sentiments11, topics of many human beings should be also called a drama1. 121. As [this] is represented (abhiniyate) and inter- III 1 Cf. DR. I 62-63; SD. 311; NL. 398-399. The def. is not very preted by the actors who after suppressing their own clear, The ankâvatara seems to furnish an indication of the subject-matter of nature make [for this purpose] various movement of their the next Act. An example of this seems to be the dialogue of the Ceti and Väsavadattā at the end of the Act II. of Svapna. This relates to the making different limbs, it is called the Nataka1. of a garland by Vāsavadattā. Another example may be Avimaraka in the 122. The Nataka is to be so composed as to iñclude all second Act (See Avi. II. 5-6). This gives a clue to the subject-matter of the Psychological States, Sentiments, inclination to all deeds, and next Act which treats Avimaraka's entry into the royal harem. 112 1 The ankamukba seems to relate mostly- to plays other than of the the various conditions [of men and nature]1. Nataka and the Prakarana types. Examples of this are perhaps the speeches 123. Those arts and crafts which are products of unique of the Bhata in the beginning of the Karna, and of the Dutagha., The reason efforts should in their endless froms be applied in the Nataka1. for the above assumption is that the rules prescribe viskambhaka for Nātakas only (see 107), and pravesakas for both Nātakas and Prakaranas (see 110). Cf, 124. One is to construct a Nataka [only] after observ- DR. I. 62; SD. 312, 313; NL. 408. 113-116 1 Pratyanga has not been defined anywhere. It is possible that the reading is corrupt. 117 2 Pataka here stands for pataka-sthanaka just as "Bhima" for "Bhimasena;" 1 Cf. I. 120 118 see above 30ff. 1 See 1. 116 3 Arthapratikriya is only a synonym of arthaprakari. See before 20ff. : 119 1 See I. 121 4 See before 6ff. 5 See before 35ff. 120 1 See I. 120 € See before 48Æ. 7 See before 58ff. 8 See XVII. Iff. 121 1 This very clearly defines the artistic character of drama. ' 9 See XVII. 96ff. 10 See XVII.43ff. 11 See VI. 123 1 Cf. 1. 113

XXI. 125 THE NATYASASTRA 400 ing the people's character, strength and weakness and their [mode of] enjoyment and reasoning1. 125. In succeeding ages men will mostly be difficient CHAPTER TWENTYTWO

in wisdom; hence those who will be born [after us] will have STYLES

small learning and intellect. 126. When the world deteriorates, men's intellect, Origin of Styles

[production of] crafts and skill in arts will dwindle. I. I shall now narrate fully (lit. from the beginning)

127. Hence after observing the strength and the the [story of the] rise of Styles (urtti) and [in relation to

weakness of human feeling, one should compose the Nātaka them] the origin and the formation of dramas.1

with pleasent and easily intelligible words. 2-3. When Lord Acyuta (Visnu) after reducting the

128. The plays (lit. poems) which contain [harsh], universe into a single [vast] ocean and compressing the crea-

words like cekridita1 is repulsive (lit. do not shine) like a tion [into a seed] by his supernatural power, was lying on the

courtezan in the company of a Brahmin bearing a Kamandalu. couch of a snake, the two Asuras, Madhu and Kaitabha

129. O Brahmins, I have spoken about the Plot with maddened with the pride of their strength, challenged the

its Segments and Limbs. I shall hereafter speak of the god at once for battle.1

characteristics of the Styles. 4-5. These two, after making gestures of challenge, (lit. rubbing their arms) fought the imperishable lord Visnu (bhūta- Here ends chapter XXI of Bharata's Nātyasāstta, bhavana, lit. the creator of beings) with their fists and legs which treats of the Limbs of the Segments (lit. knees), and while doing so the two parties also abused each other with harsh words, and shook, as it were, the ocean with their reviling speech.1 Origin of the Verbal Style 6-7. Hearing the various [abusive] words of these two who were theratening [Vișnu], Druhina (Brahmā) was slightly perturbed in mind and said, "Is it the bharati vrtti that starts with these words [for the fighters] and goes on increasing gradually?, Kill the two [at once].'

I 1 Sagaranandin explains the urtti differently. See NL. 1044ff. 2-3 1 The story of Naräyana's reducing the three worlds into 'a single ocean, occurs in the Rām. VII. 72; Kūrma P. XIII. See JK. under Visnu 1 This puts emphasis on developing characters in a drama. (8) and Nārāyaņa (8). 124 128 1 Bhasa actually uses the root of this verb in his Avi. (III. 18 0). 4-5 1 Madhu and Kaitabha charged Narayana with the theft of the Vedas. Rām. VII. 72. See JK. under Kaițabha. 51

XXII. 8 THE NATYASASTRA 403 TEN STYLES XXII. 23 402 8-10. Hearing these words of Pitamaha (Brahma), 15. Whatever acts [of Visnu] the god Brahma observed Madhusudana (Visnu) said, "Yes, I have made this bharati as arising out of the different Styles (vrtti), were associated by vrtti for the purpose of doing my work. It will be the bharati him (Druhina =Brahma) with words suitable to their vrtti of the speaker, in which words will preponderate. I shall meaning. kill these two Asuras today. "So saying Hari (Visnu) with his 16. When the two Asuras, Madhu and Kaitabha were pure and perfect gestures,1 and Angaharas2 severely fought killed by Hari (Visnu), Brahma spoke to him (Narayana= the two Daityas who were experts in ihe method of battle. Vișnu) who was the subdduer of foes (arindama). II. At that time Hari's pacing with the Sthanakas1 on the ground created a great bhara (burden) on the earth Origin of the Nyaya (bhūmi); the bharati vrtti (Verbal Style) was built on that (bhara).2 17-18. O god, thou hast killed the Danavas with

Origin of the Grand Style varied, pure, expressive and graceful Angahāras; hence this method of personal combat [applicable] to throwing all kinds 12. And at that [very] time, by the rebounding of the of missiles will be termed in this world, as Nyāya.1 bow named Sarnga which was intensely brilliant, steady, and 19. Nyäyas1 are celebrated because this fighting has by an excess of unperturbed sattva (strength), the sattvati been made with the Angaharas which are associated as vrtti (Grand Style) was made.1 well as genetically connected with them. Origin of the Graceful Style 20. Then the high-souled Druhina (Brahma) gave over

13. When [in course of fighting] the god moved sport- to the gods this [Style] full of various Psychological States ively with various Angaharas and tied up his kot of the śikha and Sentiments, [for its use] in the production of plays. (keśa ?) the kaisikī vrtti (Graceful Style) was made.1 21-22. The name Style (urtti) was made a repository of the various Psychological States and Sentiments. And what- Origin of the Energetic Style ever was made and in whatever manner, the exploits of the 14. Then from the various ways of personal combats which were full of energy and excitement, and which entailed god (Visnu) were utilised by the sages in fashioning the similar Styles arising from the Words and the Gestures which various Caris, the Energetic Style (arabhati vrtti) was made.1 have their origin in materials taken from the Nātyaveda, and

8-10 1 angaib here means angikaib and angaharaih. which also have Words and Gestures as their chief 2 See IV. 19-27, 170ff. characteristics. II 1 See XI. 49ff. 23. These Styles which were desired, wellborn and full 2 This is a clear instance of folk-etymology and does not really explain the origin of this Style. It possibly came from the Bharata tribe; see I. 41 f.n. 12 1 See above II note 2. 13 1 See above II note 2. 17-18 1 See XI. 74ff. 14 1 See above II note 2. 19 1 See IV. 170ff.

XXII. 24 THE NATYASASTRA 4°4 405 TEN STYLES XXII. 35

of various Caris, were again, taken by me at Druhina's com- Five varieties of the Introduction mand, for the purpose of making plays (lit. poem).' 30. The Accidental Interpretation (udgbatyaka), the 24. The Verbal Style (bharati vrtti) was from the Rgveda, the Grand (sattvati) from the Yajurveda, the Graceful (kaisiki) Opening of the Story (kathodgbata). the Particular Presenta- tion (prayogâtisaya), the Personal Business, (pravrttaka) and from the Samaveda and the remaining one (i. e. the the Transferrence (avalagita) are the five varieties of the Intro- Energetic or arabhati) from the Atharva-[veda].1 duction (amukba).1 25. The Style which is to be applied by the male 31. Of these the characteristics of the Accidental Inter- characters and not by females and which gives a prominent place to speeches made in Sanskrit, is used by the eponymous pretation (udghatyaka)' and the Transferrence (avalagita)2 have been mentioned by me. I shall now speak in detail of the bharatas (actors) as bhāratī (Verbal)1. characteristics of the rest.

Four varieties of the Verbal Style Opening of the Story 26. In has four varieties such as the Laudation 32. [That Introduction] in which a character enters (prarocana), the Introduction (amukha), the Vithi and the [the stage] taking up a remark of the Director or its meaning, Prahasana, and these have became its component parts (anga)1. is called the Opening of the Story.1 Laudation Particular Presentation 27. The Laudation (prarocana) in the Preliminaries is 33. When, over this production [of the Introduction] to attain success, prosperity, good luck, victory and removal the Director imposes another production and then a character of all sins.1 enters [the stage], it is called the Particular Presentation.1 Introduction or Prologue Personal Business 28-29. That part of a play where an actress,1 the Jester or the Assistant has a talk with the Director on some relevant 34. [The Introduction] in which the Director speaks on

topic, and they use interesting words or adopt any type of the some business in hand, and taking cue from this (lit. with its

Vithi or talk in any other way, is called the Introduction help) a character enters the stage, it is called the Personal

(amukba)1 or the Prologue (Prastavana) by some. I shall speak Business.1

in detail about its five varieties (lit. elements). 35. Working out skillfully any of this which may be relevant, the wise [playwright] should construct the Introduc- 24 1 This is a different story about the origin of the urttis. See before 2-14. 30 1 Cf. NL. 11-88-89 DR. III. 8, SD. 287. 25 1 NL. 1054ff. DR. II. 5; SD. 274, AP. modifies this def. by 31 1 See XX.117 Cf. NL. 1189; DR. III. 14 SD. 288. adding strīyuktā prākrtoktītā, Haas, on DR. III. 5 (p.81). 2 See XX. 118; NL. 1192. DR. III. 15; SD. 292. 26 1 Cf, NL. 1008-63; DR. III. 5; SD. 285. 32 1 Cf. NL. 1196; DR. III. 9; for an ex, see SD. 289. 27 1 Cf. NL. 1070-71ff ; DR. III. 6; SD. 286. 33 1 See NL. 1201-1202; DR. III. II; for an ex, see SD. 290. 28-29 1 Cf. NL. 1178-81, DR. III. 7 SD. 286. 34 1 Cf. NL. 1214-1215; SD. 291; for an ex, see DR. III. 10

XXII, 36 THE NATYASASTRA 406 407 TEN STYLES XXII. 47 tion (amukha) without encumbering it with [many] characters1 and speeches. Challenge 36. The wise are thus to know the Introduction with 42. One's rising up with a view to conflict after saying different bases. The characteristics of the Vithi1 and the "I am getting up [for battle, now] show me your own Prahasana2 have been mentioned before. prowess" is called the Challenge1. 37. These are the four varieties1, of the Verbal Style Change of Action I spoke of. I shall now explain the rules of the Grand 43. If after leaving the thing which caused the rising Style with its characteristies. up, one takes to other things due to some necessity, it is

The Grand Style called the Change of Action1 Harsh Discourse 38. The style which is endowed with the quality of the spirit (sattva), the Nyayas, [proper] metres and has exuberance 44. A dialogue containing various kinds of word of abuse whether these arise from contempt or not, is called of joy and suppression of the state of sorrow1, is called Grand2. Harsh Discourse' 39. Related to plays expressing the spirit (sattva) the Breach of Alliance Grand Style is known to consist of representation by Words 45. Disrupting an alliance for the sake of a policy in and Gestures. favour of a friend or due to an accident or [one's] own fault, 40. It is to contain the Sentiments such as Heroic, is called Breach of Alliance1. the Marvelleus and the Furious, and to a small extent the 46. These are the four varieties1 of the Grand Style that Pathetic and the Erotic; and characters in it should be mostly I spoke of. I shall hereafter describe the characteristics of the majestic and defying one another1 Graceful Style1.

Four varieties of the Grand Style The Graceful Style 47. That Style is called Graceful (kaisiki) which is 41. It is known to have the four varieties such as (utthapaka), Change of Action (parivartaka), Harsh Discourse specially interésting on account of charming costumes worn

(samlapaka) and Breach of Alliance (samghata)1. [by dramatis personae] mostly women, and in which many kinds of dancing and singing are included, and the themes acted are practices of love and are connected with (lit. arising 35 1 i.e. actress, Jester or the Assistant. See 28 above. from) its enjoyment1. 36 1 See XX. I1Iff. 2 See XX. 101ff. 37 1 See before 26-30. 38 1 This shows that no pathetic subject-matter should find a place in this 42 1 Cf. NL. 1276, 4278, also cf. DR. II. 54; SD. 416 Style. 43 1 Cf. DR. II. 55; SD. 419; NL. 1279-1282. 2 See NL. 1234ff. SD. 416. DR. II. 53. . 44 1 Cf. DR. II. 54; SD. 418, NL. 1288. 40 1 See NL. 1271-1273). 45 1 Cf. NL. 1298-1299; DR. II. 55; SD. 417. 41 1 Cf. DR. II. 53 SD. 416, NL. 1274ff. 46 1 See before 41, 44, 45. 7 1 Cf. SD. 411; DR. II. 47; NL. 1304ff.

XXII. 48 THE NATYASASTRA 409 TEN STYLES XXII. 58 408 Four varieties of the Graceful Style 54. These are the four varietes of the Graceful Style 48. The Graceful Style is said to have the four varieties that I was to speak about. I shall hereafter describe the Energetic Style which is concerned with a haughty such as Pleasantry (narma), Beginning of Pleasure (narma- spburja), Unfoldment of Pleasure (narma-sphota) and Covert Sentiment.

Pleasure (narma-garbha).1 The Energetic Style

Three kinds of Pleasantry 55. The Style which includes mostly the qualities of 49. The Pleasantry which abounds in remarks made in a bold person (arabhata) such as speaking many words1, jest, is of three kindsa that based on love, that with pure deception, bragging and falsehood, is to be known as Energe- tic2. laughter and that having Sentiments other than the Heroic1. 56. The Style in which there is a representation of 50. The Pleasantry is known as connected generally model work (pusta) falling down, jumping, crossing over, with acts of jealousy and anger mixed with words of rebuke and done in the guise of self-reproach and through to decep- piercing, deeds of magic and conjuration, and varied ways of fighting, is called Energetic1. tion of others. Beginning of Pleasantry Four varieties of the Energetic Style 51. The Beginning of Pleasantry is to be known as the 57. It has (four) varieties such as Compression (samksip- first meeting [of lovers] in which words and dresses exciting taka), Commotion (avapata), Elevation of the Plot (vastūttha- love [are in evidence], but which ends in fear1. pana) and Conflict (sampheta)1

Unfoldment of Pleasantry Compression 52. The Unfoldment of Pleasantry is the cause of the 58. Conforming to the purpose of the play Com- Sentiment contributed by short touches of different Psycholo- pression includes relevant crafts such as many kinds of gical States and not by any of them as a whole1. model works, drawings, and dresses, for a condensed Covert Pleasure representation of the Plot1.

53. When the Hero out of any necessity acts incognito through his qualities such as intelligence, [good] appearance 55 ''Many words' probably mean altercation or verbal duel. and affection, it is called Covert Pleasure1. ª Cf. NL, 1348 ff, DR. II. 56-57; SD. 420. 56 1 See above 55 note 2. C. adds one more def, (C.58) of the arabhati. In trans. it will be as follows: That which includes excitement due to an 48 1 Cf. DR. II. 48; SD, 411; NL. 1308ff. application of the sixfold policy (sadguna), running away due to deception of 49 1 Cf. DR. II, 48-50; SD. 412; NL. 1310. the enemy, and that which relates to [material] gain or loss, is called the 5r 1 Cf. NL. 1342-1343; DR. II. 51; SD. 413. Energetic Style. 52 1 Cf. DR. II. 51; SD. 414; NL, 1336 f. 1 Cf. NL. 1356 f. DR. II. 56-57. SD. 420. 53 1 According to Sagaranandin Arabhati .is an anga of the Gaudi vrtti: 58 1 Cf. DR. II. 57-58, SD. 422, NL, 1358 f. NL. 1385, Cf. DR. II. 52; SD. 415; NL. 1338 f. 52

XXII. 59 THE NATYASASTRA 4t0

Commotion 59. Commotion is known to relate to the occurrence CHAPTER TWENTYTHREE of fear and jubilation, panic, flurry, many kinds of speaking, quick entrance and exit1. COSTUMES AND MAKE-UP

Elevation of the Plot Necessity of the Costumes and Make-up 60. That deed which is including panic or is being 1. I shall speak in due order, O Brahmins, about the connected with as giving shelter to [anyone] and includes a Costumes and Make-up; for the entire production [of a play] combination of all the Sentiments is called Elevation of depends on these. the Plot1. Conflict 2, The Extraneous Representation (ahāryâbhinaya) deals

61. Conflict (sampheta) is known to include excitement, with the rules of the Costumes and Make-up (nepathya). Anyone who wishes for the success of a dramatic production many fights, personal combats, deception, betrayal and much should pay attention to these. striking of weapons1. 62. These are the Styles to be reckoned by the wise in 3. Different types1 of the 'dramatis personae indicated

connexion with the drama. Now listen about their applica- first by their Costumes and Make-up, accomplish the representation without much effort, by means of Gestures and tion in different Sentiments, which I am going to tell you. the like. Styles according to Sentiments 63-64. The Style in the Erotic and Comic Sentiments Four kinds of Costumes and Make-up should be Graceful, and in the Heroic, and the Marvellous 4. Costumes and Make-up are of four kindsg model Sentiments it should be Grand. And in the Terrible, the work (pusta), decoration (alamkara), painting the limbs (anga- Odious and the Furious Sentiments one should use the racana) and [the use of] living creatures (sanjiva). Energetic Style, while the Verbal Style is applicable to the Four kinds of model work Pathetic and the Marvellous Sentiments1. 65. I have spoken properly about the Histrionic Repre- 5. [Of these] the model work is of three kinds and of various forms. They are :; the Joined Object (sandhima), sentation dependent on Words, Gestures, Sattva, which cul- the Indicating Object (vyajima) and Moving Object minate in Styles. Now I shall treat of the Costumes and the (cestima). Make-up used in the production of plays. 6. The model work which is made up of mat, cloth, Here ends Chapter XXII of Bharata's Nātyasāstra, wbich treats of Styles skin and the like, is called the Joined Object (sandbima)1. 7. That which is made by means of a mechanical device 59 1 Cf. DR. II. 59. SD. 423; NL. 1368f. 60 1 Cf. DR. II. 59, SD. 420; NL. 1372f. 61 1 Cf. DR. II. 50; SD. 421; NL. 138of. 31 Nānāvastha- nānābhūtā yā sokadya nanabhutasrayas ca (Ag. p. 429). 63.64 1 Cf. NL. 1059-1562. DR. Il. 62; SD. 410. 6 1 Sandbimab-sandhānatayā nirvrttab (Ag. p. 429).

XXIII. 8 THE NATYASASTRA 412 413 COSTUMES AND MAKE-UP XXIII. 16

(yantra) is called an Indicating Object (vyajima)1 and that Worn ornaments

which can be made to move, is called a Moving Object 13. The ornaments to be worn (praksepya) are the (cestima).2 anklets (nupura) as well as the wearing apparels. 8. Hills, carriages, lofty palaces, shields, armours, Put-round ornaments banner-staffs and elephants1 which are constructed for use in And those [ornaments] to be put round (aropya) are the a dramatic performance are called model works. golden neck-chain (hema-sūtra) and necklaces (hara) of Decorations different kinds. 9 Decorations (alamkara) are known as attaching Ornament according to one's habitation and tribal origin differently fower-garlands, ornaments and drapery after observing the rules relating to different parts of the [human] 14. I shall now speak of the varieties of ornaments of

body. men and women according to their habitation and tribal

Garlands origin.

10. Garlands are of five kindsa encircling (vestita),1 Ornament for malesa

spread-up (vitata), grouped (samghatya),2 knotted (granthima), Head ornaments

and hung-down (pralambita). 15. The crest-jewel (cudamani)1 and the crown (mukuta)2 Four kinds of ornament are called ornaments of the head.

II. Ornaments of the body are known by the wise to Ear ornaments be of the four kindsal that to be fixed by piercing the limbs And the ear-ring (kundala),3 Mocaka (ear-pendant)4 and (avedbya), that to be tied up (bandhaniya), that to be worn ear-top (kila) are ornaments of the ears. (praksepya), and that to be put round (aropya). Neck ornaments Piercing ornaments 16. The strings of pearl (muktâvali) the Harsaka1 and I2. [Of these, the ornaments] to be fixed by piercing the limbs are ear-ornaments such as ear-rings (kundala). the [gold] thread (sutra)2 are ornaments of the neck.

Tied-up ornaments 15 1 To be worn on the top of the head. Cudamanib siromadbye (Ag. And those to be tied-up (bandhaniya) are to be represent- P. 43°), ed by the girdles (sroni-sutra) and the Angada (arm-band).1 2 To be worn above the forehead. Mukuto lalatordhve (Ag. l.c.).

(Ag, l.c.). 3 To be worn in the lower lobe of the ear. Kundalam adbarapalyam

7 1 Vyājimah-vyājād sūtrasyākarsākādirūpab ksepas tena nirvrtto vyāji- 4 To be worn in a hole in the middle of the ear. Mocakab kārnasaskulyā mab (Ag. p. 430). madhyacchidre uttara-karniketi prasiddbam (Ag. l.c.). ' Ag. (p. 430) reads this as vestimab and explains its as follows: wpari 16 1 barsaka-a snake-shaped ornament, samudgata-sarpādi-rūpatayā pra- jatu-sikthakadina vestanena nirurtto vesțimab siddham. (Ag. l.c.). 8 1 Emend nagab into nagab. See XXIII 190-192 below. 12 1 Modern tābij (Bengali). siddbam (Ag. l.c.). ª Sūtram-golden neck-chain, sūtrakam iti guccha-grivā-sūtrāditayā pra-

XXIII. 17 THE NATYASASTRA 414 415 COSTUMES AND MAKE-UP XXIII. 261

Finger ornaments 20. Uses of the ornaments for males should be made And the Kataka3 and the finger-ring (anguliya-mudra)4 thus in case of gods and kings. I shall now speak about the are ornaments of the finger. ornaments for females. Ornament of the forearm 17. The Hastavi1 and the Valaya2 are the ornaments of Ornaments for females: Head ornaments the fore-arm (babu-nali). 21-22. The Sikhāpāśa1, the Šikhāvyāla2, the Piņdīpatra,3 Wrist ornaments the Crest Jewel (cūdamani)4, the Makarika5, the pearl-net And the bracelet (rucika)3 and the Çūlika* are ornaments (mukta-jala)6 with large large meshes (lit. as big as cow's eyes)' of the wrist. and the [ordinary] hair-net (sirsajala) are ornaments of the Ornaments above the elbow head 18. The Keyūra (armlet)1 and the the Angada (arm- 22-23. The Tilaka on the forehead should be produced band)2 are ornaments to be worn above the elbow. by many artistic touches, and by group of designs above the Breast ornaments eyebrows should imitate flowers. And the three-stringed necklace (trisara)2 is the ornament of the breast. Ear ornaments

1,9. The suspended pearl necklace, the flower-garland 23-26. The ornaments of the ear are the Kundala, the and the like, are ornaments for the [entire] body. Sikhipatra1 the lotus of the braid [of hairs] hung with a Waist ornaments string, the Karnika2, the Karnavalaya3, the Patrakarnika4, And the Talaka1 and the golden thread (sutra)2 ar Āvestika5 the Karņamudrā® the Karņotkīlakā (ear-top), hung ornaments of the waist. 3 Kațakab (vațikā, K.). Ag. (l.c.) reads the term differently. He says veti- 21-22 1 This is same as cūdapasa mentioned in Megha, Il. 2. keti sūksmakataka-rūpā. 3 Ag. explains this as nagah grantbibhir upānibaddho madbye karnikā- 4 Anguli-mudra-In later times the two members of this compound word sthānīyab, and adds to explain pindīpatra as tasyaiva dalasandhānatayā (anguliya and mudra) gave rise to two different synonyms for the object (ring) citra-racanāni vartulāni pātrāni pindipatrāņi. denoted by it. 3 See note 2 above. 17 1 This seems to be very rarely mentioned in Skt. literature, 4 The same as mentioned in 15 above. 2 This word is the same as Bengali bala. 5 Ag. reads this makarapatram. Is it mod. Bengali makadi ( =* mākarī) ? 3 This seems to be a variant of the word rucaka. See note 4 below. 6 This is the same word which occurs in Megha, I. 64. 4 Its seems to be the cudi (Bengali) from the original cūdika. 7 No head ornament with this name seems to occur anywhere else. 18 1 To be worn above the elbow. Keyure karpara (kurpara)-syordhvatab 23-26 1 Ag. (l.e.) reads sikbāpatra and explains this as sikhāpatra mayūra- (Ag. I.c.). but ke bāhusirse yauti iti keyūram, Kșīrasvāmin on Amara, II. 6.107. picchakāro vicitravarņa-mani-racitab. ? To be worn above the keyura. Tayor (=keyurayor) urdbve tv angadam 2 This was never met with before. (Ag. l.c.). 3 This is perhaps the sames as mod. Bengali kanbala>kannavalaa>karnava- * Trisara-trisaro muktālatātrayeņa (Ag. l.c.). laya 19 1 To be worn below the navel; talakam nabher adhab (Ag. l.c.) 4 This was never met with before. 5 ibid. ª To be worn below the talaka. Tasyapyadhab sutrakam (Ag. Ic.). 6 This ornament is still in use among women of backward classes.

XXIII. 26 THE NATYASASTRA 416 417 COSTUMES ÀND MAKE-UP XXIII. 371

with a string, the various kinds of the Danta-patras7 set with Breast ornaments jewels, and the Karnapūra®. The necklaces with the most artistic work are The Tilaka and the Patralekha9 32-33. are ornaments of the to be ornaments of the breasts. cheeks1. The jewelled net is the ornament of the back.1 26-30. And the Triveni is to be known as the ornament Arm ornaments and finger ornaments of the breast. The two eyes are to be touched with collyrium 33-34. The Angada (arm-band)1 and the bangles (valaya)2 and the lips are also to be painted. The teeth will are ornaments of upper (lit. the root of the) arms. have varieties colours and the four of them may have The Kharjura3 and the Ucchitika4 are ornaments of the whiteness. When dyed with turmeric their beauty is enhanced. fore-arm. And so also are Kalapi, and the Kataka Pearl-like teeth of beautiful young women embellish 34-35. The Hastapatra,1 the Puraka2 and the ring their smile, and the teeth dyed with the colour of lotus- (mudrângulīyaka)3 are ornaments of fingers. petals will be lovely, and when dyed with colour of Hip ornaments stone the lips will attain the beauty of a blossoms. And 35-36. The Kanci1 with a net of pearls, the Talaka, an amorous look will constitute their charm. the Mekhala, the Rasana and the Kalapa are ornaments of the hip (sroni). Neck ornaments 36-37. The Kanci is [a girdle] of one string, the 30-31. The pearl-necklace, the snake-gtoup(vyāla-pankti),1 Mekhalā of eight, the Rasana of sixteen and the Kalāpa1 of the Manjari2, the jewel-string3 the jewel-necklace4 and the twentyfive strings.2 neck-chain (sūtra)5 are ornaments of the neck. 31-32. The necklace with two, three or four strings as well as a [gold] chain, is the ornament of the neck1. 32-33 1 Ornaments of the back. have gone. out of fashion, 33-34 1 It is now-a-days called ananta in Bengali.

(fore-arm). 2 Kālidāsa's Yaksa (Megha, I. 2) had a kind of valaya in his prakostha

? These were possibly made of ivory. 3 This seems to have imitated date fruits. 8 The well-known ear ornament. ª Ucchitika-This was not heard of before. 9 The same as patrabbanga (drawing decorative designs with scented pig- 34-35 1 This was never met with before. ments). 2 This was never met with before. There is, however, an ornament basta- 30-31 1 An ornament with the snake-motif; see above 16 note 1. This sütra (See Apte, sub voce). was never met with before. " This compound term was not met with before. 9 Manjari-This was never met with before. 35-36 1 All the ornaments except kulaka have been defined in 36-37 3 Ratnamalika-This is to be distinguished from ratnavali (see note 4 below) below. Kulaka seems to be a girdle of the special kind, which is a bigger necklace; for the word malika means a small mala. 36-37 1 Kalapa seems to have been used by Kālidasa in the sense of a 4 Ratnavali-See note 3 above. necklace in Kumāra (I. 42). 5 Sutra (lit. thread) evidently means a thin thread-like necklace made of 2 The passage seems to be mutilated. For the def. of the kulaka is missing. gold; cf. kanakasūtra in Pancatantra I. (vāyasa-dampati-katbā). Probably it had four strings of pearls. 53

XXIII. 37 THE NATYASASTRA 418 419 COSTUMES AND MAKE-UP XXIII. 53]

37-38. In case of goddesses and queens, these should be in proper places the jewelled ornaments will lend beauty to a combination of thirtytwo, sixtyfour or one hundred and the limbs.

eight strings. 45-46. But in the production of plays there should not

Ornaments of ankles be a use of too many ornaments; for these will cause fatigue

38-39. The Nupura, the Kinkini, the string of [to actors and actresses]1 while making prolonged movements. 46-47. Moreover weighed down with heavy ornaments bells (ghantikajala) and the ringing Kataka1 are the ornaments one cannot move much, and one so weighed down, is likely of ankles. to be exausted and to have faint.1 39-40. The Pada-patra is the ornament of the shanks 47-48. Hence [in a dramatic production] there should (jamgha), and the toe-rings that of the toes, and the Tilakas be not used ornaments made of pure gold, but those on the big toe are ornaments of the feet. made of lac and inlaid slightly, with jewels, will not bring 40-41. Similarly [an additional decoration of the feet] exaustion [to the wearers in a play]. The rules of decoration will be the lac-dye applied to them in various patterns to are optional1 in case of celestial beings (gods and god- impart to them the natural colour of Asoka blossoms. desses); but the decoration of human females are to be made 41-42. These are the decorations of women from the carefully. hair to nails [of the feet].1 Considering the Psychological 49. The celelstial females are to be distinguished for States and the Sentiments these are to be applied [in different their own roles by means of ornaments and Costumes suited

parts of the body]. to the various conditions. 42-43. These [ornaments] are to applied also after a 50. Women of the Vidyadharas, the Yaksas, the Nagas, consideration of the popular tradition (agama),1 measurements and the Apsarasas, and the daughters of sages and gods are to and the colour of the body and practices mentioned in be distinguished by their Costumes. Viśvakarmā's work.2 51. The same rule applies also to women of the Siddhas, 43-44. [In dramatic production] one is not entitled to the Gandharvas, the Raksasas, the Asuras, the godly monkeys, decorate limbs freely and at one's will, with gold, pearls and · and human females.

jewels. 52. The Vidyädhara women should be made have hairs 44-45. Applied with a sense of proportion and put on (sikha) tied a in top-knot decorated with a string of many pearls, and clothes [completely] white.

38-39 1 Hollow bangles within which small stone chips are lodged. 53. The Yaksa women and the Apsarasas should have 39-40 1 This was never met with before. Ag. (p. 431) reads tilaka iti ornaments of jewels, and the same will the dresses of [all]

vicitraracanakrtā. 41-42 I Ag. (l.c.) a-nakhad-alaktaka-ragaparyantam. 45-46 1 A very sensible warning. 42-43 1 Ag. (l.c.) explains āgama as upādānakāranam. 46-47 1 See above 45-46 note. 2 An authority on arts and crafts (silpa). But his work on these subjects 47-48 1 For gods are beautiful by nature. is lost.

XXIII. 54 THE NATYASASTRA 420 42I COSTUMES AND MAKE-UP XXIII. 67 these, except that the Yaksa women only are to wear the 61. This should be the dress of celestial women' in Šikhā.1 their love-making. But in special conditions their dresses are 54. The Naga women are to wear like the goddesses1 to be made white. the ornaments abounding in pearls and jewels, but they are also have a hood2 [in addition to these]. Human females according to their countries 55. The daughters of sages are to wear a single Veni of 62. But human females are to have dresses and orna- the hair of their head, and they should not be made to have ments according to their places of origin, Listen properly too much decoration. about them. Siddha women Women of Avanti and of Gauda 56. The Siddha women1 should have ornaments abound- 63. The young women of Avanti are to have curling ing in pearls and emeralds, and their dresses should be of hairs, and the women of Gauda1 are generally to have hairs yellow colour. curled, and they are to have the Sikhāpāśa and the Veņī. Gandharva women 57. Ornaments of the Gandharva women should be Abhira women

made to abound in rubies. And they are to carry a Vina in 64. The Abhira women are to have two Venis, and the hands and to have clothes of saffron colour. their heads generally have an encircling band and their clothes

Raksasa Women should mostly be blue.

58. The Raksasa women are to have saffires as their Women of the North-East ornaments, and their teeth are to be made white and the 65. The women of the North-East are to hold up their dresses of black colour. Sikhandas, and in dressing themselves they cover the body up Goddesses to their hair. 59. The celestial women are to have lapis lazuli and Women of the South pearls as their ornaments, and their dresses are to be made 66. The women of the South are to have Ullekhya1 green like [the colour of] a parrot's tail. with Kumbhipadaka,2 and Avarta3 on the forehead. Monkey females 67. Thus, hair-style etc., dresses, ornaments, and 60. The women of the godly monkeys are to have application of razor relating, [to the head], hair-cutting topaz1 and [sometimes] lapis lazuli as their ornaments, and their dresses are to be made of blue colour. 63 1 Probably the district of Malda and neighbouring regions of North Bengal. 66 1 Ullekbya is probably connected with Bengali ulki (tatto). 56 1 For the Siddha women see Megha I. 14. 2 Probably the figure of a jar in tatto. 60 1 Pusparāga or pusyarāja( ?), cf. NIA. pokh-rāj. 3 A circular mark in tatto,

XXIII. 68 THE NATYASASTRA 422 423 COSTUMES AND MAKE-UP XXIII. 85] etc. should be regulated for the remaining characters according to their habitation and birth.1 Derivative colours 75- The bluish white (karandava) colour, is made up of

Ornaments to be worn in the right place of the white and the blue, and the yellowish white colour

68. An ornament and such other things not put on in (pandu) of the white and the yellow.

its proper place will create no beauty; for by wearing a 76. The lotus (padma) colour is made up of the white

Mekhala (girdle) on the breast one will create laughter. and the red, and the green (harit) colour, of the yellow and the blue Dresses to suit the condition of females 77 The dark red (kasaya) colour is made up of the blue 69. Similarly, the condition of females whose lover has and the red, and the pale-red (gaura) colour of the red and gone abroad and who are afflicted with misery, are to not to the yellow. have a clean dress, and they are to wear their hair as a single 78- These are the derivative colours. Besides these

Veņī from the head. there are [many]. minor colours which may be made up of 70 The dresses of women who are separated from their three or four [original] colours. lover, should be white, and they are not to wear many orna- Minor colours ments and not to make a toilet. 79. Of these, the strong colour should form one part 71 Such should be [the dresses] of women according to and the weak colour two parts; but the blue colour should be their habitation and the condition [of existence]. Now I shall taken as directed below. speak about the proper dresses of men. 80. The blue should form only one part while the other

Painting the limbs colours will form three parts, for the blue is known to be the

72. But in their (i.e. men's) case the producers of plays strongest of colours.

should first of all paint the limbs, and then Costumes accord- 8r. Knowing thus the rules of colours which are to be

ing to their habitation should be provided. prepared by mixing them variously, one should paint the body of different characters. Four original colours 82. The painted body on changing its own Costume is 75. The four original (lit. natural) colours are black, blue, to be considered as a matter of convention (natyadharma)

yellow and red; the limbs should be painted with these. as beloning to dramatis personae. 74. These are the primary colours, and there are besides 83. After covering the body and its colour by means of derivative ones and minor colours. I shall speak about the paints and cosmetics an actor should assume the nature of the

ways in which the producers are to make them. person whose character he is to represent. 84-85. Just as the soul [of a man] after renouncing the 67 1 C. adds one hemistich (C. 68a) before 62, which in trans. is follows: Courtezans are to have the decoration [of the body] according to their choice. 83 1 Chadya in the emended text is a case of solecism in the original text.

XXIII. 86 THE NATYASASTRA 424 425 COSTUMES AND MAKE-UP XXIII, 98

nature proper to one body assumes another character1 related 91. Soma (the Moon), Brhaspati. Sakra (Indra) Varuņa to the body of another animal, so a person having [a different] and the stars, the ocean, the Himalayas, and Ganga (the Gan- colour and makeup, adopts the behaviour connected with the ges) are to be made white in colour. clothes he wears. 92. Angaraka (Mangala = Mars) should be painted red, Living beings and Budha and Hutasana (Agni) yellow, and Nārāyana and 86. The gods, the Danavas, the Gandharvas, the Yaksas Nara as well as Vasuki should be dark blue (syama). the Raksasas and the Pannagas (Nagas) are called living be- Colour for demi-goods ings, [for] they in the present case constitute the body of 93. The Daityas, the Danavas, the Raksasas, the Guh- the soul. yakas, mountains, the Piśacas, Yama and the sky are dark Lifeless objects blue in colour. 87. Hills, palaces, mechanical contrivances (yantru), 94. The Yaksas, the Gandharvas, the Bhütas, the Pan- shields, armours, banner-staffs and various weapons are nagas (Nagas), the Vidyadharas, the Pitrs aud the monkeys known as lifeless objects. are of various colours.

Lifeless objects in human form Colours for human heings in different regions 88. But whenever necessary (lit. due to a reason) they 95. Human beings who dwell on the Six Continents1 may assume a human from with [suitable] dress and speech1 (sat-dvipa) are to be painted in the colour of burnished gold.

according to the dramatic convention. 96. But among the inhabitants of Jambudvīpa1 where

Painting the limbs men of various colours live, every one except those who dwell

89. After learning the rule of making colours one should in the North Kuru region should be given the colour of gold.

paint the limbs [of the dramatis personae] in conformity with 97. In Bhadrâśva1 people should have the white colour,

their habitation, birth and age. and in Ketumäla2, they are blue. But in the rest of the sub- continents people should be made reddish yellow (gaura). Colours for gods Colours for Bhutas and dwarfs 90. Gods1 as well as the Yaksas and the Apsarasas 98. Bhutas are known to be of various colours. They should be painted reddish yellow, and Rudra, Arka (the Sun) are dwarfs with odd faces and may have faces of boars, rams, Druhina (Brahma) and Skanda are to have the colour of gold. buffaloes and deer as well1.

84-85 1 This statement is based on the belief that man can change himself 5 1 Other than Jambudvipa, see below 96-97. into any animal after uttering proper mantras. 6 1 Jambudvipa here means probably Asia. 86 1 Cf. XXV. 22-23. Here the author seams to speak against the 97 1 This is a division (varsa) of Jambudvipa, probably Iran. bringing living creatures on the stage. The same is the case with 200-201 2 This is another division of the Jambudvīpa, probably Central Asia. below. In all there are nine such divisions. 88 1 See Bāla, I 98 1 Cf. Buddhacarita, XIII. 19, 23. 54

XXIII. 99 THE NATYASASTRA 426 427 COSTUMES AND MAKE-UP XXIII. 108

Colours of people of Bharata-varsa Kāśis,5 Kosalas,6 Pulindas7 and the inhabitants of the South8

99. Besides, listen now about the different colours ot the are mostly known to be brown (asita, lit. not white). people of Bharatavarsa. Kings there should be of lotus colour, 1,05-106. Sakas,1 Yavanas,2 Pahlavas (Pahravas)3 and or dark blue or reddish yellow [in complexion]. Vāhlikas (Bahlikas)4 who dwell in the North,5 should be

100-102. And the happy mortals there are to be made made almost reddish yellow.

of the reddish yellow (gaura) colour. Those who practice vile 1,06-107. Pañcālas,1 Sūrasenas,2 Odras,3 Māgadhas,4

acts, are possessed of evil spirits, diseased or engaged in penance Angas,5 Vangas6 and Kalingas7 should be made dark or deep

and in laborious work, and are of inferior birth, should be blue (śyāma) in complexion. made brown (a-sita, lit. not fair). And the sages should Colours of different castes

always be given the colour of plum (vadara). But brown 107-108. Brahmins and Ksatriyas should be always

should be the colour of sages observing penance (tapas). made reddish yellow1 and Vaisyas and Sūdras dark or deep

102-103. And out of any necessity and also according to one's (author's) pleasure, colour of persons may be varied 5 Käśi-The tribe after which the ancient kingdom of Kasi and the city of

according to their habitation, birth and age. that name were known. It lost its separate entity before the time of Buddha. 6 Kosala-I_e tribe giving name to the ancient kingdom of Kosala. 103-104. An expert in [dramatic] production should ' Pulinda-An aboriginal people living probably in the Vindhya region.

paint persons after knowing their place of action, and time See Mallinatha on Raghu, XVI. 32; also Panha I. I. and Nāyā I. I.

of action, birth and the region of the earth they dwell in. 8 They may be members of Kol and other tribes living in the South. 105-106 - Saka-Hordes of nomadic tribes on the outskirts of North Colours of different tribes Indian plains; mentioned in Manu X. 44.

Barbaras2 Dramilas,4 2 Yavana-Probably the same as the people mentioned in Pānini. 104-105. Kirātas,1 Andhras,3 3 Pahrava (Pahlava)-Usually taken to mean Parthians who annexed the Western Punjab in about 140 B.C. 104-105 1 Colours mentioned in this and the following passages probably 4 Vahlika (Bahlika)-Inhabitants of the region known as Balkh settled on show that the groups alloted a special colour are approximately of the same the Beas and other rivers. See Ram. II. 68. 18-19 and also Mbh. VIII. 7. 41. complexion and not actually of the colour mentioned. These passages seem to 5 The tribes mentioned here came from their home in the North-West. give a valuable information about some ethnological features of ancient India. 106-107 1 Pancala tribe is well-known in Mbh. Pre-Aryan people including the Dravidians (Andhras and Dramilas) were not 2 Sürasena-The tribe which once settled around Mathura. It gave its fair in complexion. The separate mention of the Southerners after Andhras name to the principal Pkt. of the Indian drama (Šauraseni). and Dramilas (Dravidas) taken along with some Northern tribes like the Kāsis ª Odra-The name of a tribe after which the modern Orissa (Odrivisaya) and Kosalas, seems to show that the NS. here records the tradition of their once was named. See Manu. 10; 44. living in the North. Kiratas-a hill tribe probably living in the Himalayan 4 Mägadha-The tribe after which the ancient country of Magadha was region; see Mbh. XII. 207, 43. named. & Barbaras-Some non-Aryan tribe mentioned very rarely in Skt, literature 5 Anga-The tribe after which the ancient country of Anga was named. (Mbh. XII. 207, 43). This may be a synonym of Mleccha as well. 6 Vanga-The tribe after which the ancient Vanga (South-East Bengal) 3 Andhras-This tribe is well-known in history and literature. See XVIII. was named.

44 note. 107-108 1 Reddish yellow colour(gaura) assigned to Brahmins and Ksatriyas 4 Dramilas-Known is Pali (Mahavamsa) as Damila (modern Tamil). probably show that when the various theatrical conventions were crystalised,

XXIII. 109 THE NATYASASTRA 428 429 COSTUMES AND MAKE-UP XXIII. 123 blue (śyāma) in complexion.2 should be made smartly done (vicitra) by the producere of Rules for the beard 108-109. After painting the face and other limbs plays.

according to the rules one should provide beard to persons 113-114. The beard of persons who are sorry for not

after considering their habitation, profession and religious having fulfilled their promise, and are ascetics or have been struck with any calamity, should be made black. rites. 109-110. The beard according to the change of condi- 114-115. The beard of Vedic seers, ascetics and persons

tions of persons should be of four kindsa white (suddha),1 observing a long-standing vow, and of those who are bent on

black (śyama)2 smartly done (vicitra)3 and bushy (romasa, revenge should be made bushy (romasa):

lit. hairy).4 Rules for different Costumes 1IO-LIE. The beard of religious mendicants (lingin)1 ministers, chaplains and persons who are indifferent to sensual 115-116. Thus the beard should be made of different

pleasure2 or have consecrated themselves for any ritual3 should kinds. I shall now speak of costumes suited to different

be made white. occasions.1

11L-113. The beard of celestial males, such as the 116-117. Clothes coming from many marts are of

Siddhas1 and the Vidyadharas,2 kings, princes, officers of the various kinds. They are [chiefly] of three kindsy white,

king and persons who are gallants and proud of their youth,8 red and variegated. I1,7-11,8. Costumes are of three kinds: white, varie- these two sections of the society still retained their original Aryan gated and soiled (malina). I shall now explain their difference features one of which was ceratainly the colour of their skin. The dark colour according to use made by producers. of the Vaisyas tnd Sudras similarly shows in all likelihood that these were not Aryans or Aryans of the pure type. 2 See not I above. 118-120. In going to the temple of gods, observing

109-110 1 But according Ag. Suddba means clean-shaven, (ksurena sarvada some auspicious rite or a vow or at the conjunction of some vasitam,). He evidently assumes his contemporary fashion in the past. Tithis and stars, or at the time of marriage or any other sacra- 2 Syama-ordinarily black in colour; but see above. 3 Vicitra-cut or done in a special fashion. mental rites, men and women should have white costumes, 4 Romaśa-bushy, romaśam iti yathotpannam (Ag. l.c.), 'bushy means as and the same is the rule for disciplined man in general.1 they are naturally grown'. The last three classes do not seem to be mutually exclusive. 120-121. Costumes of gods, the Danavas the Yaksas, 110-111 1 Linginam-ब्रह्मचारिवानप्रस्थादीनां मध्यस्था ये च पुरुषा ये भिक्षां the Gandharvas, the Uragas (Nagas), the Raksasas, kings, and समाश्रिता इत्यर्थ: (Ag.). 2 Madbyastha-मध्यस्था इति नोत्तमानामधमानाम् इत्यर्थः (Ag.). people of foppish nature should be variegated.

3 Even now the custom among some Hindus is that they shave them- 121-123. Costumes of old Brahmins, leaders of ban- selves clean before consecrating themselves for some special kind of daiva and kers' guild, ministers, chaplains, merchants, ascetics, those paitra rites. I12-113 1 A class of demigods. See Kumāra, 1,5. 2 A class of demigods. See Bhartrhari's Vair, Sat. 24. 3 Ag. says यौवनोन्मादिन इत्यमात्यपुरोधसोऽपीति भाव: (p. 434). 117-118 1 See above 85ff. 118-120 1 This is the interpretation of Ag.

XXIII, 123 THE NATYASASTRA 430 431 COSTUMES AND MAKE-UP XXIII. 138 who occupy the same position1 as the Brahmins, Ksatriyas, and Vaisysas should be white, in a dramatic production. 131-132. Kings should always be made to have a

123-124. Costumes of lunatics, intoxicated persons, many-coloured dress; but when due to affliction under any

wayfarers and persons struck with calamity should be made evil star1 they are engaged în any propitiatory rite, their cos- tumes should be exclusivly white. soiled.1 124-125. In case of costumes of the white and varie- 132-133. Thus should be made the clothes of persons

gated class, the experts in dramatic theory should provide (lit. types men and women) of the superior, the middling

upper garments of white, red and variegated colour, and in and the inferior classes according to their age, birth and other conditions (lit. qualities). case of a dirty man, he should be given a soiled cloth. 126. Costumes of the sages; the Jain (Nirgrantha) and 133-134. These are the rules of costumes in a dramatic

the Buddhist (Sakya) monks, the and the Yatis and the Pasu- production, according as persons attain different conditions,

pates should be made according to their respective sectarian and practice good or bad deeds. Use of masks rules and with an eye to what may have influence on the people. 127. Ascetics [in general] should be made to wear a 134-135. Similarly different masks (pratisira)1 are to be

tattered cloth, barks and skin. And the costumes of the used for gods and men, according to their habitation, birth and age. wandering ascetics, sages and Buddhist monks should be Three kinds of crown made of dark red (kāsāya) cloth.1 128. To the Pasupatas should be given a variegated 135-137. [In the masks], crowns for the gods and kings are of three kindsa Parśvâgata (=Pārśvamauli)1, Mastakī and dress, and costumes of persons of low birth should be made Kirīti.2 For the gods [in general], the Gandharvas, the as befits their profession. Yaksas, the Pannagas (Nagas) and the Raksasas, the crowns 129-130. To persons engaged in guarding the harem of the Parśvamauli (Parśvâgata) type have been generally should be given armour and clothes of dark red (kāsāya) prescribed. colour. The same should be the dresses of females when they are in special conditions.1 137-138. And the Kiriti crown has been prescribed for the superior gods, and the middling gods are to have crown 130-131. Costumes of the warriors (lit. heroes) should be of the Mauli (=Mastaki?) type, while the common (lit. suitable for fighting a battle, and they are to be provided with varied weapons, armours with quivers1 attached, and with bows. 134-135 1 Pkt. padisīsaa=Skt. pratišīrsaka (Karp I,). It is not laid down anywhere whether masks are to be used in all types of plays and for all 121-122 1 That is, those who follow professions other than that which characters. which were usually prescribed for them. For example, a Ksatriya acting as a 135 1 Pārśvâgāta (=Pārāva+āgata), that which has come from the Parśus, teacher, Brahmin acting as a trader or a Vaisya as a fighter, or a Sudra in any mentioned in the Rgveda. Hence a Pärsvâgata crown may be the cylindtical crown used by the Persians. such position. 2 The bridegroom's topar (a tall conical hat) in Bengal represents probably 129 1 For example, when they act as guards. the crown of the Kiriti type.

XXIII, 140 THE NATYASASTRA 432 433 COSTUMES AND MAKE-UP XXIII. 154

inferior) gods are to have crowns of the Parsvamauli1 type. (sakya), monks experts in Vedic studies (srotriya), the Jain 138-139. The kings should be given crowns of the (Nirgrantha) monks, wandering ascetics, and those who Mastaki type. While the Vidyadharas, the Siddhas and have consecrated themselves for some rites or for a Vedic Caranas1 should be provided with crowns made up of their sacrifice, should have their heads shaven clean. And knotted hairs (kesa-mukuta). according to their [respective] sectarian doctrine the remain- 140-141. Hairs and eyes of Rāksasas, Danavas and ing ascetics should have their heads shaven or should have Daityas should be of tawny colour, and they should have curling hairs or hairs loosely hanging down. tawny moustaches; and their crowns and faces should be 1i48-149. Dhurtas (crooks) and those carry on their treated similarly. And those among them who are of high professions at night (i.e. thieves, robbers ete.) and men of type should have crowns of Parśvamauli type. gallant nature should have curling hairs. 141-143. Why are the crowns attached to the heads 149-150. Heads of boys should be adorned with three of goods and of mortal kings in a dramatic production?, Sikhandas1 and that of the Munis should have a crown [Answer]. In the Vedic cult there is the rule of cutting of of matted hair (jata-mukuta).2 hairs. Wearing crown has been sanctioned for a person 150-1,51. Menials should have three Sikhas on their head who has shaved his hairs in connection with a sacrifice, or will have the head shaven clean. And the Jester should and would like to cover his head because the hairs are have a bald head or head with the Kakapada (lit. crow's not long. feet).1 143-144. The ministers, Kancukins (armour-bearer), 151-152. As for the rest [of persons] the head [in the leaders of the merchants' guild, and priests should have mask] should be treated in a dramatic production in relation masks with a piece of cloth tied round the head like a to their habitation, birth and age. turban.1 152-153. Thus after intelligently distinguishing different 144-145. And the masks of the army-leaders (senapati) modes of existence by means of ornaments, various costumes and the crown-prince should be provided with a small crown and garlands, one should build up imitation of special condi- (ardha-mukuta, lit, half-crown) and such should be done in tions, from which proceed Sentiments in the production case of a Mahamatra (high royal officer). [of a play]. 1'45. Masks of the Pisacas, lunatics, the Bhūtas, 154. Men and women having been treated like this spiritual aspirants, ascetics and those who have not yet ful- (lit. made to attain these conditions), all Psychological filled their promise should have long hairs. States of gods should be made human.

Rules of different bairs 146-147. The head [in the mask] of the Buddhists 149-150 1 Sikbanda means locks of hair left on the head. These are three or five in case of the Ksatriyas (vide Apte s.v.). 2 The Usnīsa of Buddha image is probably a symbol of matted hairs. 138-139 1 Cäranas are demigods who sing the praise of superior gods. 150-151 1 For kakapada see Apte s.v. 55

XXIII. 155 THE NATYASASTRA 434 435 COSTUMES AND MAKE-UP XXIII, 172 Sanjiva 155-156. Producers should not prescribe want of twink- 163-164. The sword should measure forty Angulis and

ling of eyes in case of gods. For all Psychological States the disc (cakra) twelve and the Prasa the latter's half. 164-165. The Pattisa will measure like the Prasa, and and Sentiments in this world are based on looks, and the the rod (danda) should measure twenty Angulis while the meaning [of words] resting in looks are represented afterwards by gestures. One should thus know of make-up of limbs, Kampana (Kanapa) will be of the same measure. 165-166. The shield (carma) should be sixteen Angulis which relate to different characters. in width and two cubits in length, and it should have 157. Now I shall speak of the characteristics of what Valyas (hairs?) and bells attached to it. Khetaka (rider's is known as Sanjiva (=living creature). The entrance of animals [in the stage] is called Sanjiva.1 shield) should be thirty angulis in width [and two cubits in length]1, 158-159. Animals may be four-footed, two-footed and with no foot (apada). Of these, serpents are without foot, Use of other Objects

birds and men are two-footed, and different animals in the 167-168. The Jarjara1, the Dandakastha2 masks,

forest or in human settlements are known to be fourfooted. umbrellas, chowris, banner-staffs, and water-jars (bhrngara)3

Use of weapons and every other thing that men make use of, are the acces-

159-160. Those who are engaged in fight, angry conflict soris in [the production of] a play.

or siege, in a play are to be given different weapons1 in a drama. 168-169. The characteristics of all these are to be

160-161. Weapons should be made by experts with considered by those to whose sphere they belong. Now I

proper measurements. I shall now describe these together with shall speak of the characreristics of the Jarjara and the

the rules for their measurement. Dandakāstha.

161-162. The Bhindi should measure twelve Talas, the Indra's Banner-staff Kunta (javelin) ten and the Sataghni, the Sūla (spike), the 170. Trees. grown on white soil and cut down under Tomara and the Sakti (spear) eight.1 the Pusya asterism have been made eligible for Indra's 162-163. The bow should measure eight Talas, and its bannerstaff by the great Viśvakarmā1. width1 should be two cubits. Arrows, mace and the Vajra Tha Jarjara should be four Talas long. 171-12. Some of these trees should be [fashioned into] the Jarjara by a carpenter. The branch of a tree 157 1 This seems to show clearly that sometimes living animals were may also be [made] the Jarjara1. But a bamboo will brought on the stage. This was, however, not the general rule. See XIII. 106-107. 159-160 1 See Ag. on this point. 161-162 1 For the measurement of Tāla see III. 21 note. 167-268 1 See III. 73ff. 2 See I. 58-61 note 2, 3 See I. 58-61. 162-163 1 'Width' here means the distance between the bow and the 170 1 See Ag. on this point. string at the time of shooting an arrow. 171-172 1 See above 167-168 note I.

XXIII, 172 THE NATYASASTRA 436 437 COSTUMES AND MAKE-UP XXIII. 189

be most suitable [for this kind of work]. I shall speak [good] characteristics. about its characeristics. 180-181. That which is neither worm-eaten nor 172-173. A bamboo grown on white soil and (cut diseased, and has small (lit. poor) branches, is called the down) under the Pusya asterism, should be carefully gathered Daņdakāstha. with an observation of proper rules. Its joints should not 181-182. He who well get fashioned the Jarjara and be much developed, it should not have branches and should the Dandakāstha devoid of the said characteristics, will not be worm-eaten. certainly sustain a great loss. 174-175. As to its measurement, it should be one Making of masks hundred and eight angulis (4'/2 cubits) long, and should 182-183. Similarly one should prepare with proper have five sections and four joints, only one Tala in circum- measurement the Pati for making the head. The mesure- ference. But its joints should not be very prominent (lit. ment may be one's own or it many be thirtytwo Angulis. thick), and it should neither be worm-eaten nor scratched The Pati should be made by using the Bilva paste on cloth. by friction with other bamboos. 1,84-185. 'Masks should be made with ashes or husks 175-176. After smearing it with honey and ghee, of paddy being mixed up with the Bilva-paste or some and worshipping it regularly with garlands and incense, watery form of it, after covering these with cloth smeared one should gather a bamboo for making a Jarjara. with the thick Bilva-paste. 176-177. The ceremonies and their order1 which 185-186. The Pati [thus prepared] should neither be have been prescribed in case of [consecration of] the great too thick nor too thin, and neither should it be made Indra's banner-staff, should be observed also in case of the too soft. holy bamboo [for converting it into the Jarjara.] 186-187. After getting it (the Pati) dried up by fire 176-178. It many have long and short sections. or the sun, one should pierce holes in it according to But when the top of each of these sections is perfectly round, the rule, by means of a sharp instrument, and these holes it is called the holy bamboo1. should be made after dividing it into two [equal] halves. 178-179. This is the rule in connexion with the 188. In the Pati so prepared an opening six Angulis characteristics of the Jarjara. I shall hereafter speak of long and one Anguli wide, should be made according to that of the Dandakastha. one's own measure, in the form of the forehead, and it should The Dandakastha have [two] angles [at the two end]. 179-180. The Dandakastha1 should always be made 189. Then [a pair of] openings two Angulis long and of the Bilva or the Kapittha tree or the bamboo. It one and a half a Anguli wide, should be made for the should be curved2 and have three bents and should have cheeks, and after [this has been done for] the cheeks,

176-177 1 See NS. III. 73-75ff. [other openings] three Angulis more [in length] are be 179-180 1 See NS. I. 58-61 note 2. made for ears.

XXIII. 190 THE NATYASASTRA 438 439 COSTUMES AND MAKE-UP XXIII. 209

190. The opening for ears being three Angulis1 long Realistic and Conventional objects the same should be the length for the opening of the 199-200. Some accessories, [however], will be Realistic mouth, and afterwords the symmetrical neck (avatu)2 while others will be Conventional. Any thing following its should be made equal to twelve Angulis. natural form is called Realistic, while any deviation from the 191-192. So much about the rules for the cutting of same will be known as Conventional. openings in the Pati for covering the head. On this are to be 200-20I. Accessories for use on the stage should not placed various forms of crowns set with many kinds of jewels, be made with stone (nagasara) as well as iron, for these due and decorated with different artistic designs. to their heaviness will create fatigue [in actors].

Other accessories 201-202. Objects which are light in handling should

192-193. And at the production of a play (lit. here) be made with lac, wood, leather, cloth, Bhanda and sliced

one should use diffetently in relation to dramatis personae bamboo, for their use as accessories in a dramatic production.

many kinds of accessories (wpakarana) demanded by the 202-204. Skeleton frames of armours, shields, banner- staffs, hills, palaces, peaks of mountains, horses, elephants, art of theatre. 193-194. Now, all the manufactures or crafts that aerial cars, and houses should first be made with pieces of

are executed in this world of moving and immobile objects, sliced bamboo, and then these should be given likenesse of

are to be known as the accessories in [a performance]. such objects related to Psychological States, by covering

194-195. [And to obtain them] one is to go to a them with cloths of requisite colour.

country which has got it. For [obtaining] such accessories 204-205. But if it is not found possible to use cloth

in a dramatic production men have no other means. suitably for this purpose, then palm-products and mats (kiliñja) may also be used instead. 195-196. One who produces an [ordinary] object of 205-206. Similarly weapons of various forms are to be art, prescribes its measurement and description.1 196-197. Large objects which require much iron to made with grass and pieces of sliced bamboo, and with lac and Bhānda.1 make them are not for our theatrical productrions. Why?, 206-207. Imitation legs, heads, hands and skin should Because they create fatigue [in actors]. be made in their likeness with grass, mat and Bhānda. 197-198. Imitation of any object which exists in this 207-208. All the articles should be made with earth world of living being, with different characteristics, may in various forms in imitation of their proper forms. be included in the accessories [to be used] in the performance 208-209. Various hills and shields, armours, and of a drama. banner-staffs are to be made with Bhanda, cloth, bees-wax, 198-199. But palaces, houses and vehicles and various lac and sheets of mica. . weapons, cannot be produced for the stage realistically (lit. in due manner). 205-206 1 Bhenda K, bbanda C.भाराडै (भेराडै) रित्यलाबुदल-खड्गादिभि: Ag.

XXIII. 209 THE NATYASÅSTRA 440 441 COSTUMES AND MAKE-UP XXIII. 223

209-210. And fruits and flowers growing in various wax covered with thin sheets of mica or mica dyed red, blue regions, and the various ornaments (bhanda) should be made and green. with lac. Similarly they may be made with Bhanda, cloth, 219-220. Thus by following the popular practice or bees-wax and very thin copper-sheets. exercising one's own discretion one is to make propetly Making of ornaments theatrical accessories. 21I-212. Jewels should be made with thin sheets of Use of weapons on the stage mica coloured with indigo or other plants or seeds, and these should be mounted on very thin sheets of copper or tin. 22I. No missile should be released on the stage; and

212-213. The different kinds of crowns of which I no weapon should pierce or strike anyone. They should

spoke before, should be made dazzling with loosely attached simply touch a spot, and the weapons are to be used only to

pieces of mica, so that they may shine like jewels. make a gesture [of an attack].1

213-214. In cases of [all] these objects, instructions 222, One should release missiles on the stage after a

[for their making] have not been mentioned in the Sastras. training for it or this training should make him capable of

One must act according to the directions of the Acarya and creating an illusion in this regard.

be guided by relevant reasoning. 223. Any [relevant] instruction which I may have

214-215. This is the rule of action regarding the future omitted regarding the present topic, is to be gathered from

mortals, [that should be adopted in dramatic production]. the popular usage (lit. people). This is all about the Extrane-

Why ?, Because want of sufficient strength will occur in ous Representation that I was to tell you. I shall hereafter

men [of the future generation]. speak of the Harmonious Representation on the stage

215-216. Mortals of poor strength should not make (sāmānyâbhinaya).

any [undue] physical exertion, and hence it is not desirable Here ends chapter XXIII of Bharata'a Nātyasāstra, that their crowns or ornaments should be made with gold which treats of the Extraneous Representation. and jewels. 216-217. For in battle, personal combat, dance and in representing acts of challenge, persons burdened with heavy weight will feel fatigue and may even faint. 217-218. When the actor is overcome with pain or fatigue or is fainting, his performance is spoilt. One may even endanger his life by making movements with difficulty under such conditions. . 218-219. Hence ornaments are to be made with thin sheets of copper, coloured sheets of mica, Bhanda and bees-

56

443 HARMONIOUS REPRESENTATION XXIV. I0

(angaja)2 is of three kinds next the natural (sahaja)3 change

CHAPTFR TWENTYFOUR of ten kinds, and involuntary (a-yatnaja)4 change, of seven kinds. HARMONIOUS REPRESENTATION Physical Graces of women

Importance of Sattva 6. Feeling, its expressions ordinary or graceful, arising

I. The Harmonious Representation (samanyâbhinaya)1 is from one another being different aspects of Sattva, is connect-

known to depend on Words and Gestures. [Among these] ed with the physical nature.1 Origin of Graces one should take special care about the Sattva2, for the 7. Sattva partakes of the nature of the body, and dramatic production has this as its basis. feeling (bhav) arises from Sattva, while its ordinary expres- 2. The Histrionic Representation with an exuberant sion (hava) from feeling, and its graceful expression (hela) Sattva is superior, the one with the level Sattva is middling, from the ordinary one.1 and that with no [exercise of] Sattva is inferior. Ordinary expression of Feeling Definition of Sattva 8. Bhäva is so called because of its representing 3. Sattva is something invisible; but it gives support (bhavayan) the inner feeling of the play-wright by means to Psychological States and Sentiments by means of of expression coming from speech, limbs, face and Sattva. horripilation, tears and similar other signs displayed in proper Graceful expression of feeling places and in harmony with the Sentiments [to be produced]. 9. Sattva with excessive feeling (bhava) [manifests

Feminine graces in a 'drama itself] in relation to persons of the opposite sex. And the

4-5. Dramatic experts know the young women's Graces ordinary expression (bava) should be marked as relating to

(alamkara, lit. ornament) to be the support of Sentiments in its various conditions.1

a drama,1 and these consist of changes in respect of their 10. In the same connexion (lit. there) Emotion (hava)

faces and other limbs. Of these, firstly the change of limbs should be known as arising from the mind (citta) and manifesting itself in changes of eye-brows and the Recaka of the neck, indicative of the Erotic Sentiment.1 1 1 Ag. seems to have no very convincing explanation as to why samanya- bhinaya was so called. He discusses it from different points of view (pp. 436- 430). From the contexts of this chapter as well as the def. given here in 2 See DR. II. 30b; ND. p. 203. 72 below, it appears that the expression means harmonious use of the four kinds 8 See DR. II, 32-33a; ND. p. 203. of abhinaya (VI. 23), and as such it should be distinguished from the citrabbi- * See DR. II. 31; ND. p. 203. naya (XXVI.) which applies only to the special representation of various objects 6 1 Cf. DR. II. 30b.

2 See VI. 22 note. 7 1 Cf, DR. II. 33b-34b. and ideas. 8 3 1 See VI. 22 note. 1 Cf. DR. II. 33b; ND. p. 204. BhP. p.8. 1.4-10. 9 4-5 1 Cf. DR. II. 30a; BhP. p.6. 1.20; ND. p. 203. 1 See below 10 note 1, K. reads 9a as IO 1 According to ND. (p.204) the bhava relates to a slight manifestation

XXIV. L1 THE NATYASASTRA 444 445 HARMONIOUS REPRESENTATION XXIV. 22

11. Everyone's ordinary feeling, which depend on the Erotic Sentiment, and reveals itself through graceful move- is called Dishabille (vicchitti).1 Confusion ments (lalitâbhinaya) is called the graceful expression of feeling (hela) by the wise.1 17 .. Inversion of various items such as words, gestures, dresses, and make-up and Sattva due to intoxication, passion Natural Graces of women and joy, is called Confusion (vibhrama).1 12-13. The ten natural Graces (alam kara) of women Hysterical Mood are: Sportive Mimicry (lila), Amorous Gesture (vilāsa), 18. Combination of isolated states of smiling, weeping, Dishabille (vicchitti), Confusion (vibhrama), Hysterical Mood (kilakincita). Manifestation of Affection (mottayita), Pretend- laughter, fear, sickness, fainting, and fatigue on account of [excessive] joy, is called Hysterical Mood (kilakincita).1 ed Anger (kuttamita), Affected Coldness (bibboka), Lolling Manifestation of Affection (lalita), and Want of Response (vihrta).1 19. Manifestation of Affection (mottayita) occurs through Sportive Mimicry Sportive Mimicry (lila), Amorous Gesture (vilasa) and the I4. Imitating the behaviour of a lover by means like, when at the mention of the beloved, one is being of relevant words, gestures and make-up (alamkāra, lit. asorbed in thought of him.1 ornament) which are delightful and inspired by affection, is Pretended Anger called Sportive Mimicry (lila).1 20. Pretended Anger (kuttamita) arises on account Amorous Gestures of the joy and perplexity in [lover's] touching the hair, 15. Relevant changes of the special kind relating to the the breast, the lip and the like, and it is feigning distress standing and sitting postures as well as to gait and the when actually there is delight.1 movements of hands, eye-brows and eyes, [which occur Affected Coldness at the sight of the beloved] are called Amorous Gestures 2. The indifferenee which women show [to their] (vilāsa).1 lovers] on account of vanity and pride, after they have Dishabille realised their cherished desire (i.e. conquering the lover's 16. The great beauty that results from the slightly heart), is called Affected Coldness (bibhoka).1 careless placing of garlands, clothes, ornaments and unguents, Lolling -. 22. Graceful movement of hands, feet, brows, eyes, of erotic feelings through words and gestures, while the bava to a very clear expression of one's emotion through various gestures. 16 1 The word is Pkt. in form and comes probabably from viksipti. Cf. 11 1 Cf. DR. II. 34b; BhP. p.8, 1.13-14. According to ND. (pp. 204- DR. II. 38b; BhP. p. 9. 1. 8-9; ND. p. 205. 205) these three aspects of women's Sattva depend on one another. For 17 1 Cf. DR. II. 39a; BhP. p. 9. 1. 10-11. ND. p. 205. example, the bava depends on the bhava, and the hela on the bava. 18 1 Cf. DR. II. 39b; BhP. p. 9, 1. 12. ND. P. 206, 12-13 1 DR. II. 37b; BhP. p. 9. 1. 5. ND. p. 205. 9 1 Cf. DR. II. 40a, BhP. p. 9, 1, 13-14; ND. p. 206. 14 1Cf. DR. II. 37b; BhP. p. 9. 1. 5; ND. p. 205. 20 1 Cf. DR. II. 40b; BhP. p. 9, 1. 15-16; ND. p. 206. 15 1 Cf. DR. II, 38a, BhP. p. 9, 1. 6-7, p. 205. 21 1 Cf. DR. II. 41a; BhP. p. 9. 1. 17-18; ND. p. 2°5-206.

XXIV. 23 THE NATYASASTRA 447 HARMONIOUS REPRESENTATION XX1V. 33 446 lips etc. made by women is known as Lolling (lalita)1. Self-control Want of Response 28. A natural bent of the mind which in all matters 23. That due to bashfulness, pretence and nature, is free from rashness and boasting, is called Self-control women do not make any reply [to her lover] even when (dhairya).1 they have heard his words, is called Want of Response Courage and Dignity (vibrta)1. Involuntary Graces of women 29. The quality of not becoming agitated in speaking,

24. The Involuntary [Graces] ared Beauty (sobha), or acting anything (lit. in practice), is called Courage

Charm (kanti), Delicacy (madhurya), Radiance (dipti), (pragalbhya).' Courteous bearing in all situation, is called

Self-control (dhairya), Courage (pragalbhya) and Dignity Dignity (audarya)2 by the wise. 30. These [Graces] are tender in connexion with' .......... .. .. (audārya)1. performance of delicate nature, but [in other cases] they Beauty (i.e. the Graces) except Amorous Gesture (vilasa)1 and 25. Decoration of limbs on account of good physical Lolling (lalita)1 may be brilliant (dipta)1. form, youth and loveliness being renderd manifest after the enjoyment [of love], is called Beauty (sohba)1 Eight aspects of the male's Sattva

Charm and Radiance 34. Brilliant Character (sobba), Graceful Bearing (vilasa),

26. Beauty which is full of a lover's passion, is called Self-possession (madhurya), Steadiness (sthairya), Gravity

Charm (kanti)1. A high degree of charm, is called Radiance (gamhhirya), Sportiveness (lalita), Nobility (audarya) and

(dīpti.)2 Spirit (tejas) are the difierent aspects of the male's Sattva.

Delicacy Brilliant Character

27. Moderation in the movement [of limbs] in all 32. Skill [in various things], heroism, and energy, conditions, especially in Radiance (dipti), and in Lolling aversion to mean acts and emulation of the best virtues (lalita), is called Delicacy (madhurya),1 constitue Brilliant Character (sobha, lit. beauty)1 Graeful Bearing 22 1 Cf, DR. II. 41b; BhP. p. 9, 1. 19-20; ND. p. 206. 33. Eyes moving straight, gait as graceful as that of a 23 1 Cf. DR. II. 42a; BhP. p. 9, 1. 21-22; ND. p. 206. 24 1 Cf. DR. II. 31. 25 1Cf, DR. II. 35a; BhP. p. 8. 1. 15-16; ND. p. 207. This def. seems 28 1 Cf. DR. II. 37a; BhP. p. 8; 1. 21; ND. p.207. to mean that a young woman's loveliness is augmented after she has had her 29 1 Cf. DR. II. 36b; BhP. p. 8, 1. 22; ND. p. 207. first experience of love's enjoyment, and this augmented loveliness is called 2 Cf. DR. II. 36b, BhP. p, 8. 1. 20-22 ND. p. 207. śobbā. 30 1 See above 15. 26 1 Cf. DR. II. 35b; BhP. p. 8, 1. 16. 1 See above 22. 8 See above 26. 2 Cf. DR. II. 36a; BhP. p. 8, 1. 17-18; ND. p. 207. 31 1 Cf. DR. II. 10. BhP. p. 9, 1. 24; p. 10. 1. I; ND. p. 197. 27 1 Cf. DR. II. 36a; BhP. p. 8, 1. 19; ND. p. 207. 32 1 Cf. DR. II. I1a; BhP. p. 13, 1, 2-3; ND. p. 197.

XXIV. 34 THE NATYASASTRA 448 449 HARMONIOUS REPRESENTATION XXIV, 45 bull, and smiling words constitute Graceful Bearing (vilasa)1. Self-posseesion Hisrrionic Representaion through the body

34. If due to a [long] practice [in this direction] 40. O the best of Brahmins, I have spoken before

one's sense-organs retain their firmness even when great about the Histrionic Representation through Sattva1. I

changes of the natural state have occurred, it is called Self- shall now explain in detail the Histrionic Representation

possesion (madhurya, lit. sweetness)1. through the body2.

35. Not reliquishing any undertaking relating to '4I. This is sixfold: Words (vakya), Sūca, Ankura,

duty, wealth and enjoyment irrespective of its good or bad Sākhā, Nātyâyita and Nivrttyankura1.

results, is called a Tenacity (sthairya)1 Words

Gravity '42. Recitatives in Sanskrit and Prakrit composed in

36. Gravity (gambbirya) is something due to an verse or prose when they possess meanings giving various

influence of which [outward] changes in cases of anger, joy Sentiments, constitute the Histrionic Representation by

and tear do not occur1. Words1.

Sportiveness Sūcā

37,. Erotic movements and changes [of features] which 43. When the meaning of a sentence or the sentence

are not deliberate and which grow out of a tender nature, [itself] is indicated first by Sattva and Gestures, and then

constitute Sportiveness (lalita)1 a Verbal Representation is made, it is called Sūca1.

Nobility Ankura.

38. Making gifts, bestowing favours and speaking 44, When one skilfully represents by Gestures in sweet words to others as well as to one's own men, is called the manner of the Suca and having the same source as

Nobility (audaryra)1. the feeling which one has in one's heart, it is called

Spirit the Representation of Ankura1.

39. That one does not tolerate even at the tisk of Sakba one's life, any reproach or insult made by others, is called 45. The representation that is made in due order Spirit (tejas)1. by the head, the face, shanks, thighs, hands and feet in

33 1 Cf. DR. II. 1Ib; BhP. p. 10, 1. 4; ND. p. 197. 40 1 See above 1-39. 2 It is curious that the author of the NS. is classifying now abhinaya in a 34 1 Cf. DR. II, 12a; BhP. pi 10, 1. 5. different manner and reckons its two broad classes : sāttvika and sarira, and gives 35 1 DR. II. 13a; BhP. p. 13, 1. 16 gives the term as dhairya, ND. p. 198. 36 1 Cf. DR. II. 12b; BhP. p. 10, 1. 7; ND p. 198 .. their sub-divisions. For a four-fold division of the abhinaya see VI. 23.

37 1 Cf. DR. II. 14a; BhP. p. 10, 1. 8; ND. p. 198. 41 1 Cf. Kālidāsa's pancāngâbbinaya, Mālavi, I. 6.2.

38 1 Cf. DR. II. 14b; BhP. p. 10. 1. 10; ND. p. 197. 42 1 This seems to be the sama as the vacikabbinaya.

39 ' Cf. DR. II. 13b, BhP. p. 13; 1. 10; ND. p. 197. 43 1 This kind of representation is mainly to accompany songs and dance. 44 1 This kind of ropresentation is meant to be combined with dance. 57

XXIV. 46 THE NATYASASTRA 451 HARMONIOUS REPRESENTATION XXIV. 58 450 the manner of branches, is known as the Sākha Representa- [any one].1 Irrelevant words are called Prattling (pralapa).2 tion.1 Lament and Repeated Speaking Natyâyita 53. Words originating in a pathetic condition are called 46. The intimation of Histrionic Representation which Lament (vilapa).1 Speaking again and again on anything is is made at the entrance of a major character by [different] called Repeated Speaking (anulapa).2 gesturs for enlivening the time, and whlch lasts till the Dialogue and Change of words coming together [of the 'dramatis personae on the stage] is called Nātyâyita.4 54. Dialogue (samlapa) is made up of utterance and counter-utterance.1 Change of words (apalapa)2 is the 47. The pantomeneic Representation of Dhruvas alteration of words spoken before. relating Psychological States and Sentiments which are made Message and Agreement by means of delineating joy, anger, grief and the like, is 55. "Speak this to him," is [an example of] Message also to be known as Nātyâyita. (sandesa).1 Saying "You have said what was uttered by me" Nivrttyankura is [an example] of Agreement (atidesa).2 48. When one represents words of another person by Sūcā it is called Nivrtyankura.1 Specific Mention and Pretext 56. "It is the same I that is speaking," is [an example] Twelve forms of Verbal Representation of Specific Mention (nirdesa).1 To speak with the purpose of 49-51. These are the [histrionic] ways connected with proper Psychological States and Sentiments that are available deception, is called Pretext (vyapadesa).2

for the subject matter of plays. The representation of these, Instruction and Indircct Communication

is to take the following twelve forms:] Accosting (alapa), 57. To say "Do this" or "Take this" is [an example]

Prattling (pralapa), Lament (vilapa), Repeated Speaking of Instruction (upadesa).1 Saying anything on behalf of

(anulapa), Dialogue (samlapa), Change of Words (apalapa), another person is [an example of] Indirect Communication

Message (sandesa), Agreement (atidesa), Specific Mention (apadeśa).2

(nirdesa), Pretext (vyapadeśa), Instruction (upadeśa) and Another classification of Verbal Representation

Indirect communication (apadesa).1 58. These are the forms [of sentences] that are to create

Accosting and Prattling the Verbal Representation. . I shall speak [hereafter] of the

52. Accosting (alapa) is a sentence used in addressing characteristics of the seven forms which it may have.

45 1 This kind of representation is to accompany recitatives (pāthya). 52 1 Cf. BhP. p. 10, 1. 24. 2 Cf. ibid p. 11, 1. I. 46 1 This is the use of gestures in connection with songs and dance before 53 1 Cf. BhP. p. 11, I. 2. 2 See ibid p. 11. 1. 3. the beginning of the dramatic performance. 54 1 See BhP. p. 11, 1. 4. 2 See ibid p. II, I. 5. 48 1 This kind of representation is used by the dancer who interpretes 55 1 Cf. BhP. p. I1, I. 6. 2 See ibid p. 11, 1. 7. other's speeches. 56 1 Cf. BhP. p. 11, 1. 8. 2 Cf. ibid p. 1I, I. II. 49-51 1 BhP. p. 10, I. 20-23. 57 1 Cf, BhP. p. 11, 1. 9.

XXIV. 59 THE NATYASASTRA 452 453 HARMONIOUS REPRESENTATION XXIV. 78

59. [A sentence may contain a statement which] treats to something at one's heart or will relate to an invisible an act visible (pratyaksa) or invisible (paroksa); it may relate (paroksa) act. to the present, past or future time; it may affect one's 70. The seven forms of this (i. e. Verbal Representa- ownself (atmastha) or another (parastha). 60. "O this [person] is speaking and I am not speaking" tion) will have many more varieties when they will be modi- fied according to time, and persons (lit. of the self and others) is a statement which treats a visible act (pratyaksa), affects who are affected. another person (parastha) and relates to the present time. 71. These are the ways of the Histrionic Representation, 61. "I am doing, or going or speaking" is a statement known to producers of a drama. Different kinds of repre- which affects one's ownself, relates to the present time and sentations are to be made through these. treats a visible act. Harmonious Representation 62. "I shall do, go or speak" is a statement which affects 72. The Harmonious Representation is that in which one's ownself, treats an invisible act and relates to the future the effort is equally shared by the head, the face, the feet, time. the thighs, the shanks, the belly and the waist. 63. "All my enemies were killed, conquered and put to flight by me," is a statement which affects one's ownself as 73. Experts in acting are to represent [a character] by graceful movements of hands and delicate efforts of limbs [in well as others, and relates to the past time. general], which are to delineate the Sentiments and the 64. "[The enemies] were killed and conquered by Psychological States. thee," is a statement which treats an invisible act, affects Regular Histrionic Representation others, and relates to the past time. 65. "This [person] is speaking, doing or going," is a 74-75. The acting (lit. drama) which is [performed] by physical efforts which are not violent, hurried or complex, and statement which affects another, relates to the present time which rest on proper tempo (laya), time (tala) and the measure- and treats a visible act.1 ment of Kalas, and in which words are distinctly uttered 66, "He is going or doing" is a statement which affects without harshness and hurry, is called "regular" (abhyantara). another, relates to the present time and treats a visible act.1 67. "They will do, go or speak," is a statement which Irregular Histrionic Representation 76. When it is of the opposite kind, and observes free affects others, relates to the future time and treats an invisible movements and is not combined with songs and instru- act.1 mental music, is called "irregular" (bāhya). 68. "That work is to be done today by me together with you," is a statement which affects one's ownself as well 77. It is called "regular" when it conforms to the rule (lit. within the laksana or rule) and 'irregular' when it is as another and relates to the present time. 69. Anything that is spoken on the stage (lit, in drama) outside [the pre- scription] of the Sastra. Laksana defined under the cover of the hand, will affect one's ownself, relate 78. As by this, a performance is laksyate or marked, it

XXIV. 79 THE NATYASASTRA 454 is called laksana (characteristic mark). 455 HARMONIOUS REPRESENTATION XXIV. 95 Hence it is of use in a drama. Importance of mind

Some prefer practice to the Sastra 86. Objects of sense-organs are preceived by a person

79. Those who have not received training from (lit. with attentive mind. But person out of his mind cannot

lived with) any master or who had no access to the Sastras, perceive any object which comes through five [sense-organs]. resort to practices observed by others?,1 Three aspects of mind Representation of objects and senses 87. With reference to the representation, the mind has 80. A wise [actor] should represent sound, touch, form, three attitudes [towards objects], viz. desired (ista), undesired taste and smell and sense-organs concerned, through gesture (an-ista) and indifferent (madhyastha). reflecting those objects of senses1. Favourable mind

Sound 88. Everything favourable should be represented by the 81. By making a side-long glance, bending the hand happy movement of limbs, horripilation and the opening of sideways and putting a hand near the ear, one should the mouth. represent the sound. 89. In case of a favourable sound, form, touch, smell Touch or taste, one should show a happy face by concentrating the 82. By silghtly narrowing down the eyes, raising the senses [concerned] in mind.1 eyebrows in the like mannar as well as by touching the Unfavourable mind shoulder and the cheek, the wise one should represent the '90. By turning the head, not using the eyes and keep- form. ing them fixed to the nose, one should represent whatever is Form unfavourable. 83. By holding on the head the Pataka hand with Indifferent mind its fingers slightly moving, and looking intently [at some- 91. An indifferent attitude should be represented by thing] with eyes, the wise one is to represent the form. expressing not too much delight or to much abhorrence, and Agreeable Taste and Smell by keeping oneself in the middling state. 84. By slightly narrowing down the eyes and expanding 92. The representation of words like "[It is done] by the nostrils and in the same breath, the wise one is to repre- him," "It is his," or "He does this" which relate to invisible sent the agreeable taste and the smell. acts is [an example of] indifferent attitude. 85. These are gestures which arise from the activities of the five sense-organs such as skin, eyes, nose, tongue and ears. Meaning of "personal" 93. The object which a person himself feels is called "personal" (atmastha). 79 1 This shows that the ancient India's artists did not follow the Sastras slavishly. 80 1 See also VIIIf. 89 1 The expression used is indriyair manasa praptair, 'by means of senses coming together with the mind.'

XXIV. 94 THE NATYASASTRA 456 457 HARMONIOUS REPRESENTATION XXIV. 1I0

Meaning of "external" 101-102. 'A woman who has delicate limbs, steady and

That which is a description of another person is called soft looks from the corner of her eyes, is free from any disease,

"external" (parastha). has lustre, munificence, truth and simplicity, emits very little

Desire sweat, has middling sexual passion, takes moderate food,

94-95. Almost all the Psychological States proceed from loves sweet scent and is engaged in vocal and instrumental

erotic passion (kama) and which combined with acts proceed- music, is known to possess the nature of a goddess.1

ing from desire which is regarded as having many forms such A woman of Asura type

as, passion for virtue (dharma-kama), passion for wealth 103-104. 'A woman who transgresses laws and practices

(artha-kama) and passion for liberation (moksa-kama)'. trickery, is confirmed in anger, very cruel, fond of wine and meat, always irascible [in temper], very proud, fickle-minded, Love 95-96. The union of a man and a woman is called very covetous, harsh, fond of quarrel, jealous and inconstant

sensual passion (kama). This love which may end in joy or in affection, is said to possess the nature of an Asura.1

sorrow for all people, is mostly to be observed as leading to A woman of Gandharva type

happiness even in unhappy situations. 105-106. A woman who enjoys roaming in many gardens, is adorned with good nails and teeth, speaks with a Erotic Affair smile, is slim-bodied, has a slow gait, loves sexual pleasure, is 97. The union of man and woman which finds them always pleased to hear music (gita and vadya) and to witness sexually united is known as an Erotic Affair (srngara). This dance, is careful about cleanliness [of the body] and has benefits the two, and brings them happiness.1 soft skin, glossy hairs and charming eyes, is known to possess 98. In this world people always desire happiness of the nature of a Gandharva.1 which women are indeed the source. These women are of A woman of Raksasa type various nature.1 107-108. A woman who has large and broad limbs, Various types of woman red wide eyes, coarse hairs, loves to sleep in day time, speaks 99-100. Women are known to possess the nature of loudly, has the habit of hurting [one] with nails and teeth, gods, Asuras, Gandharvas, Rākșasas, Nāgas, birds, Piśācas, is disposed to anger, jealousy and quarrel, and likes to roam Yaksas, tigers, men, monkeys, elephants, deer, fish, camel, at night, is said to possess the nature of a Rāksasa.1 Makara, asses, horses, buffaloes, goats, dogs, cows and the A woman of Naga type like.1 109-I10. A woman who has a pointed nose and sharp teeth, slender body, reddish eyes, complexion of a blue lotus, 94-95 1 It seems that Freud has been in a way anticipated here. 98 1 Cf. BhP. p. 109, I. 9-10. 103-104 1 Cf. BhP. (p. 109, 1. 20-22) here this type is called daityasila. 99-100 1 See BhP. p. 109, 1. 12-15. See also Caraka Sam. Sārīra, IV. and 105-106 1 Cf. BhP. p. 108, 1. 1-4. Šuțtruta Sam. Sārīra, IV. and Kāśyapa Sam. Ch. XXVIII. 107-108 1 Cf. BhP. p. 110. 1. 8-I1. 58

XXIV. I1I THE NATYASASTRA 458 459 HARMONIOUS REPRESENTATION XXIV. 115 is fond of sleep, very irascible, has an oblique (tiryak) gait A woman of tiger type and unsteady efforts, takes pleasure in [the company of] many persons (lit. beings), and loves sweet scent, garlands 117. A woman who takes honour and dishonour in the

and similar other objects, is said to possess the nature of a same spirit, has a rough skin and harsh voice, is wily, speaks untruth and haughty words, and has tawny eyes, is said to Nāga.1 have the nature of a tiger (vyala).1 A woman of bird type A type of human female I1I-112. A woman who has a very large mouth, ener- 118-119. A woman who loves uprightness, is always clever getic character, loves streams, enjoys spirituous liquor and and very virtuous, has regular features (vibhaktângi), is grateful milk, has many offsprings, likes fruits, is always given to [to her benefactors], disposed to worship the elders and gods, breathing and is always fond of gardens and forests, is [very] always careful about duty (dharma) as well as material fickle and talkative, is said to possess the nature of a bird.1 gain, and is free from pride and fond of friends and has 'A woman of Pisaca type good habits is said to have the nature of a human being.

113-114. A woman who has more or less than the A woman of monkey type usual number of fingers, is merciless during sexua' acts, has 120-121. A woman who has a compact and small the habits of roaming in gardens and fields, and of terrifying body, is impudent, has tawny hairs, is fond of fruits, talka- children, is treacherous, speaks with a double entendre, tive, fickle, and energetic, loves trees, gardens and forests, behaves abominably during sexual acts, has a hairy body and cherishes highly even a small kind act [done to her] and loud voice, and is fond of spiritous liquor and sexual indul- forces sexual act, is said to have the nature of a monkey1. gence, is said to have the nature of a Pisaca.1 A woman of elephant type 122-123. A woman who has a large chin and forehead, A woman of Yaksa type is fleshy and bulky, has tawny eyes, hairy body, is fond 115-116. A woman who sweats during sleep, loves of sweet scent, garlands and wine, has an irascible temper, quiet rest in bed or seat, is [very] intelligent, fearless and steady energy, loves water, garden, forests, sweet things and tond of wine, sweet scent and meat, takes delight on seeing sexual intercourse, is said to have the nature of an elephant1. the beloved one after a long time, feels gratitude [to him], A woman of deer type does not sleep for a long time, is said to have the nature of a 124-125. A woman who has a small abdomen, flat Yakșa.1 nose, thin shanks is fond of forest, has large red eyes, is fickle, has the habit of quickly going, susceptible to

109-110 1Cf. BhP. p. 110, 1. 21-22, p. I11, 1. I. 117. 1 Cf. BhP. p. 11O, 1. 19-22. 11I-112 1 Cf. BhP. p. I1O. 1. 21-22. 118-119 1 Cf. BhP. p. 11I, 1. 3-4. 113-114 1 Cf. BhP. p. 110, 1. 15-18. 120-121 1Cf. BhP. p. I1I, 1. 5-7- 115-116 1 Cf, BhP. p. 11O, 1. 5-7. 122-123 1 Cf. BhP. p. LII, 1. 8-9.

XXIV. 126 THE NATYASASTRA 460 46I HARMONIOUS REPRESENTATION XXIV. 141 fright in day time, is timid, fond of songs and instrumental 'A woman of swine type music, and intercourse, irascible in temper, unsteady in her efforts, is said to have the nature of a deer1. 132-133. A woman who has a large back, belly and mouth, hairy and strong body, a very narrow forehead, is 'A woman of fish type fond of ordinary and bulbous roots and fruits, is black, [126. A woman who has long, large and high breasts, has a face rendered ugly due to big teeth, large thigh and is fickle and without any twinkle in her eyes, has many thick hairs, mean habits and many offsprings, is said to servants and offsprings, is fond of water, is said to have the have the nature of a swine1. nature of a fish1. A woman of horse type "A woman of camel type 134-135. A woman who is faithful, has symmetrical 127-128. A woman who has protruding lips, too much sides, thighs, hips, back and neck, straight and thick hairs, sweat, a slightly awkward gait, slender abdomen, is fond is charming, munificent, small, fickle-minded, sharp-tongued, of opening flowers, fruits, salt, sour and pungent tastes, quickly moving, and disposed to anger and sexual passion, has her waist and sides loosely bound, speaks harsh and is said to have the nature of a horse1. and cruel words, has a very high and rough neck, is said to 'A woman of buffalo type have the nature of a camel2. 136-137. A woman who has a broad backbone, teeth, 'A woman of Makara type sides, belly, tawny hairs, is turbulent and hater of men, fond 129. A woman who has a large head, a steady neck, of intercourse, has a slightly broad (lit. raised) mouth, a mouth wide open, very loud voice and is cruel, has habits large forehead and hips, and is fond of forests and sporting of a fish, is known to have the nature of a Makara1. in water, has the nature of a buffalo1.

'A woman of ass type A woman of goat type 130-131. A woman who has a thick tongue and lips, 138-139. A woman who is thin, has small arms and rough skin and harsh words, is violent during sexual acts, breasts, moving red eyes, short hands and feet, is covered impudent, fond of nail-scratches and biting [from her with fine hairs, and is timid, shy of water, fond of forests, lover], jealous of her co-wives, clever, not fickle, slow in restless, swiftly moving, and has many offsprings, is said to her gait, angry by nature, and has many offsprings, is known have the nature of a goat1. to have the nature of an ass5 A woman of canine type

acd 140-141. A woman who is alert in eyes and limbs, 124-125 1 BhP. p. 111. 1. 10-13. 126 1 Cf. BhP. p. 11I, 1. 13-14. 127-128 1 Cf. BhP. p. 111, 1. 15-16. 1 711 .. 132-133 1 Cf. BhP. p. 11I, 1. 21-22.

129 1 Cf. BhP. p. 111, 1. 17-18. 134-135 1 Cf. BhP. p. 112, 1. 1-3.

130-131 1 Cf, BhP. p. 111, 1. 19-20. 3 ,*1I ,! < 136-137 1 Cf. BhP. p. 112, 1. 4-6. 138-139 1 Cf. BhP. p. 112, 1. 7-9.

XXIV. 142 THE NATYASASTRA 462 463 HARMONIOUS REPRESENTATION XXIV. 155 disposed to yawning [often], is talkative and grateful, has to the practice of love of men and women, is of two kinds:1 a long face, short hands and feet, loud voice, short sleep external and internal. irascible [temper], and low manners, is said to have the 149. [Of these two], the internal [Etiquette] is to nature of a dog1. be observed by kings in the Nataka. And rhe external A woman of cow type [Etiquette] is to be observed by courtezans in the Prakarana. 142-143. A woman who has large, plump and high A King's Etiquette towards Women hips, thin shanks, short hands and feet, is kind to friends, 150. In this connexion I shall describe in detail the firm in her efforts, favourable to children, engaged in rules of Etiquette for kings in their enjoyment [of women's worshipping ancestors and gods, always clean, respectful to love], which have been drawn out from the Science of superiors, faithful, and patient in her sufferings, is said to Erotics. have the nature of a cow1. Three classes of women Etiquette towards women 151-152. Women who have the nature of various 144-145. Women possessing the spirit of animals animals are of three classesa "homely" (abhyantara, lit. they resemble by nature, have different habits. After inside) "public" (habya, lit. outside) and "mixed" (bayâ- knowing her spirits one should approch a woman accordingly. bhyantara, lit. outside and inside), A woman belonging to For courteous acts done to a woman according to her nature, a high family is a "homely" (abhyantara) and a courtezan even if these are not many, will be pleasing to her, while a "public" (bhaya) woman. A thoroughly tested great many such acts when they are done with an ignorance (krtaśauca) woman, if she is a maiden of high family, is of her nature, will not satisfy her [at all]. of the mixed (babyâbhyantara) class. 146. An external love will arise in a woman when 153. A lady or a maiden may become subject to a king's she has been courted and won over in a proper manner. attention in his harem. But enjoying the company of a And certain Etiquette (upacara) has been prescribed for public woman is not desirable in connection with a king's man and woman in love [with each other]. love-affair. 147. Austerities are practiced for the sake of virtue 154. A king's union takes place with a "homely" and the [acquisition of] virtue is for the purpose of happiness. woman, and a common man may unite with a "public" And happiness has its source in women the enjoyment of woman, while the king may have union with a heavenly. whose company is desired [by people in general]. courtezan [only]1. Two classes of Etiquette 155. The manner of love-making which is approved in 1,48. In the theatrical convention, Etiquette relating case of [married] women of high family, will hold good in

142-143 1 Cf. BhP. p. 112, 1. 10-12. 154 1 As in Vikram. 144-145 1 See BhP. p, 112, 1. 14-16. 155 Cf. संयुक्का नायकेन तद्रज्जनार्थमेकचारिणीवृत्तम् etc. KS. IV.2. I.

XXIV. 456 THE NATYASASTRA 464 465 HARMONIOUS REPRESENTATION XXIV. 171

case of maidens too. 'And [in love affairs] a courtezan too Signs of a courtezan's love [will behave generally] like a lady of high family1. 163-165. A courtezan overpowered with love should Beginning of love be represented by making her express the feelings by

156. Love of the superior, the middling or the inferior casting side-long glances, touching the ornaments, itching

kind arises in men and women, from various causes1. the ears, scratching the ground with her toes, showing the

157. Love [for a person] grows from hearing [about breasts and the navel, cleansing the nails and gathering her

one] and [hearing] the charming conversation, seeing the hairs1.

personal beauty, or the sportive movement of limbs. Signs of love in a bighborn lady

158. A woman becomes overpowered with love on 1,65-1,67. Similarly one should know that there are

seeing a young man who has personal beauty as well as other indications [of love] in a woman of high family, These are

innate qualities, and has besides the knowledge of various as followsa she looks continuously with blooming eyes, conceals her smile, speaks slowly and with a down-cast face, arts and crafts. 159. An expert in this matter should then observe the gives reply with a smile, conceals her sweat and appearance,

various indications of love in men and women who desire has throbbing lips and is trembling1.

one another's company. Signs of a maiden's love

Signs of love 168. These are the various signs of love with which

The glance in which [the eyes are] sportive, a woman not yet having an experience of the pleasure of 160. intercourse will express differently her love which has ten tearful, half-closed, upper eyelid is drooping and eyelashes are stages1. throbbing, is called Kamya. (lit. loving) and it should be Various stages of her love used here. 169-171. First there will be a longing (abhilasa), 161. The glance in which eyes are expanded up to the secondly Anxiety (cinta), thirdly Recollection (anusmrti), corner and have sportful and smiling expressions, is called fourthly Enumeration of [the beloved one's] Merits Lalita. It is used in women's pattial looks1. (gunakirtana), fifthly Distress (udvega), sixthly Lamentation 162. The colour of the face when one's cheeks become (vilapa), seventhly Insanity (unmada), eighthly Sickness slightly red and the face dotted with sweat-drops, and hairs (vyadhi), ninthly Stupor (jadata), and tenthly Death in the body stand on their end', relates to love ... (marana)1. These are the stages of love in case of men as

156 These three kinds of love have been defined by later authors like 163-165 1 Cf. BhP, p, 113, I. 3-9, and p. 114. 1. I-2.

Sāradātanaya; see BhP. p. 113, 1. 13-14.5 165-167 1 Cf. BhP. p. 113, I. 17, p. 114, 1. I-2. 168 1 BhP. (p. 88) gives the number as 'ten or twelve'. 161 1 See VIII. 73. ¿62 1 Cf. BhP. p. 113, 1. 17-19. 169-171 1 Cf. BhP. (p. 88, I. 3-5) gives two more stages (iccha and utkantha). Also cf. KS. V. 1-5; NL. 2421 ff. 59

XXIV. 172 THE NATYASASTRA XXIV. 183 466 467 HARMONIOUS REPRESENTATION

well as of women. Now listen about the characteristics of Enumeration of Merits all these. 178. To express by means of sportful movement of Longing limbs, smiles and glance and [other efforts] the idea that 172. Longing (abhilasa) arises from efforts born of 'there is no one else like him', is called Enumeration of desire and wish [for the beloved one],and leads to the means, [the beloved one's] Merits.1 of meeting [him]1 179. Representation [of love] in the fourth stage (i.e. 173. One goes out of the place [where one is] or should he made by horirpilation at the Enumeration of enters it or stays within his sight, and shows signs of amour Merits of the beloved and wiping off tears, and sweats, and in the first stage of love2. by constant confidential talk to the female Messenger1. Anxiety Distress 174. Anxiety (cinta) should be indicated by speaking to the female Messenger (duti) words such as "By what 180. That one is not at case or is pleased in sitting, or in lying in bed and is always eagerly expecting [the means and in what manner will there be an Union with (lit. obtaining of) the beloved1?," beloved one] is the stage of Distress (udvega) in love1. 181. By representing anxiety, sighs, lassitude and 175. In the second stage [of love] one should look with half-closed eyes and handle the Valaya (bangles), the burning of the heart in an exaggerated manner, one should

Rasana, and touch the Nivi, the navel and the thighs1. express the stage of Distress2.

Recollection Lamentation 176. Sighing again and again, thinking deeply of 112. Lamentation (vilapa) is represented by speaking the beloved person and disliking other engagements, is called sorrowfully words such as. "He stood here; he sat here, Recollection (anusmrti)1. and here he united himself with me, etc1." 177. Being engrossed in thinking of him (i. e. the 143. A lamenting woman is distressed by very eagerly beloved) one does not attain composure in sitting or lying expecting [the beloved one], and out of uneasiness she in bed, and remains unable to do to one's duty. The third moves from one place of grief to another1. stage [of love] should be expressed like this1.

I72 1 Cf. NL. 2427; BhP. p. 88, 1. 15-16. 178 1 Cf. NL. 2456; BhP. p. 89, 1. 12-14. 173 1 Cf, NL. 2428ff; BhP. p. 88. 1. 17-20. 179 1 Cf. BhP. p. 89, 1. 15-18. J74 1 Cf. NL. 2436ff; BhP. p. 88, 1, 21-27. 180 1Cf. NL. 2462ff; BhP. p. 89, 1. 19-22. 175 1 Cf. BhP. p. 89, I. 8-5. 181 1 See note of 180 above. 176 1 Cf. NL. 2449; BhP. p. 89, 1. 7-8, 182 1 Cf. NL. 2470; BhP. p. 90, 1. 1-3. An example इह तया सह 177 1 Cf. NL, 2449; BhP. p. 89, 1. 9-11. C.'s reading of the portion हसितम्, इह तया सह कथितम्. इह तया सह पर्युषितम्, इह तया सह कुपितम्, इह of this chapter (XXIV.) given in pp. 281 (line 27)-289 (line 3) is merely an unacknowledged copy of K.s reading of the same. C.'s own reading occurs in तया सह शयितम् etc. (Svapna 1, 15, 2-4). PP. 348 (line 14) 355 (line 8) as a part of the chapter XXXI. 183 1 Cf. BhP. 90, 1. 4-8.

XXIV. 184 THE NATYASASTRA 468 469 HARMONIOUS REPRESENTATION XXIV. 198

Insanity 1,84. When a woman introduces topic about him place, then burnt in the fire of love one's Death (marana)

(i. e. the beloved) on all occasions and hates all [other] takes place1.

males, it is a case of Insanity (unmāda). 191. Thus in case of her not meeting (lit. getting) the

185. To represent Insanity one should sometime look beloved, one should represent, according to the Science of

with a steadfast gaze, sometimes heave a deep sigh, some- Erotics, for the Heroine all the stages of love except the last

times be absorbed within oneself and sometimes weep at one .

the [usual] time for recreation. Manifestation of men's love 192. Even a man separated from his beloved one, will Sickness thus make a manifestation of his love in diverse ways through 186. When after enjoying all objects fit for one in different Psychological States1. love, and even by desirable sprinkling, one fails to bring Characteristics of love her conditon under control, Sickness appears. 187. To represent Sickness, the eighth stage one is to 193. One should represent men as well as women who are expressing these stages of love by bringing in their com- show that she faints, the heart has no point on which to mon characteristics [in particular stages]1. settle, the head aches badly, and one does not have any peace.1 Women separated from the beloved one Stupor 194-196. All the stages of love should be generally 188. In Stupor (jadata) one does not respond when represented through Psychological States arising from separation questioned, and does not hear or see [anything], she remaing and having different bases such as anxiety, excessive breath- speehless or begins her words with 'alas' or loses memory.1 ing, lassitude, pain in the body, and imitating the conduct 189. To represent Stupor one is to utter response (lit. merit) [of the beloved] or looking to his path or gazing (hum) on the wrong occasion, and is to have one's limbs [vacantly] at the sky, talking pathetically, touching and relaxed and the mouth given to excessive breathing.1 twisting [some objects] or clinging to some support. Death Relief in love-sickness

190. If even after adopting all the means [available for 197. When burning very much with the fire of love the purpose] the Union [with the beloved] does not take one will use [special] clothes, ornaments, scents, rooms and gardens which have a cooling effect.

184 1 Cf. NL. 2484ff; BhP. p. 90, 1. 9-15. A Female Messenger 185 1 See above 184 note. 198. Suffering [thus] from love-sickness and being 186 1 BhP. p. 90. I. 16-18. K. NL (2476) has atanka (disquietude) afflicted on many points she should send a female Messenger, which precedes unmada. 187 1 Cf. BhP. p. 90, l. 19-22. 188 1 Cf. NL. 2499ff; BhP. p. 91, 1. 1-6. 190 1 Cf. NL. 2505ffi. BhP. p. 91, 1. 7-8. 191 1 Cf. NL. 25roff. BhP. p. 91, 1. 9-10. 189 1 See above 188 note. 192 1 See above 182 note. lals

XXIV. 199 THE NATYASASTRA 470 HARMONIOUS REPRESENTATION XXIV. 213 expert in love affairs [to the beloved] to speak of her 47I

conditions. diversion with them in day time may be permitted, but in 199. The message sent through the female Messenger Conjugal Union (vasaka) meeting should take place at night.1 should relate to passionate love. She [should] deliver the Reasons for Conjugal Union same] with proper courtesy [and] say "This is her actual 208. The following six are reasons1 for the Conjugal condition". Union (vasaka)tl scheduled order (paripati), [desire for] 200. Then due to manifold significance of the com- progeny (phala), newness of relation (navatva), birth of a child munication, he is to think of some means [of relief]. This (prasava), time of sorrow (dubkha) and of joy (pramoda).2 is the rule to be observed by the experts where love is to be 209. Conjugal Union being due, kings should go to practised secretly. the bed-chamber of a wife even if she may be in her menses

A King's Etiquette to Women and may not be his favourite.

201. I shall now speak truly about the rules regarding Eight kinds of Heroine the practice of kings in relation to "homely" women, and 210-211. In this connexion Heroines (nāyika) are known these rules are taken out the Science of Erotics1. to be of eight kinds such as, "one dressed up for Union" 202. Happy and unhappy conditions which occur (vāsakasajja), "one distressed by separation" (virabotkanthita), [in connexion with love] in persons of various dispositions, "one having her husband in subjection" (svadbina-bhartrka), and which are assumed by kings, are also followed by "one separated [from her lover] by a quarrel" (kalahântarita), common people. "one enraged with her lover" (khandita), "one deceived by 203. Kings have no difficulty in obtaining women; her lover" (vipralabdha) "one with a sojourning husband" because means for this, is at their command. And the love (prositabhartrka) and "one who moves [to her lover] that grows out of liberality produces delight. (abhisārika).1

202. Out of respect for the queens and for fear of VA Heroine dressed up for Union their favourite women, kings are to make love secretly to 212. A woman who in eager expectation of love's women employed in the herem. pleasure decorates herselt joyfully when the Conjugal Union 205. Though the kings may have many ways of making is due, is a Heroine dressed up for Union.1 love, making it secretly will be [the most] pleasing [of all]. A Heroine distressed by separation 206. Attachment to a woman being shut out from a 213. A woman whose beloved one does not turn up on woman and difficulty in obtaining her, imparts the 207 1 Cf. KS. V. 1, 16. supreme delight to her love. 208 1 See Hemacandra's urtti on this passage quoted in KA. (p. 307) 207. In case of women of the harem, the king's where he copies Ag. vebatim. ª This rule of the Conjugal Union (vāsaka) seems to have been relaxed at the time of Vatsyayana. See KS. III. 2, 61-63. 201 1 This seem to relate to treatises now lost. 210-211 See DR. II. 23-27. 212 1 Cf. NL. 2525ff; DR. II. 24; BhP. p. 99.

HARMONIOUS REPRESENTATION XXIV, 214 THE NATYASASTRA 473 XXIV, 226

472

account of his preoccupation with many other engagements A Heroine moving to her lover

and makes her afflicted with sadness by his not coming, is a 219 A woman who due to love or lust is attracted

Heroine distressed by separation,1 to her lover and gives up modesty for going out to meet him, is called a Heroine secretly moving to her lover.1 A Heroine having ber busband in subjection 214. A woman whose husband captivated by her Representation of different Heroines

pleasing qualities as well as by intense pleasure of love (surata) 220. Heroines in a Nataka should be ot these conditions.

from her, stays by her side, is a Heroine having the husband I shall speak of the manner in which the producers are to

in subjection.1 represent them.1

A Heroine separated by quarrel 221-223. Enraged, Deceived and Quarreling Heroines

215. When woman is impatient for her lover having and the Heroine with a sojourning husband should be

gone away due to a quarrel, or jealousy, and not returning, represented by the conditions such as anxiety, sighs, lassitude,

she is a Heroine separated by quarrel. burning of the heart, conversation with female friends,

Ån enraged Heroine looking to one's own condition, weakness, depression,

216. A women whose beloved one, due to attachment shedding tears, appearance of anger, giiving up of ornaments

for another female, does not come for the Conjugal Union and toilet, sotrow and weeping.'

when it is due, is an enraged Heroine.' The Heroine having the husband in subjection

A deceived Heroine 224. A Heroine having the husband in her subjection

217. When lover does not come to such a women should be represented with gaudy and brilliant dresses, face

(i. e. khandita) for a certain reason even after he had met her beaming with pleasure and having an excess of blooming.1

and made a tryst, she is a decived Heroine.1 Different classes of Heroine moving to the lover

A Heroine with a sojourning husband 225. When she may be a courtezen, a lady of high

218. A woman whose husband (lit. the beloved one) family or a maid-servant, the producers should make the

is living abroad on account of serious duties and who has the Heroine move to her lover in the special manner described below1. ends of her hairs scattened, is called a Heroine with a A Courtezan sojourning husband.1 226. [In going down to her lover] the courtezan is to have her body beautifully decorated with various ornaments 213 1 Cf. NL. 2530ff; DR. II. 25; BhP. p. 100. 214 1 Cf. NL. 2568ff; DR. II. 24; BhP. p. 99. 215 1 Cf. NL. 2550; DR. II. 26; BhP. p. 99. 1 Cf,.NL. 2536; DR. II. 25; BhP. 98. 219 1 Cf. NL. 2572ff; DR. II. 27. See BhP. p. 100, 216 221-223 1 Cf. DR. II. 28; cf. BhP. p. 98-100. 217 1 Cf. NL. 2542ff; DR. II. 26; BhP. p. 99. 218 1 Cf. NL. 2556ff; DR. II. 27; which uses the tern prositapriyā. 224 1 Cf. DR. II. 28. Cf. BhP. p. 99.

BhP. p. 100. 225 1 Cf. DR. II. 28. Cf. BhP. p. 100. 6g

XXIV. 227 THE NATYASASTRA 474 475 HARMONIOUS REPRESENTATION XXIV. 240 and to walk slowly in the company of her attendants and 233. 'A woman in love always enjoys with pleasure with [a display of] passion (samadana) and mild efforts.1 various ornaments, dresses, scents and garlands which are The woman of bigh family charming and are of the best kind1. 227. [And in such a situation] a woman of high family 234. Just as a man does not come particularly under will cover her face with a veil, and walk timidly with her the control of love when he has failed to win any woman, limbs contracted, and will [very often] turn back1 her face. so on being united, with the beloved woman [such a person] A band-maid becomes doubly delighted1. 228. And [in the same situation] a hand-maid will Behaviour at the 'Amorous Union walk haughtily with uneven steps (aviddhagati) and with eyes 235. At the time of Amorous Union (lit. union of beaming with amorous joy, and will talk distortedly due to love) there should be amorous feelings, gestures, words and intoxication (madaskhalita-samlapa).1 specially sportful movements of the sweetest kind (lit. having How to meet a sleeping lover a special quality of sweetness) and especially looking at each 229. If the beloved one (lit. this one) is in bed, and she other with love1.

finds him manifestly asleep, she [should] awaken him by the Preparation for Women's Amorous Union following means3 236. In special cases, a woman also while meeting the 230. A woman of high family is to awaken him by beloved one should arrange Amorous Union which is to be [the sound of] ornaments, the courtezan by the sweet (lit. a source of pleasing Sentiment. cool) scents, and the handmaid by fanning the beloved one 237. Alter collecting scents, garlands and a short cloth, with her clothes.1 she should keep these in readiness for the lover, and make her 231. This is the rule of amours for women of high own toilet.

family, courtezans and others, for the Nataka is to represent 238. In preparing for the Amorous Union one should the Psychological States of all kinds [of Heroine]. not put on too many ornaments, [among these] the Raśanā

Man's Preparation for Amorous Union and the Nupura, which have a sound are generally to be 232. For a woman newly in love or an enraged woman preferred1.

when she is not coming [of her own accord,] the Amorous Acts prohibited on the stage

Union should be arranged [by the lover] through some 239. [In representing various activities of women] there

pretext1. should be on the stage no ascending of the bed-stead, no bath, no use of unguents and collyrium, no decoration of the body 226 1 Cf. NL. 258off; BhP. p. 1OI, 1. 4-ro; SD. 117. and no doing of the hair1. 227 1 Cf. NL. 2576ff; BhP. p. 100, 1. 19-22; SD. 117. ' Cf. NL. 258off; BhP. p. 101, 1. 11-15. 240. And women of the superior and the midding 228 types should not be shown as very scantily draped (apāvrta) or 229 1 Cf. BhP. p. 101, 1. 16. 230 1 Cf. BhP. p. 1O1, 1. 16-22. wearing only one piece of garment (ekavastra) and they

XXIV. 241 THE NATYASASTRA 476 477 HARMONIOUS REPRESENTATION XXIV. 258

should use no colour for their lips1. minister engaged in affairs of the state, or could he have been

241. The prohibited mode of [of dress] will suit only the detained by some favourite woman?" women of the inferior type, because of their low nature.1 But 250. She should represent an appearance connected with they too are not to be represented as doing what is improper. the various good or bad causes [mentioned above] by means 242. Men and women in different Psychdlogical States of physical omens like quivering or throbbing [of a particular should in a play take up a flower when they dress themselves limb.] up (lit, in their taking ornaments). Personal omens 243. A woman who has finished toilet waits for a 251. Personal omens indicating things favourable to while for the arrival of her beloved men. And while looking women, will occur to their left [side] while in case of all to his path she will hear the ringing of the bell indicating undesirable happenings they will take place on their right. Nādikās. 252. If the left eye, forehead, eyebrow, lip, thigh arm, A Heroine in expectancy or breast throbs, this, will indicate the coming [of the 244. After hearing the sound of [the expected] Nādikā beloved]. the Heroine excited [with joy) at [the chance of] the 253. If these will throb differently1 that will indicate beloved one's coming should run towards the gate with a something calamitous (lit. not desired). In case of perceiving trembling [body] and with her heart about to stop. such an evil omen she should at once faint. 245. And holding the door-frame with her left hand, 254. As long as the beloved one has not come, her and a door-blade with the right one, she should with straight hand will rest on her cheek, and being careless about her eyes look up for the arrival of the beloved one. toilet she should go on weeping. 246. She is to express anxiety, apprehension and fear due to some reasons, and when the beloved one fails to appear (lit. A Heroine's reception of the beloved one

not seeing the beloved), she should turn sad at the moment. 255-256. But afterwards on seeing some good omen 247. Then after heaving a deep sigh she should shed indicating his arrival the Heroine should represent that the tears and with a motionless heart drop down herself (lit. her beloved one has drawn near by means of feeling1 his smell,

limbs) on a seat. and on seeing him [come] she should joyfully get up and 248. Due to a delay of the beloved one she should proceed to welcome the beloved one.

connect (lit. ponder over) his coming with causes (lit. consi- Receiving the guilty lover

derations) which may be good or bad. 256-258. And if the beloved one is guilty he should be 249. She will think [as follows: ]"Could the beloved one given censure in due order by means of [appropriate] gestures have been held up by serious duties, by the friends, or by the and reproachful words as well as by Jealous Anger (mana),

241 1 That is, they might appear on the stage as very.scantily draped of 253 1 That is, if the right ey and eyebrow etc. throb. with one piece of garment or might have their lips painted. 255-256 1 That is, by representing it with gestures.

XXIV. 258 THE NATYASASTRA 478 479 HARMONIOUS REPRESENTATION XXIV. 275 Insult, Fainting or Dissimulations and in case of women's Disgust outburst of speech [in such cases] will consist of abuse. 267. Disgust (vipriya) will arise when the beloved one 258-261. In case of satisfaction [witnessing] a contest, says that "I live [only] as long as you live," "I am your love, doubt, responding to courtesy, and wonder, in case of slave" and "You are my love," but behaves in a [quite] private words relating to duty, wealth amour or in laughter, different manner, curiosity, flurry, calamity and acceding to a situation of 268. Representation of Disgust should be made by fun and to his concealing any ascription of any fault, the repulsing the female Messenger, the latter's solicitation of Heroine should speak to the beloved one even if [his guilts reply [made by the beloved1 one] and also by angry laughter require that] he should not be spoken to, because of these weeping and shaking of the head. reasons. Anger 261-262. Where there is affection there is fear also. 269. Anger arises [in a woman] when the beloved one And where there is jealousy there occurs love (madana). comes to her from the place of a rival woman, and carries Causes of jealousy the signs of his Union with her and boasts about his The causes of this (i.e. jealousy) are fourfold Depression good luck in this matter. (vaimanasya), Mixed Feeling (vyalika), Disgust (vipriya) and 270. Anger should be represented by turning round Anger (manyu). Please listen about their description. the Valayas (bangles) and throwing up the Rasana in a loose Depression manner and by apprehensive and tearful eyes. 262-263. Depression arises from seeing the beloved one On treating a lover at fault walking lazily due to sleepiness and lassitude, and discovering 271. On seeing the beloved one standing much ashamed signs [of his Union with another woman] and fresh wounds and afraid due to his guilt, [the Herione] should harass him [received from the latter]. with rebuke made up of words spoken in jealous [indigna- 264. A women should represent this with an intensely tion]. jealous face, great trembling of lips due to anger, and 272. But no very cruel words should be uttered, and no utterance of words like "It is good," "It is nice" and "It very angry words should also be applied. [The Heroine] is beautiful." should speak tearfully things referring to her ownself (i. e. Mixed Feeling her ill luck). 265. Mixed Feeling arises due to jealousy mixed with 273-275. This attitude should be represented by placing great joy when one's beloved one is seen [near by] even after on the breast a hand the middle finger of which is touch he has been treated with contempt in many ways. the edge of the lip, and by looking with eyes upturned, an'd 266. Mixed Feeling should be represented by putting looking continuously or assuming a Karana in which a hand forward a foot and having the left hand on the breasts and is placed on the hip with the fingers separated or by moving the right one violently gesticulating. them on the head and letting them fall together or by a look

XXIV. 275 THE NATYASASTRA 480 481 HARMONIOUS REPRESENTATION XXIV. 295 of Dissimulation or by beautiful gestures finger of indicating herself behind his back and cover her Nivi. threat. 286. A woman should harass her [offending] lover till 275-277. After saying "You are shining," "You look he would fall to her feet; but on his falling at her feet she well," "Go", "Why are you tarrying", "Don't touch me," should look to the female Messenger. "Go to the beloved one who is in your heart," 'And go 287-288. Then the Heroine should embrace the beloved away," she should turn back and resume her joyful expres- one and with the object of intercourse she should joyfully sion on any pretext.1 walk [with him] to the bed. All these should be represented 278. In case of being taken forcibly by the dress, the [only] by [appropriate] songs1 with a gentle dance. hand or the hair (lit. head) the woman should be softened 288-289. When in a play there is any speaking to even after observing the guilt [of the beloved person].1 the sky or any action depending on another man's speech, 279. When taken by her hand, dress or hair the which relates to the Erotie Sentiment, then the same line of woman drawing near the beloved one should slowly release representation should be followed by a woman.1 herself from him. 290. The same should be the rule of representation if 280. When taken by her hair, hand or dress the woman an action of a play relates to the inner appartment (harem) should enjoy (lit. take) the touch of the beloved in such a and the Erotic Sentiment. way that he may not perceive it. Acts forbidden on the stage 281. The woman should slowly release her hair [from 29 1. One knowing the dramatic convention (natya- the hands of the beloved one] by standing first on her toes dbarma) should not represent sleeping on the stage. But if with limbs bent and then taking to the Aśvakranta posture.1 [such is necessary] on some pretended need one should bring 282. Her hair being not released [due to efforts of the the Act to a close. beloved one] the woman should slightly perspire on his touch 292-293. If out of any necessity anyone sleeps alone or and say "Hum bum, let [my hairs] go," and "Go away". with anyone, no kiss or embrace or any other private acts 283. After hearing the angry words like "Go away" such as biting, scratching with nails, loosening the Nivi, the the lover (lit. man) should [first] go away and then come pressing of breasts and lips, should be presented on the stage.1 back to start talking to her on any pretext. 294. Taking food or sporting in water or doing any 284. Then the woman should make movements of her immodest act should not be presented on the stage. hand while uttering "Hum hum", and during these move- 295. As a Nataka is to be witnessed by the father and ments she should pretend [anger] with abuses (sapatha). the son, the mother-in-law and the daughter-in-law [all 285. In case of her clothes being taken away [by th'e beloved one] the woman should either cover his eyes, conceal 287-288 1 K. reads 290 with some variation. In trans. it is as follows: Then the woman will tolerate (lit. accept) the touch of the beloved and holding 275-277 1 The trans, of 277 is tentative. him up properly [from the feet] lead him to the bed. 281 See XIII. 167-168. 292-293 1 This shows the high moral tone of the Indian theatrical art. 61

XXIV. 296 THE NATYASASTRA 482 483 HARMONIOUS REPRESENTATION XXIV. 311

sitting together] these acts should be carefully avoided. by sweet words (sama, lit. conciliation), gifts (dana), provid- 296. With words which are very pleasant to hear and ing enjoyment, caress and maintinance, is called "lord" have not very harsh sounds and are sweet and not very cruel 304. He who is a well-wisher [of his beloved woman], the experts should write Natakas which are to contain is able to protect her, is not conceited or jealous, is always good counsels. alert on every occasion, is called "master".

Endearing terms of address for the beloved one 305. He who takes the woman to the bed to please

297. Now listen about terms which women in love are to her tactfully by [providing] enjoyments according to her

use to their beloved ones when the Amorous Union takes place. wishes and desires, is called "life".

298. Such terms are "dear" (priya), "beloved" (kānta), 306. He who is high-born, patient, clever, kind, master

"affectionate" (vinita), "lord" (natha), "master" (svāmi), of words and fit to be praised among women friends, is

"life" (jivita) and "joy" (nandana) when they are pleased. called "joy".

Angry terms of address for the beloved one 307. These words are used to highten the charm of intercourse. I shall now speak of words which indicate 299. In case of anger, terms generally used may be an want of love. Listen about them. "ill-natured" (dubsila), "tyrant" (duracara, lit. ill-doing), "deceitful" (satha), "hostile" (vama), "indifferent" (virūpa), Angry terms of address explained

"shameless" (nirlajja) and "cruel" (nisthura). 308. He who is cruel, impatient, cenceited, shameless,

Endearing terms of address bragging, given to crossing words, is called "ill-natured"

300. He who does nothing undesirable, speaks nothing (dubsila).

improper, and always conducts himself uprightly is called 309. He who restrains indiscretely a woman's movement

"dear" (priya). or beats her or uses harsh words to her, is called a "tyrant".

301. He in whose lips or [other parts of] the body no 310. He who for his own purpose speaks sweet words

sign of Amorous Union with apother woman is visible is but does not put them into practice is called "deceitful.

called "beloved". 311. He who even being forbidden to do anything

302. He who even in his anger does not cross words does that very thing, and resolutely, is called "hostile".

[with the woman he loves] and does not use any harsh word is called "affectionate". 303 1 Cf. BhP. p. 107b. 1. 16-17. 304 1 Cf. BhP; p. 107b, 1. 18-19. 303. He who maintains an intercourse with a woman 305 1 Cf. BhP. p. 108b, I. 4-5; the term here is jivitesa, 'lord of life.' 306 1 Cf. BhP. p. 108b, l. 2-3. 295 1 See above 292-293 note. 308 1 Cf. BhP. p. 108b, 1. 14-15. 298 1 BhP. (p. 107, 1. 7-9) has eleven terms. 309 1 Cf. BhP. p. 109, I. 4-5. 299 1 BhP. (p. 108, 1. 10-11) has eight terms. 310 1 Cf. BhP. p. 108b, I. 20. p. 109b, I. I. 301 1 Cf. BhP. p. 107, 1. 14-15. 311 1 Cf. BhP. p. 1o8b, I, 12-13.

XXIV. 312 THE NATYASASTRA 484 485 HARMONIOUS REPRESENTATION XXIV. 328

312. He who has fresh wounds [received from a mind is always full of joy and their time is always passed another woman] and is proud of it and remains silent is happily and in sports. called "indifierent"1. 321. Celestial males have no jealousy, anger and malice 313. He who approaches the woman more resolutely in life, and they require no propitiation of their females. than ever even when he is guilty [towards her] and bears the 322. When celestial women unite with human beings marks of such a guilt and is forbidden to approach, is called they are to assume all the Psychological States of a mortal. "shameless"1. 323. When celestial women sustain a fall [from the 314. He who being guilty towards her tries to enjoy a heaven] due to a curse, their union with human males and intercourre with a woman by force, and does not think of the mode of approach should be likewise. conciliating her, is called "cruel"1. 324. [Remaining] invisible, she should tempt them 315. These are the ways of using words to indicate with her voice and with [the scent of] flowers in her decora- whether a lover is dear or not so. In different circumstances1 tion and then revealing herself for a moment she should one should use them discretely1. disappear. 316. In songs [mentioning such a situation] there 325. The Hero is to be maddened by a display of should be application of gentle dance of the Erotic Sentiment1 dresses, ornaments, garlands and letters and such other and the [representation of] fatiguing acts of love. means. 317. When there is a man in the sky alluding to 326. Love growing out infatuation will be pleasing, another person, and his word suggests the Erotic Sentiment, and that [love] which is natural will not cause such abundant the same should be the mode of representation [on the part feelings. of a woman]. 327. Being reduced to human existence celestial males 318. These should also be the procedure when a should assume all the Psychological States which are proper [similar] act relating to the Erotic Sentiment takes place in a for men and should behave like them. Nataka, with regard to a male. 328. This should be the practice in connexion with 31,9. This is the rule about the representation of inci- kingly Etiquette in relation to the harem. The Etiquette dents relating to the harem. I shall now describe in due in relation to the outsiders will be treated in rules regarding order the rules regarding the goddesses (lit. celestial females)'. Courtezans (vaisika). Goddesses in buman roles Here ends Chapter XXIV of Bharata's Nātyasastra 320. The dress of goddesses is always brilliant, their which treats of the Harmonious Representation.

312 1 Cf. BhP. p. 108b, I. 14-15. 313 1 Cf, BhP. p. 108b. I, 18-19. 314 Cf. BhP. p. 108b. I. 20-21. 315 That is in irony (sollunthana-bhasita). See SD. 107.

487 DEALINGS WITH COURTEZANS XXV. 12 friendly (swrabbi), sweet-tempered munificent, patient, free CHAPTER TWENTYFIVE from bragging, fearless, accustomed to use sweet words, DEALINGS WITH COURTEZANS clever, elegant, clean [in his habits], expert in the practice of love, honest, able to act suitably to time and place, speaker The definition of an Expert Gallant of no pityful words, accustomed to speak smilingly eloquent I. One excelling (visesayet)1 in all the atts (kala)2 is careful, sweet-tongued, greedless as a partner, full of faith, called a Vaiśesika (specialist) or one is also called Vaisika firm in resolve, not rash, making contidence to accessible because of his dealings with the courtezans (vesyopacara)3. (gamya) women and has a sense of self-respect, is called an 2. A man who has learnt all the arts (kala)1 and is Expert Gallant. an adept in all the crafts (silpa)2 and can [besides] captivate 8. [According to another authority] his six [special] the heart of women, is called a Vaisika (Expert Gallant)3. qualities areg that he should be devoted [in his love affairs], Qualjties of an Expert Gallant clean [in his habits], self-possessed, honest, dignified, have 3. His thirtythree [characteristic] qualities are briefly a [suitable] age and able to talk on varied topics (citrabbi- of three classes: physical, extraneous (aharya) and psycholo- dhāyi). gical (sabaja, lit. natural). A female Messenger 4-7. One who is well-versed in the Sastras, skilled in 9-10. A wise woman, female story-teller, a female arts, crafts, well-formed, pleasant-looking, powerful, possess- ascetic or a woman of the stage1, an intelligent woman, a ing self-command, desirable age, dress and pedigree, is female neighbour, a female friend, a maid-servant, an un- married girl, a crafts-woman2, a foster-mother, a nun3 or a female fortune-teller [can be employed as famele] a Messen- I 1 See BhP. p. 106, I-10. ger4. 2 These are generally considered to be sixtyfour in number. See Vātsyāyana. KS. I. 3. 34. But the Jains have their number as seventytwo (See Amulya Qualities of the Messenger Chandra Sen, "Social Life in Jain Literature," Calcutta, 1933. pp. 12-15). I,Ij. A wise person should never engage as a Messen- 3 This etymology is sensible. For vesa (residence of courtezans) is connected ger any person (lit. male or female) who is foolish, beautiful, with vesya (woman who is available for all the members of the tribe or the wealthy or diseased1. settlement). 12. Any woman should be engaged as a Messenger 2 1 See above I note 2. The word kala is usually synonymous with silpa. For the most of the when she knows the art of encouraging [the beloved], is sixtyfour items included by Vatsyayana (l.c.) are nothing but crafts. But when sweet in her words, honest, able to act suitably to the the two words are used together in a sentence, silpa may be taken in the sense of 'craft' only. 9-10 1 Ag. explains rangopajivtni as rajakastrī. 3 Another name for vaisika (Expert Gallant) seems to be vita. See KS. : Cf. DR. II, 29; SD. 157 separate the words karw and silpin. 1.4. 16; SD. 80 and also XXXV. 74. A nun of the heretical sects like the Buddhists. See note 4 below. 4-7 1 See BhP. p. 106, 1.2-9. Cf. KS. V. 4. 23. 1I 1 Cf. BhP. P.94 (1.9-10).

XXV. 13 THE NATYASASTRA 488 489 DEALINGS WITH COURTEZANS XXV. 29

occasion, charming in her behaviour and is able to keep An attached woman secrets1. 20-23. When a woman speaks of her lover's [good] 13. She should encourage [the beloved one] by qualities to her friend, gives him her own money, honours mentioning the various causes and should communicate the his friends, hates his enemies, seeks to unite with him, exact words [of the latter] and describe his condition2. becomes much pleased to see him, looks pleased after a 14. Besides female Messenger should make an exag- talk about him, sleeps after he has slept, kisses after he gerated statement about his birth, wealth and [capacity for], has kissed her, rises [in the morning] before he gets intercourse and speak freely about the purpose [of her visit]. up, puts up with suffering [for his sake], remains the

15. The Messenger should in various ways bring same in happiness and in misery, and never becomes angry,

about for the man an Union with a woman who is in love she is said to be "attached" (anurakta)'. These indicate

for the first time or a beloved woman who has been angry her characteristics.1

wirh him1. A hostile woman

16-17. The first meeting of men [with women] may 24-27. The characteristics of a hostile woman are as be made during a festive night, in her house, in a park, in followsa when kissed she wipes off her mouth, speaks the house of a kinsman, a foster-mother or a female friend unpleasant words, becomes angry even when sweet words

or in a dinner-party or on the pretext of seeing a sick person, have been spoken to her, hates his friends, praises his ene- or in an empty house1. mies, lies down on the bed with her back turned against him, 18. After meeting a woman in one of these various goes to bed first, is never pleased even after a great deal of ways one should carefully observe from different marks whe- honour[has been shown her], never puts up with suffering, ther she is attached or the opposite. becomes angry without any provocation, does not look at him or greet him. The woman who betrays these signs 'A woman excessively overcome with love should be marked as "hostile1' (viraktā).' 19. The woman who from her natural feelings is smit- Winning back of woman's beart ten with love and does not conceal her amorous behaviour 28-29. [The following measures may lead to] the [at the sight of the beloved] is said to be "overcome with winning (lit. taking) back of a woman's heart:) display of love" (madanātura). wealth, showing of good-will, proposal of giving money,1 [actually] giving money, pretending to give her up and making gesturs of attachment (bhavopaksepa).2 from near. 12 1 Cf. KS, I. 5. 28; SD. 158. 13 1 Cf. KS. I. 5 28, BhP. p. 94, 1. 4-13. 14 1Cf. KS. I. 5. 28, BhP. p. 94, 1. 11-13. 20-23 1 See BhP. p. 115, 1, 2-8. 15 1 Cf. BhP. p. 94. 1. 14-15. 24-27 1 BhP. p. 116, 1. 4-5, 13, 6, also 7-12, 14-19. 16-17 1 Sce Ag. ª Cf. BhP. p. 64 1. 16-19. 28-29 1 See Ag. ª See Ag. 62

XXV. 36 THE NATYASASTRA 490 491 DEALINGS WITH COURTEZANS XXV. 45 Causes of hostility there is a [proper] cause, speaks without malice and knows 30-31. A man or a woman becomes hostile to the the proper occasion [for all acts] is fit for sexual union lover due to poverty, disease, misery, harshness, want of is (subhaga)1 of the superior class.2 learning, going abroad, offended self-esteem, excessive greed, 'A middling woman transgression [ot good conduct], coming back late [at day or 40-41. The woman who desires men and is desired by at night] and resorting to undesirable acts.1 men, is skilled in the acts of love, jealous of her rivals, Acts winning woman's hearts is overcome with malice, is not sincere and has short-lived 32. In connexion with love, one's acts should be anger, is proud, and can be pacified in a moment, is of the capable of winning the heart (lit. attachment) of women. middling class1. By these [acts] a woman may be pacified and won over. An inferior woman 33-35. A covetous woman should be won over by 42. The woman who is angry without a suitable cause, [making her] a gift of money, a learned woman by knowledge ill-natured, very proud, fickle, harsh, and remains angry for a of arts, a clever woman by sportfulness, a sensitive woman long time, is of the inferior class.1 by acting according her desire, and making her accept orna- Four stages of a woman's youth ments will induce her to an intercours ; a woman who hates 43. The youthful exploits of women when they have man is to be propitiated by stories to her liking, a girl below tasted love's pleasures are manifested in four stages through sixteen (bala) by a present of play-things, a terrified woman dresses, limbs and their movements as well as [inner] qualities1. by cheering her up, a proud woman by servile attendance Primary youth and a nobel lady by the practice of arts1. 44. The primary youth which has an enthusiasm for Three types of woman sexual acts, is characterised by plump thighs, cheeks, hips, 36. Three are the natures of women, superior, middling lips and breasts which are firm and conducive to (lit. and inferior. But the nature of courtezans are appropriate to charming in) love's pleasures1. their own class. Secondary youth A superior woman 45. The secondary youth which affords the best pleasure 37-39 The woman who remains unperturbed when she of love is characterised by full and round limbs, plump breasts has been offended, does not use harsh words to her beloved and slender waist1. one, has a short-lived anger, possesses skill in arts, is desired by, men for her high birth, wealth, capacity for giving enjoyment 37-39 1 A woman who has proper age and health. 2 Cf. BhP. p. 102, 1. 1-5. and the like, is an expert in the acts of love (kamatantra), is 40-41 1 Cf. BhP. p. 102, 1. 6-9. honest, possesses physical charm, becomes angry only when 42 1 Cf. BhP. p. 102, 1. 10-13. 43 1 Cf. BhP. p. 103, 1. 10. 44 1 Cf. BhP. p. 103, 1. 11-16. 30-31 1 Cf. BhP. p. 117. 1. 8-I1. 45 ' Cf. BhP. p. 104, 1. 2-II.

XXV. 46 THE NATYASASTRA '492 493 DEALINGS WITH COURTEZANS XXV. 58

Tertiary youth captivating a man, has no malice to her rivals even if she 46. The tertiary youth is provided with all kinds of is an expert in love's enjoyments, and she always desires beauty, exciting sexual desire and is maddening and rich in to remain unseparated [from her beloved man]1. various qualities1, and in it sexual passion adds to a woman's Five types of men graces. 53-54. These are the four stages of youth for the Quarternary youth Heroine in a drama. I shall now deseribe the types (lit. 47-48. The quar ternary youth which is the enemy of qualities) of men with regard to the practice of amours. With intercourse comes when the primary, the secondary and the tertiary youths have gone by1. It is characterized by reference to their dealings (lit. application) with women they

reduced physical charm due to slightly pale cheeks, hips, lips are of five types, such as is "clever", "superior' , "middling" "inferior" and "novice" (vrttaka).1 breasts as well as an enthusiasm for sexual acts2. A clever man Behaviour in the primary youth 55. A man is to be known as "clever" when he is sym- '49. A woman in her first youth is to be known as one pathetic, able to endure hardship, skilled in pacifying anger who cannot take much pains, is neither pleased nor displeased in connexion with love, expert in sexual acts, and is honest, with her (female) rivals and is attached to persons of mild suppliant and not self-willed. qualities1. Behaviour in the secondary youth A superior man

50. A woman in her secondary youth takes offence 56-57. A man is to be known as "superior" when he

lightly, and her anger and malice are also not great, and in does not do anything displeasing, when he comes to know

her anger she remains silent1. of her slight aversion, or has found out her motive com-

Bebaviour in the tertiary youth pletely, and has a good memory and self-command, is dignified,

51. A woman in her tertiary youth is an expert in and knows thoroughly the mysteries of [human] feelings

intercourse, full of malice for her rivals, has many qualities (lit. heart). One who is sweet [in manners], munificent

and is not secretive and shows pride in her acts1. and feels love, but is not overcome by passion, and when in-

Behaviour in the quarternary youth sulted by a woman gets disgusted with her, is also [to be

52. A woman in her quarternary youth is capable of known as]a "superior" man.1 A midling man 58. A level-headed man who tries to understand by all 46 1 Cf. BhP. p. 104, 1. 13-14. 47-48 1 Through over-indulgence in sexual acts is it may come even after means a woman's feelings of and is disgusted with her

the first or the second stage. 1 Cf. BhP. p. 104, 1. 2-6. ª Cf. BhP. 105, I. 1-6, 52 1 Cf. BhP. p. 105, I. 8-10. 50 1 Cf. BhP. p. 104, 1. 13-18. 49 1 53-54 1 Cf. BhP. 91, I. 20ff. 51 1 Cf, BhP. p. 105, 1. 1-4. 56-57 1 Cf. DR, II. 3-6a, BhP. p. 92. I. 2-3.

XXV. 59 THE NATYASASTRA 494 495 DEALINGS WITH COURTEZANS XXV. 73 on discovering any of her deceit, is to be known as "midding". Conciliation 59. A man who makes a gift in proper time, does not have much anger even when he is insulted, but on dis- 67. That which is effected through a projection of one's

covering her slight act of desceit, gets disgusted with a own self by saying "I am yours1', "You are mine", "I am

woman, is to be known as "midling"1. dear to you", "you are dear to me" is called Conciliation.

'An inferior man 68. Giving wealth according to the measure of one's

60-61. A man who shamelessly approaches a woman property in season and out of season, and concealing the same

with a steadfast love even when she has insulted him, has under some pretext is called Gift1.

passed to another and has withdrawn her love due to her Discord

attachment for another, and loves her openly and more 69. Showing the faults of her dear one by some means, strongly in spite of a friend's advice to the contrary even is Discord. when he has come to know directly of her deceit, is to be Chastisement known as "inferior". 70. An indifferent woman is to be re-united by Con- A novice ciliation, a covetous one by giving her wealth, and a woman 62-63. A' man who does not care for fear or anger, is attached to another person should be won over by Discord. foolish, has naturally excessive feeling, is obdurate, artless in 71. When from a changed attitude a woman deteriorates acts of love, not rough in love-quarrels [and] in strikings into a wicked one, she should be chastised with slight connected therewith, and a plaything of women, is to be beating,2 and restraint of her movement. known as "novice". 72. If after an exaustive adoption in due order, of Psychological approach to women means such as Conciliation and the like, a woman does not 64. Women ate of different nature1 and their hearts come under control then a clever man should be indifferent are mysterious. Hence a wise man should make to them to her. approaches as befit their respective spirits. 65. A man should deal with a woman according to the Reading a women's heart from her bebaviour

Science of Erotics after he has measured through differenr 73. It is from the expression of her face or from her

means her love or its absence. eyes or from the movement of her limbs that one is to know

66. Such means are8 Conciliation (sama)1, Gift (pradana whether a woman hates a man or loves him or is indifferent

='dana), Discord (bheda), Chastisement (danda) and to him.

Indifference (upekśa) to women. 68 1 That is, in joys and sorrows (Ag.). 59 1 K, reads this as follows: सर्वार्थं मध्यस्थो भावग्रहरां करोति नारीणाम्। 71 1 Ag. explains this as desantara [pa] layayanam purusāntara-gamanam. किश्चिद्दोषं दृष्टा विरज्यते मध्यमोऽयमिति॥ ª The husband's conjugal right of punishmant such as blows with a chord 66 ' Cf. BhP."p. 214. 1. 7. These terms have been from the Arthasāstra. or a rod is often referred to in the Smrti lit. (Manu. 8. 299f; Sankha, 4. 16 etc.) See also Kautilya III. 3. and Jolly. Hindu Law and Customs. p. 145.

XXV. 74 THE NATYASASTRA 496 A courtezan's mercenary treatment of men 74. Courtezans except when they belongs to gods or the king are always available for money to a man whether he CHAPTER TWENTYSIX

is dear to them or not, VARIED REPRESENTATION 75-76. [To them] a man [giving money] becomes dear even if they hated him before, becomes dearer than ever if 1. The speciality in the representation through Gestures

she already was dear to them, is admitted as well-behaved and the like, which occurs from time to time, but has not

even if he is wicked, and as possessed of good many qualities been me mentened [before] when stated in diverse ways, is

even if he has none. known as the Varied Representation (citrâbhinaya).1

On seeing him their eyeballs dance [in joy] and they Day, night and seasons etc.

smile as it were with eyes, and due to simulation of [proper] 2-4. To indicate morning and evening, day and night

feeling their faces assume an agreeable colour. seasons, clouds, forest-region, wide expanse of water, directions,

77. Passion arises in them after they have been treated planets, stars and anything that is somewhat fixed, one is

with proper means or have been separated [for some time], to make the following gestures two hands raised with

just as fire comes out of wood. Patākā1 and Svastika2 gestures, Udvāhita head3 looking

78. This is the traditional method of dealing with upwards with various eyes [fitting each occasion].

women so far as courtezans are concerned. This should be Objects on the ground

utilized in suitable manner in the Nataka or the Prakarana. 5. With the samel gestures of the hands and of the

79. This is the method of dealing with courtezans to head together with the eyes looking downwards, one is to

be followed by the experts. Now listen about the Varied indicate [objects] resting on the ground.

Representation. Moonlight, happiness and air etc. 6. To indicate moonlight, happiness, air, flavour Here ends the Chapter XXV of Bharata's Natyasāstra, (rasa) and smell, one is to use gestures for representing touch

which treats Dealings with Courtezens. and horripilation. The sun, dust and smoke etc. 7. To indicate the sun, dust, smoke and fire one is to cover one's face with clothes. And heat of the ground and heat of the sun are to be indicated by a desire for a shady place.

1 1 Their collective use as under 5-20 below. Ag. makes a scholastic dis- cussion on the justification of the term citrabhinaya. But this does not appear to be convincing. 2-4 1 See IX. 17-26 2 See IX. 134 3 See VIII. 27 5 1 As described above. 63

XXVI. 8 THE NATYASASTRA 499 VARIED REPRESENTION XXVI 22 498 The mid-day sun Lightning and shooting stars etc. 8. The mid-day sun is to be indicated by looking 15. Lightning, shooting stars, peals of thunder, sparks upward with half-shut eyes, and the rising or the setting [of fire] and flame should be indicated by relaxed limbs and sun by a representation of the idea of depth. fixed look.

Pleasent objects Repugnant objects

9. To indicate anything pleasant and happy, one is to 16. To indicate anything repugant to oneself, or to

use gestures for representing the touch of one's body together avoid its contact one is to practice Udvestita1 and Paravrtta with horripilation. (Parivartita)2 Karanas of hands and to bend the head and to

Sharp objects look obliquely.

10. And to indicate things of sharp nature one is to Hot wind and heat etc.

use gestures for representing touch of one's limbs and uneasi- 17. To indicate hot wind, heat from the sky, warding off of dust, rains, insects and bees one should cover one's face, ness and to narrow down one's mouth. Deep and exalted feeling Lions and bears etc.

II. To indicate these in connexinn with deep and 18. Lions, bears, monkeys, tigers and other beasts of

exalted feelings one is to have the Sausthava1 of the limbs prey should be indicated by holding Padmakośa1 hands down-

and a display of pride and conceit. wards in the form of a Svastika.

Necklace and flowers etc. Worshipping superiors

To indicate a necklace and a flower gatland one is I.9 To indicate worshipping the feet of the superiors 12. to hold the two Arala hands1 in the place where the sacred (guru) one should hold Tripataka1 and Svastika2 hands, and thread is held and then to separate them from the Svastika2 taking up of the goad or the whip should be indicated by position. Şvastika and Kațakā [mukha]3 hands.

The idea of entirety Numerals

13. To indicate the sense of "entirety" one is to move 20-21. Numerals from one to ten should be indicated

on the index finger, look round and press the Alapallava by fingers [of corresponding number]. Multiples of tens, hand.1 hundreads and thousands are to be indicated by the two

Audible or visible objects Patākā hands.

14. To indicate anything audible or visible whether it 22. Any number above ten should be indicated by relates to the speaker or to the person spoken to, or to anyone speech [only] and by indirect representation.1

else, one should point to the ears and eyes respectively. 16 1 See IX. 208. ª See IX. 210. II 1 See IX. 88-g1. 18 1 See IX. 80. 19 2 See IX. 134. 3 See IX. 61-64. 12 1 See IX. 46-52. 2 See IX. 134. 1 See IX. 26-32. 13 1 See IX. 90. 22 1 This is not clear.

XXVI 23 THE NATYASASTRA XXVI 37 500 501 VARIED REPRESENTATION

Umbrellas and banners etc. 30. The superior characters also may sometimes indicate 23. Umbrellas1, banners and banner-staffs should be the winter in this manner, if due to fate they are in a indicated by representation of the holding of any staff, and miserable condition. different weapons by the manner of holding them. Winter

Memory and meditation etc. 31. One is to indicate the winter by the representation

24. Memory and meditation should be represented by of smelling the flowers, [ot the season], drinking wine1 and

indicating attention, downcast eyes, slightly bent head and of feeling an unpleasant wind.1

the left hand with the Sandamsa1 gesture. Spring

Height 32. The spring (vasanta) is to be indicated by the

25. Offsprings and height should bc indicated by representation of acts of rejoicing, enjoyments and festivities

making the head Udvähita1 and holding the Hamsapaksa2 and a display of various flowers [of the season].

hands, on the right side. Summer

Past and cessation etc. 33. The summer is to be indicated through the representation of the heat of the earth, fans, wiping off 26. The idea of past, cessation, destruction or words sweat and feeling the hot wind. listened, is to be indicated by carrying from the left the Rains 'Arala1 hand on the head. 34. The rainy season (pravrs) is to be indicated through Antumn the representation of the Kadamba, the Nimba and the

27. Autumn should be indicated by representing a Kutaja flowers, green grass, Indragopa insects and groups ot

composure of all the senses, brightness of all the directions peacocks1.

and a beautiful landscape. Rainy night

Early winter 35. A night in the rainy season should be indicated by

28. Early winter (hemanta) should be indicated by the the loud sound of the masses of clouds, falling showers of

superior and the middling characters through narrowing down rain, as well as lightning and peals of thunder.

their limbs and seeking the sun, fire and [warm] clothing. Seasons in general

29. The same should be indicated by the inferior char- 36. Each season should be Indicated by the sign,

acters through groaning (kūjana), clicking (sitkara), and tremb- costume, activity or scenery which is proper to it or whatever

ling of the head and of the lips and the clattering of teeth. is [specially] desired or avoided (lit. undesired) in it. 37. These seasons according to the necessity should be indicated with porper Sentiments as being full of happiness 24 1 See IX. 109. 5 1 See VIII. 27. 2 See IX. 105. 26 1 See IX. 46-52. 31 1 See RS. V. 5 and 10.

XXVI 31 THE NATYASASTRA 502 5°3 VARIED REPRESENTATION XXVI 51 for those who are happy, and full of distress for those who are afflicted. 43. Reply to a message given to the Messenger is [also] Psychological States called a Consequent marked by such a reply.

38. Psychological States1 should be indicated by the re- 44. In these ways the Determinants and the Consequents are to be represented by men as well as women. presentation of the Determinants (vibhava)2 and similarly the General directions for the representation Psychological States are also indicated (lit, accomplished) by the representation of Consequents (anubhāva)3. 45. In the representation of their own nature, men should assume the Vaisnava posrure1 and women the Āyata2 Determinants or the Avahittha3 postures in relation to [appropriate] actions. 39. Acts connected with the Determinants should be 46. [But] there occurring special need for the same, represented by means of the Consequents; and the Psychologi- cal States relate to the representation of one's own self, and other postures may [also] be introduced for the representation the Determinants relate to an exhibition of another person of different Psychological States in special types of play. Men's and women's efforts [in relation to the self]1. 47. Efforts of men should be characterized by patience 40. A preceptor, a friend, an affectionate companion (sakba), a relation from the mother's or the father's side, as well as by sportful limbs, and those of women by delicate Angahāras.1 who may come and be [respectfully] announced1 [properly], Women's movements of limbs is called a Determinant1. 48. Women's movement of hands, feet and other limbs Consequents should be graceful (lalita) while men's movement of these 41. The honour shown to him1 by rising from the seat, should be restrained (dbira) as well as vehement (uddhata)1. by offering him presents and a seat, and by using respectful Meaning of words words, are called the Consequents. 49. Representation of the meaning of words are to be 42. Similarly in other cases also, from an observation of made differently by men and women. I shall explain them different incidents [in a play] one should find out the in due to order through the Psychological States and the Determinants and the Consequents from actions [related Consequents proper to them. to them]. Joy 38 1 K. reads before this the following text which in trans, is as follows: 50. One should indicate one's joy (barsa) by embracing He who is imbued with a state pleasant or otherwise, looks under its influ- the [other's] body, by smiling eyes as well as by horripilation.1 ence everything as permeated with it. For the def. of bhava see VIl. 1-3. 5t. An actress (nartaki) should indicate joy by sudden 2 See VII. 3-4. 3 See VII. 4-5. horripilation, tearful eyes, smiling words and a loving attitude. 39 1 See Ag. on their point. 40 1 This is only an example of one of the many vibbavas which may lead to the many Psychological States, 41 1 One of the persons mentioned in 40 above. 45 1 See XI. 51-52. 2 See XIII. 157-170. 3 ibid. 7 1 See IV. 170ff.

XXVI 52 THE NATYASASTRA 504 505 VARIED REPRESENTATION XXVI. 70 Anger been mentioned before should be applied to women, and men 52. One should indicate anger by upturned red eyes, of the inferior type. biting of lips, [deep] breathing and trembling of limbs. 61-62. Women's intoxication should be indicated by Jealous Anger of women delicately faltering movements trying to grasp something 53-54. Jealous Anger (irsyakrodha) of women should be indicated by tearful eyes, tremor of the chin and of the lips, (lit. the sky), rolling of eyes, of uttering indistinct (vilagna) words and shaking of limbs. shaking of the head, knitting of the eye-brows, keeping 63. These are the rules to be followed in a theatrical silent, curling of the fingers, giving up garlands and orna- production for the representation of men's or women's ments and assuming the Ayata posture (sthana)1. Psychological States when occasion for these will arise. Men's sorrow 64. In a theatrical production the Psychological States 55. Men's sorrow should be indicated by much of women are all to be made graceful (latita) and that of men breathing and sighing, thinking with a downcast face and endowed with self-control and equanimity. speaking to the sky. Parrots and Šārikās Women's sorrow 65. Parrots, Šārikās and small birds like these, are to 56. Women's sorrow should be indicated by weeping1, be indicated by two moving fingers in the Tripataka hand. sighing, striking the breast, falling on the ground and Big birds striking [the body against] the ground. 66. But birds like peacocks, cranes and swans which 57. Crying' which has been mentioned before as arising are naturally big are to be indicated by proper Recakas and from tears of joy and from jealousy, should be applied in Angahāras. case of women and of inferior male characters. Asses an'd camels etc. Men's fear 67. Asses, camels, elephants, lions, tigers, cows, 58. Men's fear should be indicated by acts of consterna- buffaloes and the like should be indicated by Gaits and tion (sambhrama), and of dismay (udvega), fall of weapons gestures [suitable to them]1. [from their hands], as well as patience, excitement and force. Bhūtas and Pisacas etc Women's fear 68-69. Bhūtas, Pisācas, Yaksas, Dānavas and Rākșasas 59-60. Women's fear should be indicated by eyes with when they are not visible, should be indicated by the moving eyeballs throbbing and shaking limbs, glancing Angaharas. But when they are visible they should be sideways for fear (lit. terrified heart), looking for someone to indicated by [the representation of] fear, dismay and rescue them, weeping loudly and putting their arms round astonishment. [the dear one staying close by]. 70. When they remain invisible, gods are to be Women's intoxicated condition indicated according to the necessity by making obeisance to 61. Intoxicated conditions (lit. intoxication) which have them and by movements suitable to the Psychological States. 64

XXVI. 70 THE NATYASASTRA 5°7 VARIED REPRESENTATION XXVI. 87 506

Greeting an invisible person A house and darkness etc.

70-71. Greeting a man when he is invisible is to be 78-79. Darkness in a house, a hole or cave is to be indi-

indicated by touching the head with the Arala hand1 raised cated by holding slightly stretched hands which have their

from the side. palms upturned and which point downwards.

Greeting gods and superiors etc. Love-sick, cursed and possessed persons

71-72. Greeting gods, superiors (guru), and ladies is to 79-80. Persons who are love-sick or under a curse or are

be indicated by the Katakavardhamana or the Kapota hand2 possessed of some evil spirit or enfeebled in mind by fever, [touching the head similarly] should be represented by [suitable] movements of their face

72-73. Gods and honourable persons when they appear and other limbs.

in person should be indicated by representing the deep A swing

influence [they have over the surroundings]. 80-82. A swing should be indicated by the representa-

A great crowd and friends etc. tion of its movement, agitation of the limbs and the holding

73-74. A' great crowd, friends, Vitas and crooks are to of the strings. It is by acting like this (lit. then) that the

be indicated by means of the Parimandala (Uromai.dala) hand. moving swing will be perceptible [to the spectators], and per-

Mountains and tall trees etc. sons occupying their seats [just after representing a swing] will be taken as moving in a swing. 74-75. Mountains in connexion with their height, and 82-83. I shall now speak of [the indication of] "Speak- tall trees are to be indicated by lifting upwards the out- ing to the Sky" (akasavacana), "Speaking Aside" (ātmagata), stretched hands. "Concealed Speaking" (apavaritaka) and "Private Personal Wide expanse of water 75-76. A wide expanse of sea-water is to be indicated address" (janāntika).

by two Pataka hands thrown out [side-ways], and heroism, Speaking to the Sky

haughtiness, pride, magnanimity and growth upwards also 83-85. Addressing someone staying at a distance or not

should be indicated2 by placing the Arala hand on the appearing in person or indirectly addressing someone who

forehead. is not close by, is called Speaking to the Sky.1 This mode

77-78. The two Mrgasirsa hands1 turned away from of speaking will present [tbe substance of] a dialogue by

the breasts and held out quickly at a distance, will indicate means of replies related to various [imaginary] questions (lit.

anything made uncovered (apāvrta). causes) which may arise out of the play.2 Speaking Aside 85-87. When overwhelmed with excessive joy, intoxica- 70-71 1 See IX. 46-52. 71-72 1 See IX. 136. 2 See IX. 129. tion, madness, fit of passion, repugnance, fear, astonishment,

73-74 1 See IX. 196. 77-78 1 See IX. 86. 83-85 1 See Ag.

XXVI. 88 THE NATYASASTRA 508 509 VARIED REPRESENTATION XXVI. 98

anger and sorrow, one speaks out words which are in one's [sometimes] to one's ownself or to others.1 mind (lit. heart), it is called Speaking Aside. This including Concealed Speaking and Frivate Personal Address arguments, is often to be used in plays like the Nātaka. 92. Concealed Speaking and Private Personal Address Concealed Speaking should be indicated by a Tripataka hand covering [the And Concealed Speaking (apavāritaka) is related to speaker]1. secrecy. Repetition of words

Private Personal Address 93. Words which are uttered due to commotion 88-89. .When out of necessity persons standing close by calamity, anger and intense sorrow, are to be repeated.

are [supposed] not to hear what is spoken to someone else, 94. [In such cases] utter words such as "ah me", "alas,

this constitutes Private Personal Address (janantika)1. alas", "what, what", "don't speak any more" ; and these

Thinking within oneself should be repeated twice or thrice1.

It relates to something within one's self (lit. heart) which Suspension of representation

is a matter of deliberation2 and feelings and [which is indeed 95. Distorted or incomplete words used [in a play] a kind of Speaking Aside. should not be represented by gestures for explaining them (lit.

Speaking in one's ears for the sake of definition).

Words in a play, which are connected with secrecy should Observing proper Psychological States

be spoken in one's ears preceded by "so, so." 96. The Psychological State which is proper to a

90, When one is to speak from necessity of something superior [character] should not be applied to a middling one;

which has occurred earlier, for avoiding repetition, this should and similarly the Psychological State which is proper to a

be [similarly] spoken in one's ears. middling [character] should not be applied to an inferior one.1

91. Without making any confusion (lit. mistake) 97. By means of different Psychological States and [among these] one should resort to Speaking to the Sky, Sentiments which arise from movements proper to the Private Personal Addreess and Speaking Aside which will superior, the middling and the inferior characters, a play

[relate sometimes] to a visible or an invisible person and will attain attractiveness. No movement in the state of dreaming 88-89 1 It is because both the janantika and the apavaritaka are supposed 98. In the dreaming condition (svapnayita) the Psycho- to be inaudible to others on the stage. Ag. quotes a view on their distinction logical States should not be represented by any movement of as follows: अन्ये त्वाहु उभयमप्येतज्जनान्तिकमेव यावतो हि जनस्य तद वक्कव्यं hands. This should be explained by the representation of तावतोऽन्तिके सामीप्ये तदुच्यते यत्त तस्मात् परम् उद्दिश्य नोच्यते अथ च परः the Sattva and through speech only. शणोत्वयमेवाशयो वचने तदपवारितकेन निगूढेश भावेनाशयेन संयुक्तम्. And a late writer says: इह यद्वृत्तमेकस्यव गोप्यं बहूनामगोप्यं तज्जनान्तिकम् 91 1 The trans, is tentative. तद्विपरीतम् अपवारितम्, ND.p.31. But all this does not seem to fit in well 92 1 Cf. DR. I. 65b; BhP. p. 219, 1. 21-22; SD. 425. Lévi, p. 61. with the examples of the apavaritaka available in extant dramas, Cf. Lévi, p. 61. 94 1 Correct the beginning of 94 text as ब्र ह्यहो.

XXVI. 99 THE NATYASASTRA 510 5II VARIED REPRESENTATION XXVI. 112 Speech in sleep 99. Speaking in the somnolent condition should proceed Death from drinking poison

with a slow voice; words in it should be [sometimes] distinct 105. Death from drinking poison should be represented

and [sometimes] indistinct, and sometimes their senses by throwing out of bands and feet and other limbs, and the

should be repeated twice, and this speaking should [also] power of the poison will lead to the quivering action of the

depend on the recollection of the past [events]. [different] parts of the body.

Speech of the old people Eight stages in death from poison

100. Speaking of the old people should be done with a 106-107. The first stage of the action of poison is the

faltering voice and with dropping of the syllables [now and thinness of the body, the second tremor, the third a burning

then]; and sensation, the fourth hiccup, the fifth froth [in the mouth], the sixth breaking of the neck, the seventh paralysis and the Children's words that of children should be made with lisping (kalasvara) eighth death1.

which will leave syllables unfinished. Thinness

Dying Speech 107-108. Eyes with sunken eyeballs, depressed cheeks,

1OI. Indistinct speaking at the time of dying hould be lips, and thinness of the belly and of the shoulder and of

made with syllables produced by relaxed and heavy speech- arms will represent thinness1.

organs (karana); it should be a faltering voice resembling the Tremor

sound of [small] bells, and it should be accompanied by 108-109. Tremor should be represented by shaking

hiccup, [hard] breathing and [the action of] phlegm. simultaneously according to the situation the head, the hands

102. Advent of a swoon should be followed by hiccup and the feet or some of these limbs separately.

and [hard] breathing. The speech there should be as in death. Burning sensation

To indicate it, the speaking should contain repetition1. I1O. Burning sensation should be represented by shak-

Representation of death ing of the entire body, feeling pain, scratching the [different] limbs and throwing out the hands and other limbs. 103. Representation of death which may arise from Hiccup different conditions will be of different nature. [For example], sometimes it is indicated by throwing out all the hands and Hiccup should be represented by repeated blinking

feet, and sometimes by a paralysis of movement of all the of eyes, belching, vomitting, eonvulsion (aksepa), and uttering of indistinct words. limbs. Death from disease Froth in the mouth

104. Death from an attack of disease should b 112. Froth [in the mouth] should be represented by lack of consciousness and of movement of eyes. represented by an occurrence of hiccup, [hard] breathing and Breaking of the neck imperceptible movement of limbs which should be relaxed. Breaking of the neck (sirobhanja= grivabbanga) should

XXVI. 113 THE NATYASASTRA 512 513 VARIED REPRESENTATION XXVI 127

be represented by the shoulder touching the cheek and the 1,20-121. The drama which has its origin in the Vedas, lowering of the head. and the spiritual faculty (adbyatma) and includes [proper] Paralysis words and metre, succeeds when it is approved of by the 113. Paralysis (jadata) should be represented by inaction people. Hence the people are considered to be the [ultimate] of all the sense-organs. Together with belching, vomitting, authority on drama. licking the corners of the mouth, and turning back of the head. I.21-122. A mimicry of the exploits of gods, sages, Death kings as well as of house-holders in this world, is called 114. Death whether it is due to a growth of disease or drama.1 to snake-bite should be represented, according to the dramatic I22-123. When human character with all its different convention (nat yadharma) by a closure of the eyes. Psychological States is represented with [suitable] Gestures, it 115. These particular representations should be com- is called drama. bined with suitable Psychological States and with sufficient People supplying norm to drama Sattva, and [representation of] other popular aspects of these 123-124. Thus the events (varta) relating to the people should be learnt from the people. in all their different conditions, may be (lit. should be) in- General directions cluded in a play, by those well-versed in the Canons of 116. Just as the garland-maker makes garlands from Drama (nātya-veda). various kinds of flowers, the drama should be produced simi- 124-125. Whatever Sastras, laws, arts and activities are larly by gestures of different limbs, and by Sentiments and connected with the human practice, may be produced (lit. Psychological States. called) as drama. 117. Movements and Gaits that have been prescribed 125-126. Rules regarding the feelings and activities of by the tules for a character which has entered the stage, should be maintained by the actor without rigidity till he the world, movable as well as immovable, cannot be formula- ted (lit. ascertained) exhaustively by the Sastra. makes an exit. 126. The people have different dispositions, and on 118. Now I have finished speaking about the representa- their dispositions drama rests. Hence playwrights and tion to be made through Words and Gestures. Things omitted here by me should be gathered from [the usage of] producers (prayoktr) should take the people as their [ultimate] authority [as regards the rules of the art]. the people. 127. Thus they (prayoktr) should pay attention to the The triple basis of drama feelings, gestures and the Sattvas in representing the Psycho- 119. The people, the Vedas and the spiritual faculty (adhyatma) are known as the three authorities. The drama logical States through various characters [that may appear in the drama].1 is mostly based on objects related to the last two (the Veda and the adhyatma). 121-122 1 See I, 120. 65

XXVI. 128 THE NATYASASTRA 514 128. The men who know in this order the art of Histrionic Representation and applies it on the stage, receive in this wotld the highest honour for putting into practice the CHAPTER TWENTYSEVEN

theory of drama (natyatattva) as well as [the art of] acting SUCCESS IN DRAMATIC PRODUTION

(abbinaya),1 1. I shall now describe the features of the two kinds of 129. These are to be known as the modes of representa- Success (siddhi) relating to drama. For the production tion dependent on Words, Costumes, Make-up and Gestures. of a drama is wholly meant for (lit. based on) attaining An expert in dramatic production should adopt these for Success in it.1 Success [in his undertaking].1 Two kinds of Success

Here ends Chapter XXVI of Bharata's Nātyaśāstra 2. Success [in the dramatic production] which arises from Words, Sattva and Gestures1 is of two kinds: divine which treats of the Varied Representation. (daivikī), and human (manusī)1, and relates to various Psychological States and Sentiments. Human Success 3. [Of these two] the human [Success] has ten features, and the divine [Success] two; and they (i. e. such features) consist [mostly] of various Sattvas expressed vocally (vanmayi) and physically (śārīrī). Vocal Success 4. Slight Smile (smita),2 Smile (ardhabasa)1 and Exces- sive Laughter (atibasa),1 'excellent' (sādbu), 'how wonderful' (abo), 'how pathetic' (kastam), and tumultuous applause (pravrddhanada, lit. swelling uproar) are the signs of the Success expressed vocally (vānmayī).

10 I 1 This chapter discusses the appreciation of theatrical production by spectators who include persons of various types possessing different psycho- logical and cultural traits. 2 1 vak-sattvanga. These three constitute the Basic Representation. Sce XXIV. 4 1 See VI. 52. 2 The ardbabasa seems to be the same as hasita, smile; see note 1 above. 3 See note 1 above.

XXVII, 5 THE NATYASASTRA 516 517 SUCCESS IN DRAMATIC PRODUCTION XXVII. 18

Physical Success lit. swelling uproar). Through interrupting exclamation and

5. Joy expressed in horripilation, the rising up from the by horripilation, [the assembly] of spectators are to demon- seat and the giving awayl of clothes (celadana) and throwing strate profusely their internal commotion due to a sense of of rings (anguli-ksepa) are signs of ths Success expressed wonder.

physically (sārīrī). 13-1.4. If the play has [a plot containing] burning 6. When actors produce the Comic Sentiment slightly hostility, cutting and piercing [of limbs], fight, portentous

dependent on words of double entendre, the spectators should calamity, terrific happening or minor personal combat, it always receive the same with a slight Smile1 should be received by the expert spectators with tears and

7. When they (i. e. the actors) have a laughter not rising up [from the seat], and with shaking of the shoulder very clear, or words which do not directly cause laughter, the and head.

spectators are always to receive the same with a Smile 15. This is the manner in which the human Success1

(ardhabāsya). should be expressed. Now listen about the divine Success

8. Laughter created by the bragging of the Jester or by which I am going to describe. some artifice (silpa)1 should always be received by the specta- Divine Success tors with an Excessive Laughter (atibasya). 16. The Success [in dramatic production] which in- Vocal Success (again) cludes an excessive [display] of the Sattva1 and expresses the 9. [Representation of deeds] which relate to the practice Psychological States [clearly] is to be taken by the spectators of virtue and is endowed with excellence, should be greeted as divine (daivi). by the spectators with the word "excellent" (sadhu). 17. When there is no noise, no disturbance, no unusual 10. Similarly, "how wonderful" is naturally uttered by occurrence [during the production of a play] and the the spectators in connexton with Psychological States like auditorium is full [of spectators], the Success called divine1. astonishment (vismaya) and to express great joy and the like. Three kinds of Blemish 1I-12, But in the Pathetic Sentiment they should utter 18. These are the varieties of the Success to be known with tears "how pathetic." And in cases of astonishment there should always be a tumultuous applause (pravrddhanāda, 12 1 The trans. is tentative. 15 1 This "human" Success seems to relate to the common "human" beings or average spectators, and they should be compared with men occupying 5 1 The age-long custom in India was that the wealthy among the specta- the gallery of a modern theatre. They are generally moved by external and tors on being very highly pleased with a dramatic performance did at once take not deep aspects of a dramatic performance. See below 16 note. out from their own body the costly shawls, other wearing apparels or ornaments 16 1 These are the deeper aspects of a dramatic performance. to give them way to the talented actors. Cf. also NL. 2289f. 17 1 The "divine" Success seems to relate to cultured spectators who º See note I above. generally take interest in deeper and more subtle aspects of a dramatic perfor- 6 1 This prescription simply points out what should actually happen. "divine." mance and as such are above ordinary human beings and may be called 7 1 For example, the art of comic make-up.

XXVII 19 THE NATYASASTRA 518 by the spectators as human and divine. I shall speak here- 519 SUCCESS IN DRAMATIC PRODUCTION XXVII 28 after of the Blemishes (ghata) coming from gods (deva). Blemishes due to portents 19. Blemishes [in the production of a play] are of three kinds; [that coming] from gods1, from the actors 23. Blemishes resulting from portents (autpatika) are

themselves (atman)2, and from an enemy (para)3. Sometimes those due to earthquake, storm, the falling of meteors and the like1. a fourth variety of it is what comes up due a portentous calamity. Self-made Blemishes Blemishes from gods I shall now describe Blemishes arising from the actors 20. Blemishes from gods area [strong] wind, fire, rains, themselves (atma-samuttha). fear from an elephant or a serpent, stroke of lightning, 24-25. Unnaturalness [in the acting], wrong movement appearance of ants, insects, a beast of prey killing1 of [of the actors], unsuitability of a role [to an actor] animals. (vibhūmikatva)1, loss of memory [of tbe actors], speaking Blemishes from an enemy other words2 (anyavacana i.e. those not in the play), [actor's] 21. Blemishes created by an enemy' areg all round cry of distress3, want of proper hand movements (vihastatva), screaming, buzzing (visphotita), noisy clapping, throwing of falling off of the crown and other ornaments, detects in cow-dung, clods of earth, grass and stones [in the place of playing the drums, shyness in of speech, laughing too performance]. much and crying too much, are to be taken as obstruction 22. Blemishes created by an enemy' are considered by to Success4. the wise to be due to jealousy, hostility [to the party Serious Blemishes injured], or being partial [to the party's enemy], or receiving bribe from the latter (arthabheda)2. 26-27. Attack of insects and ants1 wholly spoils the Success, while the falling off of the crown and other orna- 19 1 "Gods" here means the source of various accidents. See 20 below. ments giving rise to a tumultous noise [spoils the produc- 2 Their acts of ommission or commission are these Blemishes. See below tion]. 24-25. s See below 21-22. 20 1 It seems that the killing of animals had then a great attraction for 27-28. Killing of animals1 creates hindrance to the the people. production, and the falling off of a crown spoils the excellence. 21 1 The rival groups of actors who contested for rewards from their But if taken down voluntarily this will spoil one quarter of the patrons, became enemies to one another; see below 72ff. 2 This kind of improper and dishonest acts sometimes occurs also now-a-days production. But shy speech [of the actors] and the wrong in meetings supporting candidates from rival political parties. Human psycho- playing of the drums will, [however], wholly spoil Success2. logy has not much changed since the NS. was written more than two thousand years ago. 1 See above 20 note 2. 23 1 It is possible that due to superstitious fear arising from an appearance 22 2 It seems that the leaders of actors did not scruple even to bribe individual of these natural phenomena confusion occurred during the performance. 24-25 1 Cf. Ag. 2 Cf. Ag. 8 Cf. Ag. spectators to gain their ends. 4 25 a stands cencelled. 27-28 1 Cf, Ag.

XXVII 29 THE NATYASASTRA XXVII. 42 SUCCESS IN DRAMATIC PRODUCTION 521 520

29. The two [kinds of] Blemishes which cannot be 34-37. Omission due to loss of memory, and defective

remedied in the production of a play are faults due to enunciation of speeches, putting on ornaments in wrong

a natutal calamity, and the running out of water from places, falling off of the crown, not putting on some orna-

the Nadika1. ment1, an ignorance about mounting or dismounting chariots,

Palpable sources of Blemishes elephants, horses, asses, camels, palanquins, aerial cars

30-31. Blemishes in a play are:) repetition, defective (vimana) and vehicles [in general], or confusion about these,

use of compound words, wrong use of case-endings, want of wrongly holding or using weapons and armours, entering the

proper euphonic combination, use of incoherent words, faulty stage without the crown, or decoration or entering too late,

use of three genders, confusion between direct and indirect are the Blemishes which should be marked in proper places

happenings, lapse in metre, interchange of long and short by the clever experts, but they should leave out of considera-

vowels, and observing wrong caesura1. tion the sacrificial post, taking up of the fire-wood, Kuśa

32. Absence of various notes, of sweetneas of notes, grass, ladle and other vessels [related to a sacrifice].

and of wealth of notes, and ignorance of voice-registers and of Three grades of Blemishes

tempo, will disturb musical rules [in the production of a play.] 38. An expert in dramatic production should record Blemishes as "mixed" (misra), "total" (sarvagata) and 33. Non-observance of Sama, Mārga and Mārjanā, "partial" (ekadesaja), but should not record [merely] Success giving hard strokes, and ignorance about the [right way or Blemishes [without any detailed information about these]. of] beginning and the stopping, will spoil the music of 39. Total Success or an all-round Blemish expresses drums1. itself in many ways. But a matter affecting merely one aspect [of the production] should not be reckoned for lowering 29 1 Nadika (text nalika) is a measure of time. See XX. 66 note I. The the otder [of excellence]. ancient Indian device for measuring time consisted of a water-vessel of particular size with a well-defined tube (nadika) at its bottom. Time required for the 40. After the putting down of the Jarjara [by the

complete running out of water from it, was known as a nādikā (nādi), (See Director] in a dramatic production, the Assessors (prasnika) AS. II. 20; also AS. notes, p. 27). Here nadika is used in the sense of the should always achieve in due manner the accuracy of timing water-vessel for measuring time, On the necessity of time-keeping see below 39 and XX. 23, 65-68. Ag's explanation does not seem to be clear. and of recording [of Blemishes as well as goods points].

29-30 1 Actors and actresses at the time of the NS. usually being speakers Wrong Benediction

of Middle Indo-Aryan (Prakrit) and not trained scholars, there occured all sorts 41. When during a god's festival, anyone foolishly of lapses in their Sanskritic recitation, Hence is to be justified the humorous recites a Benedictory Sloka in honour of a wrong god, it is reference to the nata (actor) in a traditional couplet which in trans, is as follows: Where would the vulgarly-used words have gone for fear of hunter- to be recorded as his Blemish in the Preliminaries.

like grammarians, if there were no mouth-caves of astrologers, actors, expert Interpolation is a Blemish gallants (Vita), singers and physicians? (Haldar, Itihāsa, p. 143). 42. When anyone interpolates the composition of one 32 1 For the technical terms of music used here see XXVIII. playwright into that of another, a blemish is be recorded on 33 1 For technical terms of music used here see XXXIII. 66

XXVII. 43 THE NATYASASTRA SUCCESS IN DRAMATIC PRODUCTION 522 523 XXVII 57

its strength by the experts.1 tion of a play should not be made much of.1 43. When anyone knowingly interpolates (lit. mixes) 48. But the actor should not [tor that reason] be care- in [his] play the name or work of another author, then less about Words, Gestures and Costumes of minor import- his Blemish in it being definite, no Success should be ance (lit. non-essential) as well as about representing the recorded.1 Sentiments and the Psychological States, dance, vocal and 44. When anyone produces a play in disregard of instrumental music and popular usages3 of the same kind costumes and languages belonging to a region, then his [relating to the performance]. Blemish relating to the rule of locality, should be recorded1. An ideal spectator of a performance

Limitation of buman efforts in a play 49. These are [the rules] defining the characteristics of

45. Who is able to observe perfectly the rules of [con- Success. I shall hereafter describe that of [an ideal]

structing] plays or producing [them on the stage]?, Or who spectator (preksaka).

can be bold (lit. eager) enough in mind to [claim to] 50-53. Those who are possessed of [good] character,

understand properly all that have been said1? high birth, quiet behaviour and learning, are desirous of fame,

46. Hence one should include in plays words which virtue, are impartial, advanced in age, proficient in drama in

have deep significance, are appoved of by the Vedas as well all its six limbs, alert, honest, unaffected by passion, expert in

as the people, and are [generally] acceptable to all persons.1 playing the four kinds of musical instrument, very virtuous,

47. And no play (lit. nothing) can be devoid of any acquainted with the Costumes and Make-up, the rules of

merit or totally free from faults. Hence faults in the produc- dialects, the four kinds of Histrionic Representation, gram- mar, prosody, and various [other] Sastras, are experts in different arts and crafts, and have fine sense of the Sentiments 42 1 This seems to show clearly that theatrical managers did not hesitate sometimes to insert passages taken from one playwright's work into that of and the Psychological States, should be made spectators in another to add to its effect. witnessing a drama.2 43 1 From this it appears that the practice of putting in the name of the 54. Anyone who has (lit. is characterized by) unruffled author of a play in the Prologue, was not a very old one. This seems to explain the absence of the author's name the works ascribed to Bhasa. senses, is honest, expert in the discussion of pros and cons, 44 1 From a close study of available plays it does not appear that the detector of faults and appreciator [of merits], is considered fit rules laid down in the Sastra were very scrupulously followed; or it is also likely to be a spectator in a drama. that the rules regarding the use of different languages in a play, changed with the linguistic development as well as other conditions connected with the use of 55. He who attains gladness on seeing a person glad, languages. and sorrow on seeing him sorry, and feels miserable on seeing 45 1 This seems to point out that no Sastra can exhaustively lay down all him miserable, is considered fit to be a spectator in a drama,1 the rules which can never be made very clear and precise; for many things in theatre relate to so many fluctuating factors. 56-57. All these various qualities are not known to exist 46 1 One should mark the stress put on the Vedas and the popular 47 1 This is a very wise counsel for the hasty critics of a play. practice in connexion with the Natya. See XXVI. 118-120. 55 1 The critic must be a man with abundant sympathy.

XXVII 58 THE NATYASASTRA 524 525 SUCCESS IN DRAMATIC PRODUCTION XXVII. 70 in one single spectator, Hence, because objects of knowledge, (samgharsa) [about the performance of individual actors,] the are so numerous, and the span of life is so brief,1 the inferior common persons in an assembly which consists of following are the Assessors (prasnika)a an expert in sacrifice,

the superior, the middling and the inferior members, cannot an actor '(nartaka), a prosodist, a grammarian, a king, an archer (isvāsa), painter, a courtezan, a musician (gandharva) be expected to appeciate the performance of the superior ones. 58. And hence an individual to whom a particular and a king's officer (raja-sevaka).1 Listen about them. 65-68. An expert in sacrifice will be an Assessor in the dress, profession, speech and an act belong as his own, should be considered fit for appreciating the same. [representation of], sacrifice an actor in general His- trionic Representation, a prosodist in complicated metres, a Various classes of spectator grammarian in details of speech, a king in royal character and 59. Different are the dispositions of women and men, in connexion with [personal] dignity, and other qualities young and old, who may be of the superior, middling or and in dealing with the harem, the archer (isvasa)' inferior type, and on the such dispositions [the Success of] a in the Sausthava of the pose, and a painter is a very drama rests. Disposition of different spectators suitable Assessor of movements, and of Dresses and Make-up

60. Young people are pleased in seeing [the presentation which are at the root of dramatic production; a courtezan

of] love, the learned a reference to some [religious or philo- will be an Assessor in matters relating to the enjoyment of

sophical] doctrine,1 the seekers of money [topics of] wealth, love, and a musician in the application of notes (svara) and

and the passionless, topics of liberation. in observance of Time (tala), and an officer of the king in [the

61. Heroic persons are always pleased with the Odious matter of] showing courtesies. These are the ten Assessors

and the Terrible Sentiments, the personal combats and of a dramatic performance.

battles, and the old people in tales of virtue and Puranic 69. When there is a controversy about the performance

legends, And [the common] women, children and the un- among the persons ignorant of the [Nātya]-Sāstra, they are to

cultured men (mürkha) are always delighted with the Comic point out justly the faults as well as the merits [of indivi-

situations and [remarkable] Costumes and Make-up1. dual actors].1 Then they will be known as Assessors of

62. Thus the man who enters the stage (lit. here)1 whom I spoke to you.

by imitating the Psychological States of these, can be 70. When there occurs any learned controversy about

considered a spectator possessing the [necessary] qualifications. the knowledge of the Sastra the decision should be made on

Assessors in a performance the testimony of the books (lit. Sastra).1

63-64. These should be known as spectators in con- 63-64 1 This is a very elaborate arrangement for judging in every detail nexion with a drama. But if there be any controversy the Success of a performance. 69 1 The significance of this rule seems to be that when in judging a drama the common people (i. e. who are not acquainted with the rules laid 62 1 The passage is corrupt. Yasmin in the text may be amended into down in the Sastra) fail to decide, the specialist Assessors mentioned above are to be called in. asmin. 70 1 This rule seems to show that when the specialists in theatrical practice

XXVII. 71 THE NATYASASTRA 526 527 SUCCESS IN DRAMATIC PRODUCTION XXVII. 84 Controversy about a performance 71. Controversy arises when the actors (bharata) have the gods), the portents or the enemy are not to be recorded

the desire of mutual contest at1 the instance of their masters by the wise [observers]. But the Blemishss relating to the

or for [winning] money and the Banner2 [as rewards]. play1 as well as the Blemishes arising from [the actors] them-

Procedure in deciding controversies selves2 should be recorded.

72. In course of deciding a controversy one should 77. After mentioning him to the king the Bannar

observe [the performance of the parties] without any parti- should be given to a person whose Blemishes, have been

ality. The decision about [the award of] the Banner' should reckoned as small in number but points of Success as many.

be according to the stipulation made (panam krtva)2 [before- Procedure of awarding the Banner

hand]. 78-79. If actors1 are found to be experts of equal merit

Recording of Blemishes in the production of a drama, the Bannar should be given

73. Blemishes affecting the Success should be recorded to one whose Success2 is greater, or in case of equal Success3

with the help of reckoners (ganaka) by these persons (i. e. [of the two contestants] [the reward should be given] after

Assessors) who are seated at ease, have clean intention, and the king's decision. If the king has equal admiration for the

whose intelligence is [generally] relied on [by the public]. two rivals, then both of them should be given [a

Ideal position of Assesaors in a performance Banner]. Those knowing the rules [of the Sastra] should

74. Assessors should neither be too near [the stage] see in this way that a correct decision is made.

nor too far [from it]. Their seats should be at a distance of 80-81. The spectators who are capable of appreciating

twelve cubits (six yards) from it. merits should sit at ease with an unruffled mind and are to

75. They are to notice the the points of the Success observe the [measure of] achievement as well as the slightest

mentioned before, as well as Blemishes which may occur of faults2 which may relate to the theory of theatrical

during the production of a drama. production', Co-ordination (sama), Charm of Limbs (anga-

Blemisbes to be ignored madhurya), Recitatives (pathya), roles, and the Sentiments.

76. Blemishes which may be accidental (lit. caused by 81-82. Hence the Assessors should observe from the beginning songs and instrumental music together with the differed, they were to refer to the Sastra or the traditionally handed down rules Costumes and Make-up.2 compiled in books, 71 1 An example of this is the contest between the two natyacaryas in the Co-ordination

Mālavi. 82-83. Gestures (anga) which are made all around in a 2 The Indian literary tradition records the fact of Bhasa's winning Banners, possibly on the occasion of dramatic contests. See Harsacarita, Introduction, 15. 76 3 See 5-17 above. 2 See 18-44 above .. 72 This stipulation may have the following forms: Success in producing 1 Blemishes relating to a play seems to be its literary drawbacks. It is likely any particular play, or any new play, or a new play with a particular principal that in dramatic contests choice of defective plays brought discredit on the

Sentiment will entitle one group of actors or its leader to the award of the contestants. 2 See above 24-25.

Banner. of spectators. 78-79 1 Depending on the vocal applause as well as the silent approbation

:XXVII. 85 THE NATYASASTRA 528 529 SUCCESS IN DRAMATIC PRODUCTION XXVII. 101 play in harmony with the different measures of Time in course of dances, related to the Dhruva1 songs, is called Co-ordination [different] Sentiments after mentioning the time to which

(sama). a performance should belong.

83-84. When in course of the performance [of a play] 91-92. [The performance] which is pleasant to the ear

Gestures of different limbs major and minor, are accompanied and is based on a tale of virtue (dharma), whether it is pure

with songs, proper Time and tempo and by the playing of or mixed, should be held in the forenoon.

drums, it is called Co-ordination. 92-93. That which is rich in instrumental music, in- cludes a story of strength and energy, and carries [a chance Charm of Limbs of] abundant Success should be performed in the afternoon. 84-85. The position in which the chest is not bent1, the 93-94. That which relates to the Graceful Style, the two arms are Caturasra and spread out (ayata)2 and the neck is Erotic Sentiment and is full of vocal and instrumental music1 (Ancita,) gives rise to the Charm of Limbs (angamadhurya). should be performed in the evening. 85-86. And one should also pay attention to subjects not 94-95. The drama which relates to the magnanimity mentioned before which are ro be mastered (sadhya)2 by the [of the Hero], and contains mostly the Pathetic Sentiment, actors (sadhaka) and to the instrumental music, the roles (pra- should be performed in the morning, and it will scare away krti), and the songs. sleep. 86-87. The Suceess arising due to joy from the Gestures 95-96. The drama should not be performed in the mid- and the various Sentiments, should be expressed by means of all the signs (lit. the places) of the same. night or at noon or ar the time of the Sandhya prayer or of taking meals. Probable Time for dramatic performances 96-97. Thus after looking into the time, place and the 87-88. Producers [of plays] should know the time basis (plot) of a play one should bring about its production for perfomances day and night1 distinguish these. according to the Psychological States and the Sentiments it 88-89. The performance in the forenoon, mid-day1 and contains. the afternoon belongs to the day. Emergency peformances are independent of regular time 89-90. The performance in the evening, the midnight1 97-98. But when the patron (lit. master) orders, the time and at dawn belongs to the night. and place are not to be taken into consideration, and the per- Time of performance according to formance should be held without any hesitation.1 the subject and the Sentiment 98-99. Proper Combination (lit. combened production),

90-91. I shall now speak how these times are suited to Brilliance [of Pageant] (samrddbi), and actors capable of [good] production are the three [points of] merit [in a performance] 82-83 1 See XXXII. 88-89 89-90 ' See the note on 97-98 below. 1 See the note on 97-98 below. 87-89 above. 97-98 1 In view of this, mid-day and mid-night have been included in

XXVII. 102 THE NATYASASTRA 530 Qualities of an actor 99-101. Intelligence, stength, physical beauty1, know- ledge of Time and tempo, appreciation of the Psychological APPENDIX

State and the Sentiments, [proper] age, curiosity, acquisition Note: Forty ślokas which follow the Chapter V in certain manus- [of knowledge and arts], [their] retention, vocal music promp- cripts are spurious, according to M. Ramakrishna Kavi. He thinks ted by dance, suppression of stage-fright, and enthusiasm, that these describe the Pürvaranga of the school of Kohala or of Nandin.

will be the requisite qualities of an actor (pātra). This is not unlikely. Hence we give bellow a free translation of the same. For the original see the end of the Chapter V of the text. An ideal performance 10I-102. That which includes good instrumental music, 1. Besides, I am speaking how the five kinds of Dhruva song are to be sung in the Preliminaries of the pure, variegated and mixed classes. good songs, good recitatives as will as Co-ordination of all acts 2. The Utthāpani Dhruva should be sung first; and then the prescribed by the Sastra, is called an [ideal] production. Parivartanī Dhruvā. Next are to follow the Apakrștā and the Additā

Brilliance of Pageant Dhruvas. The Vikșiptā Dhruvā comes as the fifth, 3. These are the five Dhruvas with their Upohana. They are to be 1,02-103. Use of proper ornaments, good garlands, clothes sung carefully in the Preliminaries. and proper painting or the Make-up [for the characters] gives 4-6. Now I shall speak about the practice regarding the rules of the rise to Brilliance of Pageant (samrddhi). Upohana. The Tāla in the Utthāpnī Dhruva will consist of eight Kalās,

Tbe best performance in the Parivartanī six Kalās, in the Apakrsțā five Kalās, in the Additā four Kalas, and in the Viksipta three Kalas. This is the extent of the 103. According to the producers of plays, the best (lit. Upohanas of different Dhruvās. the ornament) [of the performance] occurs when all these 7. The Upohana in the Preliminaries of all kinds should always

factors combine. have its timing regulated with long and short [aksaras], and it should follow the Citra Marga, 104. Thus I have spoken to you properly of the charac- 8. Kaläs in the variegated Preliminaries should follow the Citra teristics of Success. Now I shall speak to you about the Märga, in the mixed Preliminaries the Värtika Mārga, and in the pure different branches of music (atodya, lit. instrumental music)1. Preliminaries the Dakşiņa Mārga. 9. [In this connexion] there should be sung four kinds of Giti:

Here ends Chapter XXVII or Bharata's Nātyasastra, Māgadbī, Ardhamāgadhī, Prthulā and Sambhāvitā, 10. In the variegated Preliminaries should be used the Māgadhi and which treats of Success in Dramatic Production. the Ardhamagadhi Gitis, and the first should be sung in the Citra Marga. 11. In the mixed Preliminaries one should sing the Sambhavita Gīti in the Vārtika Mārga. 12. In the pure Preliminaries one should sing the Prthula Giti in the Daksina Marga. I shall now speak of the uses of the long and short [akşaras] as these should occur in the Upohana. 13-14. In the Upohana one should apply according to the require- 104 1 For the translation of the remaining portion of the NS. (XXVIII- ments, the suşkāksaras like digle digle always ending in jhaņțu, and XXXVI) see the Vol. II of this work published by the Asiatic Society, Calcutta, 1961. there should always be sixteen short syllables between these two sets of long ones. After performing the Upohana one should sing a song with meaning.

532 THE NATYASASTRA APPENDIX 533 15. The singing of the Utthapani Dhruva should always have regulated time in their Kalas, and these should include regulated long 25. Again one should sing digle digle and jhantu, and the short and short syllables in their (proper) Kalas. As these have been mention- syllables coming between them should be eight in number. ed before, we do not repeat them here, 26. [In all the feet of the song] it should have long syllables in the Example : third, sixth, ninth, eleventh, fourteenth and sixteenth places.

devam vibhum tribhuvanādhi-patim 27. In the Apakrstā Dhruvā there should be feet with sixty-eight kailāsa-parvata-guhābhiratam/, ganas, and it will be sung with four Sannipatas and with three Pāņis. śailendra-rāja-tanayā-dayitam murdhnā nato'smi tripuranta-karam// 28. Example:

Trans. I bow with my head to the Supreme Being who is the lord of varadam sagaņam tripurāntakaram vrşabha-ketuņ the three worlds, likes to reside in the caves Kailāsa mountain, is the gaja-carma-pațam vişamekşaņam tribhuvana-nātham/ beloved one of the daughter of the king of mountain, and is the killer of bhujangābharaņam jagatām mahitam bhuvana-yoniņ Tripura. praņato'smi bhavantam umādhipatim asita-kaņtham// Trans. I bow with my head to you who is the giver of boons, 17-18. Producers should sing in this manner the Utthapānī Dhruva in the Preliminaries. The characteristics of the Parivartanī Dhruvā accompanied with the hosts of spirits, is the killer of Tripura, has the which are different have also been prescribed. bull as his banner, hide of the elephant as his cloth, has three eyes, is the lord of the three worlds, has serpents as his ornaments, is adored 18-19. Its Upohana should consist of eight Kalas, and it should by the worlds, is the origin of the universe, is the husband of Umā and begin with digle (thrice) and end always in jhantu, and there hould be has the blue throat. twelve short syllables between them. I shall speak of the order of long and short syllables of the song to be sung here. 29-31. The Addita Dhruva should consist of four ganas, and its 20-22. In all its feet it should have long syllables in the first, second, Upohana should consist of four Kaläs and include digle digle ending in fourth, eighth, tenth, fourteenth and fifteenth places. jhantu, and the short syllables in the middle should be four in number. The Parivartani Dhruva should follow three Layas (tempo) and three Yatis. And it should also have four walking-rounds (parivarta). The 32. Example: Walking-round in the Preliminaries should consist of four Sannipātas pravaram varadam pramatha-gaņa-patim made up of thirty-two Kalās. gaja-carma-patam muni-jana-mahitam/ 22-23. Example: umayā sahitam bhujaga-valayitam praņato'smi śivam tribhuvana-mahitam/ / candrārdha-bhūşaņa-jatam varam vrşabha-ketum kailāsa-parvata-nivāsinam sura-varistham/ Trans. I bow to Siva who is the greatest giver of boons, lord of the śailendra-rāja-tanayā-priyam pramatha-nātham ghosts, has a hide of the elephant as his cloth, is adored by the sages, mūrdhnā nato'smi tripurāntakam parama-yonim/ /, along with Umä, has serpents as his bangles and is worshipped by the

Trans. I bow with my head to the Supreme Lord who has the bull three worlds.

as his banner, has the crescent as the ornament of his matted hairs, who lives in the Kailasa mountain and is the greatest of gods, the beloved 33. In this way one should sing the Additā Dhruva in the Prelimi- naries. I shall speak hereafter about the marks of the Vikșiptā Dhruvā. one of the daughter of the king of mountains, the master of the ghosts, the killer of the demon Tripura and is the only source of all. 34. When in its feet there will be long syllables in the third, sixth, ninth and tenth places, it is called the Viksiptā Dhruvā. 24. Now listen about the Apakrstā Dhruvā which I am going to 35. Its Pātakalā will consist of three-fold digle, and its Upohana speak of. Its Upohana should consist of five Kalās. is to have three Kalās in its Tāla.

534 THE NATYASASTRA

36. This Upohana is to be made up of digle digle ending in jhantu and there should be no short syllables.

37. Example: BIBLIOGRAPHY tripurāntakaram bahu-līlam umayā sahitam bahu-rūpam/ 1. General Works bhujagābharaņam tripurāntam praņamāmi sadā param īśam/ / Barua, B. M. ... Inscriptions of Asoka, Vol. II, Calcutta 1943. Chatterji. S. K. Trans. I always bow to the Great Lord together with Uma, the Origin and Development of the Bengali

killer of Tripura, who has many exploits and various forms, has the Language, Calcutta, 1926. Comaraswamy, A. K. serpents as his ornaments and who destroyed the three cities. The Mirror of Gesture, 2nd. Ed. New York, 1936.

38. All the Dhruvas made up of Gītikas should be sung in the De, S. K. ... Sanskrit Poetics, Vols. I and II. London, Preliminaries with Caturasra and Tryasra Talas according to the direc- 1923, 1926. tion of the masters. Dey, N. L. Geographical Dictionary of Ancient India, London. 39. I have finished speaking in due manner to you about the kind of Ghosh, Chandramohan, Chandah-sāra-samgraha, (CSS), Calcutta. the Preliminaries, What else do you desire me to speak to you ? Haldar, Gurupada ... Vyākaraņa-darśaner Itihāsa (Itihāsa) in Bengali. Calcutta, 1350 B. E. [Here ends the Appendix to the Chapter V of the Nātya-sastra, Hopkins, W. The Great Epic of India, New Haven, Yale, which treats of the Preliminaries according to the school of Kohala or 1920. of Nandin.] Indushekhar Sanskrit Drama, Leiden, 1960 Jolly, J, Hindu Law and Customs, Calcutta, 1928. ... Kane, P. V. History of Sanskrit Poetics, 2nd edition, Bombay. 1951. Keith, A. B. Sanskrit Drama, Oxford, 1924. Konow, Sten Das Indische Drama. Berlin, 1920 Lévi, Sylvain Le Théâtre indien, Paris, 1890 Mankad, D. R. ... Types of Sanskrit Drama, Karachi, 1936. Nitti-Dolci, L. ... Les Grammairiens Prakrit, Paris, 1938. Nobel, J. Foundations of Indian Poetry, Calcutta, 1925 Pusalker, A.D. ... Bhasa: A Study, Lahore, 1940. Raghavan, V. ... Śņngāra-prakāśa, Bombay. 1940. Studies in some concepts of the Alamkāra- śāstra, Adyar, 1960. Seth, H. D. Pāia-sadda-mahaņnavo, Calcutta, 1928. Sircar, D. C. ... Select Inscriptions on Indian History and Culture, Calcutta, 1942. Vidyalankar, S. B. ... Jīvanīkoșa, (A dictionary of Indian mytho- logy in Bengali), Calcutta Winternitz. M. ... History of Indian Literature, Vol. I, Calcutta,

336 THE NATYASASTRA BİBLIOGRAPHY 537.

2. Original Texts Pratimānāțaka of Bhāsa (Pratimā.) ed. Devadhar in BhNC Abhinava-bhäratī (Ag.) or (B.), The Baroda edition of the work. Bhāvaprākaśana of Sāradātanaya, (BhP.) in GOS. Baroda. Abhinayadarpana (AD.) edited by Manomohan Ghosh, Calcutta, Bhāsa-nātaka-cakra (BhNC.) ed. by C. R. Devadhar, Poona, 1937. 1934, 2nd ed. Calcutta, 1957. Madhyama-vyāyoga (Madhyama.) ed, Devadhar in BhNC. Abhişeka-nātaka (Abhi.) ed. C. R. Devadhar in BhNC. Mālavikāgnimitra (Mālavi.) ed. S. P. Pandit, Bombay, 1889. Avimāraka (Avi.) ed. Devadhar in BhNC. Mudrārākșasa (Mudrā.) ed. K. T. Telang, Bombay, 1928. Arthaśāstra of Kauțilya (AŚ.) ed. J. Jolly, vols, I and II. Lahore, Mrcchakațika (Mrcch.) ed. K, P. Parab and W. Pansikar, Bombay, 1923-1924. 1926. Uttararāmacarita of Bhavabhūti (Uttara.) ed. Ratnam Aiyar. Meghadūta (Megh.) ed. S. Vidyaratna, Calcutta, Saka 1821. Bombay, 1930. Raghuvamśa of Kālidāsa (Raghu.) ed. K. P. Parab and W. Pansikar, Ürubhanga (Ūru), ed. Devadhar in BhNC. Bombay, 1932. Rtusamhara of Kalidasa, ed. Jivananda Vidyasagar, Calcutta, 1893 Ratnāvalī of Šrīharșa (Ratnā.) M. K. Jogelkar, Bombay, 1925. Karņabhāra (Karņa.). ed. Devadhar, in BhNC. Vikramorvaśīya of Kālidāsa (Vikram.) ed. S. P. Pandit, Bombay, 1898 Kāvyādarsa of Daņdin, ed. N. Sastri, Lahore, Samvat, 1990. Veņīsamhāra of Bhatța-nārāyaņa ed. K. S. Parab and W. Pansikar, Kāvyālaņkāra of Bhāmaha, ed, B. N. Sarma and B. Upadhyaya, Bombay, 1230. Benares, 1928. Śakuntalā of Kālidāsa (Sak.) ed. Isvara Chandra Vidyasagara, Cal. Kāvyālaņkāra of Vāmana, ed. K. P. Parab, and W. Pansikar, Samgītaratnākara of Sārngadeva (SR.) Anandasrama ed. Bombay, 1926. Sāhityadarpaņa of Viśvanātha Kavirāja (SD.) ed. Jivananda Vidya- Kīrtilatā of Vidyāpati, ed. Haraprasad Shastri, Calcutta sagara, Calcutta. Kutțanīmata, ed. in Bibliotheca India, Calcutta, Svapnavāsavadattā of Bhāsa (Svapna.) ed. Devadhar in BhNC. Caturbhāņī, ed. Motichand and V. Agrawal, Bombay, 1960. Harşacarita of Bāņabhatta, ed. P. V. Kane, Bombay, 1912. Cārudatta (Caru.), ed. Devadhar in BhNC, Daśarūpa (DR.) ed. K. P. Parab. Bombay, 1897. Editions of Haas 3. Journals and F-E. Hall have also been used. Dūtaghatotkaca (Dūtagh.) ed. Devadhar in BhNC. Annals of the Bhandarkar Oriental Research Institute, Poona.

Dūtavākya (Dutavā.) ed. Devadhar in BhNC. Indian Antiquary (I. Ant.)

Nāțaka-lakşaņa-ratnakośa of Sāgaranandin (NL., Nāțakalaksaņa) Indian Historical Quarterly (IHQ).

ed. M. Dillon, London, 1939. Ref. are by lines unless otherwise men- Journal and Proceedings of the Asiatic Society (JPASB), Bengal.

tioned. See also the translation to the same by Dillon and others, Journal of the Department of Letters (JDL.) Calcutta University.

Nāțyaśāstra (NS.) Chapters I-XIV ed. by J. Grosset, Paris-Lyon, 1898; the entire work with Abhinavagupta's Commentary ed. by M. Ramakrishna Kavi, (in four volumes), Baroda, 1926, 1936, 1954, 1964; also the ed. in Kashi Sanskrit Series, Benares, 1929. and the present editor's text, vol, II (XXVIII-XXXVI), Calcutta, 1956 and translation of the same, Calcutta, 1961. Nāradīya-śikşā in a Siksasamgraha, Benares, 1896. Pañcatantra of Vişņuśarmā, Chowkhamba, Benares, 1930. Pañcaratra of Bhasa (Pañca.) ed. Devadhar in BhNC. Pāņinīya-śikșā (PS.) ed. Manomohan Ghosh, Calcutta, 1938. Pratijñāyaugandharāyaņa of Bhāsa (Pratijñā.) ed. Devadhar, in BhNC.

68

CORRECTIONS AND ADDITIONS TO THE VOL. I 539

Page Line

CORRECTIONS AND ADDITIONS 145 17 from the bottom Read 'Complementary Psycho- logical' for 'Transitory' 6 Pag line 149 6 'Complementary Psycho-

xvii from the bottom Read See below pp. lixff. and, logical' for 'Transitory.' 3 lxi SS 37-39 after 'Text'. 17 'Durable Psychological' 7

parigrhya. for 'Dominant.' 7 4 18 Complementory Psycho- I at 3For. ... logical for 'Transitory'. 12 4 from Skanda (Kārtikeya). ,. 16 150 'I-2. See VII'. 12 Krauñca. 2 from the bottom : mattavāranayor varandaka. 152 18 Parilolita for Lolita. 27 19 38 4 nātyamātrkās. 155 Read 'Durable Psychological' for 2 ... : 47 One may read in connection 'Dominant.' 3 with this and some following chapters, an interesting 5 Complementary Psychological' ... ... paper named "Psycho-analysis of Dancing based upon for 'Transitory.' Bharata's Natyasastra' by Dr. D. C. Das Gupta, 156 18,21 'Durable Psychological' for ... ... ... M.A. (California), Ed. D. (California), published in 'Dominant.' the Journal of the University of Gauhati, 1957-1959. 157 7,10 from the bottom „ Complementary Psychological 48 9 from the bottom Read Atikrānta. for Transitory.

I2 Lalatatilaka. 160 9 Durable Psychological for

I4 Bhujanga. Dominant. 49 IO Complementary Psychological' ... 59 for 58c ,, I I ...

14 for Transitory.' ... ... ., 17 61 , 59. 15 ... ... 20 58 », 6I. I at the bottom 'on the head' after 'weight'. ... ... 170 70 5 from the bottom and 7-8 from ,, 'in necklace and in looking

7I 2-3 Cancel the para after 290 and read. 'A single toward the way and the like' (dancer) should sing and dance (lit. perform) the first for 'looking up.' Asärita, two dancers the second one, three dancers 172 2 ... Read GESTURES OF HANDS as the third one and four dancers the fourth one'. the heading. 73 I6 from the bottom Read 'which' after 'dance.' 173 I ... ... ... 76 II 'Preliminaries' after 'the'. Cancel 175 I ... 83 IO-II » 'is praised by them (i.e, 2 26-31 for 26-32 ... ... gods) and'. 176 ... 112 Complementary. 17 ... 4I . 42. ... (gopura). 1 at Read 19 ... ... ...

540 THE NATY ASASTRA CORRECTIONS AND ADDITIONS TO THE VOL. I 54 Page Line Page line

179 16 'mouth' for 'ears' and 'should 204 I2 'use' for 'release' ... be' for 'by the mouth.' 13 ... 'a bow' 'an arrow'. 18I 12 from the bottom 'small and' after 'represented'. 205 13 'thinking', after 'cruelty'. ... 184 118-119 for 119-120. 16 ... 58-59 for 59-60. :

3 116-117 » 117-118. 19 59-61 , 61-63. 185 'now' after 'done'. 25 ... ... 61-63 , 63-65. IO 186 13 'speaking' for 'indicate brief' 29 ... ... 63-65 ,, 65-66. and read 'brevity and short' 206 9,10 'riding' for 'driving'. ... ... ... after 'truth'. 207 IC 'hands for 'hand', 188 3 Read 161 for 162. 207 2 from the bottom Read 'and' after 'bow', and cancel 189 7 163 ,, 164. and the sword' :

I2 164 ,. 165. II 'than' for .it'. 16 165 , 166. 208 8 89 for 87

... 166 ,, 167. 16 'the feet not moving' in place

24 167 168. of 'not much bent' after 'and'. ... ... ... 30 ... 'of' after 'bursting'. 209 ... II 97-100 for 97-99. ... last 'Psychological' after 'different' 2I 'covered' ... ... ...

: 190 19 ... , 'and viprakīrna' after 'Svastika' 22 ... ... ... IOI for 100 ... last two Cancel from 'This' to 'hands)., 213 IO from the bottom Āskanditā for Āsyanditā ... 191 I from the bottom Read after 190 'The same (Paksa- 247 II 8Mahā-vaiņņā'. pradyotaka) pointing downwards when suddenly 13 'Usage.'4 lifted up, becomes Garudapaksaka'. from the bottom 2Older'. ,, II from the bottom Read after 'then' 'arms' and cancel 10 3Mabavenna'. 'like a staff' 8 4Geographical'. 195 15 'Apasrta (drawn away)'. 249 IO 'energetic' for 'violent.' last but one 'exhalation' for 'inhalation' 263 7 'kinds'. 196 4 'inhalation' „, 'emitting 271 14 (dhūrya)-varjitam. breath'. 278 I0 'fourteen' for 'thirteen,' ... ... ... 198 284 kuravaka -. 2 from the bottom Read 'pounding' for 'breaking'. 14 200 IO Cancel '(mainly)' and read after 'foot' 286 17 Krauñca -. ... '[at a time]' 287 16 'observe' for 'abserve'. 201 6 Read Samotsarita'. 289 II viparīta. 'mattalli' and 'Mattalli'. 292 6 from the bottom Vanavāsa. from the bottom 17 for 16. 299 8 ,, वहूनां for बहूनां. 14 » 13. 312 7 [ga]mayet for a [g] mayet.'

542 THE NATYASASTRA

Page line

320 16 Cancel the brackets, CORRECTIONS AND ADDITIONS TO THE VOL. II 322 Add The meaning of this rule 1 seems to be that all these sounds disappear in Pkt. leaving the N.B. Numerals in italics indicate pages of the Introduction.

udurtta vowels. This, again, shows the spurious character of Page line the passage. 14 5 from the bottom Read (avanaddba). 6 from the bottom for 'no' for 'of the'. 20 ha for dha 12-16 Cancel from 'The fact' to 'become 323 I2 ... obsolete'. 325 II 'some' for 'many'. 21 2.5 'As this' to 'was composed' 344 2 'errand-boys' after 'naming'. 12 ... 3 'errand-boys', after 'play' Read (XXXVI. 69)' and 'sesam' from the bottom 'than' after 'earlier' from the bottom 'The show]'. 24 15 359 „ 'seems" 12 'Panicky Commotion' for 27 15 'to' 387 'Consternation.' 28 after the last paragraph Read as follows: (e) The Sarasvati-brdayālamkāra of Nānyadeva (1097- 16 kapațāsraya for abbūtāharana Add 'Hindrance (nirodha), 1133). This is an original work on music though it 20 Pacification' after (pragamana). claims to be a Bhāsya or Vārtika of the NS. (XXVIII- Read 'after reducing'. XXXVI). Its chief merit lies in the treatment of 401 7 ... ... ... 463 18 'babya' for 'bhaya' music as discussed in this ancient work. See Andhra ... ... 'scattered'. Research Institute Journal, vols, I & III and the MSS. 472 9 from the bottom Catalogue of the Bhandarkar Institute, Vol. XXII. I owe 13 ,, 'the' after 'when'. this information to Sri C. P. Desai of Khaira-garh (M.P.). 35 last Read See XXXIV. 73-74. I 8 'stringed' for 'strined'. ...

19 नोयते ... " नीयते. 5 from the bottom ,, वनद्धस्य , वनङ्कस्य. 4 एवानुप्रवेश: and •मुपरजकम्.

I 3 'On this' and ०र्नियतदेशता. 7 dardura. 9 महाघराटाकार: 15 कांस्यतालिका 5 9 Read Dattila.

9 2 Cancel Nas. I. 2. 9 and. 9 6 Read तेनैव for तेनेव 8 मुर्द्नेत्यभि० ,, मूर्छनुत्यभि० 19 IO „ relate merely'.

CORRECTIONS AND ADDITIONS TO THE VOL. II 544 THE NATYASASTRA 545

Page line Page line

156 6 Read 'Segments' for 'Junctures'. 23 7 from the bottom यस्तु for श्रस्तु 165 24 2 यवभूतानि , ०यवभूआ्र्नि 8 „ (Samyoga) after Yogas.

कथ्यते Correct the serial numbers of the foot-notes, and under IO 4 कथ्वते संन्यास संम्यास read 42 for 83. 9 6 'it' before 'seems'. Read 'Paryasta, Samrambha' after Viskambhā. 34 166 6

4I 15, 17 'Āviddha'. ... ... ... 177 3 squeezing for 'giving'.

42 7 from the bottom 82 7 from the bottom Cancel 'should be the playing of 43 I I Āviddha'. drum' and read 'to the third'. 'when' after 'And'. Read 'song' for 'metre'. 2 45 2 ... 22

54 7 5-6 for 5. 185 16 'Samullekha' for 'Samalekha' 77 17 'and the Prakari' after The Aparāntaka'. 192 Kāncukīyas. 193 10,12 80 from the bottom 'Pratyupohana'. Anubaddha. 6 Read 3 Brahmā. after See XXXI. 5; 357- 197 9I 4 Rudra (Siva). 538 and'. Locitā for Locikā. 92 Brahmā. I1, 12 II ... 16 'red colout' for 'blood'.

94 Read this foot-note at the end of the page: 17 cloth. (395-396) Actually eighteen only have been named. See 198 5 from the bottom Read traya after pani and add after below 398-402, and another has been defined in 421, and Dandahasta, 'and these help one in learning to play the Prthula defined in 403-404 may be different from Vipula, drums'. the definition of which is lost. 206 18 Read 'Sattva' for Temperament (sattva).

95 8 Read Sannipātāpaharana' after 'Ābhyantarāpaharana'. 208 15 'Âyuktā'. for Ayuktikās

10 Pravrtta before 'and'. 21 'Āyuktās'. „ Add this foot-note: to (398-402) The Bhana named 210 17 from the bottom Read after 'differently' 'in XXXV. Padma-prabhrtaka (in Caturbhani) mentions one Catuspada I01.

named Vallabha which does not occur here. 215 12, 14 Read Kancukīs.

106 last Read 'Sama chant' and XXXII. 220ff. 222 3 from the bottom Read Th. for 'The' before

6 from the bottom „ (Upapāta?) after Upaghāta Komisarjevsky. 224 Cancel 'Temperament.' 119 4,6 ... Madhukarasadțśā for Ma- 19 ... ... dhukarā. 20 Read Sattva for (sattva). 3 from the bottom Cancel the first sentence and read 'See 227 2 Cancel Temperament and read the Sattva in its place. I21 XXXII. 345-346'. 16 last Add See XXXIV. 78-79. 129 2 from the bottom Read 178 for 187. 156 Read 'in' for 'of' and cancel 'Grama'. 236 3 from the bottom Read 'Samhitas'. 3 69

INDEX 547 INDEX Angahãras, 7, 46, 47, 60, 65, 69, Ardhasvastika k. 48, 52. N. B. Numerals within brackets relate to the number of syllables of the 234 Argala k. 48, 55. metre named. Angāraka (Mars), 425. Argumentation (upapatti), 302. Abbreviations: a=Angahara; c=Cari; Dhr .= Dhruva; and Anger (krodha), 124. Arjunī, 8. K .= Karaņa. Angiras, 1 Arka (Sūrya), 424. Abhijit, 42. 211; Krānta, 213; Lalita, 212; Angry terms of address (women's), Ardra, 35. Abhinaya, 150ff .; four kinds of 151. Lalitasañcara, 211; Sūcīviddha, 482-483 ; cruel (nișthura), deceit- Arms, movements, of 193: Adho- Abhinavagupta, 105, 297, passim. 211; Vāmaviddha, 212; Vicitra, ful (śatha), 483 ; hostile (vāma), mukha, Añcita, Apaviddha, vi- Abhinayadarpaņa, 7. 211 ; Vihṛta, 212. 483; ill-natured (duhsila), 483; ddha, Kuñcita, Prşthaga, Maņda- Ābhīra (a tribe), 329, 331. Affected Indifference (bibboka), 153. indifferent (virüpa), 484; shame- la, Svastika, Tiryak, Ūrdhvagata. Abudha, 6. Agitation (udvega), 135. less (nirlajja), 484; tyrant (durā- Army on the stage, 359. Abu, mount 247. Agni (fire-god), 12, 33, 37, 38. cāra), 483. Arrangement of drums, 242. Acamana, 35, 86, 238. Agnikuņda, 6. Anka (Utsrsțikānka), 250, 353, Arrogance (garva), 136. Accents, (four), uses of, 345. Agniśikha, 5. 368, 385. Arthapati (patron), 17. Accessories in Make-up, 438ff Agreeable sounds in a play, 320. Ankura, 449. Arvuda, 247. Äcchurita a., 47, 65. Agreeableness (saukumārya), 315. Animal language, (yonjantarī bhā- Ārvudeya, 247. Act (anka), 354ff. Aindra school of grammar, 258. Āryadeva, 327. Airāvata, 67. şa), 325. Action, five stages of 279ff .; Attain- Antaramārga, 75. Āryā metres, 293-294; Capalā, ment of object, 380; Beginning, Ājyakuņḍa, 6. Anticipatory Scene (ankamukha), 294; Jaghana-capalā, 295; 379; Certainty of attainment, Ākșiptika a. 47, 61. 398. Mukha-capalā, 295; Pathyā, 294; 379; Effort, 379; Possibility of Ākșipta k. 47, 61. Anxiety (cinta), 131. Sarvataś-capalā, 294; Vipulā, 294. attainment, 379. Ākśiptarecaita a. 48, 51. Anugata (in music), 73. Asambādhā (14), 278. Actor (nartaka), 17. Akşiptarecita k. 48, 51. Apakranta k. 48, 57. Āsārita, 46, 69-72, 79. Acts prohibited on the stage, 475, Alamkāras of intonation, (kāku), Apakrsțā Dhr. 83, 531ff. Ascetics, 430. 476, 481 ; winning women's heart, 346 Asìa, 426., 492. Aparājita 47, 61. Alātaka k. 47, 64. Aparavaktra, 291. Āsīnapāțhya, 375. Accusation of Virtues (guņātipāta), Alāta a. 48, 51. Apasarpita a. 47, 65. Asita, 6. 297, 308. Amarakośa, 27. Aśleşā, 35. Addītā Dhr, 531ff. Adhyātma, 219, 512. Ambaşthaka, 5. Apaviddha a. 47, 65. Apaviddha k. 47, 65. Aśmakutța, 6

Ādityas, 12. Amorousness (vilasa), 153. Amorous Union, men's Application of songs, 79. Assessors of a performance, 524-526. 474-475 ; Addressing, modes of, 333ff .; fema- Apprehension (śankā), 129. Assistants (pāripārśvika) of the Di- women's, 475. Aprameyā (12), 275. rector (sūtradhāra), 80, 84, 85. les, 340-342; males, 333-340. Aerial Carīs, 201 ; Âkșiptā, 203; Amrtamanthana (a mythical play), Apsarasas, 12, 33, 82. Āśrāvaņā, 77, 78, 82. 43, 47. Assurance (mati), 141. Alātā, 203; Apakrāntā, 202; Ati- Apt Description (dișta), 298, 302 Amsumali, 6. Asterisms, 35. krântā, 202; Āviddhā, 203; Bhra- Arabhata, 7. Ananta, 12. Ārabhațī, 7. Astonishment (vismaya), 126. marī, 204; Bhujangatrasitā, 203; Anargharāghava, 6. Daņdapādā, 204; Dolapādā, 203; Ärambha, 77, 82. Aśvaghoșa, 9, 327. Anarta, 247. Aśvalalita(23), 285. Hariņaplutā, 204 ; Nūpurapādikā, Ardhamāgadhī Gīti, 531. Añcita k. 48, 52. 203; Pārśvakrāntā, 203; Ardhamāgadhī Pkt. 329, 333. Aśvins, 9, 10, 33;

203; Udvṛttā, 203; Ūrdhvajānu, Sūcī, Andhaka, 67 Asuras, 9, 10, 419, 456, 457.

203; Vidyudbhrāntā, 203; Andhra, 247, 327, 426. Ardhanikutțaka a. 47, 65. Ardhanikuțțaka k. 48, 60. Atikrāntā c. 88. Anga, 248. Aerial Mandalas, 210ff .; Alāta, Angābhinaya, 151-152. Ardhamattalli k. 48, 52. Atikrānta k. 48, 56. Atharvaveda, 4. 212; Atikrānta, 210; Daņdapāda, Angada (arm-band), 412, 414, 417. Ardharecita k. 48, 51. Ardhasūcī k. 58, 57. Ātreya, I,

548 THE NATYASASTRA INDEX 549

Auditorium (rangamandala), 27. Bhatțikāvya, 114. Brilliance of Pageant, 530. Charm of limbs, 525. Avahitthaka k. 48, 59. Bhāvita, 376. Brilliance (śobhā), 296, 297. Cheek, movements of 106: Kampita, Avhittha sthāna, 234. Bhayānaka, 6. Buddha, 425. Kşāma, Kuñcita, Pūrņa, Phulla, Avanti, 247, 329, 330, 332. Bhedyaka, 71. Sama. Āvantī Local Usage, 104, 247, 248. Bherī (a kind of drum), 66. Buddhacarita, 425. Chin, movements of 167; Chinna, Āvarta (Āvrtta), k. 48, 55. Bhiņdi (a weapon), 434. Buddha images, 283. Buddhists, 326, 327, 338, 430, 432- Cukșita, Daşța, Kuțțana, Khaņ- Avataraņa, k. 48, 55, 77. Bhiksu, 327. dana, Lehita, Sama. Awakening (ribodha), 139. Bhogin (serpent), 67. 433, 487. Chinese theatre, 28. Awarding banners to actors, 527. Bhoja, 107, 305, 325, 353. Chinna k. 48, 54. Āyata sthāna, 233. Bhojya, 16, 38. Bhramara, 6. Cakramaņdala k. 48, 55. Churning of the Ocean (mythical Āyurveda, 4. Bhramara a. 47, 62. Cakravāla-yamaka, 310. play), 43.

Bādarāyaņa, 6. Bhramaraka, k. 48, 53. Camasa (a spoon), 286. Citraka, 6. Cāņakya, 334. Citralekhā(19), 282. Bādari, 6. Bhramaramālikā (7), 266-267. Bagchi, P. C. 7. Bhrgu, 1. Caņdāla, 320-330. Citralekhā (a nymph), 283. Candra(moon-god), 12, 33, 36, 37, Citra Mārga, 81, 531. Bahirgiri, 248. Bhujagaśiśubhrta, (same as Madhu- Citrābhidhāyī, 487. Bahirgīta, 80 karī), 268. 39, 83. Candragupta, 334. Citravīņā, 82. Bāhlika(Vāhlika), 329, 330, 427. Bhujangāñcita k. 48. 54. Candralekhā(12), 273. Cittavilasita(8), 268. Bahula, 6. Bhujangaprayāta, (same as Aprame- Capalā, 289. Cittavrttinirodha(=yoga), 3. Bala, 10. yā) Bala(-rama), 67. Bhujangatrasita k. 48, 52. Caraka-samhitā, 456 Class dance (tandava), 45ff.,68, 75,

Bandhula, 6. Bhujangatrastarecita k. 48, 53. Cāraņas, 432. 77. Cārī, 49, 69, 80, 83, 92, 199ff .; see Clever Manners (dākșiņya), 298, Banner-festival of Indra, 8, 9. Bhujangavijrmbhita, 275 300-304. Barbaras, 427. Bhūtabhāvana (Vișņu), 401. Aerial and Earthly Cāris.

Bhūtas, 34, 37, 39. Carmanvati, 332. Clever Request(yācña), 304. Baudhāyana Kavi, 369. Bībhatsa, 6. Caru, 286. Colours, four original ones 422; de- Beard, rules of 428. Blemishes of a performance, 517- Cașāla, 286. rivatives, 423; minor ones, 423. Belly, movements of 195; khalva, Cāșasvara, 6. Colour-groups, (varna), 3. kşāma, pūrņa. 519, 522, to be ignored, 526. Caturasra position, 208. Colours of the face, 169; bright, Benediction (nāndi), 77, 79, 83, 90. Bow, handling of 208; taking aim, Preliminaries, 84. dark, natural, red. Bhadramukha, 67. 208; taking an arrow, 208 ; prepar- Combination(yukti), 300. Bradrāsana, 71. ing, 208; shooting, 208. Caturbhāņī, 370.

Brhaspati, 425. Caturthakāra, 89. Combined hands, 173, 185ff .; Añ- Bhadrāśva, 426. Brhatkathā, 354. cauras (coras), 30. jali, 185; Avahittha, 187; Dola, Bhagavata Purana, 8, 66. Celebrity (prasiddhi), 298, 304. Bhakşya, 16, 38. Brahmā, 1-8, 11-14, 40, 38, 41, 67, 186; Gajadanta, 187; Kapota, Causation (hetu), 297, 299. 185; Karkața, 185; Kațakāvar- Bhāmaha, 309ff, 313 ff. 85, 88. Censure (garhana), 298, 304. dhamānaka, 186; Makara, 187; Bhāna, 353, 370-371. Brahmarși, 37. Brahmā's Circle (brāhma-maņdala), Central Asia, 425. Nişadha, 186; Pușpapuța, 187; Bharata, 1, 5, 7, 8, 8, 79. 186; 85, 86. Chandaka songs, 71, 72. Svastika, 185; Utsanga, Bhāratavarșa, 368, 369, 426. Chandogya Upanișad, 3. Vardhamānaka, 185. Bhārgava, 6, 426. Brahmaśāpa, 251. Bhartrhari, 253. Brahmavaivarta Purana, 34. Change of colour(vaivarnya), 146. " voice(svarasāda), 146 Comic Sentiment, 110-112.

Brāhmī, 40. Characteristics of a drama, Common Language(jātibhāșā), 325. Bhāsa, 97, 228, 320, 333ff., 358ff., 367ff. Brahmottara, 298. Compact(ślișta), 314.

Bhāskarācārya, 261. Brahmaņa's colour, 427. 14ff. Chariots on the stage, 359. Compactness (akşarasamghāta),

Bhatța-nāyaka, 105. Breast, movements of, 194, Chatterji, S. K., 325. 297, 298 Compliment (priyokti), 298, 306.

550 THE NATYASASTRA INDEX 551

Complementary Psychological Crowns, three kinds of 431. Determinants, 119-120. Dolapāda k. 48, 55. States, 126ff. Cruelty (ugratā), 140. Development (a segment), limbs of Drama, 1; norm of, 513; triple ba- Concealed Speaking (apavāritaka), Cūlikā (an ornament of the waist), 387; Dejection, 392 Dismay, sis of, 512. 507, 509. 414 393 ; Exaggeration, 392; Indica-

Cutting of hair, 432. tion, 391; Misstatement, 391; Dramatic spectacles, 16 ; Styles of, Concealment (samksobha), 298, 305. 7.

Concentration (samādhi), 316. Outwitting, 392; Panicky Com- Dramida (Dravida), 247, 329, 331, Conclusion (a segment), limbs of Daityas, 9, 10, 12, 81, 83, 242. motion, 393; Progress, 392; Pro- 426

388; Ascertainment, 395; As- Dakşa, 1, 37, 66, 287. pitiation, 392; Quarrel, 392; Drāvidī, 331.

sembling, 395; Awakening, 395; Dakşiņa Mārga, 81, 84, 531. Revelation, 392; Supplication, Dravidians, 426.

Benediction, 396; Clever Speech, Daksiņāpatha, 347. 392; Supposition, 392. Dreaming (supti), 193; representa- 396; Confcrmation, 395; Con- Dākşiņātya, 329, 330. Devadattā, 8. tion of, 509.

versation, 395 ; Deliverence, 396; Dākșiņātyā Local Usage, 247, 249. Devasenā, 8. Dresses to suit conditions of fema- Gratification, 395; Joy, 395; Dakşayajña-vimardinī, 67. Ņhakkī, 329. les, 422. Druhiņa (Brahmā), 401, 403, 404, Retrospect, 395; Surprise, 396; Damodaragupta, 5. Dhanada (Kuvera), 38, 67, 88. Termination, 396. Dānavas, 3, 9, 10, 38, 81, 83. Dhanapāla, 257. 424. Drums, uses of, 14. Conjugal Union (vāsaka), reasons Dance-hands, 173; 192, karaņas of Dhanurveda, 4. 192-193. Dhūmrāyaņa, 6. Drutavilambita (same as Hariņa- for, 471. Consecration of the stage, 43, 44; Danda (a unit of length), 19 Dhārā (stream), 67, pluta).

of the theatre, 33. Dandakāstha (the Jester's staff), 10, Dhātupāțha, 257. Dundubhi (a kind of drum), 23. Durable Psychological States, 102, Consequents, representation of, 502. 435, 436. Dhātus, 82. 121, 122. Contentment (dhrti), 133. Daņdapāda k. 48, 57. Dhṛti, 8.

Daņdaka recita k. 48, 54 Dhruvā, 75, 83, 104, 528. Durgasimha, 258. Controversy over the performance Duḥsaha, 6. 536. Dandin, 310, 311, 315, 318. Dhūrtas (crooks), 433. Dvimūdhaka (a kind of play), 376. Conventional objects on the stage, Dardura (Dardara), 66. Dialects (major ones), 329. 439 Daśārņa, 247. Diction of a play, 297ff. Conventional Practice, 250-252. Dattila, 57. Diksvastika k. 262. Convincing Explanation (nirukta), Decoration of the body, 412. Digest (samgraha), 100. Earthly Cāris, 201; Additā, 202;

Defining metres with ganas, 262. Dima (a kind play), 46, 250, 353, Adhyarďhikā, 202; Apasyanditā, 297, 300. 202; Baddhā, 202; Cāșagati, 201; Coomaraswamy, A. K. 28, 31, 50. Deliberation (vicāra), 298, 302. 366, 367. Diņdima (a kind of drum), 66. Edakākrīditā, 202; Janitā, 202; 63, 152, 164, 173. Delicate type of play, 250. Director of a theatre (sūtradhāra), Mattalli. 202. Śakațāsyā 201 ; Costumes and Make-up, 411ff., of Departure for a distant place on Samapādā, 201. Samotsāritamatta- different groups, 419ff. of Vidyā- the stage, 244. 10, 84-86, 404-405. lli, 202; Sthitāvartā, 201 ; Syan- dharas, 419; of Yakşas, 419; of Depression (dainya), 130. Directness of Expression (arthavya- ditā, 202; Ūrūdvṛttā, 202; Uts- Nāgas, 419; of Siddhas, 419-420 ; De, S. K., 5, 100, 102, 297, 313, kti), 316. Dīrghagātra, 6. yanditā, 202; Vicyavā, 202. of Rākșasas, 419-420; of godly 315, 370. Earthly Mandalas, 210; Addita, monkeys, 419-420; of goddesses, Despair (vişāda), 137. Disease (vyādhi), 141. 214; Adhyardhika, 214; Askan- 420. Determinants, representation of, 502. Discovery (prāpti), 297, 300. dita, 215; Avarta, 213; Bhra- Costumes, general rules of, 429. Death (marana), 143; representa- Disgust (jugupsa), 126. Costumes of females, according to Dissimulation (avahittha), 140. mara, 214; Cāșagata, 215; Eda- tion of, 510. Death from disease, representation Distance indicated by walk, 244. kakrīdita, 214 ; Pişțakuțța, 215; countries, 421 ; of Ābhīra women, 421 ; of women of the North- Distinctness (veseşana), 297, 301. Šakațāsya, 215; Samotsārita, 214. of, 510. East, 421; Death from poison, eight stages of, Distraction (moha), 132. East on the stage, 243. Embellishment (kārya), 304. Courtezans, 473-474 ; their merci- 511ff. Divine Success, 517. Dodhaka (11), 269. Emergency performance, 529. nary treatment of men, 496. Deceit (kapata), 304, Energetic Style, 409-410.

THE NATYASASTRA INDEX 553 Energetic type of play, 249. Face, colours of 169; bright (pra- Enemies disturbing a performance, sanna), 169; dark (śyāma) 169; riding chariots, 225; in riding a Garlands, 412 518. natural (svābhāvika), 169; red- horse; 227; in Terrible Senti- Garuda, 33, 36. Energy (utsāh), 124. dened (rakta), 169. ment, 221. 223; in travelling by Entrancs of dramatis personae, 216. Fainting (pralaya), 146. boat, 227, natural, 217. Garuda Purāņa, 34, 40.

Enumeration of merits (guņānukīr- Faults of diction, 313ff. circumlocu- Gait of aged women, 235; of birds, Garudapakşa see Corrections and

232; of bears, 232; of a blind Additions in page 191. tana, 297, 306. tion, 313; defective significance, Gatimaņdala a. 47. Enunciation, and drawn-out sylla- 314; 314; hiatus, 315; logical man, 225; of children, 235; of bles, 351 ; six limbs of, 349. defect, 315; metrical defect, 315; corpulent persons 229 ; of dwarfs, Gautama, 6. General rules of metres, 263. Envy (asūyā), 129. superfluous expression, 314; 230; of an emaciated person, Gentle dance with songs, 484. Epilepsy (apasmāra), 138. slang, 415; tautology, 314; 228; of a fatigued person, 228; of a half-woman, 235; Gestures and colours of the face, Erotic Sentiment, 108-111; three want of significance, 314; want handmaids, 235; of a hermaphro- of 169-170. kinds of, 117. of synthesis, 314. dite, 236; of intoxicated persons, Gestures and enunciation, 380. Erotic Sentiment, gentle dance in, Fancy (abhipraya), 297, 300. 229; of a Jester, 231 ; of a Kāñ- Gestures and Pause, 350. 462-463. Favourable Precedent Gestures of Head, 152ff .; Adho- Etiquette towards women, 462-463. 297, 299. (drștānta), cukīya, '228; of kings, 219; of gata, Añcita, Avadhuta, Dhuta, Etymology (nirukta), 100. Fear (bhaya), 124. lame men, 230; of lions, 232; Eulogy (gunānuvada), 301. Feet and their uses, 196-199; Ag- of lowly persons, 232; of a lu- Kampita, Parilolita, Nihañcita,

Even metres, 288. ratalasañcara, 196; 230; Añcita, natic, 229; of menials, 231; of Parivartita, Udvāhita, Utkșipta Vidhuta. Exaltation (udatta), 317. 199; 230; Kuñcita, 199; Sama, merchants, 224; of ministers, 196; Udghatțita, 224; of Mleccha tribes, 232; Gestures, three varieties, 151 ; Sākhā. Excellent points of a drama, 297ff. Excellence (atiśaya), 297, 301. Female Messenger (dūfi), 469-470, of monkeys, 232; of a passionate Anga, Upānga, Ghūrņita k. 48, 53. Exercise (yogya), methods of, 209. 487-488. woman, 234 ; of a person in dis- Glances, additional 162; Ālokita, Exit, rules of, 243 Figures of speech (alamkāra), 306 guise, 236; of a person walking Anuvrtta, Avalokita, Pralokita, Expert Gallant (Vita), 486. Simile, 307-308 ; Metaphor, 308; a long distance, 229; of religious sects, 224; of a Sakāra, 232; of Sama, Sūcī, Ullokita, Vilokita, Explanation (nirukta), 300. Condensed 308; Glances for Complementary Psy- Explanatory Devices, 347ff .; Anti- Expression, Yamaka, 309-310. a serpent, 227; of a sick man, chological States, 155-157, Dura- cipatory, scene, 298; Intimating Folk-dance, 68. 228; of a woman ascetic, 236; Speech (cūlikā), 397; Introduc- Folk-etymology, 355, 402. of a young woman, 234. rable Psychological States 155- 156. different Sentiments, 154- tory Scene (praveśaka), 397; Forgiveness (kşamā), 301. Gajakrīdita, k. 48, 56. Fourth man (caturthakāra), 89 Gajavilasita (16), 279. 155. Supporting Scene (vişkambkaka), Freud, S. 456. Gānakādi (musical plays), 249. Glances, see Eyeballs, Eyebrows etc. 397; Transitional Scene (ankāva- Goddesses in human role, 484-485. tāra), 398. Fright (trāsa), 144. Gaņapati, 34.

Eye-balls, movements of 161-162; Furious Sentiment, 113-114. Gändharvaveda, 4. Gods of the stage, 33.

Bhramaņa, 162; Calana, Gandharvas, 3, 10, 33, 36, 40, 41, Golden age (krtayuga), 2. 161 Gomukha (a kind of drum), 66. Nişkramaņa, 163; Pātana, 162; Gabhasti, 6. 82, 419, 420, 425, 429, 456, 457. Goyīcandra, 256. Prākrta, 162; Valana, 162, Vi- Gait in ascending high places, 226 ; Gaņda, 42.

vartana, 162; Sampraveśa, 162; in Comic Sentiment, 222; in Gaņdasūcī, k. 48, 56. Graceful Style, 7, 247, 248.

Gaņas, 8, 30, 46, 39. Graha (in music), 75. Samudvrtta, 162. darkness, 225; in Erotic Senti- Grāmyadharma, 2. Eye-brows, movements of, 164; Gaņeśa, 34. Bhrukuțī, 164; Catura, 164; ment, 220; in getting down to a Grāmaņī, 37. low place, 226; in Heroic Senti- Gaņeśvara, 34, 67. Grandeur (ojas), 317. Kuñcita, 165; Pātana, 164; Re- ment, 222 ; in Marvellous Senti- Gāneśvarī, 67. Grand Style, 7, 247. cita, 165; Sahaja, 165; Utkșipta, Gańgā, 331, 425. Grdhrāvalīnaka k. 48, 57. 165. ment, 222; in moving in the sky, 225; in Odious Sentiment, 222; Gangādāsa, 270. Eye-lids, movements of 163-164. Gangāvataraņa, 49. Guardians of directions (dikpālas), in Pathetic Sentiment, 222; in 33. 70

554 THE NATYASASTRA INDEX 555

Guha (Kārtikeya), 33. by a quarrel, 472; with a sojour- of characters, 216 . Joy (harsa), 134. Guhyakas, 83, 425. ning lover, 472. Interrogation (prccha), 298, 304. Jyotirīśvara, 369. Gulma (a kind of Piņdī), 71. Heroine in expectancy, 476-477. Hesitation (samśaya), 297, 299. Interpolation, a Blemish, 511-512. Guņas (of nāțya), 315ff. Interval of feet on entrance, 216. Kailāsa, 245. Heroine's reception of the beloved Intimating speech, (cūlikā), 397. Kaiśika, 7. one, 477. Intonation, 333; in different Senti- Kaiśika Nyāya, 206, 207. Haas, 68, 102-104, 362, 371ff., 397, Health and nourishment for the ments, 348-349 ; two ways of, 346. Kaițabha (Asura), 401. 404. exercise (yogya), 209. Intoxication (mada), 129-130. Kakajangha, 6. Hāla, 67. Highborn lady's love, 465. Introduction of a play, 97; five Kākapada, 433. Halāyudha, 287. Himālaya, 26, 66, 246, 425. kinds of, 405; Accidental Inter- Kalā, 3. Haldar, G., 256-259, 520. Hindu Theatre, 19, 28, 143. pretation, 371 ; Opening of the Kāla, 33, 108. Hand Gestures, three kinds, 172- Hiraņyākşa, 6. story, 405; Particular Presenta- Kalas in instrumental music, 216. 175; their diff. use, 155,; diff. Homa (pouring ghee in the sacrifi- tion, 405 ; Personal Business, 405, movements of, 188; spheres of cial fire), 16, 22. Transferrence, 371-372 ; Kalabha, 8. Kalahāntaritā, 74 189; quality of 198. Hrī, 46. Introductory Scene, 357, 397. Kalapa, 258. Hara (Siva), 42. Human Success, 515. Inversion (viparyaya), 298, 302. Kālapañjara, 247. Hari (Vişņu), 39. Hutāśana (Agni), 425. Iran, 425. Kali, 33. Hariņapluta (12), 274. Hysterical Mood (Kilakiñcita), 154. Ïśa (Siva), 89 Kālidāsa, 10, 18, 34, 228. Hariņīpluta k. 48, 58. Irregular Histrionic Representation, Kalinga, 247. Harinī (same as Vrșabhaceșțita), Ideal drama (nātaka), elements of, 453. Kāliñjara, 247. Harmonious Representation, 442- 398-400. Itihāsa, 3, 4. Kāliya, 6. 453 Identity (sārūpya), 298, 305. Kāmadattā (12), 274, 275 Harşacarita, 97, 526. Īhāmrga, 250, 353, 358, 365-366, Kāmamattā, (same as Kāmadattā) Harşaka (a kind of neck-ornament), 385. Jagadīśvara, 369. 413. Ilāvrta-varșa, 4. Jāhņavi (Gangā), 67. Kāmapāla, 40. Kāmasūtra, 29, 465, 471.

Hastarecaka, 66. Illumination of the stage, 43. Hastavī (an ornament of fore-arm), Illustration (drstānta), 299. Jains (Nirgrantha), 430. Jambudvīpa, 2, 6, 245. Kampaņa (Kampa), 435. Kāñcī (a waist ornament), 417. 414 Impatience (autsukya), 137: Jambudhvaja, 6, 425. Kañcukin, 432. Hastapatra (an ornament), 47. Inconstancy (capalata), 134 .. Jaghana-capala A, 205. Kāñcukīya (Kañcukīya), 228. Hastināpura, 248. 108. Janaka, 354. Kapiñjala, 6. Head, Gestures of, 152ff. Indirect Expression of Desire (ma- Janārdana (Vișņu), 42. See above Gestures of Head. Janita k. 48, 59. Karaņas (astrological), 22, 24. noratha), 298, 305. Karaņas of Dance-hands, 192; Äve- Hemacandra, 5. Indra, 3, 5, 6, 9, 12, 13, 35-37, 39; Jar, breaking of, 42, 43. șțita; Pariveșțita ; Udveșțita; Hemakūța mountain, 345. see also Śakra. Jarjara, 10, 12, 13, 34, 41, 83, 85, Vyāvartita. Hero, 13. Indian geography 2. 86, 91; making of, 435-436. Karaņas (of Angahāras), 47-60. Heroic Sentiments, 114-115, three Indignation (amarșa), 140. Jațāmukuļa, 433. Karaņa (of music), 69. kinds 117. Indramakha, 9. Jāti (of music), 69. Jațila, 6. Karņamudrā (an ear-ornament), 415. Heroine, 13, eight kinds of, 471; Indra's Banner-staff, 435. Karņapura ( ), 416 deceived by the lover, 472; dis- Indravajrā (11), 270. Jealous Anger (māna), 154. ), 414 Indolence (alasya), 130. Jester (vidūşaka), 13. Karņavalaya, ( tressed by separation, 471 ; dres- Jhañjha (big cymbals), 66. Kartā, 6. sed up for union, 471; enraged Inference from similitude (tulya- Jhaşa, 67. Kartarākșa, 6. with the lover, 472; having the tarka), 297, 301. Jihvya (lingual), 255. Kāśikā, 258. husband in subjection, 472; mo- Insanity (unmada), 142. Kāśmīra, 248. ving to the lover, 473; separated Instrumental music on the entrance Jolly, J. 495. Kāśyapa-samhitā, 141, 456.

556 THE NATYASASTRA INDEX 557

Kațaka (a finger ornament), 414. Kşatriyas, colours of, 427. Trimūdha, 376; Uktapratyukta, pana, Samudgata, Sandaștaka (an ornament of the fore- Kşepa (in music), 77. 377; Uttamottamaka, 376; Vici- Vinigūhana, Visarga, Vivartana. arm), 417. Kşīrasvāmin, 27, 414. trapada, 377. Lüders, H. 2. Kathiawar, 247. Kumāra (Kārtikeya), see Skanda. Kumudanibhā (10), 272-273. Laughter (hāsya), 122. Lying down posture, 240f .; Akuñcita, Kațibhrānta k. 48, 54. Lévi, Sylvain, 336. Nata, Sama, Prasārita, Vivartita, Kațicchinna k, 48, 51. Kumbhīpadaka, 421. Lifeless objects on the stage, 424. Udvāhita. Kațirecaka, 66. Kuñcita k. 48, 55. Light-heartedness (lalita), 154. Kațisama k. 48, 51. Kunta (a weapon), 434. Lightning, 33. Kātyāyana, 256. Kuru, North 475. Likșā, 20. Madaskhalita k. 48, 59. Kavi, Ramakrishna, 297, 298, 374, Kuśadvīpa, 16. Līlāvatī, 261. Madavilasita a. 47, 63. 531. Kuśala, 6. Limitations of human efforts in pro- Madhu (Asura), 40. Kauțilya, 3, 4, 20, 228, 298, 326, Kusumitalatāvellitā, (same as duction, 522. Madhukarī (9), 268. 494, 495. Citralekhā). Līna k. 48, 50. Madhuparka, 24, 37. Kautsa, 6. Kutapa (orchestra), 30, 34. Living beings on the stage, 424. Madra, 248. Kautuka, 177. Kuțilaka (Jester's staff), 10, 16, 231; Local Usages (pravrtti), 101, 104, Madraka (22), 284. Kedāri, 6. see also Daņdakāstha. 146ff. 148, 246ff .; Avanti, 247; Madraka (song), 77. Kerala, 6. Kuvalayamālā (10), 269. Dākşinātyā, 246, 247; Odramāga- Magadha, 248, 427. Keralā, 8. Kuvera (Kubera), 10, 37, 40, 67. dhī, 248, 249; Pāñcālī (Pāñcāla- Māgadha (person), 6. Keith, A. B., 27, 102-104, 143, 327, 245 madhyamā), 248, Māgadhī Gīti, 531. 337, 338, 356, 362, 366-370. Local dialects, late 331. Māgadhī, Pkt, 329, 330, 3311. Ketumāla, 425. Lohitānga, 6. Maghā, 35. Ketumatī, 290. Lāja, 6. Lokapālas, 3, 12, 83. Mahācārī, 77, 80, 83, 93. Keyūra (an armlet), 414. Lakşaņa, 453, 454. Lokadharmī, 103. Mahāgīta, 46. Khandana, 178. Lakșmī, 33, 36, 39, 67. Lokapālas, 3, 12, 83. Mahāgrāmaņya, 34. Khanditā, 74. Lalita gesture; 85, 86. Lolitaka k. 49, 60. Mahājihva, 6. Khañjaka, 74, 79. Lalita k. 48, 53. Lollața, 105. Mahākāla, 108. Kharjūra (an ornament of the fore- Lalita (metre), 291. Lord of birds, 33, Mahāmatra, 432. arm), 417. Lallana (soothing children), 291, " Nāgas, 33. Mahāvaiņņā, 247. Khațakāmukha, see Kațakāmukha. 347 Love, beginning, 464; Courtezan's Mahāvamsa, 426. Khasas, 330 Languages, use of 321ff; types of, 465; highborn lady's 465; mai- Mahendra (see Indra), Khicudi, 26. 324,; Animals, 325; Common, dens' 465; manifestations of Mahendra (mountain), 248. King's etiquette to women, 470. 325, Noble 325; Superhuman, men's, 469. Mahendravikramavarman, 369. Kinkiņī (small bells), 418. 325. Love (rati), 122. Maheśvara (Siva), 1, 66, 74, 75. Kirāta, 329, 427. Lalāțatilaka k. 48, 55. Love of a maiden, stages of 465; Maiden's love, 465. Kirīța (a crown), 431. Latāvrścika k. 48, 54. Anxiety, 466, Death, 468, Dist- Makara, 456, 460. Kīrtilata, 178. Layantara, 71. ress, 467; Enumeration of merits, Makarakaśīrşā (6), 265. Kohala, 247, 532f. Laudation (prarocana), 77, 80, 94; 467; Insanity, 468; Lamenta- Makarikā (an ornament), 415. Kosala, 427. 404. tions, 467; Longing, 466; Re- Make-up, 411ff. Krāntaka k. 48, 55. Lāsyas, twelve types of 374ff: collection. 466, Sickness; 468; Malada, 298. Krauñcadvīpa, 16. Āsīna- (rāțhya), 375; Bhāvita Stupor, 468. Mālatī (6), 266. Krauñcapadī (27), 286. (Bhāva), 377; Dvimūdhaka, 376; Lover at fault, treating of 479-481 Malatī-mādhava, 343 . Krsarā, 25, 28. Geyapada, 375; Pracchedaka, Lovesickness, relief in, 469. Mālava, 247. Kraņavaiņņā, 247. 376; Pușpagaņdikā, 375; Sain- Loveliness (Kanfi), 318. Malaya, 247. Krşyākșara (drawn-out syllable), 351. dhava, 376; Sthitapāțhya, 375 ; Lower lip, gestures of 169; Kam- Mālini (6), 265-266.

558 NATYASASTRA INDEX 559 Mālinī (Pingaia's name for Nāndi- Mattamayūra (13), 277. mukhi). Mattaceșțita (8), 267. Mrdanga (an earthen drum), 23, Nāțyakumārī, 34. Maldah, 248. Mattaskhalita a. 47, 62. 43, 66. Nātyālankāra, 8. Mallabhum (W. Bengal), 248. Mattavāraņī, 12, 27, 28, 32, 38, 40. Mrttikāvat, 247. Nātya-maids, 34. Mallinātha, 427. Matted hair, 433. Mudrārākșasa, 230. Nāțyamātrka, 43. Mallavartaka, 248. Meaning of words, 503. Mrcchakatika, 33ff., 337ff. Nāțyāyita, 449. Man in the sky, 484. Measurement, table of 20. Mukha (in music), 72. Nāțyaveda, 2, 4, 5, 9, 14, 75. Maņdaka, 6. Medhā, 33, 36, 39, 42. Mukhacapalā Ā. 295. Neck-gestures, 170-171: Añcitā, Mandākrāntā (same as Śrīdharā) Mediation (anunaya), 297, 303. Mūlā, 24, 34. Kuñcitā. Natā, Nivrttā, Recitā,

281. Meghamālā (24), 285. Multiplex Predication (padoccaya), Samā, Tryasrā, Valitā Maņdala (in rituals), 36. Mekala, 247.+ 298, 302 Nepāla, 248. Mandala (in dance), 210ff .; see Mekhala (an ornament), 417. Muni, 6. Nikuñcita k. 48, 52. Aerial and Earthly Mandalas, Memorial Verse (Kārikā), 100 Muņda seat, 239. Nikutțita k. 48, 52. Mandala Sthāna), 204, 206. Men, five types of 479; clever, Murray, Gilbert, 375. Niīlakaņțha (Siva), 7. Maņdalasvastika k. 48, 50. Muşțika, 6. Nirdeśa, 257. Mañjukeśī, 8. 493; inferior, 494; middling, 493; novice, 494 ; superior, 493. Nirgīta, 81, 82. Mañjarī (an ornament), 416. Men's efforts in representation; Nādika (Nālikā), 364 Nirukta, 257. Mankad, D. R. 19, 28, 31, 363, 367, 503. Nāga (Serpents), 12, 83, (Pannaga), Nirveda, 127. Manmana (lover's overture), 347. Merta, 247. 40, 419, 420, 456, 457. Niryūha, 29. Manoramā, 8. Meru, 26, 245, 247. Nāgadanta (bracket), 29. Nişadha, 245. Mantra, 16, 38, 42. Meșa, 6. Nāgaprasarpita k. 49, 60. Niśumbha k. 48, 56. Mārga, 216. Metaphor, 308. Nāgapușpa, 36. Nitamba k. 48, 58. Mārgas (in instr. music), 216. Metrical patterns, 261ff. Nāgārjuna, 327. Nitti-Dolci, L. 321, 322, 324, 326, Margāsārita, 77, 79, 83. Mārgava, 248. Metres, 260 ff. Nālikā, 94. 331.

Metres to match Sentiments, 318- Names of different characters, 343- Niveśa k. 48, 59. Maricī, 1. 319. 344. Nivrtta k. 48, 56. Māruta, 39. Miśrakeśī, 8. Nandā, 8. Nivrtyankura, 449. Marvellous Sentiment, 116-117 three Mitra, 12, 33, 36, 38, 40. Nāndī, 37, 67. Niyati, 12, 33. kinds, 118. Mixed Preliminaries, 96. Nāndīmukhī (15), 279. Niryūha, 29. Masks, making of, 437ff .; use of, Mlecchas, 232. Nāndīmukhī (another name of Mā- Noble language (āryabhāşā), 431. Moongod, 83. linī of NS). 324 Mastakī, 431. Mecaka (a kind of ear ornament). Nandīśvara, 34, 39, 531. North Kuru, 425. Masulipattanam, 247. 413 Nara, 425. Nose, movements of 165-166; Māțhara, 6. Moțaka, (11), 270. Nārada, 8, 40, 81, 82, 289. Mandā, Natā, Sochāsā Svābhāvikī, Mati, 33, 39. Moțanaka. (same as moțaka). Nārāyaņa, (Vișņu), 36, 38, 401. Vikrstā, Vikūņitā. Mātrāsamaka (a metre), 292. (same as Vānavāsika). Mothers of the Nātya, 37, 38, 40, 425 Notes (musical), according to Sen-

43 Narkuțaka, 14, 79. timents 345. Matsya Puraņa, 1. Mosala, 247. Nāțaka, 250, described 353, 354ff, Nrttahasta, 49. Mattalli k. 48, 52. Bhugna, Mauli (Mastaki), 431. Mouth, gestures of 168; 385, 397ff., 463. Number of characters, limits of,

Udvāhi, Vidhuta, Nātakalakșaņa, 6. 358

Māyāpușpaka, 251. Nirbhugna,

Mayūrasāriņī (10), 269. Vinivrtta, Vivrtta Nāțikā, 360-361. Nūpura k. 48, 53.

Mātrkā, 49. Movements in Bharatavarsa, 244. Nāțmandir, 18. Nyāyas (modes of using weapons), Movements of gods and demigods, Nāțsala, 18. 206; legendary origin of, 403; Mattākrīdā, a. 47, 62. 244. Nātydharmī (Conventional Practice Bhārata, 207 ; Sāttvata, 207; 1103. Vārşagaņya, 207, Kaisika, 207.

560 NATYASASTRA INDEX 561

Obstruction (pratişedha), 305. Pañcāla-madhyamā, (same as Pâñ- Occasions for Pkt. recitation, 326- Patralekhā, 175, 283, 416. Plot, two kinds of, 378; Princi- cālī). 327. Pāñcālī Local Usage, 104, 248, 249. Patrakarņikā (an ornament), 415. pal Plot, 380; Subsidiary Plot, 380; five stages of Segments, Odra, 99, 104, 248, 427. Pañcatantra, 266, 416. Pațuvrtta (12), 276.

Pañcasikha, 6. Pause defined, 350; use of 350. 381-382; omission of Segments, Odra-māgadhī Local Usage, 104, 248, 249. Pañcāngābhinaya, 449. Pause (a segment), limbs of 387; 380.

Pāņdukarņa, 6. Pointed Utterance (upadişța), 298, Odras, 329, 331, 427. Altercation, 399; Angry words,

Odious Sentiment, Pāņini, 257. 373 ; Assertion, 393 ; Censure, 394; 302 116; three kinds of, 118. Pāņi, 72. Foresight, 394; Humiliation, Postures of characters while enter-

Ogha (in drum), 70, 73. Pannaga (serpent), 10, 13, 42, 425. 394 ; Injury, 394; Insolence, 394; ing, 216.

Oldenberg, 4. Parallelism (udāharaņa), 297, 299. Lassitude, 394; Mention, 393; Postures of women, 233; Aśvak-

Omens (physical) for women, 477. Paralysis (stambha), 146. Opposition, 394; Placation, 393 ; rānta, 233; Avahittha, 233;

Omkāra, 13. Parāvrtta k. 47, 63. Summing up, 394. Āyata, 233.

Opening (a Segment), 98 ; limbs of Pargiter, 4. Pāyasa, 25 ; 25; 28, 37, 38. Prabhāvatī (12), 276.

Paricchinna a. 47, 63. Pracetas, 37. 387; Accession, Activity, Allure- Personal Business (Prologue), 405.

ment, Conflict of feelings, Deci- Parighatțanā, 77, 78, 82. People supplying norm of drama 513. Practices, two kinds of, Realistic,

sion, Disclosure,, Enlargement, Parigītaka, 74. Perspiration (sveda), 146. 103, 250; Conventional, 250.

Establishment, Incitement, Set- Parivarta k. 48. Physical graces of women, 443, Prācyā, 329, 330.

Parivartanī Dhr. 87, 88, 531ff. Persuasion (siddhi), 297, 300. Prāgjyotişa, 248. ting, Suggestion, Surprise. Praharşinī ((13), 277. Opening of the story (in Prologue), Parivrttarecita a. 47, 63. Physical graces of women, 443.

405. Parivrtta k. 48. Physical representation, sixfold, Prahasana, 353, 369-370. Prahlādanadeva, 367. Ornament, five kinds, 412; for fe- Pārșada, 6. 449 ; Ankura, 449; Nāțyāyita

Pārvatī, 74. 450 ; Nivrtyankura, 450; Sākhā, Prakaraņa, 250, 353, 360-362; males, 415 .; for males, 413.414; Pārśvacchedya a. 47, 64. 385, 397, 398. making of, 440f. 449 ; Sūcā, 449; Words, 449.

Ornateness (bhūșana), 297, 298. Pārśvāgata (a kind of crown), 431. Physical Success,3 316 .. Prakrit, 321ff .; seven kinds of,

Overture of instr. music, 216. Pārśvajānu k. 48, 57. Piņdī, Piņdībandha, 67, 70. phonetics of, 322-324.

Pārśvakrānta k. 48, 56. Piņdipatra (an ornament), 415. Prakritic Recitation, 321ff .; Special

Pārśvamauli (a kind of crown), 431, Pingala, 6, 266ff., 274-276, 281-282, occasion for, 326.

Pādabhāga, 76. 432. 287, 289, 291, 292. Pramitākșarā (12), 273.

Pādāpaviddhaka k. 48, 53. Pārśvanikuțtaka k. 48, 53. Piśāca, 12, 36, 37, 425, 456, 458 Pramāņa (extent), 2.

Pādarecaka, 66. Pārśvasvastika a. 47, 62. Pischel, R. 329-331. Pramāņikā (sume as Mattaceșțitā)

Padma, 67. Parśus, (a tribe), 431. Pitāmaha (Brahmā), 1, 85, 402. Pramathas, 108.

Padmanābha (Vișņu), 38. Particular Presentation (in Prolo- Pīthamukha, 6. Pramitākșarā (12), 273.

Padminī (12), 275. gue), 405. Pitrs, 36, 37, 83.' Prāsa (a weapon), 435.

Paduka, 6. Paryastaka a. 47, 60, 70. Plays of ten kinds, 353ff. Prasarpitaka k. 48.

Pahlavas, 427. Pāśa, 67. Playhouse, 18, 20, 22, 23-25, ; types Pratikșepa (in music), 68, 72.

Painting of limbs, 422. Pāșaņda (heretic), 23. of, 19; groundplan, 22; laying Prastavana, 98.

Palaces on the stage, 359; Pāśupatas, 225, 430. foundation of, 23. Prātisākhya, 254.

Pallava gesture, 92. Pațaha (a kind of drum), 66. Playing of drums on the stage, 242. Pratisara, 35.

Paņava (a kind of drum) 23 43, Patañjali, 256 257, 268. Plays, euphony of, 400. Pratyāhāra, 77, 78, 83.

66. Pathetic Sentiment, 112, 113, three Plot, five elements of, 382 : Epi- Pratyālīdha, 204, 206.

Paņava (a metre same as Kuvalaya- kinds of 117. sode, 281-382; Episodical Inci- Pratyūha, 26.

Pathyā Ārya, 288-289, 294. dent, 382; 381; Vital Pravanga, 248 mālā). Drop,

Pāñcāla, 99, 104, 248. 427. Pațī (of masks), 437. 381 .; Episode Indication, 382- Pravaralalita (16), 280. 383. Prekşā, 16.

562 THE NATYASASTRA INDEX 563

Preliminaries of a play, 76ff., 84ff. Pūrvāşādha, 35. Sāmaveda, 4. Prenkholita k. 48, 58. Pusalker, A. D., 320. 362, 363, 368. Rgveda, 4, 404, 431.

Presumption (arthāpatti), 298, 304. Pușkaradvīpa, 16. Rjuka, 6. Śambara, 6. Sambhavitā Gīti, 531. Pretended anger of women (kutta- Puşya, 22, 435. Ķktantrā-vyākaraņa, 254. Sambhrānta a. 47, 65. mita), 154. Puța (same as Puțavrtta) Rohiņī, 24. Sambhrānta k. 48, 59. Private Personal Address (Janānti- Raghavan, V. 28, 31, 106, 107, 250, Rşabhagajavilasita, (same as Gajavi-

ka), 508-509. 297, 353, lasita). Sanghamittā, 343. Saņghoțanā, 77, 80, 83. Prohibited acts on the stage, 475- Rāghavabhațța, 90. Rșis, 36.

476 ; 481-482. Rucipati, 356. Samgītaśālā (samgīdasālā), 18.

Progression (a Segment), limbs of, Rudra (Siva), 108, 424. Samnata k. 48, 57. Rajasthana, 247. Sample (udahāraņa), 299. 387 ; Amorousness, 390, Flash of Rakta (in drum), 79 Rudras, 36. Samudragupta, 363. Joke, 390; Hindrance, 390; Ranga (stage). 18. Samskāra-śāstra (grammar), 257. Joke, 390; Meeting of Castes, Rangadvāra, 77, 80, 91. Šabala, 6. = 391; Moving Forward, 390; Raṅgaśīrşa, 23. Śabaras, 329, 331, 332. Samvartaka, 6. Sanatkumāra, 37. Pacification 391; Pessimism, Rangapīțha, 23. Śādvali, 6. Şaņda, 6. 390; Pursuit, 390; Reference, Rangāvataraņa, 27. Sāgaranandin, 356, 401, 408. Sandhyā, 238. 391 ; Refusal, 390; Sweet Words. Rākșasa, 3, 10. 36, 37, 39, 81, 419, Sahya (mountain), 247.

420, 429, 456, 457. Saindhava, 6. Sāņdilya, 5 391; Thunderbolt, 391 ; Saindhavāyana, 6. Sañjīva, 434. Prologue, 98, 404. Rank indicated by grouping of Prsthasvastika k, 48, 51. Saitava, 289. Sankhadhara, 369. characters, 244. Śākadvīpa, 16. Sańkuka, 105. Pāthulā Gītī, 351, Rao, Subba, 31. Sańkukarņa, 6. Prthvī, (same as Vilambitagati). Rāsaka, 353. Sākala, 209.

Prthvīdhara, 329. Raśanā (an ornament of the waist), Sakāra, 232, 329, 330. Sankuvarņamukha, 6.

Psychological approach to women, 417 Šakas, 427. Sanskrit grammar, terms of, 235; Sākațāsya k. 49, 60 phonetics of, 254-356. 494, 19ff. Rathoddhatā (11), 271. Psychological States (bhava), 106, Raudra, 6. Šākațāyana, 257. Sanskritic Recitation, occasion for, 326. 119ff .; and Gesture, and Glance, Realistic objects on the stage, 439. Sākhā gestures, 151-152, 169.

Realistic Practice (lokadharmī), 250. Śakra (Indra), 5, 11, 67, 88, 180 Sanskrit vocabulary, 256-259. 154ff; and colour of face, and 425. Santati, 6. Sentiments, 169-170. Recaka, 65-66, 69. Sarala, 6. Pūjā to the stage, 16, 17. Recaka (Recita) nikuțțaka k. 48, 57. Šakranemi, 6. Šarabhā (14), 278. Pulindas, 232, 236, 427. Receiving guilty lover, 477. Śakti (a weapon), 434, Śakuntalā, 333. Sāradātanaya, 6, 305. Pulomā, 6. Recita a. 47, 64. Sālankāyana, 6. Sarasvatī, 10, 13, 33, 37, 47. Pulkasa, 330. Recitation, 253, 325 two kinds of, Śālastrī, 31. Sārdūlavikrīdita (19), 283. Pundra, 248. 253; 325ff .; qualities of, 344; Puņdrākșa, 6. six alamkaras of, 346, 347. Šālika, 6. Sarngadeva, 6. Sarpita k. 48, 57. Puņdranāsa, 6. Recitation, Sanskritic and Prakri- Śālinī (11), 272. Sālikarņa, 6. Sarveśvara, 305. Punvāha, 26. tic, 321, 425ff. Šālmalīdvīpa, 16. Sarvataś-capalā, Āryā, 295. Puraka (an crnament), 417. Recollection (smrti), 132. Šālvaka, 248. Šaśivadanā (same as Makaraka-

Purandara (Indra), 39, see also Recording Blemishes of a perfor- Šalyaka, 248. sīrşā), 265. Śakra. mance, 536. Sama (in drum), 70, 216. Šāstra (Nāțyasāstra), 522. Puranic Geography, 16 Remorse (paścāttāpa), 302. Samanakha k. 48, 50. Sastri, Ramaswamy, 107. Pūrvaranga (Preliminaries), 76 Representation of directions (dik), Samapāda Sthāna, 224. Śātajangha, 6. Pūrvabhādrapada, 33. 503, of objects and senses, 454ff .; of single-hand gestures, 172ff. Samavakāra, 45, 250, 353, 358, Śataghnī (a weapon), 283. 434, Pūrvaphalguņī, 35. 364 Şatpada, 6.

564 THE NATYASASTRA INDEX 565

Sattva, def. of and importance, of, Silver Age (tretā-yuga), 2. 442 ; of males, 443. Silent Expression of Affection (mo- Sounds in alamkäras and Senti- Supporting Scene (vişkambhaka),

tțāyita), 153-154. ments, 318. 358, 397. Sațțaka, 353. Sāttvata Nyāya, 206, 207. Supuşkalā, 8. Śilpa, 3, 5. Speaking aside, 507; in one's ears,

Sāttvika States, 103, 145, 147. Sūrasena, 248, 427. Siņhākarșita k. 48, 58. 508; to the sky, 507; Speech in

Saudāmanī, 8. sleep, 510; of children, 510; of Surāșțra, 332. Simhavāhinī, 67. Saurāșțra, 632. Sūryasiddhānta, 24. Simile, 307, five kinds of, 307. dying persons, 510; of old peo-

Saușțhava, 85, 208, 223, 235. ple, 510. Suşkāpakrstā, Dhru. 77, 80, 83.

Sauvīra, 247, 332. Sindhu, 247, 332. Suspension of representation, 509. Singabhūpāla, 6. Spectators, different disposition of, Suśruta-samhitā, 456. Sceptre of Yama, 33. 524. Single-hand gestures, 238ff .; Patä- Suvadanā (20), 283. Seats for ascetics, and sectarians, ka, 174; Tripatāka, 175; Kartarī- Šraddhā, 36.

239; for different characters, Svāgatā (11), 271. mukha, 177; Mușți, 177; Sikha- Sragdharā (21), 284.

ra, 178; Kapittha, 178; Katakā- Sragviņī, (same as Padminī), Svarņaka, 6. 238 ; for females, 239 ; for males, Svastika, k. 48, 50. 238 ; general rules on, 240. Seas, 33, 36, 239ff. mukha, 178; Sūcīmukha, 178; Śramaņas, 224, 326.

178; Padmakośa, 180; Sarpaśiras, Śrī, 67. Svastikarecita k. 48, 50.

Seed (bija), 98, 379, 381. Segments (parts of a play), five in 181 ; Mrgaśīrșa, 181; Kāngula, Śrīdharā, (17), 281. Svāti, 8.

181 ; Alapallava (Alapadmaka), Śrngavat, (a mountain), 245. Svayambhu (Brahmā), 67.

number .: Conclusion, 384; Deve- Śrotriya, 327, 433. Svāyambhuva Manu, 2. 181; Catura, 181; Bhramara, lopment, 384; Opening, Śruti, 6. Sweetness (mādhurya), 3:5. 384; Pause, 384; Progression, 384; in 182; Hamsāsya, 182-183; Ham- Sweet terms of addrem by females,

different types of play, 385; dis- sapakşa, 183; Sandamśa, 183; Stage, 28-30, 42. Sthānas (standing posture), 49, 204 ; 482-483; dear (priya) 482; be- Mukula, 184; Ūrņanābha, 184; tinction of, 385. Tāmracūda, 184. Ālīdha, 206; Maņdala, 206; loved, (kānta), 482; affectionate Pratyālīdha, 206; Samapāda, 205; (vinīta), 482; lord (nātha), 482; Semi-even metres, 287. Semi-historical tales, 3. Sitting postures at ease, 237; in Vaiśākha, 205; Vaișņava, 204. master (svāmin), 482-483 ; life

Semi-uttered Expression (anukta- ceremonial occasions 238; in (jivita), 483 ; joy (nandana), 483. fainting, 237; in intoxication, 237; Sthāpaka, 97.

siddhir, 298, 306. in pacifying a beloved woman, Sthāpatyaśāstra, 4. Šyāmāyana, 6.

Sannidhātr (chamberlain), 228. Sentiments, 98, 100ff .; and metres, 238; in a pensive mood, 237; Sthāyibhava, Durable Psychological Syllabic metres, 260.

in shame, 237; in sleep, 237; in State, 102. Synthesis (śleşa), 316.

318, 319; and Psychological Sthāyivarņa, 89.

States, 147. sorrow, 237; in worshipping a Stupor (jadatā), 136. Taitila, 6. deity, 238. Style (vrtti), 7, 103, 246. Taittīriya Prātisākhya, 255. Series of Offers (māla), 298, 303. Šeșa, (a serpent god), 12. Sircar, D. C. 247. Six Contiments (saddvīpa), 425. Submission (anuvrtti), 303-304. Takşaka, 6, 245.

Šiva, 1, 10, 13, 37, 45, 67. Sūcī Cāri, 75. Tala, 36. Seven Continents (saptadvipa), 16. Sūcī k. 48, 57. Talaka (a waist ornament), 414. Shame (vrīdā), 133. Shanks, movements of, 197-198; Skanda (Kārtikeya), 17, 36, 37, 41. Talapatra (an ornament), 176.

Ävartita, Kșipta, Nata, Parivrtta, 424 Sūcīviddha k. 48, 57. Sūdras, colours of, 427. Tāla (space-measure), 217.

Udvāhita. Skhalita k. 48, 58. Slip of Tongue (bhramśa), 316. Sudatī, 8. Talapuspapuța k. 48, 49.

Siddhi, 33, 39. Sukeśī, 8. Talasamghatțita k. 48, 58.

Sides, movements of, 194-105. Smrti, 33, 44. Soma (moon), 425. Sūla (a weapon), 434. Talasamsphoțita k. 48, 56.

Śikhā, 6. Talavilasita k. 48, 55.

Šikhaņda, 433. Soma-sacrifice, 90. Sulocanā, 8.

Sorrow (śoka), 123. Sumālā, 8. Tāmralipta, 248.

Šikhāpāśa, 415. Tanumadhyā (6), 265.

Śikhāvyāla (an ornament), 415. Songs, Chandaka, 71, 72; of seven Sumhottara (v. I. Brahmottara), 248.

types, 81. Sumukhī, 8. Tāņdava (Class-dance), 45ff. 68.

sikhī, 67. Southern Ocean, 247. Sunandā, 8. Tāņdāyana, 6. Sundarī, 8. Taņdu, 5.

566 THE NATYASASTRA INDEX 567

Tāņdya, 6. Uddhrtaka a. 47. Vaișnava sthana, 85, 216. men's sorrow, 504; midday Tāpasa, 6. sun, 498 ; mountain, 506; neck- Tapasvin, 326. Udgatā, 291. Vaiśyas, 239 ; colours of, 427. Udghatțita a, 47, 53, 61. Vaivasvata Manu, 2, 36, 38. lace, 498; numerals, 499; Tārkşya (Garuda), 67. Udghațțita k. 48, 59. Vajra, 434. objects on the ground, 497; para- Tattva (in music), 73. Udvrttaka a, 47, 64. Vakşasvastika, 77, 78, 82. lysis, 511 ; parrots, 505; Piśācas, Tatto, 421. Udvrttaka k. 46, 58. Vākyapadīya, 253. 505 ; pleasant objects, 498; pos- Thigh, movements of, 147. Ugra, 6. Valita k. 48, 52. sessed persons, 507; Private per- Terrible Sentiment 115-116, three Ūha, 29. Valitoru k. 48, 50. sonal address, 508; Psychological kinds, 118. Umā, 92. Valyas, 435 States, 502; rains, 501; rainy Thinking within oneself, 508. Uneven metres, 287. Vāhlika (Bāhlika), 248, 427. nights, 501; repugnant objects, Thomas, F. W. 370. Vāmadeva, 1. 499 ; Šārikās, 505; seasons in Three kinds of Succeess, (dramatic Unfarourable Precedent (nidarsana) 297, 300. Vāmana, 315-318. general, 501 ; sharp objects, 498; production), 515. Three Men's talk. 77, 80, 94. Unmatta k. 48, 51. Vāmana Purana, 34 shooting stars, 499; smoke, 497; Upānat, 6. Vamśapatrapatita, (17), 281. speaking aside, 507; in one's Thunderbolt, 33. Upāngābhinaya, 151-152. Vamśastha (12). 274. ears, 508; to the sky, 507; spring, Tempo of the Gait, 216. Upanişad, 219. Vānaramakarakathā, 292. 501 ; summer, 501 ; sun, 497 swing, Tilottamā (a nymph), 287. Upavahana, see Upohana. Vānavāsikā, 292. 507; tall trees, 506; thinking Tilaka, 416. Upasṛta k. 48, 58. Vanga, 248. within oneself, 508; thinness, Time for dramatic production, 528. Upendra (Vişņu), 88, 271. Vañjula, 6. 511 ; tremor, 511 ; umbrella, 500; Time for steps, 216. Upendravairā (12), 271. Varāha Purana, 34, 66. visible objects, 498; wide expanse Tomara (a weapon), 283, 434. Upaveda, 4. Vardhamāna, 46, 69, 71, 77, 83, 84. of water, 506; winter, 501; Topar (Bengali word), 431. Upohana, (musical overture), 69, 70, Varied Representations, 497ff. air, women's fear, 504; w.'s intoxi- Tosala, 247. 72, 216, 531. 497; anger, 504; asses, 505 ; au- cation, 504; w.'s jealous anger, Tosali, 247. Uraga (Nāga), 3, 36, 37, 429. dible objects, 498; autumn, 500; 504; w.'s sorrow, 504; worship- Toțaka (12), 272. Ūrdhvajānu k. 48, 52. banners, 500, bear, 499; Bhūtas, superiors, 499. 'Toțaka (a kind of play), 353. Uromaņdala k .. 48, 59. 505; big birds, 505 breaking of Varņas, 33, 73, 82. Two types of production, 249; en- Ūrūdvṛtta k. 48, 59. neck, 511, burning sensation, 511; Vārşagaņya nyāya, 207. ergetic, 249, delicate, 250. Usīnara, 248. camels, 505 ; cessation, 500, con- Vārtika Mārga, 88, 531. Transitional Scene, 398. Uşnīşa of Buddha, 433. cealed speaking, 509; Conse- Vartita k. 48, 50. Treating the guilty lover, 479-481. Utkala, 248. quents, 502 ; cursed persons, 507; Varuņa, 2, 10, 12, 38, 40, 67, 88, Trembling (vepathu), 146. day, death, 511; deep feelings, Tripura, 247. Utkalinga, 248. 425 Utkarikā, 38. 498,; Determinants, 502; dust, Vasantatilakā (14), 277. Tretāyuga, 2. Uttama, 6. 497; early winter, 500; entirety, Vāsavadatta, 27. Tripuradāha, 46. Utşrsțikānka (Anka), 353, 368. 498 ; flowers, 498; froth in the Vastu (padavastu), 70, 72. Tripura-killer, 38, 53, 2, 534. Uttarakuru, 425. mouth, 511; great crowd, 506; Vasubandhu, 327. Triśikha, 6 Utthāpana, 77-79, 87. greeting gods, 506; invisible per- Vāsuki, 248. Triveņī (trivaņi), 416. Utthāpanī Dhr. 84, 95, 96, 531ff. sons, and superiors 506; happi- Vātsya, 5. Tryasra Prelminaries, 95. ness, 497; heat, 500; height, Vātsyāyana, 29, 471, 486. Tumburu, 40. Vaiśākharecita a. 47, 63. 500; hiccup 511; hot wind, 499; Vāyu, 10. Tuşāra, 6. Vaisākha sthāna, 69. house in darkness, 507; jealous Vedas (four), 3. Vaiśeşika (an expert in courtezans), anger, 504; joy, 503; lightning, Vedic cult, 432. Uccitikā, 417. 486. 499 ; lions, 499; lovesick per- Vedic sacrifice, 17. Udayana, 354. 3016 Vedic students, 433. Uddhatā (7), 266. Vaiśika (an expert in courtezans), sons, 507; meditation, 500; me- 486 mory, 500; men's fear, 504; Velankar, M.H.D. 322.

THE NATYASASTRA INDEX 569 568

Verbal Representation, 243ff ; Viśvedevas, 36, 38. Weapons, use of 434, 441. Women reveal their hearts through

forms of accosting, 450; Vița, 6. Weariness (śrama), 130. acts, 495. agree- Weber, A. 27. Women, three classes of 490-491; ment, 451 ; change of words, Vitacumbana, 184. 451 ; dialogue, 451. Vital Drop (bindu), 381 .. Weeping (asra), 146. four stages of youth, 491.

Verbal Style, 7, 248. Vitanda, 94. Windisch, 143. Women, twentythree types of 490

Vitāņdya, 6. Winning back women's heart, 409. Asura, 457; ass, 460; bird, Vetravatī 332. Vibhāva, 119. Vīthi, 250, 353, 371; thirteen Winternitz, M. 2, 4, 34, 45. buffalo, 461; camel, 460; cow,

Vibhakta (in drum), 70. kinds, 371 ; Accidental Interpre- Wit (leśa), 297, 305. 462 ; deer, 459; dog, 461 ; ele-

Vicakșaņa, 6. tation, 371; Compliment, 372; Witty Compliment (priyokti), 303 phant, 459; fish 460 Gandharva,

Vidagdhā, 8. Crushing, 373; Deception, 373; 303. 457; goat, 461 ; god, 457; horse,

Videha, 248. Declaration, 373; Enigma, 372; Wrong Perception (mithyadhyava- 461; Makara, 460; man, 459;

Vidiśā, 247, Incoherent chatter, 372; Omi- sāya), 303. Nāga, 457, Piśāca, 458; Rākșasa,

Vidyādharas, 419, 425, 428. 478. nous signification, 372; Outvy- Women, attached 489. 457; swine, 461; tiger, 459;

Vidyāpati, 179. ing, 373; Rapartee, 372; Three Women's efforts in representation, Yakşa, 458 ; Gandharva, 457.

Vidyudbhrānta a. 47, 64. Men's Talk, 373; Transference, 503. Women's wounded self-repect

Vidyudbhrānta k. 48. 371; Undue Combination Women, excessively in love, 488 (abhimāna), 305. of Vidyujjihva, 6. Words, 374. Women's hostility, causes of 491;

Vidyullekhā (8), 267-268. Vivartitaka k. 48, 56. heart known from her bahaviour, Yajurveda, 4, 404.

Vidyunmālā (same as Vidyullekhā) Vocal Success, 515. 495-496. Yājñavalkya, 1, 34.

Vidyut, 6. Voice-registers, 345. Women's jealousy, causes of, 478: Yakşa, 3, 10, 13, 33, 34, 38, 40,

Vighna, 10, 11, 13, 14, 83. Vrșa (Piņdi), 67. Anger, 479; Depression, 478; 67, 68, 88, 108,

Vikşiptā Dhr. 531f. Vrșabhaceșțita, (17), 280. Disgust, 479; Mixed feeling 478. Yākșī, 66.

Vikşipta k. 48, 55. Vrşabhakrīdita, k. 49, 59. moving to lovers: a courtezan, Yakşiņī, 12.

Vikșiptākșipta k. 48. Vrścika (Vṛścikāpasṛta), a. 47, 62. 473; a hand-maid, 474; a high- Yama, 6, 12, 88.

Vilambitagati (17), 282. Vrścika k. 48, 54. born women, 474. Yamaka, (alamkāra), 309-310;

Vinatā, 40. Vrścikakuttita, k. 48, 54. Women's natural graces, 444; affect- three kinds of 309-312.

Vindhya, 33, 247, 331. Vrścikarecita k. 48, 54. ed coldness, 445; amorous ges- Yamadanda, 33.

Vinivrtta, k. 48, 56. Vyabhicūri-bhāvas, 126ff. tures, 444; confusion, 445 ; dish- Yāmyā, 35.

Vipralabdhā, 74, 350. Vyāghrapāt, 256. abille, 44; hysterical mood, 445; Yantra, 71.

Vipula, 6. Vyamsita, k. 48, 54. pretended anger, 445 sportive Yātrā, 78.

Vipulā Āryā, 289-290, 294. Vyāyoga, 250, 353, 358, 367-368, mimicry, 444; want of response, Yātu, 430.

Vīra, 6. 385. 446 Yātudhāna, 82.

Virūpākșa, 14. Women's physical graces, 443. Yavana, 427.

Visala, 6. Waist, movements of 196. Women, overcome with love 488, Yoga, (cittavrttinirodha), 3, 193.

Vişkambha a. 47, 61. Walking -round (parivarta), 77, 79, psychological approach to 499- Yūpa, 286.

Vişkambha k. 48, 59. 83, 84,-87. 495.

Vişkambhāpasṛta, a. 47, 61. Walking postures of women, 233. Women, ways of dealing with them, Zonal division of the stage, 242ff.

Vişņu, 1, 10, 33, 37, 41, 67, 83, Āyata, Avahitha, Asvakrānta, 494-495. Utility of, 242.

108. 233. Vişņukrānta k. 45 59. Warriors, 430. Vișņu Purana, 8, 45. Viśvakarmā, 11, 19, 20, 418, 435. Water-jar, breaking of, 435. Weakness (glāni), 128. Visvämitra, 354. Weapons of Rudra, 40, Viśvāvasu, 40. Vişnu, 33, 40

72

INDEX to Vol. II 571

Apakrşțā (Avakrsțā) Cārī, 190 Ascending (ārohī) Alaņ kāras, 33. " Dhr. 93, 108, 109, " Varņas, 31, 32.

INDEX to VOL. II 133, 145, 146, 148. Āsīna, Äsīnapāțhya (a kind of Apanyāsa in Jāti, 9, 15, 23, 75, 76. Lāsya), 98,-100 N. B. Numerals in italics relate to the Introduction. Abbreviations: Apapāta, 89. Āśrāvaņā (bahirgīta), 46, 153, Dhr .= Dhruva; instr,=instrument; l .= limbs; Prak .= Prakāra; str .= stringed. Aparāntaka song, 34, 77, 83, 84, Assistant to the Director, 223. Abhinavagupta, 1, 3, 8, 9-10. 27, Āndhrī Jati, 15, 16, 27. 88, 102. Assonant (anuvādī) notes, 6, 5, 6 51 Anga (=Amśa?), 5. Aparavaktra, 131, 152, Asuras, 156. Abhinayadarpaņa, 25. Abhirudgatā, Mū, 7, 9. Angahāra, 184, 186, 189; in Puș- Application of instr. music, 2, Aśvakrāntā Mū. 7, 9. pagaņdikā, 100; in Saindhavaka, Application of songs, 155. Aticapalā, 130. Abhisrta, 49. 101 ; in Trimūdhaka, 101. Apsaras, 234, 235. Atidhrti, 121. Abhyantarāpaharaņā Catușpadā, 95. Angiras, 230. Appa, 197. Atikīrna, 41. 96. Anīkiaī Catușpadā, 95, 96. Ārambha (bahirgīta), 46, 47; Tāla Ablution of the Director, 226. Aniryukta song, 92. in, 47, Atikrti, 107. Atipāta, 41. Actor, actress, 2, 223, 225, 226. Ańka, 219. Āranya-gāna, 24. Atiśakkarī, 107. Additā Dhr. 93, 106, 133, 145, 146, Ankī, 195. Ardha-khañjaka Catuşpadā, 95. 155. Ānkika (a kind of drum), 162, 167- Ardhamāgadhī song, 39, 156; Catu- Ativādita (in drum), 179,

169, 176, 181, 195, 197, 196, şpadā, 95 Ātodya, 24, 198. Addita Mārga, 166, 169, 170. 188, Ätreya, 230. 192-194. Ādyantāpaharaņā Catușpadā, 95, 96 Antāharaņa (Catușpadā), 106, 107; Ardhamāyūrī Mārjanā, 166, 175, 17 Atyuktā, 109, 110.

Aeolian mode, 7 in Oveņaka, 39; in Ullopyaka, Ardhanatkuța Catușpađā, 95.

86. Ardha-pāņi, 180. Audible Tala, 57.

Agastya, 230. Ardhapravțtta Casușpadā, 95. Aupasthāyika-nirmuņda (eunuch), Antāpaharaņa (a limb of Dhr.). Airāvaņā, 198. 95, 96. Ardhārdha-pāņi, 167. 209

Ākāśa Graha. 154 Ardha-samudga, 76. Ākhar, 4. Antara Dhr. 107, 135, 136, 144, Avagãdha. 76, 78.

155, 183. 194. Ardha-sannipāta (in drum), 194. Avakīrņā Jāti (in drum), 166, 179,

Ākrīdita, 94, 101. Antara Kalā, 105. Ardhāvakīrņā Jāti (in drum) 166, 181.

Ākşepikī Dhr. 11, 109, 121, 135, Antara Marga, 22. 176, 181, 186. " Prak. (in drum), 166, 188.

193, 194. Antarbhāşika gīti, 26, Ardhāvakīrņa Prak. (in drum), 166. Avakrsțā Dhr. (see Apakrșțā Dhr.).

Ākșipta, 33, 38. Anta-tāla, 87. Ardhayoga, 91. limbs of, 107, 193, 194.

Alamkāra, 15, Ascending, 33; De- Anubaddha, 193. Aristotle, 3. Avalokita, 33, 37.

sending, 33; Mixed, 33; Mono- Anubandha, (in drum), 171, 194. Army-leader (senāpati), 215. Avamrșța, 41, 42.

tonic 33; 32ff. 39; and Dhr. 106, Anubandha Dhr. 145, 145; in str, Arrest (nigraha), of Tāna, 12. Āvāpa (silent Tāla), 57, 58, 84.

156 and songs, 39; and Varnas, 15, 38. instr. 41. Ārșabhī Jāti, 15, 24. Avarapāņi, 104, 186.

Anubandhaja, 40, 41. Arthaśāstra, 30, 35, 36, 209-212, Āvarta, 33, 37.

Alingya (a kind of drum), 162, 167, Avapāņi, 104.

168, 176, 183, 188, 195-198. Anugata Prak .* (in drum), 177, 215. Āsāraņa, 65. Ālipta Mārga, 101, 168, 169, 179, 178, 184, 186; in Vīņā, 44. Avarapāņi, 172. Anusrta Prak ,(in drum), 166, 186. Āsārita, 60, 62, 73, 88, 98, 183, Avasānaprakaraņa Catușpadā, 95,

189, 190, 192. Anusrta-vicyuta Prak. (in drum) 188; 96, 103.

Amarasimha, 53. (short), 46, 61, 63-66, 73; Āvasānikī Dhr. 107, 108, metres of,

'Amātya, 210. 166, 186. Anuşțup, 109, 119, 132, 152, 153. Tāla in, 60, 61;

Amplification (bahulva). 9, 22. Āviddhā Dhr. 41, 43,; Cārī, 100; 107

Anusvanita, 41, 42. (medium), 46, 61, 63-66, Amśa, 9, 18, 75, in Jati, 7, 15, 18- Anuvādya, (in drum), 170. 73; four parts of, Karaņa, 44, 45.

20 Apagraha (in drum), 108. 62, 63. Āyuktikā, 204, 208.

Anāgata Graha, 43. Apakarşa (decrease), 7. (long), 46, 63, 67, 74. Āyus, 230.

572 THE NATYASASTRA INDEX to Vol. II 573

Background music, 11. Brhatkathā-śloka-samgraha, 206. Conch-shell, 2. Dattila, 21, 22, 23, 5, 35, 36, 75, 79. Bake, Arnold A. 4, 5. Brhaspati, 213, 230. Badbuda(ka), 139. Conclusion, (nirvahana), 156. 237. Bahirgīta (prelude), 17, 45, 46, 75, Conformity (sāmya), 178 Dauvārika (courtier), 35, 36, 209. 153. Concubines (royal), 204, 205. Deha, 63. Bahvākșara Catuşpadā, 95. Cadence of Western music, 23. Consonant (samvadi), notes, 6, 5, 6, Delicate type of production, 219. Balarāma (Haladhara). Cakrapāņidatta, 22. Constant (amsa), note, Deśādapetarūpā Jāti (in drum), 165, Bānabhațța, 26, 27. Cañcalagati, 118. Contribution to the History of 179. Bandha-sevaka (slave), 224. Cakravākī, (ruddy goose), 116. Hindu Drama, 220. Deśānurūpā Jāti (in drum), 165, 179. Banerji, Himansu Sekhar, 3, 15. Cañcatpuța (Caturasra), Tāla, 54. Coomaraswamy, A. K. 17. Descending (avarohī), Alamkāras, 33 " Krishnadhan, 3, 4, 15. Candra (Moon-god), 132, 137. Courtiers (sabhāstāra), 212. 99 notes. Benediction, (nāndi), 227, 231, 238. Capalā, 109. Covered instruments (drum), 18, 16. Varņas, 31, 32. Bhaga, 66. Capala (bis), 129, 138. Cow's-tail (gopucchā), Yati, 104. Deśī gīti, 26. Bhambhā (musical instr.), 18, 164. Cāpapuța (Tryasra), Tāla, 54. Crane, 148. Devadāsis, 21, as actress, 218. Bhāņda, (drum), 197. Cārī, 190. Creeper, 148. Development (garbha), 156. Bhāna, 97, 198, 219. Caru (milk-porridge), 197. Crow, 148. Devīmāhātmya, 24. Bharata (actor), 225, 226. ' Carudatta, 158. Crown-maker, 225, 228. Devī-sūkta, 24. Bharata (muni), 2, 233-236. Caturasra Dvipadā, 134. Cuckoo, 148. Dima, 198, 220. Bharata-vakya (Benediction at the Caturasra, 1, of Dhr. 106, 107, 134, Cūlikā, 152. Diņdima (a kind of drum), 18, 164. end of a play), 238. 153; a 1. of Oveņaka, 78. Current-like (srotogatā) Yati, 104. Dīptā, 117. Bharadvāja, 230. Caturasra Nivrtta, Cūta (mango), 13. Director (sūtrdhāra), 34, 221, 225, Bharathari, 225. Caturasra Tāla 54, 57. Cyavana, 230. 226, 231, 234. Bhāsa, 209, 213, 227. Caturasra-vivardhitā Jāti, 133. Cymbals, 2. Dissonant (vivādī), notes, 6, 5, 6. Bhāșā-gīti, 26. Caturthakāra, 189. Curtain, tossing of, 190. Distribution of roles, 30-32, 214. Bhatțikāvya, 114. Catuşka, 192. Dhaivatī Jāti, 15, 25. Bhāva (Bhāvita), 98, 102. Dhātu, in Ullopyaka, 79; in str. Bhāvana, 230. Catuşkala Tāla, 58. Catușpadā songs, 90-94, 103, 106. Daityas, 11, 66, 82, 147, 181, 192. instr. 15, 40ff. Bhāvini, 142. Ceylon tradition, 204. 214 Dhaumya, 230. Bheri, (a kind of drum), 18, 164. Chandaka, (Chedyaka?), 92. akkinī (a kind of drum), 163. Dhruva, 230. Bhinhaka gīti, 26. Chants (āsārita), in Sanskrit prose, Dakșa, 137. Dhruva (audible Tāla), 57, 58, 189. Bhogavatī, 116. 65, 66, 67. Dakșiņa (a kind of drum), 167, 176, Dhruvā songs, 10, 39, 45, 106ff. Bhoja, 28. Chaplain, (purohita), 211. 180, 181, 183. יי Additā, 93, 106, 133, 145, 146, Bhramarī, 111. Daksiņā (fee), 197, 198. 155. Bhramaramālā, 126. Character-types, 29, 147, 200, 201, 203. Daksiņa Vțtti, 42, 43, 156. Akșepikī, 11, -09, 121, 135, 193, Bhujagamukhī, 126. Chedyaka songs, 92. Dakșina Mārga, 42, 43, 62, 68, 69, 194. Bhutalatanvī, 112. Chinna Prak. (in drum), 166, 185 85, 91. Antarā, 107, 135, 136, 144, Bhutalatanvi (bis), 123. Chinnaviddha Prak. (in drum), 166, Dāmodara, 3. 15, 183, 194 Bhutalatanvī-skhalitagati, 122. 185 Dancers, 206, 207. Apa (Ava) krştā, 93, 108, 109, Bīja (mantra), 197. Dandahasta, 199. 133, 145, 146, 148. Bindu, 32, 33, 35, 41, 42. Cij, 66. Citra Prak, (in drum), 166. Daniélou, A. 9, 15. Dardara. 18, 161, 163, 185,-187, 195, Application of Dhr. 146. Bel, 164. Citralekha Prak. (in drum), 166, 188. Aspects of, 143. Brahmā, 92, 98, 188, 197, 234. Citra Vīņā, 45, 162 198, 200. Āvasānikī, 107, 108; metres Brahmins, 11. Dardara, (a kind of drum), 2, 161, of, 107. Brhaddesi, 23, 25, 16, 17, 34,-39. Citra Vrtti, 42, 43, 46, 156.

Brhatī, 109, 132. Class-dance, 184, 189 163, 166, 170, 172-174, 181. ' Caturasrā, 93, 106, 107, 134, Clouds and drums, 198. Dārdurika, 2. 153

574 THE NATYASASTRA INDEX to Vol. II 575 Class of, 10, 143. Drdha Prak. (in drum), 166, 186. Contents of, 11, 147. Drummers, 195, 199. Evolution of Ancient Indian Law, Gītagovinda, 28.

Drums in, 182. Drumming, 20, 20, 182, 189. 213. Gītaka, 24.

Drutā, 10 ,135. Drums, 195, 196 Gitālamkāra, 25.

Five causes of, 143. Druta-capalā, 173. Fatigued persons, roles of, 215. Gītasūtrasāra, 3, 5, 19, 22, 23, 39,

Five limbs of, 106. Drutapadagā, 126. Faults of singers, 158. 42, 43, 66

Khañjaka, 94, 99, 102, 107, Drutapādagatī, 129. Female characters, 204-208. Gīti, 15, 26, 39, 42 ; outside the Dhr,

141, 146, 154, 193, 194. Dundubhi (a kind of drum), 18, 162. Female singers, 157. 39

Languages of, 11, 13, 14, 151 Gomukha Mārga, 168, 169, 170.

Matching movement of charac- Durga Prak. (in drum), 166, 186. Female inmates of the royal harem, 204ff. Durg,ā, 24. Gomukhī (a kind of drum), 181

ters, 150. Durgaśakti, 26, 27. Fingers in playing flutes, 51. Gopucchā Yati, see Cow's tail Yati

Measure of, 143. Durvāsas, 230. a Flutes, 17, 2, 3; Alamkāras of, 51 ; Goswami, Kshetra Mohan, 3.

Metres of 11, 13, 150, 162, 163 Duşkarakaraņā Jāti (in drum), 166, notes of, 17, 18; scales, 51, Śrutis Graha (evil spirits), 192.

Name of, 143. 179, 180, 181. in, 18, 50; Varņas in, 51. Graha in Dhr. 14, 154; in Jāti, 19;

Naișkrāmikī, 10, 13, 41, 163. Dvikala Tāla, 58, 60, in flutes, 51.

148, 162, 155, 194. Gālava, 230. Dvipadā, 134. Graha Mārga, 42, 43, 169, 183.

Occasions, 153-147, 149, 150. Dvimūdhaka, 98, 102. Gaņgā, See Gagā. Grāma, 6-8, 21, 24, 6, 7.

Dyers (rajaka), 29, 226, 228. Gamma (Greek music), 6 Grāmageya-gāna, 24. 153, 154 Gāndhāra Grāma, 7, 20, 6 Greek modes, 7 Prāsādikī 11, 135, 136, 144, 146, 151, 162, 185, 1193, 194, Gāndhārī, 15, 25, 101 ; in Trimūd- Grierson, George A. 26.

Prāveśikī, 11, 13, 14, 106, 'E' added to Alamkāras, 38. haka, 101. Grosset, J. 4

109, 121, 135, 143, 146, 148, Edgerton, 35 Gāndhārodīcyavā Jāti, 15, 16, 25. Guhyakas, 131.

152, 183, 193. Ekaka, (limb of a song), in Ove- Gāndhārapañcamī Jāti, 15, 16, 27. Gupta dynasty, 25.

Similes, in, 11, 14. ņaka, 88; in Pracchedaka, 101;) Gāndharva, 5, 3, 5, 40, 108, 148, 148, Guru, 112.

Sentiments in, 144, 145. in Rovindaka, 89; in Ullopyaka, 160, 161. Gurulaghu-samcaya, Samyoga, 177

Śīrşaka, 93, 134, 135, 145. 87; in Vastu, 75-77. 79. Gandharvas, 5, 3, 181, 197. Gurusamcaya Samyoga, 177.

Six kinds of, 145. Ekakala Tāla, 60. Gangā, 66, 82. Guttila-Jātaka, 5.

Sthitā, 106, 107, 109, 136, 162, Ekadhanvin, 230. Garland-makers, 225, 228.

192. Ekarūpā Jāti (in drum), 166, 179. Gata (in drum), 177, 182. Haladhara (Balarāma), 138.

Suggestibility of, 14. ' Prak. (in drum), 186. Gataviśokā, 120. Half-open notes (in flutes), 50

Suitable time for, 149. Ekāvasānā Catușpadā, 95. Gati-vrtti, 39, 42, 165. Half-Sanskrit, 14, 35, 151.

Tālas in, 105. Elephants, 148, 149. Gātravarņa, 33, 38, See Citra, Vrtti Hamsasya (bis), 141.

Three classes, 108. Elizabethan theatrical companies, Dakşiņa Vrtti and Vrtti (=Vār- Handstrokes (in drum), 167.

Tempo (Laya), in, 227. tika), prope.r Hara see Šiva, Īśāna, Rudra,

Tryasra, 93, 134, 153, 154. Uddhatā, 145, 155. Energetic types of productions, 220. Gāthā, 92, 103, 106, 152, Śańkara.

Entrance (praveśa), in Tāna, 12. Gaudī Gīti, 26 Haraprasad Shastri, 32.

Variety of, 143. Entry of characters, 216. Gautama, 230. Hariņāśvā Mū. 8, 10. Vastu of, 147. Errand-girls (preşana-carika). 204 Gāyatrī, 107, 109, 132. Hasita, 33, 38.

Vilambitā. 93, 95, 145, 146, 207. Gestures for showing Tala, 57. Hasta (upahasta), 298.

152, 155. Etymologies, 236. Geyaka, 96. Hasta-paņitraya (uphasta), 198, 199.

Vipañcī in, 45. European music, tempo of, 42. Geyapada (a kind of Lāsya), 98. Hathigumpha inscription, 5.

Dhvajinī, 140. Evam-vādyā Jāti (in drum), 166, Ghanā Jāti, 43, 44. Heroes, 29, 191, 193.

Dorian mode, 7. 179, 181. Ghanapańkti, 113. Heroines, 29, 203, 204, 225.

Dramatic production and music, 2 Even (samā), Yati, 104. Ghoşaka (a kind of Vīņā), 162. Heptatonic (pūrņā) Mūrcchanā, 10. Girā, 114. Jāti, 15, 17, 18.

576 THE NATYASASTRA INDEX 577 Hexatonic (sādava), Mūrchanā, 10 Jāti, in drum, 19, 163, 165, 178, " Tana, 11, 12 186, 187, 208; in vocal music, in Kanişțhikā Graha, (in drum), 108. Kuravaka (a flower), 13. Hexatonic (şādava), treatment, 9, 23 9, 10, in general, 9, 14ff. 21; in Kāntā, 114. Kuśa, 230. High-pitch movement (tāragati), 21 Madhyama Grāma, 9, 15, 17; in Kaņva, 230. Kusīlava, 225, 228. Hindu Law and Customs, 213 Șadja Grāma, 9, 15, 17; and Kapila (kaphala?, a defect of voice), Kusumasamuditā, 128. Hindu Music from Various Sentiments, 9, 29; Ten charac- 160 Kusumavatī, 117. Authors, 1 teristics, of, 18, 24; of instr. mu- Karaņa Dhātu. 40, 41, 44. Hindu Musical Scale, 8. sic, 16, 17, 43. Karaņa (in drumming), 19, 163, 165, Laghugati Aticapalā, 130. Hollow (Wind) instruments, 17. Jarjara-śloka, 234. 171-173, 189, 199 in Vipañcī, 44. Laghusamcaya Samyoga, 177. 50; Śrutis in, 50. Jayā, 112. Karaņānubandha (in drum), 174. Lalitā Jāti, 43. Hrāda, 47. Jayadeva, 28. Karavīra, 197. " metre, 120. Hradamana, 33, 37. Jester (vidūşaka), 203, 224-226. Kartarī (upahasta), 198. Karmāravī Alamkāra Lalitagati, 118. Hri, 110 Jhallarī (a kind of drum), 162. Hrşyakā, Mū. 8, 10. Jhankāra, 93. " Jāti, 15, 16, 28. Lalitagati (bis), 125. Language, 35. Humkāra, 33, 38. Jolly, J. 213. Mārjanā, 166, 175, 176. Lāsya (a kind of ballet), 97ff. 102, Jones, William, 1, 2, 3. Kāșțhā, 53. 189. Īhāmrga, 220. Judges (prādvivāka), 210, 212: Kaśyapa, 230, 236. Kauțilya, 209, 215. Laya (tempo), 42, 165. Importance of Musical instruments, " and Mārga, 103. 1. Kacchapī (a kind of Vīņā), 162. Keśava, (Vişņu), 188. Yati, 175. Indian conception of music, 5, 6 three kinds, 24, 103, 165, 175, India's cultural history in the NS, Kaiśikī, Jāti, 15, 16, 28; in Pracche- Ketumatī, 140. daka, 101. Keynote, 10, 19. Layantarita (songs) characteristics, 35, 36. Indra, see akra and Pākaśāsana. Kākali, note, 13, 14, 45,; in flutes, Khañjaka, Dhr. 94, 99, 102, 107, of, 61, 64, 72.

Indus people, 101. 50. 141, 146, 154, 193, 194. " " Tālas in, 61, 64, 72. Khañja-Natkuța, 100, 154. Impersonation on the stage, 32, 33, Kākalinişāda, 13; Leaders of army (senāpati), 211. King's characteristics, 211. Lévy, Sylvain, 35, 209. 216, 217. Kākī (defect of voice), 160.

Importance of women, in theatre, Kakșā, (in drum), 196. personation, 33, 214, 220, 221 Līlākrta (bahirgita), 46, 49; and Kala (a kind of Vyañjana Dhātu), Kirtan, 4, 160. Āsārita, 49. 33. 41. Kithara (Greek musical instr.), 45. Limbs of all songs, 107. Improvisation in song, 4. Inmates of the royal harem, 204. Kalā, 42, 53; in Āsārita, 62, 63; Kohala, 21, 8, 236, 237. Listeners of music, 189. Literature on ancient Indian music, Instrumental music, 14, 2, 153. three kinds, 54. Kohala-rahasya, 21. Kālidāsa, 3, 31, 66, 94, 176, 208, Komisarjevsky, Th, 22 ?. 20ff. Instruments, four kinds, 1. 235 Krama, 33, 37, Locality (deśa), 117. Intercalary notes, 9 Kratu, 230. Locana Kavi, 24, 27 Interval notes of (Srutis,) 7 Kallinātha, 24, 5, 6, 19, 50, 19, 24, 57, 69, 70, 76, 80, 81, 83, 85. Krauñca, 148. Locitā, 197. Intonation (kāku), 13. Ionian mode, 7. Kalopanatā Mū. 8, 10. Krauñcā, (a metre), 136. Low pitch (mandragati) movement, Kamalalocanā, 131 Krtoddhatā, 128. 21 Īsāna, 26. Kamalamıukhī, 112. Krtapratikrta, (karaņa of Vipañcī), Lydian mode, 7 .. Kāmandakīya Nītisāra, 210. 44, 45. Krtavraņa, 230. Madakalitā, 130. Jagatī, 109, 121, 131. Kāminī, 116. Kampitā, 32, 35. Kşiptakā, 124. Madana (Kāma), 67, 82. Jalā, 114. Kanaklatākșiptā, 126. Ksīrasvāmī, 53. Kañcukīya (Kāñcukīya), 192, 209 Kuhara, 32, 35. Madhukarikā, 116 Jamdagni, 230. Kulaka, song, 92. Madhukarasadṛśā, 119. Jāmadagnya, 230. Kumārādhikrta. 36, 210. Madhyaka (an kind of drum), Jātakas, 5 215 Kaņdikā, 71, 72. 170 Kumārādhyakșa, 210. Madhyā, 109.

73

578 THE NATYASASTRA INDEX 579

Madhyama Grāma, 6, 8, 6, 7, 9 170, 181, 185, 193, 200 163, 165-168, 180-182, 185, 186, Natural impersonation, 27.

Madhyamā Jāti, 15, 26, 152. Mārgas in Laya, 103. 195-200. Nāțya, 5.

Madhyamodīcyavā, Jāti, 15, 16, 27. in Vardhamāna, 12. Mrdanga-paņavā Jāti (in drum), Națyaśatra, date of 23.

Madraka songs, 34, 75-77, 80, 82, 83, and Vrtti, 39. 166, 179. Nāțyaveda, 230, 233.

91, 92, 108. in Yati, 104. Muni, 131. Nīlakaņțha, 213

their similarity with Mārgas (Graha Mārga), 43, 54, 103. Muditā, 117. Nīlatoyā, 115

Oveņaka, 77. Margāntara, 76 Mukhacapalā, 124. Nimeșa (fraction of time), 53.

Māgadhī Catușpadā, 95. Mārgāsārita in Geyapada, 98. Mukha in Āsārita, 63; in Dhr. 106, Nirațita, 41.

Māgadhī Gīti, 39, 43, 156. Karaņas in, 49. 107, 109, 184 in Dvimūdhaka, Nirmuņda or, Aupasthāyika

Māgadhī Prakrit, 1511 224. Varņas in, 149. 102 ; in Ullopyaka, 91 ; in Uttara, nirmuņda, 210.

Mahācārī, 190. Mārgavi Mu. 8, 10 90, 91; in Samharaņa, 79. Niryukta (songs), 92, 93. Mahagrāmaņī, 197. Mārjanā, in drum 19, 164-166, 175, Muraja (a kind of drum, 168, 186, Nirvaḥana, 99, 100.

Mahājanika, (a 1. of Ullopyaka) 177, 199, 200. 187, 197. Nirvartita, 185.

78, 79, 86, 87. Mārkaņdeya, 230. Mūrcchanā, 5, 7, 21, 25, 5, 10, 11, Nişādavatī, (see Naișādi).

(a 1. of Dhr.), 106, 107. Mārkaņdeyapurāņa, 24, 26. 187. Nişkrāma (silent Tāla), 57, 58, 93.

Mahāsena, 204. Māșaghāta, (a 1. of Dhr.), 106, 107. four classes of, 8, 10 143, 194,

Mahattarī, 204, in Gāndhāra Grāma, 9. Nişkrama, (departure), 143.

Mahāvastu, 151. „ (a 1. of Oveņaka, 78, 88. Matanga, 26, 27, 5, 6, 9, 11, 19, in Madhyama Grāma, 9, 10 Nișkoțita, 41, 42.

Maids in constant attendance 23, 24, 31, 52, in Sadja Grāma, 7, 9, 1. Nişkujita, 33, 35, 37.

(anucārikā), 204, 207 Mātrā, 53, 156; in Madraka, 80. Mūrcchanālaņkāra, 32. Nşțhyūti, 230.

movement (sañcārikā), Matsarīkrtā, 7, 9. Musical instruments, 1. Nivrtta in Ullopyaka, 86, 86; in

Mattākrīdā-vidyumālā, 142. Music embellishes drama, 2. Vrtti Mārga, 85. same of special work (pari- Māyā, 82. Musical Modes of Hindoos, 1. Nivrttyankura Sūcā, 151.

cārikā) same Māyūrī Mārjanā, 166, 176. Musicians, seating of, 187, 225, 226 Niyatākșarā Catușpadā, 95.

Maitreya, 158. Measure of Dhr. 152, 153. Music of human throat, 4. Notes (svara), 6, 5 :. 7, in Ardha-

Makarakaśīrşā, 113. Medhātithi, 230. māgadhī in Karmāravī and in

Makers of crowns, 29. Meghadūta, 53. Māyūrī Mārjanā, 176; intial in

garlands, Melodic movement, 15. Nadi, 119. Mūcchanās, 10; two bases of, 4.

ornaments, 225 Melody-types, 15. Nāga (serpent), 87, 158, 181. Nyāsa (terminal note), 9, 10, 23,

Making drums, 29. Memorial verses, 236. Nahușa, 234,-236. 75, 76.

Mālā, 124, 152, Metres of Dhr. 35. 152, 153. Naişādī, Jāti, 28. in Jāti, 9, 10, 15, 23.

Mālakitā, 125. Mirror of Music, 4, 5, 6, 9, 18, 19. Naișkrāmikī Dhruvā, see Dhr. Nyāsopanyāsa, 178.

Malatimadhava, 119. Mixed Alakāras, 33. Nalinī, 115.

Mālavikāgnimitra, 66, 94, 176, 208. Mixo-lydian mode, 7. Nalinī, (bis), 119.

Male singer, 157. Modes of Greek music, 7. Nandayantī Jāti 15, 27. 'O' added to Alamkarās, 38.

Mālinī, 113. Western music, 4. Nāndī (Preliminarils), 190. Ogha (mode of playing Vīņā), 44

Maņigaņa-nikarakṛtā, 127. Modified (vikrta) Jāti, 15, 16. Nandikeśvara, 25. " a karaņa of Vipañcī, 44, 45.

Mandra, 9, 35. 150 Napoleon, 221. drum 174, 177, 182, 184.

Mandratāraprasanna, 33, 35. Monotonic Alamkaras, 33; Var- Nārada, 20, 27, 6, 106, 161, 230, Ojas, 63.

Manoiñagamanā, 125. ņas, 32. 236. Old dames in the royal harem, 204.

mantrin, 210. Movement (samcāra), of notes, 22, Nādadīya-śikșā, 20, 9. 208.

Manu, 160, 230. 23. Nața, 225, 229. Opening of a drama (mukha), 156.

Mardala (a kind of drum), 163. Mrcchakațika, 3, 158, 160, 201. Națakas, prominent points of, 29, Orchestra, 1, 2, 1, 187.

Mārgas, four in drum, 19, 165, 168, Mrdanga (a kind of drum), 18, 161- 198, 209, 219. Ordinary wives of a king, 204, 205. Nātakīya, 209, 210. Ornamental vocalization, 15.

580 THE NATY ASASTRA INDEX 581

Overlapping Notes and Jāti, 13, Pasupata, 192. Pramitā, 120. 155 Paryāya Jāti (in drum), 166, 179. Pre-Vedic religion, 239. Pramitākșarā, 140. Princes, wardens of, 210, 212.

in flutes, 51, Paryastā Jāti (in drum), 166, 179, 79, 88. 180 Pramoda, 142. Priyadaršīkā, 220. Prasāda, 33, 35. Problems of Hindustani Music, 2.

Oveņaka (a kind of songs), 34, 77- Pāta, 58. Pațaha (a kind of drum), Prāsādikī Dhr. 135, 136, 144, 146, Production of plays, 2. 79, 88. 151, 155, 183, 193, 194. Progression (pratimukha), 156.

limbs of, 78. Pātakalā, 88. Prasannādi, 32, 33, 35. Prthulā Gīti, 39, 43, 156. Patañjali, 20. Prasannādyanta, 32, 33, 35. Pulaha, 230.

Pāda, a limb of Oveņaka 78. Pause (virāma), 156. Pulastya, 230.

Pādabhāga, 80-82, 84. Pāyasa, (milk-porridge), 197. Prasannānta, 32, 33, 35. Prastāra (a 1. of Dhr.), 106, 107. Pure Jātis, 15; aspects of, 165.

Padaniryukta songs, 92. Pentatonic (audava), Jati, 9, 15, 17. Purodhas (Chaplain), 210, 211.

Padmāvatī, 205. Mürcchanā, 10; Tāna, 11, 12. Prasvāra, 33, 35. Pururavas, 235. Pentatonic (audava), treatment, 23. Pratibheda, a Karaņa of Vipañcī, Pākhoāj (a kind of drum), 126, 177, 44, 45. Purușottamadeva, 224. Paņava (a kind of drum), 2, 161-163, Personation, principles of, 32, 33. 165, 166, 170-173, 181, 185, 195, Pratihārī (usher), 204, 208. Purvaranga, 153. 216, 217. Pratimā-nāțaka, 227. Puşkaras (drums), 163, 165ff.1

198, 200. Phrygian mode, 7. Pañcamī Jati, 15, 27. Piņdībandha, 62; in long Ãsārita, Pratimardana, 230. Puşkarikā, 197. Pratimukha in Arambha, 63; in Puspa, 41, 42. Pañcapāņi Tāla, 55. 63. Āsārita, 46; in Āsrāvaņā, 46; in Pușpagaņdikā (a kind of Lāsya), 98, Pāņikā, (a kind of songs), 92, 103, Pingala, 198. Dvimūdhaka 102; in Dhr. 106, 100.

Pāņi, 165. Piśācas, 181. Pușpasamrddhā, 128, 137.

106, 152, Plastering (vilepana), of drum fa- 107 ; in Samharaņa, 79; in Uttara, 90. Puşpāvarta, 196.

Pāņinīya-śikşā, 20. ces, 19, 165. Pāņiprahata, five, 19, 165, Pratiśākhā, in Aparāntaka, 85; in Pușyamitra, 35, 209. Playwright (nātyakrt), 30, 225, 226. Ullopyaka, 79, 86; in Uttara, 90; Puța, 152. Pańkti, 109, 115, 133. Prabhāvatī, 125. Parasite (vița), 223. in Vaktrapāņi, 48. Puțavrtta, 152. Pracāras of drums, 19, 165, 169, 180. Pratişțhā, 109, 111, 132. Pargiter, 24. Paricchinna (in drum), 193. Pratisūşka Karaņa (in drum), 173, Qualities of a disciple, 159; of a Pracchedaka (a kind of Lāsya), 98- 192. player of instr, 157 of a singer,

Parighatțanā (bahirgīta), 46, 49,; 100; and Kaiśikī Jāti, 101. " of Vipañci, 44, 45. 157; of the voice, 159.

Karaņas in, 49. Pradeśini Graha, 156. Parigītikā, 106. Prādvivāk (Judge), 212. Pratyāhāra(bahirgīta), 188. Raddhagati Samyoga, 175.

Parikara, 196. Praveņī, (a 1. of Dhr. 106, 1. 7; al. Prahāras, (stroks in drum), 165, 166. Prajñānānanda Swamī, 25. of Ovenaka, 78, 89. Rāga and Rāgiņī, 9, 15, 27, 28, 14, Parisrta (short Âsārita), see Asarita Parikşipta Prakāra (in drum), 166ff. Praveśaka (silent Tāla), 57, 58. 23, 58, 29, 187. Prakaraņas of drums, 165, 187, 188, Prāveśikī Dhr. 106, 109, 119, 121, Ragatarangiņi, 24, 27.

186 193. Parivarta, Parivartaka, 33, 37, 83, Prakaras in drums, 19, 165, 185. 135, 143, 1446, 198, 152, 183, Rāhu, 119. Raibhya, 230.

87, 99, 153, 154. " 193 limbs of, 106. Prakarī, 102, 198, 219. Rajanī, 111.

Parivarta (repetition) 184. Pravrtta, 76, 78, 87; a 1. of Pr. Dhr. Prakāśitā, 117. Pārșņī sammatā Jāti, (in drum), 166, Prakarī songs, 34, 77, 87, 102. 106; a 1. of Catușpadā, 96, 97, a 1. Rajanī Mū, 7. of nivrtta. Rākșasa, 11, 147, 158, 181, 192, 214,

179, 180. Pārśvadeva, 21. 28. Prakari Tāla of Vastu, 87. 220. Prakīrņaka songs, 103. Prtyupohana in Madraka, 80, 83; in

Pārśvapāņī, 167. Rovindaka, 89; in Catușpadā, 96, Raktagāndhārī Jāti, 16, 26. Prakrit, in Dhr. 35, 151. Rāma, 228, 230.

Passion (hela) in Pracchedaka, 100; 97. Prakrtānuśāsana, 224. in Uttamottamaka, 102. Prākrtakalpataru, 224. Preliminaries (pūrvaranga), 190, 231, Rambha, 218.

Prakrti (Prakarī) in Uttara, 91. 234. Ramyā, 114.

Parvata, 230. Rangadvāra, 154, 190.

Pārvatī, 94. Pramathas, 67. Prelude (bahirgita), 17. Prenkholita, 32, 33, 35. Rañjita, 125.

582 THE NATYASASTRA INDEX 583 Rati, 125. Šakuntalā 31. Saņhāra, see Smharaņa. Rathoddhatā, 139. Šākhā in Aparāntaka, 79, 85,; in Sāttvika States of gods, 152.

Oveņaka, 88; in Ullopyaka, 79; Samharya in Ullopyaka, 86 Recaka, absence in Saindhavaka, Sauraśenī Pkt, 151. Smnyāsa, 24, 77. 101 in Uttara, 79, 80, 92; in Uttamo- Saņparkeşțāka, 56. Sauşțhava, 158, 219. Sauvīrī Mū. 8, 10. Recitã, 32, 36. ttamaka, 102. Sampișțaka, a 1. of Dhr. 106; of Oveņaka, 78, 88; in Uktapratyu- Savya, Savyaka, (a kind of drum), Reduction, (alpatva), 9, 22. Sākya, 192. 170 Regular note (vidhisvara), 4. Sāla (a term of above), 223. kta 102. Repha, 41, 42. Salabhavicalita,127. Sayyāgata Samyoga, 175.

Sama, 32, 33, 35, 43, 153, 166. Samplavā Jāti, (in drum), 166, 179, Secretaries (saciva), 212, 215. Rebhila, 158. 182. Ribhita, 41, 43, 47. Samākșarapada Catușpadā, 95. Segments (sandhi), 156. Sampradāna, 33, 38. Rgveda, 25, 82, 924, 103, 106, 152. Samalekha (Samullekha), Prakara. Sen, Kshitimohan, 27. Samrambhā Jāti (in drum), 166, 179, Rk, see Rgveda. 166, 186 Sen Gupta, N. C. 23. 180. Sentiments, 29ff., 156, 170, 179, 180, Rohaņa, 196. Samahasta (upahasta), 198, 199. Samsaraņa (in drum), 194. Rohiņī, 137. Sama Pāņī, 46, 104, 121, 1777, 186, 192, 193, 220, 225 Samudga, a kind of Vivadha, 76. Roles, distribution of ,214. 193 Samullekha Prakāra, (in drum), 185, and Jāti, 29ff; in Trimūdhaka,

Rovindaka, Tāla of its Vastu, 75. Samapāņiprahata, 167. 186 101.

77, 78, 89, 91. Sama Pracāra, 169, 180. Seven old types of song, 34, 77, 80, Sama Prakāra, 185. Samvādita (in drum), 170. 91-93, 103. " similarity with Uttara, 90, 91. Samvāhaka, 201. Roy, Hemendra Lal, 2. Sama-vādita (in drum), 170, 171. Shakesperian stage, 217, 219.

Ruciramukhī, 123. Samavakāra, 220. Samvarta, 230 Šamyā (audible), Tāla, 57, 58. Siddhas, 148. Siddhi, 198 Ruciramukhī (bis), 129. Rucirāntā, 119. Sama, varņā laņkāra, 32, 33. Samyoga (in drum), 19, 177. Siddhigrahaņa, 193. Sāmaveda, 59,; Sāma chants, 98, Sandhi, a 1. of Dhr. 106, 107,; of Sikhā, 113. Rudra(Siva), 62, invented Tāņdava, 106. Oveņaka, 78, 88, 89. Silent Tala, 57. 62 Samavişama Pracāra, 196, 170, 173. Rudradāman, 210. Sandhipracchādana, 33, 38. Siņhākrānta, 127. Samā Yati, 121, 175. Rudradāmara-sūtra-vivaraņa, 25 Śāņdilya, 230. Sambhāvitā Gīti, 39, 43, 156. Sindhi dialect in Saindhavaka, 101. Rūpa, a Karaņa of drums, 174; of Śankara (Siva), 196, 232. Šankarācārya, 217. Singabhūpāla, 9,-11, 14, 19-21, 24, Sambhrānta, 131, 137. Vipañcī, 44. 3. Saņcāra (break) in Lāsya, 103. Śankukarņa, 197. Śankulākșa, 230. Singer, male asd female, 158. Rūpaśeșa, a Karaņa of drum, 179; Samgatā, 69, 72. of Vipañcī, 44, 45. Sīrşaka, 77,-78, 80, 93, 136, 156, Samgīta-darpana, 4, See Mirror of Sannipāta Graha in Dhr. 108. 183; in Aparāntaka, 85; in Āsī- Music. Sannipāta (audible), Tālā, 57, 58. Sabhāstāra, 36, 210, 212. Samgīta-makaranda, 27. Sannipātāharaņa, 97. napāțhya 992; in Dvimūdhaka,

Sācīkṛta Prakāra, (in drum), 166, Samgītasamayasāra, 28. Sanskrit in Dhr. 14, 35, 151. 102; a 1. of of Dhr. 93, 106, 134, 135; in Madraka, 81; in Pracc- 186. Samgītaratnākara, 28, 6, 9, 10, 11, Sanşkrit Drama, 151. hedaka, 102; in the Preliminaries, Saciva, 210. 14-24, 31,-34, 39-60, 63, 65, 66, 68- Sānti rites, 198 76, 80, 81, 83,-88, 91-92, 0103, Sārdūla, 25, 25 in Puşpapagaņdikā, 100; in Ro- Sādhāraņī Gīti, 26. Şadja Grāma, 6, 6, 7, 8. 104, 157. 159, 162,-165 Šārngadeva, 3, 21, 27, 39, 40, 42, 92, vindaka, 90; in Uktapratyukta, Sādjī Jāti, 15, 24. Samgītasāra, 3. 104. 102; in Uttamottamaka; a 1. of

Șadjakaisiki, Jāti, 15, 16, 25: Samgītasārasamgraha, 3. Oveņaka, 78. Sarvasamavāya-pracāra, (in drum), Şadjamadhyamā Jāti, 15, 16, 25. Samghātya, 40 Sitar, a Persian instr. 45. 166, 189. Şadjodīcyavatī, Jāti, 15, 16, 25. Šiva, 62, 67, 81, 188; see also Ru- Samghoanā (bahirgīta), 46, 48; Sarvānanda, 23. Saindhavaka. 98, 101. Karaņas in, 48 Šaśirekhā, 126. dra, Śańkara, Hara Iśāna. Šakas, 223. and Pavratī, 62. Samharaņa (release), a 1. of Āsārita, Satapatha-Brāhmaņa, 5. Šakāra, 202, 223, 224. 63, 88; of Dhr, 106; of Oveņka, Şațpitāputraka, 55. Skhalita-vibhramā, 173.

Sākārī Pkt. 224. 78; in Prakarī, 88. Sattva, 227. Skhalitā, 138. Snātaka, 209.

584 THE NATYASASTRA INDEX 58

Slaves, branding of, 215. Suśarman, 230. Tilaka (flower), 13. Suşka Āsārita, 98. Time-measure, (Tala), 53ff. Upavahana (Overture), 184; in Apa- Someśvara, 28. rāntaka, 85; in Āsārita, 65; 91; Sonant (vadi), notes, 6, 5, 19. Styles of Procedure in instr. 17, 42; Toțaka, 100, 121. in Uttara, 91 ; in Madraka, 80, 83. Songs in Pușpagaņdikā; of four in Samghoțanā, 48. Transitional note ,(antara-svara), classes, 206; of seven types, 80; 13, 14. Upavartana, 85; in Ullopyaka, 87; Supratișțha, 132. Aparāntaka 85; in Oveņka, 78, suited to character types, uses Śușkāpa(va)krșļā Dhr. 190. Treatise on the Music of Hindostan, 88, 89. of, 147. Suşka-kuųana, 93. 2. Uparipāņi Grahamārga, 44, 45, 104, Śrotriya, 192, 215. Suśruta, 236, Trimūdhaka, (a kind of Lāsya), 98, 173, 175, 178, 184, 193. Srotogatā ati, 175. Sūtradhāra, see Director. 101, and Gāndhārī Jāti, 101. Upohana, see also Upavahana, 70, Śrutis (musical intervals of the), 6, Svāmini, 204, 205. Triştup, 131, 133. 71, 80, 83, 84, in Aparāntaka, 85; 5, 6; determination in flutes, 50 ;- Svapavāsavadattā, 204. 206. Tripura, destroyer of, 67. in Geyapada, 99; in Prakarī, 85; 51 in Madhyama Grāma, 7, 9; Svarālaņkāra, 32. Trisāma, 187, 188. in Rovindaka 89, 90; of Saņgatā, Şadja Grāma, 7, 8. Svastika, 196. Tryasra Dhr. 134, 153-154. 70; of Sunandā, 70; of Sumukhī, Sthavirās, 204. Svastivācana, 197. Tryasra Tāla, 54. 70; of Visāla, 70. Sthāyi Varņa, 121; Svarūpa 186. Tuk, 66. Uragas, 158. Sthāyini, (ordinary wife of the king). Svarūpānugata Prak, (in drum). Tumbakī, (nasalizing), 159. Ūrdhavaka (a kind of drum), 162, 204, 205. 166, 186. Tumburu, 23, 24. 167, 168. 170, 176, 183, 188, 189, Sthita, a kind of Dhr. 106, 107, 109, Svāti, 21, 161, 198, 236. Types of character, 29. 195, 198. 130, 152. Śyenī, 136. Typical Srutis, 7. Urvaśī, 218, 235. Sthita Laya, 165, 175. " Theatrical troups, 29. Uses of musical instr. 158. Sthita, a kind of Ulloyaka, 78. Utkarşa, 7. Sthita-pāțhya (a kind of Lāsya), Tagore, Sourindra Mohan, 2, 3. Uşnik, 132. 98, 99. Tāla, 3; and Grahas of Dhr. 14. Utsangika (a kind of drum), 167, 168 Sthitapravrtta Catușpadā, 94. in Äsrāvaņā, 46; audible, (Tāla), Uccaya, 42. Uttamottamaka, a kind of Lāsya, 98. Sthūlākșa, 230. 57, 58; distinguishes seven types Uccitikā, 164, 179. 102. Sthūlaśīrşā 230. Strangways, F. 4, 6. 19, 51. of songs, importance of, two kinds Uddhata Dhr. 145, 155. Uttara, a kind of song, 77, 90,-94. of, 54; twenty aspects of, 12; Udayana, 204. Uttarāyatā Mū. 7, 9. Stringed instr, 14. 4; and Vastu, 5 Udgatā, 139. Uttara Tāla, 5, Strokes of Drum, 19. Tālalakşaņa, 21. Udghațțaka Tāla, 56; 59 in Ullo- Uttaramandrā Mū, 7, 9. Style of Proceeding in instr, 45, 54. Tāna, 21, 22, 25, 11-13; and Mūr- pyaka, 87. Subhadra, 116. cchana, 13; two ways of, 12. Udghațțita, 33, 37. Sücivedha, 185. Tāņdava created by Bhūtas, 62, 189. Udvāhita, 33, 37 Vaihāyasika, 79, 86, 106, 107. Suddhā Jāti, (in drum), 166, 179. Tānumadhyā, 113. Ukta-pratyukta, (a kind of Lāsya), Vaiśravaņa, 161. Suddha Gïti, 26. Tanpurā, 13, 162. 98, 102. Vajra, a 1. of Dhr. 106; in Oveņaka, Śūdras, 233. Tära(high pitch), 9. 35; Jāti. Ulloyaka, 75, 78-79, 86, 90; limbs 78,89. Suklapakşa, 196. Tāratara, 35. of, 78, Vajra Tāla, 88. Suklapakşa, Tāramandra-prasanna, 33, 35. Unision of Human throat, Viņă and Vajrekșaņa, 197. Śukranīti, 123. Tarjanī, Graha, 154. flute, 51 Vaktra, 152. Sukumāra, 123. Tați, 110. Unmrșța, 41, 42. Vaktrapāņi, (bahirgīta), 46, 47 .; Ka- Sunandā, a 1 of Vardhanmāna, 69ff. Tattva, a mode of playing Vīņā, Upalolaka, 37. raņas in, Talas and Varnas in, 72. 444 ; of drum, 117. Upapāta, a 1. of Dhr. 107; a 1. of Vallalasena, 27. Supratișțhā, 93, 121, 132. Tauripa, 226. Oveņaka, 78. Vālmīki, 230. Sūradayitā, 127. Tempo, three kinds, 54; in ten Upavarta, a l. of Dhr. 106. Vāmaka, (a kind of drum), 167, 169, Sūraseni Prakrit, 151. kinds of play, 182. Uparipāņi Graha-mārga, 45. " a mode of Vīņā playing, 46. 170, 175, 176, 179, 183, 188, 189, Suruciracitra, 126. Theatrical troupes, 23. 198.

74

586 THE NATYASASTRA INDEX 587 Vāmana, 230. Vikrāntā, 121. Aparāntaka, 85; in Vardhamāna, Women disqualified to take up a Vamśa (flute), 51. Vilepana, 19, 165. 62 Vilambitā (bis), Dhr. role, 225. Vamśapatrapatitā, 140. Vyañjana Dhātu, 440, 41, 43, 47. Vardhamāna, 60, 62, 63, 69, 73, 103, Vimalā, 114. Vyāsa (smrti), 212. Yakşas, 148, 158, 192. and Asarita, 63, four limbs of, Vimalā (bis), 115. Vyāyoga, 220. Yāma, 207. 69, three Margas of, 62 ; and Tala, Vīņā, 14, 2, 3, 44, 117, 187; diffe- Yāşțika, 26, 27. 69ff rent parts of . Yati (in drum), 19, 24, 42, 43, 104, Vardhamānā, a metre, 131. Vimalajalā, 118. Warden of princes, 35, 212. 105, 156. 164, 165, 175, Varņas, 31, 93, 103, 156, and Ala- Vimalā (tris), 130. Willard, Capt. N. A. 1, 2, 3. Yathākșara Tāla, ņkāras, 15, 31, 38, in flutes, 62; Vinnyāsa, 24, 77. Winternitz, M. 226. Yavanī, 207 four kinds of, 31, 32. in stringed Vipañcī, a kind of Vīņā, 2, 45, Ka- Wind instr., 50ff. Yoga (Samyoga), 165. instr. 15. ranas of, 17. played with plectrum, Women and dramatic production, Yogis, miraculus powers of, 217. Varņālamkāras, 32, 34. 17, 2, 188 with nine or ten str. 33, 225. Yuta (Yukta), 215. Vartana (upahasta), 198. 2. Vārtika Mārga, see Vrtti Marga, Vivadha, a limb of Vastu, 75, 76, 175, in Uttara, 91. 78, 79, 107, a limb of songs, in Vāsavadațtā, 205. Oveņaka, 88, 89; in Praccheda- Vasişțha, 230 ka, 101; in Rovindaka, 38, 90; Vāskaraņa, 18. in Ullopyaka, 79, 87. Vastu, 66, 75; of Prakari, 75, 87, Vivartana, a kind of Ovenaka 78. 88; and Tāla, 5; in Aparāntaka; Viśāla, a 1. of Vardhamāna, 19, 70, 84 ; in Ullopyaka, 86. 72. Vasulakşmī (Vasulacchī), 208. Viśākhila, 22. Vātsya, 21. Vişama-pracāra, 169, 170. Vātsyāyana, 25. Vişkambha Jāti (in druvn, 166, 179. Vāyupurāņa, 25. Viślokā Jāti, 120. Vedic mantras, 232. Vişņu, 196, 197. Vedic Sāma-singer, 24. Vişnudharmottara, 25. Vibhakta Prak, 166, 185. Viśvakarmā, 167. Vibhāșā Gīti, 26. Viśvāmitra, 230. Vibhāva (Determinants), 193. Viśvanātha, 102. Vibhramā, 122. Viśvāvasu, 23, 7. Vicitrapada, a Lāsyānga, 98, 102. Vistāra Dhätu, 40, 43, 46, 47. Vidārī, 5, 75,-77, 101 ; is Trimūd- Vistāraja, 40. haka, 101 Vistāra Mārga, 101, 168-170, 179, Viddha Yati, 175. 181, 190, 193; in Saindhavaka, Vidyādhara, 180. Vīthi, 111, 198. Vidyunmālā, 122. Vrtta, a 1. of Vastu, 73, 75, 76, 79, Vidyudbhrāntā, 112. Vocal music, 6-14. Vidyujjihva, 148. 107 ; in Oveņaka, 78. Vighnas, 232. Vrtta, a metre, 128. Vikşepa (silent Tāla), 57. Vrtti of str. instr. 76. Vijayā, 112. Vrtti Mārga in Uttara, 91. Vilambita Dhr. 93. Vṛtti (Vārtika) Mārga (in str. instr.). Univereity of Kansas Libraries Vikramorvąšīya, 3, 207, 218, 235. 42, 46, 68, 69, 85, 91, 104; in Lawrence, Ks. 60045