1. Natya Sastra Gosh Vol 1 Manmohan Gosh Asiatic Society 1950

THE NATYASASTRA

A Treatise on Hindu Dramaturgy and Histrionics

Ascribed to

BHARATA -MINI

Vol. I. ( Chapters I-XXVII )

Completely translated for the first time from the original Sanskrit with an Introduction and Vanious Notes

by MANOMOHAN (HONH M.A., PH. D. (CAt.)

--

23 SEF 1959

CALCUTTA THE ROYAL ASIATIC SOCIETY OF BENGAL

Dedicated

to the memory of those great scholars of Iudia. and the West

who by their indefatigable study and ingenious interpretation of her Religion, Philosophy, Literature and Arts, have demon- strated the high calue of India's culture to the World at large and hane helped her towards a reawakening and political liberation, and

who by their discovery of the Universal aspect of this culture have made patent India's spiritual kinship with the other ancient nations of the World and have paved the way for an ultimate triumh of Internationalism.

PREFACE

The preparation of an annotated English translation of the Natyasastra entrusted to me as early as 1944, by the Royal Asiatic Society, has been delayed for various reasons which need not be recounted here in detail. But mention must be made of one important factor of this delay, viz., the inherent difficulty of this very old text which is not yet available in a complete critical edition. From my first serious acquaintance with it in 1925 in connection with the editing of the Abhinayadarpana (Calcutta, 1934) this work has always engaged my attention in the intervals of other duties. But it was only a few years ago, that I came to believe that the 'entire work could be translated into English. It was, however, only after making some actual progress in translation that I realised the difficulty of the task and understood to some extent at least why no complete translation of this very important text had so far not been made. .

However, I considered it a duty to make strenuous efforts and proceeded patiently with the work and finished at last translat- ing the major portion of the Nātyasastra. I am now genuinely happy to place it before the scholarly public, not because it could be done in an ideal fashion, but because it could be finished at all. In handling a difficult old text like this it it natural that one has to offer conclusions and interpretations, here and there, which due to the absence of better materials cannot be placed on surer grounds. But whatever tentative assertions I have made, have been made after the most careful consideration with the expectation that they may prove helpful to others working in this field, and it may be hoped that their number has not been too many, and in a few cases where I myself had any doubt about the interpretation offered, the same has been expressly mentioned in the footnote. The chapters on music covering a little more than one fourth of the Natyasastra still remain to be done. These when completed will be published in the second volume. As the work on it, is progressing very slowly and it cannot be said definitely when it will be finished, it was thought advisable to publish the portion of the translation already prepared. Though the musical terms occur- ring in the present volume remain undefined, the absence of chap- ters on music where they have been discussed, will not, it is hoped, seriously interfere with the understanding of the dramaturgy and histrionics treated here. For information regarding the plan and scope of the present work, the reader is referred to the Introduction, section I. For the purpose of this volume, works of various scholars have been helpful to the translator and they have been mentioned

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in proper places. But among them all, the American Sanskritist Dr. G. C. O. Haas deserves to be specially mentioned ; for his plan of the translation of the Dasarupa, has been adopted in a slightly modified manner in the present work. . I am indebted to Dr. S. K. De, due to whose kindness I could utilise the unpublished portion of the Abinavabharati. It is also a great pleasure to acknowledge the uniform courtesy of different officers of the Society from 1947-1950, especially Dr. K.N. Bagchi, and Dr. Niharanjan Ray, the General Secretaries and Mr. S. K. Saraswati, the Librarian and Mr. Rakhahari Chatterji. the Superintendent of the office, whose patience I had to tax on different occasions in course of the publication. I am grateful to my father-in-law Sri Kali Charan Mitra who read the original draft of the first fourteen chapters of the present work and made suggestions regarding the language, and to my esteemed friend Dr. S. N. Ray, M.A.,Ph.D. (London) formerly Head of the Department of English in the University of Dacca, for reading the proof of the first twelve formes and also for going through in Mss. the Introduction and for making welcome suggestions. I wish to mention here very gratefully the debt I owe to Dr. Kalidas Nag in connexion with the preparation and the publi- cation of this work. But for his suggestion to undertake this work it might not have reached at all the stage of publication. Last but not the least it becomes my most cheerful duty to express my gratitude to Prof. Suniti Kumar Chatterji, who has also helped me otherwise in connexion with this work. This help and his constant encouragement have rendered this work less arduous than it might otherwise have been. I should here also apologise to the readers for the many mis- prints that have crept into the volume. They are requested to make kindly, the necessary corrections pointed out in the corrigenda. 25th November, 1950 The Translator

ABBREVIATIONS AND SYMBOLS

. The first hemistich of a verse. a. ... Abhi. ... Bhasa's Abhişekanātaka. AD. ... Nandikeśvara's Abhinayadarpaņa. A. dy. ... Arthadyotanika, Raghavabhatta's commentary on the Sakuntala. Ag., Abhinava ... Abhinavagupta or his commentary of the Nātyasāstra. AMg. ... Ardhamagadhi. Avi. ... Bhasa's Avimāraka. AŚ.' .. Kautilya's Arthasastra (ed. Jolly). AŚ. notes. ... Kauțilya's Arthasāstra (ed. Jolly). Vol. II. B. ... Baroda ed. of the Natyasastra. b. ... The second hemistich of a verse. . Bala. ... Bhasa's Balacarita. Bhamaha. ... Bhamaha's Kāvyâlamkāra. BhNC. Bhasa-nataka-cakra ed. by C. R. Devadhar BhP. ... Saradātanaya's Bhāvaprakāsana. C. ... Chowkhamaba (Benares) edition of the Nātyasāstra.

c. ... The third hemistich in a stanza. Caru. Bhasa's Carudatta. CSS. ... Chandah-sāra-samgraba. Dandin. ... Daņdin's Kāvyādarśa. def ... Definition or definitions. De's Ms. ... The Ms. of the Abhinavagupta's commentary (Abhinavabharati) belonging to Dr. S. K. De. DR. ... Dhanafjaya's Daśarūpa. Dūtagha. Bhasa's Dutaghatotkaca. Dūtavā. ... Bhasa's Dūtavākya. Ex ... Example or examples. Foundation. ... Nobel's Foundation of Indian Poctry. G ... J. Grosset's edition of the Natyasastra. GOS. ... Gaikwar's Oriental Series. Haas. ... Haas's translation of the Dasarūpa. I.Ant. ... Indian Antiquary. IHQ. ... Indian Historical Quarterly. ID., Ind. Dr. ... Sten Konow's Indische Drama. Itihāsa. ... Haldar's Vyakaraņa-darsaner Itihāsa. JDL. ... Journal of the Dept. of Letters, Calcutta University. JK .... Vidyālaņkāra's Jivanīkośa. B

x

K. ... Kavyamala ed. of the Nātyasāstra. KA. ... Hemacandra's Kavyānusāsana.

Karņa. ... Bhasa's Karnabhāra.

Kavi. ... Ramakrishna Kavi or his commentary to the ch. XVII. of tha NS.

KS. .. Vātsyāyana's Kamāsūtra. Kumāra. ... Kalidasa's Kumarasambhava. Kutta. . Damodaragupta's Kuțtanīmata. Lévi, ... Sylavain Levi's Le Theatre indien. Madhyama. ... Bhasa's Madhyamavyayoga. Mālati. Bhavabhuti's Malatimadhava. Mālavi. ... Kalidasa's Malvikagnimitra. MG. ... Coomaraswamy's Mirror of Gestures. Mrcch. Šūdraka's Mrechakațika .. . Mudra. ... Visakhadatta's Mudrārākșasa. Nātakalakșaņa. NL., Sāgaranandin's Nātakalaksaņaratnakośa.

ND. . Ramacandra and Gunacandra's Natyadar pana. NIA. ... New Indo-Aryan. Nitti-Dolci. ... Nitti-Dolci's Le Grammairiens Prakrit. NŚ. . Nātyaśāstra. P. ... Purana. Pañc. Paf caratra Pan. ... Pānini. Pingala. ... . Pangala's Chandahsūtra. Pischel. ... Pischel's Grammatik der Prakrit-sprachen. Pr. P. ... Prakrta-Paingala. Pr. Prātisākhya. Prak. . Prakarana. Pratimā. ... Bhasa's Pratima-nāțaka. Pratijñā. PŚ. ... Bhasa's Pratijna-yaugandharāyaņa. ... Paņinīya-Sikșā. PSM. ... Paia-sadda-mahaņņavo. R., Ram. ... Rāmāyaņa. Ratnā. ... Harșa's Ratnāvali. RS. ... Kalidasa's Rtusamhāra. Sak. Kālidāsa's Abhijnānasakuntala. SD. ... Sahityadarpaņa. SR. Śr. Pr. .Sarngadeva's Samgītaratnakara. ... Bhoja's Śrngaraprakāsa. Svapna. ... Bhasa's Svapavasavadattā. tr., trans. Uttara. . ... translation or translated. ... Uttararāmacarita of Bhavabhūti.

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Ūru. ... Bhasa's Urubhanga. Vikram. ... Kālidāsa's Vikramorvašīya. Winternitz. ... Winternitz's History of Indian Literature.

N.B. (a) Numerals preceding the paragraphs of the translation relate to the serial number of couplets in the original. When the same number is repeated in two consecutive paragraphs, in the first place it will indicate the first hemistich and in the second the second hemistich. Roman figures relate to the chapter of the NS. (b) For the manner of referring to dramas, see under the Bhasa- națaka-cakra in the Bibliography (Original Texts). (c) In the footnotes to the Introduction long vowels, cerebral sounds and the labial sibilant have been indicated by italics.

BIBLIOGRAPHY

1. General Works

Barua, B. M. ... Inscriptions of Asoka, Vol. II, Calcutta 1943. Chatterji, S. K. ... Origin and Devclopment of the Bengali Language, Calcutta, 1926. Coomaraswamy, A, K. ... The Mirror of Gestures, New York, 1936. De, S. K. ... Sanskrit Poctics : Vol. I and II, London, 1903, 1926. Ghosh, Chandramohan ... Chandalsarasamgraha (CSS ), Calcutta. Haldar, Gurupada ... Vyakaraņa-darsaner Itihasa (Itihasa). (An his- torical account of the grammatical speculation of the Hindus in Bengali), Calcutta. 1350 B.E. Jolly, J. ... Hindu Law and Customs, Calcutta, 1929. Keith, A. B. ... Sanskrit Drama, Oxford, 1924. Konow, Sten. ... Das Indische Drama. Berlin, 1920. Lévi, Sylvain ... Le Theatre indien, Paris, 1890. Mankad, D. R. ... Types of Sanskrit Drama, Karachi, 1936. Nitti-Dolci, L. ... Les Grammairiens Prakrit, Paris, 1938. J. Nobel. ... Foundation of Indian Poctry, Calcutta, 1925. Pischel, R. ... Grammatik der Prakrit-sprachen, Strassburg, 1900. Pusalker ... Bhasa, Lahore, 1940. Raghavan, V. ... Srngara-Prakasa, Bombay, 1940. Seth, H. D. Paiasaddamahannavo, Calcutta, 1928 Sircar, D.C. ... Select Inscriptions bearing on Indian History and Civilization, Calcutta, 1942. Vidyālaņkār, S. B. ... Jivanikośa (A dictionary of the Puranic mytho- logy in Bengali), ('alcutta.

2. Original Texts

Abhinavabharati (Ag.) ... On chapters I-XX ed. Ramakrishna Kavi in B. On chapters XXI-XXVII and XXIX-XXXII the Ms. of Dr. S. K. De. Reference to the Ms. are to its pages. Printed portion of the commentary when referred to, relates to the relevant text in B. Abhinayadarpana of Nandikeśvara ( AD.). Ed. Manomohan Ghosh Calcutta, 1934. Abhişekanataka (Abhi.). Ed. Devadhar in BhNC. Arthadyotanika. Nirnayasagara ed. Avimāraka, Ed. Devadhar in BhNC. Arthasastra of Kauțilya (AS.). Ed. J. Jolly, Vols I and II, Lahore, 1923-24.

XIİI Uttararamacarita of Bhavabhuti (Uttara.). Ed. Ratnam Aiyar, Bombay 1930. Urubhanga (Uru.). Ed. Devadhar in BhNC. Rtusamhara of: Kalidasa. Ed. Jivananda Vidyasagar, Calcutta, 1893., Karnabhara (Karna ). Ed. Devadhar in BhNC. Kavyadarsa of Dandin. Ed. N. Sastri, Lahore, 1990, Samvat. Kavyalamkara of Bhamaha. Ed. B. N. Sarma and B. Upadhyaya Chow- khamba. Benares, 1928. Kavyalamkara of;Vamana, Ed. K.P. Parab & W. Pansikar, Bombay, 1926. Kirtilata of Vidyapati, Ed. Haraprasad Shastri. Kuttanīmata, Ed. in Bibliotheca Indica, Calcutta. Carudatta of Bhasa (Caru). Ed. Devadhar in BhNC. Dasarupa (DR). Ed. K. P. Parab, Bombay, 1897. Our references are to this edition. The ed. of. G.C.O. Haas with an English tran- slation has also been referred to. F. Hall's ed. (Bibliotheca Indica) has also been used. Dutaghatotkaca of Bhasa (Dutagha.) Ed. Devadhar in BhNC. Dutavakya of Bhasa (Dutava.). Ed. Devadhar in BhNC Madhayamavyayoga of Bhasa (Madhyama.). Ed. Devadhar in BhNC. Malavikagnimitra of Kalidasa (Mālavi.). Ed. S. P. Pandit. ( Bombay Sanskrit Series ), Bombay, 1889. Mrechakatika (Mrcch). Ed. K. P. Parab and W. L. S. Pansikar, Bombay, 1926. Mudrarakșasa of Visakhadatta (Mudra). Ed. Kasinath Trimbak Telang (Bombay Skt. Series), Bombay, 1928 Meghaduta of Kalidasa (Megha). Ed. S. Vidyaratna, Calcutta, 1821, Saka. Nāțakalakşaņa-ratnakośa of Sāgaranandin (Nātakalakșaņa, NL). M. Dillon, London, 1939. References are by lines unless otherwise mentioned. Natyadarpana of Ramacandra and Gunacandra (ND.), Ed. in GOS. Natyasastra of Bharata (NS). Chapters I-XIV. Ed. J. Grosset, Paris, Lyons, 1898 ; Chapters I-XX. ed. R. Kavi, Baroda, 1926, 1936. Numbering of couplets in this work is often wrong. In case of chapters I-III this has been corrected, but in case of other chapters wrong numbers have been retained and in some cases where confusion may occur, pages have also been referred to. The edition of Sivadatta and Parab (Bombay, 1894), and the Chowkhamba edition (Benares, 1926) have also been used. Pancaratra of Bhasa (Panca). Ed. Devadhar in BhNC. Pañcatantra of Vişnusaraman, Chowkamba, Benares, 1930. Pāņinīya-śikșā (PS.), Ed. Manomohan Ghosh, Calcutta, 1938. Pratijana-yaugandharayana of. Bhasa (Pratijia.), Ed. Devadhar-in BhNC.

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Pratimanataka of Bhasa (Pratima.) Ed. Devadhar in BhNC. Balacarita of Bhasa (Bala.), Ed. Devadhar in BhNC. Bhavaprakasana of Saradātanaya (BhP.) Ed. in GOS. Bhasa-nataka-cakra (Plays ascribed to Bhasa), critically cdited by C. R. Devadhar, Poona, 1937. References are to acts, verse passages and lines after them, e.g. Svapna, I. 12, 23 indicates the twenty- third line afrer the twelfth verse in act I of Svapnavasavadatta Vikramorvasiya of Kalidasa (Vikram.). Ed. S. P. Pandit. (Bombay Sans- krit Series), Bombay, 1898. Venisamhara of Bhattanarayana (Veni.). Ed. K. S. Parab and W. L. S. Pansikar, Bombay, 1930. Raghuvamsa of Kalidasa (Raghu.). Ed. K.P. Parab and W.L.S. Pansikar, Bombay, 1932. Ratnavali of Sriharașa (Ratna.), Ed. M. K. Jogelkar, Bombay 1925. Sakuntalā of Kālidāsa (Sak.) Ed. Isvara chandra Vidyasagar, Calcutta. Samgītaratnākara of Sarngadeva (SR.). Ānandāśrama edition. Sāhityadarpaņa of Viśvanātha Kavirāja (SD.) Ed. Jivananda'Vidyasagar. Svapnavasavadatta of Bhasa (Svapna.), Ed. Devadhar in BhNC. Harșacarita of Baņabhațta, Ed. P. V. Kane, Bombay, 1912.

CONTENTS

PREFACE ... VI1 LIST OF ABBREVIATIONS AND SYMBOLS ... IX

BIBLIOGRAPHY XII ... INTRODUCTION ... XXXVII ...

I. The Present Work, p. XXXVII ; 1. General History of the Study, p. XXXVII ; 2. Basic Text, p. XL; 3. Translation, p. XLI; 4. Notes to the Translation, p. XLI.

II. The Ancient Indian Theory of Drama, p. XLII ; 1. The Meaning of Natya, p. XLII ; 2. The Dramatic Conventions, p. XLIV ; 3. The Time and Place of Drama, p. XLV ; 4. The Unity of Imperession, p. XLV ; 5. Criticism of Drama, p. XLV ; 6. The Four Aspects of Drama. p. XLVIII.

III. Literary Structure of the Ancient Indian Drama, p. XLIX ; The Ten Types of Play. The Nataka, p. XLIX; (a) Subject- matter and the division into Acts, p. XLIX ; (b) Explanatory Devices. p. LI; (i) Introductory Scene, p. LI ; (ii) The Intimating Speech, p. LI; (iii) The Supporting Scene, p. LI; (iv) The Transitional Scene, p. LI ; (v) The Anticipatory Scene, p. LI; (c) The Plot and its Develop- ment, p. LI; The Prakarana, LII; The Samavakara, p. LII; The Ihamrga, p. LIII; The Dima, p. LIII ; The Vyayoga, p. LIII; The Utarsțikanka, p. LIII; The Prahasana, p. LIII ; The Bhana, p. LIV ; The Vithi, p. LIV. 2. Diction of Play, p. LIV ; (a) The Use of Metre, p. LIV ; (b) Euphony, p. LIV ; (c) Suggestive or Significant Names, p. LV ; (d) Variety of Languages Dialects, p. LV.

IV. The Ancient Indian Drama in Practice, p. LV ; 1. Occa- sions for Dramatic Performance, p. LV ; 2. The Time for Performance, p. LVI ; 3. The Playhouse, p. LVII ; 4. The Representation, p. LVIII. (a) The Physical Representation, p. LVIII ; (b) The Vocal Representation, p. LXI ; (c) The Costumes and Make-up, p. LXI ; (d) The Temperament, p. LXIII.

V. Literature on the Ancient Indian Drama, p. LXIV ; 1. The Early Writers : Silalin and Krsasva, p.LXIV ; 2. The Socalled Sons of Bharata (a) Kohala, (b) Dattila, (c) Sātakarņi (Śātakarņa, Šālikarņa), (d) Aśmakuțța and Nakhakutta, (e) Badarāyaņa (Bādari), p. LXIV ; 3. Sam-

XVI

grahakara, p. LXV ; 4. The Present Text of the Natyasastra, p. LXV ; 5. Medieval Writers on Drama, (a) Nandi (Nandikeśvara), Tumburu, Viśa- khila and Carāyaņa, (b) Sadāsiva, Padmabhīt, Drauhiņi, Vyasa, and Ānja- neya, (c) Katyayana, Rahula and Garga, (d) Sakaligarbha and Ghaņtaka, (e) Vārtika-kara-Harşa, (f) Mātrgupta, (g) Subandhu, (h) Compilers of the Agnipurana and the Visnudharmottara, pp. LXV-LXVII ; (6) Late Literature on Drama. (a) Daśarūpa, (b) Nāțakalakşanaratņakośa, (c) Nātyadarpaņa, (d) Ruyyaka's Nāțakamīmāņsā, (e) Bhāvaprakāšana, (f) Sahityadarpaņa and Natakaparibhāsa, pp. LXVII-LXX.

VI. The Natyasastra : The Text and its Commentaries, p. LXXI ; 1. Its Author, p. LXXI ; 2. The two Recensions, p. LXXI; 3. Unity of the Natyaastra, p. LXXII ; 4. Its Scope and Importance, p. LXXIV ; 5. Its Style and Method of Treatment, p. LXXIV ; 6. The Early Commentators : Acarya Kirtidhara, and Bhasyakara Nānyadeva (b) Bhatta Udbhata, (c) Bhatta Lollața, (d) Śri Sankuka, (e) Bhațța Nāyaka, (f) Bhatta Yantra, p. LXXV; 7. Bhatta Abhinavagupta, p. LXXVI.

VII. Data of India's Cultural History in the Natyasastra, p. LXXVIII ; 1. Language, p. LXVIII ; 2. Literature, p. LXXVIII ; 3. Art, p. LXXVIII ; 4. Metrics, p. LXXIX ; 5. Poetics, p. LXXIX ; 6. Costumes and Ornaments, p. LXXIX ; 7. Mythology, p. LXXIX ; 8. Geography, p. LXXX; 9. Ethnological Data, p. LXXX; 10. Ars Amatoria, p. LXXX; 11. Arthasastra, p. LXXX ; 12. Psychology, p. LXXXI. VIII. The Date of the Natyasastra, p. LXXXII ; 1. The Geo- graphical Data, p. LXXXII ; 2. The Natyasastra earlier than Kalidasa, p LXXXII; 3. The Mythological Data, p. LXXXIII ; 4. The Ethno. logical Data, p. LXXXIII; 5. The Epigraphical Data, p. LXXXIII; 6. The Natyasastra carlier than Bhasa, p. LXXXIV.

THE NĀTYASĀSTRA (Translation)

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CHAPTER ONE THE ORIGIN OF DRAMA, Pages 1-17

1. Salutation, p. 1; 2-5. Sages question, p. 1; 6-23. Bharata answers, pp. 2-5 ; 24-25. The Natyaveda and Bharata's one hundred sons, pp. 5-6 ; 26-40. Names of Bharata's one hundred sons, pp. 6-7 ; 41. Per- formance begins with three Styles, p. 7 ; 42-45. Need of the Kaisiki Style, p. 7-8 ; 46-47. Creation of Apsarasas for practising the Kaisiki Style, p. 8 ; 47-50. Names of Apsarasas, p. 8 ; 50-53. Svati and Narada engaged to help Brahman, pp. 8-9 ; 53-58. The Banner Festival of Indra and the first production of a play, p. 9 ; 58-63. The pleased gods reward Bharata's party, pp. 9-10; 64-66. Vighnas attack the actors, pp. 10-11 ; 67-68. Indra comes to their protection, p. 11 ; 69-75. The Origin of the Jarjara, p. 11; 75-81. The Origin of the first playhouse, pp. 11-12 ; 82-97. Differ- ent gods asked to protect different parts of the playhouse as well as the actors, pp. 12-13 ; 98-105. Brahman pacifies the Vighnas, pp. 13-14 ; 106- 121. Characteristics of a drama, pp. 14-16 ; 122-129. Offering Puja to the gods of the stage, pp. 16-17.

CHAPTER TWO DESCRIPTION OF THE PLAYHOUSE, Pages 18-32

1-3. Introduction, p. 18 ; 4-8. Three types of playhouse, pp. 18-19 ; 8-11. Three sizes of the playhouse, pp. 19 ; 12-16. The table of measure- ment, p. 20; 17. The playhouse for mortals, p. 20 ; 18-23. Disadvan- tage of a too big playhouse, pp. 20-21 ; 24-26. Selection of a suitable site, p. 21 ; 27-28. Measurement of a site, pp. 21-22 ; 28-33. Taking up the string for measurement, p. 22 ; 33-35. The ground plan of the play- house, p. 22; 35-43. The ceremony of laying the foundation, pp. 23-24 ; 43-63. Raising pillars of the playhouse, pp. 24-26 ; 63-67. The Matta- vāraņī, pp. 26-27 ; 68-74. The stage, pp. 27-28 ; 75-85. Decorative work in the stage, pp. 28-30 ; 86-100. Description of a square playhouse, pp. 30-32 ; 101-104. Description of a triangular playhouse, p. 32.

CHAPTER THREE PUJĀ TO THE GODS OF THE STAGE, Pages 33-44

1-10. Consecration of the playhouse, pp. 33-34 : 11-16. Offering Puja to the Jarjara, pp. 34-35 ; 17-20. Installation of gods, p. 35 ; 20-32. The Mandala for installing the gods, pp. 35-36 ; 33-39. Offering Puja to the gods, p. 37 ; 40-73. Consccration of the Mattavarani, pp. 37-40 ; 73-81. Consecration of the Jarjara, p. 41 ; 81-87. Homa or pouring ghee into sacrificial fire, pp. 41-42 ; 87-89. Breaking the jar, p. 42 ; 89-93. Illumination of the stage, pp. 42-43 ; 93-97. Good results of consecrating C

XVII the stage, p. 48 ; 98-101. Evils following non-consecration of the stage, pp. 43-44. CHAPTER FOUR THE CLASS DANCE, Pages 45-75 1-14. Brahman writes the first play and gets it performed, pp. 45-46 ; 14-16. Two kinds of Preliminaries, pp. 46-47 ; 16-27. The Angaharas, p. 47 ; 28-29. Uses of Angaharas, p. 47 ; 29-61. The Karanas, pp. 47-49; 62-169. Definition of 108 the Karanas, pp. 49-60 ; 170-245. Definition of the Angaharas, pp. 60-65 ; 246-252. The Recakas, pp. 65-66 ; 253-264. The Pindibandhas, pp. 66-68 ; 265-272. The Sages speak on the use of dance, pp. 68-69 ; 273-274. The Vardhamanaka, p. 69 ; 275. The Asarita, p. 69; 276. The Upohana, p. 69 ; 277-294. Entry of female dancers and the four kinds of Pindis, pp. 69-72 ; 295-308. The Chandakas, pp. 72-78; 309-310. The gentle dance, p. 73 ; 311-314. Occasions suited to dance, pp. 73-74 ; 315-320. Occasions when dances are prohibited ; p. 74 ; 321- 324. Playing of drums, pp. 74-75 ; 325-328. When drums are not to be played, p. 75 CHAPTER FIVE THE PRELIMINARIES OF A PLAY, Pages 76-99 1-4. The sages question, 76 ; p. 5-6. Bharata answers, p. 76; 7. Preli- minaries defined, p. 76 ; 8-16. Parts of the Preliminaries, pp. 76-77. 17. Pratyahara, and Avataraņa, pp. 78 ; 18. Ārambha, and Āsravana, pp. 78; 19. Vaktrapāņi, Parighatțanā, p. 78 ; 20. Samghoțanā, Mārgāsārita, p. 79. 21. Asarita and the Application of Songs, p. 79 ; 22-23. Utthapana, p 79; 23-24. The Walking-round, p. 79; 24-25. The Benediction, 79 ; 25-26. Šuşkāvakrstā Dhruva, pp. 80 ; 26-27. Rangadvāra, p. 80 ; 27-28. The Cāri and the Mahacari, p. 80 ; 28-29. Three Men's Talk, p. 80; 29-30. The Laudation, p. 80; 30-32. Origin of Bahirgita and its justification, pp. 80-81; 33-36. Daityas and Rākșasas provoked to jealousy, p. 81 ; 37-38. The gods approach Narada to stop the Nirgita, p. 81 ; 38-44. Narada pacifies the gods, p. 82 ; 44-59. The gods are pleased with the Nirgita (Bahirgita), pp. 82-83 ; 60-64. Songs in pure Preliminaries, p. 84; 65-66. The first Walking-round, p. 84 ; 67-76. The second Walking-round, pp. 84-86 ; 77-84. The third Walking-round, pp. 86-87 ; 84-89. The fourth Walking-round, p. 87 ; 89-101. The Parivartani Dhruva, pp. 87-89 ; 101-104. The Fourth Man enters, p. 89 ; 104-107. Singing of the Avakrsta Dhruva, pp. 89-90 ; 107-113. Examples of the Benediction, pp. 90-91 ; 113- 116. An example of Suşkāvakrstā Dhruvā, p. 91 ; 116-119. Rangadvāra, p. 91 ; 119-127. Cārī, pp. 92-93 ; 127-137. Mahācārī, pp. 93-94 ; 137- 141. The Thre: Men's Talk, p. 94; 141:142. The Laudation, pp. 94-95 ;

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143-154. The Tryasra Preliminaries, pp. 95-96 ; 155-166. The Mixed Preliminaries, pp. 96-97 ; 167-179. Introduction of a play, pp. 97-99. CHAPTER SIX THE SENTIMENTS, pages 100-117

1-3. The sages question, p. 100 ; 4-8. Bharata answers, pp. 100-101 ; 8-14. Digest, Memorial Verse and Etymology defined, pp. 101 ; 15-16. The cight Sentiments, p. 102 ; 17-21. The Dominant States, p. 102 ; 22. The eight Temperamental States. pp. 102-103 ; 23. The four kinds of Histrio- nic Representation, p. 103 ; 24. The two Practices and the four Styles, p. 103 ; 25-26. The four Local Usages, and the Success, p. 104 ; 27-29. The notes, and the four kinds of musical instrument. p. 104 ; 29-31. The five kinds of Dhruva, pp. 104-105 ; 31-33. The Sentiments explained, pp. 105- 136 ; 33-38. The relation between the Sentiment and the States, p. 106-107 ; 38-43. The eight Sentiments from the four original ones, p. 107-108 ; 44-45. The presiding deities of the Sentiments, p. 108 ; 45-48. The Erotic Senti- ment, pp. 108-110 ; 48-55. The Comic Sentiment, pp. 110-111 ; 56-57. Of persons of the middling type, p. 111 ; 58-61. Of persons of the inferior type, pp. 111-112 ; 61-63. The Pathetic Sentiment, p. 112; 63-66. The Furious Sentiment, pp. 112-113 ; 66-68. The Heroic Sentiment, p. 114; 68-72. The Terrible Sentiment. pp. 114-115 ; 72-74. The Odious Sentiment, pp. 115 ; 74-76. The Marvellous Sentiment, p. 116 ; 77. The three kinds of the Erotic, the Comic and the Terrible Sentiments, p. 116 ; 78. The three kinds of the Pathetic Sentiment, p. 116 ; 79. The three kinds of the Heroic Sentiment, pp. 116-117, 80. The three kinds of the Terrible Senti- ment, 117. 81. The three kinds of the Odious Sentiment, p. 117 ; 82-83. The three kinds of the Marvellous Sentiment, p. 117.

CHAPTER SEVEN THE EMOTIONAL AND OTHER STATES, Pages 118-147.

1-3. Bhāvas (States) explained, p. 118; 3-4. Vibhāvas (Determi- nants) explained, pp. 118-119; 4-6 Anubhāvas (Consequents) explained, p. 119; 6-7. The three kinds of State ; Dominant, Transitory and Tem- peramantal, pp. 119-120 ; 7-8. Difference between the Dominant and the other States pp. 120-121 ; 8-9. Love, p. 121 ; 9-10. Laughter, p. 121 ; 10- 14. Sorrow, p. 122 ; 14-20. Anger, pp. 122-123 ; 20-21. Energy, pp. 123- 124 ; 21-25. Fear, p. 124 ; 25-26. Disgust, p. 125 ; 26-27. Astonishment p. 125 ; 27-29. The Transitory States, pp. 125-126 ; 27-30. Discourage- ment, p. 126; 30-32. Weakness, pp. 126-127 ; 32-35. Apprehension, pp. 127 ; 35-37. Envy, pp. 127-128 ; 37-46. Intoxication, pp. 128-129 ; 46-47. Weariness, p. 129 ; 47-48. Indolence, pp. 129-130; 48-49. Depression, p. 130 ; 49-51. Anxiety, p. 130 ; 51-53. Distraction, pp. 130-131 ; 53-55.

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Recollection, p. 131 ; 55-57. Contentment, pp. 131-132 ; 57-59. Shame, p. 132 ; 59-60. Inconstancy, p. 132-133 ; 60-62. Joy, p. 133 ; 62-65, Agita- tion, pp. 133-134 ; 65-66. Stupor, p. 134-135 ; 66-67. Arrogance, p. 135 ; 67-69. Despair, p. 135-136 ; 69-70. Impatience, p. 136 ; 70-72. Sleeping, p. 136 ; 72-74. Epilepsy, p. 137 ; 74-76. Dreaming, pp. 137-138 ; 76-77. Awakening, p. 138 ; 77-79. Indignation. p. 138 ; 79-80. Dissimulation, pp. 138-139 ; 80-81. Cruelty, p. 139 ; 81-82, Assurance, p. 139 ; 82-83. Sick- ness, pp. 139-140 ; 83-85. Insanity, pp. 140-141 ; 85-90. Death, pp. 141- 142; 90-91. Fright, p. 142 ; 91-93. Deliberation, pp. 142-143 ; 93. Temperamental States, p. 143 ; 95. Perspiration, p. 144; 96. Paralysis and Trembling, p. 144; 97. Weeping, p. 144; 98. Change of Colour and Horripilation, p. 144; 99. Change of Voice and Mdinting, p. 144; 100-106. Representation of the Temperamental States, pp. 144-145 ; 107- 124. Application of the States to the different Sentiments, pp. 145-147. CHAPTER EIGHT THE GESTURES OF MINOR LIMBS, Pages 1448-167 1-3. Sages question, p. 148 ; 4-6 Bharata answers, pp. 148-149 ; 7. The meaning of abhinaya, p. 149 ; 8-9. The four kinds of abhinaya, p. 149 ; 11-16. The Gesture : its three varieties, pp. 149-150 ; 17-37. Gestures of the head and their uses, pp. 150-152 ; 38-42. The thirtysix Glances, pp 152-153 ; 43-51. The Glances to express the Sentiments, pp. 153-154; 52-60. The Glances to express the Dominant States, pp. 154-155 ; 61-84. The Glances to express the Transitory States, pp. 155-158 ; 85-95. Uses of Glances to express the Transitory States, pp. 158-159 ; 95-98. The eye- balls, pp. 159-160 ; 99-102. Uses of the eyeballs, p. 160 ; 103-107. The additional Glances, pp. 160-161 ; 108-111. The eyelids, p. 161 ; 112-115. Uses of the eyelids, p. 162 ; 116-120. The eyebrows, pp. 162-163. 121-125. Uses of the eyebrows, p. 163 ; 126-128. The nose, pp. 163-164 ; 129-132. Uses of the nose, p. 164 ; 132-134. The cheeks ; p. 164 ; 135-137. Uses of the cheeks, pp. 164-165 ; 137-139. The lower lip, p. 165 ; 140-142. Uses of the lower lip, p. 165 ; 143-146. The chin, p. 166 ; 146-149. Uses of the chin, p. 166 ; 149-157. The mouth, pp. 166-167 ; 157-158. The colour of the face, p. 167 ; 159-165. Uses of the colour of the face, pp. 167-168 ; 166-167. The neck, p. 168 ; I67-173. Description and uses of the neck gestures, pp, 168-169. CHAPTER NINE THE GESTURES OF HANDS, Pages 170-190 1-3. Bharata speaks, p. 170 ; 4-17. Sixtyseven gestures of the hand, pp. 170-171 ; 17-126. Gestures of single hands, pp. 171-181 ; 126-155. Gestures of combined hands, pp. 182-185 ; 156-159. General rules regard- ing the use of hand gestures, p. 185 ;. 160-165. Different movements of

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hand gestures, p. 185 ; 166-167. Spheres of hand gestures, p. 186 ; 168-177. The quantity of gestures, pp. 186-187 ; 178-204. The Dance-hands, pp. 187- 189 ; 205-211. The four Karanas of the hands, pp. 189-190 ; 212-214. The movements of arms. p. 190. CHAPTER TEN THE GESTURES OF OTHER LIMBS, Pages 191-196. 1-9. The breast, pp. 191 ; 10-15. The sides, p. 192 ; 16-17. Uses of the sides, p. 192 ; 18. The belly. p. 192; 19-20. Uses of the belly, pp. 192-193 ; 21-24. The waist, p. 193 ; 25-26. Uses of the waist, pp. 193-194 : 27-31. The thigh, p. 194; 32-33 Uses of the thigh, p. 194; 34-37. The shank, pp. 194$195 ; 28-40. Uses of the shank, p. 165 ; 41-51. The feet and their uses, pp. 195-196 ; 52-54. The Caris, p. 196. 'CHAPTER ELEVEN THE CĀRI MOVEMENTS, Pages 197-206 1-3. Definitions, p. 197 ; 4-6. Uses of the Caris, p. 197 ; 7-12. The thirtytwo Caris, pp. 197-198 ; 13-28. The earthly Caris, pp. 198-199; 29-49. The aerial Caris, pp. 199-201 ; 50-71. The Sthanas, pp. 201-203; 71-88. The four Nyayas in using weapons, pp. 203-205; 88-91. The Saușthava, p. 205 ; 91-92. The Caturasra, p. 205 ; 92-94. The four acts relating to the bow, p. 205 ; 94-96. The method of exercise, pp. 205-206 ; 96-100 Health and nourishment of persons taking exercise ; p. 206. CHAPTER TWELVE THE MANDALA MOVEMENTS, Pages 207-212 1-5. The Mandalas, p. 207 ; 6-41. The acrial Mandalas, pp. 207-210 ; 42-68. The earthly Mandalas, pp. 210-212. CHAPTER THIRTEEN THE DIFFERENT GAITS, Pages 213-237 1. Gaits for different characters, p. 213 ; 2-3. Entrance of dramatis personae, p. 213 ; 4-7. Posture for superior and middling characters at the entrance, p. 213 ; 8-10. The interval of their feet, pp. 213-214 ; 10-11. The time for their steps, p. 214 ; 12-14. The tempo of their Gait, p. 214 ; 15-24. The natural Gait, pp 214-215 ; 25-29 Gait of kings, p, 216 ; 30-34. Gait under special conditions, p. 216; 35-40. Tempo of Gaits under special conditions, pp. 217; 41-48. Gait in the Erotic Sentiment, pp. 217-218 ; 48-54. Gait in the Terrible Sentiment, p. 218 ; 54-56. Gait in the Odious Sentiment, p. 218 ; 57-58. Gait in the Heroic Sentiment, pp. 218-219 ; 59-60. Gait in the Marvellous and the Comie Sentiments, p. 219 ; 61-69. Gait in the Pathetic Sentiment, pp. 219-220 ; 70-75. Gait (of inferior characters) in the Terrible Sentiment, p. 220 ; 76-78. Gait of

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merchants and ministers, p. 220 ; 79-86. Gait of ascetics and sectarians, pp. 220-221; 87. Gait of a person in darkness, p. 221 ; 88-92. Gait of one riding a chariot, pp. 221-222; 92-95. Gait while moving in the sky, p. 222; 96-100. Gait in ascending a lofty palace, p. 222; 101-104. Gait in getting down into a lower place, pp. 222-223 ; 105-107. Gait in travelling by boat, p. 223; 108. Gait in riding a horse, p. 223 ; 109. Gait of serpents, p. 223; 110. Gait of a Parasite, p. 224; 112- 114. Gait of the Kancukiya, p. 224 ; 115-117. Gait of emaciated, sick and fatigued persons, p. 225; 118. Gait of a person walking a long distance, p. 225 ; 119-120. Gait of a corpulent person p. 225 ; 121-122. Gait of intoxicated persons, p. 225 ; 123-130. Gait of a lunatid, p. 225; 131-136. Gait of lame men, cripples and dwarfs, p. 226 ;. 137-146. Gait of the Jester, pp. 226-227 ; 146-148. Gait of manials, p. 227 ; 148-149. Gait of Sakara, p. 228 ; 150. Gait of lowly persons, .p. 228 ; 151. Gait of the Mleccha tribes, p. 228 ; 152. Gait of birds ; 153-158. Gait of lions, bears and monkeys, pp. 228-229 ; 159-171. Walking postures of women, pp. 230-229 ; 171-177. Gait of women, p. 230 ; 177-179. Gait of young women, p. 231 ; 179-181. Gait of aged women, p. 231 ; 181-183. Gait of handmaids, p. 231 ; 183-186. Gait of half-women, p. 231 ; 186-187. Gait of children, p. 242 ; 187-181. Gait of hermaphrodite, p. 232 ; 188-189. Gait in the change of a role, p. 232 ; 189-191. Gait of persons in disguise, p. 232 ; 192-193. Gait of the tribal women, P. 232; 193-195. Gait of women ascetics ; PP. 232-233 ; 195-199. Sitting postures for men and women, P. 233 ; 196-197. Sitting at case, P. 233 ; 197-198. Sitting in a thinking mood, p. 233 ; 198-199. Sitting in sorrow, p. 233 ; 199-200. Sitting in fainting and intoxication, p. 233 ; 200-201. Sitting in shame and sleep, p. 234 ; 201-202. Sitting on ceremonial occasions, p. 234; 202-203. Sitting in pacifying a beloved woman, p. 234; 203-206. Sitting in worshipping a diety, p. 234 ; 206-207. Seats for different characters, p. 234; 208-210. Seats for male characters, p. 235 ; 210-214. Seats for female characters, p. 235 ; 215-216. Seats for ascetics and sectarians, p. 235 ; 217-220. Gencral rules about seats, p. 236 ; 221-228. Lying-down postures, pp. 236-237. CHAPTER FOURTEEN THE ZONES AND THE LOCAL USAGES, Pages 238-247 1. The Zones, p. 238; 2. The arrangement of drums, p. 238 ; 3. The Zonal division, p. 238 ; 4-7. Utility of the Zonal division, p. 238; 8-10. Indicating relative location on the stage, p. 239; 11. The east on the stage, p. 239 ; 12-15. The rule of exit, p. 232 ; 16. Indication of rank in group walking, p. 239 ; 17. Indicating distance great, small and medium, p. 240; 18-20. Movements of gods and demigods p. 240; 21. Movement of men in Bharatavarsa, p. 240; 22. Departure for a distant place,

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p. 240; 23-82. Time allowed for the events of an Act, pp. 240-241; 32-35. Movements of gods, p. 241; 36. The four Local Usages, pp. 241-242; 37-39. The Dākșiņātya Local Usages, pp. 242-243; 40-42. The Avanti Local Usage, p. 243; 43-46. The Odra-Magadhi Local Usage, 243 ; 47-49. The Pancala-Madhyama Local Usage, p. 244 ; 50-55. The two-fold entrance in observing Local Usage, p. 244; 50. The two General types of plays, p. 245. 57-60. The violent type, p. 245; 61. The delicate type, p. 245 ; 62. The two Practices, p. 245; 63-64. The realistic Practice, pp. 245-246 ; 65-78. The conventional Practice, pp. 246-247. CHAPTER FIFTEEN RULES OF PROSODY, Pages 248-261 1. The actor's speech, p. 248; 2-4. Importance of speech in drama, p. 248; 5. The two kinds of recitation, p. 248 ; 6-7. Different aspects of Recitation, p. 249 ; 8. The speech-sounds, p. 249 ; 9-19. Consonants ; their articulation, pp. 249-251 ; 20. Vowels ; their quantity, p. 251 ; 21-22. The four kinds of word, p. 252; 23-25. The noun, pp. 252-253; 26-27. The verb, p. 253; 28. The particle, p. 254, 29. The affixes, p. 254; 30. The nominal affix, p. 254 ; 31. The case-ending, p. 255 ; 32-33. The euphonic combination, p. 255; 34-35. The compound words, pp. 255-256; 36. The two kinds of word, p. 256; 37. Words in prose, p. 256 ; 38. Words in verse, p. 256; 39. Syllabic metres, p. 256 ; 40-42. Rhythm-types, pp. 256-257; 43-49. Twenty-six Rhythm-types, p. 257 ; 49-79. Possible metrical patterns, pp. 257-258 ; 79-89. Another method of defining metres, pp. 258-259 ; 89-90. The regular couplet, p. 259 ; 90-91. The stop and the foot, pp. 259-260 ; 93. Quality of syllables, colours of metres, p. 260; 94-95. Pitch of vowels, p. 260 ; 95-97, Three kinds of syllabic metres, p. 260; 98-102. Classes of metres, p. 261. CHAPTER SIXTEEN METRICAL PATTERNS, Pages 262-292 1-2. Tanumadhyā, p. 262 ; 3-4 Makaraka-Sīrşā, p. 262 ; 5-6. Mālatī, p. 263 ; 7-8. Mālinī, p. 263 ; 9-10. Uddhatā, pp. 263-264; 11-12. Bhrama- ramālikā, p. 264; 13-14. Simhalekhā, p. 264 ; 15-16. Mattaceșțita, pp. 264- 265 ; 17-18. Vidyullekhā, p. 265 ; 19-20. Cittavilasita, pp. 265-266 ; 21-22. Madhukari, p. 266 ; 23-24. Kuvalayamālā, p. 266 ; 25-26. Mayurasāriņī, pp. 266-267 , 27-28. Dodhaka, p. 267 ; 29-30. Motaka, pp. 267-268 ; 31-32. Indravajrā, p. 268; 33-34. Upendravajrā, pp. 268-269 ; 35-36. Rathod- dhata, p. 269; 37-38. Svagatā, pp. 269; 39-40. Sālinī, p. 270 ; 41-42. Toțaka, p. 270; 43-44 Kumudanibhā, pp. 270-271 ; 45-46. Candralekhā, p. 271; 47-48. Pramitākșarā, pp. 371-272 ; 49-50. Vamśasthā, p. 272, 51-52. Hariņaplutā, pp. 272-273; 53-54. Kāmadattā, p. 273; 55-56. Aprameyā, p. 273-274 ; 57-58. Padmini, p. 275; 59-60. Patuvrtta,

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pp. 274-275; 61-62. Prabhāvati ; p. 275 ; 63-64. Praharșiņī, pp. 275-276; 65-66. Mattamayūra, p. 276; 67-68. Vasantatilaka, pp. 276-277 ; 69-70. Asambādhā, p. 277 ; 71-72. Sarabhā, pp. 277-278 ; 73.74. Nāndīmukhi, p. 278 ; 75-74. Gajavilasite pp. 278-279 ; 77-78. Pravaralalita, p. 279; 79-80. Śikhariņī, pp. 279-280; 81-82. Vrșabhaceștita, p. 280; 83-84. Śrīdhara, pp. 280-281 ; 85-86. Vamśapatrapatita, p. 281 ; 87-88. Vilam- bitagati, pp. 281-282 ; 89-90. Citralekhā, p. 282; 91-93. Sārdūlavikrīdita, p. 283 ; 94-96. Suvadanā, pp. 283-284 ; 97-99. Sragdharā, p. 284 ; 100-102. Madraka, pp. 284-285 ; 103-105. Aśvalalita, p. 286 ; 106-108. Meghamālā, p. 286; 109-111. Krauăcapadi, pp. 286-287 ; 112-114. Bhujanga-viirm- bhita, pp. 287-288 ; 115-118. The uneven and the semi-even metres ; p. 288, 119-120. Even metres, p. 288 ; 121-122. Pathya, p. 288 ; 123-124. Uneven Pathya, p. 289; 125-126. Inverted Pathyā, p. 290; 127-128. Capalā, p. 290; 129-136. Vipulā, pp. 290-292; 137-138. Vānavāsikā. p. 292; 139-140. Ketumatī, p.292 i 141-142. Aparavaktra, p. 93; 143-144. Pușpi- tāgra, 293 : 145-146. Udgats, pp. 293-294 ; 147-151. Lalita, pp. 294-295 ; 152-159. Arya metres, pp. 295-296 ; 160. Pathya Aryā and Vipulā Ārya, p. 296; 161. Pathya Ārya, p. 296 ; 162. Vipulā Ārya, p. 296 ; 163-164 Capala Ārya, pp. 296-297 ; 165. Mukha-capalā and Jaghana-capalā Āryā, p. 297; 166. Mukha-capala Ārya, p. 297 ; 167-170. Jaghana-capala Āryā, p. 298. CHAPTER SEVENTEEN DICTION OF A PLAY, Pages 299-322. 1-5. Thirtysix marks of a good play, pp. 299-300 ; 6. Ornateness, p. 30; 7. Compactness, p. 300; 8. Brilliance, p. 301 ; 9. Parallelism, p. 301; 10. Causation, p. 301 ; 11. Hesitation, p. 301; 12. Favourable Precedent, p. 301 ; 13. Discovefy, p. 302; 14. Fancy, p. 302; 15. Unfavourable Precedent, p. 302 ; 16. Convincing Explanation, p. 302 ; 17. Persuation, p. 303; 18. Distinction, p. 303; 19. Accusation of Virtues, p. 303 ; 2). Excell ncs, p. 303 ; 21. Inference from Similitude, pp. 303- 304; 22. Multiplex Predication, p. 304; 23. Description, p. 304 ; 24. Pointed Utterance, p. 304; 25. Deliberation, p 304; 26. Inversion, p. 305, 27. Slip of Tongue, p. 305; 28. Mediation, p. 305 ; 29. Series of Offers, p. 305; 30. Clever Mannera, p, 306; 31. Censure, p. 306; 32. Presumption, p. 306; 33. Celebrity, p. 306; 34. Interrogation; 35. Identity, p. 307; 36. Indirect Expression of Desire, p. 307 ; 37. Wit. p. 307; 38. Concealment, p. 307 ; 39. Enumeration of Merits, p. 308 ; 40. Semi-uttered Expression, p. 308; 41-42. Compliment, p. 308 ; 33. Four figures of Spaech, p. 308 ; 44. Simile, p. 309 ; 45-49. Number of objects compared, p. 309 ; 50. Five kinds of simile, p. 309; 51. Simile of praise, p, 309 ; 52. Simils of censure, p. 309 ; 53. Simile of conceit, p. 309; 24. Simile of uniqueness, p. 310 ; 55-56. Simile of

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Partial likeness, p. 310; 57-58. Condensed Expression, p. 310; 59-60. Metaphor, pp. 310; 61. Yamaka, p. 311; 62-64. Ten kinds of Yamaka, p. 311 ; 65-66. Pādānt a Yamaka, p. 311 ; 67-68. Kāncī Yamaka, pp. 311-312 ; 69-70. Samudga Yamaka, p. 312 ; 71-72. Vikrānta Yamaka, p. 312; 73-74. Cakravāla Yamaka, p 313; 75-76. Sandașta Yamaka, p. 313 ; 77-78. Pādādi Yamaka, pp. 313-314 ; 79-80. Āmredita Yamaka, p. 314; 81-82. Caturvyavasita Yamaka, p. 314; 83-87. Māla Yamaka, pp. 314-315 ; 88. Ten faults, pp. 315-316; 89. Circulocution and super- fluous Expression, p. 316; 90-91. Want of Significance and Defective Significance, p. 316 ; 92. Tautology and Want of Synthesis, pp. 316-317 ; 93. Logical Defect and Metrical Defect, p. 317 ; 94. Hiatus and Slang, p. 317; 95. Gunas, p. 317; 96. Ten Gunas, pp. 317-318 ; 97. Synthesis, p. 318; 98. Perspicuity, p. 318 ; 99. Smoothness, p. 318; 100. Concentra- tion, p. 318; 101. Sweetness, p. 319 ; 102. Grandeur, p. 319; 103 Agree- ableness, p. 319 ; 104. Directness of Expression, p. 319 ; 105-106. Exalted- ness, pp. 319-320 ; 107. Alamkaras and Guņas, p. 320; 108-110. Sounds and figures of speech according to Sentiments, Metres according to Senti- ments, In the Erotic Sentiment, p. 32) ; 111-112. Metres in the Heroic Sentiment, and in the Pathetic Sentiment, p. 321 ; 113. In the Heroic and the Furious Sentiments, p. 321 ; 114 -: 15. Vowel length in different Sentiments and States, p. 321; 116-122. Uses of prolated vowels and euphony, pp. 331-322. CHAPTER EIGHTEEN RULES ON THE USE OF LANGUAGES, Pages 323-334 1-2. The Prakritic Recitation, p. 323, 3-5. Three kinds of Prakritic Recitation, p. 323; 6-17. Vowels and simple consonants, pp. 324-325; 18-25. Conjunct Consonants, pp. 325-326; 26. Four types of language, p. 226 ; 27. The Superhuman and the Noble languages, p. 327 ; 30. The two kinds of Recitation, p. 327 ; 31. Occasion for Skt. Recitation, p. 328; 32-35. Occasion for Pkt Recitation, pp. 328-329; 36-46. Exception to the rule for Pkt. recitation, pp. 329-331 ; 47-48. Seven major dialects, p. 331; 49-51. Uses of major dialects, pp. 331-332 ; 52-55. Uses of minor dialects, pp. 332-333; 56-61. Distinguishing fcatures of various local dialects, pp. 333-334. CHAPTER NINETEEN MODES OF ADDRESS AND INTONATION, Pages 335-354 1-2. Different modes of address, p. 335; 3. Modes of addressing males, p. 335 ; 4. Addressing gods, sectarian teachers and learned men, p. 335; 5. Addressing Brahmins, the king, the teacher and an old man, p. 336; 6. Brahmins addressing the king, p. 336 ; 7. Brahmins address- ing ministers, p. 336; 8. Addressing the equals, Previledged inferiors D

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addressing superiors, pp. 336-337; 9. Addressing employees, artisans and artists, p. 337 ; 10. Addressing persons, of respect, 'addressing per- sons of equal status p. 337; 11. The charioteer addressing the chariot-rider, Addressing an ascetic or a person witl beatitude, pp. 337-338; 12. Addressing princes, Addressing inferior persons, p. 338; 13. Addressing persons by their occupation or birth, p. 339; 14. Addressing a son or a disciple p. 339 ; 15. Addressing Buddhist and Jain monks, Addressing persons of other sects, p. 339; 16. People addressing the king, pp. 339- 340; 17-18. Sages addressing the king, The Jester addressing the king, The Jester addressing the queen, her maids, and the king addressing the Jester, p. 340; 19. Women addressing their husband, p. 341 ; 20. Addressing the older and the younger brothers, p 341 ; 21. Modes of addressing women and female ascetics and goddesses, p. 341 ; 22. Addressing wives of senior persons, and elderly ladies, Addressing an accessible woman and an old lady, pp. 341-342 ; 23-24. Addressing king's wives, p. 342; 25. Address- ing unmarried princesses and a sister, pp 342-343; 26. Addressing a Brahmin lady, a nun or a female ascetic, addressing one's wife, p. 343 ; 27. Women addressing their equals, addressing a hand-mand, p. 343; 28. Addressing a courtezan, p. 343 ; 29. Addressing the wife in love-making, p. 344; 30. Giving names to different characters in a play, p. 344; 31. Names of Brahmins and Ksatriyas, p. 344; 32. Naming merchants and warriors, p. 344; 33. Naming king's wives and courtezans, p. 345 ; 34. Naming handmaids and menials, p. 345; 45. Naming superiors, p. 345; 37-37a. Naming other persons, p. 345; 37-38. Qualities of Recitation, p. 346 ; 38-40. Seven notes to suit different Sentiments, p. 346; 40-43. Uses of the three voice registers, p. 346 ; 43. Uses of the four accents; p. 347; 43-44. Two ways of intonation, p. 347; 45. The Six Alam- karas, p. 348; 45 57. Uses of the six Alamkaras, pp. 348-350 ; 58-59. Intonation in different Sentiments, Six limbs of enunciation, pp. 350-351 ; 59-60. Pause defined, pp. 351-352 ; 60-61. Uses of Pause, p. 352 ; 62-67. Hands in connexion with Alamkaras and Pause, p. 352 ; 68-78. Drawn- out syllables ahd their use, pp. 353-354. CHAPTER TWENTY TEN KINDS OF PLAY, Pages 355-379 1-9. Tenfold division of plays and their structure, p. 3 55 ; 10-12. The Nataka, p. 356 ; 13-18. The Act, pp. 356-357 ; 19-26. Incidents not directly presentable in an Act, pp. 358-359 ; 27-35. The Introductory Scene, pp. 359-360 ; 36-38. The Supporting Scene, pp. 360-361 ; 39-40. Number of dramatis pessonae, p. 361 ; 41-42. Introducing chariots and palaces on the stage, pp. 361-362; 43-47. Introducing an army on the stage p. 362; 48-50. The Prakarana, pp. 262-364 ; 59-63. The Natika, pp. 364-365; 64-66. The Samavakara, pp. 365-366; 67. The first act of the

XXVIİ

Samavakara, p. 366 ; 68-69. The second aed the third acts of the Sama- vakara, pp. 366-367 ; 70. The three kinds of Excitement, p. 367 ; 71. Three kinds of Deception, p. 367; 72. Three kinds of Love, p. 367 ; 73. Love together with duty, pp. 367 ; 74. Love together with material gain, p. 368; 75. Love due to passion, p. 368 ; 76-77. Metres not allowed in the Samavakara, p. 368 ; 78-83. The Thamrga, pp. 368-369 ; 84-89. The Dima, p. 370; 90-93. The Vyayoga, p. 370; 94-96. The Utsrsti- kanka, p. 371 ; 97-101. Scenes with celestial Heroes, pp-372. 371 ; 102. The Prahasana, p, 372 ; 103-104. The pure Prahasana, p. 372; 105-107. The mixed Prahasana, pp. 372-373 ; 107-111. The Bhana, p. 373 ; 112-113. The Vithi, pp. 373-374 ; 114-116. Thirteen types of the Vithi, p. 374; 117. Accidental Interpretation, p. 374 ; 118. Transference, p. 374 ; 119. Ominous Significance, p. 374; 120-121. Incoherent Chatter, p. 375; 122. Compliment, p. 375 ; 123. Enigma and Rapartee, p. 375 ; 124. Outvy- ing, p. 375 ; 125. Deception, 375 ; 126. Declaration, p. 376 ; 127. Crushing, p. 376 ; 128. Three Men's Talk, p. 376; 129-131. Undue Combination of Words, p. 376 ; 132-133. The Lasya, p. 377 ; 134-135. The twelve types of the Lasya, p. 377 ; 136-137. Geyapada, p. 377; 188, Sthitapāthya p, 378 ; 139. Āsina, p. 378; 140. Pușpagaņdikā, p. 378; 141. Pracchedaka, p. 378 ; 142 Trimūdhaka, p. 378 ; 143. Saindhavaka, p. 378; 144. Dvimūdhaka, p. 379; 145. Uttamottaka, p. 379 ; 146. Vicitra pada, p. 379 ; 147. Uktapratyukta, p. 379, 148-150. Bhāvita, p. 379. CHAPTER TWENTYONE THE LIMBS OF THE JUNCTURES, Pages 380-400 1. The five Junctures of the Plot, p. 380 ; 2. The two kinds of Plot ; 308; 3-5. Their definition, p. 380; 6-8. The five stages of the action ; pp. 380-381 ; 9. Beginning, p. 381 ; 10. Effort, p. 381 ; 11. Possibility of Attainment, p, 381; 12. Certainty of Attainment, p. 381 ; 13-15. Attainment of Results, pp. 381-382 ; 16-17. Play to begin with the Princi pal Plot, p. 382 ; 18-19. Rules about the omission of Junctures, p. 382; 20-21. The five clements of the Plot, p. 382 ; 22. The Germ, p. 383 ; 23. The Prominent .Point, p. 383 ; 24. The Episode, p. 383 ; 25. The Episodical Incident, p. 383 ; 26-27. The Dénouement, p. 383; 28. Secondary Junctures in the Episode, p. 384 ; 29. Limit of the Epi- sode, p. 384 ; 30. The Episode Indication, p. 384 ; 31. The First Episode Indication, p. 384 ; 32. The Second Episode Indication, p. 384; 33. The Third Episode Indication, p, 384 ; 34-35. The Fourth Episode Indication. p. 385 ; 36-37. The five Junctures, p. 385 ; 38. The Opening, p. 385; 39. The Progression, p. 385; 40. The Development, p. 385 ; 41. The Pause, pp. 385-386 ; 42-43. The Conclusion, p. 386 ; 44-47. Junctures vary in different types of Drama, p. 386; 48-50. Subjuncture, p. 387 ; 51. Alternative Junctures, p. 387; 52-53. The sixfold needs of the Limbs

XXVIII

of the Junctures, p. 387 ; 54-57. Uses of the Limbs of the Junctures, pp. 387-388; 58-68. The sixtyfour limbs of the Junctures, pp. 388-389 ; 69. Limbs of the Opening, Suggestion, p. 389 ; 70. Enlargement, Establish- ment, p. 389; 71. Allurement, Decision, pp. 389-390; 72. Accession, Settling, p. 390; 73. Conflict of Feelings, Surprise, p. 390; 74. Dis- closure, Activity, p. 390 ; 75. Incitement, Limbs of the Progression, p. 390 ; 76. Amorousness, Pursuit, p. 391 ; 77. Refusal, Pessimism, p. 391; 78. Joke, Flash of Joke, p. 391 ; 79. Moving Forward, Hindrance, p. 391; 80. Pacification, Sweet Words, pp. 391-392 ; 81. Thunderbolt, Reference, p 392; 82. Meeting of Castes, Limbs of the Development, p. 392; 83. Mis-statement, Indication, p, 392; 84. Supposition, Exaggeration p. 392 ; 85. Progress, Propitiation, p. 393 ; 86. Deduction,Supplication, p. 393; 87. Revelation, Quarrel, p. 393 ; 88. Outwitting, Dismay, p. 393 ; 89. Panicky Commotion, Limbs of the Pause, p. 393 ; 90. Censure, Angry Words, p. 394 ; 91. Insolence, Placation. p. 394; 92. Assertion, Rever encc, p. 394 ; 93. Rebuke, Lassitude p. 394; 94. Opposition, Alter- cation, p. 394; 95. Summing Up, Humiliation, p. 39 ; 965. Foresight, Limbs in the Conclusion, p. 395 ; 97. Junction, Awakening, p. 395 ; 98, Assembling, Ascertainment, p. 395; 99. Accusation, Confirmation, pp. 395-396; 100. Gratification, Joy, p. 396 ; 101. Deliverence, Surprise, p. 396; 102. Clever Speech, Retrospect, p. 396; 103-105. Termination, Benediction, pp. 396-397; 106. Five Explanatory Devices, p. 397 ; 107- 108. The Supporting Scene, p. 397; 109. The Intimating Speech, p. 397 ; 110-111. The Introductory Scene, p. 398; 112. The Transitional Scene, p. 398; 113. The Anticipatory Scene, p. 398; 114-130. An ideal Nāțaka, pp. 398-400. CHAPTER TWENTYTWO

THE STYLES, Pages 401-409 1-5. The origin of the Styles, p. 401 ; 6-11. The origin of the Verbal Style, pp. 401-402 .; 12. The origin of the Grand Style, p. 402; 13. The origin of the Graceful Style, p. 402 ; 14-16. The origin of the Energetic Style, p. 402 ; 17-25. The origin of the Nyaya, pp. 403-404 ; 26. The four varieties of the Verbal Style, p 404 ; 27. The Laudation, p. 404 ; 28-29. The Introduction, p. 404 ; 30-31. The five varieties of the Introduction, p. 404 ; 32. Opening of the Story, p. 404 ; 33. Particular Presentation, p. 405; 34-37. Personal Business, p. 405 ; 38-40. The Grand Style, pp. 405-406 ; 41. The four varieties of the Grand Style, pp. 406 ; 42. The Challenge, p. 406 ; 43 Change of Action, p. 406 ; 44 The Harsh Discourse, p. 306 ; 45-46. Breach of Alliance, p. 406 ; 47. The Graceful Style, p. 407 ; 48. The four varieties of the Graceful Style, p. 407 ; 49-50. The three kinds of Pleasantry, p. 407; 51. Beginning of Pleasantry, p. 407 ; 52. Unfoldment of Pleasantry, p. 407 ; 58-54. Covert

XXIX

Pleasure, p. 408 ; 55-56. The Energetic Style, p. 408 ; 57. The four varieties of the Energetic Style, p. 408; 58. Compression, pp. 408-409; 49. Commotion, p. 409 ; 60. Raising the Theme, p. 409 ; 61-62. Conflict p. 409 ; 63-65. Styles according to Sentiments, p. 409 ; CHAPTER TWENTYTHREE THE COSTUMES AND MAKE-UP, Pages 410-439 1-3. Necessity of the Costumes and Make-up, 410; 4. Four kinds of Costumes and Make-up, p. 410. 5-8 The four kinds of model-work, pp. 410-411; 9. Decoration, p. 411 ; 10. Garlands, p. 411 ; 11. Four kinds of ornament, p. 411 ; 12. Piercing ornaments, Tied-up ornaments, p. 411; 13. Worn ornaments, Put-round ornaments, p. 412; 14. Ornaments according habitation and tribal origin, p. 412 ; 15. Ornaments for males : Head ornaments, Ear ornaments, p. 412; 16. Neck ornaments, Finger ornaments, pp. 412-413 ; 17. Ornaments of the forearm, Wrist ornaments, p. 413; 18. Ornaments above the elbow, Breast ornaments, p 143 ; 19. Ornaments for the entire body, Waist ornaments, p. 413 ; 23-23. Ornaments for females : Head ornaments, p. 419 ; 23-25. Ear ornaments, pp. 414-415 ; 26-27. Neck ornaments. p. 415; 28. Breast ornaments, p. 415 ; 29. Arm ornaments p. 416 ; 30. Finger ornaments, p. 416 ; 31-33. Hip ornaments, pp. 416-417 ; 34-36. Ornaments of the ankles, p. 417 ; 37-44. Other rules about ornaments, pp. 417-418; 45-51. Costume of celestial women p. 418-419; 52. Siddha women .p. 419; 53. Gandharva women p. 419; 54. Rakșasa women, p. 419; 55. Goddesses, p. 419 ; 56-57. Monkey females, pp. 419-420 ; 58. Human females according to their countries, p. 420 ; 59. Women of Avanti and Gauda, p. 420; 60 Abhira women, p. 420 ; 61. Women of the North-east, p. 420 ; 62-63. Women of the South, p. 420; 64. Ornaments to be worn in the right place, pp. 420- 421; 65-67. Dresses to suit the condition of females, p. 420 ; 68. Painting the limbs, p. 421; 69. The four original colours, p. 421 ; 70. The derivative colours, p. 421 ; 71-74. The primary derivative colours, pp. 421-422 ; 75-80. The secon- dary derivative colours, p. 422 ; 81. Living beings, p. 422 ; 82. Lifeless objects, p. 422 ; 83. Lifeless objects in human form, p. 422; 84. Painting the limbs, p. 422 ; 85-87. Colour for gods, p. 423 ; 88-89. Colours for demigods, 90-92. Colours for human beings in different regions, p. 424 ; 93. Colours for Bhutas and Dwarfs, p. 424 ; 94-98. Colours of different peoples of Bharatvarșa, p. 424 ; 99-101. Colours of different tribes, p. 425 ; 102. Colours of different castes, p. 426 ; 103-109. Rules for the beard, p. 426-427; 110-127. Rules for different costumes, pp. 427-429 ; 128. Use of masks, p. 429; 129-139. Three kinds of crown, pp. 430-431; 139-145. Rules of different hairs, p. 431 ; 146-148. The Sa jiva, p. 432 ; 148-155. The use of weapons, pp. 432-433; 156-158. Use of other objects, p. 433 ; 159. Indra's Banner-staff, p. 433 ; 160-167. The Jarjara, pp. 438-484 ; . 167-170.

xxx

The Dandakastha, p. 434 ; 170-180. The making of masks, pp. 485-436 ; 180-187. Other accessories, p. 436 ; 187-198. The realistic and conven- tional objects, p. 437; 198-208. Making of ornaments, pp. 438-439; 208-211. Use of weapons on the stage, p. 439. CHAPTER TWENTYFOUR THE BASIC REPRESENTATION, Pages 440-482 1-2. Importance of Temperament p. 440 ; 3. The definition of Temperament, p. 440 ; 4-5. Feminine graces in the drama, pp. 440-441 ; 6. Physical graces of women, p. 441 ; 7. The origin of these graces, p. 441 ; 8. Feeling, p. 441 ; 9-10. Emotion, p. 441 ; 11. Passion, p. 441 ; 12-13. Natural Graces of women, p. 442 ; 14. Sportive Mimicry, p. 442 ; 15. Amorous Gestures, p. 442 ; 16. Dishabille, p. 442 ; 17. Confusion, p. 442 ; 18. Hysterical Mood, p. 443 ; 19. Manifestation of Affection, p. 443 ; 20. Pretended Anger, p. 443 ; 21, Affected Coldness, p. 443 ; 22. Lolling, p. 443. 23. Want of Response, p. 443 ; 24. Involuntary Graces of women, p. 444 ; 25. Beauty, p. 444; 26 Charm, Radiance, p. 444 ; 27. Delicacy p. 444 ; 28. Self-control, p. 444 ; 29-30 Courage, Dignity, p. 444-445 ; 31. Eight aspects of the male Temperament, p. 445 ; 32. Brilli- ant Character, p. 445; 33. Graceful Bearing, p. 445 ; 34. Self-posse- ssion, p. 445; 35. Tenacity, pp. 445-446 ; 36. Gravity, p. 446 ; 37. Spor- tiveness, p. 446 ; 38. Nobility. p. 446 ; 39. Spirit, p. 446 ; 40-41. Hist- rionic Representation through the body, p. 446 ; 42. Word, p. 447 ; 43. Sūcā, p. 447 ; 44. Ankura, p. 447 ; 45. Sākhā, p. 447; 46-47. Nāțyāyita, p. 447 ; 48. Nivrltyankura, p. 448; 49-51. Twelve forms of the verbal Rerpesentation, p 448 ; 52. Accosting, Prattling, p. 448; 53. Lament. Repeated Speaking. p. 448; 54. Dialogue, Change of Words, pp. 448-449 ; 55. Message, Agreement, p. 449; 56. Command, Pretext, p. 449; 57. Instruction, Statement, p. 449 ; 58-71. Another classification of the Verbal Representation, pp. 449-451; 72-73. The basic Representation, p. 451; 74-75. Regular Historionic Representation, p. 451 ; 76-77. Irregular Historionic Representation, p. 451 ; 78. Laksana defined, p. 452 ; 79. Practice preferred to the Sastra, p. 452; 80. Representation of the sensual perception, p. 452 ; 81. Sound, p. 452; 82. Touch, p. 452; 83. Form, p. 452 ; 84-85. Taste and Smell, pp. 452-453 ; 86. Importance of the mind, p. 453; 87. The three aspects of the of the mind p. 453 ; 88-89. The favourable mind, p. 353; 90. The unfavourable mind, p. 453 ; 91-92. The indifferent mind, p. 453 ; 93. The meaning of "personal", and the meaning of "external", pp. 453-454; 94-95. Desire, p. 454 ; 95-96. Love, p. 454 ; 97-98. Erotic Affair, p. 454; 89-100. Various types of women, p. 454; 101-102. The woman of divine typo, pp. 454-455; 103-104. The woman of Asura type, p. 455 ; 105-106. The womar of Gandharva type, p. 455 ; 107-108. The woman of

Rākșasa type, p. 455; 109-110. The woman of Naga type, p. 455 ; 111- 112. The woman of bird type, p. 456 ; 113-114. The woman of Pisaca type, p. 456; 115-116. The woman of Yaksa type, p. 456: 117. The woman of tiger type, p. 456; 118-119. The human female, pp. 456-457 ; 120-121. The woman of monkey type, p. 459; 122-123. The woman of clephant type, p. 457 ; 124-125. The woman of deer type, p. 457 ; 196. The woman of fish type, p. 457 ; 127-128. The woman of camcl type, p. 457 ; 129. The woman of Makara type, p. 458 ; 130-131. The woman of ass type, p. 458; 132-133. The woman of swine type, p. 488; 134-135. The woman of horse tvpe, p. 458 ; 136-137. The woman of buffalo type, p. 458; 138-139. The woman of goat type, p. 458-459 ; 140-141. The woman of horse type, p. 459 ; 142-143. The woman cow type, p. 459 ; 144- 147. Etiquette towards women, pp. 459 ; 147-149. Two classess of Eti- quette, p. 460, 149-150. King's Etiquette towards women, p. 460 ; 150-155. The three classes of women ; pp. 460-461 ; 156-159. The beginning of love, p. 461; 160-162. Signs of love, p. 462 ; 163-165. Signs of a courte- zan's love, p. 462 ; 166-167. Signs of love in a highborn lady, p. 462; 168. Signs of a maiden's love, p. 462 ; 169-171. Various stages of her love, 172-173. Longing, pp. 462-463. 174-175. Anxiety, p. 463 ; 176-177. Ro- collection, p. 463 ; 178-179. Enumeration of Merits, pp. 463-464 ; 180- 181. Distress, p. 464 ; 182-183. Lamentation, p. 464 ; 184-185. Insanity, p. 464; 186-187. Sickness, pp. 464-465 ; 188-189. Stupor, p. 465; 190- 191. Death, p. 465 ; 192. Manifestation of men's love, p. 465; 193. Characteristics of love, p. 465; 194-196. Women seperated from the beloved one, pp. 465-466 ; 197. Rclief in lovesickness, p. 466; 198-200. The female Messenger, p. 466 ; 201-207. The king's Etiquette to women, pp. 466-467 ; 208-209. Reasons for Conjugal Union, p. 467; 210-211. Eight kinds of Heroine, p. 267; 212. The Heroine dressed up for Union, p. 268 ; 214. The Heroine having her husband in subjec- tion, p. 268; 215. The Heroine seperated by quarrel, p. 268; 216. The enraged Heroinc, p. 268; 217. The deccived Heroine, p. 268; 218. The Heroine with a sojourning husband, pp. 268-269; 219. The Heroine moving to her lover, p. 269; 220. Representation of the different Heroines, p. 469; 221-223. Enraged, deceived and quarreling Heroines, p. 469 ; 223. The Heroine with a sojourning husband, p. 469; 224. The Heroine having a husband in subjection, p. 469 ; 225. Different classes of Heroine moving to their lover, p. 469; 226. The courtezan, p. 470; 227. The woman of high family, p. 470 ; 228. The hand-maid. p. 470 ; 229-232. How to meet a sleeping lover, p, 470 ; 233-235. The Conjugal Union, p. 470 ; 236. Bchaviour at the Conjugal Union, p. 470 ; 237-239. Preparation for the Conjugal Union, p. 471 ; 240-244. Acts prohibited ou the stage, p. 472 ; 245-252. The Heroine in expectancy. p. 472; 253-257.

XXXII Personal omens, pp. 473-474 ; 258. Heroine's reception of the beloved, p. 474; 259-264. Recciving the guilty lover, pp. 474-475 ; 264. Causes of jealousy, p. 475 ; 265-266. Depression, p. 475 ; 267-268. Mixed Feeling, p. 475; 269-270. Disgust, pp. 475-476 ; 271-272. Anger, p 476 ; 273-292. On treating a lover at fault, pp. 476-478 ; 293-298. Acts forbidden on the stage, pp. 478-479 ; 299-300. Endearing terms for the beloved p. 479; 301. Angry terms of address for the beloved, p. 479 ; 302-309. Endearing terms of address explained, pp. 479; 310-319. Angry terms of address explained, pp. 480-481; 320-328. Goddesses in human roles, pp. 481-482. CHAPTER TWENTYFIVE DEALINGS WITH COURTEZANS, Pages 483-492. . 1-2. The definition of a Gallant, p. 483 ; 3-8. Qualities of a Gallant, pp. 483-484 ; 9-10. The female Messenger, p. 484 ; 11-12. Qualities of a Messenger, p. 484 ; 13-18. Functions of the female Messenger, p. 485 ; 19. The woman overcome with love, p. 485 ; 20-23. The attached woman, pp. 485-486 ; 24-27. The hostile woman, p. 486 ; 28-29. Winning back of women's heart, p. 486 ; 30-31. Causes of hostility, p. 486 ; 32-35. Acts winning women's heart, pp. 486-487 ; 36. The three types of woman, p. 487 ; 37-39. The superior woman, p. 487 ; 40-41. The middling woman, p. 487 ; 42. The inferior woman, p. 487 ; 43. The four stages of woman's youth, p. 488; 44. The primary youth, p. 488; 45. The secondary youth, p. 488; 46. The tertiary youth, p. 488; 47-48. The quarternary youth, p. 488 ; 49. Behaviour in the primary youth, p. 488 ; 50. Behaviour in the secondary youth, pp. 488-489 ; 51. Behaviour in the tertiary youth, p. 429 ; 52. Behaviour in the quarternary youth, p, 489; 53-54. Five types of man, p. 489; 55. The excellent man, p 489; 56-37. The superior man, p. 489; 68-59. The middling man, p. 490; 60-61. The inferior man, p. 490 ; 62-63. The too old man, p. 490; 64-66. Psychological approach to women, pp.490-491; 67. Conciliation, p. 491 ; 68. Gift. p. 491; 69. Dissention, Chastisement, p. 491; 70-72. Application of Conciliation, Gift etc. p. 491; 73. Reading a woman's heart from her behaviour, p. 491; 74-80, A courtezan's mercenary treatment of men, p. 492.

CHAPTER TWENTYSIX SPECIAL REPRESENTATION, Pages 493-510 1. Spccial Representation, p. 493 ; 2-4. Day, night, scason ctc. 5. Objects on the ground, p. 493 ; 6. Moonlight, happincss and air etc, p. 494 ; 7. The sun, dust, smoke etc. 8. Midday sun, p. 494 ; 9. Plcasant objects, p. 494; 10. Sharp objects, p. 494; 11. Deap and cxalted fecling, p. 494 ; 1e Necklace and flowers ctc, p. 494; 13. The idea of entircty,

XXXIII p. 494 ; 14. Andible or visible objects, p. 494 ; 15. Lighting, shooting stara etc. p. 495 ; 16. Repugnant objects, p. 495 ; 17. Hot wind and heat etc. p. 495 ; 18. Lions, bears etc. p. 494 ; 19. Worshipping superiors, p. 495; 20-22. Numerals, p. 495 ; 23. Umbrellas, Banners etc, p. 496 ; 24. Memory and meditation ete, p. 496 ; 25. Height, p. 496 ; 26. Past and Cessation ctc, p. 496 ; 27. The autumn, p. 496; 28-30. The early winter, pp. 496- 497 ; 31. The winter, p. 477 ; 32. The spring, p. 497 ; 33. The summer, p. 497; 34. The rains, p. 497; 35. The rainy night, p. 497 ; 36-37. Seasons in general, pp, 497-498 ; 38. The States, p. 498 ; 39-40. The Determinants, p. 498 ; 41-44. The consequents, pp. 498-499 ; 45-46. Gencral directions for representation, p. 499 ; 47. Men's and women's efforts, p. 499 ; 48. Women's mevements of limbs, p. 499 ; 49. Mcaning of words, p. 499; 50-51. Joy, p. 499-500 ; 52. Anger, p. 500 ; 53-54. Jealous Anger of women, p. 500 ; 55. Men's sorrow, p. 500; 56-57. Women's sorrow, p. 500; 58. Men's fear, p. 500; 59-60. Women's frar, pp. 500-501 ; 61-64. Women's intoxicated condition, pp. 501 ; 65. Parrorts and Sarikas, p. 501. 66. Big birds, p. 501 ; 67. Asses and Camels, p. 501 ; 68-70. Bhutas and Pisacas, p. 502; 70-71. Grecting an invisible person, p. 502 ; 71-73. Greeting gods superiors, p. 592; 73-74. Great crowd, and friends etc, p. 502; 74-75. Mountains and tall trees, p. 502; 75-78 Wide expanse of water, pp. 502-503; 78-79. A house and darkness etc, p. 503 ; 79-80. Lovesick, cursed and possessed persons, p. 503; 80-83. A swing, p 503; 83-85. Speaking to the sky, pp. 503-504 ; 85-86. Speaking aside, Concealed speaking, p. 504; 87-88. Private Personal address, Thinking within oncself, p. 504 ; 90-91. Mentioning incidents that occured already, pp. 504-505; 91-92. Representing Conccaled speakihg, p. 505 ; 92-94. Repeti- tion of words, p. 505 ; 94-95. Suspension of Representation, p. 505; 95-97. Observing proper States, p. 505-506; 97-98. No movement in the state of sleeping. p. 506; 98-99. Declamation of a person in sleep, p. 506; 99-100. Declamation of old people, Children's words, p. 506; 100-102. Dying declamation, p. 506; 102-103. Representation of death, p. 507 ; 103-104. Death from disease, p. 507 ; 104-105. Death from drinking poison, p. 507; 105-107. The cight stages in death from poison, p. 507; 107-108. Weakness, p. 507; 108-109. Tremor, p. 507; 109-110. Burning sensation, p. 508; 110-111. Hiccough, p. 508; 111-1 2. Froth in the mouth. p. 508; 112-113. Breaking of the nock, Paralysis, p. 508; 113 115. Death, pp. 508 509 ; 115-118. General directions, p. 509 ; 118-122. The triple basis of drama, p. 509; 123-129. People supplying norm to the drama, pp. 509-510. CHAPTER TWENTYSEVEN SUCCESS IN DRAMATIC PRODUCTION, Pages 511-526 1. The Sucoess in dramatic production, p. 511; 2. The two kinds

XXXIV

of Success, p. 511; 3. The human Success, p. 511; 4. The vocal Success, p. 511; 5-15. The physical Success, p. 511-513; 16-17. The divine Success, p. 513 ; 18-19. Three kinds of Blemishes, pp. 513-514; 20. Blemishes from gods, p. 514 ; 21-23. Blemishes from an cnemy, p. 514; 23-27. Selfmade Blemishes, pp. 514-515 ; 28. Blemishes without remedy, p. 515; 29-36. Palpable sources of Blemishes, pp. 516-517; 37-39. Three grades of Blemishes, p. 517; 40. Wrong Benediction, p. 517; 41-43. Interpolation is a Blemish, pp. 517-518; 44-47. Limitation of human efforts in a play, pp. 518-519 ; 48-57. Spectators of a performance, pp. 519-520; 50. Various Classes of spectators, p .. 520 ; 59-62. Dis- position of different spectators, p. 520; 62-70. Assessors in a perfor- mance, pp. 520-521 ; 7]. Controversy about a performance, p. 522; 72. Procedure in deciding controversies, p. 522; 73. Rocording of Ble- mishes, p. 522; 74-75. Ideal position of Assessors in a performance p. 522 ; 76. Blemishes to be ignored, pp. 522-523; 77-82. Procedure of awarding the Banner, pp 523-524; 83-84. Co-ordination, p. 554 ; 85-87. Charm of limbs, p. 524; 88-97. Suitable times for performance, p. 525; 98-99, Emergency performances are independent of time, p. 526; 100-101. Qualities of an Actor, p. 526; 102 An ideal performance, p. 526; 103. Brilliance of Pageant, p. 526; 104-105. The best performance, p. 526.

CHAPTER THIRTYFOUR

TYPE OF CHARACTERS, Pages 527-537

1. Three types of character in a drama, p. 527 ; 2-3. A superior male character, p. 527 ; 3-4. A middling male character, p. 527; 5-7. An inferior male character, p. 527 ; 8-10. A superior female character, pp. 527-528 ; 11. A middling female character, p. 528; 12. An inferior female character, p. 528 ; 13-14. A mixed character, p. 528 ; 15-20. The four types of the Hero, pp. 528-529 ; 20-23. The four types of Heroines, p. 529 ; 24-25. The two classes of employment for characters, pp. 529-530 ; 26-29. Female inmates of the harem, p. 530; 30-32.The chief queen, p. 530 ; 33-34. The other queens, p. 530 ; 35-36. High-born wives, p. 531; 37-39. Ordinary wives, p. 531 ; 40. Concubines, p 531 ; 41-42. Women artistes, p. 531 ; 43-44. Actresses, pp. 531-532 ; 44-48. Dancers, p. 532 ; 48-49. Maids in constant attendance, p. 532; 49-51. Maids of spccial work, p. 532; 51-53. Maids in constant move, pp. 532-533 ; 53-54. Errand girls, p. 533; 54-55. Mahattaris, p. 533 ; 55-56. Pratiharies, p. 533 ; 56-57. Maidens, p. 533; 57-58. Old dames, p. 533 ; 58-60. Āyuktikās, pp. 533- 534 ; 61-64. Qualities of women to be employed by the king, p. 534 ; 64-70. Other inmates of the harem, p. 534; 71. The Varsadharas. p. 535 ; 72. The Nirmundas, p. 535 ; 73-74. The Kancukins, p. 535 ; 76-77,

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External persosn, pp. 535-536 ; 78-82 The king, p. 536 ; 82-83. The leader of the army, p. 586 ; 84-85. Councillors, pp. 536-537 ; 85-87. Judges, p. 537 ; 87-90. Courtiers, p. 537. CHAPTER THIRTYFIVE DISTRIBUTION OF ROLES, Pages 538-552

1. Distribution of Roles, p. 538 ; 2-4. General principles of dist- ribution, p. 538 ; 5-6. The role of gods, p. 538 ; 7-8. The role of Rāksa- sas, the Danavas ete, pp. 538-539 ; 9-11, The role of kings, p, 539 ; 12-13. The role of army leaders and councillors, p, 539 ; 14, The role of the Kancukin and the Srotriya, p, 539 ; 15-17, The role of minor characters, p. 539-540 ; 19, The role of fatigued persons, The role of persons without diseasc pp, 440; 19-21. Special cases of assigning roles, p, 540 ; 22-23. The roles of characters with extra or special limbs, pp. 540-541 ; 24. The first entry of a character. p. 541 ; 25-26. The result of proper impersonation, p, 541; 27. The psychological preparation for impersonation, p. 541 ; 28. The three kinds of impersonation, p. 541; 29. The natural impersonation, p. 541 ; 30, The unnatural impersonation, p. 541 ; 31-33. Imitative representation. p. 542 ; 33-36. Suitability of women in some roles, 542 ; 37. Training for women in different roles, p. 524; 38. Result of proper assignment of roles, pp 542-543 ; 89-41. Result of employing women for acting, p. 543 ; 42. The two types of dramatic production, p. 543 ; 43-47. The delicate type of production, pp. 543-544; 48-53. The violent type of production, pp. 544-545 ; 53-59. The typical impersonation of a king; p 545; 59-62. Impersonation of the attendants of gods, p. 546 ; 62-68. The characteristics of a Director, pp. 546-547; 69-71. The natural qualities of a Director, p. 547 ; 71-72. Characteris- tics of an Assistant to the Director, p. 547; 72-73. Characteristics of an Actor, p. 547; 73-44. Characteristics of the Parasite, p. 547; 75. Characteristics of the Sakara, pp. 547-548 ; 76. Characterjstics of the Jester, p. 548 ; 77. Characteristics of the servant, p. 548 ; 78-81. Charac- teristics of the courtezen, p. 548; 81-83, Characteristics of the typical Heroine, p. 548; 83-85. Women disqualified to be Heroines, p. 549; 85-89. Members of the typical theatrical party, p. 549 ; 89-91. Charac- teristics of the Jester, pp. 549-550; 91-92. Characterists of the master musician, p. 550; 92-93. Meaning of the word Nata, p. 550 ; 93-95. Benediction defined. p. 550 ; 96-97. Characteristics of the playwright, p. 551 ; 97-98. Characteristics of the Actor, p. 551; 98-99. Characteristics of the actress, p, 551 ; 99-100. The maker of headgears, p. 551; 100-101. The maker of ornaments, p. 551 : 101-102. The maker of garlands, the costumer, the painter and the dyer, p, 551 ; 103-104. The Craftsmen, the Kuśīlavas, p, 552 ; 104-135. The other members of the party, p. 552.

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CHAPTER THIRTYSIX THE DESCENT OF DRAMA ON THE EARTH, Pages 553-661 1-9. Sages question, pp. 553-554; 10. Bharata's reply, pp. 554; 11-23. The Preliminaries and their uses, pp. 554-555 ; 24-26. The ablution of the Director on the stage, p. 555 ; 27-29. Bharata's sons offended the sages by caricature, p. 556; 30-36. The sages curse Bharata's sons. pp, 556-557 : 37-38. Gods intercede in favour of Bharata's sons, p. 557; 39-40. Bharata's sons approach their father, p. 557 ; 41-45. Bharata pacifies them, pp, 557- 558 ; 46-49. Nahușa invites divine artistes to the earth, p. 558; 50-51. Gods reject the request, p. 558 ; 52-53. Nahusa approaches Bharata, p. 559 ; 54-57. Urvaśi and the mundane drama, p. 559 ; 58-61. Bharata grants the request and sends his sons to the carth, pp. 659-560 ; 62-63. Kohala is the successor of Bharata, p. 560 ; 65-68, Bharate's sons come down to the earth, p. 560; 62-70, Kohala and his associates, p. 560; 71-73 Value of the Natyasastra, p. 561 ; 74-77. Value of the dramatic show, and the final Benedictjon, p. 561. ADDITIONS AND CORRECTIONS p. 562

INTRODUCTION

I. The Present Work 1. General History of the Study Since the West came to know of the Sanskrit literature through William Jones's translation of the Sakuntala1, the nature and origin of the ancient Indian theatre have always interested scholars, especially the Sanskritists, all over the world. H. H. Wilson who published in 1826 the first volume of his famous work on the subjecte deplored that the Natya- sastra, mentioned and quoted in several commentaries and other works, had been lost for ever3. F. Hall who published in 1865 his edition of the Dasarupa+, a medieval work on the Hindu dramaturgy, did not see any Ms. of the Natyasastra till his work had greatly advanced5. And for the time being he printed the relevant chapters of the Natyasastra as an appendix to his Dasarupa. Later on he undertook to critically edit the Ms. of the Natyasastra he acquired; but this venture was subsequently given up, due perhaps to an insufficiency of materials which consisted of one unique Ms. full of numerous lacunae." But even if the work could not be brought out by Hall, his very important discovery soon helped others to trace similar Mss. clsewhere. And in 1874 Heymann, a German scholar, published on the basis of Mss. discovered up till that date a valuable article7 on the contents of the Natyasastra. This seems to have been instrumental in attracting competent scholars to the study of this very important text. The French Sanskritist P. Regnaud published in 1880 chapter XVII' and in 1884 chapter XV (in part) and the chapter XVI9 of the Natyasastra. This was soon followed by his publication of chapters VI and VII in 1884.10 And J. Grosset another French scholar and a pupil of Regnaud, published later on (in 1888) chapter XXVIII1 of the Natya- sastra which treated of the general theory of Hindu music.

' Sacontala, or the Fatal Ring. Translated from the original Sanskrit and Pracrita, Caloutta 1789. ' H. H. Wilson, Select Specimens of the Theatre of the Hindus (3 vols), Calcutta. 1826-1827. * Wilson, p. 37. Grosset, Introduction, p. iij. * The Dasarupa by Dhananjaya (Bibliotheca Indica), Calcutta, 1861-1865. ' Grosset, Introduction, v. iij. See note 5 above. ' Ueber Bharata's Natyasastram in Nachrichten von der Koeniglischen Gesellschaft der Wissenschaften, Goetingen 1874, pp. 86 ff. Ref. Grosset, Introduction p x; ID. pp 2-3. ' Le dix-septieme chapitre du Bharatiya-natyasıstra. Annales du' Musee Guimet; Tome, 1. 1880, pp. 85 ff. ' La metrique de Bharata, texte Sanscrit de deux chapitres du Natyasastra publie pour premier fois et suivi d'une, interpretation francaise, Annales due Musee Guimet, Tome, IL, 1884, pp. 65 ff. 10 Rhetorique sanscrite, Paris, 1814. 11 Contribution a l'etude de la musique hindou, Lyons, 1888.

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But the different chapters of the work and studies on them, which were published up till 1888, though very helpful fot the understanding of some aspects of the ancient Indian dramatic works cannot be said to have thrown any considerable light on the exact nature of the ancient Hindu plays, especially the manner of their production on the stage. Sylvain Levi's Theatre indien (1890) in which he discussed comprehensively the contribution of his predecessors in the field and added to it greatly by his own researches, made unfortunately no great progress in this specific direction. Though he had access to three more or less complete Mss. of the Natyasastra, Levi does not seem to have made any serious attempt to make a close study of the entire work except its chapters XVII-XX (XVIII-XXII of our text) and XXXIV. The,reason for his relative indifference to the contents of the major portion (nearly nine-tenths) of the work, seem to be principally the corrupt nature of his Ms. materials, Like his predecessors, Levi paid greater attention to the study of the literary form of the ancient Hindu plays with the difference that he utilised for the first time the relevant chapters of the Natyasastra,1ª to check the accuracy of the statements of later writers on the subject like Dhanaojaya13 and Visvanatha'+ who professed their dependence on the Natyasastra. But whatever may be the drawback of Levi's magnificient work, it did an excellent service to the history of ancient Indian drama by focussing the attention of scholars on the great importance of the Natyasastra. Almost simultaneously two Sanskritists in India as well as one in the West were planning its publication. In 1894 Pandits Shivadatta and Kashinath Pandurang Parab published from Bombay the original Sanskrit toxt of the work.1' This was followed in 1898 by J. Grosset's16 critical edition of its chapters I-XIV based on all the Mes. available up till that date. Though nearly half & century has passed after the publication of Grosset's incomplete edition of the Natyasastra, it still remains one of the best specimens of modern Western scholarship, and though in the light of the new materials available, it is possible now-a-days to improve upon his readings in a few places, Grosset's work will surely remain for a long time a landmark in the history of the study of this important text. It is a pity that this very excellent work remains unfinished. But a fact cqually deplorable is that it failed to attract sufficient attention of scholars

11 Ohapters XVII-XX ( XVILI-XXII of our text ). 1: The author of the Dasarupa. See above note 4. 14 The suthor of the Sahityadarpana. See below. 1 Sri Bháratamuni-pranitam, Nalyasatram, ( Karyamala, 42 ) Bombay, 1894. 1e Treate du Bharata sur le Theatro. Texte sanscrit, Edition critigue. Tome I. Partie, I. (Annalcs de l'Universite de Lyons, Fasc. 40, 1898)

XXXIX

interested in the subject .. Incomplete though it was, it nevertheless contained a good portion of the rules regarding the presentation of plays ou the stage, and included valuable data on the origin and nature of the ancient Indian drama, but no. one seems to have subjected it to the searching study it deserved. Whoever wrote on Hindu plays after Levi depended more on his work than on the Natyasastra itself, even when this was available (at least in a substantial part) in a critical edition. It may very legitimately be assumed that the reasons which conspired to render the Natyasastra rather unattractive included among other things, the difficulty of this text which was not yet illuminated by a commentary. Discovery in the early years of the present century of a major por- tion of a commentary of the Natyasastra by the Kashmirian Abhinava- gupta17 seemed to give, however, a new impetus to the study of the work. And it appeared for the time being that the Natyasastra would yield more secrets treasured in the body of its difficult text. But the first volume of the Baroda edition of the work (ch. I-VII)'8 including Abhi- nava's commentary, disillusioned the expectant scholars. Apart from the question of the merit of this commentary and its relation to the available versions of the Natyasastra, it suffered from a very faulty trans- mission of the text. Not only did it contain numerous lacunae, but quite a number of its passages were not liable to any definite interpretation due to their obviously vitiated naturc. Of this latter condition the learned editor of the commentary says, 'the originals are so incorrect that a scholar friend of mine is probably justified in saying that even if Abhi- navagupta descended from the Heaven and seen the Mss. he would not casily restore his original reading. It is in fact an impenetrable jungle through which a rough path now has been traced'. The textual condition of Abhinava's commentary on chapters VIII-XVIII (VIII-XX of our text) published in 193419 was not appreciably better. But whatever may be the real value of the commentary, the two volumes of the Natyasastra published from Baroda, which were avowedly to give the text supposed to have been taken by Abhinava as the basis of his work, presented also considerable new and valuable materials in the shape of variant readings collated from numerous Mss. of the text as well as from the commentary. These sometimes throw new light on the con- tents of Natyasastra. A study of these together with a new and more or

1' Dr. S. K. De seems to be the first in announcing the existence of a more or less complete Ms. of Abhinava's commentary, and in recommending its publication. See Skt, Poetics, Vol I. pp. 120-121. 1 Natyasastra with the commentary of Abhinavagupta. Edited with a preface, Appendix and Index by Ramakrishna Kavi. Vol 1, Baroda 1926. " Natyasastra with the commentary of Abhinavagupta. Edited with an Introduction and Index by M. Ramakrishna Kavi. Vol. II, Baroda, 1934.

XL

less complete (though uncritical) text of the work published from Benares in 1929$0 would, it is hoped, bo considered a desideratum by persons interested in the ancient Indian drama. The present work has been the result of such a study, and in it has been given for the first time a com- plete annotated translation of the major portion of the Natyasastra based on a text reconstructed by the author.21

2. The Basic Text

The text of the Natyasastra as we have seen is not available in a complete critical edition, and Joanny Grosset's text (Paris-Lyons, 1898) does not go beyond ch. XIV. Hence the translator had to prepare a cri- tical edition of the remaining chapters before taking up the translation.ª" For this he depended principally upon Ramakrishna Kavi's incomplete edition (Baroda, 1926, 1934) running up to ch. XVIII (our XX) and including Abhinava's commentary, as well as the Nirnayasagar and Chowkhamba editions (the first, Bombay 1894, and the second, Benares, 1929). As the text of the Natyasastra has bern available in two distinct recensions, selection of readings involved some difficulty. After the most careful consideration, the translator has thought it prudent to adopt readings from both the recensions, whenever such was felt necessary from the context or for the sake of coherence, and these have been mentioned in the footnotes. But no serious objection may be made against this rather unorthodox procedure, for A. A. Macdonell in his critical text of the Brhaddevata (Cambridge, Mass. 1904) has actually worked in this manner, and J. Grosset too in his edition'does not give unqualified pre- ference to any racension and confesses that due to conditions peculiar to the Natyasastra his text has 'un caractere largement éclectique' (Introduc- tion, p. xxv) and he further says 'nous n'avions pas l'ambition chimérique de tendre a la reconstitution du Bharata primitif ...... (loc. cit.). Condi- tions do not seem to have chaged much since then.

20 Sri-Bharatmuni-pranitam Natayasastram. (Kashi-Sanskrit Series), Benares, 1929. 11 This edition will be published later on. The following chapters of the NS. have been translated into French : ch XIV and XV ( our XV and XV1) Vagabhinaya by P. Regnaud in his Metrique du Bharata ; see note 8 above, ch. XVII ( our XVIII ) F hasanidhana by Luigia Nitti-Dolci in her Les Grammairiens Prakrit. This has been partially ( 1-24 ) trunslated into English by the present writer in his Date of the Bharata- Natyasasrra, See JDL, 1930, pp. 73f. Chapter XXVIII by J. Grosset in his Contribution a l'etude de la musique hindou ; see note 10 above. Besides these, ch, XXVIII by B. Breoler in his Grund-elemente der alt-indischen Musik nach dem Bharatiya-natya- sastra. Bonn. 1922, and ch. IV by B. V. N. Naidu, P. S. Naldu and O. V. R. Pantlu in the Tandavalaksanam, Madras, 1936 and chapters I-III translated into Bengali by the late Pandit Asokenath Bhattacharyya in the Vasumati, 1362 B S.

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3. . Translation Though the translation has been made literal as far as possible except that the stock words and phrases introduced to fill up incomplete lines have been mostly omitted, it has been found necessary to add a number of of explanatory words [enclosed in rectangular brackcts] in order to bring out properly the exact meaning of the condensed Sanskrit original. Technical terms have often been repeated (within curved brackets) in the translation in their basic form, especially where they are explained or defined. In cases where the technical terms could not be literally ren- dered into English they were treated in two different ways : (1) they were given in romanised form with initial capital letters e.g. Bhana and Vithi (XX. 107-108, .112-113), Nyaya (XXII. 17-18) etc. (2) Words given as translation have been adopted with a view to indicating as far as possible the exact significance of the original, e.g. State (bhava) Sentiment (rasa), VI. 33-34. Discovery (prapti), Persuasion (siddhi), Parallelism (udāha- rana) (XVII. 1), Prominant Point (bindu), Plot (vastu) (XX.15) etc : Lest these should be taken in their usual English sense they are distin- guished by initial capital letters. Constantly occuring optative verbal forms have been mostly ignored. Such verbs as kuryat and bhavet etc, have frequently been rendered by simple 'is' or a similar indicative form. And nouns used in singular number for the sake of metre have been silently rendered by those in plural number and vice versa, when such was con- sidered necessary from the context. 4. Noles to the Traslation

Notes added to this volumes fall generally into three categories. (a) Text-critical. As the basic text is not going to be published imme- diately, it has been considered neccssary to record variant readings. For obvious reasons variants which in the author's opinion are Iess important have not been generally recorded. (b) Explanatory. These include among other things references to different works on allied subjects and occasional short extracts from the same. Abhinavagupta's commentary naturally occupies a prominent place among such works, and it has very often been quoted and referred to. But this does not mean that the worth of this work should be unduly eraggerated.1 (c) Materials for Comparative Sludy. A very old text like the Natyasastra not illuminated by anything like a complete and lucid commentary, should naturally be studied in comparison with works treating similar topics directly or indirectly. Hence such materials have been carefully collated as far as the resouroes at the author's disposal permitted.

pp. 161ff. 1. See M, Ghosh, "The NS. and the Abhinavabharati" in IHQ vol. X, 1934,

F

But even when supplied with these notes, readers of this translation may have some difficulty in reconstructing from the work written in a diffuse manner the picture of the ancient Indian drama in its theatrical as well as literary form, as it existed in the hoary antiquity. To give them some help the theory and practice of the ancient Hindu drama has been briefly discussed below together with other relevant matters.

II. The Ancient Indian Theory of Drama

1. The Meaning of Natya

The word "Natya" has often been translated as 'drama' and the plays of ancient India have indeed some points of similarity with those of the Greeks. But on a closer examination of the technique of their pro- duction as described in the Natyasastra, the Hindu dramas represented by the available specimens, will appear to be considerably different. Unless this important fact is borne in mind any discussion on the subject is liable to create a wrong impression. As early as 1890 Sylvain Lévi (pp. 423-424) noticed that Indian Natya differed from the Greek drama from which the Westerners derived their early conception of the art. Though it is not possible to agree with Levi on all points about the various agpects of this difference and the causes which he attributed to them, no one can possibly have any serious objection against his finding that, "Le nâtaka par se nature autant que par son nom se rapproache de la dance scenique ; le drame est l'action meme" (loc. cit). Levi however did not for reasons stated above fully utilize in this connection the Natyasastra which contains ample materials for clarifying his conclusion. The essential nature of the (Natya) derived from its etymology cannot by any means be called fanciful. For in the Harivamsa1 (c. 200 A.C) we meet with an expression like natakam nanrtuh (they danced a play) and the Karpuramanjari' (c. 1000 A. C.) has an expression like sattaam naccidavvam (a Sattaka is to be danced or acted). The terms like rupaka or rupa (representation) and preksa (specta- cle), all denoting dramatic works, also characterise the Hindu dramas and show their difference from the drama of the Greeks who laid emphasis on action and not on the spectacle. Of the six parts of the tragedy, the most typical of the Greek dramatic productions, Aristotle puts emphasis on the fable or the plot and considers decoration to be un- important. On this point the philosopher says : "Terror and pity may be raised by decoration-the mere spectacle; but they may also arise from the circumstance of the action iteelf, which is far

1 Visnuparvan, Oh. 93. Sl. 28, a Ed. M. Ghosh, p. 80.

XLIIt preferable and shows a superior poet, For the fable should be so construc- ed that without the assistance of the sight its incidents may excite horror and commisseration in those who hear them only ; * But to produce this effect by means of the decoration discovers want of art in the poet ; who must also be supplied with an expensive apparatus" (II. XIII).8 But in case of the Hindu dramas the decoration (i. e. the costumes and make-up) mostly plays an important part. Equally with five other elements such as gestures and postures (angika), words (vacika), the representation of the Temperament (sattva), it gives the Natya its charac- teristic form. But in the theatre of the Greeks, it was not the case. In the performance of the tragedies, for example, they did not care much for the spectcale, if the declamation was properly made. For Aristotle himself says that, "the power of tragedy is felt without representation and actors" (II. III).4 Another peculiarity of the Hindu dramas was their general dependence on dance (nrtya), song (gita), and instrumental music (vadya). Though the chorus of the Greek tragedy introduced in it some sort of dance and songs, the function of these elements seem to have been considerably differ- ent in the Hindu drama. The ancient Indian play was produced through , words, gestures, postures, costumes, make-up, songs and dances of actors, and the instrumental music was played during the performance whenever necessary. But these different elements did not play an equal part in all the plays or different types of play. According as the emphasis was to be put on words, music, or dance, a play or its individual part partook of the nature of what the moderns would call 'drama', 'opera', 'ballet' or 'dramatic spectacle'. Due to this nature the Hindu dramas which connected them- selves in many ways with song, dance and instrumental music, had a literary form which was to some extent different from that of the ancient Greeks. But it was not so much due to this literary form as to the technique of their production on the stage that the Hindu dramas received their special character. After forming a general idea of this Natya, from the various terms used to denote it, one should enquire what the ancient Indian theorists exactly meant by the term (Natya) or what they regarded as being the essence of the dramatic art as opposed to the arts of poetry, fiction or pain- ting. To satisfy, our curiosity on this point the Natyasastra gives us the following passage which may pass for a definition of the Natya. "A mimicry of the exploits of gods, the Asuras, kings as well as of householders in this world, is called drama" (I. 120).

• Poetics (Everymans Library), p. 27. H.H. Wilson, On the Dramatic System of the Hindus, Calcutta, 1827, pr. 16,20. 4 Ibid.p. 17.

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This description seems to fall in a line with Cicero's view that "drama is a copy of life, a mirror of custom, a reflection of truth". In this state- ment Cicero evidently takes his cue from Aristotle who considered that the art in general consisted of imitation (mimesis). But this does not help us very much to ascertain the nature of drama as an example of 'imitation'. For the Greek philosopher nowhere defines this very essentially important term. So when he declares that "epic poetry, tragedy, comedy, dythrambics as also for the most part the music of the flute and of the lyre all these are in the most general view of them imitations"6, one can at best guess how drama imitates. There seems to be no such difficulty about understanding the view of the Hindu theorists. The Natyasastra lays down very elaborate rules as to how the drama is to make mimicry of the exploits of men and their divine or semi-divine counterparts. It is due to rules of representa- tion that the Hindu drama has been called by the later theorists 'a poem to be seen' (SD. 270-271). By this term epic or narrative poetry and fiction etc. are at once distinguished from drama which is preminently a spectacle including & mimicry of activities of mortals, gods or demigods. İt may now be asked what exactly was moant by the word mimicry (anukarana) uscd by the Indian theorists. Did this mean a perfect reproduction of the . reality ? For an answer to this question we are to look into the con- ventions of the Hindu drama. 2. The Dramatic Conventions That the Hindu theorists turned their attention very early to the problem of dramatic representation and enquired about the exact place of realism or its absence in connection with the production of a play, is to be seen clearly from their very sensible division of the technical practice into "realistic" (lokadharami, lit. popular) and "conventional" (nāļyadharmi, lit. theatrical". By the realistic practice, the Natyasastra (XIV. 62-76; XXIII. 187-188) means the reproduction of the natural behaviour of men and women on the stage as well as the cases of other natural presentation. But from the very claborate treatment of the various conventions regarding the use of dance, songs, gestures and speeches etc. by different characters it is obvious that the tradition of the ancient Hindu theatre recognised very early the simple truth that the real art to deserve the name, is bound to allow to itself a certain degree of artificiality which receives its recognition through many conventions. One very patent example of this conventional practice on the stage, is speeches uttered 'aside' or as soliloquy. The advocates of extreme realism may find fault with these as unnatural, and the accusation cannot be denied, but on closer examination of circumstances connected with the construction of a play as well as its production on the stage, it will be found that if the spectators are to demand realism very

. Poetics, p. 5°

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rigidly then no theatrioal performence of any value, may be possible. Neither the Hindus nor the Greeks ran after this kind of absurdity. Critics of ancient Indian dramas will do . well to remember this and to take care to understand the scope and necessity of various conventions relating to the production, so that they may better appreciate the art of great play-wrights like Bhasa, Kalidasa, Sudraka and Visakhadatta. 3. Time and place in Drama Hindu playwrights, unlike the majority of Greek tragedians, did never make any attempt to restrict the fictional action to a length of time ronghly similar to that taken up by the production of a drama on the stage. In developing plots they had not much restriction on the length of time, provided that. individual Acts were to include incidents that could take place in course of a single day, and nothing could be put in there to interrupt the routine dyties such as saying prayers or taking meals (XX 23), and the lapse of time between two Acts, which might be a month or a year (but never more than a year)7 was to be indicated by an Introductory Scene (pravesaka) preceding the last one (XX. 27-28). Similarly there was almost no restriction about the locality to which individual Actors, and gods in their human roles were to be assigned, except that the human characters were always to be placed in India i.e. Bharata varșa (XX. 97). 4. The Unity of Impression In spite of having no rules restricting the time and place relating to different incidents included in the plot of a drama, the playwright had to be carcful about the unity of impression which it was calculated to producc. For this purpose the Natyasastra seems to have the following devices : The Germ (bija) of the play as well as its Prominent Point (bindu) was always to relate to every Act of the play and the Hero was sometimes to appear in every Aot or to be mentioned there (XX. 15, 30). An Act was not to present too many incidents (XX.24), and such subsidiary events as might affect the unity of impression on their being directly presented, were merely to be reported in an Introductory Scene. Besides this, short Explanatory Scenes were sometimes put in before an Act to clarify the events occuring in it (XXI). 106-111. All these, not only helped the play to produce an unity of impression but also imparted to its plot a rapidity of movement which is essential for any kind of successful dramatic presentation. 5. Criticism of Drama Indians from very early times considered plays to be essentially 'spectacle' (preksa) or 'things' to be visualised ; hence persons attending

' Bhavabhuti however violates the rule in his Uttara. in letting many years pass between Acts I and II.

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the performance of a play were always referred to (XXVII. 48-57) as 'spectators' or 'observers' (preksaka)8 and never as audience (grotr), although there was always the speech element in it, which was a thing to be heard. This disposes of the question of judging the value of a drama except in connection with its production on the stage This importance of the representational aspect of a play has possibly behind it an historical reason. Though in historical times we find written dramas produced on the stage, this was probably not the case in very rarly times, and the dialogues which contribute an important part of the drama were often impro- vised on the stage by the actors", and this practice seems to have continued in certain classes of folk-plays till the late medieval timesIv. Hence the drama naturally continued to be looked uporr by Indians as spectacles even after great playwright creators like Bh.isa, Kalidasa, Sudraka, and Bhavabhuti had writton their dramas which in spite of their traditional form were literary master-pieces. Now, dramas being essentially things to be visualised, their judgement should properly rest with the prople called upon to witnew them. This was not only the ancient Hindn view, even the modern producers, in spite of their enlisting the service of professional (dramatic) critics, depend actually on the opinion of the common people who attend their performance. The judgement of the drama which is to depend on spectators has been clearly explained in the theory of the Suceess discussed in the Natya- Sastra (XXVII). In this counection one must remember the medley of persons who u-ually assemble to witness a dramatic performance and what varying tastes and inclinations they might possess. For, this may give us some guidance as to what value should be put on their judgement which appear to have no chance of unity. In laying down the characteristics of a drama the Natyasastra has the following : "This (the Natya) teaches duty to those bent on doing their duty, love to those who are eager for its fulfilment, and it chastises those who are ill-bread or unruly, promotes self- restraint in those who are disciplined, gives courage to cowards, energy to heroic persons, enlightens men of poor intellect and gives wisdom to the learned. This gives diversion to kinge, firmness [of mind] to persons afflicted with sorrow, and [hints of acquiring] wealth to those who are for carning it, and it brings composure to persons agitated in mind. The drama as I * Preksa occurriog in NS. III. 99. scoms to bo the same as 'pekkha' mentioned in Palt Brahamajalasntta Seo Levi. Il. p. 54. ' Winternitz, Vol.I. pp. 101-102. 10 The Krsnakirtana, a colloction of Middle Bongali songs on Krana and Radha's love-affairs, seems to have been the musical framework of a drama. We saw in our early boyhood that extemporised dialogues were a special feature of the old type Bengali Yatras. Theso have totally disappearod now under the influence of modern theatre which depend on thoroughly written plays,

XLVII have devised, is a mimicry of actions and conducts of pcople, which is rich in various emotions and which depicts different situations. This will relate to actions of men good, bad and indifferent, and will give courage, amuse- ment and happiness as well as counsel to them all" (I.108-112). It may be objected against the foregoing passage that no one play can possibly please all the different types of people. But to take this vicw of a dramatic performance, is to deny its principal character as a social amusement. For, the love of spectacle is inherent in all normal people and this being so, every one will enjoy a play whatever be its theme, unless it is.to contain anything which is anti-social in character. The remarks of the author of the Natyasastra quoted above on the varied profits the specta- tors will reap from witnessing a performance, merely shows in what diverse ways different .types of plays have their special appeal to the multitu- dinous spectators. And his very detailed treatment of this point, is for the sake of suggesting what various aspects a drama or its performance may have for the spectators. This manysidedness of an ideal drama has been very aptly summed up by Kalidasa who says, "The drama, is to provide satisfaction in one [place] to people who may differ a great deal as regards their tastes" (Malavi. I.4). It is by way of cxemplifying the tastes of such persons of different category that the Natyasastra says : "Young people are pleased to sce [the presentation of] love, the learned a reference to some [religious or philosophical] doctrine, the seekers after money topics of wealth, and the passionless in topics of liberation. Heroic persons are always pleased in the Odious and the Terrible Sentiments, personal combats and battles, and the old people in Puranic legends, and tales of virtue. And common women, children and uncultured persons are always delighted with the Comic Sentiment and remarkable Costumes and Make-up" (XXV. 59-61). These varying tastes of individual spectators were taken into consi- deration by the author of the Natyasastra when he formulated his theory of the Success. The Success in dramatic performance was in his opinion of two kinds, divine (daiviki) and human (manusi) (XXVII. 2). Of these two, the divine Success seems to be related to the deeper aspeets of a play and came from spectators of a supcrior order i.c. persons possessed of culture and education (XXVII. 16-17), and the human Success related to its superficial as pects and came from the average spectators who were ordinary human beings. It is from these latter, who are liable to give expression to their enjoyment or disapproval in the clearcst and the most energetic manner, that tumultuous applause and similar other acts proceeded (XXVII. 3, 8-18, 13-14), while the spectators of the superior order gave their appreciation of the deeper and the more subtle aspects of a play (XXVII, 5, 6, 12, 16-17). During the medieval times the approval of the spectators of the latter kind .came to bo considered approciation par

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excellence and pre-ocoupied the experts or learned eritics. Thoy analysed its process in every detail with the greatest possible care in their zealous adherence of Bharata's theory of Sentiment (rasa) built upon what may be called a psychological basis. But in spite of this later development of thia aspect of dramatic cri- ticism it never became the preserve of specalists or scholars. Critics never forgot that the drama was basically a social amusment and as such depen- ded a gr eat deal for its success on the average spectator. Even the Natya- Sastra has more than once very clearly said that the ultimate court of appeal concerning the dramatic practice was the people (XX. 125-126). Hence a fixed set of rules, be it of the Natyaveda or the Natyasastra was never considered enough for regulating the criticism of a performance. This seems to be the reason why special Assessors appointed to judge the different kinds of action occurring in a play (XXVI. 65-69), decided in co-operation with the select spectators, who among the contestants deserved to be rewarded.

6. The Four Aspects of Drama. Though the Hindu plays are usually referred to as 'drama' all the ten varieties of play (rupa) described in the Natyasastra are not strictly speak- ing dramas in the modern sense. Due to the peculiar technique of their construction and production they would partially at least partake of the nature of pure drama, opera, ballet or merely dramatic spectacle. To under- stand this technique one must have knowledge of the Styles (ortti) of dra- matic production described in the Natyasastra (XXII). These being four in number are as follows : the Verbal (bharati), the Grand (sattvatt), the Energetic (arabhati) and the Graceful (kaisiki). The theatrical presenta- tion which is characterised by a preponderating use of speech (in Skt.) and in which male characters are excusively to be employed, is said to be in the Verbal Style (XXII. 25ff.). This is applicable mainly in the evocation of the Pathetic and the Mervellous Sentiments. The presentation which depends for its effect on various gestures and speeches, display of strength as well as acts showing the rise of the spirits, is considered to be in the Grand Style (XXII. 38 ff). This is applicable to the Heroic, the Marvellous and the Furious Sentiments. The Style which includes the prosentation of a bold person spcaking many words, practising deception, falschood and bragging and of falling down, jumping, crossing over, doing deeds of magic and conjuration ete, is called the Energetic one. This is applicable to the Terri- ble, the Odious and the Furious Sentiments (XXII. 55f). The presenta- tion which is specially interesting on account of charming costumes worn mostly by female characters and in which many kinds of dancing and sing- ing are included, and the themes acted ralate to the practice of love and its

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enjoyment, is said to constitute the Graceful Style (XXII. 47ff). It is pro- per to the Erotic and the Comic Sentiments. From a careful examination of the foregoing descriptions one will see that the Styles, excepting the Graceful, are not mutually quite exclusive in their application. On analysing the description of different types of play given in the Natyasastra it will be found that the Nataka, the Prakarana. the Samavakara and the Thamrga may include all the Styles in their presen- tation, while the Dima, the Vyayoga, the Prahasana, the Utsrstikanka, the Bhana and the Vithi, only some of these (XX. 88, 96). Hence one may call inte question the soundness of the fourfold theoretical division of the Styles of presentation. But logically defeetive though this division may appear, it helps one greatly to understand the prevailing character of the perfor- mance of a play as it adopts one or more of the Styles, and gives prominence to one or the other. It is a variation of emphasis on these, which is responsible for giving a play the character of a drama (including a dramatic spectacle), an opera or a ballet, Considered from this standpoint, dramas or dramatic spectacles like the Nataka, the Prakarana, the Samavakara and the Thamrga may, in their individual Acts. betray the characteristics of an opera or a ballet. The Prahasana, an one Act drama to be presented with attractive costumes and dance, may however to some extent, partake of the nature of a ballet. The Dima, the Vithi, the Bhana, ihe Vyayoga and the Utsrstikanka are simple dramas devoid of dance and colourful costumes.

III. Literary Structure of the Drama : 1. Ten Types of Play

The Nalaka. To understand the literary structure of the Hindu drama, it will be convenient to take up first of all the Nataka which is the most important of the ten kinds of play described in the Natyasastra1. (a) Subject-matter and division into Acts. The Nataka is a play having for its subject-matter a well-known story and for its Hero a celebrated person of exalted nature. It describes the character of a person descending from a royal seer, the divine protec- tion for him, and his many superhuman powers and exploits, such as success in different undertakings and amorous pastimes ; and this play should have an appropriate number of Acts (XX. 10-12). As the exploits of the Hero of the Nataka have been restricted to his success in different undertakings including love-matters, it is a sort of 'comedy', and as such it can never permit the representation of the Hero's defcat, flight or capture by the enemy or a treaty with him under compul- 1 NS. ignores the Uparwpakas. For these sce SD. NL. and BhP. etc. G

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sion. Such a representation would negutive the subject of the play which is the triumph or the prosperity of the Hero. But all these exeept his (the Hero's) death, could be reported in an Introductory Scene which may come before an Act. The presentation of the Hero's death was for obvious reasons impossible in a comedy. The first thing that attracts the attention of reader on opening a Nāțaka, is its Prolngue (sthapana or prastuvana). But according to the Natyasastra this was a part of the Preliminaries (purvaranga) and way outside the scope of the play proper (V. 171). That famous playwright- like Bhasa, Kalidasa and others wrote it themselves and made it the formal beginning of their dramas, seems to show that they made in this matter an innovation which as great creative geniuses they were fully entitled to. But unlike the Greek plays the Hindu Natakas are divided into Acts the number of which must not be less than tive' or more than ten (XX. 57). These Acts, however, are not a set of clearly divided scenes a- they usually are in modern western compositions of this category. An Act of the Hindn drama consists of a series of more or less loosely con- nected scenes2 which due to its peculiar technique could not be separated from one another. It has three important characteristie -. {i) Only the royal Hero, his queen, minister, and similar other im- portant personages are to be made prominent in it and not any minor character (XX. 18). This rule seems to be meant for securing the unity of impression which has been referred to before.

(ii) It is to include only those incidents which could take place in course of a single day (XX. 23). If it so happens that all the incidents occurring within a single day cannot be accommodated in an Act these , surplus events are to be reported in a clearly separated part of it, called the Introductory Scene (pravesaka) where minor characters only can take part (XX. 27, 30). The same should be the method of reporting events that are to be shown as having oceurred in the interval between two Acts (XX. 31). Evidently these latter should be of secondary importance for the action of play, But according to the Natyasastra these should not cover more than a year (XX. 28). This allowance of a rather long period of time for less important events occurring between two Acts of a Nataka was the means by which the Hindu playwrights imparted speed to the action of the play and compressed the entire plot distributed through many events over days, months and years within its narrow frame-work suitable for representation within a few hours. (iii) An Act should not include the representation of events relating to feats of excessive anger, favour and gift, pronouncing a course, running

1 Soe note 2 in IV. below.

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away, marriage, a miracle, a battle, loss of kingdom, death and the siege of a city and the like (XX. 20, 21). The purpose of this prohibition was probably that, when elaborately presented in an Act, these might divert much of the spectator's interest from the line of the principal Sentiment which the play was to evoke and might therefore interfere whith the unity of impression which it was to make.

(b) Explanatory Devices (i) The Introductory Scene. It has been shown before how the Hindu playwrights divided the entire action of the Nataka into two sets of events of which the one was more important than the other, and how they represented in its Acts the important set, whereas the less important ones .were reported, whenever necessary, in an Introductory Scene giving one the idca of the time that intervened between any two Acts. This Scene is one of the five Explanatory Devices (arthopaksepaka) which were adopted by the playwright for clarifying the obscurities that were liable to occur due to his extreme condensation of the subject-matter. The other Explanatory Devices are as follows : The Intimating Speech (culika), the Supporting Scene (viskambhaka) the Transitional Scene (ankavatara) and the Anticipatory Scene (ankamukha). (ii) The Intimaling Speech. When some points [in the play] are explained by a superior, middling or inferior character from behind the curtain, it is called the Intimating Speech (XXI. 108). (iii) The Supporting Scene. The Supporting Scene relates to the Opening Juncture only of the Nataka. It is meant for describing some incident or occurrence that is to come immediately after (XXI. 106-107). (iv) The Transitional Scene. When a scene which occurs between two Acts or is a continuation of an Act and is included in it, relates to the purpose of the Germ of the play, it is called the Transitional Scene (XXI. 112). (v) The Anticipatory Scene. When the detached beginning of an Act is summarised by a male or a female character, it is called the Anti- cipatory Scene (XXI. 112). (c) The Plot and its Development The Plot or the subject-matter (vastu) of a Nataka may be twofold : "The principal" (adhikarika) and the "incidental" (prāsangika). The meaning of the principal Plot is obvious from its name, and an incidental Plot is that in which the characters acting in their own interest incidentally further the purpose of the Hero of the pricipal Plot (XXI. 2-5). The exertion of the Hero for the result to be attained, is to be represented through the following five stages (XXI. 8): Beginning (armbha), Effort (prayatna), Possibility of Attainment (prapli-sambhava),

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Certainty of Attainment (niyatapti) and Attainment of the Result (phalaprapti). These five stages of the Plot have five corresponding Elements of the Plot (XXI. 20-21) such as, the Germ (bija), the Prominent Point (bindu) the Episode (pataka), the Episodical Incident (prakari) and the Denouement (karya). Besides these aspeets of the action and the Plot of the Nataka, the elaboration of the latter has been viewed av depending on its division into the following five Junctions which are as follows': the Opening (mukha), the Progression (pratimukha). the Develop. ment (garbha), the Pause (vimarsa) and the Conclusion (nir vahana). And these have been further subdivided and described to give detailed hints as to how the playwright was to produce a manageable play including events supposed to occur during a long period of time. Kalidasa's Sakuntala and Bhasa's Svapna-vasavalatta are well- known examples of the Nataka The Prakarana. The second species of Hindu play, is the Praka- rana which resembles the Nataka in all respect- ereept that "it takes a rather less elevated range". Its Plot is to be original and drawn from real life and the most appropriate theme is love. The Hero may be a Brahmin, merchant, minister, priest, an officer of the king or a leader of the army (XX. 49-51). The female characters include a courtezan or a depraved woman of good family (XX. 33)2. But the courtezan should not meet the Hero when he is in the company of a lady or gentleman of high family, and if the courtezans aud respectable ladies must meet on any account they are to keep their language and manners undistorted (XX. 55- 56). From these and other features, the Prakarana has been called a bourgeois comedy or comedy of manners of a rank below royalty. Sudraka's Mrcchakatika and Bhavabhuti's Malatimadhava are well- known examples of the Prakarana. The Samavakara. The Samavakara is the dramatic representation of some mythological story which relates to gods and some well-known Asura, who must be its Hero. It should consist of three Acts which are to take for their performance eighteen Nadikas (seven hours and twelve minutes).' Of these the first Act is to take twelve and the eecond four and the third two Nadikas only. The subject-matter of the Samavakara should present deception, excitement or love, and the number of characters allowed in it are twelve. And besides this, metres used in it should be of the complex kind (XX. 63-76).

' Wilson who did not see the N.S. said, "We may however observe to the honour of the Hindu drama that the parakiya or she who is the wife of another is nemur to be mate the objeet of dramatte iatrigue, a prohibition which could sadly have cooled the imaginatioa and curbed the wit of Dryden and Oongreve (Seloct Specimeus of Hindu Theatre, Vol. I. p. ziv). See H.H. Wilson, On the Dramatic System of the Hindus, Oaloutta, 1827, p. 16.

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No old specimen of this type of drama has reached us. From the description given in the Natyasastra it seems that the Samavakara was not a fully developed drama, but.only a dramatic spectacle on the sasis of a mythological story. It naturally became extinct with the development and productien of fulfledged literary dramas such as those of Bhasa and Kalidāsa. Thamrga. The Ihamrga is a play of four Acts in which divine males are implicated in a fight over divine females. It should be a play with well-ordered construction in which the Plot of love is to be based on causing discord among females, carrying them off and oppressing [the cnemies], and when persons intent on killing are on the point of starting a fight, the impending battle should be avoided by some artifice (XX. 78-82). No old specimen of this type of play has been found. From the description given in the Natyasastra it seems that the Ihamrga was a play of intrigue, in which gods and goodesses only took part. The Dima. The Dima is a play with a well-constructed Plot and its Hero should be well-known and of the exalted type. It is to contain all the Sentiments except the Comic and the Erotic, and should consist of four Acts only. Incidents depicted in it are mostly earthquake, fall of meteors, eclipses, battle, personal combat, challenge and angry conflict. It should abound in deceit, jugglery and energetic activity of many kinds. The sixteen characters which it must contain are to include different types such as gods, Nagas, Raksasas Yaksas and Pisacas (XX 84-88). No old or new example of this type of play has reached us. It seems that like the Samavakara this was a dramatic epectacle rather than a fulfledged drama. With the advent of literary plays of a more developed kind, it has naturally become extinct. Vyayoga. The Vyayoga is a play with a well-known Hero and a small number of female characters. The events related in it are to be of one day's duratiou. It is to have one Act only and to include battle, per- sonal combat, challenge and angry conflict (XX. 90-92). Bhasa's Madhyama-vyayoga is a solitary old specimen of this type of play. Utsrstikanka, The Utsrstikanka or Anka is an one-act play with a well-known plot, and it includes only human characters. It should abound in the Pathetic Sentiment and is to treat of women's lamentations and despondent utterances when battle and violent fighting have ceased, and its Plot should relate to the downfall of one of the contending characters (XX. 94-100). Bhasa's Urubhanga seems to be its solitary specimen. This type of play may be regarded as a kind of one-act tragedy. The Prahasana. The.Prahasaua is a farce or a play in which the Comic Sentiment predominatesr aud it too is to consist of one Act only.

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The object of laughter is furnished in this, mainly by the improper conduet. of various sectarian teachers as well as courtezans and rogues (XX 102-106). The Mattavilasa and the Bhagavadajjukiya are fairly old specimens of this type of play. The Bhana. The Bhana is au one Act play with a single character who speaks after repeating answers to his questions supposed to be given by a person who remains invisible, throughout. This play in monologue relates to one's own or another's adventure. It should always include many movements which are to be acted by a rogue or a Parasit (XX. 108-110). The Bhanas includod in the collection published under the title Cutur- bhani seem to be old specimens of this type of play. The Vithi. The Vithi should be acted by one or two persons. It may contain any of the three kinds of characters superior, middling and inferior (XX. 112-113). It seems to be a kind of a very short one Act play. But one cannot be sure about this ; for no specimen of this type of play has come down to us.

2. Diction of a Play

(a) The Use of Metre. One of the first things to receive the atten- tion of the Hindu writers on dramaturgy was the umportance of verse in the dramatic dialogue. They discouraged long and frequent prose passages on the ground that these might prove tiresome to spectators (XX. 34). After giving a permanent place to verse in drama the Hindu theorists utilized their detailed knowledge of the structure of metres which varied . in cæsura as well as the number and sequence of syllables or moras in a puda (XV. 38ff., XIV. 1-86), for heightening the effect of the words used, by putting them in a appropriate metres. In this respect they framed definite rnlos as to the suitability of particular metres to different Senti- ments. For example, the description of any act of boldness in connexion with the Heroic and the Furious Sentiments is to be siven in the Arya metre, and compo-itions meant to express the Erotic Sentiment should be in gentle metres such as Malini and Maudakranta, and the metres of the Sakkari and the Atidhrti types were considered suitable for the Pathetic Sentiment (XVII. 110-112). In this regard the Hindu theorists, and for that matter, the Hindu playwrights anticipated the great Shakespeare who in his immortal plays made "all sorts of experiments in metre". (b) Euphony. After considering the use of metres the author of the Natyasastra pays attention to euphony and says, "The uneven and even metres which have been described before should be used in composition with agreeable and soft sounds according to the meaning intended. The playwright should make efforts to use in his composition sweet and agrecable words which can be recited by women. A play abounding in agreeable sound and sense, and containing no

LV obscure or difficult words, intelligible to the country people, having a good construction, fit to be interpreted with dances, developing Sentiments ....... becomes fit for representation to spectators" (XVII. 119-122). (c) Suggestive or Significant names. Another important aspect of the diction was the suggestive or significant names for different characters in a play. It has been said of Gustave Flaubert that he took quite a long time to find a name for the prospective hero and heroine of his novels, and this may appear to be fastidions enough. But on discovering that the Hindu dramatic theorists centuries ago laid down rules about naming the crented characters (XIX. 30-36), we come to appreciate and admire the genius of the great French writer. (d) Varicty of languages or dialects. The use of Sanskrit along with different dialects of Prakrit (XVIII. 36-61) must be ascribed to circumstances in the midst of which the Hindu drama grew up. The dramas reflect the linguistic condition of the society in which the early writers of plays lived. As the speech is one of the essential features of a person's character and social standing, it may profitably be retained unal- tered from the normal. Even in a modern drama dialacts are very often used though with a very limited purpose.

IV. The Ancient Indian Drama in Practice 1. Occasions for Dramatie Performance The Hindu drama like similar other forms of ancient art and poetry seems to have been of religious origin, and it developed probably out of dances and songs in honour of a deity like Siva who in later times came to be styled the great dancer-actor (nataraja). As time passed, the dance with songs gradually assumed the form of regular dramatic spectacles, and the range of subjects treated was extended beyond the legends connected with the exploits of a particular deity. It is just possible that this Revelopment of the religious aspect came in course of time to be partially rrested, and plays began to be composed more with a purely secular haracter. And this change considerably loosened its original connexion ith the popular deities. Possibly due to this the Hindu drama in the istoric period of its career, is found to be acted sometimes for moral edifi- ation as in the case of the Buddhist plays, sometimes for the aesthetic joyment of the elite as in the case of Kalidasa's works, and sometimes hononr of a deity as in case of one of Bhavabhutti's plays. In spite of various uses, the Hindu drama unlike its modern counterparts did ssibly never become an ordinary amusement of everyday life. It was etly on special occasions like a religious festival, a marriage ceremony, ing's coronation, a friend's visit that dramatic performances were held .269 ; AD. 12-14). But among all these occasions religious festivals

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were the most common for the performancee of drama. It was natural that on such occasions the drama was a popular entertainment as well, the public being then in a holiday mood. Another fact about the dramatic performances of the Hindus was that these were sometimes held in the form of contests (XXVII. 21-22, 71, 77-79). Different groups of actors vied with one another for the popular appreciation, and reward for their skill in the particular art. This drama, however does not seem to have been a regular feature of the Hindu, as was the case with that of the Greeks, and theatrical troups gave, how- ever, performance usually for money without any spirit of rivalry towards others, and were paid by the rich people or the different guilds.

2. The Time of Performance

Except in the midnight or at noon or at the time of the Sandhya prayers, the Hindu dramas could be performed almost at any part of the day or of the night. But this does not mean that any play could be pro- duced at any allowable time during the twentyfour hours. Though at the command of the patron the Director of a theatrical party could overlook strict rules in this regard, the time of performance was to be regulated according to the nature of the subject-matter of the individual play. For example, a play based on a tale of virtue was to be performed in the fore- noon ; a performance which was rich in instrumental music, and told a story of strength and energy, was to be held in the afternoon, and a play which related to the Graceful Style, the Erotic Sentiment, and required vocal and instrumental music for its production, was to be performed in the evening ; but in case of plays which related to the magnanimity of the Hero and contained mostly the Pathetic Sentiment, performance was to be held in the morning (XXVII. 88-99). Though in the modern times dramatic perfor mance is mostly held in the evening, the ancient Indian rules regarding the assignment of a play of a particular type to a particular part of the day or of the night need not be considered queer in any way. On the other hand, they appear very much to have been based on a proper understanding of the ever-changeable nature of human personalities. Even if a play based on a tale of virtue or of woc, when properly presented on the stage, could be appreciated at any time, it had better chance of impressing the spectator in the forenoon : or in the morning, when after the night's sleep and rest, he could be the *. most receptive in regard to these Sentiments That a play including a story of energy and strength can better be assigned to the after-noon is to be explaincd on the assumption that on taking rest after meals at the com- pletion the morning's activities, one becomes psychologically more competent to appreciate stories of strength and energy presented on the stage. In a similar manner, a play with love as its principal theme (ie with

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the Erotic Sentimont) may be more effectively presented on the stage in the evening, when after the day's work, one is naturally inclined to enjoy the company of his dear woman, be she his wife or the hetaera. 3. The Playhouse or the Theatre The Natyasastra describes various types of playhouse, and their different parts have been mentioned to some extent in detail. But in the absence of evidence the like of which has been copiously available in case of the Greek theatre, it cannot be said how far the ancient Indian plays were peformed in specially constructed theatres. It may be possible that only the kings and very wealthy people owned playhouses constructed accor- ding to the Natyasastra, while dramatic spectacles meant for the common people were held in the open halls called the Nat-mandir (Natya-mandira) in front of the temples, or in a temporarily devised theatre under the cover a canopy, as in the case of the modern Bengali Yatras which seem to have some resemblance and connexion with the ancient Indian Natya described in the Sastra. One remarkable feature of the playhouses described in the Natya-Sastra is that they are of a very moderate size, the largest among them (meant for mortals) being only thirtytwo yards long and sixteen yards board, capable of accommodating about four hundred (400) spectators. This is in sharp contrast with the Athenian theatre which sometimes held as many as fifteen thousand (15,000) people. " The comparative smallness of the ancient Indian theatre was a nece- ssary consequence of the pecular technique of the dramatic production. For in a larger playhouse the spectators could not all have heard delicate points on which depended in no-small measure the success of a performance. The inordinately large Athenian theatre was not much handicapped in this respect, for the Greek drama depended on a considerably different technique. The Natyasastra describes three main types of playhouse : oblong (vikrsta), square (caturasra) and triangular (tryasra). These again might be the large. medium or small, wlth their length respectively as one hundred and eight, sixtyfout, and thirtytwo cubits. This gives altogether nine different varities of theatres, viz. (i) the large oblong, (ii) the large- square, (iii) the large triangular, (iv) the medium oblong, (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 cubits. This will give us eighteen different diamensions of playhouse. But the Natya- sastra is silent about the use of the playhouse measured in terms of dandas, and the playhouse of the largest type measuring 108 cubits in length have been prohibited by the Sastra for the mortals. And it has been mentioned before that a playhouse more in area than thirtytwo yards long and sixteen H

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yards broad has been prescribed for them. This should be divided into three parts : (i) the tiring room (nepathya) (ii) the stage (rangapitha or rangasirsa) and (iii) the auditorium (rangamandala). Of these the tiringroom would be at one end of the theatre and would measure sixteen yards by four yards. On the two sides of the stage there should be two Mattavaranīs each occupying an area of four yards by four yards and having four pillars. Thus the area to be occupied by the seats of specta- tors would be twentyfour yards by sixteen yards. The tiring room (nepathya) was the place in which the actors and the actresses put on the costumes suited to the different roles, and from this place, the tumults, divine voices (daiva vani) and similar other acts proceeded. This part of the theatre was separated from the stage by two screens over its two doors, Between these two doors the members of the orchestra (kutapa) were to sit and the direction facing them was to be considered conventionally the east. 4. The Representation To understand the technique of representation of the Hindu drama one must remember that it avoided stark realism and gave utmost scope to imagination and fancy. The one unmistakable evidence of this is the total absence of any painted scenery from the stage. This is but a negative side of it. If the Hindus avoided bringing in any kind of artificial scenery, they made positive efforts in communicating the meaning of the drama and calling forth the Sentiment (rasa) in the spectators through suggestive use of colour in the costume and make up of the actors and rhythmic movements of many kinds which have been summed up in their theory of four representations (abhinaya) such as angika, vācika, āhārya, and saltvika (VI.23). (a) The Physical Representation Among these, the angika should be discussed first. This consists of the use of various, gestures and postures of which the Natyasastra gives elaborate descriptions. Different limbs have been named and their manifold gestures and movements described, with various significance attached to each one of them (VIII .- XII). For example, the head has thirteen different gestures which are as follows : Akampita : Moving the head slowly up and down. Kampita: when the movements in the Akampita head are quick and copious. (Uses) : The Akampita head is to be applied in giving & hint, teaching questioning, addressing in an ordinary way (lit. naturally), and giving an order. The Kampita head is applicable (lit. desired) in anger argument understanding, asserting, threatening, sickness and intolerence. Dhuta and Vidhuta : A slow movoment of the head is called the

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Dhuta and when this movement is quick it is called Vidhuta. (Uses) : The Dhuta head is applicable in unwillingness, sadness, astonishment, confidence, looking side ways, emptiness and forbidding. The Vidhuta head is applied in an attack of cold, terror, panic, fever and the first stage of drinking (i. e. intoxication). Parivahita and Udvahita : when the head is alternately turned to two sides it is called the Parivahita, and when it is once turned upwards it is known as the Udvahita. (Uses) : The Parivahita head is applicable in demonstration, surprise, joy, remembering, intolerence, cogitation, concealment and [amorous] sporting. The Udvahita head is to be applied in pride, showing height, looking high up, self-esteem and the like. Avadhuta : When the headts once turned down it is called the Avadhuta. (Uses): it is to be applied in [communicating] a message involking a deity, conversation and beckoning [one to come near]. Ancita : When the neck is slightly bent on one side the Ancita head is tha result. (Uses) : It is applicable in sickness, swoon, intoxication anxiety and sorrow. Nihafcita : when two shoulders are raised up with the neck bent on one side the Nihancita head is produced. (Uses) : It is to be used by women in pride, Amorousness (vilasa), Light-heartedness (lalita). Affected Indifffirence (bibboka), Hysterical Mood (kilakincita). Silent Expression of Affection (mottayita), Pretented Anger (kuttamita)' ; Paralysis (stambha) and Jealous Anger (mana). Paravrtta : when the face is turned round, the Paravrtta head is the result. (Uses) : It is to be used in turning away the face, and looking back and the like. Utksipta : when the face is raised up the Utksipta head is the result. (Uses) : It is used indicating lofty objects, and application of divine weapons. Adhogata : The head with the face looking downwards is called the Adhogata. (Uses) : It is used in shame, bowing [in salutation] and sorrow. Parilolita : when the head is moving on all sides, it is called Parilolita. (Uses) : It is used in fanting, sickness, power of intoxi- ation, possession by an evil spirit, drowsiness and the like. The eyes are similarly to have different kinds of glances according to the States (dhava) and Sentiments (rasa) they are to express. The cyeballs too are liable to similar changes to creat impressions of different feelings and emotions, and so have the eyebrows, the nose,

XXIV. 15, 18-22. 1 For the definition of all these terms together with the preceding ones see NS.

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the cheeks, the chin, and the neck. The hands, however, are the most important limbs in the making of gestures. Gestures and movements of hands fall into three classes, viz. single (asamyuta), combined (samyuta) and dance hands (nrtta-hasta). Single-hand gestures and movements relate to one hand only, while combined hands to both the hands. The following are examples of the three kinds of hand gestures :- Pataka (single hand): The fingers extended and close to one another and the thumb bent. A jali (combined hand) Putting together of the two Pataka hands is called the Apjali. Caturasra (dance-hand) : The Katakamukha hands held forward eight Angulis apart [from cach other] on one's breast, the two shoulders and elbows on the same level. Besides these gestures, the hands have varied movements which are characterised by the following acts : drawing upwards, dragging, drawing out, accepting, killing, beckon- ing, urging, bringing together, separating, protecting, releasing, throwing, shaking, giving away, threatening, cutting, piercing, squeezing and beating(IX. 161-163). From the foregoing discussion about the gestures it is apparent that their uses fall into two different categories, viz. realistic and conven- tional. Of these two types, the gestures used conventionally far outnumber those of the other kind. But this should not appear strange. For the ancient Indian dramatists and theatrical producers were fully conscious of the limited scope of realism in arts of various kinds, and hence they conceived action as comething very closely allied to dance. This demanded that while moving on the stage with or without uttering any word, the actors should gesticulate rhythmically, to impart grace and decorative effect to their figure. For this very purpose another set of gestures called Dance-hands (nrttahasta) are also to be used. As their name implies these hands were exclusively to be used in dance, but for reasons men- tioned above they were sometimes utilized at the time of declamation or recitation. The lower parts of the body down to the ffeet are also to be similarly used. Among these, the feet are the most important. On them depend the different movements of the entire body as well as the various standing postures. The movements of the fect are of three kinds, viz. ordinary gait, Cari and Mandala, Of these, the Cari is a simple movement of the feet (XI.) while Mandala, is a series of such movements considered together (XII.) During the stage fighting the two combatants are to move with Caris and Mandalas in accompaniment with suitable music. And the gait is very valuable for the representation of different roles. In this matter too convention plays a very considrable part. The Natyasastra lays down elaborate rules about the width of footsteps and the tempo of the gait for different characters according to their social position, age, sex, health and feeling as well as the peculiar environments in which they might be placed (XIII, 1-157).

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(b) The Vocal Representation The second means of theatrical representation consists of the use of speech. It relates to the proper musical notes (svara) voice registers (sthana), pitch of vowels (varna), intonation (kaku), speech-tempo (laya) to be used in reciting or declaiming a passage for the purpose of evoking different Sentiments (rasa) in the spectators. For cxample to call forth the Comic and The Erotic Sentiments a passage should be recited with the Madhyama and the Pancama notes, and for the Heroic and the Marvellous Senti ments the Sadja and the Rsabha would be the suitable notes. To call a person staying at a distance the voice should proceed from the head register (siras) and when he is at a short distance it should be from the chest (uras), and for calling a man at one's side the voice from the throat register (kantha) would be proper (XIX. 43). For any speech with the Comic and the Erotic Sentiments the prevail- ing pitch would be Udatta (acute) and Svarita (circumflex) while in the Heroic, the Furious and the Mervellous Sentiments it should be Udatta and Kampita. In the Comic and the Erotic Sentiments the speech-tempo should be medium, in the Pathetic slow, and in the other Sentiments a quick tempo is appropriate (XIX. 59). Besides the above aspects of speech, close attention was to be given in observing rhythm and cadence. And the metrical character of any passage in verse was to be fully expressed in its recitation or declamation. For this propose the Natyasastra devotes nearly two full chapters (XV, XVI) which discuss prosody and allied topics. (c) The Costumes and Make-up One important element in theatrical representation now-a-days is the various stage appliances such as, painted scenery, costumes and make-up However able the actors aud actresses might be in delivering the speeches assigned to their roles, without being placed against properly painted scenery and without having proper costumes and make-up, by their acting and delivery alone they cannot create that kind of stage-illusion which is necessary for the success of a dramatic production. But in the ancient Indian stage there was no painted scenery. Hence the actors had to depend a great deal upon costumes and make-up. By the term Aharyabhi- naya the Hindu theorists understood these two items (XXIII) .. Though painted scenery is considered indispensable in the modern, theatre, the aucient Indians having a considerably different conception of the drama, did not require its aid for the production of a play. The wall that separuted the tiring room (nepathya) and the stage (raiigapitha) together with the screens covering the two doors connecting the stage and the tiring room, served as the back-ground to show off to advadtage the

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figures of the performers. And these, the wall and the screens, possibly did not contain anything other than the usual decorative designs. This simplicity in the character of the scenic apparatus was a nacessery con- comitant of the peculiar technique of the Hindu drama, and its cause may be looked for in its early history. The introduction of magnificent scenery appears to be a later development in the history of drama. Similarly the back scene of the Shakaspearean stage consisted of a bare wall, and anything in the way of spectacular effect was created by the movements and grouping of actors The production of an impression by means of painted scenery would have been alien to the taste of the ancient Hindus who were more or less conscious of the limitation of realism in their various arts. In order to make the spectators visualise the place and time of the dramatic story in hand, the Hindus had a different device. Numerous descriptious of place and time composed in rhythmic prose and verse, which are scattered over the classical Hindu plays, served very efficiently indeed the purpose of painted scenery. When properly read or sung, these passages very easily created an illusion of the place or the time described. The elaborate description of Vasantasena's magnificent reisdence in the Mrcchakatika was calcu- lated to call up vividly its picture before the mind's eye. The same thing may be said of the grand description of the Dandaka forest in the Uttararamacarita. This device of making a scene lively, has been utilized by Shakespeare also. In appreciation of his very beautiful des- cription of place and time, one critic says "The plays are full of such des- criptive passages as can nullify the achievements of decorators and mechanics." It has already been mentioned that in the Shakespercan stage too painted scenery was unknown. There being no scenery of any kind in the Hindu theatre which made no effort at realism, the spectators were required to use their imagination to the utmost. The demand on the spectator's imagination made by the ancient Indian producers of plays was further testified by their rules of conventional Zonal division (kaksa-vibhaga) of the stage (XIV. 1-15). Some of these are as follows : A Zone might change with the actor walking a few steps over the stage .* Any ancient Hindu play will furnish numerous examples of this convention. For erample in the first Act of the Sakuntala the king appears for the first time at a distance from Kanva's hermitage, but shortly after- wards he enters it by simply taking a few steps over the stage, looking around and saying. "This is the entrance of hermitage and let me enter it". By the same kind of convention the inside and outside of a house was

' Due to this kind of convention, scenes of the Hindu plays were not clearly separated as they are in a modern drama. This puzzled F. Hall who says :

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simultaneously presented.3 The rule relating to this was as follows : According to the Zonal division, those who entered the stage earlier should be taken as being inside [a house] while those entcring it later are known to be as remaining outside it. He who enters the stage with the intention of seeing them (i.e. those entering earlier) should report himself after turning to the right. To indicate going to a distant locality one is to walk a good few steps over the stage and to indicate going to a place near by, a short walk only is needed, while a walk of medium duration will indicate going to a place of medium distance, But in case a person leaves one country and goes to a distant land, this is to be indicated by closing the Act in which such an event occurs, and mentioning again the same fact in an Explanatory Scene at the beginning of the next Act. An example of some of these conventional rules occurs in the ninth Act of the Mrechakatika where Sodhanaka appears first as being at the gate of the court of justice and enters it by making a pantomimic move- ment ; then again he goes out to receive the judge and re-enters, the court- room after him by simply walking over the same stage. And when the judge has started work, Sodhanaka again goes out to call for the complain- ants. This going out also consists of actually walking a few steps over the stage. Though painted scenery was not in use in the Hindu theatre objects like hills, carriages, aerial cars, clephants etc, were represented on the stage by suggestive models (pusta) of these. According to the Natyasastra the model works were of three kinds, viz. sandhima which was made up of mat, cloths or skins, wrapping cloth, or other materials wrapped round something, and vyajima which was a mechanical contrivance of some kind From Dhanika, the commentator of the Dasarupa (II. 67-58), we learn about a model-work of an elephant for the production of the Udayana- carita, and the Mrcchakatika owes its name to the toy cart which plays an indis pensable role in the story. (d) The Temperament The fourth or the most important means of representation is the Tem perament (sattva) or the entire psychological resources of a man (XXIV), The actor or the actress must for the time being feel the States that he or she is to represent, and only then will the Sentiments related to them follow. This kind of reprsentation was indispensable for lgiving expression to various delicate aspects of men's and women's emotional nature.

So far as is known, Hindu dramas have always been parted into acts; but never lave they had scenes. It is somewhat to be wondered at, that the Hindus, wi h their nordinate love for subdivision, should have left those univented. (Introduction to Dasarupa, pp. 28-29. * Seo note 2 above.

V. Literature on the Ancient Indian Drama

1. The Early Writers Śilalin and Krsasva. Panini (circa 500 B:C.) refers (IV. 3.110-111) to the Natasuttras of Silalin and Krsasva. As the works of these two authors have perished beyond recovery we are not in a position to have any exact idea about their contents. But Levi and Hillebrandt have taken them to be manuals for actors (nata) though Weber and Konow have con- sidered these to have been sets of rules for dancers and pantomimists, and Keith has accepted their view. Konow further thinks that the treatises of Silalin and Krsasva were absorbed in the body of the Natyasastra (ID. p. 1)

2. The so-called sons of Bharata After Silalin and Krsasva come the writers whose names have been included in the list of the one hundred sons of Bharata, given in the extant version of the Natyasatra. (I. 26-22). Among these Kohala, Dattila (Dhūrtila), Šālikarņa (Sātakarņa), Bādarāyaņa (Bādari), Nakhakuțța and Asmakutta have been referred to and quoted by later writers as authorities on dramaturgy and histrionics. Besides these, Vatsya and Sandilya have been named as authorities on drama by some writers. Such references and quotations are our only source of knowledge of them and their work. (a) Kohala Among the writers on drama who wrote after Silalin and Krsaśva, Kohala seems to be the most important. In the extant version of the Natyasastra (XXXVI. 63), it is given in the form of a prophecy that Kohala will discuss in a supplementary treatise all those topics on drama that have not been touched by Bharata. From quotations of his works made by Abhinava1 and another commentator,2 as well as from their references to his opinion, it appears that Kohala wrote on dance and dramaturgy as well as historionics and music. (b) Dattila, Sandilya, and Vatsya, Dattila seems to be identcal with Dantila or Dhurtila mentioned in the Natyasastra (I. 26). Abhinava too quotes from one Dattilacarya3 and it is likely that he is not other than this Dattila. From these quotations .it appears that he wrote on histrionics and music. Sandilya and Vatsya montioned in the Natyasastra (XXXVI. 63) along with Dattila (Dhurtila) are to us nothing but mere names. It is possible that they were writers on some aspects of drama and theatre.

1 Ag I. pp. 173, 182, 183-184; II p. 26, 55, 130, 133, 142, 116, 148. 151, 155, 407, 416-417, 421, 434, 438-439, 413, 452, 459; De' Ms. p. 413, 436, 496, 521, 680. * BhP. pp. 204. 210, 236' 245, 251. Ag. I. p. 205, Besides this Ag. quotes and refers t) Dattila no less than 14 times while comenting on chapter on music. See De's Ms. pp. 544, 573, 576, 580, 583, 588, 590, 621, 625, 628, 633, 633, 640, 642, 644, 650, 655. See also Kutta sl, 123.

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(c) Śātakarņi (Sātakarņa, Šālikarņa). Sātakarņi as a proper name is found in inscriptions from the first century B. C. to 149 A. C. Hence it is possible (though not quite certain) that Satakarni the writer on drama flourished about the first century A. C.4 Like kings in later times who were sometimes found to take interest among other subjecte in drama and poetics and to write trentises on them, this Satakarni might well have been a king or a person of royal descent. From the quotations made by later writers5 from him it appears he wrote on dramaturgy. (d) Asmakutla and Nakhakutta. These two writers from their names appear to have been contemporarics, probably belonged to the same locality. Sagaranandin6 and Visvanatha7 quote from Nakhakutta, and Sagara only is, known to have quoted from Asmakutta8, From these quotations it appears that Aśmakutta and Nakhakutta wrote on dramaturgy. (e) Bādarūyaņa (Bādari). Sāgara quotes from Badarāyaņa twice9 .

and possibly names him once as Badari, and from the extracts quoted it seems that this early writer discussed dramaturgy. 3. Samgrahakara Abhinavagupta once mentioned the Samgraha and once the Sam- grahakara.10 In the Natyasastra (VI, 3, 10) itself also one Samgraha has been mentioned. It seems that the reference is to the identical work. From these facts it appears that the work might have been a compendium treating of dramaturgy as well as histrionics.

4. The Present Text of the Natyasastra (circa 200 A.C.).11 5. Medieval Writers on Drama (a) Nandi (Nandikesvara) Tumburu Visākhila and Cārāyaņa. Besides the writers mentioned above Abhinava and Saradatanaya refer to Nandi or Nandikesvara12 and the former also names Tumburu13 and Visakhila14 with occasional reference to their views or actually quotations from them, and Carayana has once been quoted by Sagaranandin.15 (b) Sadusiva, Padmabhīi, Drauhiņi, Vyūsa and Anjaneya.

4 Solect Inscriptions, pp. 191-207. . NL. 1101-1102, Rucipati's Comm. on AR. p. 7. NL. 2768-2769, 2904-2905. ' SD. 294, Nakhakutta has also been mentioned by Bahurupa in his Comm. on Dasarupa (Indian and Iranian Studies presented to D. Ross, Bombay. p. 201), p. 201 f.n. 83, 437. 2766-2707, 2774-2775. 9 NL. 1092-1094, 2770-2771, 10 Ag. II. pp. 436, 2770-2771. 11 See below sections VI. and VIII.

the author of the AD. 1 Ag. I. p. 171, De's Ms. p. 559. This Nandikesvara may be identical with 19 Ag. I. pp. 165. 14 Ag. I. p. 199 also De's Ms. pp. 547, 561, 573, See also Kutta, sl. 123. 15 NL. 362-363. Z H

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Abhinava and Saradatanaya once refer to Sadasiva1e while some writers on drama, such as Padmabhut,17 Drauhini,18 Vyasal9 and Anjaneya"0 have been named by Saradatanaya only. But we are not sure whether they were really old authors or these names have been attached to some late treatises to give them an air of antiquty. (c) Kâtyayana, Rahula and Garga. These three writers, quoted by Abhinava and Sagara may be counted among the medieval writers on on drama. From the available extracts from his work Katyayana21 seems to have been a writer on dramaturgy. Rahula has been twice quoted in Abhinava's commentary, and Sagara3 has once referred to his view."8 From these it appears that Rahula was a writer on dramaturgy as well as histrionics. Garga as an authority on drama has been mentioned by Sagara- nandin."4 In the absence of any quotation from him we cannot say what exactly he wrote about. (d) Sakaligarbha and Ghantaka. Abhinava mentions among others the names of Sakaligarbha75 and Ghantaka." Of these two, Ghantaka seems to be a contemporary of Sankuka, and as for, Sakaligarbha, we have no definite idea about his time. From the references to their views it appears that they wrote on dramaturgy. (e) Vartika-kara Harsa. Abhinava once quotes from the Varti- kakrt77 and once from the VartikaB8 and next time from the Harsa- vartika,"9 and besides this he once refers to the views of the Vartika- karī.80 Sagaranandin and Saradatanaya refer to one Harsavikrama31 or Harsa.33 It seems possible that they all referred to the same anthor, and the name of the author of the Vartika was Harsa or Harsa-vikrama. From these quotations and the references it appears that this Vartika was an original treatise on dramaturgy and histrionics. (f) Matrgupla. Matrgupta has been taken to be a commentator of the Natyasastra by Sylvain Levi.33 Though this view has been accepted by authors who have written later on the subject,8 from the metrical extracts35 made from his work by some commentators it appears

BhP. 152, DR. IV. 38-3). " Bh". p. 47. 1 BhP. p. 239. 1º BhP. 251. 10 Soe note 19. 21 NL. 1484-1485. Ag. II. pp. 245-246. 23 Ag. I. pp. 115, 172. NL. 2873-2175. " NL. 3225. 34 NL. 3226. " Ag. Il. p. 452. Kavi thinks that Sakaligarbha = Sakaleya= Udbhata. 26 Ag. Il. p. 436. ' Ag. I. p. 172. This Vartika seoms to have been in original work like Kuma- rila's Slokavartika written in verso. 19 Ag I. p. 207 also De's Ms. p. 545. 28 Ag. I. p 174. 30 Ag. I. p. 31. #I NL. 3225. 3% BhP. 233. a Le Theatre indien p. 15. 14 e. g. Skt. Poetics, Vol. (p. 32-33).

1186 (?). BhP. p.234. " A. dy pp. 2, 5, 7, 8, 9, 13, 15, 110, 126, 230, NI .. 102, 314-316, 459-471, 534,

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that he composed an original work on the subject. It is probable that in this he occasionally explained in prose the view expressed by the author of the Natyasastra.36 Interpreting in this manner one can understand the words of Sundara-misra, who, commenting on Bharata's definition of the Benediction (nandi), remarks that 'in axplaining this Matrgupta said cte'.37 About the time of Matrgupta, we have no sufficient evidence. All that can be said is that, Abhinava quotes from his work once38 and hence he was earlier than this great well-known commentator,. Besides this Sagaranandin, who is possibly earlier than Abhinava, names Matrgupta along with old writers such as Asmakutta, Nakhakutta, Garga, and Badarayana (Badari);39 hence it appoars that he was not a late writer. From the meagre information available about him scholars have identified him with the poet of that name living during the reign of Harsa- vikramaditya of Kashmir who seems to have been the author of a work on drama called Vartika. This would roughly place his work at the end of the 4th century A.C. or in the beginning of the 5th.40 From the extracts made from his works it appears that wrote on dramaturgy and music. (g) Subandhu. Saradatanaya refers to one Subandhu who wrote on dramaturgy.4Y If it is possible to identify him with the famous author of the Vasavadatta, then he may be placed roughly in the 5th century A.C. (h) The compilers of the Agnipuruna and the Visnudharmottara, The Agnipurana treats of nalya, nrtya, and rasa, but this treatment depends considerably on the Natyasastra. There is literal borrowing from this work as well as parapharases of some of its metrical passages in this Purana. This portion of the Agnipurana is usually placed after Dandin (circa. 7th century).42 The Visnudharmottara too treats of nrtta, natya and abhinaya, and this treatment too is dependent on the Natyasastra and does not appear to be earlier than the 8th century. 6. Late writings on Drama (a) Dasarūpa. The Dašarūpa (Daśarūpaka) of Dhanañjaya was composed in the last quarter of the 10th century A.C. during the reigu of Muñja (Vakpatiraja, II) the king of Malawa. This work, as its name implies, treats of ghe ten principal forms of dramatic works (rupa) which constitute the subject-matter of chapter XX of the Natyasastra, but it

= For example Sagara, (NL. 534ff.) discusses Matrgupta's view in his compi- lation which is written in verse and prose. It seems that this author was his model. "1 Skt. Pootics Vol, I. pp. 102-103. " Ag. De's Ms. p. 543. Dr. S. K. De thought that Matrgupta was unknown to Ag. (Skt. Poetics, Vol. I. p. 33). 19 See note 23 above. 41 BhP. p. 238. 40 Keith, Skt. Drama, p. 291. 43 Skt. Poetios, Vol. I. p. 102-103.

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actually brings in a few other relevant matters scattered over other parts of this comprehensive work. Any careful student of the Natyasastra will casily discover that Dhananjaya in restating the principles of dramaturgy in a more concise and systematic form has carried too far the work of his abridgment and left out quite a number of important matters. The special stress which he lays on the literary aspect of drama by his exclusion of its histrionics and other technical sidcs, very clcarly indicates the general decadene of India's aesthetic culture at the time. With his professed reverence for the rules of the Natyasastra (ascribed to Bharata), he seems to have mis- understood the aims and objects of its author who composed his work for the playwrights as well as the producers of plays.48 But whatever be its limitation, the Dasarupa, and its commentary Avaloka without which it was only half intelligible, attained in course of time a wide popularity and gradually superseded the Natyasastra which seems to have become very rare with the passage of timc. And the Dasarupa so thoroughly supplanted other dramaturgic works as existed before its time, that with the exception of the Natyasastra it is the most well-known work on the subject and very frequently drawn upon by the commentators of plays as well as later writers on dramaturgy like Viśavanātha. (b) Natakalaksana-ratnakosa. Slightly earlier than the Dasarupa or contemporaneous with it,44 is the Natakalaksana-ratnakośa (briefly Națakalakșana) of Sagaranandin. Till about a quarter of a century ago our only knowledge of the work consisted of a few quotations from it in different commentaries. But in 1922 the late Sylvain Levi discovered its Ms. in Nepal and published a report on its contents and other relevant matters (Journal Asiatique, 1922, p. 210). Since then the work has been carefully edited by M. Dillon and published (London, 1937). Just like Dhananjaya, Sagaranandin too discusses in his Natakalakșana, dramaturgy in detail and mentions only incidentally certain topics connected with histrionics. But unlike the Dasarupa the Natakalaksana docs not treat exclusively of dramaturgy, but refers to histrionics whenever necessary. Though the author professedly depends on no less than seven diffcrent authorities such as Harsa-vikrama, Matrgupta, Garga, Asmakutta, Nakha- kutta, Bādari (Badarayana), and Bharata (the mythical author of the Nāțyasāstra) yet his dependence on the last-named one seems to be the greatcst. A large number of passages have actually been borrowed by him from the same.45 Besides these borrowings the extent of Sagaranandin's

43 Ag. I. p. 7. 47 See R. Kavi, 'Date of Eagara-Nandin' in Indian and Iranian Studies premented to D. Ross. Bombay. 1939. pp. 198ff, 4s Seo NL.pp 143-144.

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dependence on the Natyasastra is apparent from his cchoing of the numerous passages6 of the latter. (c) Nāt yadarpana. The Natyadarpana47 of Rāmacandra and Guņa- candra is the next important work on dramaturgy after the Dasarupa. Of the two joint-authors48 of this text, who were Jains Ramacandra lived probably between 1100 and 1175 A.C., and he was a disciple of the famous Hemacandra. Ramacandra wrote a large number of works including many plays. But of Gunacandra, the collaborator of Ramacandra, very little is known except that he too was a disciple of Hemacandra. The Natyadarpana which is divided into four chapters, treats of dramaturgy. This work has been composed in Anustup couplets. Its brevity of the treatment is comparcable to that of the Dasarupa, and as in the latt r many of its passages cannot be fully understood unless a commentary is consulted. Fortunately for us the joint-authors of the work have loft for us a very clearly written and informative urtti (gloss). It is evident from the metrical text that the authors had access to the Natyasastra and ex- ploited it very thoroughly, And whatever could not be accommodated in the text has been added in the prose vrtti which has utilised also Abhi- nava's famous commentary. Besides this the authors have occasionally criticised the views of other writers among whom the author of the Dasa- rupa figures most prominently.50 All this has given the Natyadarpana a unique value and some superiority over the Dasarupa. (d) Ruyyaka's Natakamimāmsa. Ruyyaka alias Rucaka,"T who was a Kashmirian and flourished probably in the 12th century, was a voluminous writer on poetics. It was from one of his works (a commentary of Mahima-bhatta's Vyaktiviveka) that we learn of his Natakamimamsa a work on dramaturgy. No Ms. of this work has so far been discovered. (e) Bhāvaprakāsana. Sāradātanaya, who seems to have been a Southerner and flourished in the 12th century, wrote the Bhavaprakasana>3 which dealt with dramaturgy in greater detail than cither the Dasarupa or the Natyadarpana. And his work acquires an additional authority from the fact that Saradatanaya had as his teacher one Divakara who was the Director of a theatre54 and might be taken as deeply conversant with the theory and practice of Indian drama as it was current in his time. Though Saradatanaya depends much on earlier authors for the materials of his work, yet his approach to the subject is to some extent original. As the name of his work implies, it deals with the "expression" prakūsa of the

40 Printed out by M. Dillon in the margin of NI. Ed. in G.O.S. Baroda, 1929. . See Introduction of ND. p.3. 4D But they have also drawn materials from older writers like Kohala, Sankuka and Ag. See ND. p. 224. 0 See ND. Introduction p. 3. st Skt. Poetics, p. 190ff. " Ibid. p. 186. 53 Ed. G.O.S. Baroda, 1930, * BhP. p. 2 also Introduction, p.G.

LXX "State" (bhava). Now the proper expression of the States by the actors according to the Natyasastra gives rise to the Sentiments (rasa). Hence Saradatanaya begins his work with the description of the States and everything connected with them. Next he passes very naturally to the discussion of the Sentiments, These being thoroughly discussed, he takes up the Heroines of different classes who are the main stay of the Sentiments. The time factor in the plot and the diction of the play which also are means of developing the Sentiments are considered next. Afterwards he analyses the body of the play and its different parts. This brings him to the consideration of the ten major and twenty minor types of play (rupa), and finally of the miscellaneous matters connected with drama and theatre. To avoid prolixity we desist from giving here any detailed account of its contents which include all. possible topics rclating to dramaturgy. It may be briefly said that . Saradatanaya's treatment of the subject is in many respects more comprehensive than that of the Dasarupa, the Natakalaksana, and the Natyadarpaņa. And to attain his object Saradatanaya has freely referred to the Natyasastra55 as well as the works of carly writers like Kohala,36 Matrgupta,57 Harsa58 and Subandhu.59 Besides this he has sometimes mentioned authors like Dhvanikrt, Rudrata, Dhanika, Abhinava, Bhoja and, sometimes referred also to their views and criticised these.60 All this adds to the great valuc of his work. (f) Sāhityadarpaņa and Nāļakaparibhāsa, Višvanātha Kavirāja, who flourished about the thirteenth century"f was a poet and a scholar and in this latter capacity he wrote among other things the famous Sahityadrapana which treats all branches of the Skt. literature including drama. It was the sixth chapter of this work dealing with drama on which the early western writers of the ancient Indian drama mostly depended. For his treatment of drama Visvanatha seems to have utilised the Natya- Sastra, the Dasaru pa63 and its commentary Avaloka64 as well as the work of Rudrata and others. Singa-Bhupala's Natakaparibhasa is known only in name. But his Rasarņavasudhakara65 also treats of drama towards its end, It seems that no important treatise on drama was written after all these works. ,65 Saradutanaya's debt to NS has bcen pointed out by the editor of his work, s ee Introduction of BhP. pp. 61-67. 3e See above note 1. See above notes 33-37. See above notes 31-32. * See abeve note 41. BhP. pp. 175, 179, 95, 150, 327, 82 160, 194, 313, 12, 152, 194, 213, 216, 242, 245, 251. G1 Skt. Poetics, Vol. 1. pp. 233 ff. G1 See SD. 281, 306, 321, 503, 517, 537. 03 See SD. Visvan tha wrongly a ascribed to Dhanika what belongs to DR. (III. 32-33). This misled some scholars to beliove that Dhanika and Dhananjaya were not different porsons. 4 See Skt. Poeties. Vol. I. pp. 242 f. Ed. Trivandrum Oriental Series, 1916. .

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VI. The Natyasastra : The Text and its Commentators

1. Its Author

The Natyasastra is commonly attributed to Bharata Muni.J But Bharata cannot be taken as its suthor, for in the Natyasastra itself his mythical character is very obvious, and the majority of the Puranas are silent about the socalled author of the Natyasastra", and there is not a single legend about him in any of the extant Puranas or the Ramayana and the Mahabharata. The word Bharata which originally meant 'an actor' seems to have given rise to an eponymous author of the Bharalasastra or the Natasastra (the manual of actors). 2. Its Two Recensions Whoever might be the author of the Natyasastra it is certain that the work itself possesscs undoubted signs of great antiquity, and one of these is that its text is available in two distinct recensions. In having two partly divergent recensions the Natyasastra can well be compared with works like the Nirukta, the Brhaddevata and the Sakuntala. The editors of these works have differently settled the claims of their shorter and longer recensions. At first sight the tendency would be to accept the shorter recension, as representing the original better, because claboration would seem in most cases to come later. But opinion is divided in this matter: Pischel regarded the longer recesion as being nearer the orginal", Macodonell has also given his verdict in favour of the longer reccsion4 but he has not ventured to reject the shorter recension entircly as being late, and Lakshman Sarup has definitely suggested that the shorter recension is the ealier onc.5 All these go to show that the problem of the relation between two recensions of any ancient work is not so simple as to be solved off-hand. So in this case also we should not settle the issue with the idea that the longer recension owes its bulk to interpolations. The text-history of the Natyasastra shows that already in the tenth century the work was available in two recensions. Dhananjaya the author of the Dasarupa quotes from the shorter recension while Bhoja, who closely follows him, quoted from the longer one.6 Abhinava in his commentry of the Natyasastra, however, used the shorter recension as the basis of his work .? It is likely that the long time which passed since then has witnessed at least minor changes, intentional as well as unintentional, in the

1 See IHQ. Vol. VI. 1930. pp. 72 ff, Annals of BORI, Vol. XV, 1934, p. 90 fn. See NS.I. 2-5 note 2. ' Kalidasa's Sakuntala, HOS. p. XI. 4 The Brhaddevata, HOS. Vol. I. p. XVIII-XIX. · Introduction to the Nighantu and Nirukta, p. 39. Preface to Baroda ed. of N.S. Vol. I. p. 8. 1 Sce abuve note 6.

text of both the recensions. Hence the problein becomes still more diffioult. But a caroful examination of the rival recensions may give us some clue to their relative authenticity. Ramakrishna Kavi who has examined no less then forty Mss of the text, is of opinion that the longer recension (which he calls B.) seems to be ancient, although it contains some inter polation (pointed at by him) going back to a time prior to Abhinava.8 Mr. Kavi, however, does not try to explain the origin of the shorter recension which he calls A. This view regarding the relative authenticity of the longer recension seems to possess justification. Reasons supporting it are to be found in the tests differentating the two recensions, which are as follows : (i) Chapters XIV and XV of the shorter recension dealing with prosody introduce the later terminology of Pingala (ra, ja, sa, na, and bha ganas etc.) while the longer recension uses terms like laghu and guru in defining the scheme of metres. . (ii) The shorter reccnsion in its chapter XV gives definitions of metres in Upajati. while the corrosponding chapter (XVI) of the longer recension gives them in Anustup metre and in a different order. Considering the fact that the bulk of the Natyasastra is written in this (Anustup) metre the longer recension in this case seems to run closer to the original work.9 Though Ramakrishna Kavi, has overlooked it, there is yet another point which may be said to differentiate the two recensions. The chapter dealing with the Natyagunas and Alamkaras have nearly forty slokas differntly worded in the two recensions. These Slokas in the longer recension (ch. XVII) are written in the usual simple language of the Natya- Sastra while (ch. XVI) in the shorter recension (the Slokas) betray a later polish. The opening stanzas of the chaptar (XVI) in the shorter recension are in Upajati metre while in the longer recension (ch. XVII) they are in the sloka metre. This points to the carlier origin of the latter for the bulk of the Natyasastra as has been pointed out before is composed in the same metre. Now the shorter recension which appears to be of later origin, does not seem to be totally devoid of worth. It appears that this has in certain cases preserved what once existed but are now missing in the longer recension. The cases in which the shorter recension gives in a different language the corresponding passages of the longer recension may be explained by assuming that the passages in question were probably written from memory of the original in the prototype of the recension. 3. Unity of the Natyasastra

Some scholars have entertained a doubt the unity are authorship of the Natyasastra. They think that there are indications that "it (the

. See above note 6. ' See above note 6.

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Natyasustra) has been subjected to considerable rehandling in later times before it assumed the present shape ......... The alleged indications may be sumned up as follows : (i) The colophon at the the end of the KM. text of the Natyasastra. (ii) The mention of Kohala as the future writer on certain topics in the Natyasāstra (XXXVI. 63). (iii) Bhavabhūti's reference to Bharata Muni, the socalled author of the Sastra, as the Tauryatrika-sutrakara. (iv) The mention of the sulra, the bhasya and the karika as its constituent parts in the Natyasastra itself along with the the existence of prose passages in it. As for the first alleged indication Dr. S. K. De has tried to connect the colophon of the Natyasastra (samaptas cayam Nandi- Bharata-samgita-pustakam with the chapter on music only.To He opines that the Nandi:Bharata of the colophon indicates that the chapters on music (XXVIII-XXXIII) are Bharata's original teaching on the subject as modified by the doctrine of. Nandi. If we could accept the view it would have been easy to believe in the composite authorship of the Natyasastra. But this does not seem to be possible for the following considerations : (a) The colophon in question stands at the end of two Mss. copied from the same original and are missing in all the rest of the available Mss. (b) The word samgita occurring rarely in the Natyasastra includes according to Sarngadeva (c. 1300 A.C.) gita (song), vadya (instrumental music) and nrtya or nrtta (dance). Hence the colophon may be taken in relation to the entire text and and not with the chapters on music alone. (c) Nandi as a writer or authority on samgita alone has not been mentioned anywheres else. As for the prediction that Kohala will treat certain topics not disenssed in the Natyasastra, it may be said that there is nothing in it to show that Kohala is later than the author of this treatise. He was in all likelihood a predecessor or a contemporary of his. The most important of all the alleged indications of the plural anithorship of the Natyasastra is the third one. The idea that the work was originally written in prose and was subsequently turned into verse, arose probably from a misunderstanding of the word sutra. In spite of its tradi- tional definition as alpaksaram asandigdham sarvad visvatomukham ete. there is nothing in it to show that the sutra must always be in prose. Indeed the Natyadarpana-sutra is entirely in verse, and the Saddharma- pundarika-sutra of the Mahayana Buddhists is partly in verse and partly in prose. In the Mangalacarana slokas of his commentary Abhinava too mentions the extant Natyasastra as the Bharatasutra. Thus on taking the sutra in its oldest sense, the theory of the supposed original prose version of the Natyasastra falls to the ground. The existence of the prose passages in the Natyasastra docs not in the least help this theory, and

10 Skt. Poeties, Vol I. p. 24. , 1, Ed. GO3. Baroda, 1929. J

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it may be explained on the assumption that the author found it more con- venient to write certain things in prose. All this will remove the difficulty in understanding the words of Bhavabhuti who mentioned Bharata as the sūlrakāra. 4. It Scope and Importance It has already been shown what a great variety of topics the Natya- Sastra discusses in connection with its principal theme, the dramatic art. In sharp contrast with almost all the later writers on the subject its author treats of dramaturgy as well as histrionics. In justification of this two- fold aspect of this work Abhinava says that 'it is for the guidance of the producers as well as playwrights'T2. As the drama in any form is primari- ly and essentially a spectacle, laws of its production should be considered indispensable for the playwrights. It is a wellknown fact that many good literary dramas often get rejected by the theatrical directors because of their construction being found unsuitable for successful and profitable repersentation in the stage. The author of the Natyasastra was evidently conscious about this vital connection between the literary and technical aspects of a drama, and treated of both very elaborately. It is a very unique text dealing with every possible aspect of the dramatic theory and practice. It is no wonder therefore that the Natyasastra was often quoted or referred to in later treatieses on gestures, poetics, music, prosody and even on grammar, besides being often laid under contributfon by commen- tators of diffirent Sanskrit and Prakrit plays. And all the later writers on dramaturgy too depended greatly if not excusively on this work, and most of them expressly mentioned their debt to the Muni Bharata, the supposed author of the Natyasastra. 5. Its Style and Method of Treatment In style the Natyasastra differs very largely from all the later writers on drama who professed adherence to it and formulatod their rules in a con- cise manner. Those latter are sometimes so very brief, that without the help of a commentator they are not casily intelligible. Though some passa- ges remain obscure without a commentary or similar help yet the major por- tion of the Natyasastra is written in a simple language in the Sloka and the Arya metres. Though composed mainly in verse, a very small number of its passages are in prose. As the work is in the form of dialogue between Bharata, its mythical author, and some ancient sages, it has some similarity with the Puranas. One of the charge, brought against the Natyasastra is that it is very diffuse. This is true. On a careful examination of his method of treatment it will be found that the author of the Natyasastra, like ithe famous Panini, treated of the subject analytically. He has taken 11 Ag. I p. 7. " Haas, p. XXVIII,

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up individual topics and considered them in every possible detail and has found it necessary to repeat things for the completion of the matter in hand. This has given it diffuseness. But the adoption of this method was unavoidable in a technical work which aimed at completeness. This however may be said to have rendered it difficult to some cxtent. The difficulty with which we moderns are confronted in studying this ancient work, is however primarily due to its discussing an art which has pratically gone out of vogue for quite a long time. That the text was transmitted through a defective Ms. tradition is no less responsible for occasional difficulties it presents. 6. The Early Commentators According to Sarngadeva (SR. I. 1. 9) the commentators who set themselves to the task of explaining or elucidating the Natyasastra are Lollata, Udbhata, Sankuka, Abhinavagupta and Kirtidhara. Abhinava in his commentary refers in addition to Bhatta Yantra and Bhatta Nayaka who may be taken as commentators of the Natyasastra, and quotes from of one, Bhasya and one Vartika. The Vartika however seems to be an independent treaties on drama though the Bhasya an old commentary. But in the absence of suitable data our knowledge about the date of these commentators and the nature as well as the value of their work, is very inadequate. We are however discussing below what- ever meagre informations may be gathered about them. (a) Acārya Kīrtidhara and Bhāsyakāra Nānyadeva. Abhinava has referred to Kirtidhara only once.14 But from the special respect shown him by the commentator who calls him acarya, it appears that Kirtidhara was a very early commentator of the Natyasastra, and as such he was possibly antcrior to Bhatta Udbhata and hence may be placed in the 6th or the 7th century.To And NanyadevaT6 quoted by Abhinava as the author of the Bharata-Bhasya seems to be another early commentator of our text. (b) Bhatta Udbhata. Bhatta Udbhata'sT7 opinion has been thrice quoted by Abhinava. As his views were controverted by Bhatta Lollata who flourished in the 8th century it is possible that Udbhata was a person of the carly 8th or the late 7th century.T8 Though it has been doubtedT9 whether Udbhata was really a commentator of the Natyasastra, from the refcrence to his work by Abhinava we may be fairly certain in this matter.

I4 Ag. I. p. 208. Cf. Skt. Poetics, Vol. I. p. 29. Is Cf. Skt. Poetics, I. p. 39. 1e He should be distinguished from his namesake who was a king off Mithila in tho 12th century (see JASB for 1915, pp. 407 ff.) Ag. lI. pp. 70, 441, 451, De's. Ms. pp. 302. Ts See Skt. Poetics, I. pp. 75ff. T Skt. Poetic, I. pp. 37 ff.

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(c) Bhatla Lollata. Bhatța Lollata has been referred to as many as eleven times.20 From these he appears to be a commentator of the Natyasastra. As the rasa theory of Sankuka was known to have been lavelled against Lollata's view on the same, this latter writer flourished possibly in the middle of the 8th century .? f (d) Śri Sankuku. Abhinava referred to Sri-Sankuka or Śankuka as many as fifteen times."" About his time we scem to have some definite information. For he is probably identical with the author of the poem Bhuvanabhyudaya written during the Kashmirian king Ajitapida whose date is about 813 or 816 A. C.23 (c) Bhatta Nayaka. Bhatta Nayaka has been referred to as many as six times by Abhinava." Besides explaining and clucidating the Natyasastra, at least in part, he wrote on the Dhvani theory an indepen- dent work named the Hrdayadarpana. He has been placed between the end of the 9th and the beginning of the 10th century."5 (f) Bhatta Yantra, From the single reference to him in Abhina- va's commentary it appears that Bhatta Yantra26 was a commentator of the Natyasastra. About him nothing more can be said except that he pre- ceded the celebrated commentator. 7. Bhatta Abhinavagupta Among the commentators of the Natyasastra, Abhinavagupta or Abhi- hava is the most wellknown. But his fame rests also on his commentary on the Dhvanyaloka as well as numcrous learned treatises on the Kashmir Saivism. From the concluding portion of some of his books we learn a few facts of his family history, and on the strength of these he has been placed between the end of the 10th and the begining of the 11th century.27 From the Abhinavabharati we learn that his another name was Nrsimhagupta .- 8 Although like any other work of this class it professes to explain the text, Abhinava's commentary is not always an adequate help for under- standing the several difficult passages of the Natyasastra. This drawback might be due to its defective text tradition, but a careful study of it will convince any one that all its weak .poiuts cannot be explained away on this assumption alone. There are instances of Abhinava's not being sure about the explanation offered, for example, the word kutapa is once explained as 20 Ag. 1. pp. 208, 266, 279, 299 ; Il. pp. 134. 196, 415, 423, 436, 452. De's Ws p. 386. Skt. Poeties. Vol. I. pp 38-39. "1 Ag. I. pp. 74, 217, 274, 285, 293, 298, 318 ; II. pp. 411 ; 436. De's. Ms. pp 403, 413, 437, 441, 448, 469. See Skt. Poetics, I pp 38-39 24 Ag. I. pp. 4, 26, 278, II. p. 298, De's Ms pp. 506, 508. Skt Poetics, I. pp. 39ff. " Ag. I. p, 208. 11 Skt. Poeties, I. pp. 117ff. .. See Ag. De's. Ms. pp. 428, 511.

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'four kinds of musical instruments'" and next as 'a group of singers and players of musical instruments'. and then again as 'four of musical instru- ments',8T while ex plaining the mattavarani he gives four different views3 and does not give speeial support to his own preference. Besides this, his explanation in some cases seem to be fanciful. For example, he explains khandana as (meaning) 'also fanning by mcans of a fan made of palmleaf'.83 This evidently is wrong, for in the same context oyajanakam 'fanning' has been mentioned, and khandana may better be interpreted as 'drawing patterns or designs'.34 But such instances are not many. That Abhinava had as the basis of his commentary a defective text of the Natya- Sastra, is apparent from its published portion, and his text was in places to some cxtent different from any of the versions that have reached us. It is due to this latter fact that sometimes particular passages of the commentary cannot be connected with any portion of the text (given above the commen- tary) in the Baroda edition. For example, once Abhinava writes "here are four ca-karas",35 but in the text indicated by the pratika two ca-karas only are available. And curiously enough a part of this text quoted elsewhere36 in the commentary corroborates the available reading of the text. In another place of Abhinava's commentary we have the word alambhana explained, but we look in vain for it in the text.37 The same is the case with avyalireka and agama occuring in the commentary later on.48 And some responsibility for its reduced usefulness must be ascribed to the fact that Abhinava had his commentary based on an imperfect text of the Natyasastra. There is still another reason due to which Abhinava's work does not prove to be quite adequate for our need. It is probably because he wrote the commentary with a view to help scholars of his time, whose knowledge on many things relating to the Indian drama, theatre and general literature he could easily assume, his commentary sometimcs falls short of our needs. But in spite of these limitations Abhinava's work has its value. Whenever he has to explain any theory or problem concerning the dramatic art or general aesthetics, he does it very exhaustively by quoting all possible views on the same and often cites examples from a vast number of dramatic and other works some of which have perished. Often he sums up the discussion in a masterly fashion. That he was a voluminous writer on the abstruse philosophical topics gave him some facility in handling such matters. But, for the purpose of reconstructing the theory and practice of the ancient Indian drama, such scholastic discussions are often not of much value, though students of Indian poetics and aesthetics will surely

To Ag. I. p. 73. Ag. I. p. 65. 31 Ag. 1. p. 186. 33 Ag. 1. pp. 64-65. Ag. I. p. 41. 34 See note 2 on IX 61-64 » Ag. II. p. 34. Ag. I. p. 203. 31 Ag. II. p 34. . " Ag. II. pp. 97, 225.

LXXVII be profited by their perusal. But it must be said of Abhinava's commen- tary that it gives considerable help in understanding some difficult passages of the very old obsolete text of the Natyasastra, and for this we should be genuinely greatful to him. VII. Data of India's Cultural History in the Natyasastra

Besides giving all sorts of information relating to the dramaturgy and histrionics as well as the allied arts of dance and music, the Natya- Sastra includes considerable other materials for the cultural history of India. The most important among these will be discussed below under their several heads. 1. Language The Natyasastra gives some description of Pkt. (XVIII. 1-25) and examples of Dhruva songs in Pkt. (XXXII). From these materials it seems that the Pkt. of the Natyasastra lie mid-way between the Pkt. of the classical dramas and that of Asvaghosa's plays. Besides this there occur in this work (XVIII. 44, 48) some references about the, nature of languages used by the ancient tribes like the Barbaras, Kiratas, Andhras, Dramidas, Sabaras and Candalas. Thare are besides other interesting matters relat- ing to the language used by men of different professions and status in life. 2. Literature In addition to Prakrit verses given as examples of Dhruvas, the Natyasastra cites numerous poetical stanzas in Skt. as cxamples of the Benediction and of the different metres (V. 108-112, 130-131 : XVI). These are very carly specimens of the ancient Indian litcrature. It is on the testimony of these which are free from the artificiality of the later classi- cal poetry, that P. Regnaud placed the Natyasastra about the beginning of the Christian era (Introduction to Grosset's ed. of the NS. p. VII-VIII). The Natyasaastra contains also the earliest available discussion on figures of speech (alamkara), and the method of criticism based on the theory of Sentiments (rasa) which became very popular amongst Indian scholars during the medieval times. 3. Art In the Visnudharmottara (II. 2. 4) it has been "said that the canons of painting are difficult to understand without an acquaintance with the canons of dancing. Now the Hindu drama as we have seen before depends a great deal on dance which is in fact its mainstay. The same work similarly connects the canons of painting with the canons of image-making. Thus the three arts being connected with one another, the Natyasastra receives an aditional importance. This view is justified by the fact that the Națyasāstra desoribes various male postures (sthana) such as Vaispava,

LXXDE

Samapāda, Vaisakha, Mandala, Alidha and Pratyālīdha (XI. 50-71), and female postures (sthana) (XIII. 159-169) such as Ayata, Avahittha and Asvakranta. These and the various gestures described in the Natyasastra may also be helpful in studying specimens of the ancient sculpture and painting. It should be noted in this connection that the Samarangana- sutradhara a medieval encyclopoedic work while describlug the rules of making images describes (ed. GOS. Vol. II. p. 30lff) the hand gestures otc, almost in the language of the Natyasastra.

4. Metrics . Fiftyeight varieties of metre of sama, ardhasama and visama typos have been described in the Natyasastra (XVI). All these are perhaps anterior in time to the Chandhah-sutras of Pingala. One important aspect of this description is that the name of the following metres are diffcrent in the NS. c. g. Drutavilambita=Hariņapluta (NS), Bhujangaprayāta= Aprameya (NS), Sragviņī=Padmini (NS), Malini=Nandimukhī (NS), Harini=Vrsabha-cestita (NS), Mandakranta=Sridhara (NS), Prithvī= Vilambita-gati (Ns), Kusumita-lata-vellita = Citralekha (NS). 5. Poetics The Natyasastra enumerates (XVII. 43-106) four poetic figur.s (alamkara), ten Gunas and ten faults (dosa) of a composition. In brief these may be called the carliest writings on poctics. To the theory of . Sentiment (rasa) and the States (bhava) (VI-VII) also the same remark applies. 6. Costumes and Ornaments Detailed descriptions of ornaments, and directions about costumes to be used by characters in a play according to thoir social status, profession, religious faith, and tribal origin etc. are glven in the Natyasastra (XXIII. 1-67, 110-127). These may throw intercsting light on the social life of the Indian people in the remote past. 7. Mythology The Natyasastra mentions (I-V, XXXIII-XXXIV, XXXVI nu- merous gods, 'goddesses, demigods cte. Classified according to the system adopted by Hopkin in his 'Epic Mythology' they are as follows .. (a) Lower Mythology : Serpent, Birds, Waters. (b) Spirils : Pitrs, Bhūtas, Rakşasas, Asuras, Daityas, Danavas, Yakşas, Guhyakas. (c) The eight great gods ; The Sun-God, the Moon-God, the Wind-God, the Fire-God, the God of death, Varuna and Ocean, Indra, the Dikpalas (World-protector). (d) The Host of Spirits : Gandharvas, Apsarasas, Kama, Aśvins, Maruts, Rudras, Vivedevas, Ādityas, (e) Divine Seers : Brhaspati, Narada, Tumburu. (f) Farthly Rsis and Personages :

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Bala (deva), Nahuşa, Sanatkumara. (g) The Three Supreme Deities : Brahman, Vişnu, Siva. (h) Lesser God : Kartikeya. (i) Goddesesses : Sarasvati, Laksmi, Umā, Pārvatī, Caņdika, Siddhi, Medhā, Smrti, Mati, Niyati, Nirrti. It is probably significant that Gancka and the Avataras of Vișņu are absent from this list. 8. Geography. - In its chapters XIV, XVIII and XXIII the Natyasastra mentions some geographical names such as Anga, Anta (Anti) rgiri, Andhra, Avanti, Arvuda, Āvarta, Ānarta, Usīnara. Odra, Kalinga, Kāsmīra, Kosala, Khasa, Tamralipta, Tosala, Tripura, Dakșinātya, Dramida, Nepāla, Pafcāla, Puli- nda (bhumi), Paundra, Pragjyotişa. Prāmsu-pravrtti, Plavamga, Bahir- giri, Brahmottara (Suhmottara), Bhargava, Magadha, Madraka, Malav- artaka, Maharastra, Margava, Malava, Mahendra, Mosala, Vauga. Vatsa, Vanavasa, Vartika (Martika), Vahlīka, Vidisa, Videha, Surasena, Salaka, Sindhu, Suraștra, Sauvīra, Gangā, Carmaņvatī, Vetravatī, Mahon- dra, Malaya, Sahya, Mekala, Kalapañjara, Himālaya, Vindhya, Bhārata. 9. Ethnological Data. The names of the following tribes oceur in the Natyasastra. Kāsi, Kosala, Barbara, Andhra, Dramida, Abhira, Sabara, Caņdāla, Šaka, Pallava (Pahlava) and Yavana. From the costumes and colours to be assigned to their body it may be possible to trace them historically. 10. Ars Amatoria. The Natyasastra mentions Kamitantra or Kamatantra (XXV. 38, 53- 567) and Kāmasastra (XXXV. 46). But as it divides women into twenty- four classes, and Vatayayana's Kamasutra into four classes these names do not seem to relate to the Kamasutra which probably comes later. 11. Arthasastra. The Natyasastra is of opinion that "The members of the court (sabha- stara) should be appointed after consulting the views of Brhaspati who thinks that the following are the qualities required for this office. "They should be always ready for work, alert, free from indolenee, undaunted by hard work, affectionate, forbearing, modest, impartial, skillful, trained in polity and good manners, deeply conversant with the art of argumentation and all other branches of knowledge, and not affected by sexual passion and the like" (XXXIV-87-90). The word sabhastara which has boen translated here as a member of the court, occurs in the Smrti of Vyasa who holds that this officer should hold discussion about morals (dharmavakya) for the edification of those who are present (in court). In Mbh 4.1.24, however sabhāstāra appears only as a courtier (sabhya, Nilakantha) who is parti- cularly interested in gambling (Jolly, Hindn law and Custom, pp. 287-288).

LXXXI

The description of the king, the senapati, the amatya and the pradvivaka as given in the Natyasastra (XXXIV. 78-87) might well have been taken from the now lost work of Brhaspati recognised by Kautilya as one of his sources. The Natyasastra gives besides one interesting information that the inmates of a royal palace included a snataka (XXXIV. 64-69) and that there was besides a functionary named kumārādhikrta (XXXIV. 76-77). As the definition has been lost, it is not possible to know what his duty was. Can he be identified with the kumāramatya mentioned in Samudragupta's inscription P 12. Psychology. . The Natyasastra seems to be the first in recognizing the twofold importance of psychology in connexion with the production of a play. Its classification of Heroes and Heroines according to their typical mental and emotional states (XXIV. 210ff., XXXIV. 15ff). proves its admission of the importance of psychology on the creative side of the dramatic art ; for with the complete knowledge of all possible reactions of different objects and incidents upon such Heroes and Heroines, the playwright as well as actors and actresses could attain the greatest possible success in charac- tcrisation. On the critical side also the importance of psychology was discoverod by the Hindu theorists almost simultaneously. It was realised early that no strictly objective standard of beauty ever existed, and the enjoyment of a theatrical production consisted of peculiar reactions which the art of the playwright as well as that of the actors could success- fully evoke in spectators of different types. It is on this assumption that the theory of Sentiments and States (VI-VII) important alike for the criticism of the thcatre and the belles lettres has been elaborated by the author of the Natyasastra. Such a view does not allow any kind of dogmatism in the criticism of art and literature, and will make due allowance for the views of pcople who may widely differ in their tastes because of their varying cultural equipment.

VIII. The Date of the Natyasastra More than sixteen years ago, a careful investigation of the linguistic, metrical, geographical and ethnographic data, of the evidence to be drawn from the history of poetics and music, of the Kamasastra and the Artha- sastra, and from inscriptions the present writer came to the conclusion that the available text of the Natyasastra existed in the second century after Christ, while the tradition which it recorded may go back to a period as carly as 100 B.C. (The Date of Bharata-Natyasastra", in the JDL. Vol. XXV. 1934). Since this conclusion was made, a more intensive T For a bibliography on the Date of the NS. see this paper p. 1. K

LXXXII

study of the text as well as accession of fresh data has confirmed the writer's belief in its soundness. These additional materials are being discussed below. 1. The Geographical Data Geographical names occur in the Natyasastra (XIV. 36ff.) mostly in connexion with pravrttis or Local Usages which seem to be a later con- ception and not at all indipensable for understanding the theatrical art as explained in the Natyasastra. In fact the authors of the Dasarupa and the Națakalaksana, who spcak of the vrttis are absolutely silent on pravrtlis which are connected with them. Considering the fact that these works depend a great deal on the Natyasastra their omission of this item may be taken as very significant. Geographical names occuring in connexion with the pravrttis are found in the Mbh. and some of the Puranas, some of these being almost in the same sequence (see D. C. Sircar, "Text of the Puranic Lists of Peoples" in IHQ. Vol. XXI., 1945, pp. 297-314). It seems that some interpolator put them into the text of the Natyasastra, for associating it with all the different parts of India, though the original work was an exposition of the dramatic art as it was practised in the northern India especially in the midland only. Hence the geographical data should not be used in determining the date of our text. 2. The Natyasastra earlier than Kalidasa The argument that a particular dramatist who disregards any rule laid down in the Natyasastra, will be earlier than it in time, will reverse the accepted chronological relation between the Natyasastra and Kalidasa. (a) Though the fact has been everlooked by carlier writers on the subject, Kalidāsa too violates the rules of the Natyasastra on the following points : (i) Though the prescribed rule (XIX. 33) is that the king's wives should be given names connected with the idea of victory, some of Kali- dasa's royal Heroines have been named as follows : Dharini, Iravati (Malavi.) Hamsapadikā, Vasumatī (Sak,). (ii) It is also in disregard of the rule (XIX. 34) prescribing for tho handmaids ( presya ) the names of various flowers, that Kalidasa has Nagarikā, Madhukarika, Samābhrtika, Nipuņikā, Candrikā, Kaumudikā (Malavi.), Parabhrtika, Caturikā (Sak.) as the names of handmaids in his play. Vakulâvalika (Malavi.) is possibly an exception. w (iii) Though the prescribed rule (XIX. 34) is that the names having an idea of auspiciousness, should be given to the menials, Kalidāsa has Raivataka and Sarasaka (Malavi.) as the names of servants. (iv) The term svamin has been used by an army-chicf (senapati) in addressing the king (Sak. II) in violation of the prescribed rule that it should be used for the crown-prince (XIX. 12).

LXXXIII

(v) Besides thesc, Kalidāsa has written elaborate Prologues to his plays, though the Natyasastra does not recognize anything of this kind as a part of the play proper. Thesc as well as the departures from the rules in Bhasa's play, may be taken as great dramatists' innovations which as creative geniuses they were fully cntitled to. (b) Besides these there seems to be other facts which probably go to show that Kalidasa knew the present Natyasastra. They are as follows : (i) Kalidasa uses the following technical terms of the Nātyasastra : angahāra, vrtti, sandhi, prayoga, (Kumāra, VII. 91), aiga-sattva-vacanā- śrayam nrttam (Raghu, XIX. 36), patra, praśnika, sausthava, apadesa, upavahana, sākhā, vastu, māyurī mārjanā (Mālavi.) (ii) Kalidasa mentions the mythical Bharata as the director of the celestical theatre (Vikram, III). (iii) According to Kațayavema, Kālidīsa in his Mālāvi. (I. 4.0 ; 21.0) refers to particular passages in the Natyasastra (I. 16-19 ; Ns (C.) XXX, 92ff.) 3. The Mythological Data In the paper mentioned in the beginning of this chapter the present writer was mistaken in his interpretation of the word mahagramani which does not mean Ganapati as Abhinava the reputed commentator of the Natyasastra opines (see notes on III.1-8.). The absence from the Natyasastra of this 'deity who does not appear in literature before the fourth century speaks indeed for the great antiquity of this work. 4. The Ethnological Data The Natyasastra in one passage (XXIII. 99) names Kiratas, Barbaras and Pulindas together with Andhras, Dramilas, Kasis and Kosalas who were brown (asita, lit. not white), and in another passage (XVIII. 44) names Andhras and Dramilas together with Barbaras and Kiratas. Apastamba the author of the Dharmasutra who lived at the latest in the 300 B.C. belonged to the Andhra land (Jolly, Hindu Law and Custom, p. 6 and also P.V. Kane, Hist. of the Dharmasastra. Vol. I. p, 45). Hence it may be assumed on the basis of these names that the Natyasastra was in all likeli- hood eomposed at a time when a section at least of the Andhras and the Dramilas (forefathers of the modern Tamils) were still not looked upon as thoroughly civilized. Such a time may not have been much after the beginning of the Christian era. 5. The Epighraphical Data Sylvain Levi has discovered parallelism between the Natyasastra and the inscriptions of the Indo-Scythian Ksatrapas like Chastana who are referred to therein as svami a term applicable, according to the Sastra to

LXXXIV

the yuvaraja or crown-prince (I. Ant. Vol. XXXIII. pp. 163f). Though MM.P.V. Kane (Introduction to the SD. p. viii) has differed from him, Lévi's argument does not seem to be without its force. It may not be con- sidered unusual for common persons who are intimate with him to show the future king an exaggerated honour by calling him svamin a term to be formally applied to the reigning monarch only. Besides the argument put forward by Lévi, there may be collected from the inscriptions other facts too which may incline us to take 200-300 A.C. as the time of the compilation of the Natyasastra. These are as follows : (a) The word gandharva probably in the sense in which the Natya- sastra uses it (XXXVI. 76) occurs in the Junagarh Rock inscription of Rudradaman, I (150 A.C.). This also mentions terms, like sausthava and niyuddha which we meet in the Natyasastra probably in the same sense (Junagarh Inscription of Rudradaman I. See Select Inscriptions, pp. 172-173). (b) The respect for 'Cows and Brahmins' (go-brahmana) which the author of the Natyasastra shows at the end of his work (XXXVI. 77) has its parallel in the inscription referred to above. And respect for Brahmins also finds expression in more than one inscription belonging to the 3rd century A.C. (op. cit. pp. 159, 161, 165) (c) The three tribal names Saka, Yavana, and Pahlava appcaring in the inscription of Vasistiputra Pulomayi (149 A.C.) occur in the same order in the Natyasastra (op. cit., p. 197,) and NS. The cumulative effect of all these data scems to be that they may enable us to place the Natyasastra about 200 A.C., the time of these inscriptions.

6. The Natyasastra earlier than Bhasa Lack of conformity to the dramaturgic rules of the Natyasastra has sometimes been cited as an evidence of the antiquity of Bhasa, the argu- ment being that as he wrote before the rules were formulated, he could not observe them. This view however, seems to be mistaken. For the rules occurring in the Natyasastra cannot, for obvious reasons, be the author's fabrication without relation to any pre-existent literature.1 lf the Natyasastra was written after Bhasa's plays, its rules had every chance of having been a generalisation from them as well as from numerous other dramatic works existing at the time, while the contrary being the case (i.e, Bhasa being later than the Natyasestra) some novelties are likely to be

1 F. Hall in his Introduction (p. 12) to the Dasarwpa says: At all events.he (Bharata) would hardly have elaborated them (the rules) except as inductions, from actual compositions,

LXXXV

introduced by the dramatist in disregard of the existing rules. It is on this line of argumont that the chronological relation between Bhasa and the Natysastra, will be judged below. (a) On no less than three points, Bhasa seems to have disregarded the rules of the Natyasastra. These are as follows : (i) The sutradhara (Director) begins the plays, though according to the Natyasastra the sthapaka (Introducer) should perform this Eunction (V. 167). (ii) In contravention of the rule of the Natyasastra (XX. 20) Bhasa allows death in Act I of Abhișeka. (iii) In the Madhyama-vyayoga and the Dutaghtotkaca, Bhasa does not give the usual bharatavakaya (final benediction) and what he gives in its stead, may be au innovation. Hence it may be assumed that the Natyasastra was completed before the advent of Bhasa,. (b) Besides this, there seems to be some good evidence in his works to show that the dramatist was acquainted with this ancient work on drama. For example, he mentions in a humorous context the Jester con- founding the Natyasastra (Avi. II 0. 38-39) with the Ramayana. Bhasa's mention of some techinical terms as well as the acquaintance which he shows with some special rules of the Natyasastra may also be said to strengthen the above assumption.

(i) First, about the technical terms. They are : sausthava, prastāvana, sūtradhāra, preksaka, cārī, gati, bhadramukha, hāva, bhāva, mārisa, nāțakīyā, the root patha, ranga. (ii) The hetaera in the Carudatta (I. 26, 38.) says within herself, "I am unworthy of being allowed cntrance into the harem" (abhaini aham abbhantara-pavesassa). This scems to refer to the N8. XX. 54. The expression, "by means of a Nataka suiting the time" (kālasamvūdiņā nuaeņa) in Pratima. (I. 4. 7) probably points to NS. XXVII. 88ff. (iii) The vocal skill of the hetacra referred to by the Sakara (Parasite) in the Carudatta may also be said to point to the elaborate rules regarding intonation (kaku) in the NS. XIX 37-8. (iv) Besides these, cxpressions like "the two feet made facile in dance due to training" (nrttopadesa-visada-caranau) and "she represents the words with all her limbs" (abhinayati vacamsi sarvagatraih) in the Carudatta (I.9.0, 16.0) probably relate to the elaborate discussion on dance and the use of gestures in the Natyasastra. On the basis of all these it may be assumed that Bhāsa was acquainted with the contents of the present text of the Natyasastra. Hence

LXXXVI

it may be placed in the 2nd centuary A. C. ie. one century before the time generally assigned to Bhasa's works. (Jolly, Introduction to AS. p. 10, but according to Konow Bhasa's date may be the 2nd century A. C. See ID. p. 51). From the foregoing discussions it may be rcasonable to assume the existence of the Natyasastra in the 2nd centuary A.C., though it must not be supposed that the work remained uninterfered with by interpolators of later ages. Such an interpolation may exist more or less in all the ancient texts. For example, Aristotle's Poetics too, in its received text, has been suspected to have interpolated passages in it. There are indced interpolated passages in the Natyasastra and some of these have been pointed out? and a few more may by some chance be discovered afterwards. But this may not bring down the work as a whole to later times.

' See notes on XVIII. 6, 48; XX. 63. Besides these cases, the seventeen couplets after XV. 101 and the five couplets after XVI 169 are spurious. For these do not gire any important information regarding the art of the theatre or dramaturgy and may be merely scholastic additions. The passage on pravrttis XIV. 36-55 may also bo spurious.

THE NĀTYASĀSTRA .

CHAPTER ONE

THE ORIGIN OF DRAMA

Salutation

1. With'a bow to Pitamaha1 (Brahman) and Mahesvara" (Siva) I shall' explain the Canons of Drama8 (Natyasāstra) which were uttered by Brahman.

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 inter- mission of studies (anadhyaya). He (Bharata) then just finished

1 (B. G. same). Pitamaha (the Grand-father) is a Puranic epithet of the Vedic god Brahman. For, the Pitrs (the Fathers) such as Angiras, Bhrgu, Daksa and Marici and others, whose descendants peopled this earth, were their progeny. In the later literature and religion of India, Brahman gradually recedes in the background and practically vanishes. His place is taken by the extra-Vedic Siva, and Visnu in his fullfledged Puranic character. 2 Maheśvara (the Great God) is another name of Siva who is originally a pre-Vedic deity. Salutation to Siva along with Brahman, is very rare in Indian literature. 8 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 N8. is meant for the producer (of a play) as well as the poet (=playwright). कविप्रयोक्रपदीशपर भास्त्रमिति. 2-5 (B.G. same). 1 Ätreya-There are two Atreyas. One is a disciple of Yajnavalkya (Mbh.) and another that of Vamadeva (Brahma P.) See Vidyalankar, Jivani-kosa, sub voce. Puranas.except the Matsya (24. 28-30) are silent on this Bharata, the authority on the Canons of Drama,

2 THE NATYASASTRA

the muttering of prayers (japa) and was snrrounded by his sons. The sages respectfully said to him, "O Brahman, how did originate the Naytyaveda8 similar to the Vedas,. which you have properly composed ? And for whom is it meant, how many limbs does it possess, what is its extent* and how is it to be applied ? Please speak to us in detail about it all5".

Bharata answers.

6. Hearing these words of the sages, Bharata began in reply to speak thus about the Nātyaveda : 7-12. "Get yourselves cleansed, be attentive and hear about the origin of the Natyaveda devised by Brahman1. O Brahmins, in the days of yore when the Golden Age ( Krta- yuga)la passed with the reign of Svayambhuva (Manu), and the Silver Age (Tretayuga) commenced with the career of Vaivasvata Manu, and people became addicted to sensual

3 Natyaveda-The 'Natyaveda' according to Ag. is a synonym for the Natyasastra', and is no Vedic work. He (I. p. 4) says : बव तु नाव्यस्य वैद: शाखमिति समासः चन्वथा अध्यापनासन्भवात्. 4 pramūna=extent. Ag. takes the word in the sense of proof (pramāņam atra niscaya-janakatvam), but he cites another view as well, which takes the word to mean 'number' and is as follows: अन्धे तु नाव्यगताना रपकादोनां पाठ्याभिनयरसगीतानां का संख्येति विभागविषयोडयं प्रश्न दत्याचचते. 5 From the five questions put in here, it is not to be assumed that the treatment of subjects mentioned will follow the order of these. 6 (B.G. same). 7-12 (B.G. same). ' The reference here is to the Natyaveda alleged to have been composed by Brahman in about 36000 ślokas. It is also believed that, later on a shorter work (in 12000 granthas) was based on this great work and it was in the form of a dialogne between Siva and Parvati. This is considered by some to be the Ādibharata or Sadasiva- bharata. The present NS. contains about 12000 granthas and it is supposed to include the views of the authors of the now extinct Natyaveda (composed by Brahman) as well as of the Adibharata. See Preface to NS. (B.) pp. 6-7. On this point Ag (I.p.8) says: एतैन सदाभिवम्रअ्भरतमतवयविवेचनेन मभ्ममतसारताप्रतिपादनाय मतवयौसार विवेनमं तद्यन्यप्रसेपैन विहितमिद शाखतरं. 1a A. K. Coomaraswamy has freely translated 8-17 (The Mirror of Gestures, New York, 1936, p. 16).

THE ORIGIN OF DRAMA

pleasures*, were under the sway of desire and greed, became infatuated with jealousy and anger and [thus]' found their happiness mixed with sorrow, and Jambudvipa8 protected by the Lokapālas (guardians of the worlds) was full of gods, Danavas, Gandharvas, Yaksas, Rākșasas and great Uragas (Nagas), the gods, with Indra (Mahendra) as their head, (approached) Brahman and spoke to him, 'We want an object of diversion, which must be audible as well as visible. As the Vedas are not to be listened to by those born as Sūdras, be pleased to create another Veda which will belong to all the Colour-groups5 (varna)". 13. "Let it be so", said he in reply and then having dismissed the king of gods (Indra) he resorted to yoga (concen- tration of mind)1 and recalled to mind the four Vedas. 14-15. He then thought: "I shall make a fifth1 Veda on the Natya with the Semi-historical Tales (itihasa),2 which will conduce to duty (dharma)8, wealth (artha) as well as fame, will

' gramyadharma-Ag. explains the word differently and as follows : याम्योऽसुतशास्त्रार्थजनाकीपंदेयोचितो धर्मः स्धर्ाननुपालनलच्षग: 8 According to ancient Indian geography the carth was divided into seven dvipas (continents). Jambudvipa is one of them. It included Bharata-varsa or Bharata-varsa, known at present as 'India'. Vişņu P. (ch. 1-12). Sec Winternitz, Hist. of Indian Literature, Vol. I, p. 548. 4 On this point Ag. says: दृवश्यमिति वृदं श्रव्यमिति व्युतुपत्तिप्रदमित्यथं :. 5 This relates to the four classes such as Brahmaņa, Ksatriya, Vaisya and Sudra. 13 (B.G. same). ' Yoga has been defined in Patanjali's work as cittavrttinirodhah. It however begins with the concentration of the mind. 2 After 13, B. reads one additional couplet. But G. considers this passage to be spurious and puts it in the footnote. 14-15 (B.G. same). 1 In the carly Indian literature the itihāsa alone was considered as the fifth Veda. See Chandogya Up. VII. If. and 7., and Suttanipata, II.7 (sellasutta). Kauțilya's Arthašāstra too gives the same position to the itihusas. Sce Winternitz, Vol. I. p. 313. ª On itihasa see note below. 3 dharma also means virtuo, law and custom etc.

4 THE NATYASASTRA [I. 15-

contain good counsel and collection [of other materials for human well-being], will give guidance to people of the future as well in all their actions, will be enriched by the teaching of all scriptures (sastra) and will give a review of all arts and crafts (silpa)". 16. With this resolve the Holy One (bhagavat) from his memory of all the Vedas shaped this Natyaveda compiled from the four of them. 17-18. The recitative (pathya) he took from the Rgveda, the song from the Saman, Histrionic Representation (abhinaya) from the Yajus, and Sentiments (rasa) from the Atharvaveda, [and] thus was created the Nätyaveda connected with the Vedas principal and subsidiary (vedopaveda)1, by the holy Brahman who knows [them] all. 19-20. After the creation of the Natyaveda Brahman said to Indra (lit. the lord of the gods), "Semi-historical Tales (itihāsa)1 have been composed by me, you are to get them [dramatized and] acted2 by gods. Pass on this Nātyaveda to those of the gods who are skilful, learned, free from stage-fright and inured to hard work."

' The word silpa is very often synonymous with kala. As the 64 kalas enumerated in different works include different arts and crafts, these two words may be translatod as 'arts and crafts'. Silpa, however, is some- times to be distinguished from kala, and then it may mean merely 'a craft'. 16 (B.G. same). 17-18 (B.G. same). 1 Vedopaveda-the Vedas and the Upavedas i.e. the Vedas principal as well as subsidiary. The Vedas are all well-known, and there are at least four Upavedas, one bcing attached to each of the Vedas. They are as follows: the Ayur-veda (the Science of Medicine) to the Rgveda, Dhanur-veda (the Science of Arms)-to the Yajurveda, Gandharva-veda (Musical Science) to the Samaveda, and Sthapatya-sastra (the Science of Architecture) to the Atharvaveda. 19-20 (B.G. same). ' Kautilya's Arthasastra in its definition of ilihasa cnumerates purana and itivrtta as belonging to its contents. An tivrtta, according to Winternitz, can only mean an "historical event" and purana probably means "mythological and legendary lore." Vol. I. p. 518. Pargiter has, however, extracted solid historical facts from some of the

-1.25 ] THE ORIGIN OF DRAMA 5

21-22. At these words of Brahman, Indra bowed to him with folded palms and said in reply, "O the best and holy one, gods are neither able to receive it and maintain it, nor are they fit to understand it and make use of it ; they are unfit to do anything with the drama1. 23. The sages (muni)1 who know the mystery of the Vedas and have fulfilled their vows, are capable of maintaining this (Nātyaveda) and putting it into practice." The Natyaveda and Bharata's one hundred sons 24. On these words of Sakra (Indra), Brahman said to me; "O the sinless.one, you with your one hundred sons1 will have to put it (the Nātyaveda) to use". 25. Thus ordered. I learnt the Natyaveda from Brahman

extant Puranas (See his Ancient Indian Historical Traditions, London, 1922). According to the native Indian tradition itihasa is said to be an account of events that occurred in the past, carrying in it instructions about duty, wealth, enjoyment of pleasure, and salvation. The traditional śloka is-

The same tradition assigns the position of itihasa to the Mahabharata the great Indian epic. It is possibly this itihasa that has been connected with the Natyaveda by the anthor of the sastra. Hence it appears that Oldenberg's theory about the original connexion between epic and dramatic poetry, is worthy of serious consideration. Nutyakhyam pancamam vedam setihāsam karomy aham (15) seems to be very significant. Ag. (I. p. 13) explains setihāsam as itihāsopadesakarupam saprabhedam. See Winternitz, Vol. I. pp. 100 ff. 312 n. 2 See note on 14-15 above. 21-22 (B.G. same). 1 It may be tentatively suggested here that the gods represented the primitive Indo-Aryans who. possibly had no drama. On this point see the author's Pracin Bharater Natya-kala (in Bengali), Calcutta, 1945 p. 60 ff. 23 (B.G. same). 1 The word muni is evidently to be derived from the Pkt. root muna 'to know' which is most probably not of Indo- European origin. 24 (B.G. same). ' The Puranas and similar other works totally ignore these one hundred sons of Bharata. 25 (B. G. same).

6 THE NATYASASTRA [ I. 25-

and made my able sons study it as also [ learn ] its proper application. Names of Bharata's one hundred sons 26-39. 1[Names of my sons are]: Sāņdilya, Vātsya, Kohala2, Dattila3, Jațila, Ambașthaka, Taņdu, Agnisikha, Saindhava, Pulo- man, Sādvali, Vipula, Kapinjali, Bādari, Yama, Dhūmrāyaņa, Jambudhvaja, Kākajangha, Svarņaka, Tāpasa, Kedāra, Sālikarņa+, Dirghagātra, Sālika, Kautsa, Tāņdāyaņi, Pingala, Citraka, Ban- dhula, Bhaktaka, Mustika Saindavāyana Taitila, Bhārgava, Suci, Bahula Abudha, Budhasena, Pāņdukarņa, Kerala, Rjuka, Maņdaka, Śambara, Vanjula, Māgadha, Sarala, Kartr, Ugra, Tușāra, Pārșada, Gautama, Bādarayaņa5, Visāla, Šabala, Sunābha, Meșa, Kāliya, Bhramara, Pithamukha Muni, Nakhakutta6, Aśmakutta7, Șatpada, Uttama, Pāduka, Upānat, Śruti, Cāșasvara, Agnikuņda, Ājyakuņda, Vitāņdya, Tāņdya, Kartarāksa, Hiraņyāksa, Kuśala, Duhsaha,

26-39 (B. same ; G. 26-38). 1 B. and G. read some of these names differently. Some at least of the so-called sons of Bharata might in fact have been the authors who wrote on dramaturgy, histrionic art, dance and music etc. Singabhupala mention the first four. See below notes 2-7. 2 Kohala has again been mentioned in NS. (C.) XXXVI. 65. Ag. has referred to his opinion several times and quoted from his work on nātya (Vol. I. pp. 140, 173, 182, 183, 285 ; Vol. Il. pp. 26, 55, 130, 133, 142, 144, 146, 147, 151, 155, 407, 416, 421, 434, 452, 458, 459). Later writers like Damodaragupta, Hemacandra, Sarigadeva, Sāradātanaya and Singabhupala acknowledge him as an authority on drama and music. (Sec S. K. De, Skt. Poetics, p. 25. f.n.) 8 Ag. has quoted a passage from the work of one Dattilacarya (Vol. I. p. 205). He seems to be identical with this Dattila. See also note 1 above. * Sālikarņa is probably identical with Sātakarna referred to and quoted in the commentary of the Anargharaghava (p. 7. see Lévi, II. pp. 27, 65) and the Nātakalakyana. (p. 47, ed. M. Dillon). Cf. Salivāhana =Sātavāhana. 5 The Natakalaksana (pp. 46, 114) refers to and quotes from him. 6 The Natakalaksana (pp. 114, 121) refers to and quotes from this authority. So does SD (295). 7. The Natakalaksana (pp. 4, 19, 114, 115) refers to and quotes from this authority.

-I. 45 ] THE ORIGN OF DRAMA 7

Jāla, Bhyānaka, Bībhatsa, Vicaksaņa, Puņdrāksa, Puņdranāsa, Asita, Sita, Vidyujjihva, Mahājihva, Sālankāyana, Šyāmāyana, Māthara Lohitānga, Samvartaka, Pancasikha, Trisikha, Sikha, Sankhavarņamukha, Saņda, Sankukarņa, akranemi, Gabhasti, Amsumāli, Satha, Vidyut, Patajangha, Raudra and Vira. 39-40. [Thus] at the command of Brahman and for the benefit of the people I assigned to my sons different roles suitable to, them1.

Performance begins with three Styles. . 41. O 'Brahmins, I then prepared to give a performance (prayoga) in which was adopted dramatic Styles (rrtti) such as the Verbal (bharati),1 the Grand (sattrati), and the Energetic (arabhatī).

Need of the Kaisiki Style

42-43. 1I [then went2 to Brahman and] after bowing, informed him [of my work]. Now Brahman (lit. the yuru of gods) told me to include the Graceful (kaisiki) Style also [in my performance], and he asked me to name materials conducive to its introduction. 43-45. Thus addressed by the master I replied, "Give me materials necessary for putting the Graceful (kaisiki) Style into prac- tice. At the time of Nilakantha's1 (Siva) dance I have seen his Graceful Style appropriate to the Erotic Sentiment, and this requires

39-40 (B. same ; G. 39). 1 G. reads 39b differently. 41 (B. same ; G. 40). ' The four Styles probably related to four tribes such as Bharata, Sattvata, Kesika and Arabhata. Among these Bharata and Sattvata are wellknown. The remaining two names might have been lost.

42-43 (B. same ; G. 41). 1 G om. 42a. . ? pragrhya (=embracing) has been taken to mean 'going to'. 43-45 (B. same ; G. 42-44a). 1 Siva is India's traditional god of danee. Ser M. Ghosh (ed.) Abhinayadarpana, Caleutta, 1934, English Translation, p. 1.

8 THE NATYASASTRA [ I. 45-

beautiful dresses and is endowed with gentle Angaharas2 and has Sentiments (rasa), States (bhava)3 and action as its soul. Creation of Apsarasas for practising the Kaisiki Style 46-47. This Style cannot be practised properly by men except with the help of women." Then the powerful Lord (Brahman) created from his mind nymphs (apsaras) who were skillful in embellishing the drama1, and gave them over to me [for helping me] in the performance. Names of Apsarasas 47-50. [Their names1 are] : Manjukesi, Sukeśt, Miśrakeśi, Sulocanā, Saudamini, Devadattā, Devasenā, Manoramā, Sudatī, Sundarī, Vidagdhā, Sumālā, Santati, Sunandā, Sumukhi, Māgadhi, Arjuni, Saralā, Keralā, Dhrti, Nandā, Supușkalā and Kalabhā. Svati and Narada engaged to help Bharata 50-51. And by him (Brahman) Svati1 together with his disciples was employed to play on musical instruments, (lit. drums) and celestical musicians (gandharra) such as, Narada1 and others were engaged in singing songs.2 51-53. Thus after comprehending the dramatic art (natya) which arose out of the Vedas and their [different] limbs, l along with my sons as well as Svati and Narada approached Brahman (lit. lord of the worlds) with folded palms and

• For angahuras see NS. IV. 16 ff. Read mrdrangahara for nrttanga:in B. 3 For details on States see NS. VII. 46-47 (B. same ; G. 44b-45). I nat yalankara here may be taken also to mean nin yalankaras mentioned in NS. XXIV. 4-5. 47-50.(B. 47-50a, G. 46-4>). 1 B. and G. read some of the names in a slightly different manner 50-51 (B. 50b-5la, G. 49). 1 Onc Svati has been mentioned in the Vișnu P. Narada is also a well-known Puranic sage. He is mentioned as a musician in Bhagavata and Vayu P. Sec Vidyalankar. JK .. sub voce. 2 Ag. thinks gana in this connexion means the playing of stringed instruments and flutes. 51-53 (B. 51b-53a, G. 50-51).

-I.61 ] THE ORIGIN OF DRAMA 9

said that the dramatic art (natya) has been mastered, and prayed for his command.

The Banner Festival of Indra and the first production of a play 53-55. On these words, Brahman said, "A very suitable time for the production of a play has come : the Banner Festival1 of Indra has just begun ; make use of the Natyaveda now on this occasion". 55-58. I then went to that festival in honour of Indra's victory which took place after the Danavas and the Asuras (enemies of the gods) were killed. In this festival where jubilant gods assembled in great numbers I performed for their satisfaction the holy1 Benediction (nandi) containing blessings with words in their eightfold2 aspects (astanga, lit. of eight limbs). Afterwards I devised an imitation of the sitution in which the Daityas were defeated by gods (and), which represented [sometimes] an alter- cation and tumult and [sometimes] mutual cutting off and piercing [of limbs or bodies]. The pleased gods reward Bharata's party 58-61. Then Brahman as well as the other gods were 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 Indra

53-55 (B. 53b-55a ; G. 52-53). 1 This festival occurred on the twelfth day of the bright half of the moon in the month of Bhadra. It was a very popular festival in ancient India. Asvaghoșa mentions it in his kavyas. Maha, a part of the compound dhvaja-maha is simply a Pkt. form of the word makha meaning 'sacrifice' ; cf. Indra-makha. 55-58 (B. 55b-58a ; G. 54-56). 1 Veda-sammita (veda-nirmita, G.) means 'like the Veda' i. e. 'holy'. 2 The eight aspects of words are noun (nāma), verb (ākhyata), particle (nipata), prefix (upasarga), compound word (samāsā), secondary suffx (taddhita), euphonic combination (sandhi), nominal andverbal suffixes (vibhakti). Sce No. XV. 4. 58-61. (B. 58b-61, G. 57-59) 1 Making gifts to dancers, singers and actors at a performance, is a very old custom in India. Such gifts were made by rich members of the audienee, while the common people enjoyed 2

10 THE NATYASASTRA [ I. 61-

(Sakra) gave his auspicious banner, then Brahman a Kutilaka2 and Varuna a golden pitcher (bhrngara), Surya (the sun-god) gave an umbrella, Siva success (siddhi), and Vāyu (the wind- god) a fan. Vișnu gave us a lion-seat (simhāsana), Kuvera a crown, and the goddess Sarasvati gave visibility as well as audibility8. 62-63. 1 The rest of the gods, and the Gandharvas, the Yaksas, the Raksasas and the Pannagas (Nagas) who were present in that assembly and were of different birth and merit, gladly gave my sons speeches suited to their different roles [in the play], States (bharu)2, Sentiments (rasa), [good physical] form, [proper] movement [of limbs] and strength as well as beautiful ornaments. 64-65. Now when the performance relating to the killing of the Daityas and the Danavas began, the Daityas who came there [uninvited] instigated the Vighnas (malevolent spirits) with Viru- pāksa as their leader, said, "Come forward, we shall not tolerate1 this dramatic performance." 66. Then the Vighnas (evil spirits) together with the Asuras resorted to supernatural power (maya) and paralysed the speech, movement as well as memory of the actors.

the performance without any payment. This old custom is now dying out under the infuence of modern theatres which realise the price of the enter- tainment beforchand by selling tickets. 2 Kutilaka .- Ag. takes it to mean 'a curved stick fit to be used by the Jester'. But he does not seem to be supported in this by the old dramatic literature. In Kalidasa's Malavi. however occur bhuangama. k'lila-dandakattha and dandakattha (od. Pandit, Bombay, 1889, IV. 150, 160). But it is not clear from the context whether it belonged to the Jester. The NS. XXIII 167-170 describes probably this dandakastha, but does not connect it with the Jester. 3 From now on the numbering of couplets is wrong in B.

दिवीकस :. 62.63 (B. same ; G. 60-61). 1 B. reads 63a as : 7 2 For details on States see NS. VI. 64-65 (B. same ; G. 62-63). 1 na ksamisyāmahe (nettham icchū- mahe, B). 66 (B. same ; G. 64).

-I. 78 ] THE QRIGIN OF DRAMA 11

67-68. Seeing this injury to them,1 Indra sat in meditation to ascertain the cause of break in the performance and found out that, surrounded on all sides by the Vighnas (evil spirits), the Director (sutradhara) together with his associates (actors) had been rendered senseless and inert. 69-70. Then with eyes turning in anger he rose and took up that best banner staff (dhvaja), brilliant with all the jewels set in it. With this Jarjara Indra beat to death the Asuras and the Vighnas who were hanging about the stage [for mischief]. 71-73. The Vighnas together with the Danavas having been slain, all the gods saids in joy. "O [Bharata,] you have got a divine weapon with which all destroyers of a play have been made jarjara (beaten to pulp). Hence it will have the name of Jarjara.1 73-75. The remaining enemies too who may come to do violence to [actors] will fare like this." To the gods, Indra then said with pleasure, "Let it be so : this Jarjara will be the protection of all actors." 75-76. [And afterwards], when the play was ready and Indra's festival continued in full force, the remaining Vighnas began to create terror for the rest of the actors. 76-78. Having noticed these attempts caused by the insult of the Daityas1 I, along with my sons, approached Brahman [and said], "O the holy one and the best of gods, the Vighnas (the evil spirits) are determined to destroy this dramatic performance ; so enlighten me about the means of its protection."

67-68 (B. same ; G. 65-66) 1 tatra teşām sah (sūtradhārasya, B.G.) 69-70 (B. same ; G. 67-68). 71-78 (B. 71-72, 78b ; G. 69-70, 71b). 1 This is evidently an instance of folk-etymology. We read 72b. as, नाव्यविष्य सिनः सरवे येन ते जर्ज्जरीक्षता : (C.) but B.G. नर्ज्जरोअतसपंदा यैमैते दानबा: छताः and adds onc hemistich as follows :- यसादनेन ते पिज्ा: सासूरा: अर्जरौक्कता :. 73-75 (B. 73b-75, G. 72-78). · 75-76 (B. 76, G. 74). 76-78 (B. 77-78 ; G. 75-76) .. 1 daityānām (madarthe, B.)

18 THE NATYASASTRA [1.78

78-79. "O the high-souled one," said Brahman then to Viśvakarman,1 "build carefully a playhouse of the best type." 79-81. After constructing it according to this instruction1 he (i.e. Viśvakarman) went with folded palms to Brahman's court [and said], "O god, please have a look at the playhouse which has [just] been made ready." Then Brahman, along with Indra and and all other good (lit. the best) gods, went to have a view of the playhouse. 82-88. On seeing it Brahman said to the rest of gods, "You ought to co-operate in the protection of the playhouse in its several parts [and of the objects relating to dramatic performance]: Candra (the moon-god) to protect the main building; the Lokapālas (guardians of the worlds) its sides, the Maruts its four corners, Varuna the space [within the building], Mitra the tiring room (nepathya), Agni its plinth1, clouds the musical instruments2, deities of four Colour-groups (carna)3 the pillars, the Adityas and the Rudras the space between the pillars, the Bhūtas (spirits) the rows [of seats= dharani], the Apsarasas its rooms, the Yaksinis the entire house, the ocean-god the ground, Yama the door, the two Nāga kings (Ananta and Vāsuki) the two blades of the door (dvarapatra)4, the Rod5 of Yama the door-frame, Siva's Pike the top of the door. 88-93. 1 Niyati and Yama (Mrtyu) were made two door- keepers, and Indra himself stayed by the side of the stage. In the

78-79 (B. 79 ; G. 77). 1 Viśvakarman is the 'architect of the gods, He is very frequently met with in the Puranas. There was also'a Vedic deity of this name. See Vidyalankar, JK, sub voce. 79-31 (B. 81-,82 ; G. 79-80). 1 Krtvū yathoktam evam tu grham padmodbhamjnaya. B. G. read in place of this hemistich a complete śloka. 82-88 (B. 83-89a ; G. 81-87a). 1 Vedikā ranga-vedikā tatra tiksno' dhisthatet yarthah (Ag.). 2 bhānda iti tripuskare sopakaraņe (Ag.) 3 Such deities are nowhere to be met with. * dvarapatra (dvara-parsve (F.) See NS. III. 1-8 note 5. 88-93 (B. 89b-95a ; G. 87b-92a). ' B. reads a complet between 91a and 91b.

-I. 99 ] THE OBIGIN OF DRAMA 13

Mattavarapi was placed Lightning which was capable of killing Daityas, and the protection of its pillars was entrusted to the very strong Bhutas, Yaksas, Pisacas and Guhyakas. In the Jarjara was posted Thunder (vajra) the destroyer of Daityas, and in its sections (parva) were stationed the best and powerful gods. In the topmost section was placed Brahman, in the second Siva, in the. third Visnu, in the fourth Kartikeya and in the fifth great Nagas such as, Seşa, Vāsuki and Takşaka." 93-94. Thus for the destruction of the Vighnas, gods were placed in different parts of the Jarjara, and Brahman himself occupied the middle of the stage. It is for this reason1 that flowers are scattered there [at the beginning of the performance]. 95. Denizens of the nether regions such as, the Yaksas, the Guhyakas and the Pannagas were employed to.protect the bottom of the stage. 96. Let Indra protect the actor who assumes the role of the hero, Sarasvati1 the actress assuming the role of the heroine, Omkarah2 the Jester and Siva the rest of the characters (dramatis personæ). 97. He (Brahman) said that the gods who were employed to protect it (i.e. the play) would be its guardian deities.

Brahman pacifies the Vighnas 98-99. In the meanwhile gods in a body said to Brahman, "You should pacify the Vighnas by the conciliatory method (saman). This (method) is to be applied first, and secondly the making of gifts (dana); and (these proving futile) one should afterwards create

93-94. (B. 95b-96 ; G. 92b-93). 1 See NS. V. 74. 95 (B. 97 ; G. 94). 96 (B. 98 ; G. 95). ' Sarasvati mentioned here seems to be the Vedic goddess of the same name. See Rk. I, 142.9 and JK. sul voce. ' Omkāra as a deity is very rarely to be met with. 97 (B. 99 ; G. 96).

14 · THE NATYASASTRA [I.100-

dissension [among enemies], and this too proving unsuccessful punitive force (danda) should be applied [for curbing them1]. 100. Hearing these words of the gods, Brahman called the evil spirits and said, "Why are you out for spoiling the dramatic performance ?" 101-103. Questioned thus by Brahman, Virūpāksa1 together with the Daityas and the Vighnas, said these conciliatory words: "The knowledge of the dramatic art (natyaveda) which you have introduced for the first time, at the desire of the gods, has put ,us in an unfavourable light, and this is done by you for the sake of the gods; this ought not to have not been done by you who is the first progenitor (lit. grand-father) of the world, from whom came out alike gods as well as Daityas." 104-105. These words being uttered by Virūpākșa,1 Brahman said, 'Enough of your anger, O Daityas, give up your grievance (lit. sorrow), I have prepared this Natyaveda which will determine the good luck or ill luck of you as well as of the gods, and which will take into account acts and ideas of you as well as of the Daityas.

Characteristic of a drama 106. In it (nalya) there is no exclusive representation of you or of the gods: for the drama is a representation of the state of the Three Worlds (bharanukirtana)1. 107. [In it] sometimes there is [reference to] duty, some- times to games, sometimes to money, sometimes to peace, and 98-99. (B. 100-101 ; G. 97-98). 1 This is an ancient Indian political maxim. 100 (B. 102 ; G. 99). 101-103 (B. 103-105 ; G. 100-102). 1 This name occurs in Ram. and Mbh. and in some Puranas, but none can be identified with Virūpaksa mentioned here. Sce Vidyalankar, JK. sub voce. 104-105 ( B. 106-107 ; G. 103-104 ). 1 For Virūpaksa, B. reads vighnānām. 106. (B. 108 ; G. 105). 1 A. K. Coomaraswamy has freely translated 106-109. (See MG., New York, 1936, pp. 16-17). 107. (B, 109 ; G. 106).

-I.116] THE ORIGIN OF DRAMA 15

sometimes laughter is found in it, sometimes fight, sometimes love-making and sometimes killing [of people]. 108-109. This teaches duty to those bent on doing their duty, love to those who are eager for its fulfilment, and it chastises those who are ill-bred or unruly, promotes self-restraint in those who are disciplined, gives courage to cowards, energy to heroic persons, enlightens men of poor intellect and gives wisdom to the leavned1.

110. This gives diverson to kings, and firmness [of mind] to persons afflicted with sorrow, and [hints of acquiring] money to those who are for earning it, and it brings composure to persons agitated in mind. 111-112. The drama as I have devised, is a mimicry1 of actions and conducts of people, which is rich in various emotions, and which depicts different situations. This will relate to actions of men good, bad and indifferent, and will give courage, amusement and happiness as well as counsel to them all. 113. The drama will thus be instructive1 to all, through actions and States (bhava) depicted in it, and through Sentiments, arising out of it. 114-115. It will [also] give relief to unlucky persons who are afflicted with sorrow and grief or [over]-work, and will be conducive to observance of duty (dharma) as well as to fame, long life, intellect and general good, and will educate people. 116. There is no wise maxim, no learning, no art or craft, no device, no action that is not found in the drama (natya).

108-109 (B. 110-111 ; G. 107-101). 1 All these lay stress on the educative aspect of dramatic performances. 110 (B. 112 ; G. 109). 111-112 (B. 113-114; G. 110-111). 1. Aristotle also brings in 'imita- tion' to explain poetry and drama (Sce Poetics). 113 (B. 115 ; G. 112). 1 See above 108-109 note. 114-115 (B. 116-117 ; G. 113-114). 116 (B. 118 ; G. 115),

16 THE NATYASASTRA [ I. 117-

117-118. Hence I have devised the drama in which meet all the departments of knowledge, different arts and various actions. So, (O, Daityas) you should not have any anger towards the gods ; for a mimicry of the world with its Seven Divisions (sapta dvipa)1 has been made a rule of, in the drama. 119. 1 Stories taken out of Vedic works as well as Semi- historical Tales (itihasa) [so embellished that they are] capable of giving pleasure, is called drama (nātya). 120. 1 A mimicry of the exploits of gods, Asuras, kings as well as house-holders in this world, is called drama. 121. And when human nature with its joys and sorrows, is depicted by means of Representation through Gestures, and the like (i.c. Words, Costume, and Temperament or Sattva) it is called drama."

Offering Puja to the gods of the stage

122-123. The Brahman said to all the gods, "Perform duly in the playhouse a ceremony (yajana) with offerings, Homa,1 Mantras2, (sacred) plants, Japa3: and the offerings in it should consist of eatables hard as well as soft (bhojyu and bhaksya4). 124. Thus this Veda (i.e. this Natyaveda) will have a

117-118 (B. 119-120 ; G, 116). 1 According to the Puranic geography the world was divided into seven continents such as Jambu, Plaksa, Salmali, Kuša, Kraunce, Saka and Puskara. Each of these continents was further subdivided into nine regions, and Bharata (India) is a region of the Jambu continent. 119 (123L-1248 ; G. 119) 1 B. readsone couplet more after this. 120 (B. 121b-122a ; G. 117) ' We read 120b as kitānukaraņam loke nātyam etad bhavisyati, but B. G. differently. 121 (B. 122b-123a ; G. 118). 122-123 (B. 125b-127a ; G. 120-121). 1 homa-otfering oblations to gods by throwing ghee into the consecrated firc. 2 mantra-formula of prayer sacred to any deity. 3 Japa-repeating a mantra or muttering it many times. *खरविभदमभ्यवहार्य अत्त्यमिति केचित्, खरं भट्टमत्स्यादि विशद मोदकादि,

.I. 125 ] THE ORIGIN OF DRAMA 17

happy adoration of the world. A dramatic spectacle (preksa1) should not be held without offering Pūja2 to the stage. 125. He who will hold a dramatic spectacle without offering the Pūja, will find his knowledge [of the art] useless, and he will be reborn as an animal of lower order (tiryay-yoni). 126. Hence [producers of a play] should first of all offer by all means, Puja to the [presiding] deity of the stage, which is similar to the [Vedic] sacrifice. 127. . The actor (nartaka) or his wealthy patron (arthapati) who does not offer this Puja or does not cause it to be offered, will sustain a loss. 128. He who will offer this Puja according to the rules and the observed practice, will attain auspicious wealth and will [in the end] go to heavens," 129. Then Brahman with other gods said to me, "Let it be so, offer Puja to the stage."

Here ends Chapter I of Bharata's Nātyasāstra, which treats of the Origin of Drama.

124 (B.127b-128a ; G.122) 1 preksā Pali pekkha occuring in Sikkhā padas (c. 600 B. C. ). 2 puja-worshipping a deity with flowers, sweet scent, incense, music and offering of catables. 125 (B.128b-129a, G.123). 126 (B.129b-130a, G.124). 127 (B.130b-13la, G.125) 128 (B131b-132a, G.126). 129 (B.132b-133, G.127).

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2 3 SEP 1959

CHAPTER TWO

DESCRIPTION OF THE PLAYHOUSE

. Introduction .1.2 On hearing Bharata's words, the sages said, "O the holy one, we would like the hear about the ceremony relating to the stage.1 And how are the men of future to offer Puja in the playhouse or [to know about] the practices related to it, or its accurate description ? 1 3. As the production of a drama begins with the playhouse, you should [first of all] give us its description."

The three types of the playhouse 4. On hearing these words of the sages, Bharata said, "Listen, O sages, about the description of a playhouse1 and of the Pūja to be offered in this connexion. 5-6.1 Creations of gods fobserved] in houses and gardens2.

1-2 (B.G. same). 1 ranga here means 'the stage.' It may also mean the auditorium as well as the spectators sitting there. So Kalidasa writes : श्रही रागब इचित्तत्तिरालिख्वित दून सर्वतो रङ्ग : Sak. J. 4. 2. 3 (B.G. same) 4 (B.G. same). 1. Except the cave (c. 200 B .: C.) in the Ramgarh hill suspected by Th. Bloch (Report of the Archacological Survey of India, 1903-4, pp.123 ff) to have been the remains of a theatre, there is no other evidence of the eristence of a playhouse in ancient India. From the description of the playhouse in the present chapter we learn that it was constructed with brick walls and wooden posts probably with a thatched bungalow renf The samgidasala ( samgitasila) mentioned by Kalidasa in his Malavi. was possibly something like a playhouse (nūtyamandapa). Large open halls called nalmandir often found in front of more recently built temples in Bengal and the neighbouring provinces may be connected with the extinct playhouses. This nal-mandir or nat-sala is often met with in the medieval Bengali literature. 5-6 (B.G. same). 1. Between the two hemistichs of 5, B. reads one more hemistich. 2 This is the reason why no description of a playhouse suitable for the gods has been given in the NS.

-Iİ. 11 ] DESORIPTION OF THE PLAYHOUSE 19

are the outcome of their [mere] will but men's [creative] activity should be carefully guided by rules [laid down in the Sastras]. Hence, listen about the method of building a playhouse and of the manner of offering Pūja at the site [of its construction]. 7-8. There are three types of playhouses devised by the wise Visvakarman [the heavenly architecht] in the treatise on his art (sastra). They are oblong (vikrsta),2 square (caturasra) and triangular (tryasra). . The three sizes of the playhouse 8-11. Their sizes vary : they may he large (jyestha), middle- sized (madhya) and small (avara). The length (lit. measurement) of these [three types] fixed in terms of cubits as well as Dandas, is one hundred and eight, sixtyfour or thirtytwo. They2 should [respecti vely] have [sides] one hundred and eight, sixtyfour and thirtytwo [cubits or Dandas]3 long. The large playhouse is meant for gods4 and the middle-sized one for kings, while for the rest of people, has been prescribed the smallest [theatre].5

7-8 (B.G. same). 8-11 (B.G. same). ' Some are for identifying the oblong, the square and the triangular types respectively with the large, the middle-sized and the small playhouses, but Ag. very rightly objects to this. He says. According एतान्धेव नीयि ज्येश्ठादोनि इति कैचित् अन्धे तु प्रत्येकं चित्व मिति नवेतेऽन भेदा त्याद :- vnea yan to Ag's view there will be the following nine types of playhouses : (i) large oblong (ii) large square, (iii) large triangular, (iv) oblong (v) medium square, (vi) medium 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, 43-53, 63,68, 69-92) relating to.the cons- truction of the playhouse see D. R. Mankad, "Hindu Theatre" in IHQ. VIII. 1932. pp. 482 ff. 2 They i. e. the large, the middle-sized and the small. 8 As the measurements described are both in terms of cubits and dandas (4 cubits), eighteen kinds of playhouse will be available. ' Ag (I. p.51) thinks that by gods, kings and other peoples mentioned in this passage characters in a play have been meant. But this view does not soem to be plausible. So the other view, mentioned by him, which takes gods and kings etc. as spectators may be accepted. 5 Aftor this, B. reads three couplets which go rightly between 20 and 24. G. also holds the same view.

20 THE NATYASASTRA [ II. 12.

The table of measurement 12-16. Listen now about the measurement of all these theatres, which has been tixed by Visvakarman. Units of these measurements1 are: Aņu, Raja, Bāla, Likșa, Yūkā, Yava, Angula, cubit (hasta) and Danda. 8 Aņus = 1 Raja 8 Rajas = 1 Bāla 8 Balas 1 Likşā 8 Liksās 1 Yūkā 8 Yūkas = 1 Yava 8 Yavas 1 Angula 24 Angulas = 1 cubit 4 cubits = 1 Danda.

With the preceding table of measurement I shall describe them (i.e. the different classes of playhouses).

The playhouse for mortal

17. An [oblong] playhouse meant for mortals1 should be made sixtyfour cubits in length and thirtytwo cubits in breadth. Disadvantage of a too big playhouse 18-19. No one should build a playhouse bigger than the above; for a play [produced] in it (i.e. a bigger house) will not be properly expressive. For anything recited or uttered in too big a playhouse will be losing euphony due to enunciated syllables being indistinct1 [to spectators not sitting sufficiently close to the stage]. 20. [Besides thi-] when the playhouse is very big, the ex- pression in he face [of actors] on which rests the Representation

12-16 (B.15-19, G. same), 1. The table of measurement given here agrees substantially with the one given in the Arthasastra of Kautilyn (see IHQ. VIII. p. 482 footnote). 17 (B.20, G. same). 1 A medium oblong playhouse is meant here. It is described in detail later on. See 33-38, 43-45, 63-65 below. 18-19 (B.21-22, G. same). 1 anabhivyakta-varnatad. B. reads anihsarana-dharmatvad. In spite of Ag's acceptance of this reading it may not he considered genuine.

-II. 27 ] DESCRIPTION OF THE PLAYHOUSE 21

of States and Sentiments,1 will not be distinctly visible [to all the spectators]. 21. Hence it is desirable that playhouses should be of medium size, so that the Recitatives as well as the songs in it, may be more easily heard [by the spectators].1 22-23. Creations of gods [observed] in houses and gardens are the outcome of their [mere] will, while men are to make careful efforts in their creations ; hence men should not try to rival the creation of gods.1 I shall now describe the characteristics of a [play] house suitable for human beings. Selection of a suitable site 24. The expert [builder] should first of all examine a plot of land and then proceed with a good resolve to measure the site of the building. 25. A builder should erect a playhouse on the soil which is plain, firm, hard1, and black or2 white. 26. It should first of all be cleared and then scratched with a plough, and then bones, pegs, potsherds in it as well as grass and shrubs growing in it, are to be removed. Measurement of the site 27a. The ground being cleared one should measure out [the building siteļ1 .

20 (B.24, G.21). 1 rūgo bhūvasrsti-rasās rayah. 21 (B.24, G.21) 1 After this B. G. read two more couplets. 22-23 (B. 27-28, G. 24-25). 1 That is, mortals (men) should not build a playhouse of the biggest type which has been prescribed for gods. 24 (B. 29, G. 26). 25 B.30, G.27). 1 Ag. thinks kathina means anusaru (=fertile). According to Ag. the second ca means 'or'. . 26 (B. 31, G. 28). 27a (B. 32a, G. 20a). 'This hemistich is followed in B and G by one couplet which in trans. is as follows : The asterisms; Uttaraphalguni (Beta-Leonis), Uttarasadha (Tau-Sagittarii), Uttarabhadrapada (Andro- medœ), Mrgsiras (Lambda-Orionis), Visakha (Iota-Libra), Revati (Pis- cium), Hasta (Corvii), Tişya (Delta-Cancri) and Anuradha (Delta-Scorpii) are favourable in connerion with drama.

22 THE NATYASASTRA [ 1.28-

27-28. Under the asterism Pusya (Cancri) he should spread [for measurement] a piece of white string which may be made of cotton, wool, Munja grass or bark of some tree.

Taking up the string 28-31. Wise people should prepare for this purpose a string which is not liable to break. When the string is broken into two [pieces] the patron1 [of the dramatic spectacle] will surely dic. When it is broken into three a political disorder will occur in the land, and it being broken into four pieces the master of the dramatic art2 will perish, while if the string slips out of the hand some other kind of loss will be the result. Hence it is desired that the string should always be taken and held with [great] care. Besides this the measurement of ground for the playhouse should be carefully made. 32-33. And at a favourable moment which occurs in a (happy) Tithi1 during its good part (su-karana)2 he should get the auspicious day declared after the Brahmins have been satisfied [with gifts]. Then he should spread the string after sprinkling on it the propitiating water.3

The ground plan of the playhouse 33-35. Afterwards he should measure a plot of land sixty- four enbits [long]1 and divide the same [lengthwise] into two [equal] parts. The part which will be behind him (i.e. at his back) will have to be divided again into two equal halves. Of these halves one (behind him] should be again divided equally into two parts, une of which will be made the stage (raivla-firga) and the part at back the tiring room (nepathya).

27-28 (B. 33b-34a, G. 30b-3la). 28-31 (B. 34h-37, G. 31b-34). ' svaminah = preksapateh. Ag. 2 prayoktur= nāt yūcāryasya. (Ag.) 32-33 (B. 38-39a, G. 35). 1 tithi-a lunar day. 2 karana-a half of a lunar day, see below 43-45 note. 3 G. omits 33a. S3-35 (B. 39b-41a, G. 36-37). ' See 17 above and the note 1 on it.

-II. 41 ] DESCRIPTION OF THE PLAYHOUSE' 23

The ceremony of laying the foundation 35-37. Having divided the plot of land according to rules laid down before, he should lay in it the foundation of the play- house. And during this ceremony [of laying the foundation] all the musical instruments such as, conchshell, Dundubhi1, Mrdanga2, and Panava3 should be sounded. 37-38. And from the places for the ceremony, undesirable persons such as hereties, including Sramanas1, men in dark red (kasaya)2 robes as well as men with physical defects, should be turned out. 38-39. . At night, offerings should be made in all the ten directions |to various gods guarding them] and these offerings should consist of sweet scent, flowers, fruits and etables of various other kinds. 39-41. The food-stuff offered in the four [cardinal] direc- tions east, west, south and north, should respectively be of white, blue, yellow and red colour. Offerings preceded by [the muttering

35-37 (B.41b-43a, G.38-49). 1 dundubhi-a kind of drum. 2 mrdanga-a kind of earthen drum. 3 panava-a small drum or tabor. 37-38 (B.43b-44a, G.40). 1 pasanda .- This word :has a very curious history. Derived originaly from parsada (meaning 'assembly' or 'community') its Pkt from was .passada or passala or pāsada. The form pasada with spontaneous nasalization of the second vowel gave rise . to Asokan pasamda (Seventh Pillar Edict, Delhi-Topra), which is the basis of Skt. pasanda in the sense of 'heretic'. It may be mentioned here that in Asokan Pkt. the word meant simply a 'community' and not a 'hereti- cal community'. 'One of the very early indications of disfavour to heretics is to be found in the fourth book (ch. 18) of the Visnu P. See Winternitz, Vol. I. p. 551. 2 B. reads aramina, but G. sramana, the word means Jain monks. See NS. XVIII. 36 note 2. 3 kāsaya-vasana-men in kasaya or robe of dark red colour ; such people being Buddhist monks who accepted the vow of celebacy, were considered an evil omen, for they symbolised unproductivity aud want of wordly success etc. See also NS. XVIII, 36 note 2. 38-39 (B.44b-45a, G.41) 39-41 (B.45b-47a, G 42-43) .

24 THE NATYASASTRA [ II. 41

of] Mantras should be made in [all the ten] difterent directions to deities presiding over them. . 41-42, At [the time of laying] the foundation ghee1 and ' Payasa2 should be offered to Brahmins, Madhuparka3 to the king, and rice with molasses (yuda) to masters [of dramatic art]. 42-43. The foundation should be laid during the auspicious part of a happy Tithi under the asterism Mula (Lambda-Scorpionis).

Raising pillars of the playhouse

43-45. After it has been laid, walls should be built and these having been completed, pillars within the playhouse should be raised in an [auspicious] Tithi and Karana which are under a good asterism. This [raising of pillars] ought to be made under the asterism Rohini (Aldoberan) or Sravana (Aqwillar) [which are considered adspicious for the purpose). 45-46. The master [of dramatie art], after he has fasted for three [days and] nights, is to raise the pillars in an auspicious moment at dawn.

41-42 (B.47b-48a, G.44). ' ghee-clarified butter. "pavasa-rice cooked in milk with sugar. It is a kind of rice- porridge. 3 madhuparka-'a mixture of honey' ; a respectful offering preseribed to be made to an honourable person in Vedie times, and this custom still lingers in ceremonies like marriage. Its ingredients are five : curd (dadhi) ghee (sarpis), water (jala), honey (ksaudra) and white sugar (sita). 42-43 (B.48b-49a, G.45). 43-45 (B.49b-5la, G.45-47). 1 karana-half of the lunar day (tithi). Thes are eleven in number viz .- (1) vava, (2) viilara, (3) kaulava, (4) taitila, (5) gara, (6) vaņija, (7) visli, (8) sakuni, (9) catuspada, (10) naga and (11) kintughna, and of these the first seven are counted from the second half of the first day of the sukla-paksa (bright half of the moon) to the first half of the fourteenth day of the kesna-paksa (dark half of the moon). They oceur eight times in a month. The remain- ing karanas occur in the remaining duration of tithis and appear only once in a month. See Suryasiddhanta-II. 67-68. 45-46 (B.5]b-52a, G.48).

-II. 57 ] DESCRIPTION OF THE PLAYHOUSE 25

46-50. 1In the beginning, the ceremony in connexion with the Brahmin pillar should be performed with com pletely white,2 articles purified with ghee and mustard seed, and in this ceremony Pāyasa should be distributed [to Brahmins]. In case of the Kşatriya pillar, the ceremony should be performed with cloth, garland and unguent which should all be of red3 colour, and during the ceremony rice mixed with molasses (guda) should be given to the. twice-born caste. The Vaisya pillar should be raised in the north- western direction of the playhouse and [at the ceremony of its raising] completely yellow4 articles should be used and Brahmins should be given rice with ghee. And in case of the Sudra pillar, which is to be paised in the north-eastern direction, articles used in offering should all be of blue5 colour, and the twice-born caste should be fed with Krsara. 50-53. First of all, in case of the Brahmin pillar, white garlands and unguent as well as gold from an ear-ornament shonld be thrown at its foot, while copper, silver and iron are respectively to be thrown at the feet of the Ksatriya, Vaisya and Sudra pillars. Besides this, gold should be thrown at the feet of the rest [of pillars]. 53-54. The placing of pillars should be preceded by the display of garlands of [green] leaves [of mango trees around them], and the utterance of 'Let it be well' (srasti) and 'Let this be an auspicious day' (punyaha). 54-57. After pleasing the Brahmins with considerable (analpa) gift of jewels, cows and cloths, pillars should be raised

46-50 (B.52b-56a, G.50-53). 1 before 46, G. reads on the strength of a single ms. one couplet as follows :- दन्दनं ध मनेद ब्राह्म चाव खादिग्मेव च। धवास्यं वैश्यवर्ण स्याध् बृद्र सबंदुमं: असम॥ This interpolation seems to record the tradition that the pillars should be considered as wooden. 2 white-symbol of purity and learning, associated with the Brahmins. ' å red-symbol of energy and strength, associated with the Ksatriyas. 'yellow-symbol of wealth (gold) associated with the Vaisyas. 5 blue-symbol of non-Aryan origin associated with the Sudras. 50-58 (B.56b-58a,4G.54-56). 53-54 (B,59b-60a, G.57) ·

26 THE NATYASASTRA [.II. 57-

[in such a manner that] they do neither move nor shake nor turn round.1 Evil consequences that may follow in connexion with the raising of pillars, are as follows: when a pillar [after it has been fixed] moves drought comes, when it turns round fear of death occurs, and when it shakes, fear from an enemy state appears. Hence one should raise a pillar free from these eventualities. 58-60. In case of the holy Brahmin pillar, a cow1 should 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 the dramatic art (natyararya). Then he should be fed with Krsara2 and salt. 60-63. After all these rules have been put into practice and all the musical instruments have been sounded, one should raise the pillars with the muttering over them of a suitable Mantra [which is as follows]: Just as the mount of Meru is unmoved and the Himalaya is very strong, so be thou unmoveable and bring victory to the king.' Thus the experts should build up pillars, doors, walls and the tiring room, according to rules. The Mattavarani

63-65. On [each] side of the stage (rangapitha) should be built the Mattavarani1 and this should be furnished with four pillars and should be equal in length to the stage (rangapitha)

54-57 (B.56b-63, G.58-6la). I ava!itam (B. acalitan)-Though Ag. is supposed to read acalitam he interprets it correctly as valaya- krt yādinū parivarttanam yasya karaņiyam na bhavati (I. p.6(0. 58-60 (B. 64-66a, G. 61b-63). 1 This kind of payment is probably a relic of the time when there was no metallic currency. 2 krsara is made of milk, sesamum (tila) and rice. Compare this word with NIA. khicadi or khuudi (rice and peas boiled together with a few spices). 60-63 (B.66b-62a, G 64-66) 63-65 (B.69b-7la, G.67-68). ' matta-vurani-The word does not seem to occur in any Skt. dictionary. There is however a word mattarurana meaning 'a turret or small room on the top of a large building, a veranda, a pavilion'. In Ksirasvāmin's commentary to the Amarakosa, matta- varana hats been explained as follows : mattalambopasrayah syat pragriro

-İI. 68] DESCRIPTION OF THE PLAYHOUSE 27

and its plinth should be a cubit and a half high2. And the plinth of the auditorium (rangamandala)3 should be equal in height to that of the two [Mattavāraņis]. 65-67. At the time of building them (the two Mattavaranis) garlands, incense, sweet scent, cloths of different colours as well as offerings agreeable to [Bhutas] should be offered [to them]. And to ensure the good condition of the pillars, one should puť a piece of iron below them, and Brahmins should be given food including Krvara. The Mattavarants should be built up after observing all these rules.

The stage .

68. Then one should construct the stage (ranyapitha)1

mattavaranah (see Oka's ed. p. 50). This is however not clear. Matta- raranayor varandaka mentioned in Subandhu's Vasavadatta (ed. Jivananda. p. 33) is probably connected with this word. Sivarama Tripathi explains these words as follows : मत्तवारणी मनतगजी तयोवरगड़केगा। मिन्तरुमयपान हौ स्यापयित्वा मतङजी। योधयन्नौति प्रसिद्ध भित्ति सा तुवरगकम्॥ This also dos not give any clear idea about mattavarana or mattavaranayor varandaka. But the word mattavarani may be tentatively taken in the sense of 'a side-room.' Ag. seemsto have no clear idea about it. On this he (I. pp. 64-65) says : मतवारथी वह्हिनिंगमनप्रमा्णन सर्वती द्वितीय-भित्तिनिर्वशम् देव प्रामादाचारिका (दाहालिका?) प्रदसगौसहभो द्वितौयभूमिरत्यन्य. A Dictionary of Hindu Architecture, by (P. K. Acharya Allahabad, 1927) does not give us any light on this term. ' 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-veisa यथा रडपीठापेचया सधहसपरिमाय उक्कायः कार्यो मशवारखा The plinth of the audi- torium is also to be of ths 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 would appear that the plinth of the tiring room too, was higher than the stage. Weber however considered that the stage was higher. Indische Studien XIV. p. 225 Keith, Skt. Drama, p. 360. cf. Levi, Theatre indien, i. 374, ii. 62. 8 B. reads rangamandapam instead of rangamandalam (G) which is the correct reading. 65-67 (B.71b-73, 69-71a) 68 (B.74, G.71b-72n). ' Some scholars following Ag, are in favour of taking and raiigapitho rangasirsa as two different parts of the play- house (sec D.R. Mankad, "Hindu Theatre" in.IHQ. VIII. 1932, pp. 480 ff.

28 TEE NATYASASTRA [ II. 68

after due performance of all the acts prescribed by rules, and the stage (rangasirsa) should include six pieces of wood. 69-71. The tiring room (nepathya) should be furnished with two doors1. In filling up [the ground marked for the stage] the black earth should be used with great care. This earth is to be made free from stone chips, gravel and grass by the use of a plough to which are to be yoked two white draught animals. Those who will do [the ploughing] work should be free from physical defects of all kinds. And the earth should be carried in new baskets by persons free from defective limbs. 72-74. Thus one should carefully construrt the plinth of the stage (rangasirsa)1. It must not be [convex] like the back of a tortoise or that of a fish. For a stage (rangapitha) the ground which is as level as the surface of a mirror, is commendable. Jewels and precious stones should be laid underneath this (rangasirşa) by expert builders. Diamond is to be put in the east, lapis lazuli in the south, quartz in the west and coral in the north, and in the centre gold.

Decorative work in the stage

75-80. The plinth of the stage having been constructed thus, one should start the wood-work which is based on a carefully thought out (uha-pratyuha-samyukta)1 [plan], with many artistic

and IX. 1933-pp. 973 ff .; V. Raghavan, "Theatre Architecture in Ancient India" Triveni IV-VI, (1931, 1933) also "Hindu Theatre", IHQ. IX. 1933. pp. .991 ff. I am anable to agree with them. For my arguments on this peint see "The Hindu 'Theatre" in IIIQ. IX. 1933 pp. 591 ff. and "The NS' and the Abhinavabharati" in IHQ. X. 1934 pp. 161 ff. 69-71 (B.75-77, G.72b-75a). ' On this point the Hindu Theatre has a similarity with the Chinese tueatre. (See A.K. Coomaraswamy-"Hindu Theatre" in III(. IX. 1933. p. 594). 72-74 (B. 78-80, (.75b-78a). 1 See note I on 68. If raisgasirsa and raiigapilha are taken to mean two different parts of the playhouse the interpret ition of the passage will lead us to unncessary difficulty. 75-80 (B.80-86a, G.78b-83). ' nha and pratyuha may also be taken as t.o architectural terms (see Ag. I. p. 63).

.II.82 ] DESCRIPTION OF THE PLAYHOU SE 29

pieces such as decorative designs, carved figures of elephants, tigers and snakes. Many wooden statues also should be set up there, and this wood-work [should] include Niryūhas2, variously placed mechanized latticed windows, rows (dhāranī) of good seats, numerous dove.cots and pillars raised in different parts of the floor3. And the wood-work having been finished, the builders should set out to finish the walls. No pillar, bracket4, window, corner or door should face a door5.

80-82. .The playhouse should be made like a mountain cavern1 and it should have two floors2 [on two different levels] and small windows ; And it should be free from wind and should have good acoustic quality. For [in such a playhouse] made free from the interference of wind, voice of actors and singers as

2 niryuha is evidently an architectural term but it does not seem to have been explained clearly in any extant work. Ag's explanation does not give us any light. 8 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 knowledge of the passage remains incomplete till such a description is available in some authentic work.

' nagadanta means 'a bracket'. The word occurs in Vatsyayana's Kāmasīītra. nāgadantāvasaktā vīņā (I. 5.4) s On this passage Ag. (I. p. 64) says: प्रतिदारम् चवान्तरहारेय् विदव परस्परसमखौ भूतमष्य न कुषात्.

80-82 (B. 86b, 89a, G. 84-85). 1 The pillars of the playhouse being of wood, the roof was in all probability thatched and in the form of a pyramid with four sides. Probably that was to give it the semblance of a mountain cavern. ' The two foors mentioned here seem to refer to floors of different heights which the auditorium, mattavarani and the stage had. Sce 63-65 above and note 2 on it. According to some old commentators dvirbhumi indicated a two-storied playhouse while others were against such a sugges- tion. Ag. (l. p. 64) says: * भूमौ रहपौठस्याधसनोपनतनवपेगेति कंचित्। मनतवारणी पेडिनिंगममपमायेन सर्वतो डितोयभिनिनिवेधेन देवप्रास्तादांद्ारिका (7) प्रद्चिबौष्डश्री दितीया भूमिरत्यन।

30 THE NATYASASTRA [ II. 82-

well as the sound of musical instruments3 will be distinctly heard+. 82-85. The construction of walls being finished, they should be plastered and carefully white-washed. After they have been smeared [with plaster and lime], made perfeetly elean and beautifully plain, painting should be exeeuted on them. In this painting should be depicted creepers, men, women, and their amorous exploits1. Thus the architect should construct a play- house of the oblong (cilrsta) type.

Description of a square playhouse

86-92. Now I shall speak of the characteristies of that of the square (caturasra)1 type. A plot of land, thirtytwo cubits in length and breadth, is to be measured out in an auspicions moment, and on it the playhouse should be erected by experts in dramatie art. Rules, definitions and propitiatory ceremonies mentioned before [in case of a playhouse of the oblong type] will also apply in case of that of the square type. It should be made perfectly square and divided into requisite parts2 by holding the string [of measurement], and its outer walls should be made with strong bricks very thickly set together. And inside the stage and in proper directions [the architect] should raise ten

3 kutapa-This word is erplained by Ag. differently in different parts of his comm. Once (I. p. 73) he says कुतपमिति चतुर्विंधातीद्यभागडानि and next time too (1. p. 1c6) he says ugfavmale gad, but in another place (I. p. 65) he say $79: -aa12 qq#: and this latter view srems to have been repeated in I. 2. 214. The tirst view seems to give the correct iuterpretation. After B.87 B. repeats 19 (B22) unnecessarily. 82-85 (B.89b-92, (.86-29a). 1 atmabhogajam literally means 'due to self-indulgence or enjoym nt of the self'. Compare with this description the decorative paintings in the Ajanta caves. 86-92 (B.93-99a, (. 89b-95). ' caturasra gives rise to NIA. cauras or coras. 2 The exact nature of this division is not clear from the passage. The view expressed by Ag. (1. p. 66) on this point does not spem to be convincirg.

-II. 100] DESCRIPTION OF THE PLAYHOUSE 31

pillars3 capable of supporting the roof. Outside the pillars, seats should be constructed in the form of a staircase by means of bricks and wood, for the accommodation of the spectators. Successive rows of seats should be made one cubit higher than those preceding them, and the lowest row of seats being one cubit higher than the floor And all these seats should overlook the stage.

. 92-95. In the interior of the playhouse six more strong pillars capable of supporting the roof shonld be raised in suitable positions and with [proper] ceremonies (i c. with those mentioned before).' And in addition to these, eight more pillars should be raised by their side. Then after raising [for the stage or raigapitha] a plinth cight eubit [square, more] pillars should be raised to support the roof of the playhouse. These [pillars] should be fixed to the roof by proper fa-teners, and be decorated with figurines of 'woman-with-a-tree' (salastri = salabhanjika). 95-100. After all these have been made, one should care- fully construct the tiring room (nepathya). It should have one door leading to the stage through which persons should enter with their face towards [the spectators]. There should also be a second door facing the auditorium (ranga). The stage fof the square playhouse] should be eight cubits in length and in breadth. It should be furnished with an elevated plinth with plain surface, and its Mattavarani should be made according to the measurement prescribed before (i.e. in case of the oblong type of

3 The position of these ten pillars and others mentioned afterwards is not clear from the text. Whatever is written on this point in Ag's commentary is equally difficult to understand. Those who are interested in the alleged view of Ag. may be referred to articles of D. R. Mankad and V. Raghavan (loc. cit.). 92-95 (B.99b-102a, G.96-98). ' sūlastri=sala-bhanjiki (see A. K. Coomaraswamy, 'The Women and tree or salabha jika in Indian literature in Acta Orientalia, vol. VII. also ef. this author's Yaksas, Part II. p. 11.) 95-100 (B.1026-107 G.99-104). 1 Both the sides are meant. There should be two mattavaranis as in the case of an oblong medium, (vikrsta-madhya) playhouse described before (17, 32-35).

32 THE NATYASASTRA [ I.100- playhouse). The Mattavarani should be made with four pillars by the side1 of the plinth [mentioned above]. The stage should be either more elevated than this plinth or equal to it in height. In case of a playhouse of the oblong (vilrsta) type, it should be bigher than the stage, whereas in a playhouse of the square type it shonld have a height equal to that of the stage. These are the rules according to which a square type play- house is to be built.

Description of a triangular playhouse 101-104. Now I shall speak about the characteristics of the triangular (tryasra) type of playhouse. By the builders, a play- house with three corners should be built, and the stage (rangapitha) in it also should be made triangular. In one corner of the playhouse there should be a door, and a second door should be made at the back of the stage (rangapitha). Rules regarding walls and pillars1 which hold good in case of a playhouse of the square type, will be applicable in case of the triangular type2. These are the rules according to which different types of playhouses are to be constructed by the learned. Next I shall describe to you the [propitiatory] Puja in this connexion. Here ends Chapter II of Bharata's Nātyasāstra which treats of the Characteristies of a Playhouse.

101-104 (B.108-111, G.104b-108). 1 It is not clear how the triangular playhouse will have pillars like those of other types. 2 No maltavarani haș been prescribed in case of the triangular playhouse.

CHAPTER THREE

PUJA TO THE GODS OF THE STAGE

Consecration of the playhouse 1-8. In the auspicious playhouse constructed with all the characteristics [mentioned obove] cows, and Brahmins muttering [proper Mantras] should be made to dwell for a week. Then the master of the dramatic art who has been initiated [for the purpose] and has put on new cloths, fasted for three days, lived away from his bed-room (lit. the dwelling house), has kept his senses under control and bas [thus] become purified, will besprinkle his limbs with water over which purificatory Mantras have been muttered, and consecrate the playhouse. This [consecration] should take place after he has made obeisance to the great god Siva the lord of all the regions, Brahman who sprung from the lotus, Brahaspati the preceptor of the gods, Vişnu, Kartikeya, Sarasvati, Lakșmi, Siddhi, Medha, Smrti, Mati, Candra (Moon), Surya (Sun), Winds, Guardians of all directions, Asvins, Mitra, Agni, and other gods, such as Rudra, Varņas1, Kāla3 Kali8, Yama, Niyati, the Sceptre of Yama*, Weapons of Visnu5, the Lord of the Nagas (Serpents), the Lord of the birds (Garuda), Thunderbolt, Lightning, Seas, Gan- dharvas, Apsarasas, Sages, Natya-maids6, Mahāgrāmaņi (the great leader of Ganas)1, Yaksas, Guhyakas® and the hosts of Bhūtas.

1-8 (B.1-7, 9. G.1-7, 9). 1 varnas-No gods called varņas are to be met with in any other work. They may be taken as deities ruling specially over the four varnas of people. ' Kala-There are several legendary heroes (gods, sages and Asuras) of this name, see Vidyalankar, JK. sub voce. * Kali-There are many legendary heroes of this name, see JK. sub Doce. * See note 5 below. ' Weapons of Visnu appear as deities in the Act. I of Bhasa's Bala. · nāt yakumāri-Such goddesses are possibly mentioned nowhere else. ' mahāgrāmāni-The great leader of Ganas. It is very difficult to accept Ag's identification of mahāgrāmaņi with Gaņapati (mahāgrā- manir ganapatih). For in 58 below, occurs the term mahaganeivara

34 THE NATYASASTRA [ III. 9.

0-10. Having made obeisance to these, and other divine sages (devarsi), he should with folded palms invoke all the gods to their respective positions, and say, "Ye, holy ones, should take us under your protection during the night, and ye with your followers should offer us assistance in this dramatic performance". Offering Puja to the Jarjara

11-13. Having worshipped [thus] all the gods as well as all the musical instruments (kutapa)1 he should offer Pūja to the Jarjara3 for attaining good success at the performance [and pray to it as follows]. "Thou art Indra's weapon killing all the demons ; thou hast been fashioned by all the gods,. and thou art capable of destroying all the obstacles ; bring victory to the king and defeat to his enemies, welfare to cows and Brahmins and progress to dramatie undertakings". 14-15. After proceeding thus according to rules and staying in the playhouse for the night, he (the master of the dramatic art)

(in the plural number) indicating the different leaders df Ganas who followed Siva. One of such leaders has been mentioned there as Nandisvara (Nandin). Besides this the term Ganesa (the leader of Ganas) has also been applied to Siva in 47 below. In describing pindiba dhas the pindi of Ganesvara has heen named as daksayajna-vimardini (NS. IV. 260). This too shows that ganesvara, gramani or mahagromani 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. was composed. Our suspicion in tle matter seems to be corroborated by the variant tatha grimadhi-derata recorded in the ms tha of B. for mahāgrūmanyam. Ganapati seems to be a late entrant into the Hindu pantheon. He is not mentioned in any one of the old Puranas. Only the Varaha, Vamana and Brahma-vaivarta P. which are very late know the deity (Winternitz, Vol. 1. pp. 566-568, 573, Vidyalankar, JK. sub voce). 8 Kalidäsa makes no distinction between Yaksas and Guhyakas, See Meghaduta 1 and 5. º See above .. 9-10 (B.10-11, G.10-11). 11-13 (B.12-14, G.12-14). 1 See below 72-"3 note 3. The reading samprayuja in all editions and inss. seems to be wrong. It should be emended as samprapūjya. ' Sec 73-81 below. 1415 (B.15-16, GF.15-16).

.III. 21 ] PUJA TO THE GODS OF THE STAGE 85

should begin Puja as soon as it is morning. This Puja connected with the stage should take place under the asterism Ardra (Alpha- Orionis) or Magha (Regulus) or Yamya (Musca) or Purvaphalguni (Delta-Leonis) or Pūrvāșādhā (Delta-Sagittarii) or Pūrvabhādra- pada (Alpha-Pegasi) or Asleșa (Hydrae) or Mūlā (Lambda- Scorpionis). . 16. The stage should be illuminated and the Pūja of the gods in its connexion should be performed by the master of the dramatic art (acarya) after he has purified his body, concentrated his mind [to these acts] and initiated himself [to the Pūjā].

.Installation of the gods 17. During the concluding moments of the day, which are considered to be hard and full of evils, and are presided over by Bhutas, one should perform Acamana1 and cause the gods to be installed. 18. [Along with these gods] should be [taken] red thread- bangle (pratisara)1, the best kind of red sandal, red flowers and red fruits. [With these and] articles such as barley, white mustard, sunned rice, Nagapuspa2 powder and husked saffron (priyangu)*, the gods should be installed. The Mandala for installing the gods

20. In this ceremony one should draw in proper place a Mandala1 according to the manner prescribed. 21. This mandala should be sixteen Talas (hasta)1 square and it should have doors on all its four sides.

16 (B.17, G.17). 17 (B.18, G.18). 1 acamana-ceremonial rinsing of the mouth by sipping water from the palm of the hand. 18-20 (B.19-2la. G.19-2la).

(I. p. 74). 1 pratisarā-sutra-vinirmita granthi-mantah kaikanaviscsah, Ag.

• nagapuspa=the campaka tree (Apte) but Ag. says nāgapuspam nagadantah. 8 priyangu=saffron, and not the fruit of the priyangu creeper. 20 (B.21b-G. 21b). See the diagram 1. 21 (B.22-G22). 1 hasta in this passage is to be interpreted as

36 THE NATYASASTRA [[III. 99-

22. In its middle should be drawn two lines vertically and horizontally (i.e. parallel to the sides), and in the apartments made by these lines, should be installed the different gods. 23-30. In the middle of this (mandala), should be put Brahman who has lotus as his seat1. Then one should first of all put in the east Siva with his host of Bhūtas, Nārāyana (Vișņu), Indra, Skanda (Kārtikeya), Sūrya, Aśvins, Candra, Sarasvati, Lakșmī, Śraddha and Medha, in the south-east Agni, Svaha, Visvedevas, Gandharvas, Rudras and Rsis, in the south Yama, Mitra with his followers, Pitrs, Pisacas, Uragas and Guhyakas, in the south-west the Raksasas and all the Bhutas, in the west the Seas and Varuna, in the north-west the Seven Winds2 and Garuda with other birds, in the north Kuvera, Mothers of the Nātya, Yaksas with their followers, in the north-east leaders of Ganas such as Nandin, Brahmarsis and the host of Bhūtas in their proper places. 31. And [in the eastern] pillar should be placed Sanat- kumāra1, in the southern one Daksa2, in the northern one Grāmani (lit, leader of Ganas)3 and in the western one Skanda (Kārtikeya). 32. According to this rule all the gods in their [proper] form and colour should be placed in their respective positions.

hasta-tala or tala i.e. the interval between the tips of the thumb and the middle-finger stretched in opposite directions. भा्ृ४्ठमध्यमानु क्यी ये इस्तस्य प्रसारिती। तदययोरन्तरालं तालमाडुर्मनोषिय: u SR. VII. 1046. Otherwise it will be im- possible to accomodate the mandala on. the stage which is eight cubits wide (See NS. II. 33-35). The ancient commentators like Sankuka and others pointed out how absurd it would be take hasta in the passage in the sense of cubit. (see Ag. I. p. 75). 22 (B.23. G.23). 23 30 (B.24-31, G.24-31). 1 According to Ag. a lotus is to be described in the centre of mandala. ' For the soven winds see the Vamana P. (see Vidyalankar, JK. sub voce). 31 (B.32, G.32). ' Sanatkumära-one of the great rais, and a son of Brahman. 'Dakşa-one of the lords of the creation (prajapati), son of Pra- cetas. There were other Daksas besides. Ser Vidyalankar, JK. sub voce. " See above 1-8 uote 7. 32 (B.38, G.88).

-[İI. 44 ] PUJA TO THE GODS OF THE STAGE 37

Offering Puja to the gods 33. After they have been installed with regular ceremony in suitable places they should be worshipped in a fitting manner. 34. Gods [in general] should be given white1 garlands and unguents, while Gandharvas, Agni and Surya should be given gar- lands and unguents of red2 colour. . 35. A fter being treated [thus] in due order and manner they should be worshipped according to rules with suitable offerings. 36-39. [Offerings suitable to different gods and goddesses are as follows]: Brahman Madhuparka1, Sarasvati Pāyasa2, gods like Siva, Visnu, and Indra sweetmeats. Agni rice cooked with ghee, Candra and Sūrya rice cooked with molasses, Viśvedevas, Gandharvas and sages honey and Payasa, Yama and Mitra cakes and sweetmeats, Pitrs, Pisacas and Uragas ghee and milk, host of Bhutas rice cooked with meat, wines of different kinds and grams covered with thick milk. Consecration of the Mattavarani 40-44 Similar shall be the rules regarding the Pūja in connexion with the Mattavarani. [Offerings to be made to different gods and demigods are as follows]: Rāksasas half-cooked meat, Danavas wine and meat, the remaining gods cake and Utkarika* and boiled rice, gods of seas and rivers fish and cakes, Varuna ghee and Payasa,:Sages various roots and fruits, the wind god and birds different edible stuff (lit. bhaksya and bhojya), Mothers8 of the

33 (B.34, G.34). 34 (B.35, G.35). ' 'White' here seems to be the symbol of purity and good grace .. 2 'Rod' here seems to be the symbol of energy. 35.(B. 35, G.36). 36-39. (B. 37-40, G. 37-40). 1 madhuparka-see above II. 41-42. note 3. * pāyasa-see above II. 41-42 note. 40-44.(B.41 45, G.41-45). 1 See above. 3 utkarikā=a kind of sweetmçat. ' These goddesses seer to have beeu ignored by the Purauas.

38 THE NATYASASTRA [ III, 44-

Natya, and Kuvera with his followers eatables including cakes, and Locikās4. 45. These different kinds of foodstuffs should be offered to them and the Mantras to be uttered at the time of making offering to different gods will be as follows :- 46. (The Mantra for Brahman), O the god of gods, the most lordly one, the lotus-born one, the grand-father (of the worlds) accept this my offering consecrated by the Mantra. 47. (For Siva) O the god of gods, the great god, the lord of Ganas1 and the killer of Tripura, accept this my etc. 18. (For Visnu), O Nārāyana, Padmanābha, the best of the gods, with unrestrained movement, accept this my etc. 49. (For Indra), O Purandara, the lord of gods, the thunder bearer, the maker of the hundred exploits, accept this my etc. 50. (For Skanda), O Skanda the leader of the celestial army, the blessed one. the dear son of Siva, () the six-mouthed one, accept this my ete 51. (For Sarasvati,), O the goddess of the gods, the very blessed one, the dear wife of Hari, accept this my etc. 52 (For goddesses Lakşmi, Siddhi, Mati, Medhā) () Lakşmi, Siddhi, Mati and Medha, ye who are honoured by all the worlds, accept this my ete. 53. (For Maruta) O Maruta, you who know the might of all the creatures and are the life of all the world, accept this mny ete. 5+. For Raksasas) O the great Raksasas, the great-souled

locika-This las berp read in mnss. as locita, lopika, lepika, lipiku. The word srems to be connected with the NIA. luci, loci, from elocia, .locikū. 45 (B.46, G.46) 36 (B.47, G.47). 47 (B.51. G.48. i It should be marked here that Siva has been called Ganesvara, a term applied in later times to Ganapati only. 48 (B.50, (}.49). 51 /B.53, G.52). 49 (B.48, G.50). 50 (B.49, G.51). 54 (B.54, G.54). 52 (B.55, G.55) 53 (B,56, G.53).

-III. 68 ] PUJA TO THE GODS OF THE STAGE 39

ones, the sons of Pulastya, born of different causes, accept this my etc. 55. (For Agni) O Agni, the mouth of the gods, the best of the gods, the smoke-bannered one, the eater of things offered in sacrifice, accept this my offering given with love. 56. (For Candra) O Soma, the lord of all the planets, the king of the twice-born ones, the favourite of the world, accept this my etc. 57. (For Surya) O the maker of day, the mass of heat, the best among the planets, accept this my etc. 58. (For lords of Ganas such as, Nandisvara) O the great lord of Ganas. among whom Nandisvara is the foremost, accept this my etc. 59. (For Pitrs) I bow to all the Pitrs. do ye accept my offering. (For Bhutas) I always bow to all the Bhūtas who may have a liking for offerings1. 60a. (For Kāmapāla) O Kāmapāla, I always bow to thee to whom this offering is made. 60-61. (For Gandharvas) O Gandharvas, amongst whom Narada, Tumburu and Visvāvasu are the foremost. accept this my hest offering. 61-62. (For Yama and Mitra) O Yama and Mitra, the gods who are adored by all the worlds. accept this my etc. 62-63. (For Nagas) I bow to all the Pannagas in the nether region, who are devourers of wind, give me success in dramatie production after I have worshipped you. . 63-64. (For Varuna) O Varuna, you who are the lord of all waters and haye the swan as your mount, be pleased along with the seas and rivers, after I have worshipped you all.

55 (B.57, G.56). 56 (B.58, G.57). 57 (B.59, G 68). 58 (G.60, B.59). 59 (B.61, G.60a). ' G. puts one hemistich after 60a without num- bering it. 60a (B.62a, G.60b) .. 60-61 (B.62b-63a, G.61). 61-62 (B.63b-64a, G.62). 62-63 (B. 64b-65a, G.63). 63-64 (B.65b-65a, G.64).

40 THE NATYASASTRA [ III. 64-

64-65. (For Garuda) O the son of Vinata, the high-souled one, the lord, the king of all the birds, accept this my etc. 64-66. (For Kuvera) O the superintendent of [all] wealth, the king of Yaksas, the guardian of the world, the lord of riches, ye along with Guhyakas and Yaksas accept this my etc. 66-67. (For mothers of the Natya) O mothers of the Nātya such as Brahmi and others, ye be happy and pleased to accept my offering. 67-58. (For others) O weapons of Rudra, ye accept my offerings. O weapons of Visnu, ye too accept [things given by me] out of devotion for Visnu. 68-69. O Yama, the Fate, the dispenser of death to all creatures and the end of all actions, accept my offerings. 69-70. Ye other gods who are occupying the Mattavšrani, accept this my etc. 70-71. To all other gods and Gandharvas too who occupy the heavens, the earth, the middle region and the ten directions, these offerings are made (lit. let these be accepted by them). 71-72. Then a [earthen] jar1 full of water with a garland of leaves in its front, should be placed in the middle of the stage, and a piece of gold should be put into it. 72-73. All the musical instruments covered with cloth should be worshipped with [sweet] scent, flowers, garlands, incense and various eatables hard and soft.1

64-65 B.66b-67a, G.65). 65-66 (B.67b-6'a, G.66). 66-67 (B.68b-69a, G.67). 66-68 (B.69b 70a, G.68). 68-69 (B.70b-7la, G.69). 69-70 (B.71b-72a, G.70). 70-71 (B.72b-73a, G.71). 71-72 (B.73b-74a, G. 72). 1 For the significance of this jar see below 87-89. 72-73 (B.74b-75a, G.76). 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 (kulapa) and the Jarjars should be worshipped see 11-13 above,

-III. 83 ] PUJA TO THE GODS OF THE STAGE 41

Consecration of the Jarjara .

73-74. Having worshipped all the gods in due order, and offering Puja to the Jarjara [in the following manner] one should liave the obstacles removed. 74-76. [One should fasten a piece of] white cloth at the top [of the Jarjara], blue cloth at the Raudra joint, yellow cloth at the Visnu joint, red cloth at the Skanda joint, and variegated cloth at the lowest joint1. And garlands, incense and unguents. are to be offered to it (the Jarjara) in a fitting manner. 76-77. Having observed all these rites with incense, garlands and unguents one should consecrate1 the Jarjara with the following Mantra: 77-78. "For putting off obstacles thou hast been made very >trong, and as hard as adament, by gods such as Brahman. : 78-79. Let Brahman with all other gods protect thy top- most part, Hara (Siva) the second part, Janărdana (Vișņu) the third part, Kumara (Kartikeya) the fourth part, and the great Pannagas the fifth part. 80-81. Let all the gods protect thee, and be thou blessed. Thou, the killer of foes, hast been born under Abhijit (Vega), the best of the asterisms. Bring victory and prosperity to the king !"

Homa or pouring ghee into sacrificial fire

81-82. After the Jarjara has thus been worshipped and all offerings have been made to it, one should with appropriate Mantras perform Homa and pour (ghee) into the sacrificial fire. 82-83. After finishing the Homa he should with the fire lighted [in the place of sacrifice] do the cleaning work (?) which is to enhance the brilliance of the king as well as of the female dancers .-

73-74 (B.75b-76a, G.73). 74-76 (B.76b-78a, G.74-75). 1 For identifying the joints eee 78-79 below. . .76-77 (B.79b-80a, G.77). - 77-78 (B.80b-81a, G 78). 78-80 (B.81b-82, G.79-80g). 80-81 (B. 83b-84a, G.80b-81). 81-82 (B.84b-85a, G. 82). 82-83 (B.85b-86a, G.83). 6

THE NATYASASTRA

83-84. After having illumined the king and the dancers together with the musical instruments one should sprinkle them again with water sanctified by the Mantra, and say to them : 81-85. "You are born in noble families and adorned with multitudes of qualities, let whatever you have acquired by virtue of birth, be perpetually yours." 85-86. After saying these words for the happiness of the king, the wise man should utter the Benediction for the success of the dramatic production. 86-87. [The Benediction]: Let mothers such as Sarasvati, Dhrti, Medha, Hri, Pri, Lakșmi, and Smrti1 protect you and give you success. Breaking the Jar

87-88. Then after performing Homa according to rules with ghee and the proper Mantra the master of dramatic art should carefully break the jar. 88-89. In case the jar remains unbroken the king (lit. the master) will have a cause of fear from enemies; but when it is broken his enemies will meet with their destruction.

Illumination of the stage 89-90. After the breaking of the jar, the master of the dramatic art should illuminate the anditorium (ranga) with a lighted lamp. 90-91. Noisily, that is, with roaring, snapping of fingers, jumping and running about, he should cover the auditorium with that lighted lamp [in his hand]. 91-92. Then a fight should be caused to be made [on the

83-84 (B.86b-87a, G.84). 84-85 (87b-88a, G.85). 85-86 B.88b-89a, G.86). 86-87 (B.89b-90a, G.87). 87-88 (B.90b-91a, G.88). ' These are the seven Nātya mātrkas. See 23-30 above. 88-89 B.91b-92a, (.89). 89-90 (B.92b-93a, G.90). 90-91 (B.93b-94a, G.91). 91-93 (B.94b-96a, G.92-93). 1 dundubhi-» kind of drum.

PUJA TO THE GODS OF THE STAGE

stage] in accompaniment with the sound of all the musical instru- ments such as conch-shell, Dundubhi1, Mrdangaa and Panava3. 92-93. If the bleeding wounds [resulting from the fight] will be bright and wide, that will be a [good] omen indicating success.

Good results of consecrating the stage

. 93-94. If the stage is properly consecrated it will bring good luck to the king (lit. the master) and to people young and old of the city as well as of the country. 94-95. But when the auditorium is not consecrated in proper manner it will be indifferently held by gods, and there will be an end of the dramatic spectacle, and it will likewise bring evil to the king. 95-96. He who willfully transgresses these rules [of consecration of the stage] and practises [the dramatic art], will soon sustain loss and will be reborn as an animal of lower order. 96-97. Offering worship to the gods of the stage is as meritorious as a [Vedic] sacrifice. No dramatic performance should be made without first worshipping the deities presiding over the stage. When worshipped, they (these gods) will bring you worship, and honoured they will bring you honour. Hence one should by all efforts offer Puja to the gods of the stage.

Evils following non-consecration of the stage

98-99. Never will fire fanned hy violent wind burn things so quickly, as defective rites will burn quickly [the master of the dramatic art]. 99-100. So the stage should be worshipped by the master of the dramatic art who is purified, disciplined and proficient in

' mrdanga-a kind of earthen drum. 3 panava-a kind of drum. 93-94 (B.96b-97a, G.94). · 94-95 (B.97b-98a, G.95). 95-96 (B.98b-99a, G.96). 96-98 (B.99b-10la, G.97:98). 98-99 (B.101b-102m, G.99). 99-100(B.102b-103a, G.100).

THE NATYASASTRA [ II. 100 -

the rules of the art and initiated into the practice of it and has quiet of mind. 100-101. He who with an agitated mind places his offering in a wrong place, is liable to expiation like one who pours ghee into the sacrificial fire without proper Mantras. This is the procedure prescribed for worshipping the gods of the stage. It should be followed by producers [of plays] in holding a theatrical show in a newly built playhouse.

Here ends Chapter III of Bharata's Nātyasāstra, which treats of Puja to the gods of the stage.

100-101 (B.103b-104a, G.101-102).

CHAPTER FOUR

DESCRIPTION OF THE CLASS DANCE

Brahman writes the first play and gets this performed. 1. After having worshipped [the gods presiding over the stage] I said to Brahman, "Tell me quickly, O the mighty one, which play should be performed ?" 2. [In, reply] I was told hy the Lord, "Perform the Amrta- manthana (the Churning of the Ocean)1 which is capable of stimu- lating efforts and of giving pleasure to gods. 3. I have compo>ed this Samavakara1 which is conducive to [the performance of] duties (dharma), to [the fulfillment of] desire (l'ama) as well as [to the earning] wealth (artha)." 4. When this Samavakara was performed, gods and demons were delighted to witness actions and ideas [familiar to them]. 5. Now, in course of time Brahman (lit. the lotus-born one) said to me, "We shall present today the play before the great- souled Siva (lit. the three-eyed one)" 6-7. Then on reaching along with other gods the abode of Siva (lit. the bull-bannered one) Brahman paid him respects and said, "O the best of the gods, please do me the favour of hearing and seeing the Samavakara which has been composed by me." 8. "I shall enjoy it," said the lord of gods in reply. Then Brahman asked me to get ready [for the performance]. 9-10. "O. the best of the Brahmins, after the Preliminaries connected with the performance had been completed this

1 (B.G. same) 2 B.G. same). ' The legend about the churning of the ocean occurs in the Mbh. (I. 17-19.) and the Visnu P. (1) See Winternitz, Vol. I pp. 889, 546. 8 (B.G. same). 1 See NS. XX. 69 ff. 4 (B.G. same). 5 (B.G. same). 6-7 (B.G. same). 8 (B.G. sams). 9-10 ( B.G. same). +

46 THE NATYASASTRA [ IV. 10-

(Samavakara named the Amrtamanthana) as well as a Dima1 named the Tripuradaha (the Burning of Tripura) was performed in the Himalayan region which consisted of many hills and in which there were many Bhutas, Ganas8 and beautiful caves and waterfalls". 11. Then all the [Bhūtas] and Ganas were pleased to see actions and ideas familiar to them, and Siva too was pleased and said to Brahman : 12. "O the high-souled one, this drama (natya) which is conducive to fame, welfare, merit and intellect, has been well- conceived by you. 13-14. Now in the evening, while performing it, I remem- bered that dance made beautiful by Angahāras1 consisting of different Karanas2. You may utilize these in the Preliminaries (pūrraranya) of a play. Two kinds of Preliminaries 14-16. In the application of the Vardhamanaka1, the Āsarita*, the Gita* and the Mahagita you will depict properly the ideas [by means of dance movements]; and the Preliminaries which you have [just] performed are called "pure" (suddha). [But] when

1 dima-one of the plays of the major type ; for its characteristics see NS. XX. 84 ff. 2 Tripuradaha-Siva killed an Asura (demon) named Tripura by burning him with one of his fiery arrows. Hence he is called Tripurantaka or Tripurari. This legend occurs in the Varaha P. See JK. sub voce. 3 B.G. read bahucutadrumākirne instead of bahubhūtagaņākirņe. 11 (B.G. same). 12 (B.G. same). 13-14 (B.G. same). ' angahara-major dance figures which depend on minor dance figures (karanas) The word means 'movement of limbs' Ag. (I. p. 91) explains it as पक्धानां देशान्तर समुचिते प्रापथप्रवारेडसडाए उरसा चायं हार: प्रयोग:, पमनिवर्त्यो हारोडाडार :. 2 See below 29-30 note l. For details about the Angaharas one below 16 ff, 72 ff. 14-16 (B.G. same). 1 See N8. V. 12-15 note 3. * See NS. V. 21 note 1. ' See NS. V. 60-68 note 8.

-IV. 50 ] DESCRIPTION OF THE OLASS DANCE 47

these dances will be added to them (pure Preliminaries) they will be called "mixed" (citra).

The Angaharas

16-17. To these words of Siva Brahman said in reply, "O the best of the gods, tell us about the use of the Angahāras." 17-18. Then Siva (lit. lord of the world) called Tandu and said, "Speak to Bharata about the use of the Angabāras." 18-19. And by Tandu I was told the use of the Angahāras. I shall now speak of them as well as of the various Karanas and Recakas1. 19-27. The thirtytwo Angaharas are as follows :- Sthira- hasta, Paryastaka, Sūctviddha, Apaviddha, Ākisptaka, Udghațțita, Vișķambha, Aparājita, Viskambhāpasṛta, Mattākrida, Svastikarecita, Pārśvasvastika, Vrsciķa, Bhramara, Mattaskhalitaka, Madavilasita, Gatimandala, Paricchinna, Parivrttarecita, Vaisākharecita, Parāvrtta, Alātaka, Pārsvaccheda, Vidyudbhrānta, Uddhrtaka, Ālidha, Recita, Ācchurita, Āksiptarecita, Sambhrānta, Upasarpita, Ardhanikuttaka.

Uses of the Angaharas

28-29. I shall now speak about their performance depen- dent on the Karanas. [And besides this] "O the best of the Brah- mins, I shall tell you about the movements of hands and feet that are proper to the Angaharas. The Karanas

29-30. All the Angaharas consist of Karanas; hence I shall nention the names of the latter as well as their descriptions.

16-17 (B.G. same). 17-18 (B. same, G.16). 18-19 (B. same, G.17). ' Se below 247 ff. 19-27 (B. same, G.18-27a). 28-29 (B. same, G.27b-28). ' for details about karana see 30ff below. 29-30 (B. same G.29). ' karana-minor dance figure. Ag. (I 93) plains the karana as वुत्तय्दरन विशेषय पुततकरणमति एकदेवाभिश्रबेद तु करयनम्दस पयोनो सेने भोम इतिषस्।

48 THE NATYASASTRA [ IV. 30,

30-34. The combined [movement of] hands and feet in dance is called the Karaņa: Two Karanas will make one Matrka, and two, three, or four Matrkas will make up one Angahara. Three Karaņas will make a Kalāpaka, four a Saņdaka1, and five a Samghā- taka. Thus the Angaharas consist of six. seven, eight or nine Karanas. I shall now speak of tho hand and feet movements making up these (Karaņas). 31-55. The Karanas are one hundred and eight in number and they are as follows: Talapuspaputa, Vartita, Valitoru, Apaviddha, Samanakha, Lina, Svastikarecita, Maņdalasvastika, Nikuțțaka, Ardhanikuttaka, Katiechinna, Ardharecita, Vakşabsvastika, Un- matta, Svastika, Prsthasvastika. Diksvastika, Alāta, Katisama, Akşiptarecita, Viksiptāksipta. Ardhasvastika, Ancita, Bhujangatrā- sita, Urdhvajanu, Nikuncita, Matalli, Ardhamatalli, Recakanikuțtita, Padāpaviddhaka, Valita, Ghūrņita, Lalita, Daņdapaksa, Bhujanga- trastarecita, Nūpura, Vaiakharecita, Bhramaraka, Catura, Bhu- jangancitaka, Dan likarecita. V cikakuttita, Kațibhranta, Lata .. vrścika, Chinna, Vrścikarecita, Vrścika, Vyamsita, Prśvani- kuțtana, Latāțatilaka, Krāntaka, Kuūcita, Cakramaņdala, Uromaņ- dala, Ākșipta, Talavilāsita, Argala, Vikșipta, Avrtta, Dolapāda, Vivrtta, Vinivțtta. Parsvakranta, Nisumbhita, Vidyudbhrānta, Atikranta, Vivartitaka. Gajakrīdita, Talasamsphoțita, Garuda- plutaka. Gaņdasūci, Paivrtta, Pāršvajānu, Grdhrāvalinaka, Samnata, Suct, Ardhasuci, Sucividdha, Apakrānta. Mayūralalita. Sarpita. Daņdapāda. IIariņapluta, Prenkholita, Nitamba, Skhalita, Karihasta. Prasupita, Siņhākridita, Simhākarșita, Udvrtta. Upasrta, Talasamghattitā. Janita, Avalitthaka. Niveśa Elakākrīdita. Urūdvrtta, Madaskhalita. Vişņukiānta, Sambbrānta, Viskambha. Udghattita, Vrsabhakndita, Lolitaka, Nāgāpa-arpita, Pakațāsya, Gangavataran. [The .. Karanas will he used] in dance, fight, personal combat. walking as well as movements in general. 56. Foot movements which have been prescribed for

30-34 ( B. same, G. 30-33 !. ! sandaka-B.G. read mandaka. 84-55 (B.34-55a, 56a, G.34-54) 56 (B.59, G.167).

.IV. 02 ] DESCRIPTION OF THE CLASS DANCE 49

the exercise of Sthanas1 and Caris2, will apply also to these Karaņas8. 57. And application of the Nrtta-hastas1 which have been prescribed for dance is generally implied in the Karanas. 58. The Sthanas, the Caris and the Nrtta-hastas mentioned [before] are known as the Matrkas the variations of which are called the Karaņas. 59. I shall treat the Caris suitable for [representing] fight at the time of discussing the foot movements. The master [of dramatic art] should apply them on any occasion according to his histrionic talents. 60. In the Karana the left hand should generally be held on the breast, and the right hand is to follow the [right] foot. 61. Listen [now] about the movement of hands and feet in dance in relation to that of hip, sides, thigh as well as to breast, back and belly1.

Definition of the Karanas. 62. Talapuspapuța-Puspaputa hand held on the left side, the foot is Agratalasancara, the side is Sannata (Nata)1.

1 See NŚ. XI. 49 ff. 2 See N. XI. 2 ff. 3 B.G. read one hemistich more before 56a. It does not occur in some mss. Ag. records this fact. Though these 108 karanas constitute general dance, which is sometimes interpolated in 'the acting to fill up its gaps, they (karanas) may be also used to embellish the movement of limbs in fights of any kind. Ag. (I.p.96) says अभिनये यब्चत्त वत्यतेड्रमिनयान्तरालवासें वविद्रमचाद नादी तत् म्रयुक्यनी, मस्तादियुके वाड्युळ्े प्रयीग: सौष्ठवार्थमपि तत प्रयुज्यते; besides this he says tanugatisthitisammilite karaņam (I. p. 97) 57 (B.171, G.56a, 168). 1 For nrttahastas see NS. IX. 177 ff. 58 (B.173, G.170). 59 (B.56b-57a, G.56). 60 (B.57b-58a or 172, G.169). 61 (B. 58b-59a, G.57). 1 For B.60 (G.58) omitted see NŚ. XI. 90-91. 62 (B.61, G.59) 1 For the sake of convenience constituent parts of the karanas have been separately mentioned without putting them in a cumbrous sentence. This method has been followed by A. K. Coomara- swamy in MG. As the definitions of these parts can be casily traced through the inder they have not been referred to in the notes. 7

50 THE NATYASASTRA [ IV. 63

63. Vartita-Vyavrtta (= Vyavartita) and Parivartita hands bent at the wrist, then these hands placed on thighs. 64. Valitoru-Sukatuņda hands to make Vyavartita and Parivartita K., and thighs are Valita. 65. Apaviddha-the (right) hand with Sukatunda gesture to fall on the (right) thigh, the left hand held on the breast. 66. Samanakha-the two Samanakha1 feet touching each other, two hands hanging down, and the body in natural pose. 67. Lina-the two Pataka hands held together in Anjali pose on the breast, the neck held high, and the shoulder bent. 68. Svastikarecita-two hands with Recita and Aviddha gesture held together in the form of a Svastika, then separated and held on the hip. 69. Mandalasvastika-two hands moved to unite in the Svastika gesture with their palms turned upwards in a similar manner, and the body in the Mandala Sthana (posture). 70. Nikuttaka-each of the hands to be moved up and down1 alternately between the head and another arm, and the legs also moved in a similar manner. 71. Ardhanikuttaka-hands with Alapallava1 gesture bent towards shoulders, and legs moved up and down: 72. Katicchinna-the hip serially in the Chinna pose, two Pallava hands held alternately and repeatedly on the head.

63 (B.62, G.60) 64 (B.63, G.61) 65 (B.65, G.62) 66 (B.R5, G.63). I samanakha fert has nowhere else been mentioned in the NS. 67 B.66, (.64). 68 (B.97, G.65). 69 (B.68, G.66). 70 (B.69, G.67). I nikuttita=nikuttana. Ag. (I. p. 103) quotes the definition of niku!tana from Kohala as follows : unnamanam vinamanam, syād angasya nikuțļanam. 71 (B.70 (F.68). 1 For kuncita BG. read ancita. But Ag. (I. p. 204) Fread ku icita'and means by this word the alapallava gesture, 72 (B.71, (.69).

-IV. 83 ] DESCRIPTION OF THE CLASS DANCE 51

73. Ardharecita-hand with Sūcimukha1 gesture to move freely, feet to move alternately up and down, side in Sannata (i.e. Nata) pose. 74. Vaksahsvastikā-two legs on each other in the form of a Svastika, the two Recita hands brought together in a similar manner on the breast which is bent (nikuncita). 75. Unmatta-feet to be Ancita and hands to be Recita. . 76. Svastika-hands and feet respectively held tozether in the Svastika form. 77. Prsthasvastika-two arms after being thrown up and down coming together as a Svastika, two feet also to come together as a Svastika with Apakrānta and Ardhasūci Cārīs. 78. Diksvastika-turning sideways and towards the front in course of a single (lit. connected) movement. and forming Svastika with hands and feet. 79. Alāta-after making Alāta Cāri1 taking down hand from [the level of] the shoulder8, then making Urdhvajanu Cari8. 80. Katisama-feet to be separated, after the Svastika Karaņa, of the two hands one to be placed at the navel and the other at the hip, and the sides in the Udvāhita pose. 81. Aksiptarecita-the left hand on the heart, the right hand Recita and thrown up and sideways, and then the two hands to be Recita with Apaviddha (Aviddhaka) gestures, 82. Vikşiptaksiptaka-hands and feet first thrown up, then again thrown down. 83. Ardhasvastika-the two feet to make the Svastika, the

73 (B.73, G.70). 1 By apariddha Ag. (1. p. 105) means the suci- mukha gesture. 74 (B.74, G.71). 75 (B.75, G.72). 76 (B.76, G.73). 77 (B.77, G.74). 78 (B.78, G.75). 79 (B.79, G.76). ' carana=cunı. 8 vyamsayet=amsad vinis- kramaņam kuryat (Ag). 3 krama=carı. 80 (B.80, G.71). I udvuhita side. is nowhere else mentioned in the NS. 81 (B.81, G. 78). 82 (B,82, G.79) 83 (B.83, G.8U).

52 TEE NATYASASTRA [ IV. 88.

right hand making the Karihasta gesture, and the left one lying on the breast. 84. Afcita-in the Ardhasvastika the Karihasta to be alternately in Vyavartita (Vyavrttā) and Parivartita movement, and then bent upon the tip of the nose. 85. Bhujangatrāsita-the Kuncita feet to be thrown up, the thighs to have an oblique Nivartana (Nivrtta)1 movement, the hip and the thigh also to have the same movement. 86. Ordhvajanu-a Kuncita foot to be thrown up, and the knee to be held up (lit. stretched) on a level with the breast, and the two hands to be in harmony with the dance. 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 at the tip of the nose

88. Matalli-making a whirling movement while throwing back the two feet (left and right), and moving hands in the Udveșțita and Apaviddba movement. 89. Ardhamatalli-feet to be drawn away from the position in the Skhalita K., left hand Recita, and afterwards to be put on the hip. 90. Recitanikuttita-the right hand to be Recita, left foot Udghattita (= Nikuttita), and the left hand with Dola gesture.

84 (B.84, G. 81). 85 (B.84, G.82). ' For nivarlayet, B. G. read vivartayet, and for nivrttam B. vivrttam and G. vivartuc. 86 (B.86, G.83). 87 (B.87, G.84). ' For vrscika karana, B.G. read vrścika carana. But NS. does not know any carana or cari of this name, while a K. of this name cecurs, and one karana is very often used to define another karana; see texts for 84 above, 103 and 107 below. In all these cases some mss. read karana instead of caraņa. 88 (B.88, G.85). 89 (B.89, G.86). ' skhalitapasrtan padān foet drawn away from the position of the skhalita K. 90 (B.90, G.87). ' According to Ag. udghattita-nikuttita for ... which see above 70 uote.

-IV. 100 ] DESORIPTION OF THE OLASS DANUE 53

91. Padāpaviddhaka-the Katakāmukha hands with their , back against the navel, and feet to be in Suci and [then] the Apakrānta Cāri 92. Valita-hands to be Apaviddha, feet to be in Sūci Cāri Trika turned round [in the Bhramari Cari]. 93. Ghurnita-the left hand in Valita and moved round, the right hand with Dola gesture, and the two feet to be drawn away from each other from the Svastika position. 94. Lalita-the left hand with Karihasta gesture, the right one to be again turned aside (Apavartita), two feet to be moved up and down. 95. Dandapaksa-observing Urdhvajānu Cāri, Latā hands to be placed on the knee. 96. Bhujangatrastarecita -the feet to be in Bhujangatrasta Cari, the two hands to be Recita and moved to the left side. 97. Nupura-the Trika to be gracefully turned round, [in the Bhramari Cari] the two hands to show respectively Lata and Recita gestures, and the Nūpurapāda Cāri with the feet. 98. Vaisākharecita-hands and feet to be Recita, so the hip and the neck, and the entire body in Vaisakha Sthana (posture). 99. Bhramaraka-Svastika feet in Āskipta Cāri, hands in Udvestita movement, and Trika1 turned round [in the Bhramari Cari] 100. Catura-the left hand with Ancita, (i.e. Alapallava)1 gesture, the right hand is with Catura gesture, the right feet in Kuttita (i.e. Udghattita) pose.

91 (B.91; G.88). 92 (B.92, G.89). 98 (B.93, G.90). ' For valita. BG read rartita. 94 (B.94, G.91). ' See NS. IX. 191. 95 (B.95, G.92). 96 (B.96, G.93) 97 (B.97, G.94). 98 (B.98, G.95). 99 (B.99, G.96). ' Trika used here and many times afterwards means the trikasthi (snerum) the lowest point in the vertibral column where the two other bones of the legs meet. 100 (B.100, G.97). ' This is Ag's interpretation of Afcita. ' This is Ag's interpretation. '

54 THE NATYASASTRA [ IV. 101-

101. Bhujangaucita -- the feet in Bhujangatrāsita Cāri, the right hand Recita, the left hand with Lata gesture. 102. Dandakarecita-hands and feet to be freely thrown about on all sides like a staff (danda), and the same hands and feet to be Recita afterwards. 103. Vrscikakuttita-assuming the Vrscika K. and the hands with Nikuttita movement.1 104. Kațibhrant :- the Suci Cari, the right hand with the Apaviddha (Aviddha) gesture and the hip to be moved round. 105. Latāvrścika-a foot to be Ańcita and turned back- wards, and the left hand to be with Lata gesture its palm and fingers bent and turned upwards. 106. Chinna-the Alapadma hand to be held on the hip which in Chinna pose, the body in the Vaisakha Sthana (posture). 107. Vrścikarecita-assuming the Vrścika K., the two hands in the form of a Svastika gradually to be Recita and to show Viprakirņa gesture. 108. Vrscika-the two hands bent and held over the shoulders, and a leg bent and turned towards the back1. 109. Vyamsita-assuming Alidha Sthana, the two hands to be Recita and held on the breast and afterwards moved up and down with Viprakirņa gesture. 110. Pārśvanikuțtaka-Svastika bands to be held on one side, and the feet to be Nikuttita.1 111 Lalāțatilaka-after assuming the Vrścika. K. a mark (tilaka) in the forehead to be made with a great toe. 112. Krāntaka -- bending a Kuňcita leg behind the back, the Atikranta Cari, then the two hands to be thrown down.

101 (B.101, G.98). 102 (B.102, G.99). 103 (B.103, G.100). ' Ser above 70 note. 105 (B.105, (.102). 106 (B.106, G.103). 104 (B.104, G.101) 108 (B.108, G.105). ' Ag. interprets the passage differently. 107 (B.107, G.104) 109 (B.109, G.106). 111 (B.ll1, G.108). 110 (B.110, G.107). 1 See above 70 note. 112 (B,112, G.109).

.IV. 124 ] DESCRIPTION OF THE CLASS DANCE 55

113. Kuncita-a leg to be first Ancita and left hand to be held on the left side with its palm upwards. 114. Cakramandala-the inner Apaviddha (Additā)1 Cāri with the body bent and held down between the two arms hanging straight. 115. Uromandala-two feet drawn away from the Svastika position and used in Apaviddha (Addita) Cari and hands in Uromaņ dala gesture. 116. Aksipta-hands and feet to be thrown about swiftly in this Karaņa. 117. Talavilasita-foot with the toe and the sole turned upwards and held high on the side, and the palm of hands bent. 118. Argala-feet stretched backwards and kept two Talas and a half apart, and hands moved in conformity with these. 119. Viksipta-hands and feet to be thrown backwards or sideways in the same way. 120. Avarta-the Kuncita feet put forward and the two hands moved swiftly to befit the dance. 121. Dolapada -- the Kuncita feet thrown up, and two hands swinging from side to side in a manner befitting the dance. 122. Nivrtta-hands and feet first thrown out, and the Trika to be turned round and the two hands to be Recita. 123. Vinivrtta-observing the Sūci Cari, the Trika to be turned round and hands to be Recita. 124. Pārsvakranta-observing the Pārśvakrānta Cāri, throwing out hands towards the front, and moving them in a manner befitting the dance.

113 (B.113, G.110). 114 (B.114, G.111). I According to Ag. apaviddha =addita cūri for which see NS. XI. 22. 115 (B.115, G.112). 116 (B.116, G.113). 117 (B.117, G.114). 118 (B.118, G.115). 119 (B.119, G.116). 120 (B.120, G.117). 121 (B.121, G.118). 122 (B.122, G.119). ' For nivrtta, B. reads vivrtta. 123 (B.123, O.120), 124 (B.124, O.121).

56 THE NATYASASTRA [ IV. 125-

125. Nisumbhita-a foot bent towards the back, the breast raised high, and the hand held at the centre of the forehead (tilaka).1 126. Vidyndbhranta1-foot turned backwards and the two hands in the Mandalaviddha gesture stretched very close to the head. 127. Atikranta-observing the Atikranta Cari, the two hands stretched forward in a manner befitting the dance. 128. Vivartitaka-hands and feet to be thrown out, the Trika to be turned round and hands to be Recita 129. Gajakridita -- the left hand bent and brought near the [left] ear, and the right hand in Lata gesture and the feet Dolāpāda Cārī. 130. Talasamsphotita1-a foot to be swiftly lifted up and put forward, the two hands showing Talasamsphotita2 gesture. 131. Garudaplutaka-the two feet to be stretched back- wards and the two hands -- right and left-to be respectively with Lata and Recita gestures, and the breast raised up. 132. Gandasūci-the feet to be in Sūci position, the side to be Unnata, one hand to be on the breast and the other to bend and touch the cheek. 133. Parivrtta-the hands raised in Apavestita gesture, the feet in Sūci position, the Trika is turned round (in the Bhramarī Cāri). 134. Parsvajanu --- one foot in Sama position and the opposite thigh raised, and one Musti hand on the breast. 135. Grdhravalinaka-one foot stretched backwards and one knee slightly bent and the two arms outstretched.

125 (B.125, G.122). 1 Ag. interprets differently 126 (B;126, G.123). ' Ag. interprets differently. 2 Nowhere defined in NS. 128 (B.128, G.125). 127 (B.127, G.124). 129 (B.129, G.126). 130 (B.130, G.127). ' Ag. interprets the passage, differently. 2 Defined nowhere in NS. 131 (B.131, G.128). 134 (B.184, G.131). 132 (B.132, G.129). 135 (B.135, G.132). 133 (B.133, G.130).

-IV. 145 ] DESCRIPTION OF THE CLASS DANCE 57

136. Sannata-after jumping, the two feet are to he put forward in Svastika form and the two hands to show Sannata1 (i.e. Dola) gesture: 137. Suci-a Kufcita foot to be raised and put forward on the ground, and the two hands to be in harmony with the per- formance. · 138. Ardhasūci -- the Alapadma hand is held on the head, the right foot is in Sūci (karana) position. 139. Sūčividdha-one foot of Sūci Karana being put on the heel of another foot, the two hands to be respectively put on the waist and the breast. 140. Apakrānta-after making the Valita thigh, Apakrānta Cari is to be performed, the two hands to be moved in harmony with the performance. 141. Mayüralalita-after assuming the Vrścika K. two hands to be Recita, and the Trika to be turned round [in the Bhramari Cāri]. 142. Sarpita-the two feet to be moved from the Ancita position and the head with Parivahita gesture, and the two hands are Recita. 143. Dandapāda-after the Nūpura Cārī, Daņdapāda Cāri should be observed and the aviddha (vaktra) hand should be shown quickly. 144. Harinapluta-after observing the Atikranta Cāri one jumps and stops, ard then one of the shanks are bent and thrown up. 145. Prenkholitaka-after observing the Dolapāda Cari one is to jump and let the Trika turn round (in the Bhramari Cari and come at rest.

136 (B.136, G.133). 1 According to Ag. Sannata =Dolahasta. 137 (B.137, G.134). 138 (B.138, G.135). 140 (B.140, G.137). 141 (B.141, G.138). 142 (B.142, G.139). 143 (B.143, G.140). 144 (B.144, G.141), 145 (B.145, G.142). 1 Defined nowhere in NS, 8

58 THE NATYASASTRA [IV. 146

146. Nitamba- arms to be first thrown up and hands to have their fingers pointing upwards and the Baddha Cari to be observed. 147. Skhalita - after observing Dolāpāda Cāri, hands with Recita gesture to be turned round in harmony with this. 148. Krihasta-the left hand is to be placed on the breast, the palm of the other hand to be made Prodvestitala, the feet to be Aicita. 149. Prasarpitaka-one hand to be Recita and the other with Lata gesture, and feet to be Samsarpitatala (= Talasañcara). 150. Simhavikrīdita-after observing the Alāta Cāri one is to move swiftly and hands to follow the feet. 151. Simhakarsita-one foot to be stretched backwards and hands to be bent and turned round in the front and again to be bent. 152. Udvrtta-hands, feet and the entire hody to be moved violently (lit. thrown up) and then Udvrtta Cāri to be observed. 153. Upasrtaka-observing Akșipta Cārī and hands in harmony with this Cari. 154. Talasamghattita-observe the Dolāpāda Cāri two palms will clash with each other and the left hand to be Recita. 155. Janita-one hand to be on the breasti, the other hanging loosely and observing Talagrasamsthita (Janita) Cāri. 156. Avahitthaka-after observing Janita K. raising hands with fingers spread ont and then letting them fall slowly. 157. Nivesa-the twe hands will be on the breast which should be Nirbhngna and the dancer should assume Mandala Sthāna (posture).

146 (B.146, G.143). 147 (B.147, G.144). 148 (B.148, G.145). 149 (B.149, G.146). 150 (B.150, G.147). 151 (B.151, G.148). 152 (B.152, G.149). 153 (B.153, G.150). 154 (B.154, G.151). 155 (B.155, G.152). ' According to Ag. Talagrasamsthita pada means Janita cari. 156 (B.156, G.153), 157 (B.157, G.154).

-IV. 167 ] DESCRIPTION OF THE CLASS DANCE 59

158. Elakākrīdita-jumping with Talasancara1 fect and coming to the ground with the body bent and turned. 159. Urudvrtta-a hand made Avrtta (Vyavartita) and then bent and placed on the thigh, shanks made ancita and Udvrtta. 160. Madaskhalitaka-two hands hanging down, the head assuming the Parivahita gesture, the right and the left feet to be turned round in Aviddha Cari. · 161. Visnukranta-a foot stretched forward and bent as if on the point of walking, and hands to be Recita. 162. Sambhranta-a hand with Avartita (Vyavartita) move- ment placed on the thigh which is made Aviddha.1 163. Viskambha-a hand to be Apaviddha,1 Sūci Cāri, foot to be made Nikuttita and the left hand on the breast. 164. Udghatta-feet to in Udghattita1 movements and hands in Talasamghattita movement2 are to be placed on two sides. 165. Vrsabhakridita-after observing the Alāta Cari two hands to be made Recita, and afterwards these should to be made Kuncita and Ancita. 166. Lolita-hands on the two sides to be Reicta and Ancita, and the head Lolita and Vartita. 167. Nagapasarpita-to draw back feet from Svastika position and the head to be Parivahita and hand to be Recita.

158 (B.158. G.155). 1 Same as agratalasancara, see NS. X. 46. 159 (B.159, G.156). 160 (B.160, G.157). 1 Defined nowhere in NS. 161 (B.161, G.158). 162 (B.162, G.159). ' Defined nowhere in NS. 163 (B.163, G.160). ' Defined nowhere in NS. 164 (B.164, G.161). ' Defined nowhere in NS. Defined nowhere in NS. 165 (B.165, G.162). 1 Defined nowhere in NS. I66 (B.166, G.163). 167 (B.167, G.164). ' Defined nowhere in NS.

60 THE NATYASASTRA E IV. 168-

168. Sakatāsya-beginnning with body at rest, advancing with a Talasancara1 foot and making the breast Udvāhita.2 169. Gangavatarana-foot with the toes and the sole turned upwards, hands showing Tripataka with the fingers pointing down- wards and the head being Sannata.1 The Angaharas 170. I have spoken of one hundred and eight Karanas. 1 shall now describe the different Angaharas. 171-173. Sthirahasta-stretching two arms and throwing them up, taking up Samapada Sthana, the left hand stretched upwards from the level of the shoulder, taking up afterwards the Pratyalidha Sthana, then observing successively the Nikuttita, Urūdvrtta, Ākșipta, Svastika, Nitamba, Karihasta and Kațiechinna, Karaņas. 174-176. Paryastaka-observing Talapuspapuța, Apa- viddha, and Vartita Karanas, then takiug up Pratyalidha Sthāna, then assuming Nikuttaka, Urūdvrtta, Akșipta, Uromaņdala, Nitamba, Karihasta, Katicchinna, Karaņas. 176-178. Sucividdha-after showing Alapallavā (Alapadma) and Sūci (mukha) gestures assuming one after another Vikșipta. Āvartita, Nikuttaka, Urūdvrtta, Aksipta, Urnomadala, Karihasta, and Katicchinna Karaņas. 178-180. Apaviddha-Apaviddha and Sūcividdha Karaņas, then observing Udvestita K. with hands and turning the Trika,

168 (B.168, G.165). ' See above 158 note. B. reads udghatita. 169 (B.169, G.166). 1 Defined nowhere in NS. 2 Defined nowhere in NS. 8 For B.170-174 and G.167-170 see 56-61 before. 170 (B.174, G.171A ' Detined nowhere in NS. 171-173 (B.175-177, G.172-174). ' Definition of the angahāras have been translated like the karanas ; above see. 62 note. Angharas are mostly combinations of the karanas. 174-176 (B.178-180a, G.175-176). 1 G. Omits 175b. 176-178 (B.180b .- 182a, G.177-179a). 178-180 (B.182b-184a, G.179b-180).

-IV. 196 ] DESORIPTION OF THE CLASS DANCE 61

showing with hands Uromandalaka gestures and assumiug Kati- chinna Karaņa. 180-182. Akşiptaka-assuming successively Nūpura, Vik- șipta, Alātaka, Akșipta, Uromaņdala, Nitamba, Karihasta and Kațicchinna Karaņas. 182-184. Udghattita1-moving Udveștita and Apaviddha (Aviddha) hands and the two feet to be Nikuttita, and again changing them to Uromandala gesture and then assuming !succes- sively Nitamba, Karihasta and Katicchinna Karanas. 184-187. Vişkambha-hands by turns made Udvestita, feet .are successively made Nikuttita and bent, then assuming Urudvrtta K. hands to be made Caturasra1 and feet Nikuttaka, assuming then Bhujangatrāsita K. hands to be made Udvestita, assuming Chinna and Bhramaraka Karanas while Trika is to be moved, then Karihasta and Katicchinna Karanas to be assumed. 187-190. Aprājita-assuming Daņdapāda K., hands having Vikșipta and Äkspita1 movement, then assuming Vyamsita K. the left hand moving along with the left foot, then hands being Catu- rasra and feet having Nikuttaka movement, assuming Bhujangatrā- sita K. and hands having Udvestita movement, then assuming successively the two Nikuttakas (i. e. nikutta and ardhanikuțtaka), Akşipta, Uromandala, Karihasta, and Kațicchinna Karaņas. 190-192. Vişkambhāpasrta-assuming Kuttita and Bhu- janga trāsita Karanas, Recita hand to show the Patāka gesture, then to be assumed successively Aksiptaka, Uromaņdala, Lata, Katiccheda Karaņas. 192-195. Mattākrida-assuming Nūpara K. by turning Tirka, then assuming Bhujangatrasita K. assuming next Recita K.

180-182 (B.I84b-I86a, G.181-182). 182-184 (B.186b-188a, G.183-184). 1 In the definition of angahāra this term has been equated with nrtta or dance. 184-187 (B.188b-19la, G.185-187). 1 Defined nowhere in NS. 187-190 (B.191b-194a, G. 188-189). 1 Defined nowhere in NS. 190-192 (B.194b-196a, G.190-191). 192-195 (B.198b-199a, G.192-194).

62 THE NATYASASTRA [ İV. 167-

with the right foot, and then assuming successively Aksiptaka, Chinna, Bāhyabhramaraka, Uromandala, Nitamba, Karihasta, Katiccheda Karņas. 196-197. Svastikarecita1-hands and feet are Recita, then assume Vrscika K. and again repeat this movement of the hand and feet, and then Nikuttaka K. and the Lata gesture alternately with the right and the left hand, and then Katicchinna K. 197-200. Pārśvasvastika-assuming (Dik-) Svastika from one side and then the Ardhanikuttaka, all these to be repeated on the side, then the Avrtta (vyaavartita) hand to be .placed on the thigh, then to assume successively Urudvrtta, Aksipta, Nitamba, Karihasta and Katicchinna Karaņas. 200-202. Vrścikapasrta-assuming Vrścika K. holding the Lata band to be held on the nose, after moving the same hand in Udveșțita movement, then assuming successively Nitamba, Karihasta and Katicchinna Karaņas. 202-204. Bhramara-assuming successively Nūpurapāda Akşiptaka Kațicchinna, Sūcividdha, Nitamba, Karihasta, Uro- maņdala and Katicchinna Karaņas. 204-206. Mattaskhalitaka-asuming Matalli K. and moving round the right hand and bending and placing it near the (right) cheek, then assuming (successively) Apaviddha. Talasamsphotita, Karihasta and Katicchinna Karaņas. 206-208. Madavilasita-moving with Dola hands and Svastikapasrta feet, making hands Ancita as well as Valita and then assuming successively Talasamghattita, Nikuttaka, rudvrtta, Karihasta and Katicchinna Karaņas.

195-197 (B.199b-201a, G.195-196). ' In the translation of this K. Ag. has been followed. 197-200 (B.201b-204a, G,197-199). 1 In the translation of this K. I have followed Ag. 200-202 (B.204b-206a, G.200-201). 202-204 (B.206b-208a, G.202-203). 204-206 (B.208b-210a, G.204-205). 606-208 (B.210b-212a, G.206-207).

-IV. 223 DESCRIPTION OF THE CLASS DANCE 63

208-210. Gatimandala-after assuming Maņdala Sthānaka and making the hands Recita and the feet Udghattita assuming successively Matalli. Aksipta, Uromandala and Kațiccheda Karaņas. 210-212. Paricchinna-after the Samapāda Sthān1 assum ing Paricchinna (i.e. Chinna) K then with Aviddha foot assuming Bahya Bhrame ka1 and with the left foot assuming Suci K. and than observi. (successively) Atikranta, Bhujangatrāsita, Karihasta and Katiccl. nna Karaņas. 212-216. Parivrttakarecita-holding on the head hands in loose Svastika form and them after bending the body the left hand to be made Recita, and raising the body, again the same hand to be made Recita, after this hands to show Lata gesture and assuming successively Vr<cika, Recita, Karihasta Bhujangatrāsita, Akşiptaka Karanas then have Svastika foot ; all this to be repeated after turning back completely, then assume (successively) Karihasta. 216-219. Vaisakharecita-along with body the two hands to be made Recita and all this is to be repeated with the body bent. then observe Nupurpada Cari and Bhujangatrasita, Recita, Mandalasvastika, afterwards bending shoulder Urūdvrtta, Aksipta Uromandala Karihasta' and Kațicchinna Karaņas are to be assumed. 219-221. Paravrtta-assuming Janita K. and putting for- ward a foot, then assuming Alataka K. and turning the Trika, [in the Bhramri Cari] afterwards the left hand bend and to on the cheek, then assuming Katicchinna Karaņa.

208-210 (B.212b-214a, G.208-209). 210-212 (B.214h-216a, (} .. 10-211). 1 According to Ag (I.p.152) bah ya bhramaraka seems to mean a cari of that name. But it seems that by this bhramaraka, the movement known as bhramari has been meant. See M. Ghosh AD. 289ff. also A. K. Coomaraswamy. MG. p.74. ; 212-216 (B.216b-220a, G.212-215). 216-219 (B.220b-223a, G.216-218). 219-221 (B228b-225a, G.219-220).

64 THE NATYASASTRA [ IV. 221-

221-223. Alataka-assuming Svastika, vyamsita [in it hands being Recita], Alātaka, Ūrdhvajānu, Nikuncita, Ardhasūci, Vikșipta, Udvṛtta, Ākșipta, Krihasta and Kațicchinna Karaņas one after another. 223-225. Pārśvaccheda -- holding Nikuttita hands on the breast assuming Urdhvajānu, Āksipta, Svastika Karaņas, Trika to be turned round, then Uromandala, Nitamba, Karihasta and Kațicchinna, Karaņas to be assumed. 226-227. Vidyudbhranta-assuming Sūct K. using the left foot first, and Vidyubhranta K, using the right. foot first, then Suci K. with the right foot moved first, and Vidyudbhranta with the left foot moved first, afterwards assuming Chinna K., and turning round the Trika, then Lata and Katicchinna Karanas. 227-229. Udvrttaka-assuming Nūpurapāda Cāri hanging the right and the left hands by the side, and with them assuming Vikșipta K., with these hands assuming [again] Sūci K., and turning round the Trika [in Bhramari Cari] and then assuming Latā and Kațicchinna Karaņas. 229-231. Alidha-assuming Vyamsita K., striking the hands on the shoulder, and then Nupura K., with the left foot [moving first], afterwards Alāta and Aksiptaka Karaņas with the right foot [moving first] and then making Uromandala gestures with hands and assuming Karihasta and Katicchinna Karaņas. 231-233. Recita-showing Recita hand, bending it on one side and making the [same] Recita movement and then repeating this movement after bending the entire body, assuming succes- sively Nūpurapāda, Bhujangatrāsita, Recita, Uromaņdala and Kați- cchinna Karaņas.

221-223 (B.225b-227a, G.221-222). 223-225 (B.227b-229a, G.223-224). 225-927 (B.229b-23la, G.225-226). 227-229 (B.23lb-233a, G.227-228). 229-231 (B.233b-235a, G.229-230). 231-233 (B.235b-237, G.231-232). *

-IV. 247 ] DESCRIPTION OF THE CLASS DANCE 65

234-235. Acchurita-assuming Nupura K. and turning the Trika round, assuming Vyamsita K. and again turning round the Trika, then assuming successively Alataka1 K. from the left [side] and Sūci, Karihasta and Kațicchinna Karaņas. 236-238. Akșiptarecita-Svastika feet to be in Recita and so the Svastika hands, then with the same (i.e. Recita) movement they should be separated, and with the same Recita movement they. are to be thrown up, then assuming successively Udvrtta, Aksipta, Uromandala, Nitamba, Karihasta and Katicchinna Karaņas. 239-241: Sambhranta- assuming Viksipta K. throwing out the left hand with'Suci gesture, the right hand placed on the breast, Trika to be turned [in the Bhramari Cari] then assuming succes- sively Nūpura, Ākșipta, Ardhasvastika, Nitamba, Karihasta, Uromaņdala and Katicchinna Karaņas. 242-243. Apasarpita-observing Apakrānta Cāri and assuming Vyamsita K. with the hands moving in Udvestita manner, then assuming successively Ardhasūci, Vikșipta, Kațic- chinna, Udvrtta Akşiptaka, Karihasta and [again] Kațicchinna Karaņas. 244-245. Ardhanikuttaka ~observing swiftly Nūpurapādika Cari, hands to move in harmony with the feet and Trika to turn round [in the Bhramari Cari], then hands and feet to make Nikuttita movement, afterwards assuming Uromandala, Karihasta, Kațicchinna and Ardhanikuttaka Karaņas.

The Recakas

246. I have spoken of these thirtytwo Angaharas ; I shall now describe the four Recakas1 ; please listen about them : 247. Among the Recakas the frst is that of the foot (pada),

234-235 (B.238-239, G.233-234). I Read vamam calatakam for pādam cālātakam in B. 236-238 (B.240-242, G.235-237). 239-241 (B.243-245, G.238-240). 242-243 (B.246-247, G.241-2.42). 244-345 (B.248-249, G.2-43 -- 244). 246 (B.250, G.245). ' For the rclation between Recakas and the Angaharas and the use of the Recakas see Ag. 247 (B.251, G.246).

66 THE NATYASASTRA [ IV. 248-

the second is that of the waist (kati), the third is that of the hand (hasta) and the fourth is that of the neck (yrīva). 248. The term Recita [relating to a limb] means moving it round separately (i.e. not in any Karana or Cari) or its drawing up or its movement of any kind separately. 249. Pada-recaka-Going from side to side with wavering feet or with differently moving feet, is called their Recaka. 250. Kati-recaka-Raising up the Trika and the turning of the waist as well as its drawing back, is called the Kati-recaka. 251. Hasta-recaka-Raising up, throwing out, putting forward, turning round and drawing back of the hand is called its Recaka. 252. Griva-recaka-Raising up, lowering and bending the neck sideways, and other movements of it are called its Recaka. 253-254. Seeing Samkara (Siva) dance with Recakas and Angabaras, Parvati too performed a Gentle Dance (lit. danced with delicate forms)1, and this dance was followed by the playing of musical instruments like Mrdanga,- Bheri, Pataha, Bhambhā2, Diņdima, Gomukha, Paņava and Dardura. 255. [Besides on this occasion] Mahesvara (Siva) danced in the evening after the break-up (lit. destruction) of Daksa's sacri- fice1 with different Angaharas and in conformity with proper time beat (tāla) and tempo (laya).

248 (B.252, G.247). 249 (B.253, G.248). 250 (B.254, G.249). 251 (B.255. G.250). 252 (B.256, G.251). 253-254 (B.257-258, G.252-253). I Read nrtyanti sma ca parvatı Ag. I. p. 203. 2 mrdaiiga, bheri, pataha. bhambhu, dindima, dardura and paņava are drums of different sizes and shapes, and made of different materials such as clay, wood etc. Of these bheri, panava and gomukha (possibly a horn) have been mentioned in the Bhagavad-gita, ch. I.13. " B. read jhanjhya (pa. bambha). 255 (B,259, G.254). 1 The story of the break-up of Daksa's sacrifice occury in two different forms in the Bhagavata and the Varaha P. See JK. under Daksa.

-IV. 263 ] DESCRIPTION OF THE CLASS DANCE 67

256. Ganas like Nandin and Bhadramukha seeing then [in course of this performance of Siva], Pindibandha1 [of different dance forms] gave names to them [and imitated these] well. 257-263. Names of Pindis specially attached to different gods and [goddesses are as follows] : Siva-Vrsa, Nandin - Pattisi, Candikā (Kāli)-Simhavāhinī, Vişņu-Tārksya, Svayambhu- (Brahman)-Padma (lotus), Sakra (Indra)-Airavati, Manmatha -Jhaşā, Kumāra (Kārtikeya)-Sikhi (peacock), Śrī (Lākșmi)-Ulū (owl). Jāhņavī (Gaņgā)-Dhārā, Yama-Pāśa, Varuņa-Nadī, Kuvera (Dhanada)-Yāksi, Bala (rama)-Hala (plough), Bhogins (serpents)-Sarpa, Ganesvaras (the lords of Ganas)1-Daksayajña- vimardini, The [ Pin li ] of Siva, the killer of Andhaka2, will be Raudri in the form of his trident. The Pindis of the remaining gods and goddesses will be similarly. named after (lit. marked with) their own banners3. 263-264. After inventing the Recakas, Angahāras and Pin lis, Siva communicated them to the sage Tandu1 who in his turn made out of thom dance together with songs and

256 (B.260, G.255). 1 Pindibandha-Ag. (I. 170-171) explains the words as follows :- पिण्डरोबन् आऊतिविशेषस्क रेश्ान्रिबन्वन पि्ोति। ...... पिएडीबकरपाड-

पिगडीबन्धा: तथाऽन्येपि पिन्दीबन्ध इति, केवलकरणसंगढः From these quotations it is apparent that Ag. had no definite idea about the pindibandha or pindi. But the word occurs in the following couplet of a later work on dramaturgy (Bh P. p.264) : षोड़मवादमाष्टी वा यिमिव्वत्यन्ति नायिकाः। पिल्डोबन्वादिविन्यास: रासकं तदुदाहतम् ।। From the above quotation the meaning of the word seems to be a term relating to group-dance. For more about pindibandha sec 257-262, 284-285, 291-294 below. 257-262 (B.261-266a, G.256 261). 1 Ganeśvari means relating to Ganeśvaras or lords of hosts ; see above NS. III. 31,58 and III. 1-8 note 7. 2 The story of Siva's killing the Asura Andhaka occurs. in Ram, Hraivamsa and several Puranas. See JK. sub voce. 8 B. omits 263b altogether. 263-264 (B.266b-268a, G.262-263). ! Tandu's name does not seem to occur in any extant Purana. It is just possible that the name of this muni has been derived from tandava a non-Aryan word which originally may have meant dance.

68 THE NATYASASTRA t IV.265.

instrumental music; and hence this dance is known as Tāndava (i.e. of Tandu's creation).

The sages speak 265. Use of Gestures etc. (abhinaya) having been devised by the experts, for drawing out the sense [of songs and speeches in a play] what led to the making of dance (mptta), and what is its nature ? 266. Why is dance made in connexion with the Asarita songs ? It does neither relate to its meaning nor reflect its spirit. 267. [In answer to these questions] it is" said that the dance is occasioned by no specific need; it has come into use simply because it creates beauty. 268. As dance is naturally loved by almost all people, it is eulogised as being auspicious. 269. It is eulogised also as being the source of amusement on occassions of marriage, child-birth, reception of a son-in-law, general festivity and attainment of prosperity. 270. Hence the host of Bhutas have ever praised1 the Pratiksepas2 which are used in songs and in regulating the division of dances. 271. Siva (lit. god) too was pleased to say to Taņdu, "Perform this dance in connexion with the singing of songs.

265 (B 268b-269a, G.264). 1 B. rcads tasmān nrttām for kasman nrllam in 265b. 266 (B.269b-270a, G.265). 267 (B.270b-271a, G.266). 268 (B.271b-272a, G.267). 269 (B.272b-273a, G.268). 270 (B.273b-274a, G.269). 1 For prakirtitah, B.G. read pravarlitah. ' pratiksepa-Ag. (I. p.182) defines this term as follows :- nycqfagni गोतविशेष: प्रतिवेन इत्याहं। वदं भरतमुनिना न अविअ्ञचितन। सन्धेतु गोताने प्रयोग्यच्न्दकादय एव वृत्तवचिवयाय्या वथावचि प्रतिचिप्यमानअकाः प्रतिचेपा :. 271 (B.274b-275a, G.270): 1 For tanduh santosaparvakam. This variant has been recorded by Ag. (1.181) and it scems to be the correct reading. B.G. read tandustāndavapūrvakam.

.IV. 278 J DESCRIPTION OF THE CLASS DANCE 69

272. The Class Dance (tandara)1 is mostly to accompany the adoration of gods but its gentler form (sukumara-yrayoga) relates to the Erotic Sentiment.

The Vardhamanaka 273. Now while coming to discuss the Vardhamanaka I shall describe the rules regarding the performance of the Class Dance (tandara) as it was performed by Tandu. 274. As in its performance Kala and tempo (luya) attain erddhi (increment) due to the increment of Aksaras it is called the Vardhamānaka. The Asarita 275. After setting down the musical instruments (kntapa) the producers [of plays] should get the Asarita performed. 276. Then after the Upohana has been performed to the accompaniment of drums1 and stringed instruments, a female dancer should enter [the stage] with the playing of drums [only]. 277. This playing of the [instrumental] music should be in pure Karana1 and Jati2. And then a Cari should be 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) and per- form all the four Recakas (i.e. those of feet, hand, waist and neck).

272 (B.275b-276a, G.271). 1 The tandava has been translated by some as 'wild dance' (Haas, Daśarupa, p.5), but the adjective seems to be misleading. From the present chapter of the NS, it appears that the word meant 'class dance' which has been codified. It is to be distin- guished from the folk dance mentioned in later works. Tandava was no exclusively male dance. For the illustrations of the karanas taken out of old bas reliefs and printed in the Baroda ed. of the NS. show that these were performed by women as well. These karanas were evidently elements of tandava ; lasya performed by women was only a gentler form of the tūndava. 273 (B.276b-277a, G.272). 274 (B.277b-278a, G.273). 275 (B.278b-279a, G.274). 276 (B.279b-280a, G.275). 277 (B.280b-26la, G.276). 278 (B.281b-282a, G.277).

10 THE NATYASASTRA [ IV. 279-

279. Then she should go round the stage scattering flowers from her hands to gods, and after bowing to them, she should make use of different gestures (abhinaya). 230. Instrumental music should not be played when there is any song to be delineated by gestures, but at the performance of Angaharas drums must be employed. 281. The playing of drums (lit. instrumental music) during the Class Dance should be Sama, Rakta, Vibhakta and distinctly heard (sphuta) on account of clear strokes and should be properly following different aspects of the dance. 282. After following the song [with her dance] the dancer should make her exit and others [like her] will enter [the stage] in the same manner. 283. These other women will in due order form Pindis1 and till all these are formed they will perform the Paryastaka. 284. After forming [Pindis] these women will make their exit, and during the formation of the Pindis an instrumental musie which has various Oghas and Karanas should be played, and it should be similar to the music at the time of the Paryastaka. 285-287. Then this Upohana should be again performed as before and the Asarita too; a song also should be sung and a female dancer should enter the stage in the manner described before, and she should delineate [the meaning of the song in the second Asarita by suitable gesture] and translate the subject- matter (rastu)1 into a dance. 288. After finishing the Asarita the female dancer should make her cxit, and then another female dancer should enter the stage and make a similiar performance. 289. Thus at every step the rules of Asarita should be followed by singers as well as players of the instrumental music. 279 ( B.282h-283a, G.278). 281 (B.284b-285a, G.280). 280 (B.283b-284a, G.279).

283 (B.286b-287a, G.282). ' See above 282 note 2. 292 (B.285b-286a, G.281).

284-285 (T.287b-288, G.283a-284). 285-287 (B.289-291a, G.284b-285, 286). 1 For vastu (padavastu) ser Malavi. II. 0, 5, 8, 13, 14. 288'(B,291b-292a, G.287).

-IV. 293 ] DESCRIPTION OF TEE CLASS DANCE 71

290. [During all these performances] the first foot1 of the song should be sung once, the second twice, the third thrice, and the fourth four times.2 291. The Pindis have four varieties Pindi [proper] Śmkhalikā, Latābandha, and Bhedyaka. 1 292. The name Pindi or Pindibandha is due to its being a Pindi (lump), a cluster (gulina)1 is called Srnkhalika2, and that whiich is held together [as it were] by a net, is Latabandha8, and Bhedyaka4 is to be the (separate) dance of one individual. 293. The Pindibandha is to be applied in the first (lit. shortest Asarita), Srnkhala at the transition of tempo, the Latabandha in the middle one and the Bhedyaka in the longest (i e. Asarita).

289 (B.292b-293a, G.288). 1 Vastu here means padavastu. See above 285-287 note. 2 These asaritas were distinguished .by the kalas of time they required. According to Ag. (I.185) the shortest asarita takes up seventeen kalas, the medium asarita thirty-three kalas and the longest ūsarita sixty-five kalās. 290 (B.293b-294a, G.289). 1 It is implied that each cach of these groups of songs should be followed by dance of different dancers. 291 (B.294b-295a, G.290). ' See notes 256 above. In the BhP. (p. 246) occurs the following passage :- तपरमृ त्तमेदासु गुन्न-एङखलिलिका लताः । मेदाकश्जेति चत्वार: कथ्यन्ेडव मनोषिभि:। परम्पराङवेष्टेन यव्नतं सालता मता॥ एककस्य बद्धि: संघाम्नसं यत् स च भेदाकः। विस्दीबन्वय गुन्नख्त पर्यायाविति कैचन।। From this it is quite clear that the pindibandha relates to the grouping of dancers. Of these the gulma is a general collective dance, the srikhala is the dance in which partners hold one another's hands, the lata is the dance of two putting their arms around each other, and the bhedyaka is the dance of cach one separately .away from the group. The section 292 below does not quite agree with this view. 292 (B.295b-296a, G.291). 1 See above 291 note. 2 BhP. does not identify the gulma and the śrikhalikā. 3 See above 291 note 1. + See above 291 note 1. 5 Sec above 291 note 1. 0 sanrtta=ekanrtia=ekasya nrtta; of sakrt (= oncc),

72 THE NATYASASTRA [ IV. 294.

294. Origin (of Pindis) is twofold : Yantra and Bhadrā- sana.1 These should be learnt and properly applied by the producers [of plays]. The Chandaka 295. In the Vardhamana the producer should thus use [dances]. I shall speak again about the rules regarding the performance of songs and Chandakas. 296. I shall now speak of the dance and the instrumental music that should accompany songs consisting of the Vastul as well as of their (Angas). During the performance of this song and music a female dancer should enter the stage; at that time all the drums are to be sounded and all the stringed instruments are to be played with Ksepa and Pratiksepa,2 298. First of all, the entire words (vastu) of the song should be represented by gestures, and next the same should be shown by a dance. 299. Directions given above regarding the dance, use of gestures and the instrumental music will apply equally to the subject matter of the songs in the Asarita. 300. This is the rule with regard to songs consisting of the Vastu. Now listen to description of songs made by Angas. 301. Rules regarding the dance, use of gestures and the in- strumental music which apply to words (of songs) are equally appli- cable in case of Chandakas which are composed of their Angas. 302. During the Mukha and the Upohana the instrumental music should be played with heavy and light Akgaras by keeping them distinet (lit. separate).

293 (B.296b-297a, G.292). ' The distinguishing features of the three asaritas have been given in note to 289 above. 294 (B.297b-298a, G.293). 1 This passage is not clear. Ag's explanation (I.p.193) of the yantra and the bhadrusana is not convincing. 295 (B.298b-299a, G.294). 296-297 (B.299b-301a, G.295). ' See above 285-287 note ]. 2 For pratiksepa sce above 270 note 2. 298 (B.301b-302a, G.297). 300 (B,303b-304a, (.299). 299 (B.302b-303a, G.298).

.IV.3. ] DESCRIPTION OF THE CLASS DANCE 73

303. When in course of a song some of its parts are repeated, the parts uttered first should be delineated by gestures and the rest are to be translated into dance. 304-305, When in course of a song some of its parts are repeated it should be followed by the instrumental music which observes the rule of three Panis and three kinds of tempo. On an occasion like this the instrumental music should follow the [proper] tempo. 305-308 .. The Tattva, the Anugata and the Ogha relate to the Karana. Among these, the Tattva is to be applied in slow tempo, the Anugata in medium tempo and the Ogha in quick tempo. This is the rule regarding the instrumental music. [Different] parts of the song in case of a Chandaka are to be repeated. This is always the rule in [combining] the dance, Gestures and the song. In case of songs composed in one stanza (nibaddha) commencement (graha of the playing of drums) should take place at their end, but in the repetition of the parts [of a large song] such commencement should take place from the beginning.

The Gentle Dance 309. This should be the procedure in performing the Asarita songs. Now consider [all] that relating to the adoration of gods as the Gentle Dance (sukmāra). 310. The Gentle Dance with the Erotic Sentiment [relates to] a dialogue between a man and a woman when they are in love.

Occasions suited to dance 311. Now listen, O Brahmins, about occasions in plays when dance should be introduced in course of songs. 312. Experts should apply dance when the principal words of a song [in a play] as well as its [ornamental adjunct known as]

301 (B.304b-305a, G.300). 302 (B.305b-306a, G.801). 303 (B.306b-307a, G.302). 304-305 (B.307b-308a, G.303-304a). 305-308 (B.308b-311, G.304b-307). 309 (B 312, G.308). 310 (B.313, G,309), · 311 (B,314, G.310),

74 THE NATYASASTRA [ IV. 313

Varņa1 comes to a close or when any character attains good fortune [in a play]. 313. And dance should take place on an occasion in a play when something connected with love occurs between a married couple, for it (the dance) will be a source of joy. 314. Dance should also take place in any scene of a play when the lover is near and a [suitable] season or the like is visible. Occasions when dances are prohibited 315. But dance should not be applied to the part of a young woman who is enraged (khandita),1 deceived (vipralabdha)2 or separated [from her lover] by a quarrel (kalahantarita)8. 316. Dance should not be applied also at a time when a dialogue is going on or when the beloved one is not near at hand, or has gone abroad. 317. And besides this when one realises the appearance of one of the seasons or the like from the words of a Messenger, and feels eagerness or anxiety on account of this, no dance should be applied. 318. But if during the performance of any part of the play the heroine is gradually pacified, dance is to be applied till its end. 319. If any part of a play relates to the adoration of any deity one should perform there a dance with energetic Angahāras which Siva created. 320. And any love-song mentioning relations between men and women should be followed by a dance with delicate Angahāras which Parvatı (lit. the goddess) created. Playing of drums 321. I shall now speak of the rules ahout the playing of

312 (B.315, G.311). ' See NS. (C.) XXIX. 19-32. 313 (B.3I6, G.312) 314 (B.317, G.313). 315 (B.318, G.314). 1 see NS. XXIV. 216. 3 ibid. 215. 2 ibid. 217. 316 (B.319, G.315), .317 (B.320, G.316). 819 (B.322,G.818). 318 (B.321, G.317). 320 (B.323, G.819).

-İV. 328 ] DESORIPTION OF THE OLASS DANCE 75

drums which should follow four-footed Narkutaka,1 Khanjaka2 and Parigitaka. 322. Playing of drums should begin with the Sannipāta Graha at a time when a foot of the Dhruva of the Khanja or the Narkuta class has been sung. 323. In course of a Dhruva which consists of even number of feet with equal number of syllables the drum should be played with the Graha by the fore finger after its first foot has been sung. 324. [After performing the Dhruva song with the playing of drums as directed above] this song should be repeated with proper gestures [to delineate it], and it should be again sung, and at the end of its last foot drum should be played.

When drums are not to be played 325. Drums should not be played at a time when the song or its Varnas have been finished or it is beginning afresh. 326. During the Antara-marga which may be made by Trantris or Karanas, the Class Dance should be followed by drums as well as the Suci Cari. 3z7. One who will perform well this dance created by Maheśvara (Siva) will go [at his death] free from all sins to the abode of this deity. 328. These are the rules regarding the Class Danee arising out of its application. Tell me what more I am to speak now about the rules of the Nātyaveda.

Here ends Chapter IV of Bharata's Nātyasāstra which treats of the Characteristics of the Class Dance.

821 (B.324, G.320). 1 See NS. (C.) XXXI. 511 : XXXII. 304 ff. ' See NS. (C.) XXXI. 511 ; XXXII. 484. 322 (B.325, G.321). 323 (B.326, G.322). 824 (B.327, G.323). 325 (B.328, G.324). 326 (B.329, G.325). 827 (B,330, G.326). 328 (B,381, G.327).

CHAPTER FIVE .

THE PRELIMINARIES OF A PLAY

The Sages question. 1-4. On hearing the words of Bharata who continued the topic of drama the sages were pleased in mind and said, "We have heard from you about the origin of drama' and the Jarjara2 as well as [the means of] stopping obstacles8, and the worship of gods4. Having grasped the meaning we would like to know in' detail (lit. exhaustively), O the very splendid one, about the Preliminaries with all their characteristics; it behoves you, O Brahmin, to explain [everything] for our understanding [the same properly]."

Bharata answers. 5-6. Hearing these words of the sages Bharata spoke thus about the rules of the Preliminaries : "O the blessed ones, listen to me. I am speaking about the Preliminaries as well as of the Pada- bhaga-, the Kalas and the Walking-round3 [which relate to them].

Preliminaries defined 7. As it is first performed at the beginning (pūrvam) in the stage (ranga) it is called the (purvaranga)1 Preliminaries. Parts of the Preliminaries 8-11. Its different parts which are to be performed in due

1-4 (B.G. same). 1 See N8. I. 13-18. 2 See NS. I. 69-73. 8 See I. 54-68. See NS. III. 5-6 (B.G. same). 1 pādabhāga-See Nắ. (C.) XXXI. 308-309. Thi- is a term relating to tala. 2 kalu-unit of the time measure in music. See N8. (C.) XXXI. 608. On this Ag.(I. 21) says: कला सब्देन च सप्तविधा तानकता निष्नामादिय थती। तथा समसो मानाव्कक्षालमार्गों गह्होत :. 5 parivarta. On this sce below 23-24, 65-89. 7 (B.G. same). 1 BhP. defines puroraiga as follows : wenurar: yrer: परिवर्ताय्त सूरिभि:। पूर्व क्रियने यद्रक पूर्ववडो मवेदतः (SR. p. 742)। The definition in the the comm. of DR. (III. 2) is corrupt. 8-11 (B.G. same).

v.16 THE PRELIMINARIES.OF A PLAY 77

order with the playing of drums and stringed instruments as well as with Recitatives (pāthya), are as follows : Pratyāhara1, Avataraņa2, Arambha3, Asravaņa+, Vaktrapāņi5, Parighattanā6, Samghotana7, Margasarita8, and Asarita" of the long, the medium and the short types. These songs outside [the performace of a play] are to be sung by persons behind the curtain10 to the accompaniment of drums and stringed instruments. . 12-15. Then after removing the curtain1, dances and recitals2 are to be performed with the playing of all musical instruments, and some song of the Madraka8 class is to be sung, or one of the Vardhamanaka4 class along with the Class Dance [suitable to it] should be applied, Then should take place [one after another] during the Preliminaries the following :- Utthapana", Walking rounde, Benediction7, Suskāpakrsta8, Ranga- dvara", Carī1°, Mahacari11, Three Men's Talk12 and Laudation13. 16. I shall now explain in due order the characteristics of all these which are to be included in the ceremony of the Preliminaries.

1 See below 17. See below 18 3 See below 18. ' See below 18. 5 See below 19. 6 See below 19. 7 See below 20. 8 See below 20. º See below 21. 10 From this statement it appears that the tirst nine items of the preli- minaries were performed on the stage covered with a front curtain much like the modern drop curtain. There were besides this, two curtains on two doors of the tiring room. It seems that the front curtain came into regular use in later times and especially at the end of cach act. Cf. javani- kantar used as a synonym of 'act' in the KM. 12-15 (B.G. same). 1 The front curtain ; see 8-11 note 10 above. 2 Recitals of the Benediction (nandi) and the Laudation (prarocann) etc. 3 madraka-a class of songs. ' vardhamanaka-a class of songs with dance. See NS. (C.) XXXIX. 224ff. 5 See below 22-23. 6 See below 23-24, 65-89. 7 See below 24-25, 107-113 3 See below 25-26, 113-116, 9 See below 26-27. 10 See below 27-28, 119-120. 11 See below 27-28, 127-130. 1s See below 28-29, 137-141. 18 See below 29-30, 141-142. 16 (B.G. same). ' It may .appear that these items of the .Prelimi-

18 THE NATYASASTRA [ V.17- The Pratyahara 17. Arranging of the musical instruments (kutapa) is called the Pratyahāra1.

The Avataraņa The seating of singers is called the Avatarana (lit. coming down)2. The Arambha 18. The commencement of vocal exercise for singing (parigita) is called the Arambha (lit. beginning)2. The Āsravana Adjusting the musical instruments for playing them in due manner is called the Aśrāvanā. The Vaktrapāņi 19. Rehearsing (lit. dividing) the different styles (rrtti) of playing musical instruments is called the Vaktrapāni9. The Parighattana The strings of instruments are adjusted duly during the Parighattaņā2.

neries to be performed behind the front curtain, have been made needlessly claborate. But it is not 's0. In ancient times pcople due to different conditions of their lives, were not so much punctual in coming to the theatrical show, They did 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 to the early-comers (naturally the people who had no haste in their lives) whatever they could, while preparing for the actual performance. Hence Ag. (I. p. 215) says that nine items of the Preliminaries were meant 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 theatrical per- formances in Bengal. 17 (B.G. same). 1 For the arragement of the musical instruments see the diagram 2. " For the position of singers sce diagram 2. 18 (B.G. same). ' asravana-For details about the performance of :his sce NS. (C.) XXIX. 120 ff. 19 (B.G. same). ' paktrapani-For details about the performance or this see NS. (C.) XXIX. 131 ff. : parighattana-For the performance of this see NS. (C.) XXIX. 142-145. .

.V. 24 ] THE PRELIMINARIES OF A PLAY 79

The Samghotana 20. The SamghotanaI is meant for rehearsing the use of different hand poses [for indicating the time-beat]. The Margasarita The playing together [in harmony with one another] of drums and stringed instruments is called the Margasarita2. The Asarita . 21. The Asarita is meant for practising the -beat of time-fractions,(kalāpāta)1.

The Application of songs And the Application of songs (gitaridhi)2 is for singing the glory of gods. The Utthapana 22-23. I shall now speak about the Utthāpana (lit. raising) ceremony which is so styled because from this, the reciters of the Benediction start (lit. raise) first of all in the stage the performance [of the play]. Hence the Utthapana is considered by some to be the beginning [of the performance]. The Walking-round 23-24. The Walking-round (parirartana) is so styled because in it, the guardian deities of different worlds are praised [by the Directer] walking all over [the stage]. The Benediction 24-25. The Benediction (nandi)1 is so called because it must always include [and invoke ) the blessing of gods, Brahmins and kings.

20 (B.G. same). 1 samghotana-For the performance of this see NŚ. (C.) XXIX. 137-141. ' margasarita-For the performance of this see NS. (C.) XXIX. 145-116. 21 (B.G. same). L asarita-For the performance of this see NS. (C.). XXXI. 59-75. 169-194. 2 See NS. (C.). XXX. 267 ff. 22-23 (B.22-23a, G. 21c-22). 23-24 (B.23b-24a, G.23). 1 parivartana=parivarta see below 65 ff. 24-25 (B 24b-25a, G.24). 1 For its specimens see below 107 ff.

80 THE NATYASASTRA [V. 25-

The Suşkavakrstā Dhruva 25-26. When an Avakrsta Dhruva is composed with meaningless sounds it is called Suskāvakrstā1, It indicates verses for the Jarjara2.

The Rangadvara 26-27. The Rangadvara is so called, because from this part commences the performance which includes Words and Gestures.

The Cari and the Mahacari 27-28. The Cari is so called because it consists of move- ments depicting the Erotic Sentiment and in the Mahacari occur movements delineating the Furious Sentiment.

The Three Men's Talk 28-29. The conversation of the Director (sutradhara), an Assistant (pariparsraka) ard the Jester1 is called the Three Men's Talk (trigata).

The Laudation 29-30. The address which the Director (lit. the expert) makes suggesting the Denoument of the action (karya) of the play in hand with [proper] reasoning and arguments is called the Laudation (prarocana).

The origin of the Bahirgita and its justification 30-31. I shall now describe in detail the Asrāvaņā which is included in the Bahirgita and shall speak of its origin as well as its justification.

25-26 (B.26, G.25). 1 aee below 113-115. ' The meaning is not clegr. B.G. read between 25b and 26a two prose lines. 26-27 (B.27, G.26). 27-28 (B.28 G.27). 28-29 (B'29, G'28). ' The Jester's role is assumed by one of the Assistants. See below 70 where two Assistants enter along with the Director. For details of the Three Men's Talk ser below 137-141. 29-30 (B,30, G.29). 1 For details about the Laudation see below 141-142;

.V.37 ] THE PRELIMINARIES OF A PLAY 81

31-32. Now when songs in seven forms1 and in Citraa and Dakşina" Margas together with the Upohana+ and the Nirgita" were started by musical experts like Narada in praise of gods, all the gods and the Danavas, in the assembly were made to hear the Nirgita® performed with proper tempo and time beat7.

Daityas and Rakșasas provoked to jealousy

. 33-34. Now on hearing these happy songs praising the gods, the Daityas and the Rākșasas were all provoked to jealousy. . 34-36. Under these circumstances they pondered [over the matter] and said to one another: "We are glad to hear (lit. accept) this Nirgita in accompaniment of the instrumental music, (and not the songs) in seven forms1 about the exploits of the gods, which they were pleased to hear ; we shall hear the Nirgita only and shall always be pleased with it. Then these Daityas [and Raksasas] pleased with the Nirgita urged for its repeated performance".

The gods approach Narada to stop the Nirgita.

37-38. This enraged the gods who said to Narada, "These Danavas and Rakșasas are pleased with the Nirgita only [and do not want anything else i.e. songs]. Hence we wish this perfor- mance (of the Nirgita) to come to an end. What do you think of this ?"

30-31 (B.31, G.30). 31-32 (B.32-33, G.31-32). 1 Seven forms means the types of talas. See NS. (C.) XXXI. 497 ff. 2 Sec (C.) XXXI. 414. 3 See (C.) XXXI. 412. 4 See (C.) XXXI. 234 ff. 5 Another name for bahirgita. See below 33-42. 6 nirgita-instrumental music.

(C.) XXXI. 3 For different aspects of the tala see NS. (C.) XXVIII. 15-16 and 33-34 (B.34, G.33), 34-86 (B.35-87a, G.34-36a). The seven forms-On this Ag. (1. p. 224) says : धातवसम्ोविशेवा हलिविशेषसंयोनजा ईचयसरा: रख्नया पहुटविशिषस् कर्मय चत्टथ

11

82 THE NATYASASTRA [ V. 38-

Narada pacifies the gods.

38-41. Hearing these words of the gods Nārada replied, "Let the Nirgita dependent on the music of stringed instruments be not stopped, and this (nirgita) combined with the Upohana and accompanied by the music of stringed instruments will have seven forms. Enraptured (lit. bound down) by this Nirgita the Daityas and the Raksasas will not be provoked and they will not create any obstruction [of the performance]. 41-42. This is the called Nirgita to satisfy the vanity of the Daityas while in honour of the gods it is called the Bahirgita. #2-44. This is to be played by experts in the Citravina1 with metallic strings, and the performance should contain light and heavy syllables (aksara)2 and have Varņas and Alamkāras1. It is called the Nirgita because in it there is sung a combination of sounds carrying no sense, and to satisfy the jealousy of the gods it is called the Bahirgita".

The gods are pleased with the Nirgita (Bahirgita).

44-45. The reason behind the Nirgita in its seven forms as well as the Utthapana and the like, will now be given. 45-54. The Pratyabāra pleases the Rākșasas (Yātudhāna) and the Pannagas, while the Apsarasas are delighted with the Avatarana. The Gandharvas are pleased when the Arambha is performed, and in the performance of the Asravana the Daityas take delight. The Vaktrapani pleases the Danavas and in the Parighattana the hosts of Rākșasas are [again] pleased. By the Samghotanā Guhyakas are satisfied, while the Margāsārita the pleases Yakșas. When

37-38 (B.37b-38, G.36b-37). 38-41 (B.39-41, G.38-40). 41-42 (B.42, G.41). 42-44 (B.43-44,.G.42-43). 1 citraviņā-nātyoparanjanārthā yā viņā; a kind of vina suitable for being played during the performance of a drama. ? Syllables like ghrt and dri are heavy, and syllables like ma, ia, ka, ta are light. 3 See NS. (C.) XXIX. 19-23. 1. See N8. (C.) XXIX. 24-75. 44-45 (B.45, G.44), 45-54 (B,54b-55, 46-53, G.45-53) ..

-V. 59] THE PRELIMINARIES OF A PLAY '83

songs (gitaka) are sung the gods enjoy them, and Rudra with his followers is pleased by the performance of the Vardhamana. Similarly in the performance of the Walking-round (parivar- tana) Lokapālas (the guardians of the worlds) are delighted, and the Moon-god is pleased with the Benediction. During the singing of the Avakrsta (Dhruva) Nagas are pleased, while Śușkāvakrștā (Dhruvā) pleases the host of Pitrs (ancestors). In the Rangadvāra Vișnu is pleased, while the Jarjara, ceremony pleases the leaders of Vighnas. On the Carl being performed Umā takes pleasure while on the performance of Mahācāri the Bhūtas are delighted.

55. So much about worshipping the deities in different parts of the Preliminaries (purvaranga) beginning with the Pratyahara and ending in the [Mahā] cāri.

. 56. O the best of Brahmins, in course of describing the different parts of the Preliminaries I have named the gods pleased by them and mentioned [the individual] parts of it in which they take delight.

57-58. The performance of the Preliminaries which means worshipping the gods, is praised by them (i.e. gods) and is con- ducive to duty (dharma), fame and long life. And this perfor- mance whether with or without songs, is meant for pleasing the Daityas and the Danavas as well as the gods (lit. denizens of the celestial region).

59. I shall now tell you [afterwards] while discussing the rules of Dhruvas1 the characteristics and function of performances with or without songs (sagila and nirgita) as well as of the Vārdhamāna.ª

55 (B.56, G.54). 56 (B.57, G.55). 57-58 (B.58-59, G.56-57). 59 (B.61, G.59). 1 See NS. (C.) XXXII. * Before this couplet (59) B. reads one additional śloka (B. 60).

84 THE NATYASASTRA [ V. 60.

The songs in the pure Preliminaries 60-63. After performing the songs (gitaka)1 and the Vardha- mana2, one should sing the Utthapani (Raising) Dhruva8 which has in its feet of eleven syllables the first two, the fourth, the eighth and the eleventh as long. It should be [sung in] the Caturasra (Tala)* and [should consist of] four feet and four Sannipatas5 as well as three kinds of tempo (laya)6 and three cæsura? (yati). Besides this it should consist of four Walking-rounds (parivarta) and of three Panis8, and it should be in the Visloka" metre and in the same kind of Tala. 64. The Tāla in question should consist cunsecutively of Śamya1 of two Kalas, Tala of two Kalas, Samya of one Kalā and Sannipāta of three Kalās. , The First Walking-round 65. Thus a Sannipata Tāla of eight Kalās should be observed by the experts. And it is said that a Walking-round is made up of four such Sannipātas. 66. The first Walking-round in the Preliminaries should be made in slow tempo (sthitalaya) and on the termination of the third Sannipata in it (ie. the first parivarta) drums should be played.

The second Walking-round 67. On the termination of the first Walking-round the second one (i.e. Walking-round) having commenced in medium

60-63 (B.62-65, G.60-63). 1 See N. (C.) XXXI. 267 ff. 3 See NS. (C.) XXXI. 225 ff.

N. (C.) XXXII. * The term utthapani dhruva does not occur in the Dhruvādhyāya * See N8. (C.) XXXI. 9-11. See NS. (C.) XXXI. 38-39. 1 See NS. (C.) XXXI. 532-537. $ See NS. (C.) XXXI. 4.

8 Ag. explains three pānis as samapani, avara-paņi and uparipāni. ° See Ns. (C.) XXXII. 149. 64 (B.86. G.64). ' Cf. NŚ. (C.) XXX1, 74. 65 (B.67, G 65). 66 (B 68, G.66). 67 (B.69, G.67).

THE PRELIMINARIES OF A PLAY 85

tempo (laya) the Director [and the two Assistants]1 should enter [the stage]. 68-69. The three should simultaneously enter [the stage] with handfuls of flower-offering. But before that they should get themselves purified, initiated and furnished with charms for protection [against evil spirits]. They should be clad in white, and flowers carried by them should [also] be white, and they should be dooking with the Adbhuta glance 1 and be in the Vaisnava Sthana2 with Sausthava of the body. 70. The twol Assistants (pariparsvila) should carry a golden pitcher (bhrngara) and the Jarjara, and with them by his side the Director should put forward five ateps. 71. These five steps [will be] for the purpose of worshipping Brahman, and the manner of putting them forward will be described [below] in detail. 72. They should slowly place their two feet three Tālas1 apart and then raise [them one by one] on each side and again put them down at the same [distance]. 73. After going five steps1 in the manner described above the Director and his two Assistants (lit. others) should perform the Suci Cari with left foot moved first and the right foot afterwards. 74. Then the Director should offer flowers in Brahman's circle (Brahma-mandala) which is another name for the centre of to stage where the deity is supposed to be present.

1 Entrance of the two Assistants is implied in this passage. See below 68-69. 68-69 (B.70-71, G.68-69). 1 See NŚ. VIII. 48. 2 See NS. XI. 50-52. 70 (B.72, G.70). 1 One of the Assistants is to assume the role of the Jester in the Three Men's Talk. See above 28-29, 137-141. ' Jarjara- see NS. III, 73 ff. 71 (B.73a, G.71). 1 B. omits 71b. 72 (B.74, G.72). 1 tala-a unit of length. The distance from the tip of the middle finger to the wrist. See NS. III, 21 note. 73 (B.75, G.78). ' B. vinuupadi for pancapadi. 74 (B.76, G.74).

86 THE NATYASASTRA [ V. 75-

75-77. And afterwards he (i.e. the Director) should res- pectfully bow to Brahman (lit: Pitamaha) with Lalita gesture,1 and to mcasure the length of tim'e during the salutation he should thrice touch the ground with his hand, and his steps should be [suitably] divided. The second Walking-round which beging with the entrance of the Director and ends2 with the salutation [to Brahman] and use of gestures [related to it], should be performed in medium tempo (laya). The third Walking round 77-78. Next during the third Walking-round (parivarta) the Director should go round the Brahman's circle (i.e. the centre of the stage), perform Acamana and take up the Jarjara. [The manner of taking it up is as follows :] 78-80. Rising up quickly from [Brahman's] circle (mandala) he should perform the Suci (lit. Vedha) Cari with this foot (i.e. the right foot) put forward first and the left foot after- wards. And then he should again raise his right foot which was on the side and perform the Suci (Vedha)1 Cari putting forward the left foot first and the right foot afterwards. 80-83. Going round [the centre of the stage] the Director should call the person (i.e. one of the Assistants) who carries the golden pitcher (bhrngara)1 and perform ablution (sauca) [with water from this vessel]. He should then perform Acamana and sprinkle himself with water in due order. Thus after performing properly the ablution the Director should carefully take up the Jarjara, the destroyer of obstacles, and this act should be per- formed along with the beginning of the last Sannipata [of this second Walking-round]. 83-84. The third Walking-round beginning with going

75-77 (B:77-79a, G.74c-76). 1 See NS. IX. 201. B reads vandanādhi- nayūnugah for °nayāntakah. 77-78 (B.79, G.77). 78-80 (B.80-81, G.78-79). 1 According tr Ag. (I. p. 233) Vedha- Sūci Cari. 80-83 (B.82-84, G.80-82). 1 Ser above 70. 83-84 (B.85, G.88).

.V. 89 ] THE PRELIMINARIES OF A PLAY 87

round the centre of the stage (i.c. Brahmamandala)1 and ending with the taking.up of the Jarjara should be performed in a quick tempo.

The fourth Walking-round

84-87. After taking up the Jarjara to ward off evils he should mutter [some Mantras] in eight Kalas. .Then he should perform the Suci (Vedha) Cari by putting forward the left foot first and the right foot afterwards, and then, move five steps to- wards the musical instruments. And then again he should observe the Suci (Vedha) Cari by putting forward the left foot first and the right foot' afterwards. The fourth Walking-round which begins with the taking up of the Jarjara and ends1 with an approach to the musical instruments should be made in a quick tempo. 87-88. In this [purraranga which is of the Caturasra type] movements of hand and feet in it will occupy sixteen Kalas while it being of the Tryasra type such movements will occupy Twelve Kalās only. 88-89. [The Director and the two Assistants] should make three salutations by touching the ground, with the hand and hefore this they are to sprinkle themselves with water, but in case of the Tryasra [Preliminaries such sprinkling] has not been prescríbed1.

The Parivartani Dhruva

89-90. In this manner they should perform the Utthāpana (lit. raising). Then comes the Parivartant (Walking-round) Dhruva

1 See NS. III, 23-30'note. 84-87 (B.86-88, G.84-86). 1 B. reads kutapo nigamāntakah. 87-88 (B.89, G.87). 88-89 (B.90, G.88). 1 This and the preceding (87-88) passage should properly go after NS. 64 for they relate to the Utthapana which should come before the Walking-round ; see before 22-23. 89-90 (B.91, G,89). 1 For caturasre, B. G. caturasram.

88 THE NATYASASTRA [ V. 90-

which should be performed in the Caturasra (Tala) and medium tempo and with eight Sannipātas. 90-91. The Dhruva (song) which has only the last syllable long in its four feet of eleven syllables, is called the Parivartani (Walking-round) Dhruvā. 91-92. During the singing of this Dhruva the Director should move leftwards1 in the Vartika Marga with graceful step in accompaniment of instrumental music and should bow to [different] deities in directions belonging to them. 92-93. And during the foot movement [mentioned above] euch step of the Director should consist two Kalas, and movement in each direction should consist of two Sannipatas. 93-94. Then he would observe the Sūci (Vedha) Cari putting forward the left foot first and the right foot afterwards and putting the latter at a distance of two Talas. 94-95. In this manner he should go five steps with the Atikranta Cari- and bow to different deities in directions belonging to them. 95-97. First of all he should bow to the eastern direction presided over by (Sakra) Indra, secondly he should bow to the southern direction belonging to Yama. Thirdly he should bow to the western direction ruled by Varuna. Fourthly he should bow to the northern direction of which Dhanada (Kuvera) is the protector. 97-98. After bowing to these directions he should perform the Suci Cari putting forward the left foot first and the right foot afterwards and begin the Walking-round. 98-99 Then with his face towards the east the Director

90-91 (B.92, G.90). 91-92 (B.93, G.91). 1 vāmakena (vārtikena, B). 92-93 (B.94a, G.92). 1, B. omits 93a. 93-94 (B.94b-95a, G.93). 94-95 (B.95bc, G.94). 1 See NS. XI. 29. 95-97 (B.96-97, G.95-96). 97-98 (B,98, G.97), 98-99 (B.99, G.98),

.V.105] THE PRELTMINARIES OF A PLAY

should bow to Siva (Rudra), Brahman and Visnu (Upendra) while going forward three steps by 'masculine', 'feminine' and 'neuter' feet [one after another]. 99-100. The right foot is 'masculine' and the left foot is 'feminine' while the right foot not [much] raised is c.lled 'neuter'. 100-101. Śiva (Iéa) should be bowed to with thě masculine foot [put forward first] while in bowing to Braliman the neuter foot [should be so put forward]1. The Fourth Man enters. 101-102. The Walking-round should be [finished] thus, and then the Fourtlt Man (caturtha-kara) should duly enter [the stage] with flowers [in his hands]. 102-103. And he should duly offer Pūja to the Jarjara and to all the musical instruments (kutapa) as well as to the Director. 103-104. His foot-movements during the Pūja should be made to accompany the playing of drums, and there should be no song sung then, but only meaningless syllables should be chanted (stobhakriyā).

Singing of the Avakrsta Dhruva 104-105. After offering the Puja the Fourth Man should make liis exit. And then should be sung an Avakrsta DhruvaT in Caturasra (Tala) and slow tempo ( thita-laya). 105-106. This Dhruva should abound in heavy syllables and depend on the Sthayi-varna1 and be made up of eight Kalas, and its Tāla should be Avapāņika.

99-100 (B.100, G.99). 100-101 (B.101a-102b, G.100). ' B. repeats here 90-91. 101-102 (B 103, G.101). 102-103 (B.104, G.102). ' See NS. III, 11-13. 103-104 (B.105, G.103). 104-105 (B.106, G.104). ' Qne of the six kinds of Dhruvas. Sce NS. (C.) XXXII. 154-159). 105-106 (B.107, G.105). ' Ser NA. (C.) XXIX. 21. 12

90 THE NATYASASTRA [ V. 106-

106-107. The Avakrsta Dhruva is a song consisting of four feet of ten syllables of which the fourth, the fifth, the seventh and the eighth will be short.1 The Benediction

107-108. Then the Director will recite in a medium (madhyama) tone the Benediction which should consist of eight or twelve feet (pāda).1 108-109. 'These are the specimens of Benediction) : namo'stu sarvadevebhyo dvijatibhyah subham tatha | jitam somena vai rājnā ārogyam bhoga eva ca l Tr. Salutation to all the gods. Blessed be the twice born class. May Soma the king attain victory as well as healthy life and [earthly] enjoyment.1

109-110. brahmottaram tathaivāstu hatā brahmadvișas tathā! prašāstvimām mahārājah prthivim ca sasāgarām # 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 carth together with all the seas. 110-111. rāstram pravardhatām caiva rangas cayam samrdhyatam I prekşākartur mahan dharmo bhavatu brahmabhavitaḥ # Tr. Let this state prosper, and this theatre flourish and let

106-107 (B.108). 1 G. omits this. 107-108 (B 109, G.106). 1 For different interpretations of pāda see Lévi, pp. 132-133, II. 25-26. Raghavabhatta quotes from Ag. in his Sākun- talatika (p.6) the following : पदानि शोकावयवभूतानि तिड्न्तानि सुबन्ताननि Or सीकतुरीयां मानि or भरतान्तरकपानि वा and प्राचार्य खामस्ववान्तरवाकी.व्वव पदसम्. Thesc passages do not occur in the published Abhinavabharati. .108-109 (B.110, G.107). 1 Sce Lévi, p. 133. 109-110 (B.111, G.108). 110-111 (B.112, G.109).

.V. 118] THE PRELIMINARIES OF A PLAY 91

the producer of the theatrical show attain virtues proceeding from the Vedic knowledge. 111-112. kāvyakartur yaśaś cāstu dharmaś cāpi pravardhatām 1 ijyaya cānayā nityam priyantăm devatā iti # T'r. Let the playwright (lit. writer of the karya) attain fame and let his virtue increase, and by this kind of sacrifice (yajnu), let the gods be always pleased with him. 112-113. After the recitation of each of such Benedictory poems the two Assistants should loudly and distinctly say, "Let this be so."

The Suşkavakrsta Dhruva 113-114. The Benediction should thus be performed duly according to the rules [mentioned above]. Then should be sung the Suskavakrsta Dhruva and verses praising the Jarjara. 114-115. This Dhruva should consist of nine long syllables first and then six short syllables followed by three long syllables, e.g. 115-116. digle digle jhaņde jhaņde jam bu ka va li ta ka te te jā.

The Rangadvara 116-118. After properly performing the Suskavakrsta Dhruva, he (the Director) should recite in a loud tone one Śloka in adoration of the deity in course of whose worship [the dramatic performance is going to be held], and then [another Sloka] paying homage either to the king or to the Brahmins should be surg. . 118-119. After reciting the Jarjara.Śloka in what is called the Rangadvara (lit. entry into the performance) he should again read another Sloka to honour the Jarjara3.

111-112 (B.113, G 110). 112-113 (B.114, G.11la). . 113-114 (B.115, G.112). 114-115 (B.116, G.113). 116-117 (B 117b-118a, G.115). 115-116 (B,117a, G.114). 117-118 (B.118b-119a, G 116). 118-119 (B.119b-120a, G.117). 1 Mss. reading is jarjarasya vināsana

92 THE NATYASASTRA [ V.119

The Cari

119-120. And after the Jarjara has been honoured;1 he should perform a Cari and the two Assistants should step backwards. 120-121. Then the Addita Dhruva1 should be performed with the medium tempo (laya), Caturasra Tala and four Sannipātas. 121-122. The Dhruva (song) which has the first, the fifth andithe last syllables long and the remaining syllables short in all: its four feet of twelve syllables, is called the Addita. . 122-123. I shall relate its application according to the procedure adopted by Siva (Maheśvara) and Uma when performing it in the past with [the display of] different States (bhara) and movements. 123-125. After assuming the Avahittha Sthana (posture),1 and placing the left hand [first] with its palm downwards on the . navel and taking up the Jarjara, by his other hand,a the Director should go five steps, with his left hand showing the Pallava gesture; and while going he should cover one Tala at each step and move his limbs gracefully3. 125-127. Afterwards he should perform the Sūci Cari by putting forward his left foot first and the right foot afterwards. Then the Director (lit. the expert one) should recite a Śloka with love as its subject-matter, And after reciting this Cari Śloka and

(zinamana). But this givcs no relevant meaning. We emend it. to. jarjarasya uimānanam. 119-120 (B.120b-12la, G.ila). 1 Boad manayitna (B.G. namayilnā), : 120-121 (B.12lb-122a, G.119). 1 See below 121-122, also: NS. (C.) XXXIL 10, 357. 121-122 (B.122b-123a, G.120) 122,129,(B.123b-125a, G.121); 123-125 (B.124b, 125b, 126, G.122-123). ' Defined in. Nắ. XIII 1e4 165. 3 Mss. read tuludhrtam. But its meaning is not clear. It is just possible, that the original reading has been changed. We thorefore emend this to taladhrtam meaning 'held in palm' or 'held by hand.' 9 B. reads. between 123b. and 124a an.additional homistich. 125-127 (B.127-128,.G.194-125).

-V. 13 J THE PRELIMINARIES OF A PLAY 93

performing the Walking-round, he should with his face towards the front withdraw backwards with steps described before.

The Mahacari

127-128. 'And after placing the Jarjara in the hands of one of the Assistants he should perform the Mahacari in accordance with the rules laid down below. . 128-130. During this Cari the Dhruva song should be of the Caturasra type and in quick tempo, and it should have four Sannipatas and eight Kalas. This Dhruva song should have feet of eloven syllables of which the first, fourth, seventh, tenth and the last are'long and the remaining ones short. 130-131. (An example of the Caturasra Dhruva) : padatalāhati-patita-sailam ksobhita-bhuta-samagra-samudram I tandava.nrttam idam pralayānte pātu harasya sadā sukhadāyī # T'r. Let the ever-pleasing Class Dance of Hara (Siva) after the destruction of the world, which smashed the hills by the impact of his feet and agitated the ocean with all creatures living in it, always give you protection. 130-131. Then he should step towards the drums (bhanda) and afterwards perform the Suci Cari followed by a change of the Vikşepa. 132-133. Afterwards he should move his feet gracefully with a quick tempo, and keeping them three Talas apart, he should' go five steps. There again he should perform the Suci (Vedha) Cari with his left foot put forward first and the right one afterwards. * 134-135. And with the foot movement [described above] he should move backwards with his face towards the front, and again he should go three steps forward in a similar manner, and then he

127-128 (B.129, G.126). 128-130 (B.130-131, G.127-128). 130-131 (B.132, G.129). 131-132 (B.133, G.130). 132-133 (B.134-135a, G.131-132a): 134-135 (B.185b-136, G.139b-133).

94 THE NATYASASTRA [ V.136

should again perform the Suci Cari with his left foot put forward first and the right foot afterwards. 136-137. Then he should recite a couplet calling up the Furious Sentiment while bringing his feet together, and then after going three steps he should call for the two Assistants, and on their coming up, a Narkutaka Dhruva should be sung. At the time of singing this Dhruva he should perform the Sūci (Vedha) Cāri by putting forward the left foot first and the rigut foot afterwards. The Three Men's Talk 137-138. Then in case of a play in the Verbal Style (bha -. rati vrtti) the Three Men's Talk (trigata) should take place. During it (this Talk) the Jester should suddenly come in and deliver a discourse consisting mostly of irrelevant words to excite the smile of the Director, 138-139. In this discourse should be brought in some controversial topic with an abrupt remark or an enigmatical utter- ance [of some kind], and questions such as who is [there] and who has won, leading to the plot of the play (lit. the poem), but no unpleasant topie should be brought in. 140-141. In the Three Men's Talk an Assistant talks with the Jester who finds fault with his words which are, [however,] supported by the Director.

The Laudation

141. Then the Director (lit. an expert) should put in the Laudation and the Invitation [to members of the audience], and for the success of the performance (lit. the stage) the subject of the play should again be mentioned. 142. After putting into practice all these rules, all the three persons (i.e. the Director and the two Assistants) should perform

136-137 (B.137-138a, G.134-135a). 137-138 (B.138b-139a, G.135b-I36a). 138-139 (B.139b-140, G.136b-137). 140 (B.141, G.omits). 142 (B:143, G.139). 141 (B.142, G.138)

V: 161 ] THE PRELIMINARIES OF A PLAY 95

the Suci (Vedha) Cari, and they should go out together while performing any Carl other than the Aviddha one. The Tryasra Preliminaries 143-144. Thus, O Brahmins, should be performed the Preliminaries of the Caturasra type ; now I shall speak of that of' the Tryasra type. Its use is similar and its component parts are the same ; the only feature that distinguishes it from the Caturasra one is its abridged measure of Tāla. 145-146. [In it] the Samya should consist of two Kalas and the Tala of one Kala, and again the Samya is to consist of one Kala and the Sannipata of two Kalas. With this kind of measurement of Kala, Tāla and tempo, should be performed the Tryasra Preli- minaries which include the Utthapana and such other items. 147. The Dhruva (song) which has the fourth, the eighth, the tenth and the last syllables long in all its four feet of twelve syllables, is called the Utthapana Dhruva of the Tryasra (type). 148. In the Tryasra Preliminaries an expert dancer should abridge the instrumental music, movements [of persons] Dhruvā songs and their Tala. 149. The actions and movements [of a dancer] are to be made of two types-elaborate and abridged-according as the instrumental and vocal musics are such. 150-151. It is said that each movement of hands and feet should be of two Kalas' duration, and in any Walking- round in the Caturasra (Preliminaries) the hands and fret should be moved sixteen times, while in the Tryasra Preliminaries they are to move only twelve times. 151-152. This is the measurement of both (i.e. of hand and foot movements) in the Preliminaries. But in the Walking-round, the foot movement should consist of three steps only, but in bowing

143-144 (B.144- 145, G.140-111). 145-145 (B.146-147, G.142-143). 147 (B.148, G.144). 148 (B.149, G.145). 149 (B.150, G.146), 150-151 (B.151-152a, G.147-148a). 151-152 (B,152b-153, G.148b-149).

96 THE NATYASASTRA [ V. 103.

to [the different] directions in the Caturasra Preliminaries one should go five steps. 153. [But all these matters] should be performed in the Tryasra Preliminaries according to the measure of Tala as the master of the art thinks fit. Hence to avoid repetition no [elaborate] direction about the same has been given [here]. 154. O the best of the Brahmins, thus should be perform- ed the pure Preliminaries of the Caturasra and the Tryasra types, which relate to a play depending on the Verbal Style. The Mixed Preliminaries 155. So much abont the pure Preliminaries which I was to describe. I shall now tell you how the producers may turn them to one of the mixed (citra) type. 156-157. After the Utthapani (Raising) Dhruva has been decoratd with flowers given by the Fourth Man (raturthakara) and resounded with the well measured loud songs of musical ex- perts, Dundubhis should be played again and again. 158. [And in the mixed Preliminaries thus begun] clusters of white flowers should be scattered all over [the stage], and the Angaharas should be performed by [dancers dressed as] goddesses. 159-160. The Class Dance which has been described above with its [Piņ;lis], Recakas, Angahāras, Nyasas and Apanyāsas should intervene the separate feet of the Benedietory (nandi) poems (pada). This rule should be put into practice by those who would turn pure Preliminaries into mixed ones. 161. After the 'pure' Preliminaries have been duly made 'mixed' [all the dancers dressed as] goddesses should make their exit. 162. After the exit of all the female dancers the other parts of the Preliminaries should be performed.

153 (B.154, G.1:0). 154 (B.155, G.151). 155 (B.156, G.152). 156-157 (B.157-158, G.153-154). 158 (B.159, G.155). 161 (B.162a, 163a, G.158). 159-160 (B.160-161, G.156-157). 162 (B.163b-]64a, G. 159).

.V. 167 ] THE PRELIMINARIES OF A PLAY 97

5 .: - 163. This is the manner in which the pure Preliminaries should be changed into mixed ones. But in the Preliminaries, be they of any type, there should not be too much dance and song. : 164. If [in a performance] songs, music and dance continue for too long [a time] they tire out the artists as well as the spectators. . 165. Tired [persons] can neither attain or help to attain a clear impression of the Sentiments and the States, and because of this the rest of the performance (i.e. of the play itself) cannot excite pleasure,1 166. After performing the Preliminaries, be they Caturasra or Tryasra of the pure or mixed type, the Director along with his Assistants should make their exit from the stage1.

Introduction of the play

167. After the Preliminaries have been duly performed1 in the manner described, the Introducer (sthapaka)2 should enter [the stage] and he should resemble the Director (sutradhara) in every respect (lit. in quality and form).

I63 (B.1645-165a, G 160). 164 (B 165b-166a, G.161). 165 (B.166b-167a, G.162). ' B. reads one additional couplet after this. 166 (B 168b-169a, G.163). ' B. reads tl:ree additional couplets (B. 169b-172a) after this. 167 (B 1 2b-173a, G.164). ' The reading prajujya in tl.is passage serms to be defective ; for the nominative to this prajujya cannot be sthapaka (Introducer). Dhananjaya (c. 10th century) clearly says that the sutradhara (the Director) having gone out after the Preli- minaries (purvaranga), another actor enters to introduce the drama (III. 2). The same is the opinion of Saradatanaya (c. 1175-1250). See the Bh P. p.228, lines 56. Visvanstha also expressed a similar opinion. Sec the SD. VI. 26. Hence this passage should be construed some- what like the well-known proverb rathe ca vamanam drstva punar- janma na vidyate. It seems tlat Bhasa cut down the Preliminaries and made an end of the practice of getting the play introduced by the sthapaka. This assumption will explain why Bana wrote sutradhāra- krtārambhaih ctc. (Harșascarita, Introduction, 15). 3 Ag. says sūtradhāra era sthāpakah, ef. nota 1 above. . 13

98 THE NATYASASTRA [V .. 168-

168. He should assuie the Vaisnava Sthanis (posture)1 and the Sausthavaa of the body, and on entering the stave he should observe the foot movements which the Director had used. 169. At the entrance of the Introducer the Dhruva ishould be made suitable to the occasion (lit. meaning) and it will be either Caturasra or Tryasra and be in medium tempo. 170. Then he should perform a Carl in praise of. gods and Brahmins in accompaniment with the recitation of Slokas contain- ing sweet words and evoking various Sentiments and States. 171. After thus pleasing the spectators (lit. the stage) he should announce the name of the play-wright (lit. the poet), and then he is to start the Prologue (prastarana) which relates to proclaiming the theme of the play (lit, the poem)1. 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 different ways the subject of the play [lit. the poem] by variously alluding to its Opening (mukha) and Germ (bija)1. 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 Preliminaries accord- ing to the rules. 175. If any producer of a play will perform the Preliminaries according to the rules laid down, nothing inauspicious will happen to him and he will [after his death] reach the heavenly region. 176. [On the contrary] whoever produces a play in an willful violation of the rules [in this matter] will sustain great loss and will [after his death] be reborn as a creature of a lower order.

168 (B.173b-174a, G.165). 1 See XI. 50-51. 2 See XI. 89b, 91a. 169 (B.174b-175a, G.166). 170 (B.175-176a, G.167). 171 (B.176b-177a, G.168). ' B. reads one additional hemistich. 172-173 (B.178-179, G;169-170). 1 See SD. VI. 27. also DR. III. 3, .174 (B.180, G.171). 175 (B.181, G.172). 176 (B.182, G.173).

.V. 179 ] THE PRELIMINARIES OF A PLAY 99

177. Fire fanned by a strong wind does not burn [anything] so quickly as does the wrongly made production. 178. In this manner the Preliminaries of two different ex- tents (pramana) should be performed by the people of Avanti, Pancāla, Dakșiņatya and Odra regions. 179. O Brahmins, these are the rules regarding the Preli- minaries. Tell me what other rules relating to the Nātyaveda should be discussed now1.

Here' ends Chapter V oi Bharata's Natyasastra which treats of the Preliminaries to the production of a play.

177 (B.184, G.175). 178 (B.184, G.175). 179 (B.185, G.176). ' The portion of this chapter after this śloka has not been translated. It is not from the hand of author of the NS.

CHAPTER SIX

THE SENTIMENTS

The, sages question. 1-3. After hearing about the rules regarding the Prelimina- ries, the great sages continued their inquiries and said to Bharata, "Answer five of our questions. Explain how the Sentiments enumerated by experts in dramatic art attain their special qualities. And why are the bhavas (States) so called, and what do they bhavayanti (make us feel) ? Besides these, what are the real mean- ings of terms such as, Digest (samyraha)1 Memorial Verse (kārika) and Etymology (nirukta)"?

Bharata answers.

4. At these words of the sages, Bharata continued speaking and mentioned in reply to their question the distinction between the Sentiments and the States. 5-7. And then he said, "O sages, I shall tell you in detail and in due order about the Digest (sumgraha), the Memorial Verse (karika) and the Etymology (nirukta). I am not able by any means to exhaust all the topics about drama (nalya); for science (inana),1 and arts and crafts (silpa)a connected with it are repectively manifold and endless in number. And as it is not possible to treat exhaustively (lit. to go to the end of) even one of these subjects which are [vast] like an ocean, there cannot be any question of mastering them all. 8. [Hence] I shall tell you about the Digest on Sentiments, States and such other matters, which has its contents embodied1

1-3 (B.G. same). ' For a possible chronological implication of samgraha, kārika, nirukta, sutra and bhasya mentioned in this chapter sec Skt. Poetics, Vol. I. pp. 28 ff. 4 (B.G. same). 5-7 (B.G. same). jmunāni-vyūkaranādini sāstrāņi (Ag). .2 silpāni-citrapustādi-karmāņi (Ag). 8 (B.G. same). 1 Read sutragudhartha.

[ VI 14- THE SENTIMENTS 101

in a small number of Sutras (short rules) but which promotes inference [about the understanding of the subject].

Digest, Memorial Verse and Etymology defined

9. When subjects taught in detail have been compressed and brought together in [a number of] Sutras and their Bhāsyas (commentary), these latter constitute according to the learned a Digest (samgraha). 10. The Digest [of the Natyaveda treats) the Senti ments, the States, the Histrionic Representation (abhinaya), the Practice (dharmi), the Styles (vrtti), the Success (siddhi), the notes (svara), the instrumental music (atodya), songs and the stage. I 11. When a rule (lit. meaning) is explained (lit. uttered) briefly in the manner of a Sutra by means of a minimum (lit. small) number of words it is called the Memorial Verse (karila) which shows the meaning [of the rule clearly].1 12. The Etymology (nirukta) is that which arises in con- nexion with various nouns, is helped by dictionaries and rules of grammatical interpretation, includes the meaning of the root involved as well as the reasons modifying it, and is helped by various findings [of Sāstras]. 13. When the meaning [of a noun] is established from a consideration of its root [and pratyaya or affix], words expressing [such] meaning in brief are called the Etymology. 14. O the best of the Brahmins, [the subjects included into] the Digest (samgraha), which I mentioned earlier, will now be discussed in detail with the necessary Memorial Verses (karika) and Etymologies connected with them.

9 (B.G same). 10 (B.G. same). ' B. adds one more couplet after 10. 11 (B.12, G. same). 1 One additional characteristic of the kārikā i that it should be generally composed in motres like ārya or śloka, e.g the Sāmkhyakārikā. 12 (B.18, G.12). 13 (B.14, G. 13). 14 (B.15, G.14).

109 THE NATYASASTRA [VI. 1%-

The eight Sentiments

15. The eight Sentiments (rasa)1 recognised in drama are as follows : Erotic (srngara), Comic (lasya), Pathetic (karuna) Furious (raudra), Heroic (vira), Terrible (bhayanaka) Odious (bibhatsa) and Marvellous (adbhuta).ª 16. These eight are the Sentiments named by Brahman; I shall now speak of the Dominant, the Transitory and the Temperamental States,1 The Dominant States

16. The Dominant States (sthayibhara)1 are, known to be the following : love, mirth, sorrow, anger, energy, terror, disgust and astonishment. 18-21. The thirtythree Transitory States (ryabhirari- bhaca)1 are known to be the following : discouragement, weakness, apprehension, envy, intoxication, weariness, indolence, depression, anxiety, distraction, recollection, contentment. shame, inconstancy, joy, agitation, stupor, arrogance, despair, impatience, sleep, epilepsy, dreaming, awakening, indignation, dissimulation, cruelty, assurance, sickness, insanity, death, fright and deliberation. These are defined by their names.

The eight Temperamental States 22. Paralysis, Perspiration, Horripilation, Change of Voice,

15 (B.16, G.15). ' rasa-A. K. Coomaraswamy is for translating the .word as 'favour' (MG. p. 17). 2 The later writers on Skt. poetios add one more rasa. (santa) to this number 16 (B.17, G.16). 1 bhava-A. B. Keith translates this word as 'feeling' or 'emotion'. Sce Skt. Drama, p. 319. A. K. Coomaraswamy and others translate it as 'mood' (loc. cit.). We are with Haas who translates it as 'State.' See DR. p. 108. 17 (B.18, G.17). ' sthayibhava-Keith translates the term as 'domi- nant emotion' (Skt. Drama) and Haas as 'Permanent State' (DR.) and others as 'permauent mood' (e.g. S. K. De, Skt Poetics, Vol. II. p. 26). 18-21 (B.19-22, G.18-21). ' These are also known as sancāri-bhava. 29 (B.28, G.99). ' sättoike Mhava-The word sattoike cannot be

.VI 24 ] THE SENTIMENTS 108

Trembling, Change of Colour, Weeping and Fainting are the eight Temperamental States1.

The four kinds of Histrionic Representation 2:3. The four kinds of Histrionic Representation are Ges- tures (angika)1, Words (cacilca)a, Dresses and Make-up (āhārya)8 and the Representation of the Temperament (sattrika).+

The Two Practices 24. The Practice of Representation (dharmi)1 in a dramatic performance is twofold : realistic (lokadharme, lit. popular) and coventional (natyadharmī, lit. theatrical). The four Styles And the Verbal (bharat:), the Grand (sattrati), the Graceful (kaisika) and the Energetic (arabhat.) are the four Styles (vrtti)8.

properly translated into English. Keith does not make any such attempt (sce Skt. Drama) Haas translates the sattrika-bhara as 'Involuntary States'. But this seems to be very misleading, for the NS. takes sattva to be connected with manas. (see VI. 94), and most of the later writers follow this work in this respect. So the autl.or of the ND. (III. 153) writes पर्वाद्ड मन सस्व तत्प्रयोजन हतुरस्यति सास्विकः मममेडनवधाने हि न भुकन् एवं खरमेदाद्यो नाक्ेन दर्पयितुम्. The N8. has also a definition of sattva which is as follows: देहातमकं भर्वत् मत्व (XXIV. 7). The autl.or of the BhP. elaborately defines the term sattra and discusses the psychological process connected with its use; see (pp. 13-14). Visvanatha in his SD. (164) defines sattra as follows : aa. प्रकाशकगे करमान्री धर्मः, 23 (B.24, G.23). 1 angika-means Gestures of special kind defined- in the sustra ; see NS. VIII-XII. 2 racika-means Words suitable for representation of the different States (bhava) composed by the playwright. See NS. XV-XXII. 3 See NS. XXIII. 4 See NS. XXIV. 24 (B.25-26a, G.24-25a). 1 dharmi-This word has not been very correctly used, But tho meaning is clear ; for details about dharmi see NŚ. XIII 69-81. ' Haas translates vrttis as Styles of Procedure (DR. p. 67). The four Styles are translated by him as Eloquent (bharati), Grandiose (sattrati) Gay (kaisiki) and Horrific (arabhati). We follow Keith's translation (Skt. Drama, p. 326). For details about vrttis see NS. XXII. Iff,

104 THE NATYASASTRA [ V1. 25-

The four Local Usages 25-26. Āvanti, Dāksinātyā, Odramāgadhi and Pancāla- madhyama are the four Local Usages (pruratti)' in a dramatie performance. The Success The Success2 in the dramatic performance is of two kinds : divine (dairil() and human (mānusī). The Notes 27-29. And [musical] notes such as, Sadja, Rsabha ete. are seven1 in number, and they fall into two gronps ahuman (sārira lit. from body) and instrumental (nainara lit. from the Viņa).1 The four kinds of musical instruments The musical instruments are of four kinds2 : stringed (tata) covered (aranaddha), solid (ghana), and hollow (susira). Among these, the stringed (tata) means an instrument with strings, the covered arunaddha) means a drum, the solid (ghana) a cymbal and the hollow (susira) a flute. The five kinds of Dhruvas 29-30. Songs which relate to Dhruvas are of five kinds! :

25-26 (B.26b-27a, G 25b-26a). 1 pravrtti-Haas translates this word as 'Local Characteristics', (See DR, p 74). The five grographical names (Avanti, Dikstinatya, Odra, Magadl.a and Pancala) probably show that these were the parts of India where dramatic show was current at tle time when tradition recorded in this NS, arose. Omission of the north-eastern part of India, including Bengal and Assam, probably sl ows that at that time these places were still in many respects outside the pale of Aryanized India. Anl the omission of the north-westorn India from this list may be explained on the assumption that it being on the way of the new immigrants who frequently poured into this country the forma- tion of aiv estvished usage was difficult. For details about pravittis see N.S. XIV. 36-56. ' sidahi (success)-For details about the Success see NS. XXVII. 1 ff. 27-29 (B.281-30, G.27b 29). See NS. (C.) XXVIII. 19, 11. '.Sce NS. (C.) XXVIII. 1-2. 29-30 (B.31-33a, G.30-3la). 1 See NS. (C.) XXXII. 334-352.

-V1. 31 ] THE SENTIMENTS 105

entering (pravesa), casual (aksepa), going out (nishrama), pleasing (prasadika) and intermediate (antara). And the playhouse is of the three types : oblong (vilrsla), square (calurasra) and triangular (tryasra)2. 31. So much about the Digest on drama giving its con- tents (lit. meaning by a small number of Sūtras (concise rules). I shall now speak about the contents of the Sutra-work1.

The Sentiments explained In that connexion I shall first of all explain the Sentiments (rasa). No meaning proceeds [from speech] without [any kind of] Sentiment. The Sentiment is produced (rasa-nispattih) from a combination (samyoga)2 of Determinants (vibhava), Consequents (anubhava) and Transitory States (ryabhicari-bhava). Is there any instance (drstanta) [parallel to it]. [Yes], it is said that, as taste (rasa) results from a combination of various spices, vegetables and other articles3, and as six tastes (rasa) are produced by articles such as, raw sugar or spices or vegetables, so the Dominant States (sthayibhara), when they come together with various other States (hhara) attain the quality of the Sentiment (i.e. become Sentiment)4. Now one enquires, 'What is the meaning of the word rasa" ? It is said in reply to this [that rasa is so called] because it is capable of being tasted (asradyate). How is rasa tasted ? [In reply] it is said that just as well-disposed persons while cating food cooked with many kinds of spices enjoy (asvadayanti) its tastes (rasa) and attain pleasure and satisfaction,

ª B. adds one couplet after 30. 31 (B.33b-34a, G.31b, c). 1 The original of the next passage till the beginning of 33 is in prosc. 2 The NS. nowhere explains the terms nispatti and samyoga of this definition and does not include the sthayibhava in it (the def.). Hence the theory of rasa has come to be interpreted differently in later times by Lollata, Šankuka, (Bhațța) Nayaka and Abhinavagupta. For a brief exposition of their views sce Visnupada Bhattācārya-Sāhityamīmamsā (Bengali), Calcutta, 1948. pp. 33 ff. 3 G. adds here one sentence more (tatha ........ .. nispattih). s tatrāha (G. rsaya ūcīh). * 14

106 THE NATYASASTRA [ VI. 32-

so the cultured people taste the Dominant States (sthayi-bhava) while they see them represented by an expression of the various States with Words, Gestures and the Temperament and derive pleasure and satisfaction. Thus is explained [the Memorial Verse ending with] tasman nalyarasa itis. For in this connexion there are two traditional couplets : 32-33. Just as connoisseur of cooked food (bhakta) while eating food which has been prepared from various spices and other articles, taste it, so the learned people taste in their mind the Dominant States (such as love, sorrow etc.) when they are represented by an expression of the States with Gestures. Hence these Dominant States in a drama are called the Sentiments.1 The relation between the Sentiments and the States. 3Now one enquires, "Do the States (bhava) come out of the Sentiments (rasa) or the Sentiments come out of the States ?" On this point, some are of opinion that they arise from their mutual contact. But this is not so. Why ? "It is apparent that the Sentiments arise from the States and not the States from the Sentiments. For [on this point] there are [traditional] couplets such as : 34-35. The States are so called by experts in drama, for they cause to originate (bhavayanti) the Sentiments in connexion with various modes of dramatic representation. Just as by many articles of various kinds auxiliary cooked food (vyanjana) is

5 See below 33-34. 32-33 (B.35-36, G.32-33). 1 For a discussion on Bharata's theory of rasa see Skt. Poctics, Vol. II. pp. 25 ff. 2 The original of this passage till the beginning of 34 is in prosc, but its reading seems to be confused. In the light of the five karikas that follow one may be justified in changing the order of some sentences and in emending it partially as follows : पवाइ कैवाच्िन्यत भवेम्यी रसानाममिनिर्शत्तरिति, न तु रसेम्यी भवनाममिनिवृत्तिरिति। तव्न कममात्। दृम्यते कि परस्परसयोगादेषामभिनिडृत्तिरिति, But if it is really an instance of textual corruption it may be said to have been sanctified by time, for Bhoja who refuted Bharata's view on bhavas giving rise to rasas relied on this toxt. Cf. V. Raghavan, Sr. Pr. p. 26. 34-35 (B.88-39, G,34-85),

-VI. 42 ] THE SENTIMENTS 107

brought forth, so the States along with different kinds of Histrio- nic Representation will cause the Sentiments to originate. 36. There can be no Sentiment prior to (lit. without) the States and no States without the Sentiments [following it], and during the Histrionic Representation they are produced from their mutual relation. 37. Just as a combination of spices and vegetables imparts good taste to the food cooked, so the States and the Sentiments cause one another to originate (bhāvayanti). 38. Just as a tree grows from a seed, and flowers and fruits [including the soed] from a tree, so the Sentiments are the source (lit. root) of all the States, and likewise the States exist [as the source of all the Sentiments]1. The eight Sentiments from the four original ones Now we shall describe the origins, the colours, the [presiding] deities, and examples of these Sentiments. Sources of these [eight] Sentiments are the four [original] Sentiments e. g. Erotic, Furious, Heroic and Odious.2 39. The Comic [Sentiment] arises from the Erotic, the Pathetic from the Furious, the Marvellous from the Heroic, and the Terrible from the Odious. 40-41. A mimicry of tho Erotic [Sentiment] is called the Comic, and the result of the Furious Sentiment is the Pathetic, and the result of the Heroie Sentiment is called the Marvellous, and that which is Odious to sce results in the Terrible. 42-43. The Erotic Sentiment is light green (syama), the Comic Sentiment white, the Pathetic (Sentiment) ash-coloured

36 (B.40, G.36). 37 (B.41, G.37). 33 (B.42, G.38). 1 B adds one prose'sentence more after this passage. ' The original of this passage till the beginning of 39 is in prose. 8 Bhoja criticises this vicw of the author of the NS. in his Sr. Pr. See Ramaswamy Sastri Bh. P. Introduction p. 28; V. Raghavan, Sr. Pr. 27. 39 (B.44, G.39). 40-41 (B.45-46, G.40-41). 42-43 (B.47-48, G.42-43).

108 THE NATYASASTRA [ VI. 44.

(kapota), the Furious Sentiment red, the Heroic (Sentiment) light orange (gaura), the Terrible (Sentiment) black, the Odious (Senti- ment) blue and the Marvellous (Sentiment) yellow.

The presiding deities of the Sentiments 44-45, Visnu is the god of the Erotic, Pramathas of the Comic, Rudra of the Furious, Yama of the Pathetic, Siva (Maha- kāla), of the Odious, Yama (Kala) of the Terrible, Indra of the Heroic, and Brahman of the Marvellous Sentiments. 1Thus have been described the origins, the colours and the deities of these (Sentiments). Now we shall explain the Determi- nants (ribhara), the Consequents (anubhara), the Transitory States (ryabhicarin), their combination, and their definitions and examples. We shall now enumerate the Dominant States in different Sentiments.

The Erotic Sentiment

Of these, the Erotic (srngara)' Sentiment.proceeds .from the Dominant State of love (rati) and it has as its basis (lit. soul) a bright attire; for whatever in this world is white, pure, bright and beautiful is appreciated in terms of the Dominant State of love (srngara). For example, one who is elegantly dressed is called a lovely person (srngarin). Just as persons are named, after the custom of their father or mother or famiiy in accordance with the traditional authority, so the Sentiments, the States and other objects connected with drama are given names in pursuance of the custom and the traditional authority. Hence the Erotic Sentiment has been so named on account of its usually being associated with a bright and elegant attire. It owes its origin to 'men and women and relates to the fullness of youth. It has two bases : union (sambhoga) and separation (vipralambha). Of these two, the Erotic Sentiment in union arises from Deteminants like the pleasures of the season, the enjoyment of garlands, unguents, ornaments [the

• 44-45 (B.49-50, (.44-45). ' The original of this passage till the beginning of 46, is in prosc.

-VI.47 ] THE SENTIMENTS 109

company of) beloved persons, objects [of senses], splendid mansions, going to a garden, and enjoying [oneself] there, sceing the [beloved one], hearing [his or her words], playing and dallying [with him or her]. It should be representated on the stage by Conse- quents such as clever movement of eyes, eyebrows, glances, soft and delicate movement of limbs, and sweet words and similar other things. Transitory States in it do not include fear, indolence, cruelty and disgust. [The Erotic Sentiment] in separation should be represented on the stage by Consequents such as indifference, langour, fear, jealousy, fatigue, anxiety, yearning, drowsiness, sleep, dreaming awakening, illness, insanity, epilepsy, inactivity, [fainting], death and other conditions. Now it has beeen asked, "If the Erotic Sentiment has its origin in love, why does it [sometimes] manifest itself through pathetic conditions ?" [In reply to this] it is said, "It has been mentioned before that the Erotic Sentiment has its basis in union as well as in separation. Authorities on ars amatoria (vaiśika- sastra) have mentioned ten conditions [of the persons separated from their beloved ones, which are pathetic], We shall discuss them in the chapter on the Common Histrionic Representation.2 The Pathetic Sentiment relates to a condition of despair owing to the affliction under a curse, separation from dear ones, loss of wealth, death or captivity, while the Erotic Sentiment based on separation relates to a condition of retaining optimism arising out of yearning and anxiety. Hence the Pathetic Sentiment, and the Erotic Sentiment in separation differ from each other. And this is the reason why the Erotic Sentiment includes conditions available in all other Sentiments. 46. And the Sentiment called Erotic is rich in pleasure, connected with desired objects, enjoyment of seasons, garlands and similar other things, and it relates to [the union of] man and woman. There are besides two Aryas related to the preceding Sūtra : 47-48. The Erotic Sentiment arises in connexion with

2 See N. (C.) XXIV. . 46 (B.52, G.46). 47-48 (B.54-55, G.47-48).

110 THE NATYASASTRA [ VI. 49

favourable seasons, garlands, ornaments, enjoyment of the company of beloved ones, music and poetry, and going to the garden and roaming there. It should be represented on the stage by means of serenity of the eyes and the face, sweet and smiling words, satisfac- tion and delight, and graceful movements of the limbs.

The Comic Sentiment 1Now the Comic (hasya) Sentiment has as its basis the Dominant emotion of laughter. This is created by Determinahts such as showing unseemly dress or ornament, impudence, greediness. quarrel, defective limb, use of irrelevant words, mentioning of diff- erent faults, and similar other things. This (the Comic Sentiment) is to be represented on the stage by Consequents like the throbbing of the lips, the nose and the cheek, opening the eyes wide or con. tracting them, perspiration, colour of the face, and taking hold of the sides. Transitory States in it are indolence, dissimulation, drowsiness, sleep, dreaming, insomnia, envy and the like. This (Sentiment), is of two kinds : self-centered and centered in others. When a person himself laughs it relates to the self-centred (Comic Sentiment), but when he makes others laugh it (the Comic Senti- ment therein) is centred in others. There are two traditional Aryas here : 49. As this makes one laugh by an exhibition of oddly placed ornaments, uncouth behaviour, words and dress and strange movement of limbs, it is called the Comic Sentiment. 50. As this makes persons laugh by means of uncouth behaviour, words, movement of the limbs and strange dress, it is known as the Comic Sentiment. 51. This Sentiment is mostly to be seen in women and persons of the inferior type, and it has six varicties of which I shall speak presently. 52. They are: Slight Smile (smita), Smile (hasita), Gentle Laughter (oihnsita), Laughter of Redicule (upahasita), Vulgar 1 The original of thts passage till the begiuning of 49 is in prose. 49 (B.58, G.49). 51 (B.60, G.51). 50 (B.59, G.50). 52 (B.61, G.52).

-VI, 60] THE SENTIMENTS 111

Laughter (apahasita) and Excessive Laughter (atihasita). Two by two they belong respectively to the superior, the middling and the inferior types [of persons]. 53. To persons of the superior type belong the Slight Smile (smita) and the Smile (hasita), to those of the middling type the Gentle Laughter (vihasita) and the Laughter of Ridicule (upahasita) to those of the inferior type the Vulgar Laughter (apahasita) and the Violent Laughter (atihasita). There are Ślokas on this subjects : 51. The Slight Smile (smita) of the people of the superior type should be characterised by slightly blown cheeks und elegent glances, and in it the teeth should not be visible. 55. Their Smile (hasita) should be distinguished by bloom- ing eyes, face and cheeks, and in it the teeth should be slightly visible.

Of persons of the middle type

56. The Gentle Laughter (vihasita) should have slight sound, and sweetness, and should be suitable to the occasion and in it the eyes and the cheeks should be contracted and the face joyful. 57. During the Laughter of Ridicule (upahasita) the nose should be expanded, the eyes should be squinting, and the shoulder and the head should be bent.

Of persons of the inferior type 58. The laughter on occasions not suitable to it, the laugh- ter with tears in one's eyes, or with the shoulder and the head violently shaking, is called the Vulgar Laughter (apahasita). 59. The Excessive Laughter (atihasita) is that in which the eyes are expanded and tearful sound is loud and excessive, and the sides are covered by hands. 60. Comic situations which may arise in the course of a

53 (B.62, G.53). 54 (B.65, G.54). 55 (B 66, G.55). 56 (B.68, G.56). 57 (B.69, G.57). 58 (B.71, G.58), 59 (B.72, G.59), 60 (B.73,G.60).

112 THE NATYASASTRA [V. 25-

play, for persons of the superior, middling or inferior type are thus to be given expression to. 61. This Comic Sentiment is of two kinds : self-centred and centred in others; and it relates to the three types of persons : supe- rior, middling and inferior, and has thus [on the whole] six varieties.

The Pathetic Sentiment

1Now the Pathetic (karuna) Sentiment arises from the Domi- nant State of sorrow. It grows from Determinants such as afflic- tion under a curse, separation from dear ones, loss of wealth, death, captivity, flight [from one's own place], [dangerous] accidents or any other misfortune. This is to be represented on the stage by means of Consequents such as, shedding tears, lamentation, dryness of the mouth, change of colour, drooping limbs, being out of breath, loss of memory and the like. Transitory States connected with it are indifference, langour, anxiety, yearning, excitement, delusion, faintiug, sadness, dejection, illness, inactivity. insanity, epilepsy, fear, indolence, death, paralysis, tremor, change of colour, weeping, loss of voice and the like. On this point there are two Aryas : 62. The Pathetic Sentiment arises from seeing the death of a beloved person, or from hearing something very unpleasant and these are its Determinants. 63. This is to be represented on the stage by Consequents like weeping loudly, fainting, lamenting and bewailing, exerting the body or striking it.

The Furious Sentiment.

1Now the Furious (raudra) Sentiment has as its hasis the Dominant State of anger. It owes its origin to Rākșasas, Dānavas and haughty men, and is caused by fights. This is created by

61 (B.74, G.61). 1 The original of this passage till the beginning of 62 is in pros. 62 (B.76, G,62). 63*(B.77, G.63). 1 The original of this passage till the beginning of 64 is in prose.

-VI. 66 ] THE SENTIMENS 113

Determinants such as anger, rape, abuse, insult, untrue allegation, exorcizing, threatening, revengefulness, jealousy and the like. Its actions are beating, breaking, crushing, cutting, piercing, taking up arms, hurling of missiles, fighting, drawing of blood, and similar other deeds. This is to be represented on the stage by means of Consequents such as red eyes, knitting of eyebrows, defiance, biting of the lips, movement of the cheeks, pressing one hand with. the other, and the like. Transitory States in it are presence of mind, determination, energy, indignation, restlessness, fury, perspiration, trembling, horripilation, choking voice and the like. Now one enquires, "Is it to be assumed from the [above] statement about Raksasas that they only give rise to the Furious Sentiment, and that this Sentiment does not relate to others ?" [Reply]. "No, in case of others too this Sentiment may arise. [But in case of Raksasas] it is to be understood as their special function. They are naturally furious, 2for theyhave many arms, many mouths, standing and unkempt hairs of brown colour, and prodigious physical frame of black complexion. Whatever they attempt, be it their speech, movement of limbs or any other effort, is by nature furious. Even in their love-making they are violent8. It is to be easily inferred that persons who imitate them give rise to the Furious Sentiment from their fights and battles. On these points there are two Aryas : 64. The Furious Sentiment is created by striking, cutting, mutilation and piercing in fights, and tumult of the battle and the like. 65. It should be repres.nted on the stage by special acts such as the release of many missiles, cutting off the head, the trunk and the arms. 66. Such is the Furious Sentiment viewed [by experts]; it is full of conflict of arms, and in it words, movements and deeds are terrible and fearful.

(G.64). ? G. considers this passage till the end of this sentence as an āryā 3 Cf. Bhattikāvya, VIII. 98. 64 (B.79, G.65). 65 (B.80, G.66). 66 (B.81, G,67), 15

114 THE NATYASASTRA [ VI, 67-

The Heroic Sentiment 1Now the Heroic (vira) Sentiment, relates to the superior type of persons and has energy as its basis. This is created by Determinants such as presence of mind, perseverance, diplomacy, discipline, military strength, agressiveness, reputation of might, influence and the like. It is to be represented on the stage by Consequents such as firmness, patience, heroism, charity, diplomacy and the like. Transitory States in it are contentment, judgement, pride, agitation, energy (vega), ferocity, indignation, remembrance, horripilation and the like. There are two Aryas [on these points] : 67. The Heroic Sentiment arises from energy, persever- ance, optimism, absence of surprise, and presence of mind and [such other] special conditions [of the spirit]. 68. This Heroic Sentiment is to be properly represented on the stage by firmness, patience, heroism, pride, energy, agressive- ness, influence and censuring words.

The Terrible Sentiment 1 Now the Terrible (hhayanaka) Sentiment has as its basis the Dominant State of fear. This is created by Determinants like hideous noise, sight of ghosts, panic and anxiety due to [untimely cry of] jackals and owls, staying in an empty house or forest, sight of death or capitivity of dear ones, or news of it, or discussion about it. It is to be represented on the stage by Consequents such as trembling of the hands and the feet, horripilation, change of colour and loss of voice. Its Transitory States are paralysis, per- spiration, choking voice, horripilation, trembling, loss of voice, change of colour, fear, stupefaction, dejection, agitation, restlessness, inactivity, fear, epilepsy and death and the like. On these points there are two traditional Aryas : 69. The Terrible Sentiment is created by hideous noise,

1 The original of this passage till the beginning of 67 is in prose. 67 (B.83, G.68). .68 (B.84, G.69). ' The original of this passage till the beginning of 69 is in prose, 69 (R.86, G.70).

-VI. 74] THE SENTIMENTS 115

sight of ghosts, battle, entering an empty house or forest, offending one's superiors or the king. 70. Terror is characterised by looseness of the limbs, the mouth and the eyes, paralysis of the thighs, looking around with uneasiness, dryness of the drooping mouth, palpitation of the heart and horripilation. 71. This is [the character of] natural fear; the artificially shown fear also should be represented by these conditions. But in case of the feigned fear all efforts for its representation should be milder. 72. This'Terrible Sentiment should be always represented by tremor of the hands and the feet, paralysis, shaking of the body, palpitation of the heart, dryness of the lips, the mouth, the palate and the throat. The Odious Sentiment

1 Now the Odious (bibhatsa) Sentiment has as its basis the Dominant State of disgust. It is created by Determinants like hearing of unpleasant, offensive, impure and harmful things or seeing them or discussing them. It is to be represented on the stage by Consequents such as stopping the movement of all the limbs, narrowing down of the mouth, vomitting, spitting, shaking the limbs [in disgust] and the like. Transitory States in it are epilepsy,. delusion, agitation, fainting, sickness, death and the like. On these points there are two traditional Aryas : 73. The Odious Sentiment arises in many ways from disgusting sight, tastes, smell, touch and sound which cause uneasiness. 74. This is to be represented on the stage by narrowing down the mouth and the eyes, covering the nose, bending down the head and walking imperceptibly.

70 (B.87, G.71). 71 (B.88, G.72). 72 (B.89, G.78). 1 The original of this passage till the boginning of 73, is in prose. 73 (B.92, G.74). 74 (B.93,'G.75).

116 THE NATYASASTRA [ IV.

The Marvellous Sentiment

1The Marvellous (adbhuta) Sentiment has as its basis the Dominant State of astonishment. It is created by Determinants such as sight of heavenly beings or events, attainment of desired objects, entrance into a superior mansion, temple, audience hall (sabha), a seven-storied palace and [seeing] illusory and magical acts. It is to be represented on the stage by Consequents such as wide opening of eyes, looking with fixed gaze, horripilation, tears [of joy] perspiration, joy, uttering words of approbation, making gifts, crying incessantly ha, ha, ha, waving the end of dhoti or sari, and movement of fingers and the like Transitory States in it are weeping, paralysis, perspiration, choking voice, horripilation, agitation, hurry, inactivity, death and the like. On this point there are two traditional Aryas ; 75. The Marvellous Sentiment is that which arises form words, character, deed and personal beauty. 76. This is to be represented on the stage by a gesture of feeling [sweet] smell, joyful shaking of limbs, and uttering of ha, ha, ha, sounds, speaking words of approbation, tremor, choking voice, perspiration and the like. The three kinds of the Erotic, the Comic and the Terrible Sentiments 77. The Erotic Sentiment is of three kinds, viz, of words, dress, and action. And the Comic and the Terrible Sentiments are likewise of three kinds, viz, of limbs, dress and words. The three kinds of the Pathetic Sentiment 78. The Pathetic Sentiment is of three kinds, viz. that rising from obstruction to lawful deeds, from loss of wealth and from bereavement. The three kinds of the Heroic Sentiment 79. The Heroic Sentiment is likewise of three kinds, viz.

' The original of this passage till the beginning of 75, is in prose. *75 (B.95, G.76). 76 (B.96, G.77). 78 (B.98, G.79). 77 (B.97, G.78). 79 (B.99, G.80).

.VI.881 THE SENTIMENTS 11

that arising from making gifts, from doing one's duty (dharma) and from fighting [one's enemy]. The three kinds of the Terrible Sentiment

80. The Terrible Sentiment is also of three kinds, viz, feigned fear, fear from a wrong action, and fear from an apprehen- sion of danger.

The three kinds of the Odious Sentiment

81. The Odious Sentiment is of three kinds, viz. nauseating, simple, and exciting. Of these the Sentiment from a sight of stool and worms is nauseating, and the sight of blood and similar objects is exciting.

.The three kinds of the Marvellous Sentiment

82. The Marvellous Sentiment is of two kinds, viz. celestial and joyous. Or these the celestial is due to seeing heavenly sights, and the joyous due to joyful happenings1. 83. These are the eight Sentiments and their definitions, I shall hereafter speak of the characteristics of the States.

Here ends Chapter VI of Bharata's Nātyasāstra which treats of the Sentiments.

. 80 (B.I00, G.81). 81 (B.101, G.82). 82 (B.102, G.83). 1 B. adds here a spurious passage on sānta rasa.

CHAPTER SEVEN

THE EMOTIONAL AND OTHER STATES

Bhavas (States) explained 0. Now I shall;speak of the bharas (States). An enquiry in this connexion is, "Why are the bharas (States) so called ? Is it because they bharayanti (pervade) and are hence called bhavas (States)?" It is said in reply that bhavas (States) are so called because through Words, Gestures and the Representation of the Temperament, they bhacayanti (infuse) the meaning of the play [into the spectators]. 1 Bhava is 'cause' or 'instrument', for words such as, bbacita, rasita and lrta are synonymous. An expression like, 'O, all these things are bharita (pervaded) by one another's smell or moistened by one another's juice,' is established even amongst the common people. Hence the root bharaya means 'to pervade'. Ont his point there are the following Ślokas : 1. When the meanings presented by Determinants and Consequents are made to pervade (gamayte) [the heart of the spectators] they are called bhavas (States). 2. As in these the inner idea of the playwright (kavi) is made to pervade [the mind of the spectators] by means of Words, Gestures, colour of the face and the Representation of the Temperament they are called bhacas (States). 3. As they cause the Sentiments relating to various kinds of Histrionic Representation to pervade [the mind of the spectators], they are called bhavas (States) by those who produce a drama.

Vibhāvas (Determinants) explained "Now, why is the word vibhava used ?" [Answer]: "The word vibhava is used for the sake of clear knowledge. It is

0 (B.G. same). 1 (B.1-2, G.l). 1 We read bhāva iti kāraņa(m) sādhanam yāthā cto. 2 (B.8, G.2). 8 (B.4-5, G.3).

-VII. 6} THE EMOTIONAL AND OTBER STATES 119

synonymous with karana, nimitta and hetu. As Words, Gestures and the Representation of the Temperament are vibhavayte (deter- mined) by this, it is called ribhava (Determinant). Vibhavita (also) means the same thing as rijnata (clearly known). On this point there is a Śloka : 4. As many things are vibhanyate (determined) by this through Words, Gestures and the Representation of the Temperament it is named vibhara (Diterminant).

Anubhavas (Consequents) explained "Now, why is the word anubhara used ?" (Answer) "Because the Histrionie Representation by means of Words, Gestures and the Temperament are aunbharyate (made to be felt) by this, it is called anubhaca (Consequent). On this point there is a Śloka : 5. As in it the spectators are anubhavyate [made to feel] things by means of Words and Gestures it is called anubhara and it relates to words as well as to [gestures and movements of] major and minor limbs. Now we have explained that the States (bhara) are related to Determinants (vibhara) and Consequents (anubhava). Thus are the States (bhaca) created. Hence we shall discuss the definitions and examples of the States together with their Determinants and Conse- quents. Of these, the Determinants and the Consequents are well- known among people. They being connected with the human nature, their definitions are not diseussed. This is for avoiding prolixity. On this point there is the Śloka : 6. Determinants and Consequents are known by the wise to be things which are created by human nature and are in accordance with the ways of the world. The three kinds of States : Dominant, Transitory and Temperamental Now the Dominant States (sthayi-bhara) are eight in num- ber. The Transitory States (ryabhicarinah) are thirtythree and

4 (B.6, G.4). 5 (B.7-8, G.5). ' We read with B. . 6 (B.9, G.6).

120 THE NATYASASTRA [ VII. 7-

the Temperamental States are eight in number. These are the three varieties of the States. Hence we are to understand that there are fortynine States capable of drawing out the Sentiment from the play. The Sentiments arise from them when they are imbued with the quality of universality (samanya, lit. commonness). On this point there is a Śloka : 7. The State proceeding from the thing which is congenial to the heart is the source of the Sentiment and it pervades the body just as fire spreads over the dry wood. Difference between the Dominant and the other States It is said in this connexion : "If the fortynine States being represented by Determinants (vibhava) and Consequents (anubhava) coming into contact with one another become Sentiments when they are imbued with the quality of universality, how is it that Dominant States only are changed into Sentiments (and not Deter- minants and Consequents) ?" [In reply to this] it is said: "Just as among persons having same characteristics and similar hands, feet and belly, some, due to their birth, [superior] manners, . learning and skill in arts and crafts, attain kingship, while others en dowed with an inferior intellect become their attendants, in an identical manner, the 1Dominant States become masters because on them Determinants (vibhava), and Consequents (anubhava) and Transitory States (ryabhicarin) depend. Similarly some of the other States (e.g. Determinants and Consequents) have the quali- ties of [king's] local officers, and [hence] Transitory States (vyabhicarin) become attendants to these (Determinants and Cons equents) because of their [superior] quality. Now it may be asked, "Is there any parallel instance ?" [Answer.] "Just as only a king surrounded by numerous attendants receives this epithet [of king] and not any other man, be he ever so great, so the Dominant States (sthayi-bhava) only foliowed by Determinants, Consequents and Transitory States receive the name of Sentiment. [On this point] there is a traditional Śloka :

7 (B.10-11, G.7). 1 विभावानुभाव-व्यभिचारिय: स्थायिभावानुपात्िता भवन्ताश्रयत्वान् सामीभूता: स्थायिमी भावा;, तदन् ख्वानीयपरुषगथोभूता चन्े भवाजान् गुषवत्तयात्रयन्ते परिजमभूता व्यभिचारियो भावा ;.

-VII. 10] THE EMOTIONAL AND OTEER STATES 121

8. Just as a king is superior to other men, and the preceptor (guru) is superior to his disciples, so the Dominant States (sthayi-bhara) are superior to the other States (Determi- nants, Consequents and Transitory States).

The Dominant States Characteristics of these which are known as the Sentiments have been mentioned before. Now we shall discuss the marks of the States common to them. First of all we shall take up [the case of] the Dominant States (sthayi-bhava).

Love

Love (rati) which has pleasure as its basis is caused by Determinants like seasons, garlands, unguent, ornaments, dear ones. enjoyment of a superior residential house and absence of opposition [from any one]. It is to be represented on the stage by Consequents such as a smiling face, sweet words, motion of eyebrows, and glances and the like. There is a Sloka [on this point] 9. Love arises from the attainment of desired objects, because of its agreeableness. It is to be represented on the stage by sweet words accompanied by [suitable] gestures and movements of limbs.

Laughter

Now Laughter (hasya) is caused by Determinants such as. mimicry of others' actions1, incoherent talk, obtrusiveness, foolish- ness and the like. It is to be represented on the stage by means of Smile and the like. On this point there is a traditional Śloka : 10. Laughter arises from a mimicry of other people's actions. It is to be represented on the stage by the learned with Smile, Laughter and Excessive Laughter.

8 (B.12-14, G.8). 9 (B.14-15, G.9). ' B. adds kuhaka after paracesta. 10 (B.16-17, G.10). 16

122 THE NATYASASTRA [ VIL 11-

Sorrow Sorrow (goka) is caused by Determinants such as death of the beloved one, loss of wealth, cxperience of sorrow due to any one's murder or captivity, and the like. It is to be represented on the stage by Consequents such as shedding tears, lamentation, bewail- ing, change of colour, loss of voice, looseness of limbs, falling on the ground, crying, deep breathing, paralysis, insanity, death and the like. Weeping in this case is of three kinds: [weeping of joy, [weeping] of affliection and [weeping] due to jealousy. On these points there are traditional Aryas : 11. 1Weeping in which the cheeks are blooming in joy, the body is horripilating, there are words2 of remembrance and tears are not concealed is called weeping of joy. 12. Weeping in which there is a loud sound, copious shedding of tears, uneasiness of the body, want of steady move- ments and efforts, lamentation after falling on the ground and rolling on the earth is called weeping due to affliction. 13. Loud weeping of women in which the lips and the cheeks are throbbing and the head is shaking, the eyebrows and the glances are moving in anger, is called weeping due to jealousy. 14. Sorrow relates to women, persons of the inferior type, and it has its origin in affliction [of any kind]. With relation to it, persons of the superior and the middling types are distinguished by their patience and those of the inferior type by their weeping.

Anger

Anger (lrodha) is caused by Determinants such as insolence, abusive language, quarrel, altercation, opposing [persons or objects] and the like. It is to be represented on the stage by Consequents such as swollen nose, upturned eyes, bitten lips, throbbing cheeks and the like.

11 (B.19, G.11). 1 B. reads one additional couplet (B.18, before this, ? Read sānusmaraņām vāganibhrtāsram. 12 (B.20, G.12). 13 (B.21, G.13). 14 (B.22-23, G.14).

.VIt. 20 ] THE EMOTIONAL AND OTUER STATES 123

15. Anger is of five kinds, viz., anger caused by enemies, superior persons, lovers, servants, and feigned anger. On this point there are traditional Aryas : 16. One should show anger against resistance by the enemy with knitting of eyebrows, fierce look, bitten lips, hands clasping each other, and touching one's own head and breast. 17. One should show anger against control by superiors with slightly downcast eyes. wiping off slight perspiration and not expressing any violent movement. 18. One should show one's anger to the beloved woman by a very slight movement [of the body], by shedding tears, and knitting eyebrows and with sidelong glances, and throbbing lips. 19. Anger to one's servants should be represented on the stage by means of threat, rebuke, dilating the eyes and casting contemptuous looks of various kinds. 20. Anger which is artificially shown with a view to the realisation of an ulterior motive and which mostly betrays marks of effort is called feigned anger, and it relates to two' Sentiments.

Energy

Energy (utsaha) relates to persons of the superior type. It is caused by Determinants such as absence of sadness, power, patience, heroism and the like. It is to be represented on the stage by Consequents such as steadiness2, munificence, boldness of an undertaking, and the like. On this point there is a Śloka :

15 (B.24, G.omits). 16 (B.26, G.15). 17 (B.27, G.16). 18 (B.28, G.17). 19 (B.29, G.18). 20 (B.30-31, G.19). 1 ubhayarasa (dvirasa, G.). 2 Omit dhairya after sthairya. 21 (B.32-33, G.20). 1 Omit suāpada before sunya. 2 Omit kāntāra before durdina.

12 THE NATYASASTRA [ VII. 25

21. Energy which has effort as its basis and which grows out of alertness and such other qualities, should be represented on. the stage by acts of vigilance and the like

Fear

Fear (bhaya) relates to women and persons of the inferior type. It is caused by Determinants such as acts offending one's superiors and the king1, roaming in a forest, secing an elephant and a snake, staying it an empty house, rebuke [from one's superiors], 2a dark rainy night, hearing the hooting of owls and the cry of animals that go out at night, and the like. It is to be represented on the stage by Consequents such as, trembling hands and feet, palpitation of the heart, paralysis, dryness of the mouth, licking the lips, perspi- ration, tremor, apprehension [of danger], seeking for safety, run- ning away, loud crying and the like. On this point there are Slokas : 22. Fear arises from an embarassment due to offending one's superiors and the king, seeing terrible objects and hearing awful things. 23. This is to be represented with tremor of the limbs, panic, drying up of the mouth, hurried movement, widely opened eyes and such other gestures and actions. 24. Fear in men arising from terrifying objects should be represented on the stage by actors (lit. dancers) with slackened limbs and suspended movement of the eyes. Theie is also an Arya on this point : 25. This (fear) should be represented on the stage with tremor of hands and feet, and palpitation of the heart, paralysis, licking the lips. drying up of the mouth, loosened limbs and sinking (visanņa) body.

22 (B.34, G.21). 23 (B.35, G.22), 24 (B.36, G.23). 25 (B.37-38, G.24).

-VII. 37] THE EMOTIONAL AND OTHER STATES 125 Disgust Disgust (jugupsa) relates to women and persons of the inferior type. It is caused by Determinants such as hearing and seeingI unpleasant things, and the like. It is to be represented on the stage by Consequents such as, contracting all the limbs, spitting, narrowing down of the mouth, heartache and the like. On this point there is a Śloka. 26. Disgust is to be represented on the stage by covering the nose, contracting all the limbs, [general] uneasiness and heartache. . Astonishment Astonishment (rismaya) is created by Determinants such as illusion, magic, extraordinary feats of men, great excellence in painting, art-works in parchment1 and the like. It is to be re- presented on the stage by Consequents such as wide opening of the eyes, looking without winking of the eyes, [much] movement of the eyebrows, horripilation, moving the head to and fro, the cry of "well, done," "well done," and the like. On this point there is a Śloka : 27. Astonishment arising from joy due to extraordinary acts should be represented by means such as joy tears, fainting and the like. The Transitory States The Dominant States1 are to be known as described here. We shall now explain the Transitory States (vyabhicari-bhava). It is questioned, "Why are these called vyabhicarinah?" [In answer] it is said that vi and abhi are prefixes, and the root is cara meaning . 'to go', 'to move'. Hence the word ryabhicarinah means 'those that move in relation to the Sentiments towards different kinds of objects. That is, they carry the Sentiments which are connected with Words, Gestures and the Temperament. It is questioned, "How do they carry [the Sentiments] ?" In answer it is said, "It is a popular 1 Omit parikirtana after śravaņa. 26 (B.40-41, G.25). 1 Omit vidya after silpa. 27 (B.42-43, G.26). 1 Omit rasasamjnah (B) after sthāyino bhāvāh.

126 THE NATYASASTRA [ VİI. 28-

convention to say like this, just as people say, The sun carries this naksatra (star) or that day. It does not however mean that these are carried on arms or shoulders. The Transitory States should be considered like this. These Transitory States (vyabhi- caribhava) as mentioned in the Digest (samgraha) are thirtythree in number. We shall describe them now.

Discouragement

Discouragement (nirreda) is caused by Determinants such as, being reduced to poverty2, getting insulted, abusive lan- guage, wrathful beating, loss of beloved persons and the knowledge of the ultimate (lit. essential) truth and the like. It is to be represented on the stage by Determinants such as weeping, sighing, deep breathing, deliberation and the like, on the part of women and persons of the inferior type. On this point there is a Śloka: 28. Discouragement grows out of being reduced to poverty, and loss of dear ones, and it is to be represented on the stage by deliberation and deep breathing. On this point there two traditional Aryas : 29. Discouragement arises from loss of dear ones, poverty, disease, envy from seeing the prosperity of others. 30. A discouraged man has the eyes. bathed in tears, face and eyes miserable due to heavy breathing and he is like a yogi absorbed in meditation.

Weakness Weakness (glani) proceeds from Determinants such as vomit- ting, purgation, sickness, penance, austerities, fasting, mental worry, too much drinking, sexual indulgence, too much exercise, travelling a long way, hunger, thirst, sleeplessness and the like. It is to be represented on the stage by Consequents such as weak voice, lustreless eyes, pale face, slow gait, want of energy, thinness of the body, change of colour and the like.

2 Omit vyādhyavamāna after dūxidra. 28 (B.44, G.27). 29 (B.45, G.28). 80 (B.47-48, G.29).

-VII.35 ] THE EMOTIONAL AND OTHER STATES 127

On this point there are two Aryas: 31. Weakness grows out of vomitting, purgation and sick- ness, penance, and old age. It is to be represented on the stage by thinness of the body, slow gait and tremor [of the limbs]. 32. Weakness is to be represented on the stage by a very weak voice, weakness of the eyesight, poor gait, constant slackness of the limbs.

Apprehension

A pprehension (sanka) has doubt as its basis and it relates to to women and persons of the inferior type. It is caused by Deter- minants such as theft, giving offence to the king and the like. It is to be represented on the stage by Consequents such as constantly looking on, hesitating movement (arakunthana), dryness of the mouto, licking the lips, change of facial colour, tremor, dry lips, loss of voice and the like. There is a Sloka on these points : 33. Apprehension in the Terrible Sentiment is due to robbery, and the like, and in case of the Erotic Sentiment it is due to [a possible] deception on the part of the lover. Some authorities prescribe (lit. desire) in this case a conceal- ment of appearence which is to be characterised by [adoption of] clever tricks and gestures. There are two Aryas in this connexion : 31. Apprehension is of two kinds : viz. that arising from one's ownself and that arising from another person. That arising from one's own self is to be known from one's eyes and efforts. 35. A man with Apprehension has a dark face, a thick and protruding tongue, slightly trembling limbs, and he constantly looks sideways.

Envy Envy (asuya) is caused by Determinants such as various offences, hatred, other people's wealth, good luck, intelligence,

31 (B.49, G.30). 33 (B,52-53, G 32). 34 (B.54, G,33). 82 (B.50-51, G.31). 35 (B.55-56, G.34).

128 THE NATYASASTRA [ VHI, 36-

sports, learning and the like. It is to be represented on the stage by Consequents such as finding fault with others, decrying their virtues, not paying any heed to these, remaining with downcast face, knitting eyebrows in disparagement and abusing others in the assembly [of men]. On these points there are two Aryas : 36. Envy arises in a person who is displeased to see other people's good fortune, wealth, intelligence, and exuberence of sportiveness. 37. It is to be represented by a distorted face, knitting eye- brows, face turned away in jealous anger, deerying other people's virtues and showing hatred towards them. Intoxication

Intoxication (mada) is caused by drinking of liquor and smilar other things. It is of three kinds and has five Determinants. There are the following Aryas on this point : 38. Iotoxication is of three kinds, viz. light, medium and excessive. It has five causes which should be represented on the stage. 39. While intoxicated some sing, some laugh and some use hot words while other sleep. 40. Among these, persons of the superior type sleep, those of the middling type laugh and sing, and those of the inferior type ery or use hot words. 41. Light intoxication is characterised by smiling face, pleasant fecling, joyful body, slightly faltering words, delicately unsteady gait and relates to persons of the superior type. 42 Medium intoxication is characterised by drunken and rolling eyes, drooping arms or arms restlessly thrown about and irregularly unsteady gait, and relates to persons of the middling type.

36 (B.57, G.35), 37 (B.58-59, G.36). 38 (B.60, G.37). 39 (B.61, G.38). 40 (B,62, G.39). 42 (B.64, G.41). 41 (B.63, G.40).

-VII. 47 ] THE EMOTIONAL AND OTHER STATES 129

43. Excessive intoxication is characterised by loss of memory, and incapacity to walk due to vomitting, hiccough and cough, and a thick protruding tongue and spitting, and relates to persons of the inferior type. 44. A character who [acts] drinking on entering the stage is to show that his intoxication is increasing, but the character who enters the stage as drunk should show that his intoxication is decreasing. 45. But the intoxication should be stopped by effort when there is panic, grief and increase of terror due to some cause. 40. On account of these special conditions, intoxication disappears quickly just as grief passes away on hearing the happy news of [sudden] prosperity. Weariness

Weariness (srama) is caused by Determinants such as travelling a long way, exercising of the limbs and the like. 1 It is to be represented on the stage by 'Consequents such as gentle rubbing of the body, [deep] breathing, contraction of the mouth, belching, massaging of the limbs, very slow gait, contraction of the eyes, making Sitkara and the like. There is an Arya on this point: 47. Weariness in man is caused by travelling [a long way] and exercising [the limbs], and it is to be represented on the stage by [deep] breathing, tired gait and the like. Indolence

Indolence (alasya) is caused by Determinants such as nature, lassitude, sickness satiety, pregnancy and the like. And it relates to women, and men of the inferior type. It is to be represented on the stage by Consequents such as aversion to any kind of work, lying down, sitting, drowsiness, sleep and the like. On this point there is an Arya :

43 (B.65, G.42). · 44 (B.66, G.43). 45 (B.61,G.44) .. 46 (B.68-69, G.45). 1 We follow the reading of the ms da in B. 47 (B.70-71, G.46). 1 adhvagati for nottadva (B). 17

130 THE NATYASASTRA [-VII. 48

48. Indolence arising from lassitude as well as nature should be represented on the stage by discontinuance of all activity except taking food.

Dipression

Dipression (dainya) is caused by Determinants such as poverty, mental agony and the like. It is to be represented on the stage by Consequents such as want of self-command, dullness of'the body, absent-mindedness, giving up of cleansing [the body] and the like. There is an Arya on this point : 49. Dipression of men proceeds from anxiety, eager expec- tation and misery. Different modes of representing it on the stage includes giving up of cleansing [the body] in any way.

Anxiety Anxiety (cinta) is caused by Determinants such as loss of wealth, theft of a favourite object, poverty and the like. It is to be represented on the stage by [deep] breathing, sighing, agony, meditation, thinking with a downcast face, thinness of the body and the like. There are two Aryas on this point : 50. Anxiety of men arises in various ways : from the loss of wealth, theft of a favourite object, and a heart full of expectation. 51. It is to be represented on the stage by sighing, deep breathing, agony, and absent-mindedness, giving up of cleansing [the body] and want of self-command.

Distraction

Distraction (moha) is caused by Determinants such as accidental injury, adversity, sickness, fear, agitation, remem. bering past enemity and the like. It is to be represented on the stage by Consequents such as want of movement, [excessive]

48 (B.92-73, G.47). 49 (B.74-75, G.48). 50 (B.76, G.42). 51 (B.77-78, G.50).

V1I.55 j THE EMOTONAL AND OTHER STATES 131

movement of [a particular] limb, falling down, reeling, not seeing properly and the like. There is a Śloka on this point : 52. Due to seeing a robber in an unexpected place or from panic of different kinds distraction occurs to a man when he finds no help [near by]. There is also an Arya on this point : 53. Distraction occurs due to adversity, accidental injury, memory of past enemity. It is to be represented on the stage by suspension of the activity of all senses. Recollection Recollection (smrti) is remembering every condition of happiness and misery. It is caused by Determinants such as impairment of health, disturbed nightly sleep, seeing and speaking with a level head, thinking, constant practice and the like. It is to be represented on the stage by Consequents such as nodding of the head, looking down, raising up the eyebrows and the like. On this point there is a Sloka and an Arya : 54. One is said to be recollecting something when one remembers past happiness and misery which were either conceived in mind or did actually occur and was forgotten. 55. Recollection arising from impaired health, or relating to the Vedas and Darsanas is to be represented on the stage by raising or nodding of the head and raising the eyebrows. Contentment

Contentment (dhrti) is caused by [Determinants such as] heroism, spiritual knowledge, learning, wealth, purity, good conduct, devotion to one's superiors, 1getting excessive amount of money, enjoying sports, and the like. It is to be represented on the stage by Consequents such as enjoyment of objects gained, and not

52 (B.79, G.51). 53 (B.80-81, G.52). 54 (B.82, G.53). 55 (B.83-84, G.54). 1 Omit manoratha (B.G.) after adhika,

132 THE NATYASASTRA f VII. 56-

grumbling over objects unattained, past, partially enjoyed, lost and the like. On this point there are two Aryas : 56. Contentment arising from spiritual knowledge, purity, wealth and power, is always to be represented on the stage by an absence of fear, sorrow and sadness. 57. When one enjoys attained objects such as [sweet] sound, touch, taste, form and smell, and is not sorry over their non-attainment one is said to have Contentment.

Shame

Shame (vrida) has improper action as its basis. It is caused by Determinants such as humiliation and repentance on account of transgressing words of superiors or disregarding them, nonfulfilment of vows and the like. It is to be represented on the stage by Consequents such as covered face, thinking with downcast face, drawing lines on the ground, touching clothes and rings, and biting, the nails, and the like. There are two Aryas on this point : 58. When a man, after he has done anything improper, is seen by those who are pure, he becomes repentant and is ashamed. 59. The ashamed man will cover his face, draw lines on the ground, bite the nails and touch clothes and rings.

Inconstancy

Inconstancy (capalata) is caused by Determinants such as love, hatred, malice, impatience, jealousy, opposition and the like. It is to be represented on the stage by Consequents such as harsh words, rebuke, beating, killing, taking prisoner, goading and the like. There are two Aryas on this point.

56 (B.85, G.55). 57 (B.86-87, G.56). 58 (B.88, G.57). 59 (B 89-90, G.58).

-VII. 62] THE EMOTIONAL AND OTHER STATES 133

60. When a man does anything like killing or imprisoning any one without any forethought he is said to be inconstant be- cause of his not being definite in his action. Joy

Joy (harsa) is caused by Determinants such as attainment of the desired object, union with a desired, trusted and beloved person, mental satisfaction, favour of gods, preceptor, king, and husband (or master), receiving [good] food, clothing and money and enjoying them, and the like. It is to be represented on the stage by means of Consequents such as brightness of the face and the eyes, using sweet words, embracing, 1horripilation, tears, perspiration and the like.

There are two Aryas on this point : 61. Joy is caused to a man when he has attained any object or obtained anything which was unobtainable or has met his beloved one or has his heart's desire fulfilled. 62. It is to be represented on the stage by brightness of the eyes and the face, loving words, embrace, delicate movement of the limbs, and perspiration and the like.

Agitation

Agitation (avega) is caused by Determinants such as por- tents, wind or rains, [outbreak] of fire, running about of elephants, hearing very good or very bad news, stroke of adversity and the like. In this connexion portents include [a stroke of] lightning and. [falling] of meteors or shooting stars, eclipse of the sun and the moon, and appearance of comets. It is to be represented on the stage by looseness of all the limbs, sadness, distraction of the mind, loss of facial colour, surprise and the like. [Agitation] due to violent winds is to be represented by veiling [the face], rubbing the eyes, collecting [the ends] of clothes [worn], hurried going and the like. [Agitation] due to [heavy] rains is to be represented by lumping

60 (B.91-92, G.59). 1 Omit pulakita after kantakita (B.G). 61 (B.93, G.60). 62 (B.94-94, G.61).

134 THE NATYASASTRA [VII.136

together of all the limbs, running, looking for some covered shelter, and the like. [That] due to [an outbreak of] fire is to be represented by eyes troubled with smoke, narrowing down all the limbs, or shaking them, running with wide steps, flight and the like. That due to running about of elephants is to be represented by hurried retreat, unsteady gait, fear, paralysis, tremor, looking back and the like. [That] from hearing something favourable is to be represented by getting up, embracing, giving away clothes and ornaments, weeping, horripilation and the like. That due to hearing anything unpleasant is to be represented by 'falling down on the ground, lamentation, rolling about [even] on a rough surface, running away, bewailing, weeping and the like. And that due to popular rising (prakrti-vgasana) is to be represented by sudden retreat, taking up weapons and armour, mounting elephants and horses and chariots, striking1 and the like. 63. Agitation of these eight kinds has hurry as its basis, This is characterised by patience on the part of persons of the superior and the middling types; but agitation of persons of the inferior type is marked by flight. On this point there are two Aryās : 64. Agitation occurs over an unpleasant report, disregard of instruction, throwing a missile and panic. 65. Agitation due to an unpleasant report bas as its Conse- quents assuming a sad look, and that due to a sudden appearance of enemy is to be represented by clash of weapons.

Stupor Stupor (jadata) is caused by Determinants such as cessation of all activity, hearing of a much desired thing or a [very] harm- ful thing, sickness and the like. It is to be represented on the stage by Consequents such as not uttering any word, speaking indistinctly. remaining absolutely silent, looking with steadfast gaze, dependence on others and the like.

1 sampraharaņa (pradhāraņa B. G.). 63 (B.96, G.62). 64 (B.98, G.63). 65 (B.99-100, G.64).

-VII. 68 J THE EMOTIONAL AND OTHER STATES 185

There is an Arya on this point : 66. A man is called stupid when due to senselessness he cannot distinguish between good and bad as well as happiness and misery, and remains silent and dependent on others.

Arroganee

Arrogance (garva) is caused by Determinants such as king- ship, noble birth, personal beauty, youth, learning, power, attain- ment of wealth and the like. It is to be represented on the stage by Consequents such as contempt1 [for others], harassing [people] not giving reply [to one's question], not greeting [others], looking to sh ulders, roamiug [at large], contemptous laughter, harsh words, transgressing [commands of] the superiors, insulting [others] and the like. There is an Arya on this point : 67. Arrogance of persons of the inferior type due to learning, youth, beauty, royalty and attainment of wealth is to be represented by movement of the eyes and the limbs.

Despair Despair (risada) is caused by Determinants such as inability to finish the work undertaken, accidental calamity and the like. It is to be represented on the part of persons of the superior and the middling types by Consequents such as looking for allies, thinking about means, loss of energy, absent-mindedness, deep breathing and the like. And on the part of persons of the inferior type it is to be represented by running away, looking down, drying up of the mouth, licking the corner of the mouth, sleep, deep breathing, meditation and the like. There are two Aryas on this point : 68. Despair arises from nonfulfilment the work begun, being taken at the tiie of committing theft, and giving offence to the king and the like.

66 (B.101-102, G.65). 1 Omit asūyā before avajnā. 67 (B.103-104, G.66), 68 (B.105, G.67).

136 THE NATYASASTRA [ VII. 59-

69. In case of persons of the superior and the middling types this is to be represented by thinking about various means, and in case of persons of the inferior type sleep, deep breathing, and meditation are to represent it.

Impatience

lmpatience (autsukya) is created by Determinants such as separation from beloved persons, remembering them, sight of a garden and the like. It is to be represented on the stage by Con- sequents such as sighs, thinking with downcast face, sleep, drowsi- ness, desire for lying down and the like. There is an Arya on this point : 70. Impatience arises from the loss of beloved persons or from remembering them. This is to be represented on the stage by thinking, want of sleep, drowsiness, dullness of the body and desire to lie down and the like.

Sleeping Sleeping (nidra) is caused by Determinants such as weak- ness, fatigue, intoxication, indolence, [too much] thinking, too much eating, [soporific] nature and the like. It is to be represented on the stage by Consequents such as heaviness of the face, 1rolling of the body, rolling of the eyes, yawning, massaging of the body, deep breathing, relaxed body, closing the eyes and the like. There are two Aryas on this point : 71. Sleep comes to a man through weakness, fatigue, exer- tion, [too much] thinking, natural ;tendency [to sleep] and keep- ing awake throughout the night. 72. It is to be represented on the stage by Consequents such as heaviness of the face, closing the eyes, or their rolling, stupor, yawning, massaging of the body and the like.

69 (B.106-107, G.68). 70 (B.108-109. G.69). 1 sarira-lolana (avalokanaB.). 71 (B.110, G.70). 72 (B,111-112, G.71).

-VII. 75] THE EMOTIONAL AND OTHER STATES 13

Epilepsy

Epilepsy (apasmara) is caused by Determinants such as being possessed by a god, a Nāga, a Yaksa, a Rākșasa, a Pišāca and the like, and a memory of such beings, eating food left after somebody's partaking of it, staying in a deserted house, non-obser- vation of proper time [in taking food, in sleeping etc.], derangement of humours (dhatu)1 and the like. It is to be represented on the stage by Consequents such as throbbing, trembling, running, falling down, perspiration, foaming in the mouth, hiccough, licking [the lips] with the tongue, and the like. On this point there are two Aryas : 73. Epilepsy occurs in a person when he is possessed by Bhutas and Pisacas, when he remembers these beings, [eats] Uechista1, stays in a deserted house, disregards for proper time [for taking food ete.], and is impure [in body]. 74. Falling down suddenly on the ground, trembling, foaming in the month, and rising up while senseless, are condi- tions during Epilepsy.

Dreaming

Dreaming (supta) is caused by Determinants such as inter- ruption of sleep, enjoying objects of senses, infatuation [of any kind], spreading the bed on the ground, dragging the bed over the ground and the like. The dreaming which occurs in sleep is to be represented by Consequents such as deep breathing, dullness of the body, closing the eyes, stupefaction of all the senses, dreams and the like. There are two Aryas on this point : 75. Dreaming occurs due to interruption of slecp, enjoying objects of senses and infatuation [of any kind]. It is to be

1 They are three in number please viz. wind (vayu), bile (pitta) and phlegm (kapha). 73 (B.113, G.72).1 That which is left over in one's plate after he has finished his meal. 74 (B.114-115, G.73). . 75.(B.116, G.omit). 18

138 THE NATYASASTRA [VII. 76-

represented on the stage by closing the eyes, deep breathing, dreaming dreams and talking while asleep. 76. Dreaming is to be represented on the stage by deep breathing, imperfectly closing eyes, stupefaction of all senses and absence of all activity. Awakening Awakening (vibodha) is the break of sleep, and it is caused . by Determinants such as digestion of food, bad dreams, loud sound, sensitive touch and the like. It is to be represented on the stage by Consequents such as yawning, rubbing the eyes leaving, the bed, and the like. There is an Arya on this point : 77. Awakening is caused by digestion of food, [loud] sound, [sensesitive] touch and the like. It is to be represented on the stage by yawning, rubbing the face and the eyes, and the like. Indignation Indignation (amarsa) is cansed to persons abused or insulted by those having superior learning, wealth or power. It is to be represented on the stage by Consequents such as shaking the head, perspiration, thinking and reflecting with a downcast face; determi- nation, looking for ways and means and allies, and the like. There are two Ślokas on this point : 78. Indignation grows in energetic men who have been abused or insulted in an assembly by those having superior learn- ing and wealth. 79. It is to be represented on the stage by energy, deter- mination, reflection with a downcast face, shaking the head, pers piration and the like. Dissimulation Dissimulation (avahittha) is the concealment of appearance. It is caused by Determinants such as shame, fear, defeat, respect,

76 (B.117-118, G.74). V8 (B.121, G.76). 77 B.119-120, G.75). .79 (B.122-123, G.77),

-Vİl. 82 ] THE EMOTIONAL AND OTHER STATES 139

deceit and the like. It is to be represented on the stage by Con- sequents such as speaking like another person, looking downwards, break in the speech, feigned patience and the like. There is a Śloka on this point : 80. Dissimulation is due to boldness, deceit, fear and the like. It is to be represented by carelessness about an action, and not speaking much in reply or in addressing [others]. Cruelty Cruelty (ugrata) is caused by Determinants such as arrest of robbers, offence to kings, offending words and the like. It is to be represented on the stage by Consequents like killing, imprisoning, beating, rebuking and the like. There is an Arya on this point : 81. Cruelty occurs when a robber is arrested or the king is given affence. It is to be represented on the stage by Conse- quents such as killing, imprisoning, beating, rebuking and the like.

Assurance

Assurance (mati) is caused by Determinants such as thinking. about the meaning of many Sastras and considering the pros and cons of things. It is to be represented on .the. stage by Consequents such as instructing pupils, ascertainment of [any] meaning, removal of doubt and the like. There is a Ślokā on this point : 82. Assurance comes to men when they arc well-versed in the meaning of many Sastras. It is to be represented on the stage by Consequents such as instructing pupils and explaining the meaning [of Sāstras].

Sickness ., Sickness (ryadhi) owes it origin to [an attack of three humours such as] wind (rata), biles (pitta) and phlegm (kaphy).

80 (B.124-125,.G.78). 81 (B.126-I27, G.79). 82 (B.128-129, G.80).

140 THE NATYASASTRA [ VII. 83-

Fever and similar other illnesses are special varieties of it. Fever is of two kinds, viz. that with a feeling of cold (sita) and that with a feeling of heat (dlaha). Fever with a feeling of cold should be represented by Consequents such as shivering, tremor of the entire body, bending [the bodv], shaking of the jaws, narrowing down the nasal passage, dryness of the mouth, horripilation, lamentation and the like. And that .with a feeling of heat, is to be represented by throwing ont clothes, the hands and the feet, desire [to roll on] the ground, [use of] unguent, desire for coolness, lamentation, crying and the like. The other types of sicknesses are to be represented on the stage by Consequents such as narrowing down the mouth dullness of the body, [deep] breathing, making [peculiar] sounds, crying, tremor and the like. There is a Śloka on this point : 83. Sickness in general should be represented on the stage by looseness of the limbs, throwing out the limbs and narrowing down the mouth due to illness.

Insanity

Insanity (unmada) is caused by Determinants such as death of beloved persons, loss of wealth, accidental hurt, derange- ment of [the three humours]: wind (rata), biles (pitta), phelgm (élesman), and the like. It is to be represented on the stage by laughing, weeping, crying, talking, lying down, sitting, running, dancing, singing, and reciting [something] without any reason, smearing [the body] with ashes and dust, taking grass, Nirmālya1, soiled cloth, rags, potsherd, earthen tray as decoration [of the body], many other senseless acts, and imitation of others. There are two Aryas on this point : 84. Insanity oceurs owing to death of beloved persons, loss af wealth, accidental hurt, wind (vata), biles (pitta), phlegm (kapha) derangement of the mind in various ways.

: 83 (B.130-131, G.81. 1 Remains of a flower-offering to a deity, which is supposed to purify a person who takes it with reverence. 84 (B.132, G.82).

-VII 86] THE EMOTIONAL AND OTHER STATES 141

85. Insanity ie to be represented by laughing, weeping,' sitting, running and crying without any reason and [other] sense- less acts.

Death

. Death (marana) comes through sickness as well as acci- dental injury. Of these two kinds of death, that from' sickness is caused by Determinants such as a malady of the intestine and the liver, colic pain, disturbance of humours, tumours, boils, fever, cholera, and the like. And that due to accidental injury is caused by weapons, snake-bite, taking poison, [attack of] fero- cious animals, injury due to falling down from elephant, horse, charriot and other vehicles. I shall now speak of the differeut methods of their representation on the stage. Death from sickness is to be represented on the stage by Consequents such as looseness of the body, motionlessness of the limbs, closed eyes, hiccough, deep breathing, looking for family members, speaking indistinet words and the like. There is a Śloka on this point : 86. Death due to sickness is to be represented on the stage by one mark viz. loose body and inactive sense organs. But death due to accidental injury is to be represented on the stage in different ways : e.g. [death due to] wound by weapons is to be represented by Consequents such as suddenly falling down on the ground and the like. In case of snake-bite or taking poison [there is gradual] development of its symptoms which are eight in number, viz. thinness (of the body), tremor, burning sensation, hiccough, foam from the mouth breaking of the neck, paralysis and death.

85 (B.133-134, G.83). 1 Earlier writers on the Hindu drama wrongly believed that NS. 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. 1933, pp. 981 ff.). Windish thought that Sudraka in his (Act. VIII) violated a rule in showing the murder of Vasantasena by Sakara (Der griechische Einfluss in indische Drama, Berlin, 1882. p. 43). 86 (B.135-136, G.84).

142 THE NATYASASTRA [ VII. 87-

There are two traditional Slokas on this point : 87-88. The first symptom of the development [of the effect of poison] is thinness of the body, the second tremor, the third a burning sensation, the fourth hiccough, the fifth foaming in the mouth, the sixth breaking of the neck, the seyenth paralysis and and the cighth death. There are besides two Aryas on this point : 89. Death due to [an attack of] ferocious animals, elephant, horse, or falling from chariots and mounts, wound by weapons should be represented by absence of any further movement of the body. 90. Thus death occurs under various conditions. It should be represented by proper words and gestures.

Fright Fright (trasa) is caused by Determinants such as Hash of lightning a meteor, thunder, earthquake, clouds, crying or howling of big animals and the like. It is to be represented on the stage by Consequents such as, shaking of narrow limbs, tremor [of the body], paralysis, horripilation, speaking with a choked voice, talking irrelevantly, and the like. There is a Sloka on this point : 91. Fright is caused by a very terrible sound and the like. It should be represented on the stage by looseness of limbs and half-shut eyes.

Deliberation Deliberation (ritarka) is caused by Determinants such as doubt, cogiation, perplexity and the like. It is to be represented on the stage by Consequents such as various discussions, settling the definition, concealment of the counsel and the like, There is a Sloka on this point : . 92. Deliberation which arises from discussions and which has doubt as its basis is to be represented on the stage by movement of the head, the eyebrows and the eyelashes. 89-88 (B.137-138, G.85-86). 89 (B.139, G.87). 90 (B.140-141, G.88). 91 (B.142-143, G.89). 92 (B.144-145, G.90).

.VII. 94.] THE EMOTIONAL AND OTHER STATES 143

These are the thirtythree Transitory States ; they are to be produced in a play by men and women of the superior, middling and the inferior types in conformity with [proper] place, time and occasion. 93. These thirtythree are known as the Transitory States, I shall now explain in detail the Temperamental States, The Temperamental States Now it may be questioned, "Are these States (bhara) called Temperamental because other States (Determinants, Consequents and Transitory States) are said to be without the Temperament ?" [In answer] it is said that the Temperament in this connexion is [something] originating in mind. It is caused by the concentrated mind. The Tempera- ment is accomplished by concentration of the mind. Its nature [which includes] paralysis, perspiration, horripilation, tears, loss of colour and the like, cannot be mimicked by an absent-minded man. Hence the Temperament is desired in a play for the purpose of imitating human nature. If the question is, 'Is there any reason in support of this view ?' then it may e said that in theatrical practice, situations of happiness as well is misery should so purely accord with the Temperament behind hem that they may appear to be realistic (yathasrarūpa). How can sorrow which has weeping as its basis be represented on the stage by any one who is not sorry ? And how can happiness which has joy as its basis be represented on the tage by any one who is not happy ? Hence the Temperament (sattea) being desired (in acting) in connexion with certain States the latter are called Temperamental. The explanation of the Temperament is this, that tears and horripilation should respectively be shown by persons who are not [actually] sorry or happy. 94. Tle eight Temperamental States are as follows : Paralysis, Perspiration, Horripilation, Change of Voice, Trembling, . Change of Colour, Weeping and Fainting.

93 (B.146-147, G.90). 94 (B.148, G.92), 1 above VI 22 note 1.

144 THE NATYASASTRA [ VII, 100-

Among these,

Perspiration

95. Perspiration ( sceda ) oceurs as the result of anger, fear, joy, shame, sorrow, toil, siekness, heat, exercise, fatigue, summer and massage.

Paralysis and Trembling 96. Paralysis ( stambha ) oceurs as being due to joy, fear, sickness, surprise, sadness, intoxication and anger, and Trembling (lrampa=repathu) due to cold, fear, joy, anger, touch [of the beloved] and old age.

Weeping 97. Weeping (asra) oceurs as being due to joy, indignation, smoke, collyrium, yawning, fear, sorrow, looking with a steadfast gaze, cold and sickness.

Change of Colour and Horripilation 98. Change of Colour (raivarnya) occurs as being due to cold, anger, fear, toil, sickness, fatigue and heat, and Hor- . ripilation (romanra) due to touch, fear, cold joy, anger and sickness.

Change of Voice and Fainting 99. Change of Voice (seara-sada) occurs as being due to fear, joy, anger, fever, sicknoss and intoxication, and Fainting (pralaya) due to too much toil, swoon, intoxication. sleep, injury, astonishment and the like.

Representation of the Temperamental States 100. These are to be known by the wise as the eight Temperamental States, I shall speak afterwards about actions which will represent these States.

95 (B.149, G.93). 96 (150, G.94). # (B.151, B.95). 98 (B.152, G.96). 99 (B.153, G.97). 100 (B.159, G.98).

-VII. 108 ] THE EMOTIONAL AND OTHER STATES 145

101. Paralysis should be represented on the stage by being inactive, motionless, smileless, like an inert object, senseless, and stiff-bodied. 102. Perspiration should be represented on the stage by taking up a fan, wiping off sweat as well as looking for breeze. 103. Horripilation should be represented on the stage by repeated thrills, hairs standing on the end, and touching the body. 104. Change of Voice should be represented by broken and choking voice, and Trembling by quivering, throbbing and shivering. 105. Change of Colour should be represented by alteration of colour of the face by putting pressure on the artery, and this is dependant on the limbs. 106 Weeping should be represented on the stage by rubbing the eyes and shedding tears, and Loss of Consciousness by falling on the ground.

Application of the States to the different Sentiments 107. These are the fortynine States (bhava) of the three kinds mentioned by me. Now you ought to hear of the different Sentiments to which they are applicable. 108. All the (fortynine) States except indolence, cruelty and disgust are applicable to the Erotic Sentiment (lit. raise the Erotic Sentiment by their own name). 109. Weakness, apprehension, envy, weariness, inconstancy, dreaming, sleeping dissimulation are the States applicable to the Comic Sentiment. 110. Discouragement,, anxiety, depression, weakness, weep- ing, stupor and death are the States applicable to the Pathetic Sentiment.

101 (B.155, G.100). 103 (B.157, G.102). 102 (B.156, G.99). 104 (B.158, G.101). 105 (B.159, G.I03-104a) 107 (B.162, G.106). 106 (cf. B.160-161, G.105).

109 (B.171, G.108). 108 (B.169, G.107). 110 (B.172, G.109).

146 THE NATYASASTRA [ VII. 111-

111. Arrogance, envy, energy, agitation, intoxication, anger, inconstancy and cruelty are the States applicable to the Furious Sentiment. 112-113. Presence of mind, energy, agitation, joy, assurance, cruelty, indignation, intoxication, horripilation, change of voice, anger, envy, contentment, arrogance and deliberation are the States applicable to the Heroic Sentiment. 114. Perspiration. trembling, horripilation, choking voice, fear, death, change of colour are the States applicable to the Terrible Sentiment. 115. Epilepsy, insanity, despair, intoxication, death, sickness and fear are the States applicable to the Odoius Sentiment. 116. Paralysis, perspiration, loss of consciousness, horripila- tion, astonishment, agitation, stupper, joy and fainting are the States applicable to the Marvellous Sentlment. 117. These1 Temperamental States which depends on the various kinds of Histrionic Representation are included into all the Sentiments by experts in the production of plays. 118-119. No play in its production can have one Sentiment only. If in an assemblage of the many1 States, Sentiments, Styles (rrtti) and Local Usages (prar?tti) [in the production of a play] any one item has varied representation it should be considered the Dominant Sentiment and the rest the Transitory ones2. 120. That which stands on the principal theme [of the play] and is combined with Determinants, Consequents and Tran- sitory States is the Dominant Sentiment.

111 (B.173, G.113). 112-113 (B.174-175, G.I10-111). 114 (B.176, G.114). 115 (B.177, G.115). 116 (B.178, G.115). 117 (B.179, G.116). ' ye tvete (canye. B). ' nanabhinayasamsritah B. 118-119 (B.180-181, G.117-118). 1 bahūnām (sarvesām G.). sama- vetānām. . After this B. reads one additional couplet, 120 (B.183, G.119).

.VII. 124 ] THE EMOTIONAL AND OTHER STATES 147

121. 1This Dominant Sentiment should be represented with an exuberence of the Temperament, but the Transitory States by mere gestures and postures (lit. form), for they are to support the Dominant Sentiment [and as such should not excel2 it]. 122. [An equally full representation of] a variety [of Senti- ments] does not please [the spectators], and such a variety is rare in practical life (lit. amongst people). But a mixture of different Sentiments will however, bring pleasure [to the spectators] when such is carefully represented. 123. In [the production of] a play the Dominant, the Tem- peramental and the Transitory States which are supporters of the Sentiments and which are accomplished through many objects and ideas, should be assigned to male1 characters2. 124. The Sentiments and the States in plays are thus to be created. One who knows this well will attain the best Success [in the production of a play].

Here ends Chapter VII of Bharata's Nātyasāstra which treats of the Representation of the States.

121 (B.184, G.120). 1 A disregard of this principle is liable to cause undue prominence to a minor character in a play and thereby to frustrate the principal object of the playwright. 2 After this B. reads some additional couplets (B.185-189a) which include a variants of 122 a (B.189a) and 122b (B.186b) and a repetition of 118a (B.186a) and 1186 (B.187a). 122 (B.184 foot-note, 9, G.121). 123 (B.189b-190a, G.122). 1 pumsānukirnāh (puspāvakirņāh B.G.). ' An analysis of the plays of the best kind, known to us seems to explain 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. 124 (B.190bc, G.123).

CHAPTER EİGHT

THE GESTURES OF MINOR LIMBS

Tne sages question.

1-2. Through your kindness we have heard in due order everything relating to the origin of the States (bhava)1 and Senti- ments (rasa)2 .- We shall now like to know also what the experts say about the different kinds of Histrionic Representation, their meanings and different subdivisions. 3. O the blessed one, you are also to tell us accurately what kinds of Histrionic Representation are to be applied to which [places or occasions] by persons aiming at the Success.

Bharata answers.

4. On these words of the sages, Bharata spoke thus relating to the four kinds of Histrionic Representation. 5. "O sages, I shall now speak to you in detail so that the Histrionic Representation becomes propcrly explained to you. 1We shall speak of [the fact that] the abhinaya (Histrionic Representation) is of four kinds. The question is, "Why is it called the abhinaya ?" It is said in reply to this that the abhinaya is derived from the prefix abhi, and the verbal root ni meaning 'to cause to get' (to attain), and the sufix ac attached to these two, Hence a [full] answer to this should be made after a consideration of the root and its meaning. There is a Śloka on this point :

5. As the root ni preceded by abhi means 'carrying the per- formances (prayoa) of a play [to the point of direct] ascertainment

1-2 (B.G. same). 1 Sce NS. VIII. ª See NS. VI. 3 (B.G. same). 4 (B.G. same). 5 (B.5-6, G.5). ' This portion till the beginning of 6 is origin- ally in prose. 6 (B.7, G.6).

.VilI. 13] THE GESTURES OF MINOR LIMBS 149

of its meaning,' so [the word made out of them] becomes abhinaya (carrying towards).

The meaning of abhinaya 7. Abhinaya is so called because in the performonce [of a play] it together with the Sakha1, the Anga2 and the Upanga8 explains the meaning of different [things].

The four kinds of abhinaya

8. O Brahmins, the Histrionic Representation of a play takes place in four ways, and on this (Representation) the plays of different types rest. 9. O Brahmins, this Histrionie Representation is known to be fourfold : Gestures1 (angika), Words (racika) Dresses and Make-up (aharya) and the Temperament (sattrila).

The Gesture : its three varieties

10. Of these, the Temperament has been described before, along with the States ; now listen first of all about the Gestures (anyika). 11. The Gesture is of three kinds, viz. that of the limbs (sarira), that of tho face (mukhaja) and that related to [different], movements of the entire body (cestalrta) including the Sakha, the Anga and the Upanga. 12. Dramatic performance in its entirety relates to the six limbs including the major and the minor ones such as head, hands, lips, breast, sides and feet. 13. The six major limbs (anga) are head, hands, breast, sides, waist and feet, and the (six) minor limbs (upanga) are eyes, eyebrows, nose, lower lip and chin.

7 (B.8, G.7). 1 Sce 15 bolow. See 13 below. 3 See 13 below. 8 (B.9, G.8). 9 (B.10, G.9). 1 More properly 'gestures and postures.' 10 (B.11, G.10). 11 (B.12, G.11). 12 (B.13, G.12). 18 (B.14, G. 13).

150 THE NATYASASTRA [ VİII. 20

14. Producers of plays should reckon the Sakha, dance (urtta) and the Ankura as the three aspects of the Histrionic Representation (abhinaya). 15. The gestures (angika) are called the Sākhā; 1 panto- miming through them is the Ankuraª and that which is based on the Karanas3 and consists of the Angaharas4 is called dance (nrtta). 16. O Brahmins, listen first of all about the different gestures of the head, which are included in the facial gestures and which support many Sentiments (rasa) and States (bhāva).

Gestures of the head and their uses ª

17-18. The gesture of the head is of thirteen1 kinds, viz. Äkamptita, Kampita, Dhuta, Vidhuta, Parivāhita, Udvāhita, Avadhuta, Ancita, Nihancita, Paravrtta, Utkșipta, Adhogata, and Lolita. 19. Akampita : Moving the head slowly up and down is called the Akampita. Kampita : When the movements in the Akampita head are quick and copious the same is called Kampita1. 20. (Uses): The Akampita head is to be applied in giving a hint, teaching, questioning, addressing in an ordinary way (lit. naturally), and giving an order1.

14 (B.15, G.14). 15 (B.16, G.15). 1 Sarngadeva defines the sākha and ankura as follows :- व भाखेति विख्याता विचिया करवर्तना। बयुरी भूतोवाक्ार्थसुपजीव्य प्रवनतिता। वर्सना सा भवेत् मूची भाविवाक्योपजोबनात्। SR. VII. 37-38). From this we learn that the sakha means the flourish of the gesticulating hand (kara-vartana) preceding one's speech whereas the aikura means such a flourish following it. 2 See NS. IV. 299 ff. See NS. IV. 170 ff. 4 See NS. IV. 170 ff. 16 (B.17, G.16). 17-18 (B.18-19, G.17-18). 1 The AD. has nine gestures of the head. See ed. M. Ghosh, 49-65, and A.K. Coomaraswamy, MG. pp. 36-38, 19 (B.20, G.19). 20 (B.21, G,20). ' B. reads one additional couplet after this.

-VIII. 30] THE GESTURES OF MINOR LIMBS 151

21. The Kampita head is applicable (lit. desired) in anger, argument, understanding, asserting, threatening, sickness and intolerance. 22. Dhuta and Vidhuta : A slow movement of the head is called the Dhuta, and when this movement is quick, it is called the Vidhuta. 23. (Uses) : The Dhuta head is applicable in unwillingness, sadness, astonishment, confidence, looking sideways, emptiness and forbidding. . 24. The Vidhuta head is to be applied in an attack of cold, `terror, panic, fever and the first stage of drinking. 25. Parivahita and Udvahita: When the head is alternately turned to the two sides it is called Parivahita, and when it is once turned upwards it is known as Udvāhita : 26. (Uses) : The Parivahita head is applicable in demons- tration, surprise, joy, remembering, intolerance, cogitation, conceal- ment and [amorous] sporting. 27. The Udvahita1 head is to be applied in pride, showing height, looking high up, self-esteem and the like. 28. Avadhuta : When the head is once turned down it is called Avadhuta. (Uses) : It is to be applied in [communicating] a message, invoking [a deity], conversation and beckoning [one to come near]. 29. Afcita : When the neck is slightly bent on one side the Ancita head is the result. (Uses) : It is applicable in sickness, swoon, intoxication, anxiety and sorrow. 30-31. Nihancita : When two shoulders are raised up with

21 (B.22, G.21). 22 (B 24, G.22). 23 (B.25, G.23). 24 (B.26, G.24). 25 (B.27, G.25), 1 G. reads one additional hemistich between 25a and 25b, and names the head movement as udhūta. 26 (B.28, G.26). 27 (B.29, G.27). 1 B. reads the name as adhūta. 28 (B.30, G.28). 30-31 (B.32-33, G.30-31). 29 (B.31, G.29).

152 THE NATYASASTRA [ VII. 38-

the neck bent on one side the Nihancita head is produced. (Uses) : It is to be used by women in pride, Amorousness (vilasa)1, Light- heartedness (lalita)2 Affected Indifference, (bibboka)8, Hysterical Mood, (kilakincita)4, Silent Expression of Affection (mottayita)5, Pretended anger, (kuttamita)6, Paralysis and Jealous anger (māna). 32. Paravrtta: When the face is turned round, the Paravrtta head is the result. (Uses) : It is to be used in turning away the face and looking back and the like. 33. Utksipta : When the face is [slightly] raised the Utksipta head is the result. (Uses) : It is used in lofty objects and application of divine weapons. 34. Adhogata : The head with the face looking downwards is called Adhogata. (Uses) : It is used in shame, bowing [in salutation] and sorrow. 35. Parilolita : When the head is moving on all sides, it is called Parilolita. (Uses): It is used in fainting, sickness, power of intoxication being possessed by an evil spirit, drowsiness and the like1. 36. Besides these there are many other gestures of the head, which are based on popular acting. These are to be used according to the popular practice (lit. nature). 37. I have spoken about the thirteen gestures of the head. Now I shall discuss the characteristics of the Glances.

The thirtysix Glances

3S. The Glances expressing the Sentiments1 are Kāntā, Bhayānakā, Hasyā, Karuņā, Adbhutā, Raudrī, Virā, and Bibhatsā.

1 See NS. XXIV. 15. 2 See ibid 22. 3 Sce ibid 21. See ibid 18. 5 See ibid 19. 6 See ibid 20. 32 (B.34, G.32). 33 (B35, G.33). 34 (B.36, G.34). 35 (B.37, G.35). I B. reads after this an additional couplet. 36 (B.39, G.36). 37 (B.40, G.37). 38 (B.41, G.38). The AD. too has only eight glances, see ed. M. Ghosh, 66-78, and A. K. Coomaraswamy, MG. p. 40. But curiously enough the names of the cight glances in the AD. even if referred by

-VIII. 47 ] THE GESTURES OF MINOR LIMBS 158

39. The Glances to be used in the Dominant States are Snigdhā, Hrsta, Dinā, Kruddha, Drptā, Bhayānvitā, Jugupsitā and Vismitā. 40-42. The Glances to be used in the Transitory States such as Sūnyā, Malinā, Śrāntā, Lajjānvitā, Glānā, Šankitā, Vișaņņā, Muktā, Kuncitā, Abhitaptā, Jihmā, Lalitā Vitarkitā, Ardhamukulā, Vibhrāntā, Viplutā, Ākekara, Vikošā, Trastā and Madirā, make up their number thirtysix1. The Glances to express the Sentiments

40. I shall now explain the characteristics of these Glances in connexion with the various Sentiments and the States, and shall describe their functions. 44. Kāntā: When with a feeling of love a person con- tracts his eyebrows and castes a sidelong look, he is said to have a Kanta (pleasing) Glance which has its origin in joy and pleasure. It is used in the Erotic Sentiment. 45. Bhayanaka: The Glance in which the eyelids are drawn up and fixed, and the eyeballs are gleaming and turning up is called Bhayānakā (terrible). It indicates a great fear and is used in the Terrible Sentiment. 46. Hasyā: In the Hasya (smiling) Glance the two eyelids are by turns contracted, and they open with the eyeballs moving and slightly visible; it should be used in representing jugglary. 47. Karuņa: The Glance in which the upper eyelid has descended, the eyeball is at rest due to mental agony, and the gaze is fixed at the tip of the nose, and there is tear, is called Karuņā (pathetic).

Coomaraswamy's text to the Bharatasastra, does not occur in the NS. which has no less than thirtysix glances. Besides the cight glances Coo- maraswamy's text records (loc. cit) fortyfour glances which include those mentioned in the NS. 39 (B.42, G.39). 40-42 (B.43-45, G.43-42). 1 See note 1 to 38 above. 43 (B.46, G.43). 45-46 (B.48-49a, G.45-46a). 44 (B.47 G.44). 47 (B.49, G.46b). 20

154 THE NATYASASTRA [ VIII. 48-

48. Adbhuta : The Glance in which eyelashes are slightly curved at the end, eyeballs are raised in wonder, and the eyes are charmingly windened till the end, is called the Adbhuta (of wonder). 49. Raudri : The pitiless Glance in which the eyeballs are rough, red, raised, and the eyelids are still and the eyebrows knitted, is called Raudrì (cruel), and it is used in the Furions Sentiment. .50. Virā: The Glance which is bright, fully open, agi- tated, serious, and in which eyeballs are at the centre of the eye (lit. level) is called Vira (heroic), and it is used in the Heroic Sentiment. 51. Bibhatsa : The Glance in which the corners of the eyes are nearly covered by eyelids, the eyeballs are disturbed in disgust and the eyelashes are still and close to each other, is called Bibhatsā (odious).

The Glances to express the Dominant States 52. The Glances defined here are known to occur in relation to the Sentiments. I shall now explain the Glances relating to the Dominant States. 53. Snigdha : The Glance which is not much widened (lit. medium widened), is sweet, and in which eyeballs are still, and there are tears of joy, is called Snigdha (loving) ; it is used in love ( lit. grows out of love ). 54. Hrsta : The Glance which is moving, slightly bent and in which eyeballs are not wholly visible (lit. entering), and there is winking, is called Hrsta (joyful) ; it is used in laughter. 55. Dina: The Glance in which the lower eyelid is slightly fallen, eyeballs are slightly swollen, and which is moving very slowly, is called Dina (pitiable) ; it is used in sorrow.

48 (B.51, G.48). 49 (B.52, G.49). 50 (B.53, G.50). 51 (B.54, G.51). 1 B.G. add after this one couplet defining the sāntarasa. 52 (B.56, G.53). 53 (B.57, G.54). 54 (p.9, B.55, G.55). 55 (p.9, B.56, G.56).

.VIII. 63] THE GESTURES OF MINOR LIMBS 156 56. Kruddha : The rough Glance in which eyelids are motionless and drawn up, eyeballs are immobile and turned up, and the eyebrows are knitted, is called Kruddha (angry) ; it is used in anger. 57. Drpta: The steady and widely opened Glance in which eyeballs are motionless, and which shows forth (lit. emits) prowess is called Drpta (haughty); it is used in energy (lit. grows out of energy). 58. Bhayanvita : The Glance in which the eyes are widely opened, the eyeballs are mobile in fear and are away from the centre [of the eye], is called Bhayānvitā (awe-stricken) ; it is used in fear. 59. Jugupsita : The Glance in which eyelids are contracted but not joined together, and the eyeballs are covered and are turning away from the object coming in view (lit. the place in view) is called Jugupsita (disgusting) ; it is used in disgust. 60. Vismita: The level Glance which is fully blown and in which eyeballs are throughly turned up and the two eyelids are motionless, is called Vismita (astonished); it is used in astonishment. The Glances to expreas the Transitory States 61. These are the Glances relating to the Dominant States, that I have just defined. I shall now explain the characteristics of the Glances in the Transitory States. 62. Śunya: The Glance which is weak and motionless and in which the eyeballs and the eyelids are in ordinary position (lit. level), and which turns to the space and is not attentive to external objects is called Sunyā (vacant). 63. Malina: The Glance in which ends of the eyelashes are not shaking and ends of the eyes are pale, and which is charac- terised very much by half-shut eyelids, is called Malinā (pale).

56 (p.9, B.57, G.57). 57 (p.9. B.58, G.58). 58 (B.59, G.59). 59 (B 60, G.60). 60 (B.61, G.61). 61 (B.62, G.62). 62 (B.63, G.63). 63 (B,64, G.64).

156 THE NATYASASTRA [ VIII. 64

64. Sranta: The resting Glance in which eyelids have been let down due to fatigue, corners of the eyes are narrowed, and the eyeballs are fallen, is called Srānta (tired). 65. Lajjanvita : The Glance in which ends of the eyelashes are slightly bent, the upper eyelid is descending in shyness, the eyeballs are lowered due to shame, is called Lajjanvitā (bashful). 06. Glana: The languid Glance in which the eyebrows and the eyelashes are slowly moving and eyeballs are covered [under the eyelids] due to fatigue, is called Glãna (lazy). 67. Sankita : The concealed Glance which is once moved, and once at rest, slightly raised, obliquely open and in which the eyeballs are timid, is Sankita (apprehensive). 68. Visanna: The bewildered Glance in which eyelids are drawn wide apart in dejection, and there is no winking and the eyeballs are slightly motionless, is called Visannā (dejected). 69. Mukula : The Glance in which eyelashes are slightly trembling, the upper eyelids are of the Mukula type and the eyeballs are opened in happiness, is called Mukulā. 70. Kuncita: The Glance in which ends of eyelashes are bent due to the eyelids being contracted and the eyeballs are also contracted, is called Kuñcita (contracted). 71. Abhitapta: The Glance in which the eveballs are slowly moving due to the movement of the eyelids, and which indicates much distress and pain, is called Abhitaptā (distressed). 72 Jihma: The Glance 'in which the eyelids are hanging down and slightly contracted and the eyeballs are concealed, and which casts itself obliquely and slyly is called Jihma (crooked). 73. Lalita: The Glance which is sweet, and contracted at the end [of the eye] and which is smiling and has movement of the eyebrows, and shows signs of love is called Lalita (amorous).

64 (B.65, G.65). 65 (B.66, G.66). 67 (B.68, G.68). 66 (B.67, G.67). 68 (B.69, G.69). 70 (B.71, G.71). 71 (B.72, G.72). 69 (B.70, G.70).

72 (B.73, G.73). 73 (B.74, G.74).

-VIII. 83 ] THE GESTURES OF MINOR LIMBS 157

74. Vitarkita : The Glance in which the eyelids are turned up for guessing, the eyeballs are full blown and moving downwards is called the Vitarkita (conjecturing). 75. Ardhamukula: The Glance in which owing to joy the eyelids are of the Ardhamukula: type, the eyeballs are half-blown and slightly mobile is called Ardhamukulā. 76. Vibhranta: The Glance in which the eyeballs are moving and;so are the eyelids, and the middle [of the eye] is wide open and full-blown, is called Vibhranta (confused)1. 77. Vipluta : The Glance in which the eyelids [frst] tremble and then become, motionless and the eyeballs are [again] disturbed, is called Vipluta (disturbed). 78. Akekara: The Glance in which the eyelids and the corner of the eyes are slightly contracted and joined together and is half-winking, and the eyeballs are repeatedly turning up, is called Ākekarā (half-shut). 79. Vikośā : The joyful Glance in which the two eyelids are wide open and there is no winking and the eyeballs are not immobile, is called Vikośā (full-blown). 80. Trasta : The Glance in which the eyelids are drawn up in fear, the eyeballs are trembling and the middle of the eye is full-blown due to panic, is called Trasta (frightened). 81. Madira: The Glance in which the middle of the eye is rolling, the ends of the eyes are thin, the eyes are bent, and the corners of the eyes are fully widened, is called Madira (intoxicated). It is to be used in representing light intoxication. 82. In medium intoxication this Glance should have its eyelids slightly contracted, the eyeballs and and the eyelashes slightly mobile. 83. In excessive (lit. the worst) intoxication the Glance

74 (B.75, G.75). 75 (B.76, G.76) 76 (B.77, G.77). 1 B.G. read 76b. differently. 77 (B.78, G.78). 78 (B.79, G.79). 79 (B.80, G.80). 80 (B.81, G.81). 81 (B.82, G.82). 82 (B.83, G.83). · 83 (B.84, G.84).

158 THE NATYASASTRA [ VIII. 84 should have [either too] much winking or no winking at all, and the eyeballs in it should be slightly visible, and it (the look) should be turned downwards. 84. These are the thirtysix Glances due to the Sentiments and the Dominant States described by me. Now listen about their uses.

Uses of the Glances expressing the Transitory States 85. The Glances due to the Sentiments are to be used in representing them, while Glances due to the Dominant (States) should be used !in expressing these. Now listen about the uses of the Glances due to the Transitory States in representing these (States), 86-93. unyā (vacant)-in anxiety and paralysis (motion- lessness). Malina (pale)-in discouragement, change of colour. Śrantā (tired)-in weariness and depression. Lajjānvita-(bashful)1-in shame. Glānā (lazy)-in epilepsy, sickness and weakness. Śankitā (apprehensive)-in apprehension. Visaņņā (dejected)-in depair. Mukula-in sleeping, dreaming and happiness. Kuncita (contracted)-in envy, undesirable object, objects visible with difficulty and pain in the eye. Abhitapta (distressed)-in discouragement, accidental hurt and distress. Jihmā (crooked)-in envy, stupor and indolence. Lalitā (amorous)-in contentment and joy. Vitarkitā (conjecturing)-in recollection and deliberation. Ardhamukula-in joy due to an experience of [sweet] smell or touch.

84 (B.85, G.84). ' We adopt G's reading. . 85 (B.86, G.85). 86-93 (B.87-94, G.87-94). 2 lajjitā (lalitā, B.).

-VIII. 98 | THE GESTURES OF MINOR LIMBS 159

Vibhranta (confused)-in agitation, hurry and confusion. Vipluta (disturbed)-inconstancy, insanity, affliction of misery and death. Ākekarā (half-shut)-in looking to a distant [object], separation and consecration by sprinkling (proksita)1. Vikośā (full-blown)-in awakening, arrogance, indignation cruelty and assurance. Trasta (frightened)-in fright. Madira (intoxicated)-in intoxication. 94-95. Here I have finished the proper discription of the thirtysix Glances ; now listen about the [additional] Glances, and gestures of the eyeballs, the eyelids and the eyebrows due to the Sentiments and the States.

The eyeballs

95-96. Eyeballs have gestures of nine kinds: Bhramana (moving round), Valana (turning), Pata= Patana (relaxing), Calana, (trembling), Sampravesana, (drawing inside), Vivartana, (turning sideways), Samudvrtta (raising up), Niskrama (going out) and Prākrta (natural). 96-98. Bhramana (moving round)-turning round the eyeballs at random. Valana (turning)-moving (the eyeballs) obliquely. Pātana= Pāta (relaxing)-the relaxation (of the eyeballs.) Calana (trembling)-the tremor (of the eyeballs.) Sampravesana= Pravesa (drawing inside)-drawing (the eyeballs) in. Vivartana (turning)-turning the eyeballs sideways in a sidelong glance (lratāksa).

1 B. G. read preksitesu .: 94-95 (B.95, G.95). 95-96 (B.96b-97a, G.96). 1 B.G, read one additional couplet after this. 96-98 (B.98b-100a, G.98-100a) ..

160 THE NATYASASTRA [ VIII, 99-

Samudvrtta (raising up)-the raising up of the eyeballs. Nișkramaņa (going out)-going out [as it were of the eyeballs.] Prakrta (natural))-eyeballs in the natural (glance.)

Usrs of the eyeballs 99-101. Now listen about their uses in [different] Senti- ments and States. Bhramana (moving round), Valana (turning) and Samudvrtta (raising of eyeballs)-in the Heroic and the Furious Sentiments. Nişkramaņa (going out), and Valana (turning of the eyeballs)-in the Terrible Sentiment. Sampravesana (drawing of the eyeball)-in the Comic and the Odious Sentiments. Patana (relaxed eyeballs) in the Pathetic Sentiment. Nişkramana (going out of the eyeballs)-in the Marvell- ous Sentiment. Prakrta (natural) cyeballs-in the remaining Sentiments (lit. States). Vivartana (turning sideways of the eyeballs)-in the Erotic Sentiment. 102. These are the natural gestures of eyeballs based on the popular practice. They are to be applied [suitably] to all the different States.

The additional .Glances

103-107. I shall speak about the varieties of Glances in special relation of these (lit. there). These are of eight kinds, viz. Sama (level), Sācī (sidelong), Anuvrtta (inspecting), Älokita (casual), Vilokita (looking round), Pralokita (carefully looking), Ullokita (looking up), and Avalokita (looking down).

99-101 (B.101b-104a, (}.100b-102a). 102 (B.104b-105a, G.102b-104a). 103-107 (B.105b-110a, G.104-109a).

-VIII. 108 ] THE GESTURES OF MINOR LIMBS 161 Sama (level)-the eyeballs are in a level position and at rest. Saci (side-long)-the eyeballs are covered by eyelashes. Anuvrtta (inspecting)-Glance which carefully observes any form. Alokita (casual)-(the eyeballs) in suddenly seeing any object). Vilokita (looking round)-(eyeballs) in looking back. Pralokita (carefully looking)-turning (eyeballs) from side to side. Ullokita (looking up)-(turning the eyeballs) upwards. Avalokita (looking down)-(turning the eyeballs) towards the ground. These are the gestures of the eyaballs in relation to all the Sentiments and the States.

The eyelids 108-111. Now listen about the gestures of the eyelids follow which the movements of eyeballs They are : Unmesa (opening), Nimeșa (closing), Prasrta (expanding), Kuncita (contracted), Sama (level), Vivartita (raising up), Sphurita (throbbing), Pihita (resting), and Vitādita (driven). Unmeșa (opening)-separating the eyelids Nimeșa (closing)-bringing together the eyelids. Prasrta (expanding) -separating the eyelids widely. Kuncita (contracted)-contracting the eyelids. Sama (level)-eyelids in a natural position. Vivartita (raising up)-raising up the eyelids. Sphurita (throbbing)-when the eyelids are throbbing. Pihita (resting)-when the cyelids are at rest (lit. closed). Vitadita (driven)-when struck the eyelids are struck iccidentally.

108-111 (B.110b-114a, G.109b-1,13a). 21

162 THE NATYASASTRA [ VIHI. 112

Uses of the eyelids

112-115. Now listen about their uses in different Senti- ments and States: Vivartita (raising up)-in anger. Nimeșa (closing)-in anger. Unmeșa (opening)-in anger. Prasrta (expanding)-in objects causing wonder, joy, and heroism. Kuncita (contracted)-in seeing undesired objects. (sweet) scent, flavour and touch. Sama (level)-in love. Sphurita (throbbing)-in jealonsy. Pihita (resting)-in dreaming, fainting, affliction due to storm, hot smoke, rains and collyrium and eye-disease. Vitādita (driven)-in accidental injury. These are the uses of the eyeballs and the eyelids in express- ing the Sentiments and the States.

The eyebrows 116-120. Now, listen about the gestures of eyebrows, which accord with those of the eyeballs and the eyelids. (They) are seven in number and are as follows : Utksepa (raising), Patana (lowering), Bhrukuți (knitting), Catura (clever), Kuñcita (con- tracted), Recita (moving) and Sahaja (natural). Utksepa (raising)-raising of eyebrows simultaneously or one by one. Patana (lowering)-lowering of eyebrows simultaneously or one by one. Bhrukuti (knitting) - raising the root of tho eyebrows. Catura (clever)-slightly moring and extending the eye- brows in a pleasing manner.

112-115 (B.114b-118a, G.113b-117a). 116-120 (B.118b-123a, G.117b-122a).

VIII. 126] THE GESTURES OF MINOR LIMBS :163

Kuncita (contracted)-slightly bending of eyebrows one by one or the both at once. Recita (moving)-raising of one of the eyebrows in an amorous way. Sahaja (natural)-the position which the eyebrows maintain by nature.

Uses of the eyebrows 121-125. Now I shall speak about their uses in (expressing) the Sentiments and the States. Utksepa ,(raising)-in anger, deliberation, passion, sporti- veness, in seeing and hearing only one eyebrow is raised, and in surprise, joy and violent anger both the eyebrows are raised up. Patana (lowering)-in envy, disgust, smile, and smelling. Bhrukuți (knitting)-in objects of anger, dazzling light. Catura (clever)-in love, sportiveness, pleasing (object), (pleasing) touch1 and awakening. Kuñcita (contracted)-in manifestation of affection, pretended and hysterical mood. Recita (moving)-in dance. Sahaja (natural)-in simple (anaviddha) conditions.

The nose

126-123. Gestures of the eyebrows have been described ; now listen about those of the nose. They are of six kinds : Natā, Mandā, Vikrsțā, Socchvāsā, Vikūņitā and Svābhāvikā. Nata-lobes are constantly clinging (slistaputa) Manda-lobes are at rest. Vikrsțā-lobes are blown. Socchvasa-when air is drawn in. Vikūņitā-the contracted nose.

121-125 (B-123b-126, 128-129a, G.122b-127a). 1 B. reads 124 a differently and one additional hemistich after this. 126-128 (B.129b-132a, G.127b-130a).

164 THE NATYASASTRA [ VIII. 135-

Svābhāvika-the natural nose.

Uses of the nose

129-132. This is the description of the gestures of the nose. Now listen about their uses : Nata-in slight weeping at intervals. Manda-in discouragement, impatience and anxiety. Vikrsta-in strange smell, breathing, anger and fear. Socchvsa-in sweet smell and deep breathing. Vikūņita-in laughter, disgust and envy. Svābhāvika-in the remaining conditions.

The cheeks 132-134. Cheeks are of six kinds: Kșāma (depressed). Phulla (blown), Pūrņa (full), Kampita (trembling) and Kuncita (contracted) and Sama (natural). Kșăma (depressed)-(cheeks are) fallen. Phulla (blown)-(cheeks are) raised Pūrņa (full)-(cheeks are) expanded. Kampita (trembling)-(cheeks are) throbbing. Kuncita (contracted)-(cheeks are) narrrowed down. Sama (natural) -as (cheeks are) by nature.

Uses of the cheeks

135-137. Cheeks have been described. Now listen about their uses. Ksāma (depressed)-in sorrow. Phulla (blown)-in joy. Pirna (full)-in energy and arrogance.

129-132 (B.132b, 134-136a, G.130b-133). ' Instead of 129b, B. reads one couplet slightly different in content. .132-134 (B.136b-138, G.134-136a). 135-137 (B.139-14la, G.136b-138).

.VIII. 140 J THE GESTURES OF MINOR LIMBS 165

Kampita (trembling)-in anger and joy. Kuncita (contracted)-in horripilation (sensitive) touch, cold, fear and fever. Sama (natural)-in the remaining conditions.

The lower lips

137-139. Gestures of the lips are six in number. (They are) : Vivartana (narrowing), Kampana (trembling), Visarga (spreading out), Vinigūhana (concealing), Sandastaka (biting), Samudgaka (contracting). Vivartana (narrowing)-lips narrowed down. Kampana (trembling)-throbbing (of lips). Visarga (spreading out)-to spread out (lips). Vinigūhana (concealing)-drawing in (of lips). Sandastaka (biting) -(lips) bitten by teeth. Samudgaka (contracting)-the contraction of lips and keeping them at rest.

Uses of the lower lips

140-142. These are the gestures of the lips; now listen about their uses. Vivartana (narrowing)-in envy, pain, contempt, laughter and the like. Kampana (trembling)-in pain, cold, fear, anger, swiftness and the like. Visarga (spreading out)-in women's amors, affected indiffer- ence and painting of lips. Vinigūhana (concealing)-in making efforts. Sandaștaka (biting)-in manifestation of anger. Samudgaka (contracting)-in pity, kissing and greeting.

137-139 (B.141b-148, G.139-141a . 140-142 (B.144-146, G.141b-144a).

166 THE NATYASASTRA [ VIII. 143

The chin

143-146. So much about the gestures of the lips; now listen ahout those of the chin; (they are): Kuttana, Khandana, Chinna, Cuksita, Lehita, Sama and Dasta. Kuttana-when the upper teeth are in conflict with the lower ones. Khandana-when (the two lips) repeatedly come together with each other. Chinna-when (the two lips) very closely meet cach other, Cuksita-when (the two lips) are held widely apart. Lehita-in licking the (lips) with the tongue. Sama-when (the two lips) slightly parted from each other. Dasta- when the lower lip is bitten by the teeth. Uses of the chin

146-149. Kuttana-in fear, cold, attack of old age, and sickness. Khandana-in mutterings prayers (japa), studying, speaking and eating. Chinna-in sickness, fear, cold, (taking) exercise, and angry look. Cuksita-in yawning. Lehita=Lehana-in greediness. Sama-in a natural position. Dasta-in angry efforts. So much about the gestures of the chin in relation to the teeth, the lips and the tongue.

The mouth

149-156. Gestures of the mouth are : Vidhuta, Vinivrtta, Nirbhugna, Bhugna, Vivrta and Udvāhi.

143-146 (B.147-150a, G.144b-147). 146-149 (B.150b-153a, G.147-150a). 149-156 (B.153b-160a, G.150b-157).

-VIII. 159 ] THE GESTURES OF MINOR LIMBS 167

.Vidhuta-the obliquely open (mouth). Vinivrtta-spread out (the mouth). Nirbhugna-(the mouth) lowered. Bhugna = Vyabhugna-(the mouth) slightly spread out. Vivrta-the mouth with the lips kept apart. Udvāhi-(the mouth) turned up. Uses of the mouth

Vinivrtta-in women's envy, jealousy, anger, contempt and bashfulness and the like. Vidhuta-in restraining, saying 'not so' and the like. Nirbhugna-in looking into depth and the like. Bhugna-in being ashamed, discouragement, impatience, anxiety, discipline and consultation. It is natural for the ascetics. Vivrta-in laughter, sorrow and fear. Udvahī-in sportiveness and pride of women, in saying 'go away', and disregard, in saying 'so indeed' and angry words. 156-157. The experts should also use the mouth in conformity with the varieties of Glances such as Sama and Saci and the like mentioned by others.

The colour of the face

157-158. The col ur of the face according to the circum- stances (lit, meaning) is of four kinds : natural (svabharika) bright (prasanna), reddoned (rakta) and dark (śyāma). U'ses of the colour of the face. 159-160. Natural face-in a natural and indifferent (mood). Bright face-in wonder, laughter and love. Reddened face-in intoxication and in the Heroic the Terrible and the Pathetic Sentiments.

156-157 (B.160b-161a, G.158). 157-158 (B.161b-162a, G.159). 159-160 (B.162b-164, G.160-162a).

168 THE NATYASASTRA [ VIII. 161-

Dark face-in the Terrible and the Odious Sentiments. 161-162. The colour of the face should be thus used to re- present the States and the Sentiments. The acting done with the Gestures of the Sakha1, the Anga and the Upanga is good, but without proper colour of the face it will not be charming (lit.) beautiful. 162-163. Even a few Gestures when combined with the proper colour of the face will double their charm (lit. beauty) just as the moon [rising] at night will. 163-164. Glances too when combined with the proper colour of the face will clearly express the different States and the Senti- ments, and on this (i.e. the colour of the face) the Histrionic Representation rests. 164-165. The colour of the face suitable to the represen- tation of the States and the Sentiments, should follow every gestures of the eye (Glance), the eyebrow and the mouth. So much about the colour of the face which is the basis of the States and the Sentiments.

The neck 166-167. I shall now tell you, O Brahmins, about the gestures of the neck. They are of nine kinds : Sama, Nata, Unnatā. Tryasrā, Recitā, Kufcitā, Ancitā, Valitā, and Vivrttă.

Description and uses of the neck gestures 167-171. Samā-the natural neck. (Uses) : in meditation, natural pose, and muttering of Mantras. Nata-(neck with) face bent down. (Uses) in wearing (lit. binding) ornaments, putting ones arms round (lit. taking) some- body's neck.

161-162 (B.165b-166a, G.162b-163). ' See 11 and 15 above. 162-163 (B.166-167a, G.164). 163-164 (B.167b-168a, G.165). 164-165 (B.168b-169, G.166-167a). 166-167 (B.170, G.167b-168a). 167-171 (B.171-175, G.168b-173a).

-VIII. 172 ] THE GESTURES OF MINOR LIMBS 169

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 feeling (bhava), churning and dance. Kuncita-the neck with the head bent down. (Uses) : in pressure of weight and in protecting the neck. Ancita-the neck with the head turned back. (Uses) : in hanging (to death), arranging hair and looking very high up. Vahita-the neck with the face turned sideways. (Uses) : in looking with the neck turned round. Vivrtta-neck with the face towards the front. (Use) : in (indicating) going towards one's own place. 172.173- These are the many varieties of the neck gestures according to their [expressing different] customary states of men. Gestures of the neck are all to follow the gestures of the head and the head gestures also are reflected in those of the neck. So much about the description of the gestures of the head and the connected minor limbs ("panga) and their uses. Now listen about the gestures of the remaining limbs (anga), which I am going to deseribe.

Here ends Chapter VITI of Bharata's Nātyasastra, which treats of the Gestures of Minor Limbs.

172-178 (B.176-177, G.173b-175).

22

CHAPTER NINE

THE GESTURES OF HANDS

Bharata speaks

1-3. So much about the minor limbs such as head, eyes, eyesbrows, nose, lips and cheecks, and their description that I was to tell you. I shall now define you for the gestures of hands, breast, sides, belly, waist, thighs and feet and [explain] their proper use1. In this connexion I shall [first of all] explain the gestures of hands and the like, that are used in the production of a play. You are to listen how they are to be applied [in acting].

Sixtyseven gestures of the hand

4-7. Gestures of single hands (/samyuta-hasta)1 are twenty- four in number : Pataka, Tripatāka, Kartarīmukha, Ardhacandra, Arāla, Śukatuņda, Mușți, Šikhara, Kapittha, Kațakāmukha2, Sūcyāsya (Sūcīmukha), Padmakośa, Sarpasirah, Mrgasīrşa, Kāngula, Alapadma (Alapallava), Catura, Bhramara, Hamsasya, Hamsa- pakşa, Sandaņśa, Mukula, Ūrņanābha and Tāmracuda.

1-3 (B.1, 3, 2, G.1-3). 1 This use relates' to the two-fold Practice (realistic and coventional) on the stage (See NS. XIV. 62ff). The realistic Practice (lokadharmi) in this connexion is of two kinds, viz. (1) that reflecting one's emotion, as in arrogant reference 'to one's own- self, 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 the nse of the Padmakosa hand to represent lotus and similar flowers. The conventional Practice (natyadharmi) is likewise of two kinds, viz. (1) that creating an ornamental effect, as the use of the four karanas of the hand (See NS. IX. 205-211 below), (2) that partially suggesting. a popular behaviour, as the use of the tripataka hand to represent words spoken aside ( janantika ). Sec Ag. 4-7 (B.G. same). 1 These hands gestures are ordinarily used singly ; but at times two hands showing one of these gestures are used stmul- taneonsly. But still these are called single (asamyuta) hands. For. combined (samyuta) hands are so called because they are always to be showp by both the hands ; see Ag. 2 Some mss, read this name as khaļakamukha. Our reading is

-IX 17 ] THE GESTURES OF HANDS 171

8-10. Gestures of combined hands (sumyuta-hasta)1 are thirteen in number : Añjali, Kapota, Karkata, Svastika, Kațakā- vardhamānaka2, Utsanga, Nișadha, Dola, Pușpaputa, Makara, Gajadanta, Avahittha and Vardhamāna. 10-17. Dance-hands (nrtta-hasta)1 are Caturasra2, Udvrtta Talamukha, Svastika, Viprakirņa, Arālakațakāmukha, Äviddha- vaktra, Sucyasya, Recita, Ardharecita, Uttanavancita, Pallava, Nitamba, Kesabandha, Lata, Karihasta, P'akşavancitaka, P'akşa- pradyotaka, Garudapakşa, Daņdapakşa, Ūrdhvamaņdalī, Pārśva- mandalī, Uromandali Urah-pārsvārdhamandalī, Muștikasvastika, Nalinipadmakosa, Alapallava, Ulbana, Lalita and Valita. These are the sixtyfour3 gestures of hands.

Gestures of single hands

17-26. Now listen about their definition and uses. Pataka (flag)-the fingers extended and close against one another, and the thumb bent.

supported by the AD. (See ed. M. Ghosh, verse 124. A. K. Coomaraswamy MG. p. 50). 8-10 (B.G. same). 1 See note l to 4-7 above. * Some mss. read this name as khataka° ; katakuvardhana, is the name of a samyuta-hasta in the AD. (ed. M. Ghosh, 187 and A. K. Coomaraswamy, MG. p. 60). 10-17 (B.G. 10b-17a). 1 These gesturcs (dance hands, nrttahasta) as their name implies, are ordinarily to be used in dance; but in course of acting too they are often to be used along with other gestures (single and combined) to create an ornamental effect (See note 1 to I-3 above). See Ag. 2 In the Skt. text these names are given in dual number e.g. our caturasra stands as caturasrau. The reason for this is to be sought in the fact that unlike the single and combined hands which must represent one single idea or object, the hands in the dance-hand gestures are to be individually moved, not for representing any idea or object but for creating an ornamental effect in acting as well as in dance. See Ag. 3 In actual enumeration hand gestures are sixtyseven in number (single 24, combined 13 and Dance-hands 30). Catuhsasthi in the text should be emended to saptasasthi. . 17-26 (B.18-25, 26a, G.18-25. 26a).

172 THE NATYASASTRA [IX. 26.

(Uses) : To represent an administration of blows, scorching heat, urging, attainment of happiness and arrogant reference of one's ownself1 this hand is to be raised on a level with the forehead. To represent the glare of heat, torrential rain and shower of flowers two Pataka hands with the fingers separated and moving, are to be joined together. A shallow pool of water, present of flowers, grass and any design [lit. object] made on the ground are to be represented by two such hands separated from the Svastika position. The same Pataka hands with their lingers pointing downwards are to be used to represent anything elosed, made open, protected, covered, dense or private (concealable). This very hand with its fingers pointing downwards and moving up and down, is to express the speedy movement of wind and [ocean] waves, [ocean waves] breaking against the shore, and flood. The Recaka of this hand should be used to represent encouragement, many [in number], a great crowd of men, height, beating of drums, and flight of birds upwards. And anything washed, pressed, cleansed, pounded, or holding up a hill or uprooting it, should be represented by the palms of two such hands rubbing each other. This is also the manner of representing man and woman2. 26-32. Tripataka (ftag with three fingers)-the third finger of the Patäkahand to be bent. (Uses) : It is to be used in representing invocation, descent, bidding goodbye, prohibition, entrance, raising up [anything]1, bowing [in salutation], comparing2, suggesting alternatives, touching [the head with] auspicious objects or putting them on the head, putting on a turban or crown and covering the mouth or the ears. This very hand with its fingers pointing downwards and moving up and down is to be used in representing flight of small birds, stream, snake, bees and the like. And with the third finger of the

1 In saying 'I too,' 'of me too', 'by me too', in me too' and the like (Ag). 2 Ag. gives detailed rules about the use of the pataka hand in all the cases mentioned above. 26-32 (B.G. 26b-32) 1 Ag. thinks that this relates to objects like one's chin. 2 nidarsanam upamānopameyabhāvam (Ag.).

.IX. 39 THE GESTURES OF HANDS 173

Tripataka should be represented wiping off tears, drawing a Tilaka or Patralekha3 and touching of hairs. 33-38. Two Tripatāka1 hands held like a Svastika repre- sents adoration of the feet of venerable persons (guru). Two such hands are to meet each other's end for representing marriage. Separated and moved from this position they indicate a king. When obliquely forming a Svastika they represent planets. To indicate an ascetie they are to be raised with palm turned back- wards. To represent a door they are to face each other. Submarine fire, battle and sea monsters are to be indicated by two Tripataka hands, first raised near one's face and then moved with the fingers pointing downwards. A ith these very hands should be indicated jumping of monkeys, waves, wind and women. To show the cresent moon this hand should put forward its thumb, and to indicate a king's march [against his enemy] this hand should turn itself towards the back. 39-41. Kartarimukha (sissors' blades)-the forefinger of the Tripataka hand to bend backwards. (Uses) : This [hand with its fingers] pointing downwards will represent showing the way, decorating the feet1 or dying them-, and the crawling [of babies]3. With fingers pointing upwards it will represent biting, horn and letters. And when the fingers in it are turned differently (i.e. the middle finger is bent backwards) it will represent falling down, death, transgression1, reversion, cogita- tion and putting [anything] in trust5.

3 rocanulabhanakam-touching (the body) with go-rocana or drawing ornamental designs (patralekha) on the body with this substance. Gorocana is a bright yellow pigment prepared from the urine or bile of a cow. 33-38 (B.G. 33-38). 1 This portion does not occur in all mss., and may well have been a later addition. 2 Parents, grand-parents and the spiritual guide ete. are meant by this term. 39-41 (B.(. 39-41). 1 racanam kasturikā dināpalrabhangādikriyā (Ag.). ' ranjanam alaktakena (Ag.). 3 Reud ringana for rangana in B. 4 vyatikramah-aparadhah (Ag.). 5 nyasta-niksepana.

174 THE NATYASASTRA . IIX. 42-

42. And with the two such (samyuta) hands or one such (asamyuta) hand should be represented antelope, yak, buffalo, celestial elephant (airavata), bull, gate (gopura) and hill-top. 43-45. Ardhacandra (crescent moon)-the fingers and the thumb so bent as to make a curve like a bow. (Uses) : With this should be represented young trees, crescent moon, conchshell, jar (kalasa), bracelet, forcible opening, exertion1, thinness and drinking2. With this [very] Ardhacandra hand women should represent girdle, hip, waist, face, Talapatra8 and earring. . 46-52. Arala (bent)-the forefinger eurved like a bow, the thumb also curved and the remaining fingers separated and turned upwards. (Uses): With this should be represented courage, pride, prowess, beauty, contentment, heavenly |objects], poise, act of blessing and other favourable states. And this, again, will re- present woman's gathering of hairs or scattering them and looking carefully over their entire body, The preliminaries to the marriage by bride's going round the bridegroom1 and [marital] union2 are to be represented by two Arala hands moving around each other and their fingers meeting in the form of a Svastika. And with similar hands should be represented circumambulation, round objects. great crowd of men, objects arranged on the ground8. In calling any one, asking any one not to come in, uprooting anything,

42 (B.G. 42). 43-45 (B G. 43-45). ' ayastam khedam (Ag.). " punam for pinam (B.G.). 3 Mas. rend talapatra (tadapatra) meaning a kind of car-ornament (toulanika or tulanka). It is different kundala from which is also an ear-ornament. 46-52 (B.46-52, ( 46-51, 53). 1 kautukam-vivāhat pūrvabhāvi vadhūvaravor acaral antarvivahah (Ag.). 2 vivahal-agnau saksiņi panigrahaņam (Ag.). 3 Objects such as Alpana and flowers arranged on the ground. For Alpana ser L'alpana by Audre at Suzanne Karpelles, Paris, 1930 (?) 3 G. reads after this a couplet defining the Arula hand.

.IX. 61 J THE GESTURES OF HANDS 175

saying too many things, wiping off sweat and enjoying sweet smell, abuse, censure the Tripataka hands have been prescribed before by me, but women are to use the Arala hand to represent these. 53-54. Sukatunda (parrot's beak)- the ring-finger (third finger) of the Arala hand is bent. (Uses) with this should be represented words such as '(It is) not I', '(It is) not you, (It is) not to be done; invocation, farewell, and saying 'Fie (upon you)' in contempt. 55-56. 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, press- ing2, shampooing3, grasping sword and holding clubs and spears. 57-58. Sikhara (peak)-in this very hand (unsti) the thumh raised. (Uses) : It is used to represent reins, whip. goad, bow, throwing a javelin (tomara) or a spike (salti), painting the two lips and feet and raising up hairs. 59-60. Kapittha (elephant-apple)-the forefinger of the Sikhara hand to be bent and pressed by the thumb. (Uses) : It is to represent weapons such as sword, bow, discus, javelin (tomara), spear (lwntu), miace, spike (fulti), thunderbolt and arrows, true and wholesome deeds. 61-64. Katakamukha-the ring-finger and the little finger of this Kapittha hand to be raised and bent. (Uses) : It is used to represent sacrifice!, oblation2. umbrella, drawing up reins, fan. holding a mirror, drawing

53-64 (B.53-54, G.54-55). 55-56 (B.55-56, (.56- 7). ' Vyavama according to Ag. means yuddha (fight or duel). 2 'Pressing' of the teats of cows and buffaloes while milking them ; stanapidanc-mahisyadidohane (Ag). 3 Samvahana according to Ag. means mrtpidana. 57-58 (B.57-58, G.58-59). 59-60 (B.59-60, G.60-61). 61-64 (p.41, B.60-63, G.53-65). 1 hotram-srugadi-uttanena, Ag. 2 havyam-ūjyādyāmukhena (Ag.).

176 THE NATYASASTRA [ VII. 65-

[patterns]8, powdering, taking up big sticks, arranging a pearl neck- lace, taking up garlands, gathering the ends of clothes, churning, drawing out arrows, plucking flowers, wielding a goad, drawing out a goad, string and looking at a woman. 65-71. Sūcīmukha-the fore finger of the Katakāmukha hand to be streched. (Uses) : I shall tell you briefly of its various uses as the forefinger [in it] is raised and bent, moving sideways, shaking, moving up and down, and moving up without any rest. By moving the forefinger upwards [in this hand] are to be represented discus, lightning, banners, blossoms, earring1, zigzag movement, a cry of approbation2, young serpent, young sprout3, incense, lamp, creepers4, Sikhanda5, falling down, curve and round- ness and with the forefinger raised this [hand] again should be used in [representing] stars, nose, [the number] one, club and stick. And [this hand with the forefinger] bent should meet the mouth to represent a being with teeth, and by the cireular movement of this hand one should represent the taking away fa man's] every thing. And the forefinger in this hand should be alter- nately raised and lowered to represent long study and long day. And the same should be curved, moved up and down near the face to represent a sentence. And to indicate 'no' or 'speak' the fore- finger should be stretched, shaken and moved up. 72-75. This hand should be shaken to represent anger, perspiration, hair, ear-ring, armlet and decoration of the cheeks.

3 khandanam-drawing decorative patterns or designs on anything. Ag's eeplanation of this seems to be wrong. Cf. alaka-tilaka patrāvalim khandante (draws the alaka-tilaka and patruvali) in the Kirtilata of Vidyapati. See ed. Haraprasad Sastri, Calcutta, BS. 1331 (1924) pp. 13-14, and the root khad (to draw) in E. Bengal dialeet of Tippera. 65-71 (B.64-7la, G.66-72). 1 karņaculika-karņapura (Ag.). 2 Saying 'welldone', 'how beautifnl' etc 3 pallava but B. balyara. 4 The text uses two words valli and lata meaning 'creeper'. Ag. distinguishes betweon the two as follows : alavi-prabhrtayo vallyah and drāksāprabhrtayo latāh 5 sikhanda-kumārakāņām kākapaksah (Ag.). 72-75 (B.71b-75a, G.73-76).

-IX. 82 J THE GESTURES OF HANDS 177 And to represent pride, 'I am,' enemy, 'Who is this', and scratching of the ear it should be held near the forehead. [And two Sucimukha hands] should be united to represent the union [of men], and be separated to indicate separation, and to represent a quarrel the two hands should be crossed, and to show bondage they are to press cach other. The two Sucimukha |hands] facing each other and held separately on the left side will represent the close of the day, and held on the right side they will indicate the close of the night. 76. This hand moved in the front will indicate [any] form, stone, whirlpool, mechanical contrivance and a hill, and to represent the serving up of meals the same movement of the hand pointing downwards is required. 77. To represent Siva this hand pointing downwards is to be held close to the forehead and to indicate Indra this hand is to be raised [to the forehead] and held across it. 78. By two such hands the orb of the full moon is to be represented, and to indicate the rising of Indra (i.e. raising his banner) it should be held close to the forehead. 79. [This hand] moved all around will represent the orb of the moon, and to indicate Siva's [third] eye, it should be held on the forehead and [in case of] Indra's [eyes it should be] raised obliquely. 80. Padmakośa (lotus-bud)-the fingers including the thumb to be separated and their ends to bend, but not to meet one another. 81. (Uses) : To represent Bilva and Kapittha (elephant- apple) fruits and the breasts of women [this hand is to be used]. But to represent accepting [these fruits] or flesh, this hand should be slightly bent at its end. 82. [This hand] should be held [to represent] offering

76 (B.77b-78a, G.77). 77 (B.78b-79a, G.78). 78 (B.75b-76a, G.79). 79 (B.76b-77a, Q.80). 80 (B.79b-80a, G.81). 81 (B.80b-81a, G.82). ' B. adds one hemistich after this. 82 (B.82, G.83). . 23

17 THE NATYASASTRA [IX. 83. Pūja to a deity, carrying tribute, casket, offering the first funeral cake1, and a number of flowers, are also to be indicated by the Padmakośa hand. 83. The two such hands with moving fingers meeting at the wrist and turning backwards will represent the full-blown lotus and water-lilly. 84. Sarpasirah (snake-head)-the fingers including the thumb to be close to one another and the palm to be hollowed. 85. (Uses) : It is used to represent the offering of water, movement of serpents, pouring water [on anything], challenging [for a duel], motion of the elephant's frontal globes (lembha) and the like. 86. Mrgasirsa (deer-head)-the Sarpasiraho hand with all its fingers pointing downwards, but the thumb and the little finger raised up. 87. (Uses) : It is moved to represent here, now, "It is", to-day, possible, splendour (ullasana), throw of diee, wiping off perspiration and pretended anger. 88. Kangula-The middle and the fore-fingers and the thumb to be separated and the ring finger to be bent but the little finger raised. 89. (Uses): By this are to be represented immature fruits of various kinds and angry words of women. 90. Alapallava (Alapadmaka)-all fingers turned towards the palm, standing on its side and separated from one another. 91. (Uses): It is to be used for indicating prevention, words like "Who are you," "It is not", "nonsense" and a woman's allusion to herself.

1 agrapinda-dūna-nandimukhasraddha (Ag.). 83 (B.83, G.84). 84 (B.84, G.85). 85 (B.85, G.86). 86 (B 86, G.87). 87 (B.87, G.88). 88 (B.88, G.89). 1 trertagnisamsthitah=viralā (Ag.). 89 (B.89, G.90). 1 B. reads one additional couplos (B.90) after this, 90 (B.9],G.91). 91 (B.92, G.92),

.IX. 103 ] THE GESTURES OF HANDS 179 92. Catura-the four fingers stretched and the thumb bent near the middle finger. 93. (Uses) : It is to be applied in representing policy, discipline, penance, cleverness, a young girl, a sick person, spirit, deceit, proper words, welfare, truth and tranquility. 94. By one or two such hands moved round should be represented openness, deliberation, moving, conjecture and shame. 95. By the combined Catura hands are to be represented lotus-petals compared with eyes, and ears of deer. 96-98. Besides these, the Catura hand is to indicate sports, love, brilliance, memory, intelligence, judgement, forgiveness, nutrition, consciousness, hope, affeetion, reasoning, union, purity, cleverness, favourableness, softness, happiness, character, question, livelihood, propriety, dress, soft grass, a small quantity, wealth, defeat, sexual intercourse, merit and demerit, youth, home, wife and various colours. 99. [To represent] white it (the Catura hand) should be held up ; red and yellow are indicated by moving it round, and blue by pressing [one such hand with another]. 100. Bhramara (bee)-the middle finger and the thumb crossing each other, the forefinger bent, the remaining two fingers separated and raised. 101. (Uses) : It is used to indicate the plucking of flowers with long stems such as lotus and water-lily, and ear-ring. 102. It should fall down with a sound to represent rebuke, pride of power, quickness, beating time and producing confidence. 103. Hamsasya (swan-mouth)-the forefinger, middle finger and the thumb close1 to one another and the remaining fingers stretched.

92 (B.93, G.93). 93 (B.94, G.94). 94 (B.95, G.95). 95 (B.96, G.96). * 96-98 (B.97-99, G.97-99). 99 (B.100, G.100). * 100 (B.101, G.101). 101 (B.102, G.102). 102 (B.103, G.103). 103 (B.104, G.104). ' nirantarā iti viralatvam nisedhati (Ag.).

THE NATYASASTRA [ IX. 104-

104. (Uses) : It with the slightly throbbing end is used to . indicate specially, fine, small, loose, lightness, exit, and softness. 105. Hamsapaksa (swan-wings)-the three fingers stretched, the little finger raised and the thumb bent. 106-108. (Uses) : It is used to indicate pouring libation of water, and it should be held near the cheek to represent acceptance of a gift, Acamana and taking meals by Brahmins, embrace, excessive stupor, horripilation, touch, unguent and gentle massage. It may again be used to indicate according to the [prevailing] Sentiment, amorous action of women relating to the region between their breasts, their sorrow and touching of their chin. 109, Sandamsa (pincers)-the forefinger and the thumb of the Arala hand crossed and the palm a little hollowed. 110. The Sandamsa (hand) according to the Sentiments and States, is of three kinds, viz. that [held] in front, that near the mouth and that on one side. 111-115. (Uses) : In representing the plucking of flowers, making garlands of them, taking up grass, leaves, hairs or thread and holding or pulling out an arrow or thorn the Sandamsa should be held in one's front. And to represent taking off a flower from its stem, the wick [of a lamp], [collyrium] stick, filling up [any vessel with any thing], in saying 'fie [upon you'], and anger, this should be held near the mouth. To represent the sacred thread, piercing a hole [in pearls and similar sbjects], bow-string, fineness, arrow, and objects aimed at, yoga, meditation and small quantity [two] such hands should be combined. This shown by the left hand held on one side and slightly turning its tip is used to re- present softness, abuse and envy. It is used also to indicate pain- ting, colouring one's eyes, deliberation, stem, drawing Patralekhā and squeezing of lac-dye by women. 116. Mukula (bud)-the fingers bent and close to one another and their tips meeting together in the Hamsasya hand.

104(B.105, G.105). 106-108 (B.107-109, G.111). 105 (B.106, G.106). 109 (B.110, G.110). l'10.(B.111, G 111). 111-115 (B,112-116, G.). 116 (B.117, G.117).

-IX. 126 ] THE GESTURES OF HANDS 181

117-118. (Uses) : It is used to represent the making of offerings in worshipping a deity, bud of a lotus or a water-lily, throwing a kiss (vita-cumbana), contempt, miscellaneous things, taking meals, counting of gold coins, narrowing of the mouth, giving away [anything], quickness and buds of flowers, 119-120. Urņanābha (spider)-the fingers of the Padmkośa hand [further] bent. (Uses) : It is used to represent the combing of hair, receiving stolen goods, scratching one's head, skin disease, lions, tigers and such other animals, and taking up [touch]-stone. 121-122., Tamracuda (lit. copper-crest i.e. cock)-the middle finger and the thumb crossed, the fore-finger bent, the remaining [two fingers] at the palm. (Uses) : It should fall down with a sound to represent rebuke, beating time, inspiring confidence, quickness, and making signs. 123. This hand is to be used to indicate small fractions of time such as Kala, Kastha, Nimeșa and Ksana as well as talking to a young girl and inviting her. 124. When the fingers in a hand are close to one another, bent and the thumb is set on them, the same is [also] called the Tāmracuda hand. 125. By this hand are to be indicated hundred, thousand and lac of gold coins, and when the fingers in it are suddenly made to move frecly it will represent sparks or drops. 126. O the best of Brahmins, these are the single hands described by me. Now hear about the combined hands which I am going to describe.

117-118 (B.118-112, G.118-119). i vļacumbanam svābhiprāyam āvi- skartum svahastam eva mukulitam vitas cumbantiti vițacumbanam (Ag.). 119-120 (B.120-121, G.120-121). 1 Cf. Ag's explanation of caurya- graha. 121-123 (B. 122-124, G.122-123). 123 (B.124, G.124). 124 (B.125. G.125). 125 (R.126, G.126). 126 (B.127, G.127).

182 THE NATYASASTRA [IX. 127-

127. Anjali-Putting together of the two Patāka hands is called Añjali. (Uses) : It is used to greet gods, venerable persons (guru) and friend1. 128. In greeting gods it is to be held on the head, in case of venerable persons it is to be held near one's face, and for greeting the friends it is to be placed on the breast, and in case of the remaining persons there is no fixed rule. 129. Kapota (pigeon)-The two (Añjali) hands meeting on one of their sides will make the Kapota hand. Listen about its uses. 130. (Uses) : It is to be used to indicate an approach with inimical attitude, bowing and talking to a venerable person. To indicate cold and fear, women are to hold this hand on their breasts. 131. The hands [showing the Kapota gesture] released after the meeting of fingers will indicate anxious words, or 'This much can be done' or 'Nothing more can be done.' 132, Karkata (crab)-When the fingers of the hands are interlocked the Karkata hand is produced. 133. (Uses) : It is used to indicate the bees-wax, massaging of the limbs, yawning just after awakening from sleep, a big body, supporting the chin and holding a conch-shell [for blowing it]. 134. Svastika-The two Arala hands upturned and held together at the wrists will form the Svastika. It is to be used by women. 135. (Uses) : When the hands are separated from the Svastika position, it will indicate directions, clouds, the sky, forests, seas, seasons, the earth and similar [other] extensive things.

127 (B.128, G.128). 128 (B.129b-30a, G.129). 1 B. adds one additional hemistich after this. 129 (B.130b-131a, G.130). 130 (B.131b-132a, G.131). 131 (B.132b-132a, G.132). ,182 (B.133b-184a, G.133). 133 (B.134b-135a, G.134). 134 (B.185b-136a, G.135). 135 (B,186b-137a, G.136).

-IX, 144 ] THE GESTURES OF HANDS 183

136. Katakāvardhamānaka-When one Kațakā (mukha) hand is placed on [the wrist of] another Kataka [mukha] hand the Katakāvardhamānaka hand will be produced. (Uses) : It is to be used in movements connected with love-making and in bowing [to a person] 137. Utsanga-When the Arala hands are contrarily placed and are held upturned and bent, the Utsanga hand will be the result. (Uses) : It is used to indicate the feeling of touch. 138. It is also used to indicate anything to be done with great effort, acts, of anger and indignation, squeezing [anything] and women's acts of jealousy. 139-140. Nisadha-The left hand holding the [right] arm above the elbow and the right hand similarly touching the left arm with a clenched fist will make a Nisadha hand.1 141. (Uses) : It is to indicate patience, intoxication, pride, elegance, eagerness, valour, arrogance self-conceit, haughtiness motionlessness, steadiness and the like. 142. Dola-When the two shoulders are at ease in a Karaņa and the two Pataka hands are hanging down the Dola hand is produced. 143. (Uses) : It is to be used in indicating hurry, sadness, fainting, fit of intoxication, excitement, state of illness and wound by a weapon. 144. Puspaputa-The two Sarpasirah hands with their fingers close to one another meeting on one side very closely will give rise to the Puspaputa hand.

136 (B.137b-138a, G.137). 137 (B.139, G.138). 138 (B 140, G.139). 139-140 (B 144-145). 1 G. omits this passage and 141, and read them differently, but in the foothote to lines 11-16 the definition occurs, and the uses too. B. also gives an additional definition and uses of the Nisadha in B.141 143. 141 (B.146). 1 See note 1 to 139-140. 142 (B.148, G.142). ' 143 (B.149, G.143). 144 (B.150, G.144) .. ' '145 (B.151, G.145).

184 THE NATYASASTRA [ IX. 145

145. (Uses) : It is to be used to indicate the receiving or carrying of rice, fruits, flowers and foods of various kinds and the carrying and removing of water. 146. Makara-When the two Pataka hands with their thumbs raised are turned down and, placed on each other the Makara hand is produced. 147. (Uses) : It is used to indicate lion, tiger, elephant, crocodile, shark (makara) and fish and other carnivorous animals. 148 Gajadant-The two Sarpasirah hands. touching the opposite arms between the shoulder and the elbow will give rise to the Gajadanta hand. 149. (Uses) : It is to be used to indicate the carrying of the bridegroom and the bride, excessive weight, clasping a pillar and uprooting a hill or a block of stone. 150. Avahittha-When the two Sukatundt hands meet each other on the breast and are bent and then slowly lowered, the Avahittha hands will be the result. 151. (Uses) ; It is to be used in indicating weakness, sigh, showing one's body, thinness [of the body] and longing [for a be- loved person1. 152. Vardhamana-When the Mukula hand is clasped by the Kapittha the result will be the Vardhamana hand. 153. (Uses) : By pressing one hand with the other it is used to indicate grasping, receiving, preserving, convention (or doetrine) truthfulness and abridgement. 154. Or the two Hamsapaksa hands turned down will be the known as the Vardhamana. (Uses) : It is to be used to represent the opening of objects like latticed windows. 155. The two kinds of hands (single and combined)

146 (B.152, G.146). 147 (B.153, G.147). 148 (B.154, G.148). 149 (B.155, G.149). 150 (B.156, G.150). 151 (B.157, G.151). 152-153. 1 Ms. G. of G. and da of B. read the passages as we do but B. and G. rejeet this and read them differently. 154 (B 158, G.152). 155 (B.160, G.153).

h .IX. 165] THE GESTURES OF HANDS 185

described briefly may be used elsewhere also in conformity with the rules laid down here.

General rules regarding the use of hand gestures 156. In acting, hand [gestures] should be selected for their form, movement, significance, and class according to the personal judgement [of the actor]. 157. There is no gesture (lit. hand) that cannot be used in indicating [some] idea. I have profusely described whatever forms (lit. gestures) are usually seen [to be associated with different ideas]. 158. There are besides other popular gestures (lit. hand) connected with other ideas, and they also are to be freely used along with the movements inspired by the Sentiments and the States. 159. These gestures should be used by males as well as females with proper regard to place, occasion, the play undertaken and a suitability of their meaning.

Different movements of hand gestures 160. I shall now describe the varied movements which these gestures (lit. hands) [should] have in connexion with the [different] Sentiments and States. 161-163. [These movements are] : drawing upwards, dragg- ing, drawing out, accepting, killing, beckoning, urging, bringing together, separating, protecting, releasing, throwing, shaking, giving away, threatening, cutting, piercing, squeezing and beating. 164. Hand gestures according to the theory of Histrionic Representation are to have three kinds of general movements, viz. upwards, sideways and downwards. 165. These movements of hands should at the time of their use, be embellishad by means of [suitable] expressions in the eyes, the eyebrows and the face.

156 (B.161, G.154). 157 (B.162, B.G.155). 158 (B.163, G.156). 159 (B.164, G.157). 160 (B.165, G.158). 161-163 (B.166-168, G.159 161). 164 (B.169, G.173). . 165 (B.170, G.162). 24

186 THE NATYASASTRA H{ IX: 166-

Spheres of hand gestures 166. The experts are to use the hand gestures according to the popular practice and, [in this matter] they should have an eye to their movement, object, sphere, quantity, appropriateness and mode. 167. Hand gestures of persons of the superior type should move near their forehead, that of the middling type of rersons at about their breasts while the inferior persons [should move their hand gestures in regions] below this. The quantity of gestures 168. In the superior acting, hand gestures should have scanty movement, in the middling acting medium sort of movement, while the ordinary acting should have profuse movements of hand gestures. 169. To indicate different objects and ideas the hand gestures of persons of the superior and the middling types [in such cases] should conform the definitions given [in the Sastra] while gestures of the persons of inferior type should follow the popular practice and their [own] natural habit. 170. But when [specially] different occasions or times present themselves, wise people should make different uses of the hand gestures. 171-174. While a person is to represent himself as sad, fainting, terrified, overcome with disgust or sorrow, weak, asleep, handless, inactive, drowsy, inert, sick, attacked with fever, seized with panic, attacked with cold, intoxicated, bewildered, mad, thoughtful, practising austerities, residing in a cold region, prisoner under arrest, running very swiftly, speaking in dream, suddenly moving away and cutting nails he is not to use hand gestures, but he should resort to the Represet. tation of the Temperament as well as to the change of voice suitable to the different States and Sentiments.

166 (B.171, G.163). 168 (B.173, G.165). 167 (B 172, G.164).

170 (B.175, G.167). 169 (B.174, G.166). 171-174 (B.176-179, G.168-171).

-IX. 183 ] THE GESTURES OF HANDS 187

175. At the time of verbal acting (i.e. when the actor will enunciate his part) the eyes and the look are to be directed to points at which the hand gestures are moying, and there should be proper stops so that the meaning may be [clearly] expressed (lit. seen)1. 176. The movements of hands in dancing and acting will be of five kinds, viz. palms kept upwards, downwards or oblique, fingers pointing upwards or downwards. 177. These are the hand gestures connected with the various kinds of Histrionic Representations. I shall now speak of Dance- hands (i e. gestures to be used in dance).

The Dance-hands

178. Caturasra-two Katakamukha hands held forward eight Angulis apart [from each other] on one's breast, the two shoulders and elbows on the same level. 179. Udvrtta-the two Hamsapaksa hands waved like a palm-leaf (fan). Its alternative name is the Talavrnta (palm-leaf). 180. Talamukha-the two hands from the Caturasra position to be held obliquely facing each other. 181. Svastika-the Talamukha hands crossed at the wrists; but released after this they are called Viprakirna. 182. Arālakatākamukha-the two Alapallava (Alapad- maka) hands with palms upwards changed into Padmakośa hands. Its another name is Arālakataka. 183. Aviddhavaktraka-The two hands are to have a graceful (kcutila) movement after touching [successively] the oppo- site shoulder, elbow and hands, and the palms [of the hands] moved are to turn towards the back.

175 (B.180, G.172). 1 B. repeats here 164 (B.169) 176 (B.182, G.175). 177 (B.183, G.176). 178 (B 184, G.177). 179 (B.185, G.178). 180 (B.186, G.179). 181 (B.187, G.180). 182 (B.188, G.181). 1 B.G. read after this a variant of this definition. 183 (B.190, G.183).

[ IX. 184- . : 189 THE NATYASASTRA

184. Sūcimukha-The two Sarpasirah hands with their thumbs touching middle fingers are to stretch their tips obliquely. 185. Recita - the two Hamsapaksa hands swiftly moving with the palms facing upward This is like the ordinary Recita [of the hands]. 186. Ardharecita-The left hand should be as in the Caturasra and the right hand as in the Recita. 187. Uttanavanicita-The two Tripataka hands are slightly bent obliquely and the shoulders and thelelbows are moved. 188. Pallava-the two Pataka hand joined at the wrist. Nitamba-the two Patäka hands taken out from the shoulder [to the hip]. 189. Kesabandha-the two hands moved out from the hair-knot (kes ibandha) and held on the sides. 190. Lata-the two hands to be obliquely stretched sideways. 191. Karihasta-the Lata hand held up and swung from side to side and the Tripataka hand held on the ear. 192. Pakșavancitaka-one Tripatāka hand placed on the waist and another on the head. 193. Pakşapradyotaka-the Pakşavancitaka 'hands chang- ing places (i.e. the hands placed on the waist to be put on the head and rice versa). 194. Dandapaksa-the two Hamsapakșa hands moved alternately and then held out like a staff. 195. Urdhvamandall-the two hands to have circling movement near the upper region (i.e. the upper part of the body).

184 (B.191, G.184). 1 B.G. read after this a variant of this definition. 185 (B.193, G.186). 186 (B.194, G.187). 187 (B.195, G.188). 188 (B.196, G.189). 189 (B.197, G.190). 190 (B.198, G.191). 191 (B.199, G.192). 192 (B.200, G.193). 193 (B.201, G.194), 194 (B.202; G.195): 195 (B.203, G.196).«·f'

-IX. 206 j GESTURES OF HANDS 189

Parsvamandali-the same movement made on one side. 196. Uromandali-after circling movements one hand to be raised up and the other to hang down, and movements to take place near the breast. 197. Urahpārsvārdhamaņdala-the Alapallava (Alapad- maka) and Arala hands moved by turns above the breast and on the sides. 198. Mustikasvastika-the two Katakāmukha hands bent at the wrists and moved round. 199. Nalinīpadmakośa the hands to be moved by turns with Vyavartita and Parivartita Karaņa. 200. Allapallava-the two hand to have the Udvetita Karaņa in their movements. Ulbana -- the two hands to be stretched up and waved. 201. Lalita-two [Ala]-pallava (Alapadmaka) hands to be moved above the head. Valita-the two Lata hands crossed at their elbows. 202. The Dance-hands are to be used in forming Karanas and hands such as the Pataka should be used in representing the meaning [of words]. 203. [But] sometimes, out of necessity their uses are inter- changed, and the names given are due to their predominant use in drama and dance. 204. The Dance-hands are of two kinds : single and com- bined. I shall now speak of hands in relation to the Karanas.1 The four Karanas of the hand 205-206. Instructors of hand gestures are to note carefully the four classes into which all such gestures are grouped. The four classes are : Aveștita, Udvestita, Vyavarita and Parivartita.

196 (B.204, G.197). 197 (B.205, G.198). 198 (B.206, G.199). 199 (B.207, G.200). 200 (B.208, G.201). 201 (B.209, G.202). 202 (B.210). 1 G. omits this. 203 (B.211). 1 G. omits this. 204 (B.212, G.203). 1 This Karana is evidently differently from the K. mentoned in NS. IV. 62ff. 205-206 (B.213-214, G.204-205).

190 THE. NATYASASTRA [ XI. 207-

207. Aveștita : When the fingers beginning with the first one (the forefinger) are gradually pointing inwards at the time [the hand] moves round, the Karana [thus produced] is called Avestita. 208. Udvestita : When the fingers beginning with the first one [forefingers] are gradually pointing outwards at the time [the hand] moves round, the Karana thus produced is called Udveșțita. 209. Vyavartita : When fingers beginning with the last one (the little finger) are gradually pointing inwards at the time [the hand] moves round the Karana thus produced is called Vyavartita. . 210 Parivartita : When the fingers beginning with the last one (tho little finger) are gradually pointing outwards at the time [the hand] moves round, the Karana thus produced, is called Parivartita. 211. Hand gestures in their [various] movements when applied in drama and dance should be followed by Karanas having [appropriate expression of] the face, the eyebrows and the eyes.

The movements of arms

212-213. Persons dealing in drama and dance have pres- cribed ten [movements] of arms : Tiryak, Urdhvagata, Adhomukha, Āviddha, Apaviddha, Mandala, Svastika, Afcita, Kuncita and Prsthaga. 214. O Brahmins, I have now finished the brief description of rules regarding the Karanas and shall speak afterwards about the movements of the breast, the belly and the sides.

Here ends Chapter IX of Bharata's Nātyasāstra which treats of the Gestures of Hands.

207 (B.215, G.206). 208 (B.216, G.207). 209 (B.217, G.208), 211 (B.219, G.210). 210 (B.218, G.209).

213 (B.221, G.212). 212 (B.220, G.211). 214 (B.222, G.213).

CHAPTER TEN

THE GESTURES OF OTHER LIMBS

The breast 1. The breast is known to be of five kinds : Äbhugna (slightly bent), Nirbhugna (unbent), Prakampita (shaking), Udvāhita (raised) and Sama (natural). 2. Abhugna (slightly bent)-(the breast) lowered, back high, shoulders slightly bent and at times loose (not stiff). 3. (Uses) ; in hurry, despair, fainting, sorrow, fear, sickness, broken heart, touching of cold objects, rains and being ashamed of some act.

4. Nirbhugna (unbent)-(the breast) stiff, back depressed, shoulders not bent and raised.

5. (Uses) : in paralysis, having resentment, look of surprise, assertion of truth, mentioning oneself haughtily, and excess of pride.

6. Prakampita (shaken)-the breast incessantly heaved up [and down]. 7. (Uses) : in laughter, weeping, weariness, panic, [fit of] asthma, hiccough, and misery. 8. Udvāhita (raised)-the breast raised up. (Uses) : in (representing) deep breathing, viewing some lofty [object], and yawning. 9. Sama (natural)-All the limbs being in the Caturasra and with Sausthuva the breast will be called Sama (natural).

1 (B.IX.223, G.1). 2 (B.IX.224, G.2). 3 (B.IX.225, G.3). 4 (B.JX.226, G.4). 5 (B.IX.227, G.5). 1 B.G. read after this an additionaf couplet. 6 (B.IX.229, G.7). 7 (B.IX.230, G.8). 8 (B.IX.231, G.9). 9 (B.IX.232, G.10),

192 THE NATYASASTRA [ X. 10-

The sides 10. I have properly described the variety of the breast movements. And I shall now define here the two sides. 11. The sides are of five kinds, viz., Nata (bent), Samunnata (raised), Prasārita (extended), Virvartita (turned round) and Apasrta (drawn away). 12-15. Nata (bent)-the waist slightly bent, one side slightly bent, one shoulder drawn away slightly. Unnata (raised)-The other side [on the assumption of the Nata position] will be Unnata (raised), [because in relation of it] the waist, the side, the arm and the shoulder will bc raised. Prasarita (stretched)- the stretching of the sides in their (respective) directions. Vivartita (turned round)-the Trika (sacrum) is to be turned round. Prasrta (drawn away)-the side restored to its original position from the Vivartita movement [described above]. These are the definition of the various kinds of sides. Uses of the sides 16-17. Nata (bent)-in approaching any body. Unnata (raised)-in going backwards. Prasarita (stretched)-in joy and the like. Vivartita (turned round) -in turning about. Apasrta (drawn away)-in returning. These are the uses of sides. Now listen about those of the belly The belly 18. The belly is of three kinds : Ksama (thin), Khalva (depressed), and Pūrņa (full). Of these, the thin (belly) is Ksāma, the bent is Khalva and the full belly is Pūrņa.

10 (B.IX.233, G.11). 11 (B.IX.234, G.12). 12-15 (B.IX.235-238, G.13-16). ' B reads nivartita. '16-17 (B,IX. 239-240, G.17-18). 18 (B.IX.241, G.19).

-X. 25 ] THE GESTURES OF OTHER LIMBS 193-

Uses of the belly 19-20. Kşāma, (thin) : in laughter, weeping, inhalation and yawning. Khalva (depressed) : in sickness, penance (tapas), weariness and hunger. Pūrņa (full) : in emitting breath, fatness, disease, too much eating and the like. These are the uses of the belly. Now listen about that of the waist.

The waist 21-24. The waist in dance and drama is of five kinds, viz. Chinna (turned aside), Nivrttā, (turned round), Recita (moved about), Prakampitā= Kampitā (shaken) and Udvāhitā (raised). Chinna (turned aside)-in turning the middle of the waist. Nivrtta (turned round)-in turning to the front from the reverse position. Recita (moved about)-in moving in all directions. Prakampitā (shaken)-in obliquely moving up and down. Udvāhita (raised)-in raising the two sides of the waist slowly. These are the movements of the waist. Now listen about their uses,

Uses of the waist 25-26. Chinna (turned aside) : in exercising [the limbs] hurry and looking round. Nivrtta (turned round) : in turning round. Recita (moved about) : in movements [of the general type]. Prakampitā (shaken) : in the walking of hunch-backs and persons of the inferior type.

19-20 (B.IX,242-243a, 244a, G.20-21). 1 B.G. read an additional he- mistich between 20a and 20b. 21-24 (B.IX.244b-248a, G.22-25). 1 B.G. read differently. 25-26 (B.IX.248b-250a, G.26-27), 25

194 THE NATYASASTRA [ X. 27-

Udvāhitā (raised) : in the [movement of] corpulent [persons] and the amorous movements of women.

The thigh 27-30. The thighs have five conditions, viz. Kampana (shaking) Valana (turning), Stambhana (motionlessness), Udvartana (springing up) and Vivartana (turning round). 31, Kampana (shaking)-raising and lowering of heels repeatedly. Valana (turning)-drawing the knees inwards [while going]. Stambhana (motionlessness)-suspension of movement. Udvartana (springing up)-drawing the knee inwards (ralita) and moving it. Vivartana (turning rould)-drawing the heels inwards. Uses of the thigh

32. Kampana (shaking) : in the frightened movement of persons of the inferior type. Valana (turning) : in the movement of women at ease. Stambhana (motionlessness) : in perturbation and despair. Udvartana (springing up) : in exercising [the limbs] and the Class Dance. Vivartana (turning round) : in going round due to causes like hurry. 33. Similar other [conditions of the thigh] as they are found in popular practice, may be assumed. So much about the description of the thigh. Now listen about the shank.

The shank

34-37. The shank is of five kinds, viz Avartita (turned) Nata (bent), Ksipta (throwwout), Udvahita (raised) and Parivrtta (turned back).

27-30 (B.IX.250b-253, G.28-3la). .30-32 (B.IX.254-256a, G.31b-33). 33 (B.IX.256b-257a, G.34). ' 34-37 (B.IX.257b-258a, G.35).

.X. 41 | THE GESTURES OF OTHER LIMBS 195

Avartita (turned)-the left foot turning to the right and the right [one] to the left.1 Nata (bent)-the knee bent. Ksipta (thrown out)-shank thrown out.1 Udvahita (raised)-raising [a shank] up. Parivrtta (turned back)-the turning back [of a shank]. Uses of the shank 38-40. Avartita (turned) : in the Jester's walking. Nata (bent) : in assuming Sthana (standing) and Asana (sitting) postures, Ksipta (thrown out) : in the exercise [of limbs] and the Class Dance. Udvāhita (raised) : in movements like quick (aviddha) walking. Parivrtta (turned back): in Class Dance and the like. These are the movements of the shank. Now listen about the movement of the feet.

The feet and their uses

41-50. The feet are of five kinds, viz. Udghattita, Sama, Agratalasancara, Ancita and Kuncita. Udghattita-standing on the fore part of the feet and then touching the ground with the heels. (Use) : In practice this is to follow the Udghattita Karana and this should be applied once or more in the high or medium speed. Sama (natural)-[feet] naturally placed on an even ground. It relates to representing a natural posture. (Use) : It should be kept still in representing the natural

38-40 (B.IX.262b-263a, G.39). 41-50 (B.IX.265b-270a, 273b-278a, G.42-45, 47-52). 1 B. adds three additional couplets after 45, and G. adds one additional couplet after 44. 2 B. reads sthita for ksata meaning 'wound'.

196 THE NATYASASTRA [ X.51-

position of the body in connexion with the various Karanas, but in the Recaka movement of the feet it should be moved. Agratalasancara-the heels thrown up, the big toe put forward and the other toes bent. (Uses): This [is to be used] in urging, breaking, standing posture (sthanaka), kicking, striking the ground, walking, throwing away [something], various Recaka movements and walking on the forepart [of the foot] due to an wound at the heel. Ancita-the heels on the ground, the forepart of the feet raised and all the toes spread. (Uses) ; It is to be applied in representing a movement with wound at the forepart of the foot, turning round in every way, foot being struck [by something] and in various Bhramari movements. Kuncita-the heels thrown up, toes all bent down and the middle of the feet too bent. 51. (Uses) : It is to be used in aristocratic (udatta) going, turning round to the right and vice versa and the Atikranta Cari. The Caris 52. Persons practising [the Caris] should take up simul- taneously the movements of the feet, the shanks and the thighs. [For] in the movement of feet are included all the movements of the shanks and the thighs. 53. The thighs follow the way in which the feet are moved, and these two [limbs] constitute together the Cari of the feet. 54. These are the descriptions and uses of the [various] limbs. I shall now describe the System of the [different] Carīs.

Here ends Chapter X. of Bharata's Natyasastra, which treats of the Gestures of other Limbs

51 (B.IX.278-279a, G.53). 1 B. reads after this three additional hemistichs wich define the Suci 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 Nupura. . 52 (B.IX.281, G.56). 54 (B.IX.283, G.58). 53 (B.IX.282, G.57).

CHAPTER ELEVEN

THE CARI MOVEMENTS

Definitions

1. As the Caris prescribed by rules and connected with [different] limbs relate to (vyayacchante from vya-yam, stretch out to) one another they constitute (lit. are called) a vyayama (System)1. , 2. Cari : The movement [mainly] with a single foot, is called the Cari Karana1 : The two feet moving [together] is called the Karana. 3. Khanda : A combination of the [three] Karanas is called the Khaņda. Mandala: Three or four Khandas combine to make up the Mandala. Uses of the Cari

2. From the Caris proceed dance as well as movements [in general] and release of missiles ; and [the stage] fighting [in general] should be made with the Caris. 5. Whatever has been described as Histrionic Representa- tion (natya) is included in the Caris, and no part of it can take place without the same. 6. Hence I shall described the rules of the Caris which are to be used in dance, ordinary movements and fights [on the stage]. The thirtytwo Caris 7-9. The following sixteen are the earthly (bhaumi) Caris : Samapādā, Sthitāvartā, Sakațāsyā, Adhyardhikā, Cāșagati, Vicyavā,

1 (B.X.2, G.2). 1 B.G. read one additional couplet before this. 2 (B.X.8, G 3). 1 This karana should be distinguished from that mentioned in NS. IV. 30, 34-75, 63ff, 3 (B.X.4, G.4). 4 (B.X.5, G.5). 5 (B.X.6, G.6). 6 (B.X.7, G.7). 7-9 (B.X.8-10, G.8-10).

198 THE NATYASASTRA [XI.10

Edakākrīditā, Baddhā, Urūdvrttā, Additā, Utsyanditā,1 Janitā, Syandita2, Apasyandita3, Samotsarita-matalli and Matalli. 10-12. The acrial (akasiki) Caris are sixteen in number. They are as follows : Atikrāntā, Apakrāntā, Pārśvakrāntā, Ūrdhvajānu, Sūcī, Nūpurapādikā, Dolapādā, Ākșiptā, Äviddhā, Udvrtta, Vidyudbhrantā, Alātā, Bhujangatrasitā, Hariņaplutā, Daņda and Bhramari.

The earthly Caris

13. Samapāda - the two feet close together, the nails [of the toes] meeting, and standing on the spot1. 14. Sthitāvarta-one Agratalasancara foot drawn up to cross the remaing foot and this movement repeated with another foot after separating the two. 15. Śakatāsyā-the body held upright, one Agratalasaîcara foot put forward and the breast being Udvahita. 16. Adhyardhika-the left foot on the back (i.e. heel) of the right one, the latter to be drawn away [a Tala and half a part].1 17. Casagati-the right foot put forward and then drawn back and at the same time left foot drawn back and put forward afterwards.

14. Vicyava-seperating the feet from the Samapādā posi- tion and striking the ground with their fore part. 19. Edakākriditā-jumping up and down with the Tala- sancara feet.

1 G. reads thesc names as Utspandita, Apaspandita and Spanditā and B. as Utspanditā, Syandita, and Apasyanditā. I have been taken the root syand as the basis of all these names. Mss. erratically give syand and spand. 2 see note 1 above. 8 ibid. 10-12 (B.X.11-13, G.11-13). 13 (B.X.14, G 14). ' On the appropriateness of this name Ag. writes : नन् समषादा कथं वा चारीत्याइ-स्थानसंत्रयेति यदा समपाद एव स्थानान्तरं गच्छति तदा चरणसारी भवत्येव योग्यतया तथा व्यपदैशादिति भाव :. 14 (B.X.15, G.15). 15 (B.X.16, G.16). 16 (B.X.I7, G.17). 1 The cxact measure (1} tala) is given by Ag, 17 (B.X.18, G.18). 18 (B.X:19, G.19). 19 (B.X.20, G.20).

-XI. 31 ] THE CARI MOVEMEMTS 199

20. Baddha-The sideways movement of the thighs when the two shanks are crossed. 21. Urudvrtta-the heel of a Talasancara foot placed outwards, one of the shanks to be slightly bent and the thigh turned up. 22. Addita-one Agratalasancara foot rubbing against the fore part or the back of another foot. 23. Utsyandita-the two feet to move gradually side- ways (lit. in and out) in the manner of the Recaka. 24. Janita-a Musti hand held on the breast and another hand movod round, and the feet to be Talasancara. 25. Syandita-one foot put forward five Talas away from the other. A pasyandita-the reverse of the Syandita Cari (i.e. another foot being put forward five Talas away from the other). 26. Samotsarita-matalli-going back with a circular move- ment and the feet being of the Talasancara kind. 27. Mattali-going back with a circular movement and hands being Udvestita and motionless. 28. These are the Caris used in pesonal combat as well as in the Karanas. I shall now describe the aerial Caris.

The acrial Caris

29. Atikranta-a Kuncita foot thrown up, put forward and caused to fall on the ground. 30. Apakrāntā-the Valana posture of the two thighs, a Kuncita foot raised and thrown down sideways. 31. Parsvakranta-one foot Kuncita and another thrown up.and brought near the side.

20 (B.X.21, G.21), 21 (B.X.22, G.22). 22 (B.X.23, G.23). 23 (B.X,24, G.24). 24 (B.X.25, G.25). 25 (B.X.26, G.26). 26 (B.X.27, G.27). 27 (BX.28, G.28). 28 (B.X.29, G.29) 29 (B.X.30, G.30). 30 (BX.31, G.31). 31 (B.X.32, G.32).

200 THE NATYASASTRA [ XI. 32-

32. Urdhvajanu-throwing up a Kuncita foot and its knee brought up to the level of the breast, and the remaining knee with- out movoment and then this second foot thrown up in the manner of the first, and the first foot kept motionless. 33. Suci-a Kuncita foot thrown up and brought above the knee of the remaining foot and then to let it fall on its fore part. 34. Nūpurapādika-one Ancita foot raised up and taken behind another foot and then quickly caused to fall on the ground. 35. Dolapada-one Kuncita foot thrown up and moved from side to side and then caused te fall on the ground as an Ancita foot, 36. Aksipta-one Kuncita foot thrown off and then placing it quickly on an Ancita foot by crossing the shank of the remaining leg. 37. Aviddhā-one Kuiicita foot from the Svastika posi- tion stretching and falling on the ground quickly as an Ancita foot. 38. Udvrttā-the (Kuncita) foot of the Aviddha Cari taken round [the thigh of the remaining leg] and thrown up and then caused to fall [on the ground]. 39. Vidyudbhranta-one foot turned to the back and after touching its top part to be stretched and the head moved in a circle. 40. Alāta-one foot stretched backwards and then put in and afterwards caused to fall in its heel. 41. Bhujangatrasita-one Kuncita foot thrown up and the waist and the knee being turned round and the thigh [of the remaining foot] to be turned round too. 42. Hariņaplutā-the foot in the Atikrāntā Cāri to be caused to fall on the ground after a jump and the shank of an Ancita foot to be put in the Ksipta posture.

32 (B.X.33, G.33). 35 (B.X.36, G 36). 33 (B.X.34, G.34). . 34 (B.X.35, G.35). 37 (B X 38, G.38). 38 (B.X.39, G.39). 36 (B.X 37, G.37). 39 (B.X.40, G.40). 41 (B.X.42, G.42). 40 (B.X.41, G.41). 42 (B.X.43, G.43).

.XI. 53 ] THE CARI MOVEMENTS 201

43. Dandapada : the foot in the Nupura- [padikā] Cārī to be stretched and quickly to turn. 44. Bhramari : the foot in the Atikranta Cari to be thrown up and the entire body turned round (lit. the Trika turned round) and then the second foot to be moved on its sole. 45. These are the acrial Caris, consisting of graceful movements of the limbs. These are to be applied in the relcase of weapons like an arrow and the thunderbolt (vajra). 46. O Brahmins, in all these cases the two hands should, according to the circumstances, either precede, go simultaneously with or follow the feet. 47. Where the foot [moves], there the hand [should follow] and where the hand [moves], there the entire body. [Hence] after taking a step, all the minor limbs should be made use of. 48. When in course of a Cari a foot comes to rest on the ground the [corresponding] hand should be moved round and brought on the waist. 49. I have fiinished describing the Caris consisting of grace- ful movements of the limbs. I shall now speak of the Sthanas (standing posture) to be used in the release of missiles of all kinds.

The Sthanas

50. The six Sthanas (standing posture) for men are Vaișņava, Sampāda, Vaišākha, Maņdala, Alīdha, and Pratyālīdha. 51-52. Vaisnava-the feet two Talas and a half apart, one foot in the natural posture and another obliquely placed with toes pointing sideways and the shank bent (ancita) and limbs with the Sausthava. Visnu is the presiding deity of this Sthana. 53. (Uses) : From this Sthana persons of the superior and the middling types should carry on their ordinary (lit. natural) conversation in connexion with the various duties.

43 (B.X.44, G.44) 44 (B.X 45, G.45). 45 (B.X.46, G.46). 46 (B.X.47, G.47). 47 (B.X.48, G.49). 48 (B.X.49, G.49). 49 (B.X.50, G.50). 50 (B.X.51, G.51). 51-52 (B.X.52-53, G.52-53). . 53 (B.X.54, G.54). 26

202 THE NATYASASTRA [ XI. 54-

54. It should also be assumed in throwing a disc, holding a bow, in patient and stately movement of the limbs and in anger. 55-57. On being reversed it is to be used in anger of love. And similarly in the administration of rebuke, and in love, distress, apprehension, envy, cruelty, assurance, and recollection, it is to be assumed when the Erotic, the Marvellous, the Odious and the Heroic Sentiments are prominently introduced. 57-58. Samapada-the feet in the natural posture and kept one Tala apart and the body with the natural Sausthava. Brahman is its presiding deity. 58-60. (Uses) : It should be assumed in accepting blessings from the Brahmins1, and in mimicking birds. The bridegroom at the marriage ceremony, persons in the sky, chariot and acrial car (vimāna), persons2 of marked sects (lingastha) and persons practis- ing vows are also to assume this. 60-62. Vaisakha-the two feet three Talas and a half apart and the thighs without motion ; [besides this] the two feet to be obliquely placed pointing sideways. Kārtikeya (Skanda) is its presiding deity. 62-64. (Uses) : This Sthana should be assumed in riding horses, and in exercise, exit [from any place], mimicking large birds, practice of bending the bow and in the Recakas [of the feet]. 64-65. Mandala : It relates to Indra (i.c. its presiding deity is Indra). In it the feet are four Talas apart and they are obliquely placed and turned sideways, the waist and the knee are in the natural position.

54 (B.X. 55, G.55). 55-57 (B.X.56-58, G 56-57), 57-58 (B.X.58-59, G.58). 58-60 (B.X.59-61, G.59-60). 1 vipramaigala-viprail yan manga- lāsirvacanūdi (Ag.). 2 lingasthān-saivūdyāh vratasthā urdhvakāyādi prajnangah (?) (Ag.). 60-62 (B.X.61-63, G.61-62). 62-64 (B.X.63-65, G.63-64), 64-65 (B.X.65-66, G.65).

-XI. 74 ] . THE CARI MOVEMENTS . 203

65-66. (Uses): The Mandala Sthana should be assumed in the use of weapons like the bow and the thunderbolt, riding of elephants, and mimicking large birds. 66-67. Alidha : The right foot in the Mandala Sthana drawn five Talas apart [from the other foot] will make the Alidha Sthana. Rudra is its presiding deity. 67-69. (Uses) : This Sthana should be assumed in all acts relating to the Heroic and the Furious Sentiments, duel of wrestlers and in the representation of enemies, an attack [on them], and release of missiles. 69-70. Pratyalīdha : When the right foot is bent and the left foot is put forward in the Alidha Sthana the Pratyālidha Sthana will be produced. 70-71. (Uses) : The missiles made ready for throwing from the Alidha Sthana are to be [actually] thrown from the Pratyalidha Sthana. The actor should use various weapons from this Sthana.

The four Nyayas in using weapons 71-72. There are four Nyayas (ways) of using weapons (lit. releasing missiles), viz. Bharata, Sattvata, Vārsaganya, and Kaiśika. 72-78. In the Bharata [Nyaya the weapon] should strike (lit. cut) at the waist, in the Sattvatta at the foot, in the Varsaganya at the breast and in the Kaisika at the head. 73-74. In these Nyayas arising out of the various Caris, the actors should walk about [on the stage] at [the time of] using weapons. 74-75. The Nyayas (way) are so called1 because fights [on the stage] are niyante (carried on) with the Angaharas relating to the Nyiyas and arising out of them.

65-66 (B.X.66-67, G.66). 66-67 (B.X.67-68, G.67). 67-69 (B.X.68-70, G.68-69). 69-70 (B.X.70-71, G.70). 70-71 (B.X.71-72, G.71). 71-72 (B.X.72-73, G.72), 72-73 (B.X.73-74, G.73). 73-74 (B.X.74-75, G.74). 74-75 (B.X.75-76 G.75). 1 prakirtitah B. reads pravartitah.

204 THE NATYASASTRA [ XI. 75-

75-79. Bharata : Putting forward the shield with the left hand and taking the sword (lit. weapon) the actor should walk about on the stage. Stretching the hand forward fully and then drawing it back he should move the shield at his back from side to side and flourish the sword (lit. weapon) around his head, and it should also be turned round [about the wrist] near the cheek. And again the hands holding the sword and the shield should be flourished gracefully around the head. 80-81. Sāttvata : I shall now speak of walking about in the Sattvata Nyaya. In it the same flourishing (i.e. as in Bharata) of the sword and the shield holds good, but this (the flourishing of the weapon) should take place at one's back. 81-82. Varsaganya. The walking about in the Vārsaganya Nyaya will be similar to that in the Sattvata, and the sword (lit. weapon) and the shield also should be flourished similarly, but these should go round the head. 83-84. Kaisika : The flourishing of the sword (lit. weapon) near the breast or the shoulder which is to take place in the Bharata [Nyaya] will hold good in case of the Kaisika. But [in the latter] the sword (lit. weapon) should be made to strike only after being flourished over the hcad. 84-85. With these graceful movements of the limbs weapons like the bow, the thunderbolt and the sword are to be flourished at the time of their use. 85-87. In the stage-fight there should be no [actual] pier- cing, cutting or flow of blood and the actual striking. The use of weapons (lit. release of missiles) should be done with its mimicry, or the cutting off [of any one's limb] should be represented, according rules, by the use of gestures and postures only. 78-88. The exercise should be performed in the Angaharas

76-79 (B.X.76-80, G.76-80). 80-81 (B:X.81-82, G.80-81). 81-82 (B.X.82-83, G.82-83) 83-84 (B.X.84-85, G.83-84). 84-85 (B.X.85-86, G.85). 85-87 (B.X.76-88, G.76-87). .87-88 (B.X.88-89, G.88). ' B.G. read one additional couplet after this.

-XI. 94 ] THE CARI MOVEMENTS 205

embellished with the Sausthava and accompanied by music with [proper] tempo and Tāla. The Sausthava 88-91. Those performing the exercises [ in Angahāras] should take care of the Sausthava, for the limbs without it (Sausthava) create no beauty (lit. do not shine) in drama or dance. The Sausthava of limbs is to be presented by being still, unbent, at easc, not very upright and not much bent. When the waist and the ears as well as the elbow, the shoulder and the head are in their natural position (sama) and the breast is raised it will be the Sausthava [of the body].1 The Caturasra 91-92. Caturasara : The Vaisnava Sthana with the two hands moving about at the waist and the navel together with the breast raised, is called the Caturasra of the limbs. The four acts relating to the bow

92-93. There are four acts relating to the bow, viz. prepar- ing (parimarjana), taking an arrow (ādāna), taking an aim (san lhana) and shooting (moksuna). 93-94. The preparing (parimarjana)1 is the bending [of the bow], taking (gralana) is the pulling out of [the arrow], taking an aim (sandhana) is to put the arrow to the bow, and shooting (moksana) is the release [of the arrow]. The method of exercise 94-95. : One should perform exercise [in the Angaharas and Caris] on the floor as well as [high up] in the air and should have beforehand get one's body massaged with the [sesamum] oil or barely gruel.

88-91 (B.X.89b, 91-93, G.89b 90-92). 1 B.G. read one additional ceuplet after this. 91-92 (B.X.94-95, G.94). 92-93 (B.X.95-96, G.95). 93-94 (B.X.96-97, G.96). 1 G. reads sammārjana. 94-95 (B.X.97-98, G.97).

206 THE NATYASASTRA [ XI. 95-

95-90. The floor is the proper place (lit. mother) for exercise. Hence one should resort to the floor, and stretching oneself over it one should take exercise.

Health and nourishment of persons taking exercise 96-99. For the strength of body one should take [proper] snuff and get oneself purged [lit. resort to the rule regard- ing the abdomen], take agreeable food, [meat-] juice and drink. For vitality is dependent on one's nourishment and the exercise is dependent on vitality. Hence one should be careful about one's nourishment. When the body is not cleansed and one is very tired, hungry, thirsty, has drunk too much [water], eaten too much, one shonld not take exercise. The wise [teacher] should give training in exercise to his pupil who has a graceful body and square breast and is not covered with [much] garment. 100. These are the rules regarding the Caris in connexion with the exercise of [the limbs]. I shall hereafter speak of the different Mandalas.

Here ends Chapter XI of Bharata's Natyasāstra which treats of the Rule of Caris.

95-96 (B.X.98-99, G.98). 96-99 (B.X.99-102, G.99-102). 100 (B.X.103, G.103).

CHAPTER TWELVE

THE MANDALA MOVEMENTS

The Mandalas

1. I have now properly described the Caris in connexion with the use of weapons (lit. release of missiles). [Now] learn 'about the Mandalas arising out of a combination of the Caris. 2-3. The aerial Mandalas are : Atikranta, Vicitra, Lalita- sancara, Sūcividdba, Daņdapāda, Vihrta, Alāta, Vāmaviddha, Lalita and Krantal. 3-5. The earthly Mandalas are Bhramara, Askandita1, Āvarta, Samotsarita, Edakākrīdita, Ad lita, Sakațāsya, and Cāsagata. [Now] listen about their description.2

The aerial Mandalas 6-9. Atikrānta-the right foot [to be moved successively] in the Janita Cari and [the Sakațasya Cari in which the breast is] Udvahita, the left foot in the Alata Cari and the right foot in the Parsvakranta Cari. (next) the left foot in the Suci Cari and the right foot in the Apakrānta Cāri, [again] the left foot [successively] in the Suci Cari and [the Bhramari Cari by] turning the Trika1, (then) the right foot in the Udvritta Cari and the left foot in the Alāta Cāri which should be changed (lit. divided) to the Bhramari Cari, again this left foot in the Alata Cari and the right foot in the Daņdapādā Cārī. 10-13. Vicitra-the right foot [successively to be moved] in the Janita Cari and in the Talasancara1 (Nikuttana), manner

1 (B.XI.1, G.1). 2-3 (B.XI.2-3, G.2-3). 1 B. adds one additional hemistich after this. 3-5 (B.XI.4-6, G.3-5). 1 Mss. sometimes gives this name as āspan- dita which seems to be a corruption for askandita. Sce the Cari of this name XI. 7-9. 2 B. reads 5b. differently. 6-9 (B.XI.7, 8b-11, G.6-2). 1 See Ag. 10-13 (B,XI,11b-12a, 13a, 13-15, G.10-13). ' See Ag.

208 THE NATYASASTRA [ XII. 14-

(then) the left foot in the Syandita Cari, the right foot in the Pārs- vakrāntā Cārī2, (again) the left foot in the Bhujangatrasitā Cari and the right foot [successively] in the Atikrānā and Udvrttā Cārīs, (next) the left foot in the Suci Cari, the right foot in the Viksitpa (Akșiptā) Cārī and the left foot in the Apakrāntā Cārī. 14-17. Lalitasancara-the right foot with the knee raised [to move] in the Sūci Cāri, (next) the left foot in the Apakrānta Cari and the right one in the Parsvakranta Cari (again) the left foot [successively] in the Suci and the Bhramari Casis [this latter by turning round the Trika] and the right foot in the Parsvakranta Cari and the left foot in the Atikranta Cari which to be changed (lit. divided) into the Bhramari Carī1. 18-19. Sucividdha-the left foot [to be moved] in the Suci and the Bhramari Caris [the latter by turning the Trika round], the right foot in the Parsvakranta Cari the left foot in the Atikranta Cari, next the right foot in the Suci, the left foot in the Apakranta Crai and the right foot again in the Parsvakranta Cāri. 20-22. Dandapada-the right foot to be moved in the Janita and the Dandapada Caris, the left foot in the Suci and the Bhramari Caris [the latter by turning the Trika], (next) the right foot in the Urudvrtta Cari and the left foot in the Alata Cari, (again) the right foot in the Pārsvakranta Cari and the left foot [successively] in the Bhujangatrasta and the Atikrāntā Cāris to meet the right foot in the Dandapada Cari and the left foot [successively] in the Suci and the Bhramari Caris [the latter by turning the Trika]. 23-26. Vihrta-the right foot [to be moved] in the Janita Cāri (then) its Nikuttana, (next) the left foot in the Syanditā Cari and the right foot in the Urudvrtta Cari, (then) the left foot in the Alata Cari and the right foot in the Suci Cari, again the left

• B. reads one additional hemistich after 10. 14-17 (B.XI.16-17, 19, G.14-16, 18). 1 B.G. reads one additional couplet after 16. . 18-19 (B.XI.20-21, G.19-20). 20-22 (B.XI-22-24, G.21-23). 23-26 (B.XI.25-28, G.24-27).

-XII.38 ] THE MANDALA MOVEMFNTS 209

foot in the Parsvakranta Cari and the right foot in the Akșipta and the Bhramari [this by turning the Trika] and the Dandapāda Carīs, (then) the left foot in the Sūci and the Bhramari Caris [the latter by turning the Trika] again the right foot in the Bhujanga- trasita Cāri and the left foot in the Atikrāntā Cāri. 27-29. Alata-the right foot [to be moved] in the Sūci Cāri and the left foot in the Apakranta Cari, then the right foot in the Parsvakranta Cari and the left foot in the Alata Cari, after moving by turn in the these [two] Caris six or seven times with graceful steps, again the right foot in the Aprkranta Cari and the left foot [successively] in the Atikranta and the Bhramari Caris. 30-33. Vamaviddha-the right foot [to be moved] in the Suci Cari, the left foot in the Apakranta Cari, (then) the right foot in the Dandapada Cari and the left foot in the Sūci Cari and right foot in the Bhramari [this by turning the Trika] and the Parsva- kranta, Carīs, (next) the left foot in the Aksipta Cari and the right foot in the Dandapada and the Urudvrtta Caris, (then) the left foot [successively] in the Suci, the Bhramari [this by turning the Trika] and the Alata Caris, (next) the right foot in the Prasvakranta Cari and the left foot in the Atikranta Cāri. 34-37. Lalita-the right foot [to be moved] in the Sūci Cari and the left foot in the Apakranta Cari, (then) the right foot in the Parsvakranta and the Bhujangatrasita Caris, (then) the left foot in the Atikranta Cari and the Urudvrtta Caris the left foot and the Alata Cari, and the right foot in the Parsvakranta Cari, next the left foot in the Atikranta Cari with graceful steps. 38-40. Kranta-the right foot [to be moved] in the Sūci Cari and the left foot in the Apakranta Cari, then the right foot in the Parsvakranta Cari and the left foot too in the same Cari (Pars- vakrama), moving round alternately in these Caris in all directions, again the left foot in the Suci Cari and the right foot in the

27-29 (B.XI.29-30, 31b-32a, G.28-30). 30-33 (B.XI.32b-36a, G.31-34). 34-37 (B.XI 36b-37a, 38-40a, G.35-37). 1 G. omits 35a and 36b. 38-40 (B.XI.40b-43a, G.38-40). 27

210 *THE NATYASASTRA [ XII. 41-

Apakranta "Cāri. This Mandala is prescribed for the natural gait. Hence it is called Krānta i.e. going. 41. These are the aerial Mandalas. Now T shall describe those on the earth.

The earthly Mandalas 42-44. Bhramara-the right foot [to be moved] in the Janita Cari and the left foot in the Skandita (Askandita) Cari, then the right foot in the Sakatasya Cari and the left foot to be stretched, (next) the right toot in the Bhramari ('ari [by turning the Trika], again the left foot in the Skandita (Askandita) Cari and the right foot in the Sakatasya Cari, then the left foot in the Apakranta (Apasarpi) Cari and the Bhramari Cari by turning about the back. 45-47. Askandita-the right foot [to be moved] in the Bhramari Cari and the left foot in the Addita and the Bhramari Caris [the latter by turning the Trika], then the right foot in the Urūdvrtta Cari and the left foot in the Apakranta (Apasarpit.) and the Bhramari Caris [the latter by turning the Trika then] the right foot in the Skandita Cari, (next) the left foot in the Sakatasya and the same foot to violently strike the ground. 48-50. Avarta-the right foot [to be moved] in the Janitā Cari and the left foot in the Talasancara (Nikuttaka) Cāri, then the right foot in the Sakatasya and the Urudvrtta Cari, (next) the right foot foot the Atikranta (Apasarpi) Cari turning backwards and the Cașagati Cari, then the right foot in the Skandita (Askandita) Cari and the left foot in the Sakatasya Cari, again the right foot in the Bhramari Cari with the Trika turned round, and the left foot in the Apakrāntā (Apsarpi) Cārī. 51-53. Samotsarita-assuming first of all the Samapāda Sthana, then stretching the two hands with their palms turned upwards, (next) their intermittant Avestana and Udvestana move- ments, [then putting the left hand] on the waist, the right hand moved in the Avartita manner [next the right hand to be put on

. 41 (B.XI.43b-44a, G.41). 42-44 (B.XI.44b-47a, G.42-44). 45-47 (B.XI.47b-50a, G.45-47). 48-50 (B.XI50b-53a, G.48-50). 51-58 (B.XI.53b-56a, G.51-53).

.XII. 63] THE MANDALA MOVEMENTS 211

on the waist] and the left hand moved in the Avartita manner, moving round alternately with this Cari will rise to the Samotsa- rita Maņdala. 54-55. Edakakrīdita-the two feet on the ground [to be moved successively] in the Suci and the Edakakrīdita Carīs, (next) the swift moving Bhramari Cari by turning the Trika, (then) mov- ing [the feet] round alternately in the Suci and the Aviddha Caris. This will give rise to the Khanda-mandala named Edakākrīdita. 56-58. Addita-the right foot [to be moved] in the Udghattita manner and then [simply] moved round, next [to be moved] in the Syandita (Asyandita) Cari and the left foot in the Śakatāsya Carī, next the right foot to be moved backwards in the Apakrāntā (Apasarpi) and the Casagati Cāris, (then) the left foot in the Addita Cari and the right foot in the Apakranta (Apasarpita) Cari. (next, the left foot in the Bhramari Cari and the right foot in the Syandita (Asyandita) Cari and to violently strike the ground.1 59-60. Śakatāsya-The right foot [to be moved] in the Janita Cari and next it to move in the Talasañcara (Nikuttaka) manner, the same foot in the Sakatasya Cari and the left foot in the Syandita (Asyandita) Cari, moving ronnd in this manner alternately with the Sakatasya Cari. This Cari Mandala named the Sakatasya is to be used in fight. 61-62. Adhyardha-the right fooot [to be moved succes- sively] in the Janita and Syandita Caris, then the left foot in the Apakranta (Apasarpita) Carī and the right foot in the Sakatāsy. Cari. Moving around alternately in these Caris, will be the Cari Mandala named the Adhyardha to be used in personal combat. 63-64. Pistakutta-The right foot [to be moved] in the Suci Cari and the left foot in the Apakranta [then] the right foot in

54-55 (B.XI.56b-58a, G.54-55). 1 This khandamandala seems to be another name for edakakridi ta. 56-58 (B.XI.58b-6la, G.56-58). 1 āsphoțana-padatalena bhumi- tādana (Ag.). 59-60 (B.XI.61b-63a, G.59-60). ' 61-62 B.XI.63b-65a, G.61-62). 63-64 (B.XI.65b-67a, G.63-64).'

212 THE NATYASASTRA [ XII. 65-

the Bhujangatrasita Cari and the left foot too in the same Cāri. Thus going round in the Bhujangatrasita Cari is known as the Cāri Mandala named the Pistakutta known to be used in personal combat. 65, Casagata-Going round with feet in the Casagata Cāri is called the Cāri Mandala named Cașagata. It to be used in per- sonal combat. 66. Here I have described in brief the Mandalas arising out of the various Caris. Now I shall describe the Sama Caris. 67. The use of the Sama Caris are known as Sama Manda- las. [An actor] using them is to follow the instruction of the master actor (ācāryabuddhi). 68. These Mandalas to be used in fight aud personal combat, are to be performed with sportiveness and graceful move- ments of limbs, and should be accompanied by [suitable] instrumen- tal music.

Here ends Chapter XII of Bharata's Natyasastra, which treats of the Rules about the Mandalas.

65 (B.XI.67b-68a, G.65). 66 (B.XI.68b-69a, (.66). 67 (B.XI.69b-70a, G.67). 68 (B.XI.79b-7la, G.68).

CHAPTER THIRTEEN

THE DIFFERENT GAITS

1. So much about the formation of the Mandalas by a combination of the Systems of Cāri (carī-vyāyāma). I shall here- after describe the Gaits suitable for (lit. existing in) different characters [in a play].

Entrance. of dramatis personae

2-3. After the Upavahana in accompaniment of drums and other musical instruments has been performed by observing Kalās suitable to the Marga [adopted in it], and the Dhruvās [to be sung] at the entrance of dramatis personae, have commenced and the curtain has been drawn away, the actors who are to develop the Sentiments in the various items [of a play] should enter (lit. be made to enter) the stage.

Posture for superior and middling characters at the entrance

4-7. In case of characters of the superior and the middling types [the actor] should assume the Vaisnava Sthana, his breast being raised, Sama and Caturasra, shoulders at rest and not raised very much, the neck as graceful as that of a peacock, the shoulders eight Angulas apart from the ears, the chin four Angulas apart from the breast, and the two hands (the right and the left) respectively at the navel and at the left waist.

The interval of their feet

8-9. [In the posture described above] the interval between the two feet [of the actor] should be two Talas and a half. Steps

1 (B.XII.1, G.1). ' On the Gait Ag. says : "The Gait is to be pres- cribed with a view to the person, Sentiment, situation, place and occasion". 2-3 (B.XII.2-3, G.2-3). 1-It seems that upavahana gave rise to upohana(Pkt.) which afterwards was adopted in its place ; for upohana see Ns. (Ch) XXXI. 235ff, It is defined by Ag. as follows : upohyante samāsa-vyāsatah padakalātālasamabhihitāh svarā yasminn ange tat tathoktam (I.p.186). 47 (B.XII.4-7, G.47). 8-9 (B.XII.8-9,G.8-9).

214 THE NATYASASTRA [ XIII. 9-

that he will take should according to his own measure [of the hand] . be four or two Talas or one Tala wide. 9-10. In case of [characters such as] gods and kings the steps should be four Talas wide, of the middling [type of charac- ters] two Tolas, and of women and persons of the inferior type one Tala wide.

The time for their steps 10-11. [And the time required for the steps should be] four or two Kalas or one Kala only. [Steps] of the superior [characters] should take four Kalas, those of the middling type two Kalas and those of the inferior type one Kala only. The tempo of their Gait 12. An expert in the theatrical art should apply three kinds of tempos-slow, medium and quick-to the Gait [of different characters] according to their nature. 13. The Gait of the superior [characters should be] slow, . that of the middling [ characters should have] the medium [tempo, while the Gait of] the inferior [characters should be] quick and copious. [Thus] should be applied the three tempos according to the spirit [of the different characters]. 14. So much about the rules regarding the timing and tempo [of the steps]. O the sinless ones, listen now about the manner of taking steps [suitable to different characters]. The natural .Gait 15. In his natural [Gait] a superior [character] is to raise his knee up to the height of the waist and in case of Caris to be used in fighting the same (i.e. the knee) is to be raised up to the height of the breast. 16-19. With the graceful steps of the Pārsvakranta Cari and

9-10 (B.XII.9-10, G.9-10). 10-11 (B.XII.10-11, G.10-11). 12 (B.XII.12, G.12). ' B. reads layam budhah 13 (B.XII.13, G.13). ' sattvam-cittavrtti h (Ag.). 14 (B,XII.14, G.14). 16-19 (B.XII.16-19, G.16-19). . 15 (B.XII.15, G.15). .

.XIII. 24 ] THE DIFFERENT GAITS 215

in accompaniment of instrumental music he should go five uniform steps, towards the corner of the stage and then he should move in the Suci Cari by putting forward his left foot first and the right foot afterwards. Then turning round he should go [five similar steps] towards the second corner of [of stage] and then move in the Suci Cari by putting forward his left foot first and the right foot afterwards. Next time he should [again turn round and] go [five similar steps] towards the musical instruments and then again move in the Suci Cari by putting forward his left foot first and the right foot afterwards. Thus his movement will consist of twentyone steps. 20. In an oblong stage the actor (bharata) should make elaborate foot movements (lit. coming and going by foot-steps), but in square and triangular stages such movements should respectively be of the Caturasra and the Tryasra types. 21. When [a character] is walking along with his equals,. the tempo [of his Gait] will be [according to his own rank in terms] of four or two Kalas or of one Kala. 22. But when any one is walking accompanied by persons of the middling and the inferior types [the tempo of the Gait of the group] will be in terms of four and two Kalas and one Kala. 23. The wise actors should make the steps four Talas wide in case of gods, Danavas Pannagas (Nāga), Yaksas, kings, and Rākșasas. 21. All [other] dwellers of the heaven1 will have steps of medium [width]. But those among them who are haughty2 should have Gait similar to that of the gods.

' See V. 70-71. 2 vedhah-parsniksetre sucipadanipatal (Ag.). 20 (B.XII.20, G.20). 21 (B.XII.21, G.21). 22 (B,XII.22, G.22). 23 (B.XII.23, G.23). 'B.G. reads here daitya instead of deva (god). 24 (B.XII.24, G.24). 1 By such dwellers devadutas are meant (Ag.). 2 mataliprabhrlayah (Ag.). .

216 THE NATYASASTRA [X, 25-

Gait of kings

The sages .question : 25-28. "If the kings are human beings why should they have a Gait similar to that of the gods ?" It is said [in reply], "Why should not the kings have Gait suitable for these (i.e. gods) ? In drama the characters [are of three kinds, viz.] divine, semi- divine (lit. divine-human) and human. Of these, the nature of gods is divine, that of the kings is semi-divine and that of the others is known to the people as human. For the kings have been described in the Vedas and the Vedānta (Upanișad)1 as being made up (lit. born) of the parts of [different] gods. Hence there cannot be any fault in kings imitating the gods." 29. This is the rule of the Gait in ordinary walking, but for Gaits in cases of hurry, insanity and anger the rule about its measure will not apply.

Gait under special conditions

30. [In those cases] the producers of plays are to apply to all the different characters, superior, middling and inferior, Gaits as modified by their peculiar condition. 31. Their Gaits should be of the duration of half of four Kalas or half of that (i. c. two Kalas) on attaining conditions other than the normal ones. 32. [The relative position of the different characters as regards the timing of their Gaits is as follows]: While a superior [character] will have a Gait of four Kalas, a middling [character] is to have that of two Kalas aad an inferior [character] of one Kalā. 33. When a middling character will have a Gait of a Kalā, an inferior character is to have that of half a Kala. Thus one should make [in different Gaits under special conditions) a reduction of Kalās.

25-28 (B.XII.25-28, G.25-28). 1 vedādhyātmasu=vedeşu tathā adh yālmasāstresu vedāntesu (Ag.). 29 (B.XII.29, G.29). 30 (B.XII.30, G.30). 31 (B.XII.31, G.31). 32 (B.XII.32, G.32) .. 33 (B.XII.33, G.33). ' G. read 33 a differently.

-XIII. 45 ] THE DIFFERENT GAITS 217

34. The Gait of superior persons is not to be applied to that of the middling type, and the Gait of the middling characters is not to be applied to that of the inferior type.1 Tempo of Gaits under special conditions 35-37. In case of an attack of fever, hunger, fatigue, due to austerities, [excessive] terror,1 dissimulation, uneasiness, love [in separation], sorrow and in the sick persons' walking the Gait should be of slow tempo lasting more than four Kalas. But in case of anxiety the Gait should be of four Kalas' [duration].2 37-40. In case of concealed (lit. uneasy) love, panic, fright, agitation, joy, hurried action, hearing of unwelcome news, hanghti- ness or insult, sight of porentuous objects, urgent work, distress, search for enemies, pursuit of an offender and pursuit by a ferocious animal, the wise [actor] should have Gaits with steps of two Kalās' [duration].

Gait in the Erotic Sentiment

41-44. The Gait in ordinary love-making should be graceful. [The lover] is to enter the stage with the female Messenger (duli] showing the way. He is to act his part (lit. meaning connected with the play) by means of the Suca1. He should be adorned with lovely garments, perfumes, ornaments2 and garlands of various sweet-scenting flowers. He should walk with graceful steps in the Atikranta Cari, and his limbs should have the Sausthava, and he should move with proper tempo and Tala. His hands should always follow the feet. The former should be raised along with the falling of the latter and with the raising of the latter the former should fall (lit. vice versa)8. 45-48. Now listen about the Gait in case of concealed love. After dismissing his servants (lit. men) the lover is to walk

34 (BXII.39b-40a, G.34). 35-36 (B.XII.34-35, G.35-36). 1 vismaye G. viksate. 2 G. omits 37a. 37 (B.XII.34-36a, G.35-36). 37-40 (B.XII.26b-39a, G-37-39). 41-44 (B.XII.40b-44, G.40b-44a). See NS. XXIV.43. 2 Road hrdyair gandhair tatha vastrair alamkarais ca. 3 G. omits 44b, 45-48 (R.XII.45-48a, G.44b-47), 28

218 THE NATYASASTRA [ XIII. 48-

[at night] along with the female Messenger as his guide. He is to put out the lamp. He is to be dressed in [simple] clothes suited to the time day and is to not make his toilet elaborately. In making love secretly a person is to walk with slow and silent steps, and from [any] sounds [heard at the time] he is constantly to look around and tremble in his body and to have a faltering Gait.

Gait in the Terrible Sentiment 48-54. [In treating the Gait] in the Terrible Sentiment I shall speak only with regard to Daityas, Raksasas and Nāgas. O Brahmins, the Terrible Sentiment only is dominant in their case. And this Terrible Sentiment is of three kinds, viz. Terrible in make-up, Terrible in limbs and Terrible by nature. [An ex- ample of] the Terrible in make-up is [a Rākșasa] with his body dripping in blood, mouth moistened with it and having pieces of flesh in the hands. An example of the Terrible in limb is a very tall [Rākșasa] with a prodigious physical frame, many heads, and many hands holding weapons of various kinds. And an example of the Terrible by nature, is a person with red eyes, tawny hair, black complexion and rough voice and a person who is always scolding [others] and who stands with feet four Talas apart and take steps four Talas wide. This is the Gait which [characters] resembling them are to have. Gait in the Odious Sentiment 54-56. The Gait [of a person walking] on the ground which is either a place of cremation or a place gruesome on account of a battle [having taken place there] should be used in acting in connexion with the Odious Sentiment. The feet in the Edakākriditā Cari falling in quick succession sometimes close to and sometimes wide apart from each other, with the hands following them, will constitute the Gait in the Odious Sentiment.

Gait in the Heroic Sentiment 57. The Gait in the Heroic Sentiment should consist of swift footsteps in the various Cāris.

· 48-54 (B.XII.48b-54, G.48-53). 54-56 (B.XII.55-57a, G.54-55). ° 57 (B.XII 57b-57a, p145, G.56).

.XIII. 67 ] THE DIFFERENT GAITS 219

58. In case of mental excitement the Gait should consist of footsteps of proper Kalā and Tāla (kāla) in the Pārśvakrāntā, Aviddha and Sūci Cārīs.

Gait in the Marvellous and the Comic Sentiments

59-60. These are the Gaits prescribed for the superior characters. I shall now describe the Gait for the middling and the inferior characters. In their astonishment and joy they are to take swift and short steps in all directions, and in their laughter too they are to take to this and similar foot movements.

Gait in the Pathctic Sentiment 61-63. The Gait in the Pathetic Sentiment should be in slow tempo [and it should be connected with] eyes full of tears, drooping limbs, arms thrown up and down, and loud weeping. Aud this Gait is also to contain one and a half times more Kalas and is to have repeated foot-movements [of the same kind]. This [Gait] is also to be used in case of women and persons of the inferior type. 63-66. [In connexion with the Pathetic Sentiment] the superior characters should be patient, tearful, heaving deep sighs and looking upwards and [their Gait in conformity with these condi- tions] is to be of no [regular] measure and [they are] not to have the Sausthava [of the body]. In case of death of their beloved persons and relatives they are to bend down on their breast in dejection and to become senseless due to grief, and to walk with the feet not raised very high. When too much beaten the shoulder and the arms are to be made drooping and the [entire] body is to be made un- steady (lit. moved round) and walking [should be] by measured steps. 67-69. A [special] Gait is to be assigned to women and persons of the inferior type when they are attacked with cold or are overtaken by a torrential shower. [In such a case] they are to

58 (B.XII.57b-58a, G.57). 59-60 (B.XII.58b-60a, G.58-59). 61-63 (B.XII 60b-62, G.60-62a). 63-66 (B.XII.63-66, G.62b-65) .- 1 B. reads one additional hemistich after 64. 67-69 (B.XII.67-69, G.66-68).'

220 THE NATYASASTRA [ IX. 70.

draw all their limbs together, to shiver greatly, to put their two hands on the breast, to bend their body, and their teeth are to clatter and lips are to throb and the chin is to quiver, and in representing an attack of cold the Gait should be slow. Gait in the Terrible Sentiment .

70-75. In the Terrible [Sentiment] the experts should make the Gait of women, and men of the inferior type who are lacking in spirits, suitable to their nature (lit. in that manner). [In the Terrible Sentiment] they are to have wide open and moving eyes, the Vidhuta head and the look awe-stricken and turned alternately to sides, and holding the Kapota hand they are to walk with quick steps, trembling body and faltering Gait. This [kind of movement] should be resorted to when a person is pursued [by an enemy], threatened or frightened [by any one]. [And the same rule will apply] when they see anything dreadful or hear any dreadful sound. In the terrified state the Gait suitable for wowen, and men who are cowards (lit. have renounced prowess) will consist of movement of the feet in the Edakakridita Cari falling in quick succession sometimes close to and sometimes at a distance from each other, and the hands are to follow them.

Gait of merchants and ministers

76-78. The Gait of merchants and ministers is to be made natural. They should walk in the Atikranta Cari with steps two Talas wide. Their [left hand] showing the upturned Katakamukha should be on the navel, and the right [lit. the first hand] showing the upturned Arala should be on one side away1 [from the left one]. They should not make their limbs drooping, motionless or excessively moving.

Gait of ascetics and sectarians

79-86. Yatis, Śramanas, those practising austerities and those observing the vow of Brahmacarya are to have a [special]

70-75 (B.XII.70-75, G.69-74). 76-78 (B.XII.76-78, G.75-77). 1 B. reads stanantare for 'tadantare (G. tathuntare). 79-86 (B.XII.79-86, G.78-85). + Pidhava (B. zidhāya).

.XIII.88 ] THE DIFFERENT GAITS 221

Gait. [In acting their part] a wise [actor] should have immobile eyes looking only four cubits [in the front], a ready memory, the entire body in steadiness and he is to keep the mind at rest, to assume the marks belonging to his sect and to have modest clothes generally dyed in dark red, and to stand with the Samapada feet and to assume the Sthana of the same name. Then he should make two Catura hands one of which is to be stretched. And assuming a serene appearance in conformity with the performance he should perform the Atikrant, (Atikrama) Cari with natural (lit. not drooping) limbs. The best ascetics of the great vow are to be con- nected with these qualities or others contrary to them. As for the rest of the ascetices they according to the vow [enjoined by their own sects] are to have a Gait confused or stately or sober or mild. And in case of the asceties of the Pasupata sect they should walk in the Sakatasya and Atikrant Caris with haughty steps. Gait of a person in darkness or of a blind man

87. The Gait [of a person] in darkness or the Gait of a blind [man] should consist of the feet drawn over the ground and the hands groping for the way. Gait of one riding a chariot 88-92. The Gait of a person riding a chariot should consist of simple (cūrna) steps. From the Samapada Sthana (posture) he is to make a mimicry of the being carried in a chariot (lit. go the movement of a chariot), and with the one [hand he is to take up] the bow and with the other the pole [of the chariot]. And his charioteer is to remaian busy with the whip and the reins, and the draught animals according to the class [of the vehiele] should be represented differently. And with quick and simple steps he is to enter the stage. The Gait of one in a celestial car (rimana) should be made like that of one riding a chariot. One who is about to

*lingam i.e. japabhasmakaupinūdi (Ag.). 8 Gacched-atikramad (B. gacched vyatikramad, G. gacched yatikramad). 87 (B.XII.87, G.86). ' andha-yane (B.G. read atha yane). 88-92 (B.XII.88-92, G.87-91). .

222 THE NATYASASTRA [ XIII. 92.

mount [these vehicles] is to hold his body up and with opposite of this [motion] one is to make one's discent [from them]. Gait while moving in the sky 92-95. The Gait of a character moving through the sky is to inelude the aerial Caris and looking downwards, and [besides this] one is to move [first] from the Samapada Sthana (posture) with simple steps. The Gait of one who desends from the sky is also to be of this kind. This Gait is to consist of steps straight and wide or high and low, or irregular and round about. The Gait of a person falling from the sky is to include the Apaviddha arms, scattered ends of clothes and eyes set on the ground [below]. Gait in ascending any lofty palace 96-98. [In a play sometimes] there is necessity of ascen- ding [stairs of] a palace, tree or hill or any other high object and descending from them or getting down into a river or some lower region and getting up from it. In ascending [the stairs of] a palace a person should move the feet in the Atikrānta Cāri, and with the body held up he should put forward his steps in [the flight of] stairs. In descending from the same, the body should be slightly bent and one foot should be in the Atikranta Cari and the other in the Ancita movement. 98-100. This Gait suited to ascending [the stairs of] a palace should be applied in climbing hills. But in the case of hills the limbs are to be thrown up. The climbing of trees [should be represented] by steps in the Atikrāntā, Sūci, Apakrāntā and Pārśvakrāntā Cārīs. Gait in getting down into lower places 101-104. This should also be the Gait in coming down [from the trees] and the same should apply in case of getting down into a river.

92-95 (B.XII.92-95, G.91b-94). 96-98 (B.XII.96-98a, G.95-97). 1 gātram anamya (B. gātram asyaiva). 99-100 (B.XII.103-104, G.103 104). 101-104 (B.XII.105a, 98b-101, G.98-101).

-XIII. 109 ] THE DIFFERNET GAIIS 225

The Gait in [case of coming down from the top of] a palace" will apply only in crossing [a river]. The Gait of a person moving in the river will be according to the depth (lit. measure) of the water. In shallow water, with the tuckiug up of one's clothes, and in the deep [water] with the throwing out of hands one is to move with the fore part of one's body slightly bent. And in case of a person's being carried away by the current (lit. water) he is to stretch out his arms one by one to push forward water repeatedly and during this movement all his limbs are to be busily engaged and the mouth filled up [with water].

Gait in travelling by boat 105. The Gait of a person travelling by a boat should be made up of quick steps. According to these rules (lit. this rule) one should observe the various Gaits and movements. 106-107. All these [conveyances] are to represented (lit. made) by [suggestive] tokens (samjna) only. [If you ask] "why", [the reply will be the question], "Will the actors (lit. producers) have to die when the character [to be represented] is said to be dead ?" The elephant will be represented by taking up a goad, the horse by a bit and the other conveyances by a whip. Gait in riding a horse 108. The Gait of a person riding a horse will consist of the Vaisakha Sthana and simple foot steps of the various kinds.

Gait of serpents 109. The Gait of serpents will be by the Svastika feet. [To represent it the actor] is to move in the Parsvakranta Cari and then make a Recaka of the Svastika feet.

105 (B.XII.102a, 105b, G.102b, 105a). 106-107 (B.XII.106-107, G.105-106). 1 G. reads 106b as tasman nrtta iti prokte kim kartavyam prayoktrbhil. This passage shows that use of painted scenery was not indispensible in the ancient Indian stage On this point Ag. says: तेन चित्रपटादिवियोगेऽपि रथगममाद्यभिनयनं न(ा)युक्तम। सौकर्यानु तत्करपमपि युक्रम। 108 (B.XII.108, G.107). 109 (B.XII.109, G.108).

224 THE NATYASASTRA [XIII.110

Gait of a Parasite

110. The Gait of a Parasite (vita) should be made graceful. [An actor] is to represent (lit. go) the Gait of a Parasite by putting forward Akuncita (Kuncita) feet within one Tala and holding the Katakavardhamana hands with the proper Sausthava and letting [these] hands follow the feet

Gait of the Kāncukiya

112-113. [The Gait] of the Kancukiya (armour-bearer)1 should be made [suitable] to his particular age and condition. When he is not old2 his Gait should be as follows : With the feet raised half a Tala high and simple steps he should walk carrying his limbs like one who is treading (lit. touching) upon mud. 114. But in case of his being [thoroughly] old he should walk with the trembling body and raise the feet slowly and with [every] step he is to take his breadth.

110 (B.XII.110, G.109). 111 (B.XII.110, G.110). 112-113 (B.XII.112-113, G.111-112). 1 The word kancukiya (kan- cukin) should be translated as 'armour-bearer' and not as 'chamberlain' which term should be used for sannidhatr ; see Kautilya's Arthasastra (2. 4. 23). BhP. (p. 292) defines the Kancukiya as follows : पकामा ब्राह्मणाशव कञ्जुकीषपीषवेचियाः। ज्ञानविज्ञानसम्पन्ना कञ्रुकौया मपाता बुघेः ॥ (Passionless Brahmins who have knowledge and wisdom being in charge of (the king's) armour and crown, and holding the cane-stick (as symbol of their authority), are called Kancukiyas by the wise). 2 a-vrddhasya. This adjective of the kancukiya contradicts the following (probably very late) definition: अन्तःपुरचरी हड्ी विप्री गुणगणन्वितः। मर्वकार्यार्थकुमल: कश्ुकीत्वाभिधीयते। जगवैकव्ययकैन विशेद गावण कज्चकौ। This passage has been wrongly ascribed to Bharata in Rucipati's commen- tary to the Anargharaghava (ed. in Kavyamāla, p. 109). The kāncukiya in the plays ascribed to Bhasa (i.e. Svapna, Pratima, Abhi. Pañca. Duta. and Bala.) does not show any trace of old age. The kancukin in the Sak. deplores that the cane-stick which he had taken 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 may be assumed that he was appointed before old age came upon him. 144 (B.XII. 144, G 113). ' For an old kanckin see Sak. loc .. cit Mudra, II, etc, 9, and III. 1.

-X₮II.123] THE DIFFERENT GAITS 225

Gait of emaciated, sick and fatigued persons 115-117. The Gait of an emaciated person should consist of slow steps. And in case of an attack of fever or other illness, or of fatigue due to austerities, or hunger, a person is to walk with lean and depressed belly, feeble voice, depressed cheek, lusterless eyes, slow movement of the hands and the feet, tremor and affliction of the limbs and with [every] step he is to emit breath.

Gait of a person walking a long distance 118. The Gait of a person walking a long distance is to consist of slow steps, narrowing of limbs and the rubbing of the knees.

Gait of a corpulent person 119. A corpulent person is to walk with the feet raised slowly and he is to drag on his body with great effort. 120. A person going with [hurried] steps should be copiously breathing, and be covered with perspiration due to fatigue and his steps should be simple.

Gait of intoxicated persons 121. The Gait of persons with light (lit. young) and medium intoxication will be reeling, with the two feet [sometimes going] backwards. 122. The Gait of persons heavily (lit. worst) intoxicated will consist of unsteady feet, reeling body and staggering steps. Gait of a lunatic 123-130. The Gait of a lunatic will consist of irregular steps, many Caris in imitation of [various types of] men. He has unpolished and dishevelled hair and body covered with dust ; he talks without any reason and talks too much in an unnatural

115-117 (B.XII.115-117, G.114-116). 118 (B.XII.118, G.117), 119 (B.XII.119, G.118). 120 (B.XII.120, G.119). 121 (B.XII.121, G.120). 122 (B.XII.122, G.121). 123-130 (B.XII.123-130, G.122-129). 29

226 THE NATYASASTRA [ XIII. 131-

manner ; sometimes he sings and sometimes laughs and is not ready to accompany [any one]; and he [sometimes] dances in joy and [sometimes makes drumming [with any object he may find before him]. Orce he runs swiftly and at other times stands still ; [again] sometimes he is seated and sometimes lying down. He is to wear rags of different kinds and to make the public road his irregular dwelling place. A lunatie will be of the above description (lit. this man). His gait will be as follows : After moving in the Baddha Cari he is to cross his feet. The going round in all the four direetion with this Cari he is to perform the Bhramara Mandala outwards and reach one corner of the stage. Then turning the Trika gracefully and holding the Lata hand with irregular movements he is to move with his feet.

Gait of lame men, cripples and dwarfs

131-136. The Gait of lame persons, cripples and dwarfs in connexion with the display of physical defeets for the sake of the Comie Sentiment, will be of three kinds. In one [kind of] Gait of lame persons the feet are to remain stiff. In the second one, feet are to be made Agratalasancara and the body is to held up (lit. raised) by the stiff foot. [And in the third] the body is to move on one foot, and to rest on another foot and setting feet in this order [the lame men] are to go. This will be one's Gait when one has run a thorn in the sole of one's foot. The Gait of cripples will consist of the Agratalasafcara and the Ancita feet, the steady body and the Nata shanks. During the Gait of dwarfs all their limbs are to be narrowed down and they should neither move [quickly| nor take [wide] steps.

Gait of the Jester 137-140. The Jester will have the same Gait consisting of simple laughable steps with feet raised high [and put forward]. And his Gait will relate to three kinds of laughter: laughter due to

131-136 (B.XII.131-136; G.130-135a). 1 For trividha G. reads vividha and omits 133b. .137-140 (B.XII.137-140,. G. 135b-138). 1 For vakyakrta B.G. read kāvyakrta.

-X.III 146 ] THE DIFFERENT GAITS 227

limbs, due to words and due to the costume and make-up. Of these the ugly and big teeth, baldness, hunch on the back, lameness and, distorted face will be objects of laughter due to limbs. When one walks like a crane looking up and looking down and with wide strides, this too becomes an object of laughter due to limbs. 140-141. Talking incoherently, meaninglessly, unnaturally and uttering obscene words are to be known as [objects of] laughter due to words. 141-142, A person covered with tattered clothes or skin, or smeared with ink (or lamp-black), ashes or yellow ochere is [an object of] laughter due to the costume and make-up. Hence the [Jester] after considering the characters [he will be con fronting should carefully (lit. essentially) assume [one or more of] these states. 143-146. The Gait of the Jester should be distinguished according to his different conditions. [For example] in his natural Gait he is to carry the Kutilaka (kutila) in his left hand and to show the Catura (gesture) with the right hand. Besides this he is lower by turns one of his sides, head, hands and feet observing proper tempo and Tala. The Gait other than this which is natural, will be abnormal. His Gait on having some food which was difficult to get, will be arrested.

Gait of the menials

146-148. The Gait to represent the walking of servants of lower order or other persons of the inferior type should be as follows : in the walking of servants, one of their sides or head or a hand or a foot is to be lowered and their eyes are to move to [difterent] objects.

2 For vakavat G. reads khagavad. 140-141 (B.XII.140b-141a, G.139). 1 For vākyahāsyam B.G. reads kāvyahāsyam. 141-142 (B.XII.141b-142, G.140-14la). 143-146 (B.XII.143-146a, G.141b-144). 1 B. rcads 146a as alābhalābhād bhuktasya etc. 146-148 (B.XII.146b-147, G.145-146).

228 THE NATYASASTRA [XIII. 148-

Gait of the Sakara 148-149. The Gait of the Sakara will consist of proud but ordinary steps, and while walking he will touch his clothes and ornaments and often look at them, and from the unnatural motion of his body his garlands, and suspended parts of the clothes are to move to and fro.

Gait of lowly persons

150. Persons of inferior birth are to walk with eyes looking around, protecting their limbs from the contact of other people.

Gait of the Mleccha tribes

151. The Gait and movements of the men of different Mleccha tribes such as the Pulindas and the Sabaras should be made according to the lands they inhabit.

Gait of birds

152. The Gait of birds, beasts of pray and other animals is to be made according to the character natural to them.

Gait of lions, bears and monkeys

153. The Gait of lions, bears and monkeys is to be made [like that] which was assumed by the lord Visnn incarnated as the Man-lion. [It is as described below]. 154-155. [In this Gait] after assuming the Alidha Sthana (posture) with limbs conforming to it, that is, one hand on the knee and the other on the breast, one is to look all around and put one's chin on one's shoulder and to walk with feet placed five Talas apart. 156. The Gait should be applied to [represent] lions and such other animals at the time of personal combat as well as in entering the stage.

148-149 (B.XII.149-150a, G.147) 1 G. omits 141a. 150 (B.XII.150b-15la, G.148). 151 (B.XII. 151b-152a, G.149). 152 (B.XII.152b-153a, G.150). 153 (B.XII.153b-154a, G.151). 154-155 (B.XII.154b-156a, G.152-153). .156 (B.XII.156b-157a, G.154). ' Lions ctc. here indicate actors with the mank of these animals.

-XIII. 165 ] THE DIFFERENT GAITS 229

157. As for the rest of animals the Gait and the Sthana (posture) for them when entering the stage or carrying any one or anything on the back should be made suitable to the occasion. 158. These [different] Gaits are thus to be used by wise [actors]. The Gaits that have not been described by me, are to be adopted from [the practice of] people.

Walking postures of women

159-160. I shall now speak of the Gaits and movements of women. The Sthana (posture) of women in walking and speaking [to others] will be Ayata, Avahittha and Aśvakrānta. 160-161. Ayata: In the Ayata Sthana (posture) the right foot will be Sama, the left (lit. fhe other at-the side) foot Tryaśra (obliquely placed) and the left waist raised. 161-164 (Uses): This Sthana is to be used in invocation, dismissal, observing carefully, thinking and dissimulation. And first appearance on the stage, scattering handfuls of flowers on the stage, anger due to jealous love, twisting the forefinger, prohibition, pride, profundity, silence, fit of resentment (māna) and looking to the horizon are also to be represented from this Sthana1. 161-165. Avahittha : The left foot will be Sama and the right (lit. the other at the side) foot Tryaśra (obliquely placed) and the left waist raised up. 165-167. (Uses): This Sthana is known (lit. remem- bered) as natural for women during conversation [with anyone], in determination, satisfaction and conjecture In representing

157 (B.XII.157b-158a, G.155). 158 (B.XII.158b-159a, G.156). 159-160 (B.XII.159b-160, G.156c-157). ' B. reads five additional hemistichs after this, 160-161 (B.XII 163b-164a, G.158). 161-164 (B. XII.164b-167a, G.159-161). 164-165 (B.XII.167b-168a, G.162) ' B.G. read two additional coup- lets after this. 165-167 (B.XII.171b-172a, 170b 17la, G.165-166).

230 THE NATYASASTRA [ XIII. 167-

anxiety, amorousness, sportiveness, grace, the Erotic and the like [Sentiments] and looking towards the way of someone [coming or going] this Sthana is to be used. 167-168. Asvakranta : The Sthana in which one foot is raised and the other is resting on its fore-part and [ready for] the Sūci or the Aviddha Cari is called Asvakranta1. 168-169. (Uses) : This Sthana is to be assumed in taking hold of the branch of a tree, plucking a cluster [of flowers] or in the taking of rest by goddesses or women for any purposes. 169-171. The Sthana will be [maintained by a dancer] till any movement begins. For during a dance the Sthana is at an end when the Cari has begun (lit. is present). This is the rule of the Sthana for women and for men as well. I shall now describe women's Gait in relation to their nature.

Gait of young women

171-176. [Such a Gait will serially include the following Sthana and movements]: The Avahittha Sthana, the left hand pointing downwards, the right hand with the Katakamukha gesture placed on the navel, the right foot raised gracefully up one Tala and thrown on the left one and simultancously with that the left hand with the Lata gesture placed on the navel and the right side bent, placing the right hand on the hip and the Udvestita movement of the left hand, then the left foot put forward, the right hand with the Lata gesture, [After assuming this Sthana and movements] they are to walk five steps with the body slightly bent and the head gracefully held in the Udvahita posture. 176-177. The rules for going about on the stage which have been prescribed for men will apply also for women.

167-168 (B.XII.172b-173a, G.167). 1 B. reads two additional coup- lets after this. 168-169 (B.XII.175b-176a, G.168). 169-171 (B.XII.176b-178a, G.169-170). 171-176 (B.XII.178b-183a, G.171-175). 176-177 (B.XII.183b-184a, G.176).

-XIII. 184 ] THE DIFFERENT GAITS 231

Gait of young women 177-179. The steps of women should not be made of six or eight Kalas duration. Such a step will be irksome for them. This will be the Gait of women in their youth. I shall speak [now] about the Gait of women who are aged (sthamyast).1

Gait of aged women

179-181. After assuming the Avahittha Sthana and putting the left hand on the waist and the right hand with the Arala gesture upturned, placed between the navel and the breasts, they are to walk gradually with their body neither relaxed nor stiff nor [much] moved about. Gait of handmaids

181-183. The Gait of hand-maids should be made bewil- dered (ndbhranta). They are to walk with slightly raised body and flourishing arms, after assuming the Avahitta Sthana with the left hand pointing downwards and the right hand showing the Katakamukha hand held on the navel.

Gait of half-women

183-184. The Gait of the half-women, an admixture of that of men and of woman will consist of stately but graceful movement of limbs and playful steps (lit. feet). 184-186. The time required for the Gait which has been prescribed for persons of the superior type will be halved in case of women and the inferior types of men. And the Gait [prescribed for persons] of the superior, the middling and the inferior types will apply in case of women [of those types] except for the foots- teps which will be graceful [for the latter].

177-179 (B.X1I.184b-186a, G.177-178). ' B.G. read sthūniyā ya strīyas tasam for sthavīyasinam etasam. The word sthaviyas may well be a comparative degree form of sthavira. Cf. daviyas for dura. 179-181 (B,XIl.186b-188a, G.179-180). 181-183 (B.XII.188b-190a, G.181-182). 183-184 (B.XII.190b-191a, G.183). 184-186 (B.XII.191b-193a, G.184-185).

232 THE NATYASASTRA [ XIII. 186-

Gait of children 186-187. The Gait of children will be according to their will and no Sausthava and [fixed] measrement will be required.

Gait ef hermaphrodites 187-188. The third type of persons will be hermaphrodites in whose case women's Gait to the exclusion of their [partial] male character, should be applied.

Gait in the change of role 188-189. A change [of their role] by men, women and hermaphrodites should be represented by assumption on their part of Gaits suitable to those [new roles] to the exclusion of their own . [original] character. Gait of persons in disguise 189-191. For disguise, sports or deception [of others] 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 a man with patient and liberal spirit and intelligence, and with acts as well as dress, words and movement suitable to that [character]. 191-192. To play the role of a woman a man is to wear her clothes, speak like her and look at things and abstain from looking at these as she does, and is to assume a delicate and slow Gait. ' Gait of the tribal women 192-193. Women of inferior birth and of the Pulinda and the Sabara tribes are to have Gaits natural to their community. Gait of women asecetics 193-194. In case of observing a vow or practising austeri- ties or bearing the mark [of religious sects.] or staying in the sky the Samapada Cari is to be used [as their Gait].

186-187 (B.XII.193b-194a, G.186). 187-188 (B.XII.194b-195a, G 187). 188-189 (B.XII.195b-196a, G.188). 189-192 (B.XII.196b-199a, G.189-191). 1'92-193 (B.XII.199b-200a, G.192). 193-194 (B.XII.200b-20la, G.193).

XIII. 199 ] THE DIFFERENT GAITS 233

194-195. An expert in dramatic art should not assign the energetic Angaharas, Caris and Mandalas to women.

Sitting postures for men and women

195-199. Sitting posture (sthana) for men and women should be made conforming to (lit. combined with) the different States which they are in, and similar should be their postures while in bed.

Sitting at case

196-197. In sitting at ease the two feet are at rest (viskam- bhita) and kept doubled up (ancita), the Trika is slightly raised, and the two hands are put on the thighs on the two sides.

Sitting in a thinking mood

197-198. When a person is to assume [deep] thinking, [from the casy sitting posture] he is to stretch slightly one of his feet, and the other foot is to rest on the seat and the head is to bend on one side.

Sitting in sorrow

198-199. When a person is in [deep] sorrow, [from the easy sitting posture] 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] one whose mind and the sense-organs are not working (lit. lost).

Sitting in fainting and intoxication

199-200. When a person is fainting or is intoxicated, tired, weakened or sad, [from the easy sitting posture] he is to stretch his arms loosely and to sit depending on [some] support.

194-185 (B.XII.201b-202a, G.194). 195-196 (B.XII.202b-203a, G.195). 196-197 (B.XII.203b-204a, G.196). 197-198 (B.XII.204b-205a, G.197). 198-199 (B.XIT.205b-206a, G.198). 199-200 (B.XII.206b-207a. G.199). 30

234 THE NATYASASTRA [ XIII. 200-

Sitting in shame and sleep etc.

200-201. When a person is ill, ashamed, asleep or in meditation he is to lump together his limbs between legs and knees.

Sitting on ceremonial occasions

201-202. In offering a libation of water to the spirits of diseased parents, muttering of Mantras, saying the Sandhya prayers and making Acamana, one is to assume the sitting posture with the hump raised, in which the hip and the heels come together. Sitting in pacifying a beloved woman 202-203. In appeasing [the anger of] a beloved woman and pouring ghee into the sacrificial fire and doing similar other acts, a person is to put one of his stretched kuees on the ground [from the sitting posture mentioned abovel. Sitting in worshipping a deity 203-206. Downcast face and the sitting posture with the two knees on the ground (i.e. kneeling down) is to be assumed in adoring a diety, pacifying the angry [superiors], bitterly erying for sorrow, seeing a dead body, the fear of persons of low spirits, the begging of something by lowly persons and servants, and, attendance during the Homa and the sacrificial work. Aseeties (muni) while practising austerities are [also] to assume this sitting posture (lit. rule about sitting). Seats for different characters 206-207. Now the seats (lit. rules regarding the seats) for males and females in a drama are twofold : publie (bahya) and private (ahhyantara). [These two terms] pnblic and private relate to the royalty (lit. the king).

200-201 (B.XII.207b-208a, G.200). 201-202 (B.XII.208b-209a, G.201). 202-203 (B XII.209b-210a, G.202). 203-206 (B.XII.201b-213a, G.203-205). 206-207 (B.XII.213b-214a, G.206).

-XIII. 216] THE DIFFERENT GAITS 235

Seats for male characters

208-210. O Brahmins, gods and kings are to be given the Lion-seat (i.c. throne), the priests and the ministers the cane-seat, the commander of the army and the crown-prince the Munda-seat, the Brahmins the wooden seat and the other princes the carpet-seat. This rule of seats should be observed in the royal court.

Seats for female haracters

210-214. I shall now speak of the rule of seats for women. The chief queen should be given the Lion-seat, the female relatives and wives of the king other than the chief queen the Munda-seat, the wives of priests and ministers the cane-seat, the concubines [of the king] the seat consisting of cloth, skin or carpet, the wives of Brahmins and temale ascetics the seat made of wood (patta), the wives of Vaisyas the seat of pillow (cushion), and for the remaining women the ground will be the seat. So much about the rule of seats in the inner appartments as well as in public places, While residing in one's own house one can take any seat according to one's liking.

Seats for ascetics and sectarians

215. The seats for the ascetics should be according to the rules [of the order] they are observing. For the members of different sects with special marks the seats will be according to their vows. 216. While pouring ghee into the sacrificial fire or doing the sacrificial duty in general or offering a libation of water to the departed parents one is to sit on a Vrsi1, Munda-seat or cane-seat.

208-210 (B.XII.214b-217a, G.207-210a). ' A canc-chair. 2 mundasana is probably nothing other than Bengali moda. 210-214 (B.XII.217b-221, G.210b-214). 215 (B.XII.222, G.215). 1 For. example, some have tiger-skin as their seat, some decr-skin or a piece of woolen blanket. 216 (B.XII.223, G.216). 1 a seat made of kuśa grass (Apte).

236 THE NATYASASTRA [ XIII. 217.

General rules about soats 217. Other local people (sthaniya) who are of [high] birth and possess [great] learning should be honoured by the king by [an offer of suitable] seats. 218. To his cquals he (i.e. the king) the is to offer seats equal in height to that of his own, to persons of medium importance, the seats of middling height, and to persons who are superior to him, should be given a more elevated seat, while the lowly persons are to be seated on the ground. 219. Before the preceptor, the king or the spiritual guide (guru) wise persons are to sit on the ground or on an wooden seat. 220. Sitting together with the spiritual guide, the preceptor or the king in a boat, on an elephant or in a chariot, is allowed (lit. not to be objected to).

Lying-down postures 221. Postures in the bed are known (lit. proclaimed) as Akufcita, Sama, Prasarita, Vivartita, Udvahita and Nata. 222. Akuncita : Lying down with limbs narrowed down and the two knees sticking to the bed is called the Akuncita posture. It is to be used in representing persons attacked with cold. 223. Sama : 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. Vivartita : Lying down with the face downwards is called the Vivartita posture. It is to be assumed in [representing,

217 (B.XII.224, G.217). 218 (B.XII.225, G.218). 219 (B.XII.226, G.219). 220 (B.XII.227,G.220). 221 (B.XII.228, G.221). 223 (B.XII 230, G.228). 222 (B.XII.229, G.222). 224 (B.XII.321, G224). 225 (B.XII.232, G.225).

-XIII. 228 ] THE DIFFERENT GAITS 23

wound from any weapon, death, vomitting, intoxication and lunacy. 226. Udvāhita: Lying down with the head resting on the hand and making a movement of the knee, is called the Udvāhita posture. It is to be used in sports and on entrance of the master. 227. Nata: Lying down with the legs (lit. shanks) slightly stretched and the two hands loosely resting is called the Nata posture. It is to be used in laziness, fatigue and distress. 228. This is the [rule of] Gait and movements I was to tell you. Whatever remains unsaid should be devised accord- ing to the demand of circumstances. I shall hcarafter speak about the division of the stage into Zones in connexion with going about on it.

Here ends Chapter XIII of Bharata's Nātyasastra which treats of the Gaits and other Movements.

226 (B.XII.233, G.226). 227 (B.XIL.2'4, (.227). 228 ( B.XII.235, G.228).

CHAPTER FOURTEEN

THE ZONES AND THE LOCAL USAGES ETC.

1. One should fix the Zones [of the stage] after knowing the division of the three [kinds of] playhouse, that have been inen- tioned before by me.

The arrangement of drums

2. The producer [of a play] should arrange the drums between the two doors of the tiring room, which I have described before.

The Zonal division

3. The Zonal division1 is to be indicated by going about on the stage. [When one is in a partieular] 'Zone [of the stage, it] will change [lit. be another] with his walking out of it.

Utility of the Zonal division

1-6. [It is] from the [convention of] the Zonal division that one is to know [whether the place in which the scene has been laid] is a house, a city, a garden, a pleasure resort, a river, a hermitage, a forest, the earth, the sea, Lany part of] the Three worlds, any one of the Seven great divisions of the earth or its continents, any of the different mountains, the sky (lit. light), the [surface ot the] carth or the nether world (rasatala), the places of rest, cities or palaces of the Daityas1. 7. The Zones should be fixed with reference to places such as a city, a forest, a continent or a mountain in which the scenes have been laid (lit. the event occurs).

1 (B.XIII.1,G.1). i See NS. II. 63ff. 2 (B.XIII.2, G.2). 3 (B.XIII.3, G.3). 1 As modern devise of the change of scenes was absent in the ancient Hindu theatre, the convention of the Zonal division indicated the locality in which different characters met. 4-6 (B.XIII.4-6, G.4-6), 1 B. reads dait yanāgālayas for daityānām ālayas. 7 (B.XIIJ.7,G.7).

-XIV. 16] THE ZONES & THE LOCAL USAGES 239

Indicating relative location 8. [The Zonal] division should relate to location inside, outside or in the middle and to a place far or near. 9. According to the convention of the Zonal division those who have entered [the stage] earlier, should be taken as being inside [a house], while those entering it later are to be known as remaining outside it.

10. He who enters the stage with the intention of seeing them (i. e. those entering earlier) should report himself turning to the right.

The east on the stage 11. The direction which the drums and the two doors of the tiring room face, should always be considered as the east in course of the dramatie performance.

The rule of exit

12. If any person will go out from the place (lit. there i.e. inside the house) on any business he is to make his exit by the very door he used when entering1. 13. If after going ont he is to re-enter that house he will make his exit [if neceseary ] by the door through which the men [who enter later] came. 14-15. If out of neeessity he goes along with latter, [re-] enters the house with the latter, or by himself alone, another Zone should be prescribed for the two. This other Zone will be indicated by their [order in] walking. Indication of rank in group walking 16. With the equals, one is to walk side by side and with one's inferiors one is to walk surrounded [by the latter], and hand- maids are to be known by their walking before [the master].

8 (B.XIII.8, G.8). 9 (B.XIII.9,G.9). 10 (B.XIII.10, G.10). 11 (B.XIII.11, G.11). 12 (B.XIII.12, G.12). 1 B. reads the couplet differently. 13 (B.XIII.13, G.13). 14-15 (B.XII] 14, G.14),

240 THE NATYASASTRA [ XIV. 17- *

Indicating distance great, small and medium 17. The same place if much walked over will be taken as a distant land. And near by lands or lands of medium distance are to be indicated likewise (in the same principle)1.

Movement of gods and demigods 18-20. According to the various needs of the plot (lit. play) gods and demigods are to move to cities, forests, seas or mountains through the sky, by an aerial car, by their occult power or by different other acts. But while in disguise in a play they (i. e gods and demigods) are to move on the ground, so that they may be visible like human beings (lit. through human causes)".

Movement of men in Bharatavarsa

21. The gods and demigods can at their will move to any of [the nine] divisions [of the Jambudvipa], bnt it is prescribed that men are to move in Bh rata [varșa] (India) alone. Departure for a distance place 22. If a person departs on business to a distant place this is to be indicated by closing the Act [with his departing] and mentioning again this fart in an Introductory Scene (prav-gala). Time allowed for the events of an Act 23. To indicate the attainment of an object one is to traverse a measure of distanee. But in ease of failure in this matter (lit. in non-attainment of the object) the Act should be brought to an end. 24. [Incidents in a play occurring for] a Ksaņa, a Mūhurta, a Yama and a day are to be accommodated in an Act in pursuance of the Germ (rija) [of the play]. 25. But a month or a ycar is [to be considered] finished with the end of an Act; and events occurring more than one year after, should not be put in an Act.

16 (B.XIII.16. G.16). 17 (B.XIII.17, G.17). 1 For an cxample of this see Uttara I. 18-20 (B.XIII.18-20, G,18-20).1 B.G. add one couplet after this. 21 (B. XIII.21, G.22). 22 (B.XIII.23, G.23). 23 (B.XIII.24, G.24. 24 (B.XIII.25, G.25). 25 (B.XIII.26, (.26).

-XIV. 36 ] THE ZONES & THE LOOAL USAGES 241

26. The Zones of the stage [and allied conventions] con- cerning the movements of men are thus to be observed in a play in connexion with Bharatavarsa (India). Now listen about that of gods and demigods. 27-32. Yaksas, Guhyakas, the followers of Kuvera, (lit. the giver of wealth), Raksasas, Bhūtas and Pisacas who live on the best mountain Kailasa included in the Himalayas, are known as dwellers of the latter mountain. Gandharvas, Apsarasas and Ganas are known to live on the Hemakuta. On the Nisadha live all the Nagas (serpents) such as Sesa, Vasuki and Takşaka. The thirty-three groups of gods dwell on the great Meru, and Siddhas and Brahmarsis on the Blue [Mountain] full of lapis lazuli. The White Mountain is the abode of Daityas and Danavas, while Pitrs resort to the Srngavat [mountain]. These are the best moun- tains where gods and demigods dwell. With reference ot the Zonal division they should be [placed] in Jambudvipa [where these mountains exist]. Movements of gods

32-35. Their exploits should be represented (lit. made) according to their habits and powers, but their costumes and make- up should be like that of human beings. All the conditions of gods are to be made human. Hence they should not be represented (lit. made) as winkless [which they traditionall, are]. For the States and the Sentiments [in a play] depend on Glances. And the States are [first] indicated by Glances and then represented by gestures and postures (lit. by limbs). This is all about the Zonal division. The four Local Usages 36. I shall now resume the description of the Local Usages (prarrtti) which according to the experts in drama are four : Avanti Dakșinaty", Pancāli and Odhra-Māgadhi1.

26 (B.XIII.27,G.27). 27-32 (B.XIII.28-33a, G.28-33). 32-35 (B.XIII.33b-36r, G.35-37a). 1 For tu kāryam B. reads na kāryam. 36 (B.XIII.36b-38, G.37h-38). ' The passage following this till the beginning of 37 is in prose. 31

242 THE NATYASASTRA [ XIV. 37-

[Now comes the question]: Why is [it called] pravrtti (report) [of the Local Usages]? [In answer to this] it is said that pravrtti is so called because it informs [one] about the Local Usages regarding costumes, languages, manners and professions in different countries of the world. Vrtti and pravrtti mean 'information', There are many countries in this world. Hence it is asked, "How a fourfold division of these (i.e. the four prairttis) [can be] proper ? And an observance of all these pravrttis possess [some] common characteristics." [In reply] it has been said, "It is true that their observance has [some] common characteristics ; but as people have different native countries, costumes, languages and manners, I have prescribed a fourfold classification of the dramatic performance which is attached to four different Styles according to the preference of [different] people. [Hence] countries are connected with the performance which relate to the Styles such as the Verbal (bharati) the Grand (sattrati), the Graceful (kaisiki) and the Violent (arabhati). And from these [countries] arise the four pravrttis (Local Usages) and also the [entire] performance including them. The Dakșinātya Local Usage Now [it is said] in that connexion (lit. there) that the Southern [countries] favour various kind of dances, songs and instrumental music, an abundance of the Graceful (kaisiki) Style and clever and graceful gestures. They are as follows : 37 Countries adjacent to mountains named the Mahendra, the Malaya, the Sahya, the Mekala and the Kalapanjara1, are known as the Daksiņāpatha (Deccan). . 38-39 [But] Kosala, Tosala, Kalinga1, Yavana, Khasa, and countries like Dramida, Andhra, Mahrastra2, Vaiņna and Vana-

37 (B.XIII.39, G.39). 1 Kalapa jara seems to be same as modern Kali jara (=Kālapi jara); pinjara is a variant of panjara; see Paia-saddamahannavo, sub voce. 38-39 (B.XIII.40-41, G.40-41). * Sce note 1 to 43-45. . " Andhra-Maharastra may also be taken:as the name of the great Andhra empire (mahā-rāstra).

-XIV. 46 ] THE ZONES & THE LOCAL USAGES 243

vasika which lie between the Southern Ocean and the Vindhya [mountain] are always to take to the Daksiņatya Local Usages8. The Avanti Local Usage 40-41. Avanti, Vidisā, Saurāstra, Mālava, Sindhu, Sauvīra, Arvudeya1 Dasarna, Tripura, and Mrttikavat always take to the Avanti Local Usage2. 42. The performance [of a play] by [people of] these [coun- tries] should depend on the Grand (sattvati) and the Graceful [kaisiki] Styles and [such a procedure] should be adopted by the producers.

The Odhra-Magadhi Local Usage

43-45. Eastern1 [countries such as] Anga, Vanga, Kalinga2, Vatsa, Odhra (Odra), Magadha, Pundra, Nepala, Amtargira, Bahi- rgira, Plavamgama, Malada3, Mallavartaka,4 Brahmottara,6 Bhār- gava, Margava,7 Prāgjyotișa, Pulinda, Videha and Tāmralipta, adopt the Local Usage known as the Odhra-Magadhi. 46. In relation to other countries too known in the Puranas as belonging to the East the Odhra-Magadhi . Local Usage is applied.

3. Geographical names mentioned in this passage and the passages that follow, are mostly to be met with in the Puranas (sometimes with variant readings). For a discussion on the same see Dines Chandra Sircar, 'Text of the Puranic Lists of Peoples' (IHQ. Vol. XXI. 1945 pp. 297-314). 40-41 (B.XIII.42-43, G.42-43). 1 Arvuda or modern Ābu in Raj- putana is probably meant by this name. 42 (B.XIII.44, G.44). 43-45 (B.XIII.45-47, G.45-47). 1 B. prāigā pravrttayah. 2 The twofold mention of Kalinga requires an explanation. It is possible that the two different Usages were current in this region. 8 Malada be may modern Maldah District of Bengal. ' Mallavartaka may be modern Mallabhum (Bankura in Bengat). 5 For Brahmottara see Visvabharati Patrika, Vol. IV. pp, 250ff. 6 Bhargava remains unidentified, 7 Margava remains unidentified. 46 (B.XIII.48, G.48).

244 THE NATYASASTRA [ XIV. 47-

The Pancala-Madhyama Local Usage 47-48. Countries such as Pañcla, Sūrasena, Kaśmīra, Hastinapura, Valhīka, Śakala1, Madra and Usinara which are contiguous either to the Himalayas or to the Northern bank of the Ganges, take to the Pancala-madhyma Local Usage./ 49. In this Usage the Grand (sattvati) and the Violent (ardbhatī) Styles are known [to predominate]. The application of these [means] paucity of song and excessive movement and extraordinary Gaits and steps.

The twofold entrance in observing Local Usages 50. Going about on the stage in [observing] Local Usages, will be in two ways, viz. by entering from the right and by entering from the left. 51. In the Avanti and the Daksinatya Local Usage the going about [on the stage] will be from the right, and in the Pancali and the Odhra-Magadhi it will be from the left. 52. In case of the Avanti and the Dāksiņātya Local Usages the door to be used in entering should be the Northern one, while in case of the Pancali and Odhra-Magadhi Local Usages the Southern door should be used. 53. But in view of the special assembly, place, occasion and expression of meaning these rules may be combined (lit. be made into one). 54. Experts should apply to plays the Local Usages which have been prescribed before for different countries. 55. In musical plays (gānakadi) these rules should be simplified. One should produce them (lit. practice those acts) in disregard of the multiplicity of Local Usages.

47-48 (B.XIII.49-50, G.50-51). 1 The reading Salyaka of some mss. may be a variant of Salvaka. As in the Puranas an expression like sālvāh sākalavasinah is met with. Salvas or Sālvakas miglt have been the name of a tribe residing in the ancient Sakala region. 49 (B.XIII.51, G.49). 50 (B.XIII.52,G.52). . 51 (B.XIII.53, G.53). 52 (B.XIII.54, G.54). 53 (B.XIII.55, G.55). 54 (B XIII.56, G.56). 55 (B.XIII.57, G.58).

.XIV. 63] THE ZONES & THE LOCAL USAGES 245

The two general types of plays 56. The production of a play in conformity with the rules of dramatic practice is of two types : delicate (sukumāra) and violent (aviddha).

The violent types 57-58. The play which requires violent (ariddha) gestures and movements (angahara) to represent, cutting, piercing and challenging, and contains the use of magie aud ocenlt powers as well as artificial objects and make-up, and has more men and less women [among its dramatis personne] and applies [in its production] mostly the Grand and the Violent Styles, is of the violent type. 59. According to the [expert] producers, [plays of] the Pima. the, Samavakara, the Vyayoga and the fhamrga [classes] are known to be of the violent type. 60. Production of plays of this type should be made by Lan impersonation of] gods, Danavas and Raksasas who are majestic and haughty, and have herorism, energy and strength.

The delicate type

61. The Nataka, the Prakarana, Vithi and the Anka are plays of the delicate type, and they depend [for their production] Lon an impersonation of] human beings only.

The two Practices

62. I shall now define (lit. relate the characteristes of) the two Practices (dharme) which have been mentioned before.

The realistic Practice

63-64. If a play depends on natural behaviour [in its characters] and is simple and not articial, and has in its [plot]

56 (B.XIII59; G.59) 57 (B.XIII.60-61, G.60-61). 59 (B.XIII.62, G.62). 60 (B.XIII 63, G.63). 61 (B.XIII.64, G.64). 1 B. adds five additional couplets after this. 62 (B.XIII.70, G.65). 1 For a discussion on Dharmis see V. Ragha- van, Natya Dharmi and Loka Dharmi (Idealism and Realism of Bharata's Stage), Journal of Oriental Researches. Madras, Vol. VII. pp. 359-375. 63-64 (B.XIII.71-72, G.66-67). 1 See note 1 to IX. 1-3.

246 THE NATYASASTRA [ XIV. 65-

professions and activities of the people and has [simple acting and] no playful flourish of limbs and depends on men and women of different types, it is called realistic (lokadharmi)1.

The conventional Practice 65-66 If a play contains specch, activity, beings and states of the extraordinary kind, and requires acting with playful flourish of limbs and possesses characteristies of dance, and requires conventional enunciation, and is dependent on emotionally carried persons (lit.) charaeters it is to be known as conventional (nātyadharmī)1. 67. If anything used by (lit. among) people, appears (lit. set foot)1 in a play (lit here) as endowed with a corporal from and speech2 the practice is [also] called conventional (nātyadharmi)3. 68. [The practice in a play according to which persons are supposed] not to hear words uttered in proximity, or to hear what has not been uttered at all, is [also] called conventional. 69. If objects like a hill, conveyance, aerial car, shield, armour, weapon or banner-staff are made to appear on the stage (lit. are used) in [human] form, it is known as an [instance of] the conventional Practice. 70. If after appearing in a role, one assumes a different role [in the same play], on account of his being an expert in both the cases or being the sole actor available for both the roles, it is known to be an instance of the conventional Practice. ' 71. If after a person has been employed (lit. being) in the role of a woman for whom marital connexion with a particular character is forbidden by the Sastras, is made to appear in the

65-67 (B.XIII.75, G.70). 1 padam ; G. reads bhadram. * mürtimat sābhibhāsam (B. mūrtimat sābhilāsam). 3 An instance of this is the personification of the Bhramasapa in Mayapuşpaka (Ag.). 68 (B.XIII.76, G.7I). 1 For āsannoktam, G. reads atroktam caiva. 69 (B.XIII.77, G.72). 1 G. omits two couplets (70 and 71) after this. 70 (B.XIII.78) 71 (B.XIII.79).

-XIV.78 ] THE ZONES & THE LOCAL USAGES 247

role of another woman with whom such connexion is permitted, it becomes an instance of conventional practice. The same will be the result if the situation in the above case is reversed. 72. That, [in a play instead of simple walking] one dances or goes with graceful movement of the limbs as well as with similarly made steps is known as conventional Practice. 73. 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] the conventional Practice. 74. The Zonal division which includes (lit. depends on) many rnles, is also [an instance of] the conventional Practice 75. A play should always be produced with the conven- tional movement [of limbs], for without the [use of] Gestures [by the actors] no pleasure occurs [to the spectators]. 76. All the States are natural to all [persons] and all the gestures [in connexion with them are used] from necessity (arthatah) ; [hence] a decorative movements of limbs [in producing a play] has been considered as [an instance of] the conventional Practice. 77. So much about the Zonal Division, [the two] Practices and the ffour] Local Usages. Experts in dramatie production should know these and put them properly into practice. 78. I have described here the Histrionic Representation by means'of the Sakha and the Angahara. I shall afterwards speak about such Representation depending on Words which consist of vowel and consonantal sounds.

Here ends Chapter XIV of Bharata's Nātyasastra which treats of the Local Usages and the Practices.

72 (B.XIII.80, G.73). 73 (B. XIII.8I, G.74). 1 B reads one additional couplet after this. 74 (B.XIII.82, G.75). 1 B. reads one additional couplet after this. 75 (B.XIII.84, G.76). 76 (B.XIII.85, G.77). 77 (B.XIII.86, G.78). 78 (B.XIII.87,G.79),

CHAPTER FIFTEEN

RULES OF PROSODY

The actor's speech 1. O the best of Brahmins, I shall now speak abont the nature (lit characteristics of) the Verbal Representation which has been mentioned before1 and which relates to (lit. arises from) vowels and consonants.

Importance of speech in drama 2. One should take care of words1. For these are known as the body of the dramatie art (natya). And Gostures, Costumes and Make-up and the Temparamental (sat'wila) acting [merely] clarify the meaning of words. 3. In this world (lit. here) the Sastras are made up of words and rest on words; hence there is nothing beyond words, and words are at the source of everything1. 4. The Verbal representation is related to [a knowledge of] nouns (nāma), verbs (ālhyta), particle (nipāta), preposi- tion (upasurga), nominal suffix (taldhita) compound words (samasa), euphonie combination (sandhi) and case-endings ( vibhakti ).

The two kinds of recitation 5. The Recitation (pathya) [in a play] is known to be of two kinds : Sanskritic and Prakritic. I shall speak of their difference in due order.

I (C.1; B.XIV.1). 1 For the four kinds of Histrionic Representation which includes the Verbal one see NS. VI. 23. 2 (C.1; B.XIV.2). 'This rule applies to the actors as well as to the play-wright. On this Ag. says: वावि यवस् कतव्य इति कविना निर्माणकाल नटंन प्रयोगकाल. . 3 (C.3; B.XIV.3). ' This view is also held hy Bhatrhari (circa 600 A.C.) in his Vakyapadiya (Āgamakāņda). See B. p. 224, foot note. 4. (C.4; B,XIV.4). 5 (C.5; B.XIV.5).

.XV.9] RULES OF PROSODY 249

Different aspects of Recitation 6-7. [They consist of] vowels, consonants, euphonic combi- nation, case-endings, nouns, verbs, prepositions, particles and nominal suffixes. The Sanskritic Recitation is characterised by [a due regard to] these aspects and compound words, and includes various verbal roots4. Now listen about its application.

The speech-sounds 8 The fourteen sounds beginning with a and ending in au, are known as vowels, and the group of sounds beginning with ka and ending in ha are known as consonants. --- Vowles are fourteen in number1. A, a, i, i, u, u, !, î, ļ. ļ, e, ai, o and au are to be known as the vowels. The group of letters beginning with ka, are consonants. Ka, kha, ga, gha, ña, ca, cha, ja, jha, ña, ta, tha, da, dha, na, ta tha da, dha, na, pa, pha, ba, bha, ma, ya, ra, la, va, sa, șa sa and ha2 [constitute] the group of consonants3.

Consonants : their articulation

9. The first two sounds of each group [of the stop consonants] are known as unvoiced (aghosa) and the rest Lof the group] are called voiced (ghosa).

6-7 (C.6-7; B.XIV.6-7). ' Read nanādhūtu-samāsrayam, C. 8 (C.8; B,XIV.8). 1 Different Sikşas and Prätišakhyas enumerate vowels differently. According to the PS. they are 22 in number, while the Atharva, Taittiriya, and Vajasaneyi, Pratisakhyas and the Rktantra Vyakarana (Samaveda Pr.) give their number respectively as 13, 13, 16, 23 and 23. See P'S. (ed. Manomohan Ghosh) p.51. . 2 PŚ. counts anusvūra, visarga, jihvāmuliya and upadhmānīya among consonants. See ed. Ghosh, p. 50. 8 B. reads after this a couplet (B.10) from PS. see ibid, p. 59. Not occurring in most of the mss. this may be taken as spurious. This is followed in B. by a prose passage which also seems to be spurious. The same is our view about the couplet B.1l which follow this prose passage. The subytance of this couplet (B.11) occurs in 9 below. 9 (C.9 ; B.XIV.12). 1 In C. this couplet oceurs after 8 and before the prose passage that fellows it. 32

250 THE NATYASASTRA [ XV. 10-

10. These1 [consonants] are to be classified into (lit. known as) voiced and unvoiced, velar, labial, dental, lingual (jihvya)2, nasal, sibilant, palatal and Visarjaniya. '11 In these groups [of consonants] ga, gha, na, ja, jha, ñ, da, dha, na, da, dha na, ba bha, ma, ya, ra, la and va are voiced, while ka, kha, ca, cha, ta, tha, ta, tha, pa, pha, śa, șa, sa and ha are unvoiced. 12-14. Ka, kha, ga, gha, and na, are velar (kanthastha)1 ca, cha, ja, jha, ña, i, i, ya and śa palatal, ta, tha, da, dha, na, r, ra, and șa cacuminal (mūrdhanya), ta, tha, da, dha, na, la, and sa dental, pa, pha, ba, bha, and ma labial; a and ha are from the throat (kanthastha), o and au are throat-labial (kanthyostha- sthana)2, e and ai, throat-palatal (lintaha-talavya). 14-15. The Visarjaniya is from the throat, and ka and [kha] are from the root of the tongue1. The place of articulation for pa and pha are lips, and the same will be for the closed (arivrta) vowels u and ü2. 15-16. [The group of sounds] beginning with ka and ending in ma are called stops (sparsa), sa, sa sa, and ha are open

10 (C.10; B.XIV.13). 1 Read the first hemistich as एते घोषाघोषा;

2 The jihvya does not seem to occur in any well-known grammatical work. This is perhaps synonymous with murdhanya; for in the pro- duction of murdhanya sounds jihva (tongue) plays the most important part. The Taittiriya. Pr. describes the manner of their production as follows : Jihvāgreņa prativestya murdhani ta-vargasya (1I.37). Curiously enough this term has never again been used in the NS. 11 (C.11; B.XIV.14). 12-14 (C.12-14a; B.XIV.15, 15 of p.230 and 16). ' For different tradi- tional views about the places of articulation of consonants see PS. p. 62. Read l1b as follows :- कखचछटठतथपफ-शषसा इति वगेषुघीषा :. * Read 12a as follows :- कखगघडाः कगठस्थास्ालुस्थाना मतास्तु चछ्जभजा :. 8 Read 13b as follows :- तालत्या इचुयशा: म्युक् टरषा सूधि स्थिता केया :. 'Read 14a as follows : श्री भी कणाम्यो शो ए ऐ कारी च कगठतालव्यौ. 14-15 (C.14b-15a, B.XIV.16b-17a). 1 See note I to 12-14 above, 2 Read 14b-15a, as follows : करठो विसर्ड,नोयो जिश्वामूलीहवो, कखयीः । पफयी- रोष्ठखानी भव दुकारसथास्रऽविवृत :. 15-16 (C.15b-16a, B.XIV.17b-18a). 1 C. samurtāh for samvrtajāh.

-XV. 21 ] RULES OF PROSODY 251

(vivrta) while semivowels (antahstha) are closed (samvrta), na, ña, ņa, na and ma are nasal [sounds]. 16-17. Śa, sa, and sa and ha are sibilants (u8mn, lit. hot) ; ya, ra, la and va are semivowels (antuhstha, lit. intermediate), hka from the root of the tongue (jihramuliya) and hpa from the Upadhmā (npadhmānīya). 17-18. Ka, ca, ta, ta and pa are [simply] uttered (svarita), and kha, cha, tha, tha and pha are uttered [markedly] from the throat, and ga, gha, ja, jha, da, dha, da, dha, and ba, bha from the throat as well as the breast (kanthorasya)1. 18-19. The Visarjaniya should be known as a sound from [the root of] the tongue1. These are the consonants which have been briefly defined by me. I shall now discuss the vowels with reference to their use in words.

Vowels : their quantity 20. 'Of the above mentioned fourteen vowels ten constitute homogenous pairs (samana), of which the first ones are short and the second ones long.

The four kinds of word

21. 1Constituted with vowels and consonants [described above] the words include verbs (akhyata), nouns (nama), roots (dhatu), prepositions (npasarya) and particles (ripata), nominal affixes (taddhita), euphonic combinations (sandhi) and case- terminations (vibhakti).

16-17 (C.16b-17a; B.XIV.18b-19a). 17-18 (C.17b-18a, B.XIV.19b-20a). 1 Read this couplet as follows : कचटतपा: खरिता: स्यः खजठथफा: स्ुस्था करठााः। कगोरस्यान् वरिद्याद गजभद्वघलठधभान् तु पाठ्ये. 18-19 (C.18b-19; B. XIV.20b-21). 1 See note 1 to 12-14 above. Read 18b as follows : वैद्यो विसवर्जनीयो जिन्वामूलस्थितो वर्षा :. See the foot-note in B. under B. 20b.

(B 22a), before this. 20 (C.20; B.XIV.22b-23a). 1 B. reads one additional hemistich

2 About the number of vowels see 8 note 1 above. 21 (C.21; B. foot note 4 in p. 231). .

252 THE NATYASASTRA [XV/23-

22. The characteristies of vocables have been mentioned in detail by the ancient masters. I shall again discuss those charac- téristics briefly when an occasion will arise1.

The noun

23. The noun1 has its functions determined by the case. endings such as 'su' and the like, and by special meanings derived therefrom2; and it is of five3 kinds and has a basic meaning (pratipadikartha) and gender4. 24. It (the noun) is known to be of seven1 classes and has six cases, and [sometimes] it is well-established (prathita)2 and

22 (C.22; B. foot-note 5 in p. 231). 23 (C.25; B XIV.28). 1 This couplet has evidently been misplaced in C. as well as B. Begin it as svādyadya. 2 The second hemistich should be emended as follows : प्रातिपादिकार्षलिङ्ग- येंतां पञ्चविधं नाम नयम्. (1n3. लिङ्युत्र, विधमिद नेयम्). 3 The five kinds of noun have been enumerated as follows : 1a3 मदन्ं च तद्िनान्त समासनन्। शव्दानुसामां प व नाम पञ्चविध सातम्॥ Goyicandra, Samksip tasara-vivaraņa (Ref. Haldar, Itihasa, p. 174). 4 There is a difference of opinion about the number of basic meanings (prutipadikartha) of a word. According to Panini they are-two : chareteris- tics of a species (jati) and object (dravya). Kātyayana adds one more to the number which is gender (linga). But Vyaghrapat-a rather less known ancient authority-took their number to be four. According to him they are : characteristies of a species, objeet, gender and number (samkhya). Patanjali however considered them to be five in number, e.g. characteristics of a species, object, gender, number and case (kūraka). (Haldar, Itihasa p. 447-48. 24 (C.23; B.XIV.25b-26a). 1 The seven classes probably relate to the seven groups of case-endings. 2 The words prathita and sadhya. as grammatical terms are scarcely well-known. Prathita seems to relate the well-known words as a whole, which cannot be conveniently analysed into component parts. (Unadi derivation should in this connexion be considered as the most artificial). It may be in contrast to these that the words which can be built up from the verbal roots and affixes etc. are known as sādhya (to be, made). These two terms may therefore be taken as synonymous with rudha and yaugika respectively. *"

-XV. 27 ) RULES OF PROSODY 259

[sometimes] is to be constituted (sadhya)2 [and when combined with different case-endings] it may imply" indication (nirdesa)8, giving to (sampradana), taking away (apadana) and the like .. 25. 'The verbs relate to actions occurring in the present and the past time and the like; they are sometimes well-established (prathita)2 and sometimes to be constituted (sadhya)2, are distin- guished and divided according to number and person. The verb

26. [A collection of] five hundred roots divided into twenty- five classes are to be known as verbs (alhyata) in connexion with the Recitation, and they add to the meaning of the nouns1. 27. Those that upasrjanti (modify) the meaning of the verbal roots in connexion with the meaning of basic words1 are for that [very] reason called upasarga (preposition) in the science of grammer (sumskara-sastra).

3 Nirdesa scems to to relate 'nominatives; for it is one of the meanings of the case-endings. Enumerating these some grammarian says : निर्देश: करगं कर्म प्रदानसपकर्षगाम्। स्याम्यर्थोऽयाधिकरयं विभक्कार्थाः प्रकौर्तिता: : (Haldar, Itihāsa, p. 170). 25 (C.24; B.XIV.26b and cf. 29b). 1 Read the couplet as follows :- संप्रत्यतोतकालक्रियादियोग: प्रथितसाध्यम्। वचनानां यतियत्रं पुरुषविभक्र' तदाग्व्यातम् B. 27a scems to be corrupt and redundant. 2 In case of verbs prathita seems to relate to irregular froms like pasya in place of drs, and sadhya to regularly constructed ones. See also note 1 to 24 above. 26 (C.26a; B.XIV. 27b, 29a). 1 C. omits 26a and gives only 26b as C. 26a. There are different number of roots in lists (Dhatupatha) attached to different grammatical works. It is not known which give their number as five hundred. Dhanapala (970 A.C.). in his commentary to Jaina Sakatayana's Dhatupatha says on the subject as follows : चतुर्दभशतान्याहउत्वारिःज्ञ सत च। वाक्यतः श्ोकतश्वेष शतानि वोणि धातवः ॥(Ref. Haldar, Itihasa, p. 44). Verbal roots are divided according to Panini into ten classes (gana). Their division into twentyfive classes does not seem to occur in any well-known work. 27 (C.26, B.XIV.30). 1 This definition of the upasarga follows Sakatayana's vicw on the subject as expressed in the Nirukta (I. 1.3-4). According to this authority upasargas have no independant meaning and

254 THE NATYASASTRA [ XV. 28-

The particle

28. 1As they nipatanti (come together) with declined words (pada) to strengthen their basic meaning, root, metre2 or etymo- logy®, they are called nipatas (particles).

The affixes

29, 1As it distinguishes ideas (pratyaya) and develops the meaning [of a root] by intensifying it or combining [it with another] or [pointing out] its essential quality (saltva), it is called pratyaya (affix).

The nominal affix

30. JAs it develops the meanings [of a word] by an elision [of some of its parts], a seperation of its root and affix, or their . combination and by pointing out the abstract notion [indicated by it], it is called taddhtia (nominal affix).

they are merely auxiliary words modifying the meaning of the verbal roots. On the different ways in which such modification takes place one grammarian says: क्वचिद्विनत्ति धात्व्थ कचित्तमनुव्तते। विशिनष्टि तमेवार्थमुपससर्गगतिस्विधा Haldar, Itihasa, p. 346). 28 (C 27; B.XIV.31). 1 According to Panini indeclinables (avyaya) of the ca-group are particles (nipata). See I. 5.57. According to Patanjali nipatas do the function of case-endings and intonation (svara= pitch accent). He says : विलत्निसरपरतिरृपकाश् भवन्सीति निपातसंज्ञाः ... (on P.III.4.2). The author of the Kasika too accepts this view in his comments on P.I. 4.57. 2 Ca, vai, tu, and hi are instances of such nipātas. 3 It is not clear now nipatas, strengthen the etymology given here- Probably the reading here is corrupt. 29 (C.28; B.XIV.32). ' Such an claborate definition of the pratyaya does not not appear to occnr 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. According to the common interpre- tation the pratyaya means that which helps to develop a meaning from root ( येनार्थः प्रतीयने स प्रत्ययः). 30 (C.29; B.XIV.33). 1 This definition of the taddhita does not seem to occur in any well-known grammatical work. It describes the processes through which the taddhita suffix will transform a word.

.XV. 34 | RULES OF PROSODY 25.

The case-ending 31. As they vibhajanti (distinguish between) the meanings of an inflected word or words with reference to their roots or gender, they are called vibhalti (case-endings).

The euphonic combination 32. Where separated vowels or consonants sandhiyate (combine)I by coming together2 (yogatah) in a word or words it is called [an instance of] sandhi (euphonic combination). 33. As due to the meeting of two sounds (lit. letters) or of two words, their sequence (krama)f sandhiyate (result in a combi- nation), it is called sandhi (euphonic combination).

The compound words 34. The Samasa (compound word) which combine1 many words to express a single meaning an.l suppresses affixes, has been described by the experts to be of six kinds such as Tatpurusa and the like.

31 (C.30; B.XIV.34). 1 This definition follows the etymological sense of the term (vibhakti). Durgasimha of the Kalapa school says the case-endings are so called because of their giving distinctive meaning to a word (भररथम्य विभजनाद बिम्ि). See Haldar, Itihasa, p. 169). 32 (B.XIV.35) C. omits this. Rrad vislista for visista. 1 The sandhi is strictly speaking, not merely a combination of two sounds (vowels or consonants), in a great number of cases their mutual phonetic influence constitutes a sandhi. This is of five kinds, and relate to savara-s, vyanjana-s, prakrti-s, anusvara-s, and visarga-s. 3 This 'coming together' depends on the shortness of duration which soparate the utterance of the two sounds. According to the ancient authorities sandhi will take place when this duration will not be more than half a matro. It is for this reason that the two hemistichs in a couplet are never combined.

सन्धि:। अर्धमावीच्चारगकालव्यधानस्ोचितत्वात्. (Haldar, Itihasa p. 166). 33 (C.31; B.XIV.36). C. reads 33a, as वषंक्रम सम्बन्धः पदे कयोगोऽन्यवषंयीगार्. 34 (C.32; B.XIV.37). 1 Reads samharat samūso'pi (B.) for samha- ranti samkşepat (C.).

[ XV. 35 256 THE NATYASASTRA

35. Observing such rules of grammar (sabda-vidhana) one should compose series of inflected words (pada) combined in verse or in prose, which have the quality of suggesting extensive meaning (lit. extensiveness )1. Two kinds of word

36 Padas are inflected words1 and are of two kinds, viz. those used in verse, and those in prose, Now listen2 [first] about the characteristics of words used in prose. Words in prose 37. Words used in prose are not schematically combined, have not the number of their syllables regulated, and they contain as many syllables as are required to express the meaning [in view]1. Words in verse 38 Words used in verse consist of schematically combined, syllables which have caesura and stops1 and which have their number regulated 2.

Syllabic metres 39. Thus arises a Rhythm-type (chandas) called Vrtta ( syllablic metre ) made up of four feet1 which expresses different ideas and consists of [short and long] syllables.

Rhythm types 40. Rhythm-types in feet are twenty-six in number. Syllabic metres with these Rhythm-types are of three kinds, viz. even (suma), semi-even (ardha-sama) and uneven (risama).

35 (C.33; B.XIV.38). ' Read the couplet as follows :- एभि: शब्दविधान र्विस्ताशव्यञ्जनार्थमयुनः। पत्बन्ध: कर्त्तत्रयाः वृत्तनिषत्ास्त चगा वा. 36 (C.34; B.XIV.39). 1 C. vibhajykapadam for vibhaktyantam ; ('. bahir-bodhata for samvibodhala. 37 (C.35; B.XIV.40). 1 B. anibaddhapadam .chandas for anibad- dhapadavrnda ; C. arthopeksāksarayutam and B. syutam for arthapeksyaksarayutam. 38 (C.36; B.XIV.41) ' C. padacche la for yaticcheda. 39 (C.37; B.XIV.42). 1 B. pramūņa-niyatātmakam for pramāņa- niyataksaram; Read pādair-varnair for padairvarņair. 40 (C.38 ; B.XIV.43).

.XV.511 RULES OF PROSODY 257

41-42. This Rhythm-type which assumes the form of different syllabic metres, is the body of words. There is no word, without rhythm and no rhythm without word. Combined with each other they are known to illuminate the drama.

Twentysix Rhythm-types 43-49. [The Rhythm-type] with one syllable [in a foot] is called Ukta, with two syllables is Atyukta, with three syllables Madhya, with four syllables Pratistha, with five syllables Supra- tistha, with six syllables Gayatri, with seven syllables Usnik, with eight syllables Anustup, with nine syllables Brhati, with ten syllables Pankti, with eleven syllables Tristup, with twelve syllables Jagati, with thirteen syllables Atijagati, with fourteen syllables Sakkari, with fifteen syllables Atisakkari, with sixteen syllables Asti, with seventeen syllables Atyasti, with eighteen syllables Dhrti, with nineteen syllables Atidhrti, with twenty syllables Krti, with twentyone syllables Prakrti, with twentytwo syllables Akrti, with twentythree syllables Vikrti, with twentyfour syllables Samkrti, with twentyfive syllables Atikrti1, and with twentysix syllables Utkrti.

Possible metrical patterns

49-51. Those containing more syllables tban these are known as Mala-vrttas. And the Rhythm-types being of many different varieties, metrical patterns according to the experts1 are innumerable. The extent of these such as Gayatri and the like, is being given [below] But all of them are not in use. 51-76. [Possible] metrical patterns of the Gāyatri [type] are sixtyfour, of the Usnik one hundred and twenty-eight, of the Anustup two hundred and fiftysix, of the Brhati five hundred and twelve, of the Pankti one thousand and twentyfour, of the Tristup two thousand and forty-eight, of the Jagati four thousand

41-42 (C.39b-40; B.XIV.44b-45). 43-49 (C.41-47a; B.XIV.46-52a). ' also called abhikrti. 49-51 (C.47b, 58b-59a, B.XIV.52b-54a). ' These experts are mathe- maticians like Bhaskaracarya. See Litavati, scction 84, (ed Jivananda, p. 50). 51-76 (C,59b-80a; B.XIV.54b-79), 33

258 TEE NATYASASTRA [ XV. 77.

and ninetytwo, of the Sakkari sixteen thousand three hundred and eighty-four, of the Atisakkari thirtytwo thousand seven hundred and sixty-eight, of the Asti sixtyfive thousand fiive hundred and thirty-six, of the Atyasti one lac thirty one thousand and seventy-two, of the Dhrti two lacs sixty-two thousand one hundred and forty.four, of the Atidhrti five lacs twenty-four thousand two hundred and eighty eight, of the Krti ten lacs forty-eight thousand five hundred and seventy-six, of of the Prakrti twenty lacs ninety-seven thousand one hundred and fifty-two, of the AkrtiI forty-one laes ninety-four thousand three hundred and four, of the Vikrti eighty-three lacs eighty thousand six hundred and eight, of the Samkrti one crore sixty-seven lacs seventy-seven thousand two hundred and sixteen, of the Abhikrti (Atikrti) three crores thirty-five laes fifty-four thousand four hundred and thirty-two, of the Utkrti six crores seventy-one lacs eight thousand eight hundred and sixty-four. 77-79. Adding together all these numbers of different metrical patterns we find their total as thirteen crores forty-two lacs seventeen thousand seven hundred and twenty-six.1

Another method of defining metres 79-81. I have told you about the even metres by counting [their numbers]. You should also know how the triads which make up the syllabic metres. Whether these are one, twenty, thousand or a crore, this is the rule for the formation of all the syllabic metres or metres in general. 81-82. Triads are eight in number and have their own definitions. Three syllables heavy or light, or heavy and light make up a triad which is considered a part of each metrical pattern.

1 Slokas giving the numbers of metres of the akrti, vikrti, samkrti, abhikrti (atikrti) and utkrti classes seems to be corropt in C. 77-79 (C.80b-82a; B.XIV.80-82a). 1 Readings of B. and C. do not literally agree. 79-81 (C.82-84a; B. foot note 4 in p. 241). 1 C. omits 79b. * 81-82 (C.84b-85; B.XIV.83b-84).

-XV.90 ] RULES OF PROSODY 259

83-84. [Of these eight triads] bha contains two light syllables preceded by a heavy one (- vv), ma three heavy syllables ( -- -), ja two light syllables separated by a heavy syllable (v- ), sa two light syllables followed by a heavy syllable (vv-) ra two heavy syllables separated by a light one (- v-), ta two heavy syllables followed by a light one ( -- o), ya two heavy syllables preceded by a light one and (v -- ), na three light syllables (uvJ). 85-86. These are the eight triads having their origin in Brahman. For the sake of brevity or for the sake of metre they are used in works on prosody, with or without [inherent] vowels (i. e. a ).1 86-87 A single heavy syllable should be known as ga and such a light syllable as la. Separation of two words [in speaking a verse] required by rules [of metre] is called caesura (yati). 87-88. A heavy syllable is that the which ends in a long or prolated (pluta) vowel, Anusvāra, Visarga or comes after a con- junct consonant or sometimes occurs at the end [of a hemistich]. 88-89. Rules regarding the metre, relate to a regular couplet (sampat), stop, foot, deities, location, syllables, colour, pitch and hyper-metric pattern. The regular couplet 89-90. A couplet in which the number of syllables is neither in excess nor wanting is called a regular one (sampat).

The stop

90-91. The stop (virama) occurs when the meaning has been finally expressed.

83-84 (C.86-87; B.XIV.85-86). 85-86 (C.88-89a; B.XIV.87, 88b). ' B. reads one additional hemistich between 85b and 86a. 86-87 (C.89b-90a; B.XIV.89). 87-88 (C.90b-91a; B.XIV.90). 88-89 (C.48; B.XIV.102). 89-90 (C.49, B.XIV.103). 90-91 (C.50; B.XIV.104).

260 THE NATYASASTRA [ XV. 91-

The Foot

The foot (pada) arises from the root pad, and it means one quarter [of a couplet]. The presiding deities of metres

91-92. Agni and the like presiding over different metres are their deities.

Location Location is of two kinds, viz, that relating to the body and that to a [particular] region.

Quantity of syllables

93. Syllables are of the three kinds, viz. short, long and prolated (pluta).

Colours of metres

Metres have colours like white and the like.

Pitch of vowels

94-95. The pitch of vowels is of three kinds, viz. high, low and medium. I shall speak abont their character in connexion with the rules of Dhruvas Rules [about their use] relate to the occasion and the meaning [of thing sung or recited].

Three kinds of syllabic meters

95-97. Syllablic metres are of three kinds, viz. even (sama), semi-even (ardha-sama) and uneven visama). If the number of syllables in a foot of any metre is difficient or in excess by one, it is respectively called Nivrt or Bhurik. If the deficiency or excess is of two syllables, then such a metre is respec- tively called either Svarāt or Virāt.

91-92 (C.51; B.XIV.105). 93 C.53b-54a, B.XIV. (107b-10Sa). This couplet is preceded by in B. three hemistichs which do not oceur in some versions, and which seem to be irrelęvant. 94-95 (C.53b-54a, B,XIV.108b-109). 95-97 (C.54b-58a, B.XIV.110-112a).

-XV. 102 ] RULES OF PROSODY 261

98. All the syllabic metres fall into three classes such as divine, human and semi-divine. 99. Gayatri, Usņik, Anusțup, Brhatī, Triștup and Jagatī belong to the first or the divine (divya) class. 100. Atijagati, Šakkarī, Atisakkarī, Aști, Atyaști, Dhṛti and Atidhrti belong to the next (i.e. human) class. 101. Krti, Prakrti, Vyākrti (Ākrti), Vikrti, Samkrti, Abhikrti (Atikrti) and Utkrti belong to the semi-divine class1. 102. O the best of Brahmins, now listen about the metrical patterns which are to be used in plays and which are included in the Rhythm-types described by me1.

Here ends Chapter XV of Bharata's Natyasāstra which treats of the Rules of Prosody.

98 (C.91b-92a, B .. XIV.112b-113a). 99 (C.92b-93a, B.XIV.113b-114a). 100 (93b-94a, B.XIV.114b-115a). 101 (C.94b-95a, B.XIV.115b-116a). 1 The seventeen couplets after this (C.101a-118a B.XIV, 116b-132a) seem to be spurious. For a discus- sion on this point see the Introduction. 102 (C.118-119, B.XIV,13 :- 134). 1 Some versions of the NS. read this couplet as the beginning of the next chapter.

CHAPTER SIXTEEN

METRICAL PATTERNS

Tanu-madhya 1. 1Tanu-mdhya is a variety [of metres] of the Gāyatri class. [In each of its feet] the first two and the last two syllables are heavy2. Example : 2. santyakta-vibhūșā bhrastânjana-netrā | hastârpitaganda kim tvam tanu-madhyā l O fair lady (lit. slim-waisted one), why1 have you cast off your ornaments, why are your eyes without collyrium and why are you resting the cheek on the palm of your hand ? Makaraka-sīrşā

3. [Of the same class is] Makaraka-sirsa which has [in each of its feet] the first four syllables light and the last two heavy1. Example : 4. svayam upayāntam bhajasi na kāntam I bhayakari kim tvam makaraka-šīrșā # You are not greeting the beloved one who has come to you of his own accord O terrible one, why1 are you so dull- headed2

1 (C.2,'B.XV.2). ' This is preceded in B. and C. by a couplet which rightly belongs to the Chapter XV. (XIV. in B.) 2 Scheme ( -- U, u -- ). The definition of this metre is also its erample though an independent example also follows. Such is the case with many other metres defined in the NS. 2 (C.3, B.XV.3). 1 Kim tvam-why ( are ) you ...? Cp. Kim akaranam eva darsanam rataye na diyate, Kumar. IV. 7. 3 (C.4, B.XV.4). 1 Scheme (u vv, v -- ). This is called Śasivadana by Pr. P. Vr. R. and Srv. . 4 (C.5, B.XV.5). See above 2 note 1. 2 Makarakasşira-having a head (i.e. brain) like that of a makara.

-XVI. 9 ] METRICAL PATTERNS 269

Mālati

5. [The metre with] the feet of six syllables of which the second and the fifth are light and the rest heavy, is called Mālati1. Example : 6. sobhate baddhayā șatpadâviddhayā ! mālatīmālayā māninī līlayā # The offended woman wearing the Malati garland in which the bees are clinging looks charming.

Mālini

7. [The metre with] the feet of six syllables of which the second one is light [and the rest heavy] is called Mālini.1 Example : 8. snana-gandha-sragbhir vastra-bhusayogaib I vyaktam evaişā tvaņ mālinī prakhyātā " By your perfumed bath, [wearing of] garlands, [good] dress and ornaments you are clearly recognised as the wife of a garland- maker.

Uddhata

9. [The metre with] the feet of seven syllables of which the second, the fourth and the fifth are light [and the rest heavy] is called Uddhata1.

The allusion is perhaps to the foolish makara in the Vanara-makara-katha in the 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." 5-6. (B.XV.9-10). 1 Scheme (- 0 -, - v -) C. omits this metre. 7 (C.6, B.XV.6-7). 1 Scheme (- v-, --- ). This is quite different from the metre Malini defined by Pingala and his followers. The NS. calls this second Malini (with 15 syllables in each pada) Nandīmukhi. See below 73-74. 8 (C.7, B.XV.8). 9 (C.8, B XV:11-12). 1 Scheme (- v -, vv-,-). 10 (C.9, B.XV.13).

264 THE NATYASASTRA [ XVI. 10-

10. danta-kunta-krtânkam vyākulalaka-sobham I samsatîva tavâsyam nirdayayam rata-yuddham n Your face which bears the marks of spear-like teeth [of the beloved] and is strewn over with your dishevelled hair, indicates indeed an unrelenting fight of love.

Bhramara-mālika

11. [The metre with] the feet of seven syllables of which the first two and the last two are heavy [and the rest light] is called Bhramara-mālikā1. Example : 12. nana-kusuma.citre prapte surabhi-mase ! esa bhramati mattā kānte bhramara-mālā # O beloved one, this being the month of Caitra which is varigated with different flowers, cluster of bees are flying about intoxicated [with their smell]. Simha-lekhā

12. [The metre with] the feet of eight syllables of which the first, the third, the fifth, the seventh and the last [the eighth] are heavy [and the rest light] is called Simha-lekha'. Example :- 14. yat tvayā hy aneka-bhāvais cestitam rahaḥ sugātri | tan mano mama pravistam vrttam atra simha-lekham That you have planned the love's embrace in various ways, O fair-limbed one, has been inscribed in my mind with the scratch of a lion's claws1.

Matta-ceșțita 15. [The metre with] the feet of eight syllables of which the

11 (C.10, B.XV.14-15).1 Echeme ( -- U, v v-,-). 12 (C.11, B.XV.16). 13 (C.12, B.XV.19). ' Scheme (-v-, -0, - 0 -) C. gives the name as Simhalila. 14 (C.13, B.XV.17-18). 1 The translation follows Ag. 15 (C.14, B.XV.20, 21). 1 Scheme (u- v, - v-, U-). Tnis metre is named as Pramanika in Pr. P.

-XVI. 20] NETRICAL PATTERNS 265

second, the fourth, the sixth and the eighth are heavy [and the rest light] is called Matta cestita.I Example : 16. carâvaghūrņiteksanam vilambitakulalakam I asamsthitaih padaih priyā karoti matta-ceștitam I The beloved one with her eyes restless and rolling, hairs hanging down dishevelled, and footsteps unsteady, is behaving like a person who is intoxicated. Vidyul-lekhā 17. [The metre with] the feet of eight syllables of which all are heavy, is called Vidyul-lekha.1 Example : 18. sambho-bharair anardadbhih syamambhodair vyapte vyomnī l ādityâmśu-spardhiny eșā diksu bhrāntā vidyul-lekhā i The sky being overcast with dark clouds which are roaring and are laden with masses of water, a flash of lightning which rivals the sun-beam is running in [different] directions.

Citta-vilasita

19. [The metre with] the feet of eight syllables of which the fifth, the seventh and the last are heavy [and the rest light] is called Citta-vilasita.1 Example : 20. smita-vasa-viprakasair dasana-padair amibhiḥ I varatanu pūrņa-candram tava mukham āvrņoti # O fair lady (lit. fair limbed one)t, your face with the teeth

18 (C.15, B.XV.22). 17 (C.16, B.XV.23, 24). ' Scheme ( --- , --- , -- ). B. gives the name as Vidyun-mala. This is the name in Pingala and Sr. B. 18 (C.17, B.XV.25). 19 (B.XV.26). 1 Scheme (UvU, v-U, -- ). C. omits this metre. 20 (B.XV.27). 1 This mode of addressing a beloved woman is as old as the time of Patanjali who quotes the fragment of a poem as follows : varatanu sampravądanti kuktutāh (Ref. Apte's Guide to Skt. § 319). 34

266 THE NATYASASTRA [XVI. 21-

revealed on account of your smile, outshines (lit. covers) the full moon. Madhukari 21. [The metre which has] the feet of nine syllables of which the last three are heavy [and the rest light] is called Madhukari.1 Example : 22. kusumitam abhipaśyantī vividha-taruganais channam ! vanam atiśaya-gandhâdhyam bhramati madhukarī hrstā # Seeing the woodland covered with various trees full of flowers and rich in exuberence of [pleasent] odour, the female bee is flying about in delight. Kuvalaya-mālā 23. [The metre which has] the feet of ten syllables of which the first and the last three are heavy [and the rest light] is called Kuvalaya-mālāI. Example : 24. asıiņs te śirasi tadā kānte vaidūraya-sphațika-suvarņadh ye I sobham svām na vahati tām · baddhā suślistā kuvalaya-mālêyam I O dear one, this well-made garland of Kuvalaya1 flowers fastened at that time on your head which has been richly decorated with lapis lazuli, quartz and gold, does not bear [any more] its naturalbeau ty.

Mayūrasāriņī 25. [The metre which has] the feet of ten syllables of

21 (C.18, B.XV.28, 29). 1 Scheme VVU, UVU, --- ). This metre is called Bhujagasisubhrta (°yuta, vrta) by Pingala and his followers. 22 (C.19, B.XV.30). 23 (C.20, B.XV.31, 32). 1 Scheme ( --- , UvU, v -- , -). This is called Panava by Pingala and his followers. . 24 (C.21, B.XV.33). 1 Kuvalaya is a blue aquatic flower of the of the lotus class. 25 (C.22, B,XV.34, 35).

-XVI. 29 ] METRICAL PATTERNS 267

which the second, the fourth, the sixth and the eighth are light [and the rest heavy] is called Mayurasariņī1. Example : 26. naiva te'sti samgamo manușair nâsti kāmabhoga-cihņam anyat ! garbhiņîva drsyase hy anārye kiņ mayūra-sāriņī tvam evam l O ignoble one, you have no union with men, neither have you any sign of love's enjoyment. Still you look like one who is enceinte. You indeed behave like a pea-hen.1

Dodhaka 27. [The metre with] the feet of eleven syllables of which the first, the fourth, the seventh the tenth and the last are heavy [and the rest light] is called Dodhaka.1 Example : 28. praskhalitâgrapada-pravicāram matta-vighūrņita-gātra-vilāsam I paśya vilāsini kunjaram etam dodhaka-vrttam ayam prakaroti # O merry lady, look at this elephant which with its faltering steps of the front legs, and with the body playfully moved about [as if in] intoxication, is imitating the manner of a calf (?)"

Motaka

29. [The metre with] the feet of eleven syllables of which the first two, fifth, the eighth, and the last are heavy [and the rest light] is called Motaka.

1 Scheme (-u-, u-v, - v -, -). 1 Pingala gives the name as Mayurasa° and so does Vr. R. 26 (C.23, B.XV.36). 1 This relates the belief that the pea-fowls' sexual union take place in complete seclusion. 27 (C.24, B.XV.37, 38). 1 Scheme (-U, - vv, -vu, -- ). 28 (C.25, B.XV.39). We are not sure of the meaning of the word dodhaka. Ag. writes dodhakena gīyamānam vrttam dodhaka-vrttam. 29 (C.26, B.XV.40). ' Scheme. ( -- v, v - U, v - U, U -). This is named as Motanaka by Gangadasa in Ch. M.

268 THE NATYASASTRA ( XVI: 30.

Erample : 30. eso'mbuda-nisvana-tulya-ravab kşibah skhalamāna-vilamba-gatiļ I śrutvā ghana-garjitam adri-tate vrksān prati moțayati dviradab This elephant hearing the clouds roaring in the mountain valley, is trumpeting in excitement as loudly as the [rain] clouds and is rushing with faltering steps to the trees. Indra-vajra 31. [The metre with] the feet of eleven syllables of which the third, the sixth, the seventh and the ninth are light, [and the rest heavy] is called Indra-vajra1. Erample : 32. tvam durņirîksyā duratiprasādā duhkhaika-sādhyā kațhinaika-bhāvā l sarvasv avasthasu ca kama-tantre' yogyāsi kim vā bahunêndravajrā l You are hard to be looked at, difticult to be pleased and won over, and you have an unmixed ( lit, one ) hard feeling, in the practice of love, you are unfit (ayoyya) at every stage ; and in short you are [like] the thunder-bolt of Indra.

Upendravajra 33. [The metre with] the feet of eleven syllables of which the first, the third, the sixth, the seventh, the ninth are light [and the rest heavy] is called Upendravajra1. Example : 34. priye śriyā varņa-viśeșaņena smitena kāntyā sukumār-bhāvāt l ami guņā rūpa-guņânurūpā bhavanti te kim tvam upendravajrā l

30 (C.27, B.XV.41). 31 (C.28, B,XV.42). 1 Scheme ( -- u, - - u, v - U, - -). 32 (C.29, B.XV.43), .33 (C.30, B.XV.44). 1 Scheme (U - u, -- U, u - v, -- ). 34 (C.31, B.XV.45).

METBICAE PATTERNS

O beloved one, due to your beauty, the special colours [of your dress], smile, grace and delicate bearing, these qualities of yours have matched the qualities of the [beautiful] form. Are you the bow of Indra ?I Rathôddhata

35. [The metre with] the feet of eleven syllables of which the first, the third, the seventh, the ninth and the last are heavy [and the rest light] is called Rathôddhata1. Example : 36. kim tvayā subhata dūra-varjitam natmana na suhridam priyam krtam I yat palāyana parāyaņasya te yāti dhūlir adhuna rathôddhata ll O good soldier, why have you left the battle-field com- pletely. You have done neither any good to yourself nor to your friends, for while runing away [from the battle field] the dust [in your road] rises now [as if] scattered by chariot. 1

Svāgatā

37. [The metre with] the feet of eleven syllables of which the first, the third, the seventh and the tenth and the last are heavy [and the rest light] is called Svagata1. Example : 38. adya me saphalam āyata-netre jivitam madana-samśraya-bhāvam 1 āgatâsi bhavanam mama yasmāt svāgatam tava varôru nișīda n Today the two large eyes of mine have attained their object and so has my life and love, because you have come to my house ; O fair lady, you are welcome, please be seated.

1 Upendra-vajramtu indra-dhanusā upamitam etc. (Ag.). 35 (C.32, B.XV.46). 1 Scheme (-U-, v00, - v-, U-), 36 (C.33, B.XV.47). 1 B. gives an additional cxample of this metre (B.XV.48). 37 (C.34, B.XV.49). ' Scheme (- v-, v00, - vv, -- ).

270 THE NATYASASTRA [ XVI. 39-

Salini 39. [The metre with] the feet of eleven syllables of which the sixth and ninth are light [and the rest heavy] is called Salini.1.

Example : 40. duḥśilam vā nirguņam pāpakam vā loke dhairyād apriyam na bravīși āryam sīlam sādhvī he te'nuvrttam madhuryâdhyā sarvathā sālinī tvam # On account of your patience with the people you do not, utter a harsh word to any one who has bad manners or is without any merit or is wicked. O good lady, you have followed a noble manner, you are a housewife full of sweetness in every respect. Toțaka 41. [The metre with] the feet of twelve syllables of which the third, the sixth, the ninth and the last.are heavy [and the rest light] is called Totaka.1 42. kim idam kapatâsraya-durvișaham bahu-sāthyam athôlbana-rūks a-katham | svajana-priya-sajjana-bhedakaram nanu toțaka-vrttam idam kurușe # Why is this crooked and insufferable conduct full of villainy, and unambiguous (lit. direct) and harsh words hurting the relations, dear ones and [other] good people? You are indeed behaving like a cutter.

Kumudanibha

43. [The metre with] the feet of twelve syllables of which

38 (C.35, B.XV.50). 39 (C.36, B.XV.51). ' Scheme ( --- , -- v, -- v, -- ). 40 (C.37, B.XV.52). 41 (C.38, B.XV.53, 54). 1 Scheme (vv-, Uv-, u0-, vu-). 42 (C.39, B.XV.55). 43 (C.40, B.XV.59),

-XVI. 47 ] METRICAL PATTERNS 27L

the first four, the. eighth and the tenth are light [and the rest heavy] is called Kumudanibhā. Example : 44. kumudanibhā tvaņ kāma-bāīņa-viddhā kim asi-natabhruḥ sīta-vāta-dagdhā I mṛdu-nalinîvâpāņdu-vaktra-sobhā katham api jātā agrataḥ sakhīnām # O fair-eyed damsel, being like a Kumuda flower why have you been struck with cupid's arrow and why do you appear pale before your friends like a delicate Nalini blasted by the cold wind.

Candra-lekhā

45. [The metre with] the feet of twelve syllables of which the first five, the seventh and the tenth as are light [and the rest heavy] and the caesura falls after the first five syllables, is called Candra-lekhā1. Example : 46. vaktram saumyam te padma-patrâyatâksam kāmasyâvasam svabhruvos câvabhāsam I kāmasyâpîdam kāmam āhartukāmam kāntyā tvam kānte candra-lekhêva bhāsi O beloved one, your sweet face with eyes as large as lotus- petals and the splendour of your eyebrows, are the abode of love, and they are ready to bring love even to the god of love; you shine as it were like a phase of the moon.

Pramitâkșara 47. [The metre with] the feet of twelve syllables of which

' Scheme (v00, v -- , -- , v0). B. gives another metre of this name with a different scheme ( -- , 0 -- , vvv, 0 -- ) and an example of this (B.XV.56-58). 44 (C.41, B.XV.60). 45 (C.42, B.XV.61). ' Scheme ( --- , --- , -- , -- ). 46 (C.43, B.XV.62). 47:(C.44, B.XV.63).

272 THE NATYASASTRA [ XVI. 48-

the third, the fifth, the ninth and the last are heavy [and the rest light] is called Pramitakarsa1. Example : 4S. smita-bhāsīņī hy acapalâparușī nibhrtapavada-vimukhi satatam yadi kasya cid yuvatir asti sukhā pramitākșarā sa hi pumān jayati i If any one has a pleasing young wife with restrained speech, who is always smiling and averse to speaking ill of him [even] secretly, and is never fickle or harsh, that person verily thrives.

Vamšasthā 49. [The metre with] the feet of twelve syllables of which the second, the fourth, the fifth, the eighth, the tenth and the last are heavy [and the rest light] is called Vamsastha.1 Erample : 50. na me priyā yad bhumāna-varjitā krtâpriyā te parusabhibhīşaņaih I tathā ca pasyāmy aham adya vigraham dhruvam hi vamsastha-gatiļ karisyati I You are not dear to me, for you are wanting in esteem [for me] and your harsh words [also] have made you displeasing [to me]. So I see that the natural habit will surely bring a quarrel tođay.

Hariņa-pluta 51. [The metre with] feet of twelve syllables of which the fourth, the seventh, the tenth and the last are heavy [and the rest light] is called Hariņa-plutaI.

1 Scheme (UU-, U-U, UV-, U0-). 48 (C.45, B.XV.64). 49 (C.46, B.XV.65, 66). 1 Scheme (0-0, -- v, 0 - u, - U-). 50 (C.47, B.XV.67). 51 (C.48, B.XV.68). 1 Scheme (vvv, -UU, -Uu, - u-). This is called Druta-vilambita by Pingala and his followers,

-XVI. 56 ] METRICAL PATTERNS 273

Example : 52. parușa-vākya-kaśâbhihatā tvayā bhaya-vilokana-pārśva-nirîkșaņā ! varatanuh pratata-pluta-sar paņair anukaroti gatair hariņa-plutam 'n The fair lady (lit. fair-limbed one)1, smitten by the whip of your harsh words, and looking in fear to her sides and runing away continously with quick steps is imitating by her movements a deer's gallop.

Kāmadattā

53. [A metre with] the feet of twelve syllables of which the seventh, the ninth, the eleventh and, the last are heavy [and the rest light] is called Kamadatta1.

Example :

54. karaja-pada-vibhūșita yathā tvam sudati daśana-vikșatâdharā ca 1 gatir api caraņâvalagna-mandā tvam asi mrga-samâksi kāmadattā O fair lady1, you have been adorned with the marks of nails, your lips have been bitten by teeth and your gait also is faltering and slow. It seems, O deer-eyed one, that you have given [yourself up ] to [the enjoyment of] love.

Aprameya

55. [The metre with] the feet of twelve syllables of which the first, the fourth, the seventh and tenth are light [and the rest heavy] is called Aprameyā1.

52 (C.49, B.XV.69). See above 20 note 1. 53 (C.50, B.XV.70). ' Scheme (vV0, V0U, - U-, u -- ). C. calls this Kama-matta. 54 (C.51, B.XV.71). Sudati-O fair-toothed one. 55 (C.52, B.XV.72). 1 Scheme (v - -, U - -, U -- , 0 -- ). This is called Bhujanga-prayata by Pingala and his followers. 35

274 THE NATYASASTRA [ XVI. 56-

Erample : 56. na te kā cid anyā samā drsyate stri nr-loke visista guņair advitīyaih | trilokyām guņâgryān samāhrtya sarvān jagaty aprameyâsi srstā vidhātra l Nowhere amongst the mortals (lit. in this world) is to be seen a woman who is your equal, and is distinguished by. singular accomplishments. The creator has made you matchless by putting together [in you] all the best virtues of the three worlds.

Padminī

57. [The metre with] the feet of twelve syllables of which the second, the fifth, the eighth and the eleventh are light [and the rest heavy] is called Padmini1. Example : deha-toyâśayā vaktra-padmôjjvalā netra-bhrngâkulā danta-hamsaih smitā ! kesa-patrac-chada cakravāka-stani padminîva priye bhāsi me sarvadā l 58. 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 the restless bees [there] and you smile with the swan-like teeth and your hairs are [the lotus] leaves, and the breasts are like the Cakra-vakas1 [swimming there].

Patuvrtta . [The metre with] the feet twelve syllables of which the first six and the tenth are light [and the rest heavy] is called Patuvrtta1.

56 (C.53, B.XV.73). 57 (C.54, B.XV.74, 75). 1 Scheme (-U-, - v-, -v-, -v-). This is called Sragvini by Pingala and his followers. 58 (C.55, BXV.76). 1 B. gives a sccond example (B.XV.77) which seems to be a variant of this. . 59 (C.56, B.XV 78, 79). ' Scheme. (vvu, Uvv, --- , u -- ). This is called Puta by Pingala and his followers.

-XVI. 68] METRICAL PATTERNS 275

Example :

60. upavana-salilānām bāla-padmair bhramara-parabhrtanam kantha-nadaih I samada-gati-vilāsaiḥ kāminīnām kathayati patuvrttam madhu-māsaļ l

The month of Caitra (lit. honey-month) with lotus-buds in the garden-lakes, songs of bees and cuckoos and the playful movements of intoxicated women, is anouncing its smart manners1.

Prabhavatī

61. [The metre with] the feet of twelve syllables of which the second, the fourth and the ninth the eleventh and the last are heavy [and the rest light] is called Prabhavati.1

Example :

62. katham nv idam kamala-visāla-locane grham ghanaiḥ pihita-kare nišākare I acintayanty abhinava-varsa-vidyutas tvam āgatā sutanu yathā prabhāvatī l

O fair one, with eyes as large as a lotus, how have you come like a radiant being to this house [of mine] when the rays of the moon have been covered by clouds and you have not cared for the impending (lit. new) rains and the lightning ?

Praharşiņī

63. [The metre with the] feet of thirteen syllables of which the first three, the eighth, the tenth and the twelfth and the last are heavy [and the rest light] is called Praharsiņi1.

60 (C.57, B.XV.80). 1 I am not certain about the exact meaning of the term putavrtta. One ms. gives it as patuvrtta (see B.) which I adopt. 61 (C.58, B.XV.81). ' Scheme (u -v, - vv, vv -, 0, - -). 62 (C.59, B-XV.82). 63 (C,60, B.XV.83). 1 Scheme.( --- , 0 00, u - u, -v-, -).

THE NATYASASTRA [ XVI. 64- 276

Example :

64. bhāvasthair madhura-kathaih subhāșitais tvam sātopa-skhalita-vilambita-gataiś ca ! sobhādhyair harasi manāmsi kāmukānām suvyaktam hy atijagatī praharșiņī ca # [O fair one], by your loving and sweet words, witty sayings, beautiful, majestic, faltering and slow steps, you capti- vate the mind of lovers. It is apparent that you are enrapturing beyond [anything else in] this world.

Matta-mayura

65. [The metre with] the feet of thirteen syllables of which the sixth, the seventh, the tenth and the eleventh are light [and the rest heavy] is called Matta-mayura1.

Example :

66. vidyun-naddha sêndra-dhanur-dyotita-deha vātôddhūtāh śveta-balaka-krta-sobhāb i ete megha garjita-nadôjjvala-cihnāh prāvrt-kālam matta-mayuram kathayati # These clouds [characterised] by a thundering noise and brilliant signs containing lightning and rainbow, moved about by the wind, and adorned with white cranes speaks of the [arrival of the] rainy season which maddens the peacocks.

Vasanta-tilaka

67. [The metre with] the feet of fourteen syllables of which the first two, the fourth, the eighth and the eleventh and the thirteenth and the last are heavy [and the rest light] is called Vasanta-tilakā1.

64 (C.61, B.XV.84). 65 (C.62, B.XV.85). - Scheme (- ~ -, - - v, U -- , vv-, -). 68 (C.63, B.XV.86). 67 (C.64, B.XV.87). - Scheme.( -- U, - vv, u- V, u - u, -- ).

-XVI.14] METRICAL PATTERNS 277

Example : 68. citrair vasanta-kusumaiḥ kṛta-keśa-hastā srag-dāma-mālya-racanā-suvibhūșitângi | nānâvataņsaka-vibhūsita-karņapāā sāksād vasanta-tilakêva vibhāti nārī l This well-dressed woman who has adorned her braid of hairs with the many-coloured vernal flowers, and the rest of her body with various types of flower-garlands1 and her ears with various ornaments, looks indeed like the decoration (tilaka) on the forehead [of the goddess] of spring.

Asambādhā

69. [The metre with the] feet of thirteen syllable, of which the first five and the last three are heavy, [and the rest light] is called Asambādha.1 Example : 70. māni lokajnah śruta-bala-kula-silâdhyo yasmin sammanam na sadrsam anupasyed dhi i gaccet tam tyaktvā druta-gatir aparam deśam kīrņa nānârthaīr avanir iyam asambādhā # 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 find adequate honour, and quickly goes to a different country ; for this world is seattered over with wealth of many kinds and offers no obstruction [to such a persòn].

Sarabha

71. [The metre with the] feet of fourteen syllables of which the first four, the tenth, the eleventh the thirteenth and the last are heavy [and the rest light] is called Sarabhā1.

68 (C.65, B.XV.88). 1 Srak and mālya are used here probably to indicate two different kinds of garlands. 69 (C.66, B.XV.89). I Scheme ( --- , -- U, vu, u -, -- ). 70 (C.67, B.XV.90). 71 (C.68, B.XV.91). Scheme ( --- , - UU, UVv, -- u; -- ).

278 THE NATYASASTRA [ XVI. 72-

Example 72. eșā kāntā vrajati lalitam vepamānā gulmac-channam vanam uru-nagaih sampraviddham I hã ha kaștam kim idam iti no vedmi mudho vyaktaņ krodhāc-charabha-lalitaņ kartu-kāmā l This beloved lady goes trembling in a graceful manner to the forest covered with shrubs and interspersed with high hills. Ah, what a pity, the fool that I am, I could not understand that due to anger she is openly playing the graceful role of an young elephar.t.

Nāndimukhi

73. [The metre with] the feet of fifteen syllables of which the first six, the tenth, and the thirteenth are light [and the rest heavy] is called Nāndimukhi.1 Example : 74 .· na khalu tava kadācit krodha-tāmrâyatākșam bhrukuti-valita-bhangam drsta-purvam mayasyam I kim iha bahubhir uktair yā mamaișā hrdisthā tvam asi madhura-vākyā devi nāndīmukhîva l Never before have I seen your face with eyes red in anger and with eyebrows curved in frowning ; O lady, what more shall I say ? Are you the [same] sweet-tongued one who resides in my heart and is like Nāndimukhi ?

Gaja-vilasita

75. [The metre with] the feet of sixteen syllables of which the first, the fourth, the sixth and the last are heavy [and the rest light] is called Gaja-vilasita.

• 72 (C.69, B.XV.92). 73 (C.70, B.XV.93). I Scheme (vvU, Uv, --- , v -- , U - -). This is called Malini by Pingala and his followers. 74 (C.71, B.XV.94). 75 (C.72, B.XV.95, 96). I Scheme (-UU, -U-, v00, vUU, UUV, -). This is called Rsabha-gaja-vilasita by Pingala and his followers.

.XVI. 79 ] METRICAL PATTERNS 279

Example : 76. toyâdhariah sudhira-ghana-patu-pataha-ravaiḥ sarja-kadamba-nipa-kuțaja-kusuma-surabhim I kandala-sêndragopaka-racitam avanitalam vīksya karoty asau vrsabha-gaja-vilasitakam # On seeing the surface of the earth adorned with the Kandala and the Indragopa, and perfumed with the flowers of Sal, Kadamba I, Nipa2, and Kutaja, which open at the loud and clear drum-like peals of thunder (lit. sounds of the clouds) this [man] imitates the sportful movement of a bull-elephant.

Pravara-lalita

77. [The metre with the] feet of sixteen syllables of which of the second, third, the fourth, the fifth, the sixth, the twelfth the thirteenth, the fifteeth and the last are heavy [and the rest light] .is called Pravara-lalita.1 Example : 78. nakhâlīdham gātram dasana-khacitam côstha gaņdam sirab pusponmiśram pravilulita-keśalakântam I gatiḥ khinnā cêyam vadanam api sambhrānta-netram aho ślāghyamı vrttam pravara-lalitam kāma-ceștam Her body has been scratched by nails, and lips and the cheeks are bitten by teeth, the head is set with flowers, hairs have their ends dishevelled, and ler gait is languid, and the eyes are restless. Ah, a very graceful exploit of love, has taken place in a praisworthy manner. Śikhariņi

78. [The metre with] the feet of seventeen syllables of which the second, the third, the fourth, the fifth, and sixth, the twelfth,

76 (C.73, B,XV.97). T Kadamba and nipa are usually considered synonymous. It is just possible that there are two different trecs with these two names and later writers have ignored the difference which may be very slight. It may be noted here that the Concise Oxford Diction- ary defines nipa as a 'kind of E. Indian palm'. ' Sec note 1 above, 77 (C.74, B.XV.98, 99).I Scheme (U- -, --- ,00, 0V-,-v ,-). 78 (C.75, B.XV.100). 79 (C.76, B.XV.101, 102).

280 THE NATYASASTRA [ XVI. 80-

the thirteenth and the last are heavy [and the rest light] is called Šikhariņi.1 Erample : 80. mahānadyâbhoge pulinam iva te bhāti jaghanam tathâsyam netrābhyam bhramara-sahitam paņkajam iva I tanu-sparśaś câyam sutanu sukumāro na parusah stanābhyām tungābhyām sikhari-nibhā bhāsi dayite # Your hip is like the sand-bank at the margin of a river, your face together with the eyes, is like a lotus with the bees, the touch of your body is soft and not rough ; with your two elevated breasts you look like a hill with [two] peaks, O dear one.

Vrșabha-ceșțita 81. [The metre with the] feet of seventeen syllables of which the first five, the eleventh, the thirteenth, the fourteenth and the sixteenth are light [and the rest heavy] is called Vrsabha-cestita.1

Example : 82. jalada-ninādaņ śrutvā garjan madoccaya-darpitah vilikhati mahīm śrngâkşepair vrsah pratinardya ca l sva-yuvati-vrto gosthad gostham prayāti ca nirbhayo vrsabha-lalitam citram vrttam karoti ca šadvale # On hearing the thundering noise of the clouds the bull maddened with an excess of rut, is striking the earth with its horns and is bellowing in reply. And then, surrounded by young females of its class it goes fearlessly from one cow-pen to another and has the various sportive exploits on the green [pasture].

Śridhara 83. [The metre with] the feet of seventcen syllables of which the first four, the tenth, the eleventh, the thirteenth,

1 Scheme (U -- , --- , 000,00-, -00, 0-). 80 (C.77, B.XV.103). 81 (C.78, B.XV.104, 105). 1Scheme (000, VV-, --- , -0-, U-, v-). This is called Harini by Pingala and his followers. ' 82 (C.79, B.XV.106). 83 (C.80, B.XV.107-108, 109).

.XVI. 87] METRICAL PATTERNS 281 the fourteenth and the last are heavy [and the rest light] is called Śridharā. 1 Example : 84. snānais cūrņaih sukha-surabhibhir ganda-lepaiś ca dhūpaiļ puspais canyaih śirasi-racitair vastra yogaiś ca tais taiḥ I nana-ratnaih kanaka-racitair anga-sambhoga-samsthair vyakam kānte kamala-nilayā śrīdharêvâti bhāsi i O beloved one, by your bathing, powders, pleasently fragrant paste smeared on your cheek, the [hair-perfuming] incense, flowers set on the hair (lit. head), various elothes and many jewels com- bined with gold worn on the limbs, you shine indeed very much like the lotus-dwelling [one] who is the goddess of beauty. Vamsa-patra-patita 85. [The metre with] the fect of seventeen syllables of which the first, the fourth, the tenth and the last are heavy [and the rest light] is called the Vamsa-patra-patita.1 Example : 86. esa gajo'dri-mastaka-tate kalabha-parivrtah krīdati vrksa-gulma-gahane kusuma-bhara-nate i megha-ravam nisamya muditah pavana-java-samah sundari vamsa-patra-patitam punar api kurute i O fair lady, this elephant which surrounded by young ones is playing near the peak of the hill in the thick forest of trees and shrubs bent 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]. Vilambita-gati 87. [The metre with the] feet of seventeen syllables of which the second, the sixth, the eighth, the twelfth, the fourteenth,

1 Scheme ( --- , -vv, vvv, -- u, -- u, -- ). This is called Mandakranta by Pingala and his followers. 84 (C.81, B.XV.110). 85 (C.82, B.XV.111). IScheme (-v0, -0-, 0, -0, UU0, U-). 86 (C.83, B.XV.112). 87 (C.84, B.XV.113-114, 115), 36

282 THE NATYASASTRA [ XVI. 88-

the fifteenth and the last are heavy [and the rest light] is called Vilambitagati.1

Example :

88. vighūrņita-vilocanā prthu-vikirņa-hārā punah pralamba-raśanā calat-skhalita-pada-manda-kramā | na me priyam idam janasya bahumāna-rāgeņa yan madena vivaśā vilambita-gatih kritā tvam priye # O beloved one, your eyes are rolling, the large necklace is displaced, the girdle is hanging loose, and your slow steps are faltering ; I indeed like1 this your slow gait that you assume out of overwhelming pride due to this man's love and respect [for you].

Citra-lekha

89. [The metre with the] feet of eighteen syllables of which the first five, the eleventh, the twelfth, the fourteenth, the fifteenth, the seventeenth and the last are heavy [and the rest light] is called Citra-lekhā1.

Example :

90. nānā-ratnâdhyair bahubhir adhikam bhūsanair anga-samsthaḥ nana-gandhadhyair madana-jananair anga-ragais ca hrdyaih l keśaiḥ snanârdrai kusuma-racitair vastra-rāgaiś ca tais taiļ kānte samkșepāt kim iha bahunā citra-lekhêva bhāsi O beloved one, you shine very much with the many be- *jewelled ornaments worn in your limbs, various pleasant cosmetics rich in passion-inspiring scents, hairs clean after bath and decorated with flowers, and varied colours of your clothes. What shall I say more ? To be brief, you appear like a painted picture.

' Scheme (v-u, vu -. u -u, uu-, u- u, v-). This is called Prithvi by Pingala and his followers. 88 (C.85, B.XV.116). 1 lit. Is it not dear to me ? 89 (C.16, B.XV.117). 1 Scheme ( --- , -- v, vvu, v -- , -- U -- ). This is called Kusumita-lata-vellita by Pingala and his followers. 90 (C.87, B.XV.118).

-XVI.96 ] METRICAL PATTERNS 283

Sārdūla-vikrīdita 91-92. [The metre with] the feet of nineteen syllables of which the first three, the sixth, the eighth, the twelfth, the thir- teenth, the fourteenth, the sixteenth, the seventeenth and the last are heavy [and the rest light] is called Pardūlavikrīdita1 Example : 93. nana-sastra-sataghni-tomara-hatah prabhrasta-sarvayudhah nirbhinnodara-pada-bahu-vadana nirbhartsitah satravah I dhairyôtsāha-parākrama-prabhrtibhis tais tair vicitra-guņaiḥ vṛttam te ripu-ghāti bhāti samare šārdūla vikrīditam l The enemies have been repelled after [some of them have been] killed with various weapons, Sataghni and Tomara and [some have] their bellies, arms, feet and face pierced and [some bave] lost all their weapons. Your enemy-killing exploits in battle comparable to the tiger's sports and characterised by virtues such as, patience, energy and valour, are splendid.1

Suvadanā

94-95. [The metre with/ the] feet of twenty syllables of which the first four, the sixth, the seventh, the fourteenth, the fifteenth, the sixteenth and the last are heavy [and the rest light] is called Suvadanā.I Example : 96 netre lilâlasânte kamala-dala-nibhe bhrū-capa-rucire gandôstham pina-madhyam sama-sahita-ghanaḥ snigdhāś ca daśanāl i karņāv amsa-pralambau cibukam api natam ghoņā surucirā vyaktam tvam martya-loke varatanu vihitâsyêkā suvadanā I

91-92 (C.88-89. B.XV.119, 120, 121 . 1 Scheme ( --- , u-w- U, v0-, -- u, - - u, -). 93 (C.90, BXV.122). 'B. gives an additional example of this (B.XV.123). 94-95 (C.91-92, B.XV.124-125, 126). 1 Scheme ( -- -, - - UU, UUU, U - -, -vV, 0-). 96 (C.98, B.XV.127).

284 THE NATYASASTRA [ XVI. 97.

Your eyes are like lotus-patals, beautiful with the bow-like eyebrows and their ends are playfully lazy ; the cheeks and lips are plump in their middle, the teeth are all equal, in a line, thickly , set and shining, the ears 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 fair-faced woman whose face has been [carefully] fashioned.

Sragdhara

97-98. [The metre with] the feet of twentyone syllables of which the first four, the sixth, the seventh, the fourteenth, the fifteenth, the seventeenth, the eighteenth, the twentieth and the last are heavy [and the rest light] is called Sragdhra.1 .

Example :

99. cutâsokâravindaih kuruvaka-tilakaih karņikāraih sirīșaiḥ punnāgaih pārijātair vakula-kuvalayaih kimsukaih sâtimuktaih ! etair nānā-prakšraiļ kusuma-surabhibhir viprakīrņaīs ca tais tair vāsantaih puspa-vrndair nāravara vasudhā sragdharêvâdya bhāti # O king (lit. best among men), due to the many and various sweet smelling vernal flowers such as, Cuta, Asoka, Aravinda, Kuravaka, Tilaka, Karņikāra, Sirīșa, Punnāga, Pārijāta, Vakula, Kuvalaya, Kimśuka and Atimukta, this carth looks today like a woman wearing [many] garlands of flowers.

Madraka

100-101. [The metre with] the feet of twentytwo syllables of which the first, the fourth, the sixth, the tenth, the twelfth, the sixteenth, the eighteeenth, and the last are heavy [and the rest lightJis called Madraka1.

97-98 (C.94-95, B.XV.128-129, 130). 1 Scheme ( --- , - u-, -VV, UUU,0 .-- , U -- u -- ). 99 (C.96, B.XV.181). -100-101 (C.97-98, B.XV.132-133, 134). 1 Scheme (-UV, - U-, UU

-XVI. 105 ] METRICAL PATTERNS 285

Example : 102. udyatam eka-hasta-caraņam dvitīya-kara-recitam suvinatam vamsa-mrdanga vadya- madhuram vicitra-karanânvitam bahu- vidham I madrakam etad adya subhagair vidagdha-gati-cesitia su-lalitair nrtyasi vibhramakula padam vivikta-rasa-bhavitam gasi-mukhi # O fair lady (lit. moon-faced one), you are dancing to- day in accompaniment of sweet sounds of flutes and drums the MadrakaI dance with one of your hands raised up and another bent, and your feet are restless in a hurry. And you are making happy, clever and graceful movements in pursuance of many and various Karanas, and this dance is imbued with a distinet Sentiment (rasa).

Aśyalalita 103-104. [The metre with] the feet of twentythree syllables of which the fifth, the seventh, the eleventh, the thirteenth, the seventeenth, the nineteenth and the last are heavy [and . the rest light] is called Asvalalita.1 Example : 105. vividha-turanga-nāga-ratha-yaudha- samkulam alam balaı samuditam sara-sata-sakti-kunta-parighasi- yasti-vitatam bahu-praharaņam ! ripu-śata-mukta-sastra-rava-bhīta- amkita-bhatam bhayâkulam idam krtam abhivîksya samyuga-mukhe samîpsita-guņam tvayâśvalalitam # [Even after] seeing this completely assembled army consisting of many horses, elephants, chariots and fighters, the manifold assaults spread by hundreds of arrows, darts, javelins, clubs and swords, and the foot-soldiers terrified and afraid on account of the

102 (C.99, B.XV.135). ' See NS. IV. 103-104 (C.100-101, B.XV.136-137, 138). 1 Scheme (U UU, U - V, -UU, U-U, -VU, U-u, -V0, v-). 105 (C.102, B.XV.139).

286 THE NATYASASTRA [XIII. 106-

noise of released missiles, and the terror-stricken directions, you have practised in the forefront of the battle the sportful movements of a horse, the merit of which is very much desired [by people].

Megha-mala

106-107. [The metre with] the feet of twentyfour syllables of which the first six, the eighth, the eleventh, the fourteenth the seventeenth, the twentieth and the twentythird are light [and the rest heavy] is called Megha-mala,1 Example : . 108. pavana vala-samâhata tīvra-gambhīra- nādā balākâvalī-mekhalā kşitidhara-sadrśôcca-rūpā mahānīla- dhumanjanâbhâmbu-garbhôdvaha I sura-pati-dhanur-ujjvála-baddha-kaksyā tadit-dyota-sannāha-pattôjjvalā- gagana-tala-visāriņi prāvrseņyā drdham megha-mālā 'dhikam sobhate I

The sky-covering mass of clouds of the rainy season, having deep and piercing sounds, wearing a flight of cranes as their girdle, oarrying in their womb water of deep blue colour comparable to that of smoke and collyrium, girding the waist with the rainbow as the belt, having their armour-plates illumined by the flash of lighting looks indeed very beautiful.

Kraunca-padi

109-110. [The metre with] the feet of twentyfive syllables of which the first, the fourth, the fifth, the sixth, the ninth, the tenth, and the last are heavy [and the rest light] is called Karuñca-pādī.1

106-107 (C.103-104, B.XV.140-141, 142). 1 Scheme (UVV, vÜV,

108 (C.105, B.XV.143). 109-110 (C.106-107, B.XV.144-145, 146). 1 Scheme (- U v, --- , UVS -VV, VVU, VVU, VOU, VVU,-)

-XVI. 114 ] METRICAL PATTERNS 287

Example : 111. yaḥ kila dākșam vidruta-somam kratuvaram a-camasam apagata-kalaśam pātita-yūpam kşipta-caşālam vicayanam a-samidham a-paśukam acarukam | kārmuka-muktenâśu cakāra vyapagata- suragaņa-pitr-gaņam ișuņā nityam asau te daitya-ganārih pradahatu makham iva ripu-gaņam akhilam # Let Siva (lit. the foe of the demons) who by arrows dis- charged from his bow quickly spilled the Soma-juice, threw away the Camasa, broke the Kalasa, felled the Yūpa, dislodged the Cașāla, put out the fire, destroyed the fuel, scared away the [sacrificial] animals, spilled the Caru and put the gods and the PitIs to flight in Daksa's great sacrifice, always destroy all your enemies like the same (sacrifice).1 Bhujanga-vijrmbhita

112-113. [The metre with] the feet of twentysix syllables of which the first eight, the nineteenth, twentyfirst, twentyfourth and the last are heavy [and the rest light] is called Bhujanga- vijrmbhita.1 Example : 114. rūpôpetām devaih srstām samada-gaja- vilasita-gatiņ nirîksya tilottamām prädaksiņyāt prāptām draștum bahu-vadanam acala-nayanam sirah krta-van harah I dirgham nihśvasyântar-gūdham stana-vadana- jaghana-rucirām nirîksyā tathā punaļ prsthe nyastam devêndreņa pravaramaņi kaņaka-valayam bhujanga-vijrmbhitam #

111 (C.108, B.XV.147) B. gives one additional example (B.XV.148) which occurs in Halayadha's commentary to Pingala. 112-113 (C.109-I10, B.XV.149-150). I Scheme ( --- , --- >- - U,

114 (C.111, B.XV.151).

288 THE NATYASASTRA [XVI.115 Seeing the beautiful Tilottama created by the gods with the gait of an elephant in rut, while she came to circumam- bulate him, Siva fixed all the eyes on her and kept his heads and mouths motionless. And. then the lord of gods (Śiva) on seeing her who was beautiful on account of her breasts, face and the hip, sighed silently and put away on his back the golden bangles set with the best of jewels in which snakes were yawning. The uneven and the semi-even metres

115. These are, O the best of Brahmins, the even metres I mentioned [before]. Now listen about the uneven and the semi-even metres. 116. The metres of which the feet belong to different, metrical types and are dissimilar, are called uneven (risama). 117-118. The metres in which the two [alternate] feet are similar while the two [contiguous] feet are not similar, are called semi-even (ardha-sama). And the metre in which all the feet are dissimilar is called uneven. The semieven metre is to have its even and odd feet dissimilar and the first of such groups of feet may be shorter or longer than the rest or one of them may be longer and the other shorter than the rest.

Even metres

119. An even metre is defined by defining one of its feet while uneven metre requires the definition of all its feet. And from a definition of the two feet the semi-even metre is known. This is the division of feet [in different semi-even metres]. 120. I have described the even metres with reference to their divisions of feet. Now I shall describe the characteristies of the uneven metres in terms of triads, (i.e. yanas).

114a, (C.112, B.XV.153). 1 According to B. it is spurious. 114b (C.113, B.XV.154). 115 (C.114, B.XV.155). 116 (C.115, B.XV.156). 11-118 (C.116-117, B.XV.157-158). '119 (C.118, B.XV.159). * 120 (C.119, B.XV.160)

-XVI. 124 ] METRICAL PATTERNS 289

Pathyā

121. If [in Anustup] the first foot contains sa, sa, ga, ga, and the second sa, ra, la, ga and such will be the remaining even and odd feet1, it is called Pathyaa.

Erample : 122. priya-daivata-mitrasi priya-sambandhi-bandhavā1 ! 2priya-dāna-ratā pathyā dayite3 tvam priyâsi me #

You respect the gods and the friends, you love the matri- monial relations and the kinsmen, you are disposed to make affectionate gifts and you are agreeable, O beloved one, you are dear to me.

Uneven Pathya

123. [The Anustup metre of which] the first foot contains 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 (sarva-visamā) Pathyā]1.

Example : 124. naivâcāro, na te mitram na sambandhi-guņa-kriyā1 | sarvathā sarva-vișamā pathyā na bhavasi priye O dear one, you have no [good] conduct, no friend and you have no good action towards the relatives and are in every way very rough ; so you are not agrecable.

121 (C.120, B.XV.162). 1 C. gives the correct reading yugmau- jakau 'even and odd' (feet). 2 (I & III) Vv -, v0-, -- and (II & IV) vv-,-v-, v- 122 (C.121, B.XV.163). 1 C. daivata-for sambandhi. 2 C. varā for ratā. 3 C. yadyapi for dayite. 123 (C.I33, B.XV.164). ' (1) --- , -- , -- , (1I) -

124 (C.134, B.XV.165). 1 B. priya for kriya. 37

290 THE NATYASASTRA [XVI. 125-

Inverted Pathya 125. These are the characteristics of the first and the third feet1. They being inverted i.e. the second and the fourth being of this description, the metre will be called the inverted Pathyā. Example : 126. kṛtena ramaņasya kim sakhi roșena te' pyartham i viparītā na pathyâsi tvam jađe kena mobitā1 l What is the use of this anger shown to your beloved one ? [It seems that] you are foolish and have been deluded by some- body and have been upset, [so] you are not agreeable.

Capala

127. [The metre with the feet of eight syllable of which] the fourth, the fifth and the sixth [in the hemistictis] are short, is called Anuștup Capalā.1 Eramples : 128. : na khalv asyāh priyatamaḥ śrotavyam vyāhrtam sakhyā ! nāradasya pratikrtiḥ kathyate capalā hîyam I [He] is not this girl's dearest one. This [information] to be heard [privately] was proclaimed loudly by the female friend. This fickle woman is indeed [to be] called an image of Narada (the deity of quarrel).

Vipulā 129. [If a metre with the feet ot eight syllables has] the seventh syllable short in its second and the fourth feet, it is

125 (C.122, B.XV.166). 1 A passage before this seems to be lost. C. reads yugmayor-of the two even (fcet). B. has ayujor-of the two odd (feet). 126 (C.123, B.XV.I67). . 1 We adopt B's reading. (I) v - U,

. 127 (C.124, B.XV.168). IC. vipulā for capalā. 128 (C.125, B.XV,169). 129 (C.126, B.XV.170).

-XVI. 135 ] METRICAL PATTERNS 291

called [Anustup] Vipulā. According to someI the seventh syllable in all the feet will be short in [such] Vipulā. Example : 130. samkșiptā vajravan-madhya hema-kumbha-nibha-stanī | vipulâsi priye śronyām pūrņa-chandra-nibhânaņe I O dear one, you are thin [in body] your waist is slender in the middle like a Vajra, your breasts are like golden pitchers, your hips are large and your face is like the full moon. . 131. gangêva tvam meghagame aplāvita-vasundharā kula-vrksan arujati sravanti vipulacalat1 I You are like the Ganges at the advent of the rains, flooding the earth, destroying the trees on the bank and flowing down from a high mountain 132. The feet of Pathya are thus of various types ; in the remaining [types of Anustup] even and odd feet may be made up with other triads (trika)1. 133. In this metre a triad ending in a heavy syllable (i.e. ma, ra, ya, sa) or consisting of light syllables (i.e. na) is never to occur (lit. desired) after the first syllable while after the fourth syllable a short syllable must occur (lit. is prescribed). 134. If in the feet of a Pathya there are three heavy syllables at the end it is called [Anuștup] Vaktra. Example : 135. danta-ksatadharam subhru jagara-glana-netrantam I rati-sambhoga-khinnam te darsaniya-taram vaktram il O fair lady, the lips being bitten by teeth, eyes being languid due to keeping awake, your face has become more charming, after its exhaustion in love's enjoyment.

1 Saitava-mentioned in Pingala and Agni P. See CSS. p. 38. 130 (C.127, B.XV.171). 131 (C.128, B.XV.172). 1 B. C. zanāt for calat. 132 (C.129, B.XV. 174). 1 We follow B. 133 (C.130, B.XV.175). 184 (C.131, B.XV.176). 135 (C.132, B.XV.177).

292 THE NATYASASTRA [ XVI, 136-

136. These are all-uneven metres of the Anuștup class. The authorities differ from one another as regards [the arrange- ment of] the triads and syllables.1

Vānavāsikā

137. The metre which has its feet consisting of sixteen Mātras as parts of Gatha to be divided into four sections in terms of triads and the part of a triad, is called Vānavāsikā. 1 Example : 138. asamthita-padā suvihvalângī mada-skhalita-cestita-manojnā kva yāsyasi varoru surata-kāle vișamā kim vānavāsikā tvam # O fair lady, your gait is unsteady, limbs are agitated, and your faltering movements due to ardent passion are charming. Where are you going at the time of love's enjoyment ? Are you a perverse woman of Vanavasi ?

Ketumatī 139. The metre of which the first and the third feet consist of sa, ja, sa, ga and the second and the fourth bha, ra, na, ga, is called Ketumati.I Example : 140. sphuritâdharam cakita-netram rakta-kapolam ambuja-dalâkșam l kim idam rușâpahṛta-śobham̧ ketumatī-samaņ vada mukham te # Your lips are throbbing, the eyes which are like lotus-petals are trembling and the cheeks are red. Tell me why has your face robbed of its beauty by anger, become like Ketumati (flame) ?

136 (B.XV.178). 1 C. omits this. 137 (C.146, B.XV.179). 1 Pingala calls this Matrasamaka. His Vanavasika is simply a variety of this. See CSS. p. 21. 138 (C.147, B.XV.180). 139 (C.140, BXV.181). ' Scheme : (I & III) V0 -, U-0, v0-,

140 (C.141, B.XV.182).

-XVI. 145 1 METRICAL PATTERNS 293

Apaarvaktra

141. In. the metre called Aparavaktra the first and the third feet consist of na, na, ra, la, ga and the second and the fourth of na, ja, ja, ra. 1 Example : 142. sutanu jala-parita locanam jalada-niruddham ivêndu-mandalam I kim idam apara-vaktram eva te sasi-vadane'dya mukham paran-mukham l O fair lady (lit. moon-faced one) why are your eyes full of tears and why do you look like like the orb of the moon obscured by the clouds and why has your face turned today like some one else's face ?

Pușpitâgra 143. In Puspitâgra metre the first and the third feet consist of na, na, ra, ya, and the second and the fourth of na, ja, ja, ra, ga.1 Erample : 144. pavana-raya-vidhūta-cāru-sākham pramudita-kokila-kantha-nada-ramyam i madhukara-parigiyam na-sabdam varatanu pasya vanam supus pitâgram l 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 are singing with sweet voice and the bees are humming all around.

Udgatā

145. In Udgata metre the first foot consists of sa, ja, sa,

141 (C.142, B.XV.183, 184). 1 Scheme : (I & III) 700, v00, U-, (II & IV) VVV, v - U, v -v, - 0 -. 142 (C.132, B.XV.177). 143 (C.144, B.XV.186). ' Scheme (I & 1I) 000, 000, -0 -.

144 (C.145, B.XV.187). . 145 (C.135, B.XV.188).

294 THE NATYASASTRA [ XVI.150-

la, the second of na, sa, ja, ga, the third of bha, na, ja, la, ga and the fourth of sa, ja, sa, ja, ga." Erample : 146. tava roma-rājir atibhāti sutanu madanasya manjarīm | nābhi-kamala-vivarôtpatita- bhramarâvalîva kusumāt samudgatā #

O fair one, the hairs which rise from the hollow of your lotus-like navel are comparable with a swarm of bees coming out of flowers and they exceed in beauty Cupid's blossoms.

Lalita

147. The metre Lalita has its first foot consisting of sa, ja, sa. la the second foot of na, sa, ja, ga, the third foot of na, na, sa, sa, and the fourth foot of sa, ja, sa, ja, ga.1 Erample : 148. lalita kula-bhramita caru-vasana-kara-cāru-pallava pravikaśita kamala-kānti mukhi pravibhāsi-devi surata-śramâtură! O lady, hurriedly but gracefully moving the beautiful clothes and the delicate hands and having a blooming lotus-like face you look charming after the fatigue of love's sports. 149. These are the syllabic metres of the even and uneven types, to be used in dramas and poems. 150. There are besides many other syllabic metres which have been mentioned here collectively. They are not to be used because they do not embellish [a composition].

1 Scheme (I) vU-, U-U, VU-, U, (1I) vVU, vv-, U-U,

146 (C.136, B.XV.189). 147 (C.137, B.XV.190). 1 Scheme (1 & II) same as in Udgatā. (III)

Pingala's Laliia has the fourth foot similar to that of Udgata 148 (C.133, B.XV.191). 149 (C.148, B.XV.192). 150 (C.149 B.XV.193).

.XVI. 158 ] METRICAL PATTERNS 295

151. The syllabic metres forbidden here after may be used in songs. I shall describe their varieties while treating the Dhruvas.

Ārya metres

152. This is the definition of various syllabic metres briefly treated by me. Next I shall give the definition of the Aryās. 153. The Aryas are of five types, viz, Pathyā, Vipulī, Capalā, Mukha-capalā, and Jaghana-capalā. 154. I shall speak about their caesura and division of Mātras and their varieties depending on Ganas which have been prescribed as characteristics of these. 155. In these metres the cæsura marks the division [of feet]; the Gana consists of four Matras, the second and the fourth (lit. the last) feet are the even ones, and the first and the third (lit. the rest) odd ones. 156. [In an Arya] the odd Ganas consisting of four Matras should have no ja and the even Ganas may be of any type according to the choice [of the poet]. 156 a. The eighth Gana in every Arya is to be known as half a Gaņa (i.e. two Mātrās). 157. The sixth Gana may be of two alternative types and the eighth will consist of one [syllable]. The sixth Gana in the second hemistich will consist of one Matra only1. 158. In one alternative is that the sixth Gana will be ja, (o - v,) and in the other it will consist of four short syllable, (vvvo) and these relate to the caesura (yati).

151 (C.150, BXV.194). 152 (C.151, B.XV.195). 153 (C.152, B.XV.196). 154 (C.153, B.XV.197). 155 (C.154, BXV.198). 156 (C.155, B.XV.199, 211, 2(8a). 157 (C.156, B.XV.200, 208b-209a). 1 Read 157b (with C) as re यो गय: षष्ठ एकमावः सठच्यते, 158 (C.157, B.XV.201, 209b-210a).

29 THE NATYASASTRA [XV. 159-

159. The caesura may occur when the second la after the fifth Gana has been completed or it may occur from the first syllable [of the sixth Gana], or after the fifth Gana [has been completed].I Pathya-Āryā and Vipulā-Āryā 160. The Arya metre of which the caesura occurs after the three Ganas (lit. feet are made up of three Ganas) is called Pathya. The Vipula Arya is different from this, only because it observes no cæsura (yati) of any kind [within its hemistichs].1 Examples : Pathyā Āryā

160. rakta-mrdu-padma-netrâsita-dīrgha-bahula-mrdu-[kuțila]-keśī! kasya tu prthu mrdu-jaghanā tanu-bāhvamsôdarī [na]pathyā l To whom is not agreeable a woman with lovely and lotus-like soft eyes, copious long, black and [curled] hairs, large and soft hip, slim arms and abdomen ?

Vipulā Ārya

162. vipula-jaghana-vadana-stana-nayanais tamrâdharôștha-kara-caraņaih I āyata-nāsā-gaņdair lalāta- caraņaih śubha kanya ! A maiden is auspicious when her hip, face, breasts and eyes are large, lips, palm and feet are red and nose, cheeks, forehead and ears are prominent.

Capala Ārya

163. In the Capala (Arya) the second and the fourth

159 (C.158, B.XV.202, 210b). I Read 159 as दितीयादि लर्थुज्जेय: समाप्ते प्रथमे यतिः. 160 (C.159, B.XV.203). I Read the couplet as गणेषु विषु पादः स्यात् यस्या पथ्या तुसा भवेत्। अतत पिपुलान्धा तु विज्रेयाऽ्यतिलचण. 161 (C.160, B.XV. 213). . 162 (B.XV.214). 163 (B.XV.215, 204).

-XVI. 167 ] METRICAL PATTERNS 297

Ganas in each hemistich are to consist of a ja (lit. Gana with a heavy syllable in the middle). Example : 164. 1udbhartr-gāminī parușa-bhāsini kāma-cihna-krta-vešā | zya nati-mamsa-yukta sura-priya sarvatas capalā i The woman who goes defying her husband, speaks harshly, has erotic signs in her dress, is not very fleshy and is fond of meat, is inconstant in every respect. Mukha-capalā and Jaghana-capalā Āryā 165. When the definition of a Capala applies to the first hemistich [only] of an Arya it is called the Mukha-capala. And when the same applies to the second hemistich [only] it is called Jaghana-capalā. Examples : Mukha-capalā Āryā

166. āryā mukhe tu capalā tathâpi caryā na me yataḥ sā tu i dakşā grha-krtyeșu tathā duņkhe bhavati duḥkhârtā # My lady is talkative, but still her conduct [in general] is not bad, for she is an expert in my household work, and in my misery she feels miserable. Jaghana-capala Ārya

167. vara-mrga-nayane capalâsi varôru sasanka-darpana-nibhâsye i kāmasya sārabhūtena pūrņa-mada-cāru-jaghanena ! O fair lady with the eyes of the best deer, and a face like the moon or the mirror, by your hips which constitute the best prize of love and which are charming on account of your swelling passion, you are [marked as] faithless (lit. inconstant).

164 (B.XV.216). 1 B. rcads udbhata. 2 B. reads janati, for ya nati. Prof. S. P. Bhattacharya suggested this emendation 165 (B.XV.2I7). 166 (B.X,V.218). 167 (B.XV.219).

38

298 THE NATYASASTRA [ XVI. 168-

168. When the two hemistichs of a Capala have the same characteristics it is called the all-round Capala. 169. This metre is known have thirty Matr.'s in its first hemistich and twenty-seven in the second1. 170. Following these rules (lit. thus) one should compose plays (lit. poetical composition) utilising (lit. having) therein different metrical patterns belonging to (lit. arising from) different Rhythm-types, and such plays are to have the thirtysix character- istic marks (laksana).

Here ends Chapter XVI. of Bharata's Natyasastra which treats of the Metrical Patterns.

168 (B.XV.220; (1,162b.163a). 169 (B.XV.205, 201 ; C.163b-164a,). ' The five couplets after this (B.XV.222-226) are corrupt and appear to be spurious. These will be discussed in the Introduction. 170 (C.186b-189, B.XV.227).

CHAPTER SEVENTEEN

DICTION OF A PLAY

Thirtysix marks of a good play 1-5. The thirtysix characteristic marks (laksana)1 of [a good] dramatic composition (kanya)2 are as follows : Ornateness (hhūsana), Compactness (aksara-samghata), Brilliance (subha), Parallelism (udaharana), Causation (hetn), Hesitation (sumsaya), Favourable Precedent (drstanta), Discovery (prapti), Fancy (abhiprayu), Unfavourable Precedent (nidarsana), Convincing Explanation (nirukta), Persuation, (siddhi), Distinction (visrsana),

1-5 (C.1-5, B. p.348-350, XVI.1-5). I About the significance of the 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 com- pound word mahapurusa-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 sce 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. One recension followed by older commentators, and late writers like Visvanatha, and Singabhupāla, uses Anuștup verses for the enumeration of laksanas We have adopted this as the basis of our translation. The second recension which seems to be later, has been followed by commentators like Kirtidhara, Abhinavagupta and late writers like Dhana jaya and others. This greatly varies from the other recension with which it has not more than seventeen names (of laksanas) in common, and among these, definitions of eight only are similar in both the recensions. 2 Kavya in this connexion means the drsya-kavya or dramatic composition.

300 THE NATYASASTRA [ XVII. 6.

Accusation of Virtue (gunātipāta), Excellence (guņātisaya), Inference from Similitude (tulya-tarka), Multiplex Predication (padoccaya), Description (dlista), Pointed Utterance (upadista), Deliberation (ricara), Inversion (viparyaya), Slip of ,Tongue (bhramsa), Mediation (anunaya), Series of Ofters (māla), Clever Manner (dalesinya), Censure (garhana) Presumption (arthāpatti), Celebrity (prasiddhi), Interrogation (prccha), Identity (sārūpya), Indirect Expression of one's Desire (manoratha), Wit (lesa), Concealment (samksepa)3, Enumeration of Merits (guna-lirtana), Semi-uttered Expression (annkta-siddhi) and Compliment (pri- yavacana = priokti). Ornateness 6. 'To adorn the composition with many figures of speech (alamkara) and Gunas as if with ornaments, for creat- ing manifold meanings is called Ornateness (bhūsana, lit. ornament)ª.

Compactness 7. 1When an wonderful sense is expressed by means of a small number of syllables with double entendre, it is called the mark named Compactness (alsara-samghata, lit. assemblage of syllables)2.

3 Emend samksobho to samksepo. See below 38 note 1. 6 (C.6; B.p 350, XVI.6) 1 A close study of Ag's. commentary on passsages dealing with laksanas is liable to give one an impression that the cxact meaning of some of the terms at least relating to this subject, has been to some extent lost, and various explanations have been partly based on guess. But in the absence of anything better we are to depend on them thongh very cautiously. Definitions of various laksanas are mostly not at all clear without examples which have been very liberally given by Ag. To avoid prolixity we refrain from quoting them here. Interested persons may see them in the Baroda ed. of the NS. (Vol. II pp. 294ff.). For an cxample of bhusana. See Kavi. As any old commentary to these (NS.) passages dealing with 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 as Kavi). 7 (C.7; B.p.350, XVI.7). 1 See Kavi.

-XVII. 12] DICTION OF A PLAY 301

Brilliance

8. 1If a charming and novel meaning [arises] when a less known object is referred to by likening it to a well-known one, and a wonderful sense is expressed through double entendre2 it is called Brilliance (sobha, lit. beauty)

Parallelism

9. When by words expressing similar circumstances1 a suggestion is cleverly made to accomplish an object, it is called Parallelism (udaharaņa, lit. example)1.

Causation

10. When brief and pleasing words by the force of their [tactful] use achieve the desired object, it is called [an instance of] Causation (hetu)1

Hesitation

11. When due to many considerations a sentence is brought to an end without fully communicating the essential theme [in view], it is [an instance of] Hesitation (samsaya, lit. doubt).1 Favourable Precedent

12. That which supporting the case in hand1 is an example of its reason and is pleasing to all people, is a Precedent Favourable to the speaker (drstanta, lit. example).2

8 (C.8; B.p 350, XVI.8). ' C. yatra slistam visist yartham for yatra slisto vicitrartha. See Kavi. 9 (C.9; B.p.351, XVI.9). 1 C. tvalpartha for tulyartha. Cf. SD.438 Ag's delinition in trans. is as follows. When from the occurrence (lit. sight) of a single word good many unmentioned ones can be inferred (lit. accomplished) it is called Sample (udabaraņa). 10 (C.10; B.p 352, XVI.10). 1 Cf. SD. 439. Ag. reads this defi- nition as follows : वहनां भाषमानान व्वेकस्यार्थविनिर्यायम्। सिद्धोपमानवचनं हनुरित्यभिमंज्ितम् (B.XVI.14). Its meaning is not clear, Ag.'s explanation does not seem to be convincing. Possibly there is textual corruption in this. 11 (C1L; B.p.352, XVI.11). 1 Cf. SD. 440. 12 (C.12; B. p.352, XVI.12). 1 C. paksapaksārtha for vastu aksartpha. Cf. SD. 341. Ag.'s text in translation is as follows : That a

302 THE NATYASASTRA [ XVII. 13-

Discovery 13. When on seeing some indications, the existence of something is assumed it becomes [an instance of] Discovery (prapti, lit. attainment)1 which is included among the marks of a [good] drama.

Fancy 11. When an idea interesting to people [but] hitherto non- existent, is conceived on the basis of similarity [of two objeets], it is [an instance of] Faney (abhiprāya, lit. belief)I Unfavourable Precedent 15. When well-known instance are mentioned for rejecting the contrary view it is [an instance of] Unfavourable Precedent (nidarsana, lit example)1

Convincing Explanation 16. Words that are spoken in support of the meaning of some faultless statement made before, constitute Convincing Explanation (nirukta, lit etymology)1.

learned person discovers similarity lof anything] with something per- cervcd by him earlier, is called Illustration (drstanta). Cf. the ligure of speech of this name in SD. 697. 13 (C.1 ; B.p.353, XV !. 13). 1 Cf. SD. 446, Ag. similar (B.XVI.32). 14 (C.14; B.p.353; XV1.14). 1 SD. 445, Ag. reads this as a variant of yukti (B.XV1.36) which in translation is as follows : The meaning which is made up only of many mutually compatible objects combining with one another, is called Combination (yukti). Cf. SD. 501. 15 (C.15; B.p.254, XVI.15). See SD. 444. Ag. reads this as a variant asth (B.XV1.28). The meaning of this def. is not clear. Ag. offers no cxplanation of this, but gives an example which it is very difficuit to fit in with the definition. Cf. SD. 471. 16 (C.16; B.p.254, XVI.16). 1 Cf. SD. 453. Ag.'s text in translation is as follows : Explanation (nirukta) is two kinds : factual and non- factual. [Of these] the factual [explanation] is that which is well- known (lit. accomplished before), and the non-factual is that which has not been so (lit. not accomplished):

.XVII. 21] DIOTION OF A PLAY 303

Pursuation

17. When name of greatI persons are mentioned with a view to accomplish the object aimed at, it is [an instance of] Persuation (siddhi, lit. success)2.

Distinction

18. When after mentioning many well-known great objects something is said distinguishing a thing from them, it is [an instance of] Distinction (visesana)1.

Accusation of Virtues

19. When virtues are mentioned with sweet words of harsh import1 which carry the contrary implication, it is [an instance of] Accusation of Virtues (gunātipāta, lit. opposition of virtue)2.

Excellence

20. When after enumerating the qualities available in common men, one mentions some special qualities, it is [an instance of] Excellence (atisaya)I.

Inference from Similitude 21. When an object directly perceived is inferred from a mataphor or simile applied in an identical sense, it is [an instance

17 (C.17; B.p.354, B.XVI.17). 1 C. pravaktānām for pradhānānām. Cf. SD. 454. Ag. reads this with a slight variation. 18 (C.18; B.p.355, XVI.18). 1 C'f. SD. 452. Ag. reads this as a variant of ksama (B XV1.31) which in translation is as' follows : When one being hurt by harsh and provoking w.rds utterred by a wicked person in the presence of good pcople, remains without anger, it is [an instance of Forgiveness (ksama). . 19 (C.19; B.p.355, XVI.19) 1 C. madhuro nisthururtho for madhu- rair nisthurarthair. Cf. SD. 450. Ag. reads this as a variant of gunanuvada (B.XVI.13a) which in translation is as follows : Eulogy (gupanuvada) relates to inferior subjects compared with superior ones. 20 (C.20; B.p.355, XV1.20). ' Cf. SD. 451 Ag.'s reading (B.XV.13) in translation is as follows: When anything compares favourably to the best thing [to which it can be compared] it is [an instance of] Erce llence (atisaya). 21 (C.21; B.p.356, XVI.21).

304 THE NATYASASTRA [ XVII. 22-

of] Inference from Similitude (tulya-tarka, lit. reasoning from the comparables)I. .

Multiplex Predication 22. When a number of words are used along with a number of other words to form different groups for the same purpose, it becomes [an instance of] Multiplex Predication (padorcaya)I.

Description 23. When any object or incident directly seen or not, is described in harmony with locality, time or from related to it it becomes [an instance of] Description (dista)I. Pointed Utterance 24. When one says something of his own on the basis of Sastras and thereby pleases the learned, it is a Pointed Utterance (upadista, lit. utterance)I.

Deliberation 25. That which establishes something not directly perceived and is in harmony with the meaning expressed carlier' and

1 Cf. SD. 442. Ag. reads this is as a variant of the definition of Exhortation ( B.XVI.19) which in translation is as follows: To say something very pointedly through suggesting one's own idea by means of likening it to others' actions, is called Echortation (akranda). Cf. SD. 472. 22 (C.22 ; B.p.356, XVI.22). 1 Cf. SD. 443 Ag.'s reading in transla- tion is as follows: When anything is described as possessing differ- ent aspects by means of many words of similar import, it is [an instance of ] Multipler Predication (padoccaya) which puts together many objects. 23 (C.23; B.p. 356, XVI.23). 1 BC. drsta for dista Cf. SD. 448. Ag. reads this as a variant of sarupya (B.XV1,15) which is different from XVI.35 and is as follows : अपदेशन्त परोकी यसमादुतुपद्यातेनुकरयन। लकषय-समानकरणात् साकप्यं तत्तु विज्ञयम। 24 (C.24; B p.357, XVI.24). 1 Cf. SD.449; Ag. reads this is as a variant of Argumentation (upapatti, B.XVI.35). The def.in translation is as follows: When faults discovered are explained away as being otherwise it is called Argumentation (upapatti) in connexion with drama. Cf. SI. 482. 25 (C.25; B.p. 357, XVI.25). 1 C. pūrvadesa° for pūrvāsaya; B. anekopadhi for anekapoha. Cf. SD. 447. Ag.'s reading of the definition in

-XVII. 29 ] DICTION OF A PLÅY. 305

includes much elimination of errors (apoha), is called Deliberation (vicāra). Inversion 26. When due to seeing [something] an alteration of Deliberation, takes place on account of a doubt, it is called Inversion (viparyayą)1. Slip of Tongue 27. Manifold deviation of proud and similar other persons from the intended words to something else is called Slip of Tongue (bhramsa, lit. lapse)I. Mediation 28. [Words] which please the two persons with mutually opposed resolution and [are aimed at] accomplishing some object, constitute Mediation (anunaya, lit imploring)I. Series of Offers 29. When for the purpose of accomplishing an object one (lit. learned men) suggests to a person his many needs [which may be fulfilled], it is [an instance of] Series of Offers (māla, lit. garland)I.

translation as follows : Deliberation (vicara) is the critical e.ramination of many things (under B.XVI.33). 26 (C.26; B.p. 357, XVI.26). 1 B. drstopadistayoh for drstopayogatah Cf. SD. 456. Ag. reads this as a variant of the def of Wrong Perception (mithyadhyavasaya B.XVI,16) which in translation is as follows : When in place of a non-cxistent object one takes for certain some- thing similar to it, it [becomes an instance of ] Wrong Perception (mithyadhyavasaya). 27 (C.27; B.p.358, XVI.27). ' Emend drstadibhir to drptudinam Cf. drptadinam bhaved bhramso vacyad anyatarad vacah. SD. 455. Ag. reads this as a variant of the def. of Witty Compliment (priyaracana) which in trans. is as follows : That which is apparently liable to provoke anger but brings joy in the end and includes a blessing, is called Witty Campliment (priyavacana=priokti) B.XVI.29. 28 (C.28, B.p.358, XVI.28). ' Cf. SD. 458 Ag. reads this as a variant of the def. of Subservience (anuvrtti) which in trans. is as follows : To follow with a purpose another person as a matter of courtesy, love or favour, is called Subservience (anuvriti) B. XVI34. Ag. reads this differently. Cf. SD. 494. 29 (C.29; B.p.359, XVI.29). ' Cf. SD. 459. 39

306 THE NATYASASTRA [ XVII. 30-

Clever Manners 30. When one attends another person with a happy and pleased face, [sweet] speech and [agreable] movements, it [is an instance of] Clever Manners (daksinya).I Censure 31. If any one mentions [someone's] faults and explain them as merits, or decries his merits and calls them faults, it becomes [an instance of] Censure (garhana)I. Presumption 32. When from a sweetly-worded mention of something, some other object is to be understood, it is [an instance of] Presumption (athāpatti).I Celebrity 33. That which is expressed with excellent words mentioning many well-known exploits, gives rise to Celebrity (prasiddhi)I. Interrogation 34. When by courteous (lit. procceding from courtesy)1 words one questions oneself or another [imaginary person] it is [an instance of] Interrogation (prccha).

30 (C.30; B.p.359, XVI.30). 1 Cf. SD. 457. Ag. reads this as a variant of the def. of Clever Request (yacha) which in translation is as follows : Words which are apparently liable to provoke anger, but bring joy in the end and turn favourable are called. Clever Request (yacna) See B. XVI. 22 Cf. SD. 496. 31 (C.31; B.p. 359, XVI.31). 1 Cf. SD. 461, Ag. reads this as a variant of the def. of Deceit (kapatasamghūla) (B.XVI.30) which in translation is as follows : Application of some stralagem for the decep- tion or defeat of others, is called Deceit (kapata). When two or three (stratagems) are applied together it becomes. a Multiple.x Deceit (kapata-samghāta) Cf. SD. 473. 32 (C.32; B.p.360, XVI.37), 1 Cf. SD.460. Ag. reads as a variant of the def. of Embellishment (karya, B.XVI.37) which in translation is as follows : When defects of an object are erplained as merits or merits are derived from the defects it is [an instance of ] Embellishment (karya). 33 (C.33; B.p.360, XVI.33). 1 Cf. SD. 463. Ag. reads this as a variant of the def. of Submission (anuniti, B.XVI.38) which in translation is as follows : Sweet words which are uttered, to please one after forgiving one's singular offence due to anger, is called submission (anuniti). See also under B.XVI. 21. 34 (C.34; B p.361, XVI.34). 1 Emend ākarod (ākārod C) to ācārod

-XVII. 38] DICTION OF A PLAY 307

Identity 35. When from seeing or hearing something [suddenly] one is confused by its suspected identity [with another it is an instance of] Identity (sārūpya)1.

Indirect Expression of Desire 36. Expressing one's secret desire of the heartT by a pretence of referring to somebody else's condition, is called Indirect Expression of Desire (manoratha, lit. object of the mind).

Wit 37. Words which are addressed in a [elever] manner by expert disputants and which relate to accomplishment of similar objects1, constitute Wit (leśa).2 Concealment 38. When being faultless one declares to be taking upon oneself various faults of another, it [is an instance of] Concealment (samksepa, lit. taking away)I

Cf. abhyarthanaparair vakyair, SD. 462. Ag. (B. XVI.24) reads this identically. 35 (C.35; B.p.361, XVI.35). ' Cf. SD. 464. Ag. reads this as a variant of the def. of Wounded Self-respect (abhimana, B.XVI.8) which in translation is as follows : When one is not pacified even when one is consoled by means of many words and acts, it is [an instancc of] Wounded Self-respect (abhimana). Cf. SD. 493. 36 (C.36; B.p. 362, XVI.36). 1 Cf. SD. 468. C. hrdayārthasya for hrdayasthasya Ag. reads this in substantially identical manner (B.XVI.20). 37 (C.37; B.362, XV1.37). 1 C. sadrsārthā-vinispannah for bhinis- patya, Cf. SD. 467, Ag. reads this as a variant of the def. of Obs- truction (pratisedha B.XVI.23) which in translation is as follows : When one sets out to do something contrary to another's desire and is opposed by clever persons. (lit. those who know the businecs) it is called Obstruction (pratisedha). 38 (C.38; B.p.363, XVI.38). 1 Emend tu ksobha to samksepa. C. tu dosa) Cf. SD. 465, samksepo yat tu samksepād atmanyarthe prayujyate. Ag. reads this as a variant of the def. of paridevanam (parivudanam of Bhoja, parivada of Sāradātanaya, parivedana of Sarvesavara) See B.XVI.89 foot note (*). The meaning of its def. is pot clear.

308 THE NATYASASTRA [ XVII. 39-

Enumeration of Merits 39. When merits of men who excel [others] in qualities in this world, are ascribed to one single person it [is and instance of] Enumeration of Merits (guna-kirtana)I. Semi-uttered Expression 40. When from the mere commencement of a subject the rest of it is comprehended without being actually expressed in words1 it [is an instance of] Semi-uttered Expression (anukta- siddhi, lit. unuttered achievement)2. Compliment 41. When words are uttered in a pleasant mood to honour an honourable person and to, express joy [for his acts] it [is an instance of] Compliment (priyokti, lit. pleasing utterance)8. 42. These thirtysix characteristie marks of a dramatic (lit. poctical) composition conducing to the objeet in view (i.r. writing plays) will beautify a play (lit. composition)1 and [hence they] should be properly used according to the Sentiment2 [intro- duced in it]. Four figures of specch 43. Four figures of speech available in drama1 are : Simile (upama,) Metaphor (rupaka), Condensed Expression (dipaka, lit. lamp) and Yamaka.

39 (C.39 ; B.p.363, XVI.39). 1 Cf. SD.466. Ag. reads this def. in translation as follows: When a proclamation of various qualities of a person takes place, but his faults are not given out, it is [called an instance of] Enumeration of Merits (guna-kirtana). Sce B. XVI. 9. 40 (C.40; B.pp. 363-64, XVI.40). 1 C. vijānātu for vinūnukta. Cf. SD. 469. Ag. reads this as a variant of the def. paridevana etc. (see 38 note above). 41 (C.41; B.p.364, XVI.41). 1 Cf. SD. 470. Ag. reads this differently, see above 27 note I. 42 (C.42; B.p,364, XVI.42). 1 C. kāvyesu sodāharaņāni for prabandhasobhākarāņi, C. balūnu- rūpam (rasānurūpam), C. for yathārasāni. . 43 (C.43; B.XVI.40). 1 B. reads the second hemistich as kūvyasy ete hyalamkārās catvārah parikirtitāh.

-XVII.53] DIOTION OF A PLAY 309

Simile 44. When in a poetical composition anything is compared on the basis of some similarity it is [an instance of] Simile (upamā.) It relates to quality and form. Number of objects compared 45-49. This comparison may be of one with one or many, or of many with one, or of many with many. (Examples of these are as follows): your face is like the moon (one compared with one)1, stars shine like the moon (many compared with one), having an "eye like- that of a hawk, a peacock and a vulture (one compared with many) ; and elephants are like clouds .(many com- pared with many). Five kinds of simile 50. Simile is of five kinds, viz. [that of] praise (prasamsa), [that of] censure (ninda), [that of] conceit (lalpita), [that of] uniqueness (sadsri. lit. similar looking) and [that of] partial likeness (kimcit sadrsı). Simile of praise 51. The king was pleased to see that largoeyed lady just as the sages are pleased to see the success incarnate after it has been achieved with austerity.

Simile of censure 52. The woman clung to that rough-looking person devoid of all good qualities just as a creeper clings round a thorny1 tree which has been [partially] burnt by the forest-fire. Simile of conceit 53. The Elephants exuding ichor and moving slowly with gracefulness look like mobile mountains.

44 (C.44; B.XVI.41). 45-49 (C.45-49; B.XVI.42-45). ' ekasyanekavisaya should be emended to anekasy ckavisaya (47b). 2 tulyaksa (ms. na in B.) for tulyartha (B. C.). 50 (C.50; B.XVI.46). 51 (C.51; B.XV1.47). 52 (C.52; B.XVI.48). 1 Read kantakinam for kanthagatam, C. 53 (C.53; B.XVI.49).

$10 THE NATYASASTRA [ XVII. 54-

Simile of uniqueness 54. What you have done today to satisfy someone else's desire, is comparable only to your [other] superhuman1 deeds. Simile of partial likeness 55. Here is come my lady friend whose face is like the full moon, eyes are like the petals of a blue lotus and the gait is like that of an elephant in rut. 56. These briefly are the varieties of similes. Those not described here are to be gathered from [different] poetical works and from the popular speech (lit. the people). Condensed Expression 57. When words agreeing with different [sets of] words are combined into one sentence by way of illuminating them together it is [an instance of] Condensed Expression (dipaka, lit. light)1. Example : 58. In that region (lit. there) fuilness (lit. want of emptiness) was always effected1 by swans in the lakes, by flowers in the trees, intoxicated bees in the lotuses and by friendly groups [of men and women] in the parks and the gardens. Metaphor 59. An image of slight likeness which is conceived due to indecision [from objects] characterised by similar limbs, is called Metaphor (rūpaka)1. Example : 60. The pool of water and women, with their lotus-faces, Kumuda-smiles, beautiful and open Nilotpala-eyes and swans cackling around, seem to be talking to one another.

54 (C.54; B.XVI.50). 1 Read atimanusa for iti mūnusa. B. 55 (C,55; B.XVI.51). 56 (C.56; B.XVI.52). 57 (C.60; B.XVI.53). 1 B. gives an additional def. (XV1.54). 58 (C.6); B.XVI.55). 1 The plain meaning is that the lakes were full of swans, the trees full of flowers, lotuses full of bees, and the. parks and gardens full of friendly groups of people. 59 (C.58; B.XVI.56). 1 (B.XVI.57) and (C.57) give a second def. which does not appear in all mss. * 60 (C.59; B.XVI.58).

XVII. 67] DICTION OF A PLAY .311

Yamaka

61. Repetition of words at the beginning of the feet and the other places constitute Yamaka (lit. twin). Listen to their characteristics which I am going to tell [you]1.

Ten kinds of Yamaka

62-64. Yamakas are of the ten kinds : Pādānta Yamaka, Kānci Yamaka, Samudga Yamaka, Vikrānta Yamaka, Cakravāla Yamaka, and Sandasta Yamaka, Pādādi Yamaka, Āmredita Yamaka, Catur-vyavasita Yamaka and Mālā Yamaka.

Pādānta Yamaka

65. When similar syllables occur at the end of all the four feet they constitute Padanta Yamaka.

Example : 66. dina-kşayāt samhrta-raśmi-maņdalam diviva lagnam tapanīya-mandalam i vibhāti tāmram divi sūrya-maņdalam yatha taruņyāh stana-bhāra-mandalam # At the decline of the day, the reddish (lit. copper-coloured) orb of the sun shorn of its cluster of rays, shining like a golden disc in the heavens, looks like a big round breast of a maiden.I.

Kāñci Yamaka

67. Two similar words occuring at the beginning and at the end of each foot constitute Kafci Yamaka.

61 (C.62; B.XVI.59). 1 For an old definition of Yamaka sce Bhamaha, II. 17. 62-64 (C.63-65; B.XVI.60-62). 1 Bhamaha mentions a fivefold division of Yamaka Sce II. 9. He seems to have known the tenfold division of the NS., and is of opinion that his fivefold division includes at least Sandaşta and Samudga Yamakas. See II. 10. 65 (C.66; B.XVI.63). 66 (C.67; B.XVI.64). 1 B. gives an additional def. (B.XVI.65). . 67 (C.68: B.XVI.66).

312 THE NATYASASTRA [ XVII, 66.

Erample : 68. yāmâyāmās candravatīnām dravatīnām vyaktâvyaktī sāra-janīnām rajanīnīm l phulle phulle sa-bhramare va'bhramare va rima'rama vismayate ca smayate ca1 The length of hours (yama) of the moon-lit. nights, passing swiftly in the company of young women are scarcely perceived. Flowers having blown whether with or without bees, the fair lady looks at them admiringly, and the park smiles [with their beauty]. Samudga Yamaka

69. When the same hemistich by its repetition completes the verse it is [an instance of] Samudga Yamaka. Erample : 70. ketaki-kusuma-pāņdura-dantah sobhate pravara-kanana-hasti | ketaki-kusuma-pandura-dantaḥ sobhate pravara-kinana-hasti i The very big wild elephant with its tusks as pale-white as Ketaki flowers, looks beautiful ; and the elephant-like large forest looks beautiful with Ketaki flowers as its pale-white tusks.

Vikranta Yamaka

71. When two alternate feet are similar, it is [an instance of] Vikrānta Yamaka. 72. sa pūrvam vāraņo bhūtvā dvisranga iva parvatah I abhavad danta-vaikalyād-visrnga iva parvata # Formerly being an elephant comparable to a two-peaked mountain, [now] its two tusks being broken it has become like a mountain without any peak.

68 (C.69; B.XVI.67). 69 (C.70; B.XVI.68). ' Rend yāmā-yāmūs for yamam yūmam (B) and māyā mūya (C). This Yamaka occurs in Bhamaha, II. 10, and Daņdin, III.53-54. 70 (C.71; B.XVI.69). 71 (C.72; B.XVI.70). . 72 (C.73; B.XV1.71).

-XVII. 77 ] DICTION OF A PLAY 313

Cakravāla Yamaka

73. When the word at the end of a foot is similar to the word at the beginning of the next foot it is [an instance of] Cakravāla Yamaka1. Example : 74. śarais1 tathā satrubhir ahatā hatā. hatas ca bhuyas tv anupumkhagaih khagaiļ I khagaiś ca sarvair yudhi sancitāś citāś citâdhirūdhā nihatās talais talaiļ. Il Thus they were killed after being struck by arrows of the enemies as well as by birds of prey flying closely behind such missiles ; the battle-field was swamped with such birds by which dead bodies placed on the funeral pyre were being pounced upon with their [sharp] talons.2 Sandaşța Yamaka 75. When the two words at the beginning of a foot are similar, it is [an instance of] Sandasta Yamaka.1 Example : 76. paśya pasya me ramanasya gunān yena yena vaśagam karoti mām i yena yena hi mamaiti darśanam tena tena vaśagām karoti mām # 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 view. Pādādi Yamaka 77. When the same word oceurs at the beginning of each foot, it is [an instance of] Pādādi Yamaka.

73 (C.74; B.XVI.72. 1 B. has an additional definition (B.XVI.73) of of Cakravāla Yamaka. 74 (C.75; B.XV1.74). 1 Emend sailas to sarais. 2 C. reads citadhirudhā hi hatā hatū narāh. 75 (C.76; B.XVI.75). 1 This term occurs in Bhamaha, II.10, and Dandin, III.51-52. But the latter's def. is different. 76 (C.77; B.XVI.76). 77 (C.77; B.XVI.77). 40

314 THE NATYASASTRA [ XVII. 78-

Example : 78. vișņuņ srjati bhūtāni vișņuh samharate prajāļ I vişņu prasūte trailokyam vișņur lokâdhi-daivatam l Vișņu creates all living beings; Vișņu destroyes all creatures; Vișnu creates (lit. gives birth to) the three worlds and Visnu is the over-lord of [all] the worlds. Āmredita Yamaka 79. When the last words of a foot are reduplicated, it becomes [an instance of] Amredita Yamaka. Example : 80. vijrmbhitam nihśvasitam muhur muhuh katham vidheya-smaraņam pade pade l yathā ca te dhyänam idam punah punaḥ dhruvam gatā tām1 rajanī vinā vinā l [You had] deep repeated sighs, [yon] remembered [her] as you uttered her name frequently and thus as [you were] in cons- tant meditation [of her] your [sad] night passed without her.2

Catur-vayavasita Yamaka 81. When all the feet consist of similar syllables it is [an instance of] Catur-vyavasita Yamaka. Example : 82. vāraņānām ayam eva kalo vāraņānām ayam eva kālah i vāraņānām ayam eva kālo vā raņānām ayam eva kālah I This is the time of the Varana [flower]; this is the season when the elephants (varana) are free from disease. This is the time [for] the enemies to come; or this is the time for [going to] hattle. Māla Yamaka 83. When one consonant with different vowels occurs in various words it is [an instance of] Mālā Yamaka.

78 (C.78; B.XVI.78). 79 (C.79; B.XV1.79). 80 (C.80; B.XVI.80). 1 Emend te to tām. " The trans. is not very literal . .81 (C.81; B.XVI.81). 32 (C,82; B.XVI.82). 83 (C.83; B.XVI.83).

-XVII.88 ] DICTION OF A PLAY 315

Example : 84. halī balī halī mālī šūli khelī lalī jalī l balo balocca-lolâkso muşalī tv abhirakșatu " Let the strong Balarama, the garlanded Balarama, who holds a a spike, is sportive, faltering [in gait] and is full of Sentiment, and Balarama who is high in strength and who has his eyes rolling and who holds a club, protect you. 85. asau hi rama rati-vigraha-priyā rahah-pragalbha ramanam raho-gatam I ratena ratrau ramayet parena vā no ced udesyaty aruņah puro ripuḥ # This beautiful woman who is fond of love's fight and is unashamed in it, will secretly please her lover at night with the best embrace, till the sun will rise in the east as her enemy. 86. sa pușkarākşaņ kșatajôkșitāksaļ kşarat kşatebhyah kşatajam durīkșam i kşatair gavāksair iva samvrtangaḥ sāksāt sahasrâkșa ivâvabhāti " The lotus-cyed one having his eyes bathed in blood, letting fall from his wounds awful blood and [having his body] covered with window-like wounds looked like the thousand-eyed god (Indra) in person. 87. A play (lit poetical work) should be composed by [introducing] these [characteristic] marks after considering their objects and functions. I shall speak hereafter about faults (dosa) in such works. Ten faults 88. Faults in a play (lit. poetical work) may be of ten kinds such as, Circumlocution (gudhartha), Superfluous Expression (arthantara), Want of Significance (arthahina), Defective Signi- ficance (bhinnartha), Tautology (ekartha), Want of Synthesis

84 (C.84: B.XVI.84). 85 (C.85; B.XVI.85). 86 (C.86; B.XVI.86). 87 (C.87; B.XVI.87). 88 (C.88; B.XVI.88).

816 THE NATYASASTRA [ XVII.89

(abhiplutartha), Logical Defect (nyayadapeta), Metrical Defect visama), Hiatus (visandhi) and Slang (sabdacyuta)1. Circumlocution 89. Mentioning [anything] by means of a [manufactured] synonym, is to cause Circumlocution (gūdhariha, lit. hidden meaning)1 Superfluous Expression When anything not to be mentioned is described it is [a case of] Superfluous Expression (arthantara)2. Want of Significance 90. An expression which is irrelevant1 or which remains incomplete2 is [an instance of] Want of Significance (arthahina)3. Defective Significance Defective Significance (bhinnartha, lit. broken meaning) includes an expression which is not refined, or is worthy of a rustic. 91. When the intended sense is changed into another sense it is also called Defective Significance. Tautology 92. Tautology (ckartha), means [indiscriminating] use of [many] words for a single purpose1.

1 For a discussion of the faults in NS. see S. K. De, Skt. Poetics, II, pp. 19. 89 (C.89; B.XVI.89). 1 An example of such a synonym is Ekādhika- nava-vimana for Dasaratha, Cf. Bhamaha (1.37.) seems to be using gudhasab labhidhana in an identical sense. See 1. 45-46. S. K. De trans- lates this term as "use of difficult expressions" (loc cit). 2 An example of such an expression is चिन्तामोहम् भनङ्गम् ङ्ग तनुते सुखवः 'The beautiful lady's look injects (lit. spreads) indeed love as well as anxiety and insensibility. Here "anxiety and insensibility" are superfluous, for love includes these two states of the mind (Ag.). 90 (C.90; B.XVI.90). ' An example of such an expression is अद्यापि सरसि (सपरतति) रमालमं मनो मे सुन्धाया सग्चतुर्गनि, To say that a mugdhu heroine can be samara-catura (expert in love) as well, is incoherent. (Ag.). 2 The example of suvasesa is स महात्मा भाग्यवशान् महापथम् उपागतः. 3 For mahātmā bhūgyavasāt may be construed as mahātmā abhāgya- vasat and thereby its meaning may remain incomplete or undecided without a reference to the context. 91 (C.91; B.XVI.91). . .92 (C.92; B.XVI.92). 1 An example of Tautology (ekartha) is kundendu-hara-hara-hasa-sitam. White like a Kunda flower, the moon

.XVII.96] DIOTION OF A PLAY 317

Want of Synthesis [When a sentence is] completed within [each] foot [of a verse] it [is an instance of] Want of Synthesis (abhiplutārtha)2. Logical Defect 93. Anything devoid of reasoning is an example of Logical Defect (nyāyād-apeta) L. Metrical Defect Lapse in the metrical structure is called Metrical Defect (vişama, lit. unevenness). Hiatus 94. When words [which should combine in Sandhi] are kept separate it is [an instance of] Hiatus (risandhi). Slang When a sound or accent is dropped it is an instance of slang (śabdacyuta, lit. lapse in a word)1. Guņas 95. These are the faults of a poetical work properly des- cribed by me. Gunas (merit) are their negation and are characterised by sweetness and depth of meaning1. The ten Gunas 96. The ten Gunas are : Synthesis (ślega, lit, union), Pers- picuity (prasada), Smoothness (samata), Concentration (mtmadhi),

and the laughter of Siva. Any one simile would have been enough. Each simile here serves the same purpose and hence Tautology has occurred (Ag.). See Bhamaha, IV. 12. 2 Read samapyate (ms. na. in B.) for samasyate. An example of this is म राजा गोतिकुशल: सरः कुमुदशोभितम्। सर्वप्रिया वमन्तश्री ग्रोष मालतिकागम: Here all the four feet contain four complete sentences which are not connected with one another by sense. 93 (C.93; B.XVI.93). 1 nyuyvad-apetam= desakula-viruddham etc. (Ag.) 'defying the limitation of place and time'. Bhamaha's desa-kūla- kala-lokanyayagama-virodhita (IV.28ff ) seems to be included in this. 94 (C.94; B.XV1.94). ' Such dropping occurred probably due to the Prakritic habit in speech. 95 (C.95; B.XVI.95). 1 Vamana holds the opposite view (guna- viparyayatmuno dosah II. 1.1.) and according to him Gunas are positive entities (kāva-sobhāyāh kartāro dharma gunāh, III, 1. 1). 96 (C.96; B.XVI.96). - Bhamaha, III. 1. 4., and Dandin, 1.41-94.,

318 THE NATYASASTRA [XVII. 97-

Sweetness (mādhurya), Grandeur (ojas), Agreeableness (sauku- marya, lit. delicacy), Directness of Expression (artha-vyakti, lit. expression of meaning), Exaltedness (udāra, lit. deep) and Lovelines (kānti). Synthesis 97. Union of words connected through meanings intended is called Synthesis (slesa)1. Perspicuity 98. Where the unexpressed word or sense is comprehended through a use of easily understood words and sense, it is [an instance of] Perspiciuty (pras@la)1. Smoothness 99. When a composition does not contain too many un- compounded words, redundant expressions and words difficult to understand it is [an instance of] Smoothness (samatā)1. Concentration 100. Possessing some special sense which the men of genius can find out in a composition (lit. here) is called Concentration (samā lhi)1.

have ten Gunas and name them similarly But their descriptions are different. Cf. De, Skt. Poctics, Il. pp.15ff. Nobel, Foundations, pp. 104ff. 97 (C.97; B.XVI.97). I Cf. Vāmana, III. I. 11 ; Daņdin I. 43-44. BC. give another description (C.98, B.XVI.98) of this Guna, which in translation is as follows : 1 [composition] which is, imbued with deep logic but from its nature is [very] plain and is very well-knit-together is called Compact (ślista). 98 (C.99; B.XVI.99). 1 Cf. Vamana III. 1. 6; Dandin I.45. 99 (C 100; B.XVI. 100). 1 Cf. Vamana III. 1.12; Dandin I-47-50. (B.XVI.101) and C. (100) gives an additional description of this Guņa which in translation is as follows : When alamkuras and gunas match and illuminate one another it is called [an instance of] Smoothness (samatā). 100 (C.p.212 f.n. 1. B.XVI.102). 1 Cf. Vamana, III. 1.13; Dandin I. 93-94. B.(XVI.103) and C (101) gives an additional description of samadhi, which in translation is as follows : Careful condensation of meanings suggested by and derived from similes, is called Concentration (samädhi)

-XVII. 105 ] DICTION OF A PLAY 319

Swectness

101. When a sentence heard or uttered many times does not tire or disgust [anyone], it [is an instance of] Sweetness (ma/hurya)1 .. Grandeur 102. When a composition consists of a use of many and varied compound words exalted [in sense] and agreable [in sound], it is [an instance of] Grandeur (ojas)1.

Agrecableness 103. When a composition consists of words easy to pronounce, euphonically combined, and giving agrecable impression [even when treating some unpleasant topic], it is [an instance of] Agreeableness (saukumārya)1. Directness of Expression 104. It any subject (lit. action) relating to the [common] events occurring in the world gets expressed by means of well- known predicates, it becomes [an instanoe of] Direct Expression (artha-vyakti)1. Exaltedness 105. When in a composition superhuman characters are

101 (C.102; B.XVI.104). ' Cf. Vamana III. 1. 11-21; Daņdin I. 51-53. 102 (C.p.212, f. n. 2; B.XVI.105). ' Cf. Vamana III.1.5; Dandin I.80-85. B. (XVI.106) and C. (103) gives a second definition of this Guna which in translation is as follows : If a [composition otherwise] censured and deficient in quality reflects an exalted sense through its words and is rich in sound and sense it becomes [an instance of ] Grandeur (ojah). Hemacandra utilised this definition (Ch. IV.) 103 (C.104; B.XVI.107). 1 Cf. Vamana III. 1. 22; Dandin calls this sukumaratā. 104 (C.p.212, f. n. 3; B.XVI.108). C. suprasiddhadhātunā for suprasiddhabhidhana, (B.XVI.109) and C.(105). gives a second definition of this Guna, which in translation is as follows : When the meaning of a composition can be grasped by the penetrating mind just after its recital (lit. use) it is [an instance of ] Directness of Erpression (arthavyakti). 105 (C.p.212, f. n. 4; B.XVI.101).

320 THE NATYASASTRA [ XVII. 106-

described in relation to the Erotic and the Marvellous Sentiments and the various States, it is [an instance of] Exaltedness (udatta)1. 106. That which [in a composition] while describing the sportive movement of [a character] delights the ear and the mind just as the moon [pleases us], is [an instance of] Loveliness (l'anti)1. Alamkaras, and Guņas according to Sentiments 107. These are the figures of speech, faults and Guņas [available in a poetical composition]; I shall now describe their application in connexion with different Sentiments. Sounds and Figures of Speech according to Sentiments 108. The poetical composition in connexion with the Heroic, the Furious and the Marvellous Sentiments should consist mostly of light syllables and should include similes and metaphors. 109-110. In the Odious and the Pathetic Sentiments it (the composition) should be similar except that it should consist mostly of heavy syllables. Metres according to Sentiments: in the Heroic and the Furious Sentiments Whenever any act of boldness is described (lit. occurs) in connexion with the Heroie and the Furious Sentiments, it (the com- position) should be in the Arya metre and should have metaphor and Condensed Expression in it. In the Erotic Sentiment In the Erotie Sentiment the composition should be in gentle metres.

1 Cf. Vamana, III. 1. 23; Daņdin, I. 76-78. B.(XVI. III.) and C(106) give along with this a definition of the Guna named udara. In translation it is as follows : When the composition includes wilty and graceful words having many special senses which are marvellous, it is [an instance of ] Exaltedness (udatta). 106 (C.p.212 f. n. 5; B.XVI.112). 1 Cf. Vamana, III. 1. 25; Dandin, I. 85-88. C (107), gives an additional definition of this Guna, which in translation is as follows ; When a composition gives delight to the ears as well as to the mind on account of its well-put-together words, it is [an instance of ] Loveliness (kanti). 107 (C.108; B.XVI.113). 109-110 (C.110-111; B,XVI.115-116). 108 (C.109; B.XVI.114).

-XVII. 117 ] DIOTION OF A PLAY 321

In the Heroic Sentiment 111-112. In the Heroic Sentiment the poetical composition should have gradation [of sounds] and it should be in metres of the Jagati, Atijagati and Samkrti types. In the description of battles and tumults Utkrti has been prescribed by the experts.

In the Pathetic Sentiment. Śakkari and Atidhrti would be the proper metres in the Pathetic Sentiment .. In the Heroic and the Furious Sentiments 113. The metres prescribed for the Horoic Sentiment may be applied in the Furious Sentiment as well ; and as for metres in the rest of the cases (i. e. those not mentioned) they should be made suitable to the meaning intended.

Vowel-length in different Sentiments and States 114. In connexion with the drama the poets should use1 short, long and prolated (pluta) vowels for representing different Sentiments and States. 115. In the intonation [in Recitation] a vowel consisting of one Matra is short, of two Matras is long and of three Mātras is prolated (pluta). Uses of the prolated vowel 116. In remembering anything, in [expressing] indigna- tion1, in lamenting or in the reading of Brahmins the prolated (pluta) vowels occur. 117. [Syllables concerned in these connexions] will be 'a' for remembering, 'u' for indignation, 'ha' for lamentation and 'om' for the reading of Brahmins.

111-112 (C.112-113; B.XVI.117-118). 113 (C.114; B.XVI.119). 114 (C.115; B.XVI.122). 1 C. kāvyam vijneyam for karyam kavibhir. 115 (C.116; B.XVI 123). 116 (C.117; B.XVI.124). ' C. smrte cāstrayute for smrte cāsuyite. 117 (C.118; B.XVI.125). 41

322 THE NATYASASTRA [ XVII. 118-

118. Besides these, other syllables in a play (lit. poetical composition) should also be made short, long or prolated (pluta) according to the Sentiments and States [they are to express]. 119. The uneven and uneven metres which have been described before should also be used in composition with agreeable and soft sounds according to the meaning [intended]I. 120. The playwright should make efforts to use in his composition sweet and agreeable words which can be recited by women. For, furnished with these (i.e. such words) a play will appear very much beautiful just as lotus-lake [will appear] adorned with swans. . 121. With harsh words such as celridita1, delicate dramatic art does not appear beautiful just as a public woman does not appear well by the side of Brahmins who are clad in Ruru-skin, and are annointed with ghee and who carry the skin of black antelopes and have the Aksa-māla [in their hands]. 122. A play abounding in agreeable sounds and senses, containing no obscure and difficult words, intelligible to country- people1 having a [good] construction, fit to be interpreted with (lit. fit for) dances, developing Sentiments by many [characters]2 and having suitable Junctures (sandhi) and their [proper] unions, becomes fit for presentation to the spectators.

Here ends chapter XVII of Bharata's Nātyasāstra which treats of the Characteristics of a good play in connexion with the Verbal Representation.

118 (C,119; B.XVI.126). 119 (C.120; B.XVI.120). 1 B. reads 120a as yac chandah purvam evoklam visamārdhasame samam. B. sabdais tai kāryam tu rasānugam for kāryās te'rthavasānugāh. 120 (C.121; B'XVI.121). ' The word cekridayatam occurs in the Avi. (III.18) ascribed to Bhasa. (Sce A.D. Pusalker, Bhasa, Lahore, 1940, p.131). 121 (C.122; B.XVI.127). 122 (C.123; B.XVI.128). 1 C. budhajanasukhayogyam yuktiman. ' B. bahukrtarasamārgam for bahurasakrtamārgam, C.

CHAPTER EIGHTEEN

RULES ON THE USE OF LANGUAGES

The Prakritic Recitation

1. 1Thus I have spoken in brief2 of the Sanskritic Recitation. Now I shall speak of the characteristics of the Prakritic Recitation. 2. The former (lit. this) [when] changed and devoid of the quality of polish, is called the Prakritic Recitation, and it has as its chief feature changes due to different conditions.1

Three kinds of the Pkt. Recitation 3. In connexion with the dramatic representation, it (the Pkt. Recitation) is of three1 kinds, viz, that with the same words [as in Sanskrit] (samana-abda), that with corrupt (vibhrasta) words and that with words of indigenous origin (desi). 4. A sentence contaning words like kamala, amala, reņu, taranga, lola, salila and the like are used in the Prakrit composi- tion [in the same manner] as in Sanskrit. I 5. 1Sounds which change their combined form or vowels or sustain loss and that often in the middle of a word" are corrupt (vibhrasta).8

1 (C.1, B.XVI.1). 1 For an English translation (with the text and notes) of XVIII. 1-24, see.M. Ghosh, "Date of the Bharata Natyasastra", JDL. Vol. XXV. (1933). For a French translation (together with the romanised text) of this chapter see L. Nitti-Dolci, Les Grammairiens Prakrits, 1998, pp. 64-6. 2 samasātah (C. dvijottamah). 2 (C.2; B.XVII.2). 1 Cf. Nitti-Dolci, p.70. 3 (C.3; B.XVII.3). ' Later Prakrit Grammarians called the above three classes of words tatsama, tadbhava and desi respectively. 4 (C.4; B.XVII.4b-5a). 1 B. reads one additional hemistich (4a) before this. Cf. Nitti-Dolci, p.20. 5 (C.5; B.XVII.5b-6a). 1 Cf. Nitti-Dolci, p.70. 2 C; yānty apadādau prayas, B. for gacchanti padanyastā, C. ' B. reads one additional couplet after 5.

324 THE NATYASASTRA [ XVIII. 6-

Vowels and simple consonants 6. Sounds following e and o (i.e. ai and au) and the Anu- svara [in the alphabet] do not occur in Prakrit. And such is the case with sounds between va and sa (i.e. sa and sn) and the final sounds in the ka, ca and ta groups (i.e, na, na, na).1 7. Ka, ga, ta, da, ya, and va are dropped [in Prakrit] and the meaning is carried by the [remaining] vowels, and kha, gha, tha, dha and bha become ha without giving up the meaning of the word. 8. In Prakrit ra does neither precede nor follow [a conso- nantal sound] except in cases of bhadra, vodra, hrada, candra and the like.1 9. Kha, gha, tha, dha and bha always become ha in words such as mukha, megha, katha and vadhu prabhuta.1 And as for ka, ga, ta, da, ya2 and va, the vowel8 following them always represents them. I0. Şa it should be known, always become cha in words such as satpada.1 The final syllable of kila should be ra and the the word khalu should become khu.

6 (C. 6-8; B.XVI1.7). 1 This together with three following couplets are written not in Skt. but in Prakrit. Hence they seem very much to be an interpolation. The first of these occurs as a quotation (with- out the author's name) in a late metrical work edited by M.H.D. Velankar (Annals of the Bhandarkar Inst. XIV. 1932-33, pp. 1-38, citation, Nitti-Dolci, p.71). 7 (C.6-8; BXVII.8). 8 (C.6-8; B.XVII.9). ' Nitti-Dolci and B. reads padra for draha. See cha ya and Ag. and also PSM. for the Pkt. words.Cf. Nitti-Dolci, p.71. 9 (C.6-8; B.XVII.10). 1 Evidently hard aspirates in case of other words did not change. Ag's. example of such words are kheta, parigha, atha. This speaks of the high antiquity of the Pkt. of the NS. 2 The non-aspirate consonants mentioned here are to be understood as devoid of the inherent vowel 'a'. ' The word saro (=svarah) here means "vowel" and not "sound". Cf. Nitti-Dolci p.71. 10 (C.9; B.XVII.11). 1 Ag. is silent about this satpadādi gana.

-XVIII. 18 ] RULES ON THE USE OF LANGUAGES 32

11. Ta becomes da in words such as bhata, kuti and tata, and sa and sa always become sa, e.g. visa (visa) and samkā (sankā). 12. In words such as itara and the like ta standing not in the beginning of a word becomes an indistinctly pronounced da.I Da in words such as vadava and tadaga becomes la. 13. Tha in words such as satha, patha, pithi and the like become dha, and na becomes na everywhere in pronunciation.1 14. Pa [in it] changing into va, apana becomes avana. And except in case of words like yatha and tatha tha becomes dha. 15. One is to know parusu as pharusa, for pa becomes pha [in it], and mrga will be changed to mao while mrta will also be man. 16. An employed in words like ausadha etc. will change to o, and ca in words such as pracaya, acira and acala etc. will change into ya.1 17. Thus [change] the sounds in Prakrit when they are not mutually connected (i.e. they are simple). Now I shall describe the change of conjunct sounds. Conjunct consonants 18. Sca, psa, tsa and thya change into (c)cha, bhya, hya and dhya into (i)jha, sta into ttha, sta into ttha, sma into mha, lesna and sna into nha, and ksa into (li)kha.

11 ((.10; B.VII.12). 12 (C.11; B.XVII.13). 1 This indistinctly pronounced da is perhaps a spirantised da. Ag. thinks that it is somewhat like a la. (e) aggaa उचार्यं: येन क्रमाहकारय लकारच्कायो भवति यथा उदरं उलनं). 13 (C.12; B.XVII.14 f.n.). 1 B. reads the first hemistich as follows : वर्षनगते च भावे धकारवर्णोडपि ढत्वमुपयाति and C. too differently. Dha in vardhana (i.c. in combination with ra) changes into dha. 14 (C.12b-13a, B.XVII.15). 15 (C.13b 14a B.XVII.16). 1 The word maa (maya) from mrta as well as mrga had its spirantised da reduced to ya-sruti which how- ever was not shown in writting during the early days of this phonetic change (See IHQ. VIII. 1933, suppl. p. 14-15). 16 (C.14b-15a; BXVII.17). 1 This ya-sruti for ca did not probably at once lead to its graphic elimination .. 17 (C.15b-16a; B.XVII.18). . 18(C.16b-18a; B.XVIİ.19.)

326 THE NATYASASTRA [ XVIII. 19-

19. Aścarya will be acchariya and niscaya nicchaya, utsāha ucchaha and pathya, paccha.1 20. Tubhyam becomes tujjham, mahyam majjham, vindhya vimjha, dasta dattha and hasta hattha. 21. Grisma becomes gimha, ślaksna sanha, usna unha1; jakşa jakkha, paryanka pallamka. 22. There is metathesis in the group hma occurring in words such as brahman etc., and in brhaspati [the group spa] becomes pha, yajña becomes janņa, bhīşma bhimha. 23. Ka and similar other letters (sound) while on the top of another letter (sound) will have to be disjointed in their pronunciation1. 24. Thus are to be learnt the pronunciation of Prakrit and Sanskrit. I shall discuss hereafter the classification of regional languages (desa-bhāsa). 25. The [languages] to be used in drama are of four types in which Recitation should be either of the refined (samskrta) or of the vulgar (prakrta) kind.

Four types of languages 26. The Super-human Language (atibhasa), the Noble Language (arya bhasa)1 the Common Language (jati-bhāsa) and the Language of Other Animals (yonyantari bhasa)2 are the [four] languages occurring in plays.

19 (C.18b-19a; B.XVII.20a-21a). 1 B. reads one additional hemistich between 19a and 19b. 20 (C.19b-20a; B.XVII.21b-22a). 21 (C.20b-21a; B.XVII.22b-23a). 1 C. reads krsnah kanhah. 22 (C.21b-22a; B.XVII.23b-24a). 23 (C.22b-23a; B.XVI.24b-25a). I This probably relates to svara- bhakti (anaptyxis). Kilesa (klesa), radana (ratna) and duvāra (dvāra) may be examples of this. 24 (C.23b-24a; B.XVII.25b-26a). 1 Cf. Nitti-Dolci. p.73. 25 (C.24b-25a; B.XVII.26b-27a). 26 (C.25b-26a; B.XVII.27b-28a). 1 Some commentators think that aryadhasa means a language in which Vedic words preponderate (Ag.). 2C. reads jātyantari and yon yantari.

-XVIII. 30 ] RULES ON THE USE OF LANGUAGES 327

The Superhuman and the Noble Languages 27. The Super-human Language is for the gods, and the Noble language for the kings1. These have the quality of refine- ment" (samskara) and are current over the seven great divisions" (dvipa) of the world. The Common Language 28. The Common Language prescribed for use [on the stage] has various formsI. It contains [many] words of Barbarian (mleccha) origin and is spoken in Bhārata-varșa [only]z. The Animal Language 29. The Language of Other AnimalsI have their origin in animals domestic or wild and in birds of various species, and it follows the Conventional Parctice (natya-dharmi). Two kinds of Recitatien 30. The Recitation in the Common language which relates to the four castes, is of two kinds, viz, vulgar (prakrta) and refined (samskrta).

27 (C.26b-27a; B.XVII.28b-29a). 1 The alibhāsā and āryabhāșā are possibly the dialects of the pure Indo-Aryan speech. It.should be noted that "samskrta" (Sanskrit) as the nam? of a language is absent here. Bhoja takes ati-, ūrya- and jati- bhasas respectively as srauta (Vedic), ārsa (Puranic) and laukika (literary) speeches. See Sr. Pr. pp, 191ff. Read samskaraguna for samskara-pathya (the ms. bha in B.).

. 3 Read saptadvipa-pratisthita for samyainyūya pratisthita (the ms. bha in B). 28 (C.26b-27a; B.XVII.29b-30a). 1 Read vividha-jatibhāsā ; vividha (ca, da in B.) for dvividha. " The common speech or the speech of the commoners is distinguished here from that of the priests and the nobility by describing it as con- taining words of Barbarian (mleccha) origin. These words seem to have been none other than vocables of the Dravidian and Austric languages. They entered Indo-Aryan pretty early in its history. See S. K. Chatterji, Origin and Development of the Bengali Language, Calcutta, 1926 pp. 42,178. 29 (C.27b-29a; B.XVII.30b-31a). 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. 30 (C.28b-29a; B.XVII.81b-32g.).

328 THE NATYASASTRA [ XVIII, 31-

Occasion for Skt. Recitation 31. In case of the self-controlled (dhira) Heroes of the vehement (uddhata), the light-hearted (lalita), the exalted (udatta), and the calm (praganta) types, the Recitation should be in Sanskrit.

Occasion for Pkt. Recitation 32. Heroes of all these classes are to use Prakrit when the occasion demands that.1 33. 1In case of even a superior preson intoxicated with the kingship (or wealth) or overwhelmed with poverty no Sanaskrit should be used.2 34. To persons in disguise1, Jain monks8, ascetics3, religious mendicants* and jugglars should be assigned the Prakrit Recitation.

31 (C. 29b-30a; B.XVII.32b-33a). 32 (C.30b-31a; B.XVII.33b-34a). 1 As Arjuna disguised as Brhannalā. 33 (C.31b-32a; B.XVII.34b-35a). 1 We follow C. text. 2 No extant drama seems to furnish any illustration of this rule. B. reads one additional hemistich before this. 34 (C.32b-33a; B.XVII.36). 1 vyājalingapravistānam=persons in disguise of different kinds of professional and religious mendicants etc .. See Kautilya's . Arthasastra. An example of this is Indra in the guise of a Brahmin speaking Pkt. in Karna. ascribed to Bhasa. Nitti-Dolci takes this expression as an adjective of śramananam etc .. But it need not be construed like this. This part of the rule seems to relate to Skt. speaking characters assuming disguise. Viradhagupta (Mudra II.) assuming the guise of a snake-charmer, is an example of such characters. And so are Yaugandharayana and Rumanvan in the Pratijna, (III) ascribed to Bhasa. 2 Śramana (Pkt. samana). The word is to be taken to mean here a Jain monk. Cf. Jadi vattham avanemi samaņao homi, Avi. (V.) ascribed to Bhasa; sramana was sometimes used also in connexion with the Buddhists. See below 36. 3 tapasvin .- It appears that the author of the NS. meant by this term ascetics in general. Though we find Brahmin ascetics in ancient literature, the institution of asceticism was most probably of non-Aryan origin. This seems to be justification of assiguing Prakritic Recitation to all the ascetics irrespective of their sectarian affiliation. bhiksu .- religious mendicant in general. It should not be res- tricted to Buddhists alone. The alternative name of the Brahma-sutra is the Bhiksu-sūtra.

.XVIII. 35 ] RULES ON THE USE OF LANGUAGES 329

35. 1Similarly Prakrit should be assigned to children, persons possessed of spirits of lower order, women in feminine character2 persons of low birth, lunatics and phallus-worshippers3. Exception to the rule for Pkt. Recitation 36. But to itinerent recluses1, sages2, Buddhists8, pure Srotriyas* and others who have received instruction [in the Vedas] and wear costumes suitable to their position (lingastha)5 should be assigned Sanskritic Recitation.

35 (C.33b-34a; B.XVII.37 f.n. 9). 1 B.'s reading in translation is as follows : Similarly Pkt. should be assigned to Saiva teachers, lunatics, children, persons possessed of spirits of lower order, women, persons of low birth and hermaphrodites (B.XVII.37). 2 In a queen's role a woman may sometimes speak Skt. Sec 38-39 below. The parivrajika in the Malavi. speaks Skt. 3 salinga .- This possibly means the member of a sect which like the Lingayets wears a phallus suspended from their neck. 36 (C.34b-35a; B.XVII.38). 1 parivraj-a person of the fourth asrama. A recluse belonging to the Vedic community. 2 muni .- This word, probably of non-Indo-Aryan origin meant in all likelihood "wise man." See NS. I. 23 note 1. In the ancient world, wisdom was usually associated with religious and spiritual elevation. This might have been the reason why the word was applied to persons like Vasistha and Narada. sakya .- a follower of the Buddha. There is nothing very astonish- ing in Skt. being assigned to Buddhist monks. Buddhist teachers like . Asvaghosa, Nagarjuna, Aryadeva, Vasubandhu were almost all great Sanskritists, and the Mahayana literature was written in Sanskrit of corrupt as well as of pure variety. This might have been the gencral linguistic condition before the schism arose among the Buddhists. In Asvaghoșa's Sariputra-parakarana Buddha and his disciples speak Sanskrit (Keith, Skt. Drama p.82). Asvaghosa assigns Skt. to a sramaņa, as well (loc. cit). This sramana was possibly a Buddhist ; see 34 f.If. coksesu (caiksesu, C.) srotriyesu-for the pure srotriya or a learned Brahman. The adjective "pure" (coksa) used with srotriya is possibly to separate him from an apostate who might have entered Jain or any other heterodox fold and was at liberty to use Pkt. 5 sistah lingasthah-religious mendicants who have received instruction (in Vedas). 42

330 THE NATYASASTRA [ XVIII. 37-

37. Sanskrit Recitation is to be assigned to queens, cour- tezans1, female artistes to suit special times and situations in which they may speak. 38-39. As matters relating to peace and war, the auspicious and inauspicious movements of planets and stars and cries of birds concern the well-being or distress of the king these are to be known by the queen, and for this reason she is to be assigned Sanskritic Recitation in connexion with these (lit. in that time)1. 40. For the pleasure of all kinds of people, and in con- nexion with the practice of arts, the courtezans are to be assigned Sanskritic Recitation which can be easily managed. 41. For learning the practice of arts and for amusing the king the female artiste has been prescribed to use Sanskrit in dramatic works1. 42. The pure speech of the Apsarasas1 is that which has been sanctioned by the tradition (i.e. Sanskrit), because of their asso- ciation with the gods ; the popular usage conforms to this [rule]. 43. One may however at one's pleasure assign Prakritic Reci- tation to Apsarasas [while they move] on the earth. [But to the Apsarasas in the role of] wife of a mortal also [the same] should be assigned when an occasion (lit. reasons and need) will occurI. 44. In the production of a play their [native] language should not be assigned to tribes such as, Barbaras, Kiratas, Andhras and Dramidas4.

37 (C.35-36a; B.XVII.39). 1 An cxample of this is Vasantasena speaking Skt. (Mrcch. IV.). 38-39 (C.36b-38a; B.XVII.40-41). 1 This rule cannot possibly be illustrated by any extant drama. 40 (C.38b-39a; B.XVII.42). 41 (C.39b-40a; B.XVII.43). 1 There is possibly no example of this in any extant drama. 42 (C.40b-41a; B.XVII.44). 1 No play with an Apsaras speaking Skt. is available. All the Apsarasas in Vikram, speak Pkt. 43 (C.41b-42a; B.XVII.45). 1 Read mānusiņām (ca in B) for manusanam. Urvasi is an example of an Apsaras who became the wife of a mortal. (Vikram). 44 (C.42b-43a; B.XVII.46). 1 See NS. XXIII. 99 notes.

-XVIII. 49 ] RULES ON THE USE OF LANGUAGES 331

45. To pure tribes of these names, should be assigned dialects current in Saurasena, 46. The producer of plays may however at their option use local dialects ; for plays may be written in different regions [for local production]. Seven major dialects 47. The Seven [major] dialacts (bhāsa) are as follows : Māgadhī, Avantī [Āvantijā], Prācyā, Saurasenī (Śūrasenī), Ardhamāgadhī, Bāhlikā, DāksinātyāL. 48. In the dramatic composition there are, besides, many less important dialects (vibhasa)I such as the speeches of the Sakāra, Ābhiras, Candalas, Sabaras, Dramidas2, Odras8 and the lowly speech of the foresters. Uses of major dialects 49. [Of these] Mägadhi is assigned to guards (lit. inmates) of the royal harem1, and Ardhamagadbi to menials, princes and leaders' of merchants' guilds2.

45 (C.43b-44a; B.XVII.47). 46 (C.44b-45a; B.XVII.48). 47 (C.45b-46a; B.XVI1.49). 1 Māgadhi, Sauraseni and Ardha- magadhi are well-known. But any old and authentic description of Āvanti, Prācyā, Bāhlikā and Dāksinātya Pkt. seems to be non-existent. According to Prthvidhara a very late authority, Mrcch. contains the specimens of Avanti and Pracya only. It is to be notod that the present list does not include Maharaștri .. See M. Ghosh. "Maharaștrī a late phase of Sauraseni", JDL. 48 (C.46b-47a; B.XVII.50). 1 By the word vibhasa Prthvidhara understands vididhā bhāşa hinapātra-prayojyatvād hinūh. See Pischel, Grammatik, $§ 3-5. No old and authentic specimen of the vibhāsas has reached us. According to Prthvidhara the Mrcch. contains Sakari and Caņdali besides Dhakkī which last the NS. does not know. ' It is curious that after forbidding the use of languages like Dramida (Dramila) in 44 above, the author is including it among the dialects that can 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 to a later stratum of the text. 3 Read dravidodrajāh for dramilāndhrajāh, B; dravidodrajāh, C. See 55 note 1. 49 (C.47b-48a; B.XVII.51). 1 For a list of such persons see DR.II.74. ' According to Pischel this passage assigns AMg. to servants,

332 THE NATYASASTRA , [ XVIII. 50-

50. Pracya is the language of the JesterI and the like ; and Avanti is of the rogues (dhūrta)2. The Heroines, and their female friends are also to speak Sauraseni when not in any difficulty. 51. To soldiers, gamesters, police chief of the city and the like should be assigned Dāksiņātya+, and Bāhliki is the native speech of the Khasas who belong to the north,

Uses of minor dialects 52. Sakarī should be assigned to the Sakara and the Sakas and other groups of the same nature1, and Candali to the Pulkasas and the like.2 53. To charcoal-makers, hunters and those who earn their

Rajputs (rajaputra) and leaders of merchants' guild (sresthi). See Gramma- tik § 17. But no extant drama seems to illustrate this rule. For Candanadasa who is a sresthi, does not speak AMg. (Mudra, I) while Indra in the disguise of a Brahmin speaks this dialect of P'kt. (Karņa. ascribed to Bhașa). 50 (C.48b-49; B.XVII.52). ' According to Prthvidhara Vidūșaka in the Mrcch. speaks Pracya the sole characteristic of which is abun- dance of pleonastic ka. See Pischel, Grammatik, Grammatik, § 22. 2 C. yojyā bhūsa for dhurtanum apy. According to Prthvīdhara the the two policemen Viraka and Candanaka in the Mrcch. (VI.) speak Avanti. But according to the latter's own admission he was a Southerner and a man of Karnata. No old and authentic description of this dialect is available, see Pischel, Grammatik § 26. 51 (C.49b-50a: B.XVII.53). ' Candanaka's language in Mrech. in spite of Prthvidhara's testimony to the contrary may be taken as a specimen of Dakşinatya. See 50 note 2 above. No old and authentic description of this dialect is available. Cf. Pischel, Grammatik § 24. 52 (C.50b-51a; B.XVII.54). 1 sakārāņūm sakūdinām for šakū- raghosakādinām (B.), and šabarāņām šakādīnām (C). According to Prthvidhara Sakara in Mrcch. speaks Sakari dialect. Cf. Pischel, Grammatik, § 24. & Prthvidhara thinks that Candalas in Mrcch (V.) speak the Cāņdali dialect. Cf. Pischel, Grammatik, § 25. .53 (C.51b-52a; B.XVII.55). 1 B. sakūra-bhāsa for sabara-bhāsūt. This dialect seems to have been the parent of the modern Sora language.

-XVIII. 58 ] RULES ON THE USE OF LANGUAGES 333

livelihood by [collecting] wood and leaves should be assigned SabariI as well as the speech of forest-dwellers. 54. For those who live in places where elephants, horses, goats, sheep, camels or cows are kept [in large numbers] AbhiriI or Sabari2 has been prescribed, and for forest-dwellers and the like, Drāvidi8 [is the language]. 55. Odri is to be assigned to diggers of subterranean passages, prison-warders, grooms for horses1 ; and Heroes and others like them while in difficulty are also to use Magadhi for self-protection. Distinguishing fcatures of various local dialects 56. 1To the regions [of India] that lie between the Ganges and the sea, should be applied a dialect abounding in e2 57. To the regions that lie between the Vindhyas and the sea should be assigned a language abounding in na1 ( or ta). 58. Regions like Surastra and Avanti lying on the north of the Vetravati one should assign a language abounding cal.

$ See 54 note 3. 54 (C.52b-54a; B.XVII.56). 1 Abhiri dialcet is not available in any extant drama. 2 Sce 53 note 1. 3 Dravidi dialect is not available in any extant drama. It is possible that it was not a pure Dravidian speech (Sec 44 above). Possibly a Middle Indo-Aryan dialect in which Dravidian phonetic and lexical influence predominated was meant by this. Its habitat was in all likeli- hood some region of North India. Cf. Nitti-Dolici, p. 120-122. 55 (C-54b-55a; B.XVII.57). 1 Emend odhrikūrasaraksasām (dha in B) into o!ri kārūśvaraksatām (C. ostrikanaan ca raksatām and B. sandhikūrāsvaraksatam); for Odri Pkt. see 48 note 3. and Nitti-Dolci, pp. 120 f.n. 4 and 122. 56 (C.55b-56a; B.XVII.59). ' B. again reads 44 after 55. 2 This "e" is perhaps termination of the nominative singular the a-bases in AMg. 57 (C.53; B.XVII.60). 1 This relates to a dialect of Pkt. which changes na always into na. Though according to some grammarians Pkt. is always to change na into na, it scems that such was not strictly the case with all its dialects. For example in the so-called Jain Pkt. (AMg. of Hemacandra) has initial n and intervocal nn. 58 (C.56b-57a; B XVII.61). ' It seems that at the time of the

334 THE NATYASASTRA [ XVIII. 59-

59. To people who live in the Himalayas, Sindhu and Sauvira a language abounding in u should be assigned.1 60. To those who live on the bank of the Carmanvati river and around the Arvuda mountain a language abounding in o1 (or ta) should be assigned. 61. These are the rules regarding the assignment of dialects in plays. Whatever has been omitted [here] should be gathered by the wise from the popular usage.

Here ends Chapter XVIII of Bharata's Natyasastra which treats of the Rules regarding the Use of Languages.

author of the passage intervocal ca in this particular region was yet maintained or dental t sounds were mostly changed into c sound (as in cittha for tistha). 59 (C.57b-58a; B.XVII.62). I This u perhaps relates to a elose pronounciation of the o vowel. 60 (C. omits this ; B.XVII.63). 1This o perhaps relates to a open pronounciation of the u vowel. 61 (C.53b-59; B.XVII.64).

CHAPTER NINETEEN

MODES OF ADDRESS AND INTONATION

Different modes of address 1-2. These are, O the best of Brahmins, the rules on the use of languages [in a drama]. Now listen about the rules of popular modes of address1 or the manner in which persons of equal, superior or inferior status in a play are to be addressed by those of the superior, the medium or the inferior class." 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" (bhagavan)i and their wives are also to be similarly addressed.2 Addressing gods, sectarian teachers and learned men 4. Gods,I persons wearing sectarian teacher's dress2 and persons observing varied vows3 are to be addressed as "holy one" (bhagavan)" by men as well as women.

1-2 (C.1-2, B.XVII.65-66). 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 and then he is addressed in the same term (Yathajnapayati aynsman, ayusman pasya pasya). ' Rules given hereafter do not cover all the numerous and different cases occurring in the exant dramatic literature in Skt. and Pkt. 3 (C.3; B.XVII.67). 1 Ex. Kasyapa (Kanva) addressed by his dis- ciple (Sak. IV.) Marīca by Dusyanta (ibid. VII.) and Ravaņa in ascetic's disguise by Rama (Pratimā. V). No ex. of this seems to be available in any extant drama. 4 (C.4; BXVII.68). 1 Ex. : Agni (Abhi. VI). & Varuņa (ibid. IV). 2 Ex. (Ravana disguised as an ascetic addressed by Rama (Pratimā. V.). The Jester in Pratijna (III) addressing the Jain monk (sramanaka) as bhaavam (bhagavan) to create laughter ; bhadanta would have been the proper term in this case. See below 15. 3 Read here nānāvratadhara (bha in B) for nānāsruiadhara (B) and nānāsrutidhara (C). Ascetics belonging to minor heterodox sects

336 THE NATYASASTRA [ XIX. 8-

Addressing the Brahmin 5. The Brahmin is to be addressed as "noble one" (arya),1 Addressing the king And the king [is to be addressed as "great king" (mahārāja).2 Addressing the teacher The teacher [is to be addressed] as "professor" (acarya).8 Addressing an old man And an old man [is to be addressed] as "father" (tāta).4 Brahmins addressing the king 6. Brahmins may address the kings at their pleasure, by their names. This should be tolerated, for the Brahmins are to . be adored by the kings. Brahmins addressing ministers 7. A minister is to be addressed by Brahmins as "Coun- cillor" (amatya) or "minister" (saciva),1 and by other persons, inferior to them (i.e. Brahmins) he [is] always [to be addressed] as "sir" (ārya)." Addressing the cquals 8. One is to accost one's equals by the name with which they are styled1.

seem to have been included in this term. Ag. reads nanusrutadharal and explains this as bahusrutal. 5 (C.5; B.XVII.69). ' Brahmin (Kesavadasa) in Madhyama. addressed by Bhima. 2 Ex. Sumantra addressing Dasaratha ( Pratima, II), and Vibhișaņa addressing Rāvaņa (Abhiseka II ). 3 Ex. Canakya addressed by his disciple (Mudra, I). Ex. Bharata addressing Sumantra the old charioteer (Pratima, VI.). 6 (C.6; B.XVII.70). 1 Ex. Indra disguised as a Brahmin addressing Karņa (Karņa.), Cf. Cānakya addressing Candragupta mostly as Vrșala (or Sudra) in Mudra. 7 (C.7; B.XVII.71). 1 No example of this rule seems to be available in any extent drama. See note 2 below. ' Ex. The door-keeper (pratihari) addressing Yaugandharayaņa ( Pratijna, I.). But curiously enough Raksasa has been addresscd not as 'Arya' but as 'Amatya' (counciller) by the door-keeper, and by his friend Viradhagupta too he is addressed likewise (Mudra, ID). 8 (C.8; B.XVII.72). 1 Ex. Cāņakya addressing Rākșasa and vicc versa (Mudra, VII.).

.XIX. 11 ] MODES OF ADDRESS AND INTONATION 337

Privileged inferiors addressing superiors A superior person may however be addressed (or referred to)2 by name by inferior persons when the latter are privileged to do so8. Addressing employccs, artisans and artists 9. Men and women in one's employment1, and artisans and artists2 are to be addressed as such (i. e. according to their status)8. Addressing persons of respect 10. A respected person is to be addressed as 'honoured sir' (bhava), and a person of slightly less so as "comrade (mārsaka or mārsa).I Addressing persons of equal status A person of equal status should be addressed as 'brother" (rayasya)2 and a low person as 'hey man' (ham-ho)3 The charioteer addressing the chariot-rider 11. The chariot-rider should always be addressed by the charioteer as "long-lived one" (ayusman)1.

2 B. saparivaram, so also Ag. 3 Ex. Hamsaka referring to Yaugandharayana before the latter. (Pratijna. I. 13.14). Sec above note 1. 9 (C.9; B.XVII.73). 1 Yaugandharayana addressing Salaka by name (Pratijna. I. 2. 4) and the hero Carndatta addressing the maid-servant Radanika (Cāru. I. 21.15). 2 Ag. explains karuka and silpi as follows: . : fafiafaaea:, artisans are those that build stupas and the like objects, artists are painters and the like. 3 Ex. The king addressing Haradatta one of the teachers of dramatic art (Malavi. II. 12.4). 10 (C.10; B.XVII.74). 1 Ex. pariparsvika addressing sutradhūra as bhava, and sutra° addressing pūriparsvika as mūrsa (Abhi. I. 1.6,8). Sākara once addressing vita as bhava and next time as mūlisa (marisa) in Caru. I.17.3; 26.3). The word marsaka does not seem to occur any extant drama while marisa occurs very often. See Uttara. (I. 4.7) and Malavi (I. 1. 3). 2 Ex. Siddharthaka and Samiddharthaka addressing each other (Mudra. VI. 2. 14, 16). 3 Ex. Canakya's spy addressing his disciple as ham-ho bamhana, (Mudra. I. 18.4). 11 (C.11; B.XVII.75). 1 Ex. Dusyanta's priest addressing the two 43

338 THE NATYASASTRA [ XIX. 12.

Addressing an ascetic or a person with beatitude An ascetic or a person who has attained beatitude (prasanta) is to be addressed as "blessed one" (sadho)2. Addressing princes 12. The crown-prince is to be addressed as "sire" (svamin),1 and othar princes as "young master" (bhartr-dāraka)2. Addressing inferior persons Inferior persons are to addressed as "pleasing one" (saumya)3, "auspicious-looking one" (bhadra-mukha)4 and such terms should be preceded by 'O' (he)5.

disciples of Kāśyapa (Kaņva) and Gautami tapasvinah (Śak.V. 11. 6). 2 The word sadhu as a form of address does not seem to occur in any extant drama. 12 (C.12; B.XVII.76). 1 No cxample of this rule seems to be available in any extant drama. On the other hand svamin is very often used in addressing a king. Ex. Yaugandharayana addressing the king Udayana (Svapna. VI. 17.1). Kaunjayana and Bhūtika addressing the king Kuntibhoja (Avi. I. 5.3; 8.5). On the use of the word svamin in inscriptions see Sylvain Lévi, Journal Asiatique, Ser. 9, XIX.95ff. I. Ant. Vol. XXXIII. p. 163. Sita's maid addresses Rāma as bhallā (Pratimā. I. 9.2). The door-kceper (pratihari) refers to the crown-prince Rama as bhattida- raassa rāmassa (Pratima. I. 2.9). and not as sūmiassa rūmassa, ' The word has bcen used with reference to the crown prince in Pratima. (loc. cit. I). In referring to other princes play-wrights use the word kumara. In Pratima. (III. 14.12) Bharata has been addressed with this term. In Mudra. (IV. 12.5) Malayaketu has been addressed similarly. Avimaraka, the lover of Kurangi is addressed as bhatlidaraa by her maid (Avi. III. 17 2). ' This use of the term saumya does not seem to occur in extant drama, and bhadra appears to have taken its place, e.g. Bharata addressing the messenger (bhata) in P'ratima (III.4.2). Dusyanta addresses his chief of the army (senapati) similarly (Sak. II. 5.4). 4 Ex. Rakşasa's spy (purusa) addressing his door-keeper (Mudra. IV. 8.2). In Abhi, (VI. 31.1) Agni (god of fire) addresses Rama as bhadra- mukha though earlier, (VI. 26.7) he says: na me namaskuram kartum arhati devesah. The Jester addresses the candalas as bho bhaddamuha (Mrcch. X. 23.3). 5 It does not seem to occur before these terms in any extant drama.

-XIX. 16 ] MODES OF ADDRESS AND INTONATION 339

Addressing persons by their occupation or birth 13. In a play a person is to be addressed by a term appro- priate to his birth or to the vocation, art or learning practised by him,1 Addressing a son or a disciple 14. A disciple or a son is to be addressed by the guru or the father as "child" (vatsa)I "son" (putraka)2, 'father" (tata)3 or by his own name or clan-name (gotra)4. Addressing Buddhist and Jain Monks 15. Buddhist and Jain (nirgrantha) monk; are to be addressed as "blessed sir" (bhadanta)1. Addressing persons of other sects Persons of other sects2 are to addressed by terms enjoined by their own rules3. People addressing the king 16. The king is to be addressed by his servants as well as

13 (C.13; B.XVII.77). 1 Not many examples of this rule seem to be available in any extant drama. In Mrcch. (X. 20.1) Carudatta's son addressing the Candalas as are candala may be an example of this. 14 (C.14; B.XVII.78). 1 Ex. Sauvira king addressing Avimāraka (Avi. VI. 17.4). Cf. Drona addressing Duryodhana (Panca. I.22.3). 2 Ex. The form putraka does not seem to occur in any extant play. The from usually available form is putra. Drona addressing Duryodhana as putra (Panca I. 23.3). Duryodhana addressing his son similarly (Uru. I. 42.3). 8 No example of this seems to be available in any extant drama. 4 Ex. Vali addressing Angada by name (Abhi. I. 25.2). Kaśyapa (Kanva) addressing Sarngarava by name (Sak. IV. 16.1). Instances of a son or a disciple addressed by clan-name (gotra) do not seem to occur ia any extant drama. 15 (C.15; B.XVII.79). ' Ex. Kşapaņaka addressed by Rākșasa and Siddharthaka as bhadanta (Mudra IV. 18.2; V. 2.1). A Buddhist monk is very rarely met with in extant dramas. Asvaghoșa's drama included such a character, but one cannot say from the fragments how he was addressed. (See Keith, Skt. Dr. p. 82) 2 According to Ag. one is to understand by 'other sects' Pasupatas and the like. 3 An example of such a rule is a term like bhāpusan or bhā- sarvaj na used in addressing Pasupata.teachers (Ag.). 16 (C.16; B.XVII.80),

340 THE NATYASASTRA [ XIX. 17-

his subjects as "lord" (deva),1, but when he is an overlord [of other kings] he is always [to be addressed] by his servants as "sire" (bhatta)2. Sages addressing the king 17-18. The king is to be addressed by sages (rsi) as "king" (rajan)1 or by the patronymic term2. The Jester addressing the king And he should be addressed as "friend" (rayasya)3 or "king' (rajan)4 by the Jester (vidūsaka). Jester addressing the queen and her maids The queen and her maids are to be addressed by him as "lady" (bhavati)5. The king addressing the Jester The Jester is to be addressed by the king by his name or as "friend" (vayasya)".

1 Ex. The Kancukin addressing the king (Mudia. III. 10.3). Ganadasa addressing the king (Malavi. I. 12. 8). Vibhișana refers to Rama as deva (Abhi. VI. 20.3) when he is not yet a king; besides this the same Vibhișana addresses Ravana as maharūja (Abhi. III. 15.1). See also 12 note 1. 2 Ex. Yavaniku addressing the king Dusyanta (Sak. VI. 24.10). But in Bala. (III. 3.1) the cowherds address Sankarasana as bhatta, and Nanda- gopa too addresses Vasudeva likewise (Bala. I. 19. 30). 17-18 (C. 17-18; B. XVII. 81-82). 1 Ex. Bhagavan (Yudhișthira) addressing the king Virata (Panca. II. 14.2). 2 No ex. of this seems to occur in extant dramas. Narada addresses the two kings simply as Kuntibhoja and Sauviraraja in Avi (VI. 20. 8, 12). 3 Ex The Jester in Sak. (II. 2.1) and Mālavi. (V. 3.18). 4 No example of this scems to occur in any extant drama. In Ratna. (I. 16.35) the Jester once addresses the king as bhalla. 5 Bhavati in the Jester's speech would be bhodi. Ex. The Jester addressing the queen's maid in Svapna. (IV. 0.28) also addressing the queen (Malavi, IV. 4.23.) and addressing the queen's maid Susamgata (Ratnā. IV. 0.30). 3 Examples are easily available. Sce Svapna, Sak. Vikram. ctc. The Jester is addressed also as sakhe. See Malavi. (IV. 1.1 and Vikram II. 18.11. etc.) and as bhadra (Vikram. II. 18.15).

-XIX. 22 ] MODES OF ADDRESS AND INTONATION 341

Women addressing their husband 19. By all wumen in their youth the husband should be addressed as a "noble one's son" (arya-putra)1, but in other cases, the husband is to be addressed simply as "noble one" (arya)2, and in case of his being a king he may be addressed as "great king" (mahārāja)3 also. Addressing the elder and the younger brothers 20. The elder brother should be addressed as "noble one" (arya)1 and the younger brother like one's son2. These are the modes of add'ress to be used to male characters in a play. Modes of addressing women 21. I shall now speak of the modes of address to be used to female characters in a play. Addressing female ascetics and goddesses Female ascetics and goddesses are to be addressed as "holy lady" (bhagarati)1. Addresiing wives of senior persons, and elderly ladies 22. Wives of respectable seniors, and other elderly ladies (sthaniya) are to be addressed as "lady" (bharati)1.

19 (C.19; B.XVII.83). 1 Examples are easily procurable; see Sak, Malavi, Svapna etc. 2 Ex. Nati in the prologue (prastavana) addressing the sutradhara her husband (Caru. and Mudra). 3 Ex. Gandhari addressing Dhrtarastra (Uru. I. 38.2). Urvaśi refers to the king likewise (Vikram. IV. 39.2). 20 (C.20; B,XVII. 84a 85a). 1 Ex. Laksmana addressing Rāma (Pratima. I. 21.2). Sahadeva addressing Bhīma (Veņi. I.19.12). 2 Usual from in such a case is vatsa; but the younger brother is also sometimes differently addressed, e.g. by name of the mother as Saumitre, (Pratima, I. 21.1), Kaikeyimatah, (ibid. IV. 2.21). See above 14 and 4. 21 (C.21; B.XVII.85a-86a). 1 The king addressing the privrajikā (Malavi. I. 14.2 ) ; the Kancukin addressing the female ascetic (tapasi) in Vikram. (V. 9.2). 22. (C. 22; B. XVII 86b-87a). ' Ex. Sumantra addressing the widowed wives of Dasaratha as bhavatyah (Pratima. III. 12.2). The Kancukin addressing the Pratihari in Svapna. (VI. 0.6).

342 THE NATYASASTRA [ XIX. 23-

Addressing an accessible women and an old lady An accessible woman (gamya)2 is to be addressed as "gentle- woman" (bhadre)* and an old lady as "mother" (amba)4. Addressing king's wives 23. In a play king's wives are to be addressed by their servants and attendants as "mistress" (bhattin)i, "madam" (svamini)1 and "lady" (devi)2. 24. [Of these], the term "lady" (deri)1 should be applied to the chief queen (mahisi) by her servants as well as by the king. Tho remaining [wives of the king] are to be addressed [simply] as "mistress" (bhattini) and "madam" (svāmini)3. Addressing unmarried princesses 25. Unmarried princesses are to be addressed by their handmaids as "young mistress" (bhartr-darika)I.

• gamya- not within the prohibited degree of sexual relationship. 3 Ex. Avimaraka addressing Kurangikā (Avi. III. 19.0). Dusyanta addressing Priyamvada (Sak. I. 22.6). But the king addresses Citralckha as bhadramuhki (Vikram. II. 15.9) as well as bhadre (ibid. III. 15.0). 4 Ex. The king, Urvasi and their son addressing the female ascetic. (Vikram. V. 12.3,5,18). 23 (C. 23; B. XVII. 87b-88a). 1 Ex. (i) bhatļiņi. Nipuņika address- ing the queen (Vikram II. 19.19); Kancanamala addressing the queen (Ratna I. 18.11). But in Pratima (I. 5.4) the maid (ceti) addresses Sita who is not yet a queen, as bhallini. (ii) Svamini as a term of address to the queen does not seem to occur in any extant drama. " Bx. The maid (ceti) addressing the queen Bhanumati (Veņi. II. 2.14). 24 (C.24; B. XVII. 88b-89a). I See above 23 note 2. For an example of king addressing the queen as devi see Pratijna. II. 10.12. ' The term bhogini meant those who were merely an object of enjoy- ment i.e. those who were not dharma-patnis (wives elligible to take part in religeous rites . 3 No. cxample of svamini being used in addressing such a wife seems to occur in any extant drama. In Malavi. IV. 17.8 Nipuņikā addressing Iravati the second wife of Agnimitra uses the term bhattini the very term to be used rightly for the chief queen Dhariņi. 25 (C.25; B. XVII. 89b-90a). ' Ex. The maid. (celi) addressing Padmāvatī (Svapna. I. 15.11) and Kurangī (Avi. III. 0.45).

XIX. 28 ] MODES OF ADDRESS AND INTONATION 343

Addressing a sister An elder sister is to be addressed as "sister" (bhagini)2 and an younger sister as 'child" (vatse)8. Addressing a Brahmin lady, a nun or a female ascetic 26. A Brahmin lady, a nun (lingastha) or a female ascetic (vratin) is to be addressed as "noble lady" (arye)1. Addressing one's wife A wife is to be addressed as "noble lady" (arye)2 or by referring to her father's8 or son's4 name. Women addressing their equals 27. Women friends among their equals are to be accosted by one another with the word "hallo" (hala)I. Addressing a handmaid By a superior woman a handmaid (presya) is to be accosted with the word "hey child" (ham-je)2. Addressing a courtezan 28. 1A courtezan is to be addressed by her attendents as Ajjuka8, and when she is an old woman she is to be addressed by other charactors in a play as Atta3.

2 This mode of address does not seem to occur in any extant drama. cf. Karp. I. p. 18. 3 Ex. Yaugandharayana in the role of an elder brother addresses the queen who is playing the role of his younger sister as vatse (Pratij a. I. 9.11). C. om. 25a. 26 (C. 25b-26a; B. XVII. 90b-91a). I No cx. of this rule seems to be available in any extant drama. Parivrajika in Malavi (I) and the female ascetic in Vikram. (V) could have been addresses as arye instead of as bhagavati. In Madhyama. Ghatokaca addresses the wife of the Brahmin as bhavati. 2 Ex. Sutradhura addressing his wife ( Mrcch. I Malati. I) 3 e.g. Matharaputri (Mathara's daughter). No example seems to occur in any extant drama. 4 e.g. Somasarma-janani (Somasarman's mother). No example seems to occur in any extant drama. 27 (C. 26b-27a; B. XVII. 91b-92a). 1 For ex. sce Sak. Vikram. etc. Ex. Sita addressing her maid (Pratima. I. 4.21), Iravati addressing Nipuņikā (Mālavi. III. 14.1). 28 (C. 27b-28a; B. XV1I. 92b-93a). -1 Read the hemistich 28a as या रूत बड़ा सा त्वनाभाषा परिजनेन च.

344 THE NATYASASTRA [ XIX. 29-

Addressing wife in love-making 29. In love-making the wife may be accosted as "my dear" (priye)1 by all except the king. But priests' and merchants' wives are always to be addressed as "noble lady" (arye)2. Giving names to different characters in a play 30. The playwrights should always assign significant names [to characters] which are not well-known and which have been created [by them]1. Name of Brahmins and Ksatriyas 31. Of these, Brahmins and Ksatriyas in a play should, be given, according to their clan or profession, names ending in sarman or varman1. Naming marchants 32. The names of merchants1 should and in datta2.

Naming warriors To warriors should be given names indicating much valour.3

2 Ex. the heterae (ganika) addressed by her maid (Caru. II. 0.6). The word ajjuka (*aryakit, OIA) "madam" afterwards came to mean 'heterae' as in the title of the Prahasana Bhagavadajjukiyam by Baudhayana Kavi ? No example of this seems to be available in any ertant drama. But the word occurs in the form of attia in Mycch. (IV.30). 29 (C.28b-59a, B. XVII. 93b 94a). 1 Sakuntala is addressed as priye by Dusyanta (Sak. VII. 20.6), but the occasion is strictly not one of love- making (srngara); Udayana while lamenting for Vasavadatta says Iū priye, hā priya-sisye ctc. (Svapna. I. 12.53). ª No example seems to be available in any cxtant drama. 30. (C.29b-30a: B.XVII. 94b-95a). 1 No example of such names seems to occur in any extant drama. 31 (C.30b-31a; B.XVII. 25b-96a). 1 No cxample of such names seems to occur in any extant drama. 32 (C.31b-32a; B.XVII. 96b, 97b). : Ex. Carudatta the hero 'of Bhasa's play of the same name. 2 B. reads after this one additional hemistich which in translation is as follows: The name of Kapalikas should end in ghanta. The inter- polator had evidently Bhavabhuti's Aghoraghanta (Malati) in mind. 3 Ex. Virasena in Malavi. (I.8.1).

.XIX. 37 ] MODES OF ADDRESS AND INTONATION 345

Naming king's wives 33. The king's wives should be given names [which are connected] with the idea of victory (vijaya)1. Naming courtezans Names of courtezans should end in datta2, mitra3 and sena4. Naming hand-maids 34. In a play hand-maids should be given the names of various flowers1. Naming menials Names of menials should bear the meaning of auspiciousness2. Naming superior persons 35. To superior persons should be given names of deep significance so that their deeds may be in harmony with such names1. Naming other persons 36. The rest of persons1 should be given names suitable to to their birth and profession. Names [that are to be given] to men and women [in a play] have been properly described [by me]. 37a. Names in a play should always be made in this manner by the playwright.

33 (C. 32b-33; B.XVII. 98). 1 No example of this seems to occur in any extant drama. No example seems to occur in any old drama. And the name Vasavadatta for the queen in several dramas seems to be a clear violation of the rule (See Svapna. Ratna. ete.). 3 No example seems to occur in any old drama. 4 Ex. Vasantasena in Bhasa's Caru. and Sudraka's Mrech. 34 (C.33b-34a; B.XVII. 99). 1 Nalinika in Avi. (II) and Padminikā in Svapna (V) scems to be rare examples of this. 2 Ex. Jayasena the servant (bhata) of the king (Avi. I). 35 (C.34b-35a; B.XVII 100). 1 No example seems to oceur in any extant play. 36 (C.35b-36a; B.XVIJ. 101). 1 E.g. Brahmacāri (Svapna, I), Vita (Caru.) Devakulika, and Sudhūkara (Pratima. IV.) etc. 37a (C. 36b; B. XVII. 102a). 44

346 THE NATYASASTRA [XIX 37-

37-38. After knowing exhaustively everything about the rules of language1 in a drama, one shonld practise Recitation which is to have six Alamkāras. Qualities of Recitation 2I shall now describe the qualities of Recitation. In it there are seven notes (srara), three voice registers (sthana), four Varņas (lit. manner of uttering notes), two ways of intonation (kaku), six Alamkāras and six limbs (anya). I shall now explain their characteristics. The seven notes (srara) are : Sadja, Rsabha, Gandhāra, Madhyama, Pañcama, Dhaivata and Nișāda. These are to be made suitable to different Sentiments. Seven notes to suit differment Sentiments 38-40. In the Comic and the Erotie Sentiments the notes should be made Madhyama and Pancama. Similarly in the Heroic, the Furious and the Marvellous Sentiments they should be made Sadja, and Rsabha. In the Pathetic Sentiment the notes should be Gandhara and Nisada, and in the Odious and the Terrible Sentiments they should be Dhaivata. Uses of the three voice registers There are three voice registers (sthana) : the breast (nras) the throat (kantha) and the head (siras). 40-41. In the human body as well as in the Vina notes and their pitches proceed from the three registers : the breast; the throat and the head. 41-42. In calling one who is at a distance, notes proceeding from the head register should be used, but for calling one who is not at a great distance, notes from the throat register is to be used, while for a person who is by one's side, notes from the breast [will be proper].

37-38 (C. and prose 37a ; B.XVII. 102b, 103a). ' It will be apparent from the notes given above that the rules regarding forms of address have very often been overlooked in extant dramas. ' The text from here till the beginning of 38-40 is in prose. 38-40 (C.38-39; B.XVII. 103b, 104-105a). 40-41 (C.40. 41a; B.XV1I. 105b-106). · 41-42 (C,41b-42a; B.XV1I.107),

.XIX. 44 ] MODE OF ADDRESS AND INTONATION 347

42-43. At the time of Recitation, a sentence begun with notes from the breast should be raised to notes of the head register and at its close it should be brought down to notes of the throat. Uses of the four accents 43. In Recitation the four accents will be : acute (udatta) grave (anudatta), circumflex (svaritu) and quivering (kampita). 1 Recitation in circumflex and acute accents is suitable to the Comic and the Erotic Sentiments, acute and quivering accent is suitable to the Heroic, the Furious and the Marvellous Sentiments, while grave, circumflex and quivering accents are appropriate to the Pathetic, the Odious and the Terrible Sentiments.

Two ways of intonation There are two ways of intonation, e.g. one entailing expacta- tion (sakanksa) and another entailing no expectation (niralanksu). These relate to the sentence uttered. 44. A sentence which has not completely expressed its [in- tended] meaning, is said to be entailing an expectation (sakanksa) and a sentence which has completely expressed such a sense, is said to be entailing no expectation (nirakanksa). INow, entailing an expectation relates to [the utterance of a sentence] of which the meaning has not been completely expressed and which has notes from the throat and the breast, and begins with a high pitch (tara) and ends in a low pitch (mandra) and has not completed its Varņa or Alamkāra. And, entailing no expectation relates to [the utterance of a sentence] the meaning of which has not been completely expressed and which has notes from the head and begins with a low pitch (mandra) and ends with a high pitch (tara) and has completed its Varņa and Alaņkāra.

42-48 (C.42b-43a; B.XVII.408). 43 (C. 43b, 43c; B. XVII. 109-110). 1 The text from here till the beginning of 44 is in prose. 44 (C. 44; B. XVII. III). ! The text from here till the beginning of 45 is in prose.

348 THE NATYASASTRA [ XIX. 45.

The six Alamkaras 45. The six Alamkāras of the [note in] Recitation arethat it may be high (ucca), excited (dipta), grave (mandra), low (nica), fast (druta), and slow (vilambita). Now listen about their characteristics. Uses of the six Alrmkāras 1The high (ncca) note proceeds from the head register and is of high pitch (tara) ; it is to be used in speaking to anyone at a distance, in rejoinder, confusion, in calling anyone from a distance, in terrifying anyone, in aflliction and the like. The excited (dipta) note proceeds from the head register and is of extra high pitch (taratara); it is to be used in reproach, quarrel, discussion, indignation, abusive speech, defiance, anger, valour, pride, sharp and harsh words, rebuke, lamentation2 and the like. The grave (maudra) note proceed from the breast register and is to be used in despondency, weekness, anxiety, impatience, low-spiritedness, sickness. deep wound from weapons, fainting, intoxication, communicating secret words+ and the like. The low (nica) note proceeds from the breast register but has a very low pitch (mandra-tara) sound ; it is to be used in natural speaking. sickness5, weariness due to austerities and walking a distance, panic, falling down, fainting and the like. The fast (druta) note procecds from the throat register and is swift ; it is to be used in women's soothing children (lallana) refusal of lover's overture (mammnana)6, fear, cold, fever, panic7, agitation, secret emergent (atyayika), act. pain and the like.

45 (C.45; B.XVII. 112-114). 1 the text from here till the beginnig of 46 is in prose. C. om. 'krandita', nirbhartsana.° 8 B. inserts krīdā after vyādhi. 4 C. om. guhyūrantharacana. 5 After vyadhi read tapa-pathesranta-trasta. 6 (). skhalita-vellana-madana for lallana-manmana. On the mean- ing of lalla (lallana) and manmana there is no unanimity. We follow Ag's upadhyuya, who says लव्वमनानी नायिकागती बालविनोदन-सात्वनादी, सुक्षेत्येव

7 After trās (trastā, C.) read yastvāt yayika (gūdha) kāryavedanādisu.

-XIX. 55 ] MODES OF ADDRESS AND INTONATION 349

The slow (vilambita) note preceeds from the throat register and is of slightly low pitch (mandra)8 ; it is to be used in love9, deliberation, discrimination, jealous anger, envy, saying something which cannot be expressed adequately, bashfulness, anxiety, threatening, surprise, censuring, prolonged sickness10, squeezing and the like. [On this subject] there are the following traditional couplets : 46-48. To suit various Sentiments the intonation (kaku) should always be made high (ueca), excited (dipta), and fast (drute) in a rejoinder, confusion, harsh reproach, representing sharp- ness and roughness, agitation, weeping, challenging one who is not present (lit. away from the view) threatening and terrifying [anyone], calling one who is at a distance, and rebuking [anyone]. 49-50. Intonation should be made grave (mandra) and low (nica) in sickness, fever, grief, hunger, thirst, observation of a lesser vow (niyama), deliberation, deep wound from a weapon, communi- cating confidential words, anxiety and state of austerities. 51. Intonation should be made grave (mandra) and fast (druta) in women's soothing children (lalla)!, refusal to love's overture (manmana)2, panic and attack of cold. 52-55. The intonation should be made slow (rilambita), excited (dlipta) and of low pitch (mandra) in following an object lost after being seen, hearing anything untoward about a desired object or person, communicating something desired, mental deli- beration, lunacy, envy, censure, saying something which cannot be adequately expressed [by words], telling stories, rejoinder, confusion, an action involving excess, woundedI and diseased limb, misery, grief, surprise jealous anger, joy and lamentation.

8 C. mandra for tanumandra. " B. reads karuņa after śrigāra. 10 C. reads rosa for roga. 46-48 (C.46-48; B.XVII. 115-117). 49-50 (C om. B.XVII. 118-119). 51 (C.49; B. XVII. 120). 1 C. malle ca mardane for lalle ca manmane. 2 See note 1. 51-55 (C. 50; 5la-53a, 5lb, 53b, B.XVII.121-124). 1 Read viksate vyudhite tvange.

350 THE NATYASASTRA [ XIX. 56-

56. Grave (mandra) and slow (vilambita) intonations have been prescribed for words containing pleasant sense and bringing in happiness1. 57. Exited (dipta) and high (ucca) intonations have been prescribed for words which express sharpness and roughness. Thus the Recitation should be made to have to different intonations (lit. shelter) by the producers1. Intonation in different Sentiments 58-59. Slow intonation is desired in the Comic, the Erotic, and the Pathetic Sentiments. In the Heroic, the Furious and the Marvellous Sentiments the excited intonation is praised. Fast and low intonations have been prescribed in the Terrible and the Odious Sentiments. Thus the intonation should be made to follow the States (bhaca) and the Sentiments. Six limbs of enunciation 1 Now there are six limbs [of enunciation] such as Separation (viccheda), Presentation (arpana), Closure (visurga), Continuity (anubundha), Brilliance (dipana) and Calming (prasamana). Of these, Separation (ciccheda) is due to pause (virama). Presentation (arpana) means reciting something by filling up the auditorium with graceful modulation of voice2. Closure (visarga) means the finishing of a sentence. Continuity (anubandha) means the absence of separation between words3 [in a sense group] or not taking breath while uttering them. Brilliance (dipana) means the gradually augmented notes which proceed from the three voice registers (sthana), and Calming (prasamana) means lowering the notes of high pitch (tara) without making them discordant. Now about their uses in connexion with different Sentiments.

56 (C.54; B.XVII.126). 1 B. reads one additional couplet before this. 57 (C.55; B.XVII.127). 1 C. reads three additional hemistiches after this. 58-59. (C.57b, 58; B.XVII. 128-131). 1 The text from here till the beginning of 60 is in prose. 2 B. lilāyamānamadhuravalgunā for lilāvarņa. 8 B. padantaresu vicchedah for °atesvavicchedah.

XIX. 60 ] MODES OF ADDRESS AND INTONATION 351

In the Comic and the Erotic Sentiments4 the enunciation6 should include Presentation, Separation Brilliancce and Calming. In the Pathetic Sentiment it should include Brilliance and Calming. In the Heroic the Furious and the Marvellous Sentiments it should abound in Separation, Calming, Brilliance and Continuity. In the Odious and the Terrible Sentiments it should include Closure and Seperation. All these are to be applied through notes of high (tara), low (mandra) and medium (madhya) pitch proceeding [from the three voice registers]. In addressing one at distance the notes should be made of high pitch (tara) from the head ; the person addressed being not at a great distance the notes should be made of medium pitch (madhya) from the throat, and to speak to one at one's side notes should be made of low pitch (mandrn) from the breast. But one should not proceed to the high pitch (tara) from the low (mandra) one, and from the low pitch to the high one. The three kinds of tempo (laya) of these notos are to be utilised in diflerent Sentiments. In the Comic and Erotic Sentiments the tempo should be medium, in the Pathetic it should be slow and in the Heroic, the Furious, the Marvellous, the Odious and Terrible Sentiments quick. Pause defined Now, Pause (virama) in connexion with enunciation is due to the completion of sense and is to depend on the situation (lit. practical), and not on metre. Why ? Because it is found in practice that there occurs pause even after one, two three or four syllables, e.g. 60. kiņ gaccha mā visa sudurjana vāritô'si 1 kāryam tvayā nama ma sarva-janôpabhukta1 I What [is the matter] ? Be off. Don't enter. You are prohibited

4 B. adds akanksāyām after hasya-srngārayor. 5 C. vākyam for pāțhyam. € The text here is in prose. 60 (C. 59; B.XVII. 132). ' B. bhuktam C. bhuktah.

352 THE NATYASASTRA [XIX. 61-

[to enter], O very wicked man, the enjoyed-by-all, I have nothing to do with youª. Use of Pause Thus in a play (lit. poetical composition) occur words con- taining small number of syllables in cases of Suca8 and Ankura [which are connected with Pause]. Hence, care should be taken about Pause. Why ? Because [an observation of] Pause clears the meaning. There is a couplet [on this subject] : 61. In the [Verbal] Representation (abhinaya) the pro- ducers should always take care about Pause ; for, on it depends the meaning fof words uttered]. Hands in connexion with Alamkaras and Pause 62. Keeping the eyes fixed in the direction in which the two hands move one should make the Verbal Representation by observing proper Pauses for indicating the [intended] meaning. 63-64. In the Heroie and the Furious [Sentiments] the hands are mostly oceupied with the weapons, in the Odious they are bent due to contempt, in the Comie they are to point to [something], in the Pathetie they are to hang down and in the Marvellous they are to remain motionless due to surprise. 65. On similar other occasions °too, the meaning should be made clear by means of Alamkaras and Pauses. 66-67. Pauses which are prescribed in a verse require Alamkaras. Pause should be observed after a word, when the meaning or the breath (prana) requires it. And when words and syllables are combined into a [big] compound or [the utterance is] quick, or confusion about different meanings is liable to arise, Pause should be observed at the end of a foot or as required by the breath. In the remaining cases Pause should fdepend on the meaning.

2 These are the words of a vipralabdha Heroine .. 2 See NS. XXIV. 43, See NS. XXIV. 44. 61 (C.60; B.XV1I. 133). 62 (C 61; B.XVII. 134). 63-64 (C.62-63; B.XVII. 135-136). 66-67 (C.65-67; B.XVII. 138-140a). 65 (C.64; B.XVII.137)

-XIX. 75 ] MODES AND ADDRESS AND INTONATION 353

1 Here one should know about Drawn-out Syllables (krsya- lesara)2 in connexion with the States and the Sentiments. e.g. The Drawn-out Syllables and their use 68-69. The consonant ending in a long vowel like ā, e, ai, or au is known as a Drawn-out Syllable. In sadness, argumenta- tion, questioning or indignation such a syllable should take (lit. be pronounced in) one Kala time. 70. As for the rest of the syllables they may be pronounced with Pause required by their meaning, and such a Pause may be one, two, three, four, five or six Kalas' duration. 71. The Pause being of great duration (vilambita) the syllable pronounced will always1 be [rendered] long. But its duration should not be more than six Kalas2. 72. Or, taking account of the practice as required by some cause, or of the act on one should observe Pause in a verse to suit the State or the Sentiment [involved]. 73 In verse, Pauses arising from the foot-division [only] are recognized; but the position of these may be varied [on the stage] by the experts to suit the meaning [of a passage]. 74. But [while observing Pause as directed above] one should not creat (lit. pronounce) ungrammatical words (apasabda) or spoil the metre, and one should not pause too long except in places of caesura, and in [uttering words expressing] sorrow one should not make the intonation excited (dipta)1. 75. One should recite a dramatic composition (lavya) which is free from literary defects (lavya-dosa), possesses best characteristics and has [literary] qualities, and in such a Recitation

' The text here is in prose. We follow B.'s text. 2 C. nikrstāksara for kısyāksara." 68-69 (C. 68-69; B.XVII. 140-141). 70 (C.70; B.XVIII. 142). 71 (C.71; B.XVII. 143). 1 C. yadū for sadū. 2 C. padānām for kalānām. 72 (C. 71c-72a; B.XVII. 144) . 73 (72b-73a; B.XVII. 145). 74 (C.73b, 74a; B.XVII. 146). 1 C. repeats 77a before this. 75 (C. 75; B.XVII. 147). 45

354 THE NATYASASTRA [ XIX, 76-

one should observe proper rules relating to the utterance of notes and their Alamkaras. 76. Alamkāras and Pauses that have been prescribed in case of Sanskritic Recitation should all be observed in un-Sanskritic (Prakritic) Recitation of women as well. 77. Thus in the representation of the ten kinds of dramatic works (ripa) producers sbould prepare Recitation subject to an observance of proper notes, Kalā, time (tāla) and tempo (laya). 78. Rules of intonation have been described [by me] in proper sequence. I shall describe hereafter the ten kinds of dra- matic work.

Here ends Chapter XIX of Bharata's Natyasastra which treats of the Display of Intonation in Connexion with the Verbal Representation.

76 (C. 76; B.XVII. 148). 77 (C. 77; B.XVII.149). 78 (C. 78 ;. B .. XVII. 150)

CHAPTER TWENTY

TEN KINDS OF PLAY

1. I shall now describe the tenfold1 division of plays together with their names, functions and modes of production. 2-3. For their definition (laksana) plays are known to be of ten kinds such as Nātaka,I Prakaraņa, Anka (Utsrștikânka)2, Vyāyoga, Bhāņa, Samavakara, Vithi, Prahasana, Dima3, and Ihamrga. I shall describe their characteristics in detail (lit. from the beginning). 4. Styles (rrtti)1 are known as the constituent elements of all dramatie works (lit. poems). Considering their production the ten kinds of play are considered to have proceeded from these. 5. Just as the Jatis1 and the Srutis2 of notes constitute a scale (grama)3, so varieties of Styles make up the dramatic com- position (lacya-bandha). 6. Just as the Sadja1 and the Madhyama2 scales include all the notes, so these two [kinds of] dramatie compositions (Nātaka and Prakarana) are made up of all the Styles. 7. The Nataka and the Prakarana are to be known as made up of all the Styles and they utilise all the different methods of constructions1.

1 (C.1; B.XVIII. 1). 1 Old writers on the subject like Kohala men- tion additional types of play such as Sattaka, Totaka and Rāsaka (Ag.). Bhoja ignores the Totaka and recognises only twelve kinds of play includ- ing"the Natika mentioned in the NS. (Sce, V. Raghavan, Sr. Pr. p. 27). 2-3 (C. 2-3; B.XVIII. 2-8). I This word is sometimes loosely used as a synonym of rupa or rupaka. ' To distinguish it from anka meaning "an Act", it it also called Utsrstikāńka. 3 It is evidently a non-Aryan word. 4 (C.4; B.XVIII. 4). 1 See NS. XXII. 5 (C. 5; B.XVIII. 5). 1 See NS. (C.) XXVIII. 36ff. 2 ibid. 3 ibid. 6 (C. 6; B.XVIII. 6) 1 See NS. XXVIII. 22ff. 2 ibid. 7 (C. 7; B.XVIII.7). 1 It seems that 6 and 7 .have taken each other's place.

356 THE NATYASASTRA [ XX. 8.

8-9. Plays of the Vithi, the Samavakāra, the Ihamrga, the Utsrstikânka (Anka), the Vyayoga, the Bhana, the Prahasana and the Dima classes should be made devoid of the Graceful Style. I shall hereafter describe the different methods of constructing plays. The Nātaka 10-11. [A play] which has for its subject-matter a well- known story1, for its Hero a celebrated person of exalted nature (udatta)2 or which describes the character of a person descending from a royal seer3, divine protection [for him], his many super- human powers4 and exploits such as, success [in different under- takings] and amorous pastimes, and which has appropriate number of (lit. richly furnished which) Acts (anka)5 and Introductary Scenes (pravesuka), is called a Nāțaka." 12. Character of kings, their acts and movements represent- ing many States and Sentiments and arising from (lit. made by) their joys and sorrows [when described in a play] is styled a Nātaka. The Act 13. After considering the denounment (karya) suitable to the particular stage [of the plot] an Act should be constructed by expanding the Turning point (bindu) [of the play]. It should be furnished with a group (gana) [of characters]. 1

8-9 (C. 8-9; B.XVIII. 8-9). 10-11 (C. 10-11; B.XVIII. 10-11). ' It must occur in some form in a Purana, Itihasa (Ram. and Mbh.) or any other celebrated work (e.g. Brhatkatha). 2 Rama, Krsna and Udayana are examples of such persons. This and the other conditions mentioned in the note above exelude living persons as Heroes of the Natakas. Cf. ND, p. 27. 3 Janaka and Visvamitra are examples of such persons. $ Divine personages may be introduced in a Nataka only as Hcrocs of an Episode (pataka) or Episodical Incident (prakari). See Ag. and ND. (loc cit). 5 For the description of Act (anka) sce below 13-15,23. 6 For a description of the Introductory Scene (pravesaka) see below 19-21; 27-35. 12 (C.12; B.XVIII, 12). 13 (C.13, B.XVIII. 13). ' C. reads this couplet differently.

-XX. 18 ] TEN KINDS OF PLAY 357

14. The Anka (Act) is a rudhi1 (traditional) word. As, by means of the States and the Sentiments it causes the meanings [of plays] to ruha (to grow) through [an adherence to] some [technical] rules, it is called an Anka (Act)2. 15. An Act should be brought to a close by (lit. in) a division of the play, and no final disposal of the Germ (bija) should be made in it.1 And the Turning Point (bindu)2 of (lit. arising from) a play should again and again (lit. always) be made to occur (lit. pervade) in the plot (vastu). 16. That [part of the play] wbere a [particular] meaning is fully expressed, but where the Germ (beja) is not1 finally dis- posed of, is always to be known as an Act which slightly attaches itself to the Turning Point (bindu). 17. An Act which relates to the direct exploits of the persons (lit. Heroes) mentioned [before] and their various States, should not be made too long1. 18. It should also be known that the Act is to contain the various Sentiments arising from [words and deeds of] the queen1 of the Hero, his superiors,2 priest, minister and leader of the army (sartharaha)3.

14 (C.14; B.XVIII. 14). 1 the root ruh-to grow. 2 This is an instance folk-ctymology and does not help us at all to understand the real meaning of the word. 15 (C.15 ; B.XVIII. 15). 1 From the Turning Points, the plot attains rapid a movement, and due to these the dramatic situations arise. 2 C. om, karya after anka-samuptih and reads kūryacchedo na for kuvyaccede na, C. kavyacchedana, B. Sigaranandin's explanation of this is far-fetched (See NL, p 11). 16 (C.16; B.XVIII. 16). 1 Emend ca into na. Such an emendation seems to be necessary from the special meaning of the word bija. Cf. sarvesam aikūnam yo'rtho bījalakasanah (Ag). 17 (C17; B.XVIII. 17). 1 Sagaranandin reads this differently. See NL. p. 11. 18 (C.18; B.XV1II.18). 1 Queens include his concubines and the mahūdevi (chief queen) (Ag.). " Superiors include his parents and teachers (Ag). 3 Surthavaho'tra senapatih (Ag). In extant dramas senāpati seldom appears.

358 THE NATYASASTRA [ XX. 19-

Incidents not directly presentable in an Act 19. IFeats of anger, favour, grief, pronouncing a curse, running away, marriage, commencement of some miracle and its actual appearance, should not be made directly visible in an Act2. 20. A battle, loss of a kingdom, death, and siege of a city being not directly visible in an Act1, should be presented by Introductory Scenes (pravesaka). 21. In an'Act or in an Introductory Scene of the Nataka or the Prakarana there should be no killing of a person who is known as the Hero1. 22. Ilis flight, treaty or capture should always1 be indicated by means of special descriptions (lit. poetical passages) and the Introductory Seenes will refer to such incidents (lit. acts). 23. An Act should cover incidents that can take place in course of a single day ; it should relate to the Germ of the play and should proceed without a hindrance of the routine duties.1

19 (C.20; B.XVIII.20). 1 B. and C. read before this one additional couplet which in trans. is "The number of Acts in the Nataka and the Prakarana should not be less than five and more than ten (read pancaparu dasa para in the text)". But in view of the couplets 25 and 57 below, this seems to be superfluous. z anke'pratyaksajani=aike+ aprat yaksajāni (anka-prat yaksa, C.). Sec An. R. commentary (p.53) where we have श्रद्ुतदर्गनमङ्गे क्वापि प्रत्यचजा न सयुः scc also 20 below. 20 (C.21; B.XVIII.38). 1 This clearly shows that death scenes were not prohibited on the ancient Indian stage. See NS. VII.85. note 1. 2 B. pratyaksūņi tu naļake for apratyaksakrtāni. Cf. Sāgara- nandin's view on this point (NL. p.13). 21 (C.22; B.XVIII.39). 1 A misunderstanding of this rule as adopted in SD. (274) has given rise to the belicf of modern scholars that the ancient Indian drama did not permit death-scenes on the stage. See Kcith, Skt. Dr. p.293, 354; Haas, DR. p.93. 22 (C.23; BXVIII.40). 1 B. reads yojyah for nityam, and kāvya- sleşair bahubhir yathārasam nat ya-tattvajnaih as 22b. 23 (C.24; B.XVIII.21). 1 B. apravrtiam for 'apravrttah. Sāgara- nandin reads it wjth a slight difference. He quotes also other views about the duration of incidents presented in an Act, See NL. (p.13).

.XX. 30 ] TEN KINDS OF PLAY 359

24. A wise playwright should not put in [too] many inci- dents in a single Act1. And incidents in it should be depicted without a hindrance of the routine duties2. 25. Persons who will enter the stage in an Act (lit. there) will go out after performing things connected with the Germ and the meaning of the play, and [they are to create] the proper Sentiments. 26. Knowing the length of a day which is divided into Ksanas1, Yamas2 and Muhurtas3 one should distribute all the different incidents in a play to different acts. The Introductory Scene 27. When incidents that are to be finished in course of a [single] day, cannot be accommodated in an Act they should be presented in Introductory Scenes after closing the [same] Act. 28. [Incidents] that may take place in course of a month or a year, are also to be presented [similarly] after closing the Act1 ; but [incidents covering] more than a year should never be treated [in such a manner].2 29. When in an Act any person goes out on business to a distant land, it should be bronght to a close [at that point] as perscribed before. 30. With an Act of the Nataka and the Prakarana the Hero should be closely associated. And an Introductory Seene1 should be made up2 of a conversation of attendants.

24 (C.25; B.XV1II.22). 1 Read ekanke na instead of ekankena (B.C.). The controversy over the reading is anterior to the time of Ag. (Sce Ag.). Routine duties include prayers as well as taking meals. (sandhya- vandanādi). 25 (C.26; B.XVIII.23). 26 (C.27; B.XVIII 25). 27 (C.28; B.XVIII.26). 1 Ex. Avi, II, Vikram, V. 28 (C.29, B.XVIII.31). 1 C. reads aitkaechedam kuryut for °cchc- dam krtva. The meaning of this rule is that an Act will include events covering a month or a year. But this contradict 23 above .. 29 (C.30; B.XVIII.32). 30 (C.31; B.XVIII.28). "1 B. vijneyah for kartavyal; C. pravesake for pravesako.

360 THE NATYASASTRA [XX. 31-

31. An Introductory Scene in the Nataka and the Prakarana should be made to relateI to the essentials of the Turning Points (bindu) and follow the preceding (lit. another) Act. 32. It (the Introductory Scene) should not consist of exploits of the superior and the middling characters, and there should be no exalted speech in it. And in practice it should adopt speeches and manners of the common people. 33. An Introductory Seene may have many purposes. [For example], it may indicate the advent or passage of time, change of the Sentiments or the beginning [of an Act] or the denounment (kārya). 34. Incidents which depend on many [persons] are to be compressed by means of Introductory Seenes or in Junctures (sandhi). For a play containing [too] many prose passagest will be tiresome [to the actors] at [the time of] the prodnction [of the play]. 35. When a particular item connot be completely presented in an Act lest it should be too large for [successful] production, its account should be compressed in a few words and put in an Intro- ductory Scene. The Explanatory Scene 36. In the Nataka the Explanatory Scene (vislambhala) should always be made up with the middling charactersI and it

31 (C.32; B.XVIII.33). ' C. bhavati kavycam for samvidhatavyah. 32 (C.33; B.XVIII.34). 33 (C.34; B.XVIII.35). 1 Read 33a as कालोत्यानगतिरसत्याव्यासारभकार- विषयाणाम्. (रसो व्याख्यासंरभ, B.). 2 B. reads the first hemistich with the change accepted by Ag. The passage in B. in trans. will be as follows : An Introductory Seene may have many purposes. For example, it may indicate the advent or passage of time, or present some explanation or other aspects of planning the denoument (karya). 34 (C.35; B.XVIII.36). 1 For bahucūrņapadair yuktam. C. reads bahu-pūrņa-padyavrttam. 35 (C.36; B.XVIII.37). .36 (C.37; B.XVIII.54). 1 This is meant that superior characters do not appear in an Explanatory Scene. See below 37 note.

-XX. 41 ] TEN KINDS OF PLAY 361

should be concise and follow the polished style of speaking (samskrta-vacana).2 37. It should be of two kinds : pure (suddha) and mixed (samlirna). Of these, the pure is made up with the middling charac- ters, and the mixed with the inferior and the middling characters. 38. In the Nataka and the Prakarana an Explanatory Scene between two Acts or at the beginning of an Act, should always include the middling and the inferior characters1. Number of dramatis personae 39. The Nataka and the Prakarana should not be made to contain a great number of attendants [to the HIero]. The Hero's attendants (lit. men of work) in such plays (lit. there) should [at most] be four or five1. 40. Plays of the Vyayoga, the Ihamrga, the Samavakara, and the Dima classes should be made to have ten or twelve characters ** 1. Introducing chariots and palaces on the stage 41. A chariot, an elephant, a horse and a palace should not be presented on the stage. These should be provided [in a play] by means of appearance and costumes1 [of men concerned] and [their] Gaits2 and movements (gati-vicara)3.

37 (C.38; B.XVIII.55). ' Ex. Pratijna II. Sak. III. 3 Ex. Pratima. II, Vikram. III. 38 (C.39). 1 The exact significance of this rule is not clear. It possibly means to say that plays other than of the Nataka and the Prakarana types, will not allow an Explanatory Seene of the mixed kind. An evample of such a scene probably occurs in the Panca. of Bhasa, which does not fall into any of the known types of drama. See Pusalker, Bhasa, pp. 209ff. 39 (C.40; B.XVIII.41). ! This rule is possibly meant for avoiding the practical difficulty of producing a drama with too many characters. 40 (C.41). 1 C. gives it in a mutilated form. Its second hemistich should be read as dasabhih dvudasabhir va kūryani ...... 41 (C.42). 1 This couplet should be read ns म त्ववतरणं कार्य रङ्र् रथवाजी- विमामानाम्। तेषामाक्कतिवेषेविधानमुत्तं गतिविचार: 2 Sec NS. XXIII. 6-9. 3 See NŚ. XII. 46

362 THE NATYASASTRA [ XX. 42-

42. But an elephant, a horse, a palace, a hill or any con- veyance as well as imitation weapons may be presented (lit. made) by means of model-work by these who know the rules [for their construction]1. Introducing an army on the stage 43. If due to any reason1 a detatchment of an army is to be introduced on the stage (lit. here), only five (lit. four) or six persons are to make their appearance (lit. going). 44. {In a play an army] should be made to appear as con- sisting of a small number of men, representing mounts and travelling requisites, and it should move slowly. For in the military role (kesatra)1 of the actors, [actual] rules of polity do not apply. 45. In the composition of a play Denoument should be made [like] the tip of the cow's tail1, and all the exalted situations (lit. states) should be put at the end. 46-47. At the conclusion of all the plays which contain various States and Sentiments, experts should always introduce the Marvellous SentimentI. Thus I have briefly but properly spoken about the characteristics of the Nataka. I shall hereafter describe the Prakarana by mentioning its characteristics. The Prakarana 48. The play (lit. where) in which the writer prakurute (devises)1 by his own genius an original plot with its Hero, and works up its elaboration (sarira), is called the Prakarana.

42 (C.42). T Sce above 41 note 2. 43 (C.44). '1 Emend karunopapanna into karanopa. ' Emend kartavyamantra into karlavyam atra. 44 (C.45). ' Emend ksatena into ksatre na. 45 (C.46; B.XVIII.42). 1 The exact significance of this expression as well as the implication of the entire rule is not clear. Ag. however quotes two different views on the subject but none of them seems to be convincing, 46-47 (C.47-48; B.XVIII.43-44). 1 This is mostly to be done by causing unexpected things to happen. The sudden revclation of Avantika as Vasavadatta in Bhasa's Svapna. (VI) and the dramatic re-union of Sakuntala with Dusyanta in Sak. (VII) are cramples of this rule. 48 (C.49; B.XVIII.45). 1 From this it may be assumed that once there were Prakaranas in which the plot was not wholly original, i.e. the

-XX. 54 ] TEN KINDS OF PLAY 363

49. When a playwright constructs a play with an original (lit. invented) Germ and a plot which is not connected with Rsis' worksI and which that play has gathered from some other works and has some marvellous qualities in it, the same is also called the Prakarana. 50. The plot and its elaboration as the basis of the Senti- ments,1 which bave been prescribed in case of the Nataka are also to be applied with [the the detail of] their characteristics to the Prakaraņa in all its Junctures (sandhi)2. 51. The varied exploits1 of Brahmins, merchants, ministers, priests, officers [of the king] and leaders of the army [when pre- sented in a play] are to be known as the Prakarana2. 52. The Prakarana should be known as not made up with an exalted Hero. And it does not contain the character of any god, has no story of king's enjoyment, and it is connected with the men outside [the royal palace]. 53. The play of the Prakarana type should include [in some cases] servants, parasites (rita) and heads of the merchants' guild, [as characters and should contain incidents arising from] the conduct of courtezans as well as exploits of depraved women of good family. 5t. [In an Act of the Prakarana] where a minister, head of the merchants' guild, Brahmin, priest, minister and leader of the

playwright worked up materials from the source of the plot, such as Mbh. Ram. and Brhatkatha. See above 10-11 note 1. 49 (C.50; B.XVIII.46). 1 Ram and Mbh. are'examples of such works. 50 (C.51; B.XVIII.47). 1 C. rasasrayopetam for ca vrttibhedas ca. 2 C. kevalam utpūdyavastu syāt for salaksaņam sarva-sandhisu tu. 51 (C.51; B.XVIII.48). 1 From this "varicd exploits" one is to understand that Prakarana was not concerned exclusively with love-themes. 2 The types of characters mentioned in the rule are mostly absent in the scanty number of extant plays of this type. The Pratijna. is an example of a Prak. having ministers as its Hero. 52 (C.53; B.XVIII.49). 53 (C.54; B.XVIII.50). 54 (C.55; B.XVIII.51).

364 THE NATYASASTRA . [ XX. 55.

caravan stay in their family circle, no courtezan should be brought in there1. 55. [In the Prakarana] when a person is in the company of a courtezan there should not be [at the same time] his meeting with any respectable woman (lit. woman of good family), and while he is with a person of high family no courtezan should meet him then. 56. If out of necessity (lit. reason) there occurs a meeting1 of courtezans and respectable ladies in [any scene of] a Prakaraņa their langnage and manners should be kept undistorted. 57. In the Nataka and the Prakarana the playwrights should have the number of Acts as not less than five and not more than ten1 ; and this should be furnished with the various Senti- ments and the States2. 58. After considering the need and action of the plot one should place between two Acts the Introductory Scenes which are to compress the events in the Junctures (sandhi)1.

The Natika 59. In a play of the Națika (Nati) class producers are to recognise a more or less well-known variety of these two (the Nāțaka and the Prakaraņa)1.

1 See 56 below. 55 (C.56; B.XVIII.52). 56 (C.57; B.XVIII.53). 1 The nature of the necessity, and the language which the author of the NS. had in view in formulating this rule, has probably beeu indicated in the following couplet. मिल्पादिव्यपदेभेन भवेदेश्यासभागमः। भाघंत प्राक्ृतं वेश्या संस्कृतं कुलनायरिका. Bh. P.p. 242 57 (C.58; B.XVIII.29). 1 Read dasū parā for dasaparā. 2 B. reads the second hemistich as बङ्धान्तरमन्विपु च प्रवेशकासंषु तावन्त :. 58 (C.59; B.XVIII.56). 1 Read this couplet as follows: e- विहितः प्रवशकोऽ्थंक्रियां समभिवीत्य। संचेपार्थ सन्विष्वथानां संविधातव्य :. Cf. DR. I.118 (cd. Haas, pp. 34-35) and SD. 302. The Introductory Seene cannot be placed in the beginning of a play and it must be in Pkt. 59 (C.60a-61b; B.XVIIJ.57). 1 Read nūļisanjusrite kavye for nūļakayoge prakarane. See Avaloka on DR. (ed. Nirnayasagar) III.43. Description of the Natika given here (59-63) has been rightly suspected as an interpolation, though Keith is for rejeoting this suspicion. See Skt. Dr. p. 349.

-XX. 64] TEN KINDS OF PLAY 365

60. Different in origin from the [two types of plays] the Nataka and the Prakarana, its plot should be invented, the Hero should be a king and it should be based on [an incident relating to music or affairs of the harem1. 61. And it contains an abundance of female characters, has four Acts, graceful gestures as its soul ; well-arranged constituents, many dances, songs and recitations, and love's enjoyment are its chief features1. 62. The Natika should be known also to contain [a dis- play of] royal manners1, [fit of] anger2, its pacification, and [acts of] deceit (dlambha), and to have the Hero3, his queen, the female Messenger and the attendants [as its dramatis personae]. 63. 1The characteristics of the Nataka and the Prakaraņa2 have been briefly described by me. I shall now speak about the characteristics of the Samavakara. The Samavakara 64-65. It1 should have the [exploits of] gods as its subject matter (bija) and an Asura as a well-known and exalted character

60 (C.60b-6la; B.XVIII.58). 1 Keith seems to be in error about the nature of the subject matter (plot) of the Prak. See Skt. Dr. p. 349. Justi- fication for calling the Pratijna. a Natika may be found in the fact that its plot is based on musical lessons given by Udayana to Vasavadatta and it has four Acts. But according to its Prologue it is a Prakarana. See Pusalker, Bhasa, pp. 271-272. 61 (C.62; B.XVIII.59). 'But for this feature of having four Acts ouly, the Milavi. may be considered a Natika. See Keith. Skt. Dr. p. 350. Ratna. is a well-known example of the four Act Natika. 62 (C.63; B.XVII1.60). 1 C. kamopacāra for rājopacāra. 2 B. krodhadambhrsamyukta for krodhasamyuta capi. s C. read3 62b as नायकदृती चापि देवीसम्बन्वा नायिका कया. 63 (C.65; B.XVIII.62). 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. 2 C. Prakaraņanūțaka-nāļi-laksaņam uktam for nāļaka-laksana- nam uktam vipra. Evidently the interpolator who is responsible for the description of the Nati (Natika) inserted nali in the reading of C. See above 59 note. 64-65 (C.66-67; B.XVIII.63-64). 1 No old specimen of this type

366 THE NATYASASTRA [ XX. 66-

as its Hero, and it is to consist of three Acts [presenting] the three kinds of deception, the three kinds of excitements or the three kinds of love2. [Besides this] it should have as many as twelve dramatis personae and a duration (lit. length) of eighteen Nādikās3. I shall now speak about the rule regarding the number of Nādikās to be alloted to the different Acts. 66. A Nadika1 should be known as the half of the Muhūrta2 which is a [well-known] measure of time. The Acts in a Samava- kara should be measured according to the directions given in terms of this Nadikā. The first act of the Samavakara 67. The first Act [of the Samavakara] should have a dura- tion of twelve Nadikas1 and it is to contain laughter, excitement, deception or a Vithi. The second and the third acts of the Samavakara 68. The second Act also should be similar [except that] it is to have a duration of four Nadikas'. And the third Act. which will bring the plot to a close will have a duration of two Nādikās2 only.

of drama is available. Samudramanthana by Vatsaraja (12th century) is a very late work. See Keith, Skt. Dr. p. 267. Bhasa's Panca. is not a Samav. Cf. Mankad, Types of Skt. Dr. p. 58; Pusalker, Bhasa, pp. 202-210. 2 It does not seem likely that any one play of this type will include all three objects (deception, excitement and love) in their three varicties. 3 As the topics (and hence the Acts) in the Samavakara are to be looscly related (sec 69 below) ; this limitation has been placed on the time lest it should be made too long. 66 (C.72a, 68b, BXVIII.67). 1 nadika=24 minutes. Sce bclow 67 note. 2 muhurta=a period of 48 minutes. Sce below 66 note 1. Curiously enough Saradatanaya thinks that nadika is one fourth of a muhurla. See BhP. p. 249. 67 (C.70; B.XVIII.65). 112 nūdikūs (nadis)=4 hours and 48 minntos. 68 (C.71; B.XVIII.66). I 4 nadikas = 1 hour 36 minutes. ' 2 nādikās = 48 minutes.

-XX. 73 ] TEN KINDS OF PLAY 36

69. 'In composing the Samvakara different Acts should be made to have different topies. And topies in the Samavakara are to be loosely related to one another2. The three kinds of Excitement 70. Excitement (ridrava) is known to be of three kinds such as being due to battle and flood (lit. water), storm (lit. wind) and fire, or big elephant1 at large, and siege to a city. Three kinds of Deception 71. Deception (kapatu) is kown to be of three kinds such as being due to a devised plan,1 accident or [the stratagem of] the enemy, It creates joy or sorrow [to persons]. Three kinds of Love 72. In this connexion (lit here) three kinds of love to be presented through different actions are : that in relation to duty (dharma), that actuated by material gain (artha) and that actuated by passion (kama)I. Love together with duty

70. When in [discharging] the duty one attains one's [much] desired well-being1 accomplished in many ways and in this connexion means like observing vows2, austerities and penance are adopted, it is to be known as love in relation to daty (dharma-srngāra).

69 (C.72b, 73; B.XVIII.69). ' Before this B. reads one additional couplet (B.69) which does not give any important information and has the support of two mss. only. In C. this occurs after C. 68. 2 From this it appears that Samav. was not a play of the regular type and belonged to a very carly stage of evolution of Indian drama. 70 (C.74; B.XVIII.70). 1 C. Jalendra-sambhavo for gajendra- sambhrama. 71 (C.75; B.XVIII.71). ' C. yastu gatikrama, for vastugatakrama. 72 (C.76; B.XVIII.72). C. reads 72b as विविधाकृतिशद्रारी केयी धमार्छ- कामळवत :. 73 (C.77; B.XVIII.73). B. reads 73a as यकिन् धर्मप्रापकमात्मह्नितं भरवति साधन बहुषा. 2 C. prati for vrata.

368 THE NATYASASTRA [ XX. 74-

Love together with material gain 74. Love in which attainment of material gain occurs in various ways1 is called Love in relation to material gain (artha- arngara) or it may be that love in which the enjoyment of pleasure with women is for the purpose of some material gain. Love due to passion 75. Love actuated by passion (kama-srngara) includes the seduction of a maiden and it causes, and also secret or excited intercourse1 of a man with a woman. Metres not allowed in the Samavakara 76. In the Samavakara the playwright should make proper use metres other than Usnik and Gayatri etc. which are of complex construction2. 77. In this manner an expert should compose a Samavakra which will be the source of various SentimentsI. I shall hereafter speak about the characteristics of the Ihāmrga. The Thamrga 78. It (Ihamrga) has as its dramatis personne divine males who are implicated in fights about divine females. It should be constructed with a well-arranged plot and should be convincing1.

74(C.78; B.XVIII.74). I Read 74a as प्रथंस्यापि यखिपिव्नकधा भवति सोदर्ध- ZIIT: : (ms. cha B.). 75 (C.79; B.XVIII.75). 1 Read 76a as कन्याविन्नोभनं वे प्राप्य स्त्रीएंसयोम्त रम्यवा निमृतं सावेगं वा विज्ञय: काम भङ्ारः. (mss. ya, na. pha, bhi in B.). 76 (C.80; B.XVIII.76). ' Read this couplet as follows :- उण्पिग् गायता- न्यान्धानि। बत्तानि वनाकुटिलानि तान्यत्र समवकार कविभि: सम्यक् प्रयोन्यानि. The reading accepted by Ag. seems to be corrupt. For Usnnik and Gayatri type of metres cannot by any means be considcred as being of complex con- struction (bandhakutila). Our emendation has the support of mss. cha. in B. Udbhata (the noted commentator of the NS.) too thinks that the rule prescribes complex metres such as Sragdhara for the Samav. See Ag. 2 Lengthy, sami-even and uneven types of metres. 77 (C.81; B.XVIII.77). 1 C. sukhaduhkhasamāsrayah for nūnārasa- samasra yah. 78 (C.82; B.XVIII.78). 1 C. Viprātyaya for vipratyaya. No old specimen of this type of drama is available. Rukmiņīharaņa by Vatsaraja is an artificial production of a very late period (12th century).

-XX. 85 ] TEN KINDS OF PLAY 369

79. It is to abound in vehement (uddhata) Heroes and to have its construction dependent on feminine anger which is to give rise to commotion (samksobha), excitement (vidrava) and angry conflict (sampheta). 80. The Ihamrga should be a play with well-ordered cons- truction in which the plot of love is to be based on causing discord among females, carrying them off and oppressing [the enemies]. 81. All that are to be made [available] in the Vyāyoga-its male characters, Styles and Sentiments-should be brought in the Ihamrga also, except that the latter is to include (lit. have connexion with) the goddesses (lit. divine females) only1 as its female characters. 82. [In the Ihamrga] when persons intent on killing1 is on the point of killing, [the impending] battle should be avoided by some artifice. 83. O Brahmins, the characteristics of the Ihamrga have been briefly mentioned by me. I shall speak hereafter on the characteristics of the Pima. The Dima 81. The Dima should be constructed with a well-known plot, and its Hero should be wellknown and of the exalted (udatta) type. It is to contain the six Sentiments and to consist of four Acts only1. 85-86. It should contain all the Sentiments except the Erotic and the Comic, a plot (lavyayoni) with exciting Sentiments and various States, and it is [also] to inelude incidents such as an

(See Keith, Skt. Dr. p. 266). Two other late specimens of this kind are Krsnamisra's Vira-vijaya and Krsņa Avadhūta's Sarva-vinoda-nāțaka. (See Sten know, ID. p. 114). 79 (C.83; B.XVIII.79). 80 (C.84a, 85a; B.XVIII.80). 81 (C.85b-86a; B.XVIII.81)- 1 See below 90-93. 82 (C.84b, 86b; B.XVIII.82). 1 C. vadho'pyudasrayo for vadho'- pyudagro. 83 (C.87; B.XVIII.83). 84 (C.88; B.XVIII.84). 1 No old example of this type of drama is available. 85-86 (C.89-90; B.XVIII,85-86). 47

370 THE NATYASASTRA [XX, 87-

earthquake1, fall of meteors, an eclipse of the sun or the moon, battle2, personal combat, challange, and angry conflict. 87-88. The Dima should abound in deceit and jugglary and should have the energetic activity of many persons, and dissention (bheda)1 among themselves, and it is to include sixteen characters which may be gods, Nāgas, Rākșasas, Yakșas and Pisācas, and [besides this] the play is to be carefully made in the Grand and the Energetic Styles and is to have many States to support it2. 89. The Dima has been described by me in all its charac- teristics. I shall speak now about the characteristics of the Vyāyoga. The Vyayoga 90. The Vyayoga should be constructed by experts with one well-known Hero as its basis, and it should include a small number of female characters and [the events related in it] will be of one day's duration only1. 91. Many males are to take part in it as in the Samavakāra, but it is not to have the latter's length, for it is to have only one Act (anka). 92-93. It should have a royal sage as its Hero and not a divine personage, and it should include battle, personal combat, challange and angry conflict. Thus the Vyayoga should be made with exciting Sentiments as its basis. I shall now speak of the characteristies of the Utsrstikanka (Anka).

1 C. reads 86a as निर्धात चन्द्र मूर्योपगग सोन्कावपातसंयुक्त :. 2 C. °yuddha-praharana for yuddh-üdharsana. 87-88 (.91-92); B. XVIII .. 87-88). 1 B. bahu-pustotthānayoga for bahupurusotthūna-bheda. . º C. tajjnair-nūnasraya-visesena for nūnosraya-bhūvasampanna. 89 (C.93; B.XVIII.89). 90 (C.94; B.XVIII.90). ' Bhasa's Madhyama. is its solitary old speci- men. Praliladanadeva's Partha-parakrama (12th cent.), Vatsaraja's Kira- tarjuniya (12th cent.) and Visvanatha's Saugandhika-harana ete. are very late specimens of this type. See Keith Skt. Dr. p. 265. Pusalker, Bhasa. p. 203. Dūtavā. Dūtagha. Panca. and Uru. cannot be called Vyāyogas. Cf. Pusalker, Bhasa, pp. 186, 187, 190, 209. Mankad, Types of Skt. Dr. p. 59-61. 91 (C.95; B.XVIII.91). 92-93 (C.96-97; B.XVIII.92-93).

.XX. 99 ] TEN KINDS OF PLAY 371

The Utsrstikanka 94. The Plot in it is [usually to be] well-known, but it may sometimes be otherwise, and it is to be furnished with male characters other than those who are divineI. 95-96. The Utsrstikânka should abound in the Pathetic Sentiment ; it will treat women's lamentations and despondent utter- ances at a time when battle and violent fighting has ceased; it should include bewildered movements [of mourners] and it must be devoid of the Grand, the Energetic and the Graceful Styles and its Plot should relate to one's fall (lit. end of the rise).I. Scenes with celestial Heroes 97. [Scenes of] all the plays which have celestial Heroes, and which [treat] a battle, capture and killing [of enemies] should be laid in Bharata-varsa1. 98. Of all the Varsas (sub-continents) prescribed for the gods why1 is Bharata-varsa chosen [in this connexion]? Because the entire land here is charming, sweet-smelling and of golden colour. 99-100. [But scenes of their] garden party (lit. going to a garden), sport, pastime and enjoying the company of females, are always to be laid in the other Varsas ; for there is neither any sorrow nor any grief there. Their enjoyments should take place in the mountains which are connected with those Varsas in the Puranic accounts, but their [other] deeds should begin here (i. e. in Bhārata-varșa).

94 (C.91: B. XVIII.94). 1 Bhasa's Uru. is a solitary example this type of drama. See Pusalker, Bhasa, pp. 199, 200. Keith seems to be in error when he says that a play within a play is often called an Anka. See Skt. Dr. p. 268. 95-96 (C.99-100 ; B. XVIII.95-96). I C. kartrvyo abhyudayāntas tajnaih for kūryah kāvyavidhijnaih 97 (C.101; B.XVIII.97). 1 This and three following couplets (97- 100) seem to be more relevant after NS. XIV. 26 which treats similar topics. 98 (C.102; B.XVIII.98). ! C. tasināt for kasmāt. 99-100 (C.103-I04; B.XVIII.90-100).

872 THE NATYASASTRA [ XX. 101-

101. The characteristics of an Utsrstikânka (Anka) have been exaustively explained by me. I shall now speak of the Prahasana with its characteristics. The Prahasana 102 The Prahasana should be known to be of two kinds : pure and mixed. I shall separately treat their characteristies1. The pnre Prahasana 103-104, The Prahasana is known as pure (śuddha)1 when it contains comic disputations by Saiva gurus (bhagarat)2 and Brahmins, abounds in jocnlar remarks by persons of ill repute, and gives nniformly to the Plot a realistic picture of the language and the conduct of all these in passages describing their special States.2 The mixed Prahasana 105. That Prahasana is called mixed1 in which courtezans, servants, eunuchs, parasites (cita) rogues and unchaste women appear with their immodest appearance, dress and movements.

101 (C.105; B.XVIII.101). 102 (C.106; B XVIII.102). 1 Sankhadhara's Lataka-mela (12th ccntury), Jyotirisvara's Dhurta-samagama (15th century) and Jagadi- Svara's Hasyarnava (date uncertain), ete. are very late works (See Keith Skt. Dr. pp. 261-262). The Matta-vilasa of Mahendra-vikrama-varman (620 A.C.) and the Bhagavad-ajjukiya ascribed to Baudhāyana Kavi, are fairly old specimens of the Prahasana, Sce Keith Skt. Dr. pp. 182. Bhagavad-ajjukiya ed. P. Anujan Achan, Cochin, 1925. 103-104 (C.107-108; B.XVIII.103-104). 1 The word bhagavat relates primarily to a Saiva saint. It is in this sense that the word has beenf used in the Prahasana named Bhagavad-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 Hasya-cudamaņi. Both these Prahasanas one are however late. Sec Keith, Skt. Dr. pp. 182, 262, 265. For some aspccts of the Saiva tenets sce Karpuramañjari, ed M. Ghosh, pp. LXIII-LXIV. . 2 C. reads 103a asसं भगवत्तापसंभिच्श्पीचिय विप्रातिहासरंयुक्तम्. 3 Prahasanas named in note 1 above may be taken as specimons of the pure variety. 105 (C.109; B.XVIII.105). ' Prahasanas like the Dhūrta-samāgama and the Hasyarnava may be taken as specimens of the mixed variety. See Keith, Skt. Dr. pp. 260-262.

.XX. 112 ] TEN KINDS OF PLAY 378

106-107. Some popular topic [of scandal] or incident of hypocrisy should be introduced in the Prahasana through the dis- putations of pretenders. The Prahasana shonld include [any of] the types of the Vithi it may properly require1. The Bhana 107-108. I shall now speak of the characteristics of the Bhana. The Bhana is to be acted by a single character, and it is of two' kinds : that [with one's] recounting of one's own experience and that [with one's] describing someone else's acts2. 109. [The Bhana which is to include] somebody else's words addressed to oneself, should be acted by means of replies in course of Conversations with Imaginary Persons (alasa-bhasita) in accompaniment of [suitable] movement of the limbs. 110. The Bhana should include characters of rogues and parasites (vita) and treat their different conditions, and it is always to consist of one Act and should include many movements which are to be acted by a rogue (dhurta) or a parasite. 111. All the characteristics of the Bhana have been des- cribed by me according to the tradition (agama). I shall [now] speak of the characteristics of the Vithi in due order. The Vithi 112-113. The Vithi is to be acted by two persons or one. And it is to include characters of the superior, the middling or the

106-107 (C.110-11la; B.XVIII.106-107a). ' C. reads 107a as उद्घात्यकादिभिरिदं वौध्यङ्क मिश्रितं भवन्मित्म् 2 Sec below 112-129. 107-108 (C.111b-112; B.XVIII. 107b-108). 1 Emend vividha into dvividha (ms. cha in B.). 2 The four Bhanas (Ubhayabhisarika, Padma-prabhrtaka, Dhurta- vita-samvada and Pada-taditaka) published under the title Caturbhani placed by F. W. Thomas between the 6th and the 7th century are the oldest available specimens of this type (F .. W. Thomas, J.R A S. 1922, pp. 262ff. F.W. Thomas, 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. For later Bhanas see Kcith, Skt. Dr. pp. 263-264. 109 (C.113; B.XVIŁI.109). 110 (C.114; B.XVIII.110). I11 (C.115; B.XVIII.111). 112-113 (C.116-117; B.XVIII,112b-1I3a, 112a and its f. n. 2). '

374 THE NATYASASTRA [XX. 114

inferior type, and it may contain [any of] the Sentiments, and it may include [any of] the thirteen types. I shall now speak of the characteristics of all these. Thirteen types of the Vithi 114-115. The thirteen types 1 of the Vithi are : Accidental Interpretation (udghatyaka), Transference (avalagita), Ominous Significance (araspandita), Incoherent Chatter (asatpralapa), Com- pliment (prapanra), Enigma (wali = nalika) Repartce (rakkeli), Outvying (adhicala), Deception (chala), Declaration (cyahara), Crushing (mrdara), Three Men's Talk (triyata), and Undue Combi- nation of Words (yanda) 116. [Any of these] thirteen types is always to be attached to the Vithi. I shall now speak of their characteristics in due order. Accidental Interpretation 117. If, in order to'explain them men connect words of obscure meaning with words other than [those intended by the speaker] it becomes Accidental Interpretation (ndyhatyaka)1. Transference 118. When [anything] oceurring in [relation to] something, will be made to accomplish something else, it becomes [an instance of] Transference (aralagita)1. Ominous significance 119. That one attaches (lit. creates) out of misunderstanding an auspicious or inauspicious meaning (lit. auspicious or inauspici- ous rise) to the words (lit. meaning) mentioned, is [an instance of] Ominous Significance (acaspandita)1.

114-115 (C.118-119, Cf. B.XVIII.113b-114). 1 Anga in this con- nexion has been translated as 'division' (Haas, DR. p. 84). But 'types' seems to be a more suitable word. 116 (C.120; B.XVIII.115a). 117 (C.121, B XVIII 115b-116a). 1 Haas translates the word as 'Abrupt Dialoguc' (DR. p.81). For an example see SD. 228; cf. Ag. DR. (III. 13-14) seems to define it differently. 118 (C.132; BXVIII.116b-117a). 1 Haas translates it as 'Conti- nuance' (Sec p. 85). For an ex. See SD. 292 ; Ag. Cf. DR.III. 14b-15a. 119 (C.123; B.XVIII.817b-118a). 1 The spelling avasyandita though accepted by SD. and DR. seems to be wrong (See Ag.). Haas

-XX. 125 ] TEN KINDS OF PLAY 375

Incoherent Chatter 120. When an irrelevant question (lit. sentence) is followed by [an equally] irrelevant answer, it is [an instance of] Incoherent Chatter (asat-pralāpa)1. 121. When to a foolish person a learned man speaks the right words, but his words are not listened to, it is [an instance of] Incoherent Chatter1. Compliment 122. When comic and untrue words purporting to be mu- tual praise of two persons, are uttered in the interest of one [of them] it is [an instance of] Compliment (prapanca)1. Enigma and Repartee 123. An enigmatical remark that gives rise to laughter (lit. followed by laughter) is called an Enigma (nalilal). Repartee rakkeli = vakkelika) arises from a single or twofold reply.2 Outvying 124. When somebody else's words and those of one's own- self, in course of a dialogue, lead to their mutual modification, it is [an instance of] Outvying (adhivala)1. Deception 125. When after alluring one by replies, something oppo- site is done (lit. takes place) through those very replies being con- sidered meaningless, it is [an instance of] Deceptlon (chala)1.

translates the word as 'Re-interpretation' (pp. 84, 87) probably under the influence of the SD. (528). DR. (III. 19a) has a different deflnition. For an example see Ag. 120 (C.124). 1 We accept the reading of mss. da and da in B. (under 119) which has the support of DR. III. 20 and SD. 530. Ag. differs and accepts the reading of 121 below. See Haas, p. 87. 121 (C.125; B.XVIII.119). 1 Sec 120 note and Ag. 122 (C.126; B.XVIII.123b-121a). I See Haas, p. 85; SD. 522. DR III. 15b. 123 (C.127; B.XVIII.118a, 120a). 1 See Haas, pp. 87 ; SD. 529. ' See Haas, p.86, SD. 525. 124 (C.128; B.XVIII.122b-123a). See Haas, p. 86; SD. 526. 125 (C.129; B.XVII. 123b) 1 See DR. 17a ; Haas, p. 96 ; SD. gives two def. of this including the present one; sce 524-525,

376 TBE NATYASASTRA [ XX, 126-

Declaration 126. If anything [liable to occur] is described vividly in the presence of the Hero and is similarly made to happen [there] with- out any fear, it is [an instance of] Declaration (vyahara)I. Crushing 127. That due to an altercation one represents [another's] merits as demerits by [showing] cause [for it] and vice versa, is called Crushing (mrdava)1. Three Men's Talk 128. When exalted words with the Comic Sentiment are shared by three [characters] it should be known as Three Men's Talk (trigata)T. Undue Combination of Words 129. Undue combination of words (ganda) according to the wise, occurs due to excitement, confusion, quarrel, reviling and many people's abusive words1. 130-131 If in a play any of these thirteen types1 with clear meanings, occur and they possess all the characters Sentiments and States prescribed for them by the Sastra it is called the Vithi. It may be acted by one or two persons2.

126 (C.130; B.XVIII. foot notes to 125a). ' B.s reading seems to agree with the def. given in DR. III. 20b and SD. 531. Haas translates the term as 'Humourous Speech'. See p. 88. 127 (C.131; B.XVII.121b-122a). 1 DR. III. 21a; SD. 532. HIaas translates the term as 'Mildness' ; sce p. 88. 128 (C.132; B.XVIII. foot note to 124). 1 DR III. 16 and SD. 523 define this differently and they agree with the reading of B. Our reading is supported by the pa ms. in B. Haas translates the term as 'Triple Explanation'. See p. 84. 129 (C.133; B.XVIII.125b-126a). 1 C. sarambha for samrambha * C. bandhavivādam for vivūda yuktam. 8 DR. III. 18b and SD. 527 seem to def. it differently. Haas translates the term as 'Abrupt Remark' see p. 87. 130-131 (C.134-135). ' Ag. reads Lasyangas in the next chapter (his XIX). It is possible that these were introduced later in the NS. For the ms. bha of B. and some commentators using it ignore them altogether. Saradatanaya and others reads lūsyangas differently. Sco Kavi's Intr. to B. pp. XI-XII. foot note.

-XX. 136 ] TEN KINDS OF PLAY 377

The Lasya 132. [Similar] other limbs are attached to the Nitaka in connexion with the performance of the Lasya, and they owe their origin to this (i. e. Nataka), and are to be acted like the Bhāna by a single person. 133. The Lasya has a form similar that of the Bhana and it is to be acted by one person1. Its theme is to be inferred like that of the Prakarana and should relate to [loving] intimacy [with any one]. The twelve types of the Lasya 134-135. The [twelve] types of the Lasya are: Geyapada Sthitapathya, Asīna, Puspagaņdikā, Pracchedaka, Trimūdha, Sain- dhava, Dvimūdhaka, Uttamottamaka, Vicitrapada, Ukta-pratyukta and Bhavita (Bhava)1. Geyapada 136. When [the Heroine] is seated1 on her seat surroun- ded with stringed instruments and drums near her, and singers are singing [before her] without any accompaniment of these, it is called the Geyapada (simple song). -

132 (C.136 K.XVIII. 169). 1 Lasyanga is an on' act play which requires lasya or a gentle form of dance for its representation; for this term may be interpreted as lasyam angam yasyah sah (that which has lasya as its principal clement). The ten lasyangas seem to be only so many varieties of the Lasya. These are not its 'elements' as some scholars are apt to consider. 2 The word rithyanga also may be similarly interpreted. Vithi seems to be nothing but a particular kind of one act play (defined in 112 boave) and vithyanga may therefore be translated as 'a play of the Vithi type'. 133 (C.137 ; K, XVII. 182). 1 See above 132 note ; lāsya used in this passage means merely lasyanga. 134-135 (C.138-139 ; K. XVIII. 17)-171). 1 SD. (504) gives only ten and BhP. (p. 245-246) eleven lasyangas, but DR. (III. 52-53) gives their number as ten but does not define them. 136 (C.14) ; K. XVIII. 172). 1 Sce SD. 505. The seating posture included in this and some of the other varicties of the lasya need not appear to be puzzling. For the Gentle Dance in this connexion did not imply the movement of the entire body. See Gilbert Murray, Euripides and His Age, London, 1946, p. 150. 48

378 THE NATYASASTRA [XX. 137-

137. If a woman sings in a standing1 posture a song dealing with the praise of her beloved and delineates the same with the gestures of her different limbs, it is called the Geyapada. Sthitapāthya 138. If a separated woman burning with the fire of love, recites anything in Prakrit while seated on her seat1, it is [an instance of] the Sthita-pathya. Āsina 139. When one sits1 without making any toilet2 and is overcome with anxiety and sorrow, and looks with oblique glances it is [an instance of] the Asina. Puşpagaņdikā 140. When a woman in the guise of a man recites some- thing sweetly in Sanskrit for the pleasure of her female friends, it is [an instance of] the Puspagandikā1 Pracchedaka 141. When a [separated] woman pained by the moon-light prepares to go to her beloved even if he has done her wrong, it is [an instance of] the Pracchedaka1. Trimūdhaka 142. A play adorned with even metres and abounding in manly States and composed of words which are neither harsh nor large, is called the Trimudhaka. Saindhavaka 143. When [one represents] a lover who has failed to keep his tryst and is using Prakrit [to express his grief] through well- performed Karanas, it is [an instance of] the Saindhavaka.

137 (C.141). 1 Sec above 136 note 1. 138 (C.142 ; K. XVIII. 173 f.n.). ' See SI). 506 ; also note 1 above of 136. Cf. K. XVIII. 173. BhP. p. 245, 1. 17-18. 139 (C.143 ; K. XVIII. 174). ' SD. 507 ; see above 136 note 1. The Gentle Dance (lasya) in this connexion will consist of slowly moving glances only. Cf. BhP. p. 245, 1.19-20. ? Read aprasādhita gātra. 140 (C.144). I Cf. SD. 507 ; sce above 136 note 1. Cf. K. XVIII. 175, BhP. p. 245, 1. 21-22. 141 (C.145 ; K, XVII. 176). - The def. given in SD. (507) is different. SD. reads the term as Trigudhaka. Cf. BhP. p. 246 1. 1-2. 142 (C. 146 ; K, XVIII. 177). 1 See BhP. p. 246, 1. 3-4. ' 143 (C.147). - Cf. SD. 508. Cf, K. XVIII. 178, BhP. p. 246. 1 5-6.

-XX. 150 ] TEN KINDS OF PLAY 379

Dvimūdhaka 144. Delineating a song of the Caturasra type which has an auspicious meaning and which treats (lit. has) clear States and Sentiments, with the pretension of efforts, is called the Dvimūdhaka. Uttamottamaka 145. The Uttamottamaka is composed in various kinds of Ślokas ; it includes various Sentiments and is adorned with the condition of Passion (hela). Vicitrapada 146. If any woman burning with the fire of love soothes her mind by seeing the portrait [of her lover] it is [an instance of] the Vicitrapada. Ukta-pratyukta 147. The Ukta-pratyukta is a combination of speeches and counter-speeches due to anger or pleasure, and it [sometimes] contains words of censure. It is to be set to musie. Bhavita 118. If a woman who is burning with the fire of love after seeing her beloved in a dream, expresses [her] different States, it is [an instance of] the Bhavita. 149. These are the characteristies of the [different] types of Lasya growing out of anger or pleasure, that I had to tell you in detail. If anything more has not been said, it has been due to the fact that nothing more is required in this context. 150. The rules regarding the ten kinds of play with their characteristics, have been stated by me. I shall now speak about their bodies and the Junctures with their characteristics.

Here ends chapter XX of Bharata's Natyasatra, which treats of the Ten Kinds of Play.

144 (C.148). Cf. SD. (509) which reads the term as Dvigudha. Cf. K. XVIII. 179, BhP. p. 246, 1. 7-8. 145 (C.149 ; K. XVIII. 180). - Cf. SD. (509). Cf. BhP. p. 246, 1. 9-10 ~. 146 (C.150 ; K. p. 207. [. u. 12). ' SD. and BhP. omit this. 147 (C.I51 ; K. XVIII, 181). - See Bh-P. p. 246. 1. 11-12. Cf. SD. 509. 148 (C.152 ; K. p. 207. f. n. 12.). ' SD. omits this. See BhP. p. 246. 1. 13-14. 149 (C.153 ; K, 183). . 150 (C.154 ; K. 184).

CHAPTER TWENTYONE

THE LIMBS OF THE JUNCTURES

The five Junctures of the Plot 1. The Plot (itirrtta) has been called the body of the drama (lit. poem). It is known to be divided into five Junctures (sandhi). The two kinds of Plot 2. The Plot is of two kinds : Principal (adhikarila) and Subsidiary (prāsangika). Their definition 3. The [assemblage of] acts which are fabricated with a view to (lit, by reason of) the attainment of [some particular] result, is to be known as the Principal Plot. [Acts] other than these consti- tute the Subsidiary Plot. 4-5. The attainment of the result and its exaltation which the ingenuity of the playwright (lit. poet) plans by means of the associated characters (lit. Heroes) acting in a regular manner (lit. resorting to rules), constitute the Principal Plot on account of an attainment of the result. And any incident (lit. anything) men- tioned for helping any other [incident] in it, is called the Subsi- diary Plot. The five stages of the Action 6. The exertion of the Hero (lit. one who strives) towards the result to be attained, is known to have five stages occurring in due order.

1 (C.1; K. XIX. 1). 1 Also called vastu. Cf. DR. I. 11, SD. 294-295. $ See DR. I. 22-23, SD. 330 and NL. 458 read vibhagah sampra- kalpilah for vibhagah etc. See NL. 216-217. 2 (C.2 ; Ķ. XIX. 2). I Sce DR. I. 11, SD. 295 and NL. 218 219. 3 (C.3 ; K. XIX. 3). - Cf. DR.I. 12-13, SD. 296-297; NL. 223-224. Sce above note 1. 4-5 (C.4-5 ; K. XIX. 4-5). - Sce above 3 note 1 and NL. 228-229. 2 See above note 1. ' 6 (C.7). I C. reads one additional couplet (C. 6) before this. Cf. NL. 55-56.

-XXI. 14 ] THE LIMBS OF THE JUNCTURES 381

7. These five stages of the Action are known to arise in the Nataka and the Prakarana. [Their] Fruition (phala-yoga) relates to duty (aharma), enjoyment of pleasure (kama) and wealth (artha).T 8. They are : Beginning (prarambha), Effort (prayatna), Possibility of Attainment (prapti-sambhara), Certainty of Attain- ment (niyata phala-prapti) and Attainment of the Result (phala-prāpti). Beginning 9. That part of the play (lit. composition) which merely records eagerness about the final attainment of the result with reference to the Germ (bija), is called the Beginning (arambha). Effort 10. [Heroe's] striving towards an attainment of the Result when the same is not in view, and showing further eagerness [about it], is called the Efforts (prayatna). Possibility of Attainment 11. When the attainment of the object is slightly suggested by an idea, it is to be known as the Possibility of Attainment (prapti-sambhara). Certainty of Attainment 12. When one visualises in idea a sure attainment of the result, it is called Certainty of Attainment (mtyata phala-prapti). Attainment of the Result 13. When the intended result appears in full at the end of events [of a play] and corresponds to them, it is called Attainment of the Result (phala-yoga). 14. These are the five successive stages of every action begun by persons looking for results.

7 (C.8) 1 K. omits this. 8 (C.10 ; K. XIX.7). I Cf. DR. I. 19; SD. 324; NL. 57-58. 9 (C.11 ; K. XIX. 8). Cf. DR. 20; SD. 325; NI. 59-60. 10 (C.12 ; K. XIX. 9). I Cf. DR. I. 20; SD. 326; NL. 66. 11 (C.13 ; K. XIX. 10). 1 Cf. DR. I. 21; SD. 327; NL. 69-70. 12 (C.14 ; K. XIX. 11). - Cf. DR I. 21; SD. 328; NL. 77. 13 (C.14 ; K. XIX. 12). - Cf. DR. 1. 22; SD. 329; NL. 89. 14 (C.15 ; K. XIX. 13). .

382 THE NATYASASTRA [ XXI. 15-

15. Putting together all these naturally different stages which come together [in a play] for the production of the result conduces towards the fruition. Play to begin with the Principal Plot 16. The Principal Plot which has been described before should be taken up at the Beginning [of a play], for it is to attain fruition. 17. The Plot should either have all the Junctures (sandhi) or lack some of them. The [general] rule requires that all the Junctures should occur in it, but due to a [special] reason some of them may be left out (lit absent). Rules about the omission of Junctures 18, If one Juncture is to be omitted then the fourth one goes ; in case of an omission of the two Junctures, the third and the fourth are to be left out, and in case of the three to be omitted, the second, the third and the fourth should be given up. 19. In case of the Subsidiary Plot this rule will not apply ; for it is to serve the purpose of another [Plot]. Any eveirt can be introduced in this [Subsidiary Plot] without violating the rule.

The five Elements of the Plot

20. The five stages of the plot snch as the Beginning (arambha)1 etc. have five corresponding Elements of the Plot (artha-prakrti)2. 21. The Germ (bija), the Prominent Point (bindu), the Episode (pataka), the Episodical Incident (prakari) and the Denouement (karyo) are the five Elements of the Plot (artha- prakrti), which should be reckoned and applied in proper manner.

15 (C. 16 ; K. XIX. 14) 16 (C.17 ; K. XIX. 15). 17 (C.18 ; K. XIX. 16). Emend yat-karyam into tat karyam. See NL. 442ff. 18 (C.19 ; K. XIX. 17). 19 (C.20 ; K. X1X. 18). 20 (C.21; K. XIX. 19) 1 Sec DR. I. 19 : SD. 324 NL. 57-58. See DR. I. 18 ; SD. 317; NL. 134-135. 21 (C.22 ; K, XIX. 20). 1 See above 20 note 2.

.XXI. 27 ] . THE LIMBS OF THE JUNCTURES 383

The Germ 22. That which scattered in a small measure, expands itself in various ways and ends in fruition, is called the Germ (bija) of the Plot. The Prominent Point 23. That which sustains the continuity (lit. non-separation) till the end of the play even when the chief object [of the play] is [for the time being] suspended, is called the Prominent Point (bindu). The Episode 24. The event which is introduced in the interest of the Principal [Plot] and is treated like it, is called an Episode (patāka). The Episodical Incident 25. When merely the result of such an event is presented for the purpose of another (i. e. the Principal Plot) and it has no Secondary Juncture (anubandha)' it is called the Episodical Incident (pralari)2. The Denouement 26. The efforts made for the purpose of the Principal Plot introduced [in play] by the experts, is called the Dénouement (karya). 27. Among these [Elements] that which has others for its support (lit. purpose) and to which the rest are taken as subordinate, should be made prominent (lit. chief) and not the remaining ones.

22 (C.23 ; K. XIX. 21). 1 Cf. DR. I. 17; SD. 318; NL. 136-137. 23 (C.24 ; N.XIX. 22). I cf. DR. I. 17; SD. 319; NL. giving a second view about the meaning of the bindu says :- अन्थे तु, यद्ि नाट कार्थस्य प्रक्लतिभूतमवमानोत्- साहाभ्यां प्रत्यङ्ग परिकीर्त्यते स बिन्दुः। यथा राधवाभ्यदये केकय्याः प्रत्यङ्मुतकोतनम्। वैखां च कौत्यते द्रौपदीकैगाकर्षगम्। उत्साह च नाग नन्दे जौमूनवाहनस्य सर्वाड्के कौर्तनमिति। सच कार्यस्य समाप्ति ग्रावत् प्रर्वतितश्रः (159ff. 173ff.). There is a third view also ; sce NL.183ff. 24 (C.25 ; K. XIX. 23). -Cf. DR. I. 13; SD. 320; NL. gives also a second view about the meaning of the pataka as follows : पत, कैत्युपणायकचरितमेव स्थुलार्थमुपनर््बनन्ति (195ff.) 25 (C.26 ; K. XIX. 24). I As opposed to this, the pataka possesses continuity. Anubandho nairantaryena pravartanam (NL. 204). 2 Cf. DR. I. 13 ; SD. 321 NL. 199ff. 26 (C.27 ; K. XIX. 25). - Cf. DR. I. 16; SD. 323; NL. 209ff. Read yastu (ortta, K.) as vastu, C. NL. reads kāryam for vastu. 27 (C.28 ; K. XIX. 26). 1 Cf. NL. 234ff.

384 THE NATYASASTRA [ XXI. 28-

Secondary Juncture in the Episode 28. One or more Junctures should be applied in an Episode (pataka). As these serve the purpose of the Principal [Plot] they called Secondary Junctures (anubandha). Limit of the Episode 29. The Episode should come to an end either at the Develoment (garbha) or at the Pause (vimarsa). Why ? Because its treatment is for the purpose of something else (i. e. the Prin- cipal Plot). The Episode Indication 30. When some matter being taken in hand (lit. already thought about), another matter of similar nature (lit. characteris- tics) is suggested through an accidental idea (agantuka-bhara), it is called Episode Indication (patala-sthana). The First Episode Indication 31. The sudden development of a novel meaning (arthasam- patti) due to an indirect suggestion, is called the First Episode Indication Tbe Second Episode Indication . 32. Words completely carrying double meaning and ex- pressed in a poetic language, are called the Second Episode Indi- cation. The Third Episode Indication 33. That which suggests with courtesy the object [of a play] in a subtle manner and in the form of a dialogue, is ealled the Third Episode Indication.

28 (C.29 ; K. XIX. 27). 1 Some read anubandha as anusandhi ; cf. DR. III. 26-27. 29 (C.30 ; K. XIX. 28). 1 Emend tasmūt into kasmūt. 30 (C.31 ; K. XIX. 29). I DR.(I. 14) merely defines the term and ignores its varieties. But SD. (298-299) follows NS. and defines them. Sce NL. 1000-1001. Sagaranandin says that these should not be applied to the last Juncture (nirvahaņa). 31 (C.32 ; K. XIX. 30). I Emend gunavat yupa° into guna-vrttyupa° 2 See SD. 300; NL. 1007. 32 (C.33 ; K. XIX. 31). I Emend vacasūlisaya° into vacah sūtisaya°. See SD. 301 and NL. 1015. 33 (C.34 ; K, XIX. 32). I Sce SD. 302; NL. 1021-1022.

.XXI. 41 ] THE LIMBS OF HE JUNCTURES 385

The Fourth Episode Indication 34. Words with a double meaning expressed in a well-knit poetic language and having a reference to something [other than what appears at first sight] is called the Fourth Episode Indication. 35. The poetical composition meant to be acted should have the five Junctures (sandhi) and four Episode Indications (patāka- sthanaka)1. I shall next speak of the Junctures.

The five Junctures 36. The five Junctures in a drama are the Opening (mulha), the Progression (pratimulha), the Development (garbha), the Pause (vimarsa) and the Conclusion (nirvahana)1. 37. The Principal [Plot] is known to be consisting of the five Junctures (sandhi). The remaining Junctures are to be supported by the Junctures of the Principal [Plot]1. The Opening 38. That part of a play, in which the creation of the Germ (bija) as the source of many objects and Sentiments takes place, is called in consideration of its body the Opening (multha, lit. face)1 The Progression 39. Uncovering of the Germ placed at the Opening after it has sometimes been perceptible and sometimes been lost, is called the Progression (pratimukha). The Development 40. The sprouting of the Germ, its attainment or non- attainment and search for it, is called the Development (garbha)1. The Pause 41. One's pause (vimarsa. lit. deliberation) over the Germ (bija) that has sprouted in the Development (garbha) on account

34 (C.35; K.XIX.33). - See SD. 303; NL. 1033. 35 (C.36; K.XIX.34). 36 (C.37; K.XIX.35), See DR. I. 23-24; SD. 331-332; NL. 458. 37 (C.38; K.XIX.36). - These relate to the Subsidiary Plot. 38 (C.39; K.XIX.37). ' See DR. I 24-25; SD.333; NL. 536f. quotes.NS. 39 (('.40; K.XIX.38). 1 Cf. DR. I. 30; SD. 334; NL. 634f. 40 (C.41; K.XIX.39). 1 Cf. DR. I. 36; SD. 335; NL. 710f. 41 (C.42; K.XIX.40). 49

386 THE NATYASASTRA [ XXI. 42

of some temptation, anger or distress, is called the Juncture of that name (i.e. Pause)1. The Conclusion 42. Bringing together the objects [of the Junctures] such as the Opening (mukha) etc. along with the Germ (bija), when they have attained fruition, is called the Conclusion (nirvahana)1. 43. These are Junctures of the Nataka to be known by the producers of a drama. They may occur in the Prakarana and the other types of plays as well. Junctures vary in different types of drama 44. The Dima1 and the Samavakara2 are to have four Junctures, and the playwright should never make the Pause (vimarsa) in them. 45. The Vyayoga1 and the Thamrga2 are to have three Junctures. There should be no Development and Pause (avamarsa = vimarsa) in these two, and the Graceful (laisili) Style also has no place in them. 46. The Prahasana1, the Vithi2, the Anka3 and the Bhana* are to have only two Junctures which should be the Opening (mukha) and the Conclusion (nirvahana), and their Style should be the Verbal one (bharati). 47. These are the Junctures to be adopted by the pro- ducers in the ten types of play, Listen now about different kinds of Junctures which also will as it were mark their limits.

1 DR. I. 53 calls this avamarsa. SI. 336; NL. 770ff, gives two more definations of this Juncture. Read the second hemistich as क्रोधव्यसनजो वापि विमर्म स पति स्मत: 42 (C.43; K.XIX.41). 1 Emend the first hemistich as follows :- समानयनम् पर्थार्ना सुखाद्यानां समोजीनाम्. Cf. DR. I. 48-49; SD. 337; NL. 554 f. 43 (C.44; K.XIX. 42). 44 (C.45; K.XIX.44a, 43b). 1 Sec NS. XX. 90ff. 2 See ibid 78ff. 45 (C.46; K.XIX.43a, 44b). 1 Sce NS. XX. 84ff. 2 Sce ibid. 64ff. 46 (C.47-48; K.XIX. 45). 1 See NS. XX. 102If. ª See ibid 112ff. 3 See ibid 94ff. 4 Sce ibid 107ff. 47 (C.48; K.XIX. 46).

.XXI. 55 ] THE LIMBS OF THR JUNCTURES 38

Subjuncture 48-50. The twentyone Sub-junctures are as follows1 : Con- ciliation (sama), Dissention (bheda), Making Gifts (pradana), Chastisement (danda), Killing (vadha), Presence of Mind (pratyut- pannamatitva), Blunder in Addressing (gotra-slhalita), Rashness (sahasa), Terror (bhaya), Intelligence (dhī), Deceit (maya), Anger (lerodha), Strength (ojas), Concealment (samvarana), Error (bhranti), Ascertainment (avadharana)2, Messenger (duta), Letter (lelha), Dream (svapna), Portrait (citra) and Intoxication (mada). Alternative Junctures 51 The events of the Junctures in their respective parts (pradesa)1 will in due order support those Limbs [of the Junctures] by means of their own qualities. The sixfold needs of the Limbs of the Junctures 52-53. Expressing1 the desired object, non-omission of any essential item in the Plot, accession to feeling in production, concealment of the objects to be concealed, telling tales of surprise2 and disclosing things to be disclosed are the sixfold needs of the Limbs described in the Sastra3. Uses of the Limbs of the Junctures 54. Just as a man without all his limbs are unable to fight a battle, so a play without the Limbs will be unfit for [successful] production1. 55. A play (lit. a poem) though it may be poor as regards its theme (lit. meaning) will, when furnished with requisite Limbs, attain beauty because of the brilliance of its production.

48-50 (C.49-51; K.XIX.191b, 103b). 1 NL. 925ff. secms to give this passage more correctly with slight variation. The Sub-junctures (sandhi- nam sandhi ) are to be distinguished from the Secondary Junctures (anubandha=anusandhi. DR. III.26 mentioned in 28 before. ª Read bhavah for vadhah. 51 (C.52; K.XIX.47). 1 Pradesa seems to signify Sub-juncture (sandhinām sandhi) discussed in 50 above. See NL. 923. 52-53 (C.53-54; K.XIX.48-49). 1 Read vacanam for racana. 2 Emend ascaryavad abhikhyātam into ascaryavad abhikhyānam. 3 Cf. DR. I. 55; SD.407ff. 54 (C.55; K.XIX.49a, 50a). 1 Cf. SD. 407ff. 55 (C.56; K.XIX.50a, 51a).

338 THE NATYASASTRA [ XXI. 56-

56. And a play having lofty theme, but devoid of [requisite] Limbs, will never capture the mind of the good [critics] because of its [possible] poor production. 57. Hence in applying the Junctures [in a drama] the playwright should give them their Limbs properly. Now listen about about them [in detail]. The sixtyfour Limbs of the Junctures 58-59. The Limbs of the Opening (mulha) are; Sugges- tion (upukisepa), Enlargement (parikara), Establishment (parinyāsa), Allurement (vilobhana), Decision (yukti), Accession (prapti), Settl- ing (samadhana), Conflict of Feeling (vidhana), Surprise (paribha- vana), Disclosure (nlbheda), Activity (harana), and Incitement (bheda). Now listen about the Limbs in the Progression1. 60-61. The Limbs of the Progression (pratimukha) are : Amorousness (vilasa), Pursuit (parisarpa), Refusal (vidhūta), Pessi- mism (tapana), Joke (narma), Flash of Joke (narmadyuti), Moving Forward (pragamana), Pacification (paryupasana), Sweet Words (puspa), Thunderbolt (rajra)1. 62-64. The Limbs of the Development (garbha) are: Mis- statement (abhūtaharana), Indication (marga), Supposition (ripa), Exaggeration (udaharana), Progress (krama), Propitiation (sam- graha), Deduction (mana), Supplication (prarthana), Revelation (aksipta), Quarrel (totaka), Outwitting (adhibala), Dismay (udceya) and Consternation (vidrara)1. 64-66. The Limbs of the Pause (cimarsa = avamrga) are : Censure (aparada), Angry Words (samphela), Insolence (abhidrara) Placation (guliti), Assertion (oyavasaya), Reverence (prasanga), Rebuke (dyuti), Lassitude (l:heda), Opposition (wisedhana),

56 (C.57; K.XIX,51b, 52a). 57 (C.58;K.XIX.52b, 53a). 53-59 (C.59-60; K.XIX.53b, 25 a). T Scc DR. I. 25-26; SD. 338; NL. 552ff. 60-61 (C.61-62; K.XIX.55b. 57). 1 DR. I. 31-32 reads samana for tapana; SD. 351. NL. 645ff. 62-64 (C.63-65; K.XIX.58-59). 1 DR. I. 37-38, omits prarthanā and vidrava, adds sambhrama, and gives aksipta as aksepa ; SD. 365. See NL. 724ff. 64-66 (C.65-67; K.XIX.60-6]).

-XX. 71 ] THE LINBS OF THE UNOTURES 389

Altercation (virodhana), Sumning up (adana), Concealment (chā- dana), and Foresight (prarocana)1. 66-69. The Limbs of the Conclusion are : Junction (san- dhi), Awakening (vibodha), Assembling (grathana), Ascertainment (nirnaya), Conversation (paribhasana), Confirmation (dhrti), Grati- fication (prasada), Joy (ananda), Deliverance (samaya), Surprise (apagūhana), Clever Speech (bhasana), Retrospect (pārva-rākya), Termination of the Play (kavya-samhara) and Benediction.(prasasti). These are the sixtyfour Limbs of the Junctures [in a play]1. Limbs of the Opening 69. I shall now give their definitions in due order1. Suggestion Suggestion (upaksepa) is the origin of the object of the play.2 Enlargement 70. Enlargement (parikara) is the amplification of the object originated1. Establishment Describing it (i. e. the object) thoroughly is called Establish- ment (parinyasa)2. Allurement 71. The mentioning of good qualities is known as Allure- ment (vilobhana)1.

' Emend vidrava into abhidrava. DR. I. 44-45. omits abhidrara, kheda, nisedhana and sudana and adds vidrava, drava chalana and vicalana; SD. 378ff. follows NS. except that abhidrava appears there as drava; chadana should be emended into sadana; see NL. 798ff. 66-68 (C.67-69; K.XIX.62-63). 1 Emend dyuti. See SD. 391 reads krti as dhrti. DR. I. 49-50 gives dhrti as krti, pūrvavākya as pūrvabhava, upasamhāra as kavyasamhara. NL. 850ff. omits sandhi and vibodha, gives dhrti as dyuti, and instead of the first two gives artha and anuyoga. 3 Cr. DR. I. 40; SD. 374; NL. 755. 69 (C.71; K.XIX.64b-95a). 1 C. reads before this another couplet which in trans. is as follows : For the development of the Germ, all these (i.e. 64 limbs) should make up the Junctures properly and lave clear meanings. This does not occur in K. " See NL. 556; SD. 338 Cf. DR. I. 27. 70 (C.72; K.XIX.65b-66a). 1 See NL. 569; SD. 340 DR. I. 27. See NL. 575; SD. 341; DR. I. 27. 71 (C.73; K.XIX.69b-67a). ' See DR. I. 27; SD. 342; NL. 586.

390 THE NATYASASTRA [ XXI. 72-

Decision Settling the issues is called Decision (yukti)2. Accession 72, Accession (prapti) is summing up the purpose of the Opening (mulha)I. Settling Settling (samalhana) is summing up the purpose of the Germ (bija)2. Conflict of Feclings 73. Joys and sorrows oceurring in a situation, is called onftict of Feelings (ridhana)1. Surprise Surprise (paribhavana) is an excitement giving rise to curiosity2 Disclosure 74. The sprouting of the purpose of the Germ (bija), is called Disclosure (udbheda)I. Activity

Taking up the matter in question is called Activity (lrarana)2 Incitement 75. That which is meant for disrupting an union is called Incitement (bheda)1. These are the limbs of the Opening (mukha).

Limbs of the Progression I shall now speak of those of the Progression (pratimukha).

2 Sce SD. 343; DR. I. 28; Haas translates it differently, SD. 343 and NL. 593 seem to misunderstand this definition. 72 (C.74; K.XIX.67b-68a). 1 Emend sukhartha° to mukhartha°. Scc NL. 598-599. DR. I. 28; and SD. 344 follows what scems to be a wrong rcading of the NS. 2 Sec NL. 605 f. Cf. DR, 1. 28; SD. 345. 73 (C.75; K.XIX.68b-69a). 1 See DR. I. 28; SD. 346; NL. 609-610. 2 Sce NL. 617; Cf. DR. I. 29; SD. 347. 74 (C.76; K.XIX.69b-70). 1 See SD. 348; NL. 620. Cf. DR. I. 29. 2 See SD. 349; NL. 628. Cf. BR. I. 29. 75 (C.77; K.XIX.70b). 1 See NL, 626; SD. 350. Cf. DR. I. 29.

-XXI.80] THE LIMBS OF THE JUNCTURES 391

Amorousness 76. Amorousness (vilasa) is the desire for the pleasure of love (rati)1. Pursuit Pursuit (parisarpa)2 is the pursuing of an object once seen and then lost. Refusal 77. Refusal (vidhūta)1 is not complying with the request made [by any one]. Pessimism Thinking about (lit. seeing) some danger [in future] is called Pessimism (tāpana)2. Joke 78. The laughter which is meant for sports is called Joke (narma)1. Flash of Joke The laughter which is meant for concealing one's fault is called Flash of Joke (narma-dyuti)2. Moving Forward 79. Speaking words which bring in other words after them is called Moving Forward (pragamana)1. Hindrance Appearance of some calamity is called Hindrance (nirodha)2. Pacification 80. Conciliating an angry person is called Pacification (paryupāsana)1.

76 (C.78; K.XIX.71). 1 See SD. 352; NL. 650ff. Ct. DR. I. 32. 2 See SD. 353; DR. I. 32-33. Cf. NL. 657. 77 (C.79; K.XIX.7)). 1 Cf .. NL 663; DR. I. 33; SD. 354 has vidhrta for vidhūta. 2 Sce NL. 669 Cf. SD. 355 defines it as upūyadarsana. DR. defines sama instead of tâpana (I.33). 78 (C.80: K.XIX.73). 1 Cf. DR. I. 33; DR. 356; NL. 1310ff. 2 Cf. DR. I. 33; SD. 357; NL. 672. 79 (C.80; K.XIX.74). 1 Read uttarottaram vakyam tu bhavet pra- gamanam. Cf. NL. 676; DR. I. 34; SD. 358. 2 See NL. 683; DR. I.34; SD. 359 reads virodha for nirodha. 80 (C.82; K.XIX75). ' See NL. 687. Cf. DR. I. 34; SD. 360.

392 THE NATYASASTRA [ XXI. 81-

Sweet Words Mentioning some favourable peculiarity is called Sweet Words (puspa, lit. flower)2. Thundcrbolt 81. Harsh words uttered on one's face is called Thunderbolt (vajra)1. Reference Reference (upanyasa) is a remark based on reason. Meeting of Castes 82. Coming together of the four castes is called Meeting of Castes (varna-samhara)1. These are the Limbs of the Progression (pratimulha).

Limbs of the Development Now listen about those in the Development (garbha). Mis-statement 83. [A specch] founded on deceit is called Mis-statement (kapatāśraya)1. Indication Speaking out [one's] real intention (lit. reality) is called Indication (marya)2. Supposition 84. A hypothesis with which novel meanings are combined, is called Supposition (r7pa)1. Exaggeration A speech with an overstatement is called Exaggeration (udāharaņa)2.

. " Cf. DR. I. 34; SD. 361; NL. 69I. 81 (C.83; K.XIX.76). ' Emend pratyaksa-rupam into pratyaksa- ruksam. Cf. NL. 697; I. 35 SD. 362. 2 See NL. 700; cf. DR. I. 35; SD. 363ff. defines it diffcrently and refers to the view of the NS as kecit tu etc. 82 (C.84; KN.XIX.77). 1 NL. 704ff. dofines it as varņitasyārthasya tiraskaro (concealing the matter expressed), and refers to the view of the NS. as caturņūm varņānam sammelanam api ke'pi varņayanti. See SD. 364; DR. I. 35. 83 (C.85; K.XIX.78). 1 Cf. DR. I. 38; SD. 365; NL. 727. 2 Cf. SD. 366; NL. 730; DR. 1. 38. 84 (C.86; K.XIX.79). 1 Cf. DR. I. 39; SD. 367; NL. 735. 2 Cf. NL. 738; DR. I. 39; SD. 368.

-XXI. 89 ] THE LIMBS OF THE JUNOTURES 393

Progress 85. Foreseeing of what is coming afterwards, is called Progress (lrama)1. Propitiation Use of sweet words and gift, is called Propitiation (samgraha)2, Deduction 86. Perceiving something by the name of a thing similar to it in form, is called Deduction (anumāna)1. Supplication Request for love's enjoyment (rati), rejoicing, festivity and the like, is called Supplication (prarthanā)2. Revelation 87. The unfolding [of the Germ] in the Development (yarbha), is called Revelation (alsipta)I. Quarrel An angry speech is called Quarrel (totaka)2. Outwitting 88. Cheating of a deceitful person is called Outwitting («dhibala)1. Dismay Fear arising from the king, an enemy or a robber is called Dismay (udvega)2. Panicky Commotion 89. Flurry caused by fear from the king or fire is called Panicky Commotion (ridrava)1. These are the Limbs in the Development (garbha).

Limbs of the Pause Now listen about those in the Pause (aramarsa = rimarga).

85 (C.87; K.XIX.80). 1 Emend bhavaktvo into bhavitatvo. Cf. SD. 169; NL. 740; DR. I. 39. 2 Cf. SD. 370; NL. 744; DR. I. 40. '86 (C.88; K.XIX.81). 1 Cf. NL. 746; DR. I. 40; SD. 371. 2 Cf. SD. 372; DR. I. 40. NL. 749. 87 (C.89; K.XIX.82). 1 Cf. DR. I. 42 has aksepa; SD/373 has sipti=aksipti; NL. 751 has ulksipta. 88 (C.90; K.XIX. 83). 1 Cf. SD. 375; DR. I. 40; NL. 79. 2 Cf. SD. 376; NL. 761; DR. I. 42. 89 (C.91; K.XIX, 84a). 1 Cf. DR. I. 42; SD. 377. NE. 766. 50

394 THE NATYASASTRA [XXI, 90-

Censure 90. Proclaiming anyone's fault is called Censure (apavada).1 Angry Words Words spoken in anger are called Angry Words (sampheta)2. Insolence 91. Trangression of the superiors is called Insolence (abhi-drava)1. Placation Allaying of disagreement [with anyone] is called Placation (éalti)2. Assertion 92. A promise made on account of some reason is called Assertion (vyarasāya)1. Reverence

Mentioning one's superiors is called Reverence (prasanga)2. Rebuke 93. Words spoken in contempt are called Rebuke (dyuti)T. Lassitude Fatigue arising from a mental effort is called Lassitude (Iheda). Opposition 94. Obstruction to one's desired object is called Opposition (nisedha)1. Altercation Speaking and counter-speaking in excitement is called Altercation (virodhana)2.

90 (C.92; K.XIX.84b-85a). 1 Sce NL. 801; Cf. DR. I. 45; SD. 378. 2 See NL. 807, Cf. DR. I. 45; SD. 379. 91 (C.93; K.XIX.86b-86a). 1 Emend vidrava into abhidrava. Sec NL.813. SD.381 and DC. I. 45, has drava in place of abhidrava. ' Emend virodhopagamo into virodhopasamo ; cf. NL. 819; DR. I AD. 383. 8-(C.94; K.XIX.87a-86b). 1 Emend pratinajdosa into pratijnāhetu 84: SD. 380 DR. I. 47. DR I. 46; SD. 384. NL. 826 defines differenely. .XIX.90b.). 1 Cf. NL. 829; DR. I. 46, SD.382; SD. 385. SD. 385. 94 838, and SD. 386 has pralisedha in place of this. Cf. 840; SD. 387.

-XXI. 99 ] THE LIMBS OF THE JUNCTURES 395°

Summing up 95. Bringing together (lit. attaining) [all aspects] of the Germ (bija) and the action is called Summing up (adana)1. Humiliation Putting in insulting words for some purpose is called Humiliation (sādana)2. Foresight 96. That which represents the Conclusion (samhara) [in advance] is called Foresight (prarocana)1. These are the limbs in Pause (avamrsa = vimarsa). The Limbs in Conclusion Now listen about those in the Conclusion (samhara= nirvahana). Junction 97. The coming up of the Opening (mukhu) and the Germ is called Junction (sandhi)1. Awakening Looking duly for the Denouement (karya) is called Awakening (vibodha)a. Assembling 98. Intimation of [the various aspects] of the Dénouement is called Assembling (grathana)1. Ascertainment Declaration of facts personally known is called Ascertainment (nirnaya)I. Accusation 99. That which is said to blame some one, is called Accusation (paribhāsaņa)1.

95 (C.97; K.XIX. 99). - See NL. 844, DR. I. 48; SD. 389. 2 Emend chadana into sadana. Sce NL. 848. DR. I. 46 has wrongly chalana for sādina SD. 390 also has chadana wrongly, 96 (C.98; K.XIX.88a, 91a). ' Sec SD. 388; NL. 850. DR. I. 47. 97 (C.99; K.XIX. 91b-92a). 1 Emend sukhabijo into mukhabijo ; cf. DR. I. 51; SD. 392. 2 Cf. DR. I. 51; SD. 393. 98 (C.100; K.XXI.92b-93a). 1 Cf. DR. I. 51, SD. 394; NL. 864. 2 Cf. S. 895; DR. I. 51 ; NL. 870. 99 (C.101; K.XIX.93b-94a). 1 Cf. NL. 873; SD. 396, DR. I. 52 defines the Limb differently.

396 THE NATYASASTRA [XXI. 100-

Confirmation Turning to use (lit. conquering) the object gained is called (dhąti)a. Gratification 100. Treating one with waiting upon or the like, is called Gratification (prasada)1. Joy Attaining objects [of one's desire] is called Joy (ananda)2. Deliverence 101. Passing away of all misery, is called Deliverance (samaya)1. Surprise Appearence of something wonderful is called Surprise (upagūhana)2. Clever Specch 102. Words mentioning conciliation, gift and the like are called Clever Speech (bhasana)1. Retrospect Retrospect (purva-ralya)2 is to be understood as a reference to something spoken before. Termination 103. Giving and receiving of a boon is called Teriination (kācya-samhāra)1. Benediction [A prayer seeking perfect] peace to the king and the country is called Benediction (prasasti)2. 104. With a view to introducing Sentiments (rasa) and

2. Emend dyuti into dhrti Cf. DR I. 53; SD, 397. 100 (C.102; K.XIX.94b-95a), - Cf. NL. 879; SD. 398; DR; I. 52. 2 Cf. NL. 881; SD. 399; DR. I. 52. 101 (C.103;K.XIX.95b-96a). I Cf. DR. I. 52; SD. 400; NL 883. 2 Cf. NL. 889; SD. 401 : DR. I. 53. 102 (C.104; K.XIX.96b-97a). 1 Cf. SD. 402; DR. I. 53. NL. 891. 2 Cf. NL. 891; SD. 403. 103 (C.105; K.XIX.97a-98a). 1 Sec SD. 404; cf. NL. 893, DR. I. 54. 2 Read nrpa-desa. Cf. SD. 405, NL. 895, DR. I. 54. 104 (C.106; K.XIX.98b-99a). 1 Cf. SD. 406; NL. 906.

-XXI. 109 ] THE LIMBS OF THE JUNCTUEES 39

States (bhāva) an expert playwright should insert all these Limbs into appropriate Junctures of his workT. 105. Considering [the scope] of the Action or its condition he may sometimes insert all the Limbs or a combination of two or three [of them] into the Junctures1. Five Explanatory Devices 106. The Supporting Scene (viskambhaka), the Intimating Speech (calila), the Introductory Scene (pravesaku), the Transi- tional Scene (ankavatara), and the Anticipatory Scene (atikamulha) are five Explanatory Devices (arthopaksepaka)1. The Supporting Scene 107. The Supporting Scene (viskambhaka)1 should employ the middlinge male characters, relate to the opening Juncture (mnkhasandhi)3 only of the Nataka, and it is [to be] graced (lit. refined) by a priest, minister or Kancukin (armour-bearer). 108. The Supporting Scene is of two kinds; pure and mixed. Of these the pure is made up of the middling characters and the mixed of the inferior and the middling ones. The Intimating Speech 109. When some points are explained by a superior, mid- dling or inferior character from behind the curtain, it is called the Intimating Speech (cūlika)1.

105 (C.107; K.XIX.99b-100a). 1 See above 104 note 1. 106 (C.108; K.XIX,104). 1 Cf. DR. I. 58; SD. 308. NL. 393. Haas translates arthopaksepaka as "Intermediate Scenes", sec p. 33. But the 'Explanatory Devices' are all not complete scenes but parts of scenes, vide infra. 107 (C.109; K XIX.105). ' Cf. SD. 308; DR. 338; DR. I. 59 Emend viskambhakas tu samskrta into viskambhakah samskrtah NL. 362 f. quotes the view of Carayana as follows: प्रकरण नाटकविषयी विष्कन्पक इति. (Viskambhaka relates to 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 only. 2 For a definition of the middling character see NS. XXXIV. 4 3 According to this direction the viskambhaka at the beginning of Panca, would be an ideal one. 108 (C.110; K.XIX.106). 109 (C.IIL; K.XIX.107). 1 Cf. NL. 414 f., 438f .; DR. I. 61; SD. 310.

398 THE NATYASASTRA [XXI. 110

The Introductory Seene 110. The Introductory Scene (pravesaka) in relation to the Nāțaka and the Prakarana, is to occupy a place between two Acts and to treat the summary of the Prominent Point (bindu)2. 111. The Introductory Scene should be known as not con- sisting of the exploits of the superior and the middling characters and there should be no exalted speech in it, and its language should be Prakrit1. The Transitional Scene 112. As in practice it falls between two Acts or within an Act, and relates to the purpose of the Germ (bija), it is called the Transitional Scene (ankavatara). The Anticipatory Seene 113. When the detatched beginning of an Act is summa- rised beforchand by a male or a female character, it is called the Anticipatory Scene (ankamukha)1. An ideal Nātaka 114-117. The playwright should write a Nataka having

110 (C.112; K.XIX.108). ' Cf. DR. I. 60-61; SD 309; NL. 307ff. 111 (C.113; K.XIX.109). 1 See NS. XX. 32. Cf. DR. I. 60-61. SD. 309. C. gives one additional couplet after this. But this (not occuring in K.) seems to give no new information. 112 (C.115; K.XIX.110). 1 Cf. DR. I. 62.63; SD. 311; NL. 398-399. The def. is not very clear. The ankavatara seems to furnish an indication of the subject-matter of the next Act. An example of this seems to be the dialogue of the Ceti and Vasavadatta at the end of the Act II. of Svapna. This relates to the making of a garland by Vasavadatta. Another example may be Avimaraka speaking एषः समास:। सवथा प्रवेष्टव्यं कुन्ति- भीजस्य कन्यान्म:रपुरम्। तदनुमन्तुमहसि महात्राह्मण:, II. 5-6. This gives a clue to the subject-matter of the next Act which treats Avimaraka's entry into the royal harem. 118 (C.116; K.XIX 111). 1 The ankamukha scems to relate mostly to plays other than of the Nataka and the Prakarana types. Examples of this are perhaps the speeches of the Bhata in the beginning of the Karņa, and of the Dutagha., The reason for the above assumption is that the rules prescribe viskambhaka for Natakas only (sec 107), and pravesakas for both Natakas and Prakaraņas (see 110). Cf. DR. I. 62; SD. 312, 313; NL. 408. 114-117 (C.117-120; K.XIX.112-115).

.XXI. 122] THE LIMBS OF THE JUNCTURES 399

[different] Styles and minor Limbs (pratyanga)1, Episode Indication (patala)2, Explanatory Devices (athapratikriya)8 arising from the five stages (avastha)4, having five Junctures (sandhi)5, twentyone Alternative Junctures6, sixtyfour Limbs (anga)7, thirtysix laksanas8, Gunas (excellence)9 and figures of specch (alamkara)10, many Sentiments11, topics of many enjoyments, exalted speeches, characters of great people, description of good conduct, and it should be popular, wellknit in its Junctures, easy for production [on the stage], composed with soft words and capable of giving pleasure. 118. The condition of the world arising from the happiness and misery and connected with the activity of various people should find a place in the Nātaka1. 119. There is no wise maxim, no learning, no art or craft, no device, no action that are not found in the drama (natya)1. 120. And the human nature with its joys and sorrows depicted through the means of representation such as Gestures, [Words, Costume and Temperament] is also called a drama (nalya)1. 121. A mimiery of the past exploits of gods, sages, and human beings should be also called a drama1. 122. As [this] is represented (abhiniyate) and interpreted (gamyate) by the actors who after suppressing their own nature make [for this purpose] various movements of their different limbs, it is called the Nātaka1.

' Pratyanga has not been defined anywhere. It is possible that the reading is corrupt. 2 Pataka horo stands for patakū-sthūnaka just as "Bhīma" for "Bhimasena", see above 30ff. 3 Arthapratikriyū is only a synonym of arthaprakari. Sec before 20ff. 4 See before 6ff. 5 Sce before 35ff. 6 See before 48ff. 7 See before 58ff. 8 See NS. XVII. Iff. 9 See NS. XVII.96ff. 10 See NS. XVII.43ff. 11 Se NS. VI. 118 (C. 121; K.XIX.116). 1 Cf. NS. I.120 119 (C.122; K.XIX.117). I See NS. I.116 120 (C.123; K.XIX.118). - See NS. I.121 121 (C.124; K.XIX.119). 1 See NS. I.120 122 (C.125; K.XIX.120). - This very clearly defines the artistic character of drama.

400 THE NATYASASTRA [ XXI. 123-

123. The Nataka is to be so composed as to include all States, Sentiments, inclination to all deeds, and the various condi- tions [of men and nature]1. 124. The various arts and crafts produced by human beings may be applied in the Nataka1 in their endless forms1. 125. One is to construct a Nātaka [only] after observing the human character, strength and weakness of men, their [mode of] enjoyment and reasoning1. 126. In succeeding ages men will be difficient in wisdom ; hence those who will be born [after us] will have small learning and intellect. 127. When the world deteriorates, men's intellert, activity, [production of] crafts and skill in arts will dwindle. 128. Hence after observing the strength and the weakness of human feeling, one should compose the Nataka with pleasent and casily intelligible words. 129. The plays (lit. poems) which contain |harsh], words like cekriditat is repulsive (lit. do not shine) like a courtezan in the company of a Brahmin bearing a Kamandalu. 130. O Brahmins, I have spoken about the Plot with its Junctures and Limbs. I shall hereafter speak of the characteristies of the Styles.

Here ends chapter XXI of Bharata's Natyasastra, which treats of the Limbs of the Junetures.

123 (C.126; K.XIX.121). I Cf. NS. 1.113 124 (C.127; K.XIX.122). 1 Emend ekakarma into lokakarma. 125 (C.128; K.XIX. 123). I This puts emphasis on depieting charac- ters in a drama. ' 126 (C.129; K.XIX.124). 127 (C.130; K.XIX.125). 128 (C.131; K.XIX.126). 129 (C.132; K.XIX.127). 1 Bhasa actually uses the root of this verb form in his Avi. (III.18.0). 13 ) (C.133; K.XIX.128).

CHAPTER TWENTYTWO

THE STYLES

The origin of the Styles 1. I shall now explain in detail (lit. from the beginning) the rise of the Styles (rptti) and [in relation to them] the origin and the formation of dramas1. 2-3. When the lord Aeyuta (Visnn) after reducing the universe into a single [vast] ocean and compressing the creation [into a seed] by his supernatural power, was lying on the couch of snake, the two Asuras Madhu and Kaitabha maddened with the pride of their strength challenged the god at once for battle1. 4-5. These two, after making gestures of challenge, (lit. rubbing their arms) fought the imperishable lord Visnu (bhūta- bhavana, lit. the creator of beings) with their fists and legs (lit. knees), and while doing so they also assailed him (lit. one another) with harsh words and shook as it were the ocean with their reviling speech1. The origin of the Verbal Style 6-7. Hearing the various [abusive] words of these two who were threatening1 [Visnu], Druhina (Brahman) was slightly per- turbed in mind and said, "Is it the bharati ralti that start with these words [for the flghters] and goes on inereasing stage by stage ? Kill the two [at once]." 8-10. Hearing these words of Pitamaha (Brahman), Madhusūdana (Vișņu) said, "Yes, I have made this bharair rrtti

1 (C.1; K.XX.1). 1 Sagaranandin explains the vrtti as follows : नेपथ्यो गीतवादितरसभावाभिनयनृत्यजातीनां क्वापि विशेष वर्तनमिति वृत्तिः कथितः। अरथवा विलास- विन्धासक्रमी वत्तिरिति, NL. 1044ff. 2-3. (C.2-3; K.XX.2-3). 1 The story of Narayana's reducing the three worlds into 'a single ocean' occurs in the Ram. VII. 72; Kurma P. XIII. Sce JK. under Vişņu (8) and Narāyaņa (8). 4-5 (C.4-5; K.XX.4-5). 1 Madhu and Kaitabha charged Narayaņa with the theft of the Vedas. Ram. VII. 72. See JK. under Kaitabha. 6-7 (C.6-7; K.XX.6-7). 1 Emend garjato into tarjatol (tarjatūm, K). 8-10 (C.8-10; K.XX.8-10), 51

402 THE NATYASASTRA [XXI. 11-

for the purpose of my work. It will be the bharati rrtti of the speaker, in which words will preponderate. I shall kill these two Asuras today". So saying Hari (Visnu) with his perfect gestures1 and Angaharas2 severely fought these two Daityas who were experts in the method of battle. 11. At that time Hari's pacing with the Sthanakas1 on the ground created a great bhara (burden) on the earth (bhumi); the bharati rrtti (Verbal Style) was built on that (bhara)2. The origin of the Grand Style 12. And at that [very] time, by the rebounding of the bow named Sarnga which was intensely brilliant, steady and full of much sattra (strength) the sattvati urtti (Grand Style) was made1. The origin of the Graceeful Style 13. When [in course of fighting] the god moved sportively with various Angaharas and tied up his sikha (kesa ?) the kaisili vrtti (Graceful Style) was made1. The origin of the Energetic Style 14. Then from the various personal combats which were full of energy and excitement, and which entailed various Caris the Energetic (arabhati rrtti) was made1. 15. Whatever acts the god Brahman observed as arising out of the different Styles (rrtti), were associated1 by him (Druhina = Brahman) with words suitable to their meaning. 16. When the two Asuras Madhu and Kaitabha were killed by Hari (Visnu) Brahman spoke to him (Nārāyana = Vișnu) who was the subdduer of foes (arindama).

angaih here means angikaih and angaharaih. 2 Sce NS. IV.19-27, 170ff. 11 (C.11; K, XX.11). 1 See NS. XI. 49ff. This is a clear instance of folk-etymology and does not really explain the origin of this Style. It possibly comes from the Bharata tribe ; see NS. I. 41 f.n. 12 (C.12; K.XX.12). T See above 11 note 2. 13 (C.13; K.XX.13). 1 See above 11 note 2. 14 (C.14; K.XX.14). 1 See above 11 note 2. 15 (C.15; XX.K.15). ' Emend pratyapujayat into pratyayojayat. · 16 (C. 16; K.XX.16).

-XXI. 25 ] TEN STYLES 403

The origin of the Nyaya 17-18. O god, thou hast killed the Danavas with various clear, expressive and graceful Angaharas ; hence this method of personal combat [applicable] in throwing all kinds of missiles in this world, will be termed as Nyaya1. 19. Even this fight made with the Angaharas which arose from the Nyayas and observed them (Nyayas) [in practice] will be called the Nyaya1. 20. Then the high-souled Druhina (Brahman) gave over to the gods this Style full of various States and Sentiments, [for its use] in the production of plays. 21-22. The name Style ("rtti) was made a repository of the various States and the Sentiments. And whatever was made and in whatever manner, the exploits of the god (Visnu) were utilised by the sages in fashioning the similar Styles arising from the Words and the Gestures which have their origin in materials taken from the four Vedas1, and which also have Words and Gestures as their chief characteristics. 23. These Styles which were desired, wellborn and full of various Caris, were again, taken by me at Druhina's command, for the purpose of making plays (lit poem)1. 24. The Verbal Style (bharate trtti) was from the Rgveda, the Grand (sattvati) from the Yajur-veda, the Graceful (kaisiki) from the Sama Veda and the remaining one (i.e. the Energetic or (arabhatī) from the Atharva [Veda]1. 25. The Style which is to be applied by the male characters and not by females and which gives prominent place to speeches

17-18 (C.17-18; K.XX.17-18). 1 Sce NS. XI. 74ff. 19 (C.19; K.XX.19). 1 See NS. IV. 170ff. . 20 (C.20; K.XX.20a, 21a). 21-22 (C.21-22; K.XX.21b-23a). 1 Emend natyaveda into caturveda. 23 (C.23; K. XX.20b, 23b). Emend 23a as follows. पुनरिष्टा सुजाता च नानाचारी-खमाकुला. 24 (C.24; K.XX.24). 1 This is a different story about the origin of the vrttis. See before 2-14. 25 (C.25; K.XX.25).

404 THE NATYASASTRA [ XXI, 26-

made in Sanskrit, is used by the eponymous bharatas (actors) as bhāratī (Verbal)1. The four varieties of the Verbal Style 26. It has four varieties such as the Laudation (praro ana), the Introduction (amukha), the Vithi and the Prahasana, and these have became its component parts (anga)1. The Laudation 27. The Laudation (prarocana) in the Preliminaries is to attain success, prosperity, good luck, victory and removal of all sins.1 The Introduction 28-29. That part of a play where an actress1, the Jester or the Assistant has a talk with the Director on some relevent topic, and they use interesting words or adopt any type of the Vithi or talk in any other way is called the Introduction (amulha)1. I shall speak in detail about its five varieties (lit. elements). The five varicties of the Introduction 30. The Accidental Interpretation (udghatyaka), the Open- ing of the Story (lathoghala), the Particular Presentation (prayo- gatisaya) the Personal Business, (prarrttaka) and the Transferrence (acalgita) are the five varieties of the Introduction (amulha)1. 31. Of these the characteristics of the Accidental Interpre- tation (ndghatyala)1 and the Transferrence (acalgita)" have been mentioned by me. I shall now speak in detail of the characteristies of the rest. Opening of the Story 32. [That Introduction] in which a character enters [the stage] taking up a remark of the Director or its meaning, is called the Opening of the Story (lathodghata)1.

1 NL. 1054ff. DR. II. 5 ; SD. 274, AP. modifies this def. by adding striyuktū prākrtoktita, Haas, on DR. III. 5 (p.81). 26 (C 26; K.XX 26). 1 Cf. NL. 1008-69; DR. III. 5 ; SD. 285. 27 (C.27; K.XX.27). 1 Cf. NL. 1070-7lff; DR. III. 6 ; SD. 286. 28-29 (C.28-29; K.XX.28-29). 1 Cf. NL.1178-81, DR. III. 7 SD. 286. 30 (C.30; K.XX.30). ' Cf. NL. 11-88-89 DR: III. 8, SD. 287. 31 (C 31; K.XX.31). 1 See NS. XX.117 Cf. NL. 1189 ;. DR. III. 14 SD. 288. See NS. XX. 118; NL. 1192, DR. III. 15; SD. 292. 32 (G.32; K.XX.32). 1 Cf. NL, 1196; DR. JII. 9; SD. 289.

-XXI. 39 ] TEN STYLES 405

Particular Presentation 33. When, over this production [of the Introduction] the Director imposes another production and then a character jenters [the stage], it is called the Particular Presentation (prayogatisaya).1 Personal Business 34. [The Introduction] in which the Director speaks on some business in hand and taking cue from this (lit. with its help) a character enters the stage, it is called the Personal Business (pravrttaka)1. 35. Taking up one of these types and skilfully giving double meaning to it, the wise [playwright] should construct the Introduc- tion by freely assembling diflerent characters1. 36. The wise are thus to know the Introduction with differ- ent bases1. The characteristics of the Vithi2 and the Prahasana3 have been mentioned before. 37. These are the eight1 different aspects (lit. meanings) of the Verbal Style I spoke of. I shall now explain the rules of the Grand Style (saltcali) with its characteristies. The Grand Style 38. The Style which is endowed with the sattcata quality, . the Nyayas, metres, and has exuberance of joy and an under- current of the State of sorrow1, is called Grand (sattrati)2. 39. The Grand Style is known to consist of representation by Words and Gestures, and of strength in speeches and acts showing the rise of spirit.

33 (C.33; K.XX.33). ' See NI. 1201-1202; DB. III. 11; SD. 290. 34 (C.34; K.XX.32). 1 Cf. NL. 1214-1215; SI. 291; DR. III. 10. 35 (C.35; K.XX.35). 1 i.c. actress, JJester or the Assistant. See 28 above. 36 (C.36; K.XX.36). 1 Emend vizbudhasrayam into vividhisrayam. 2 Sec NS. XX. 111ff. 3 See NS. XX. 101ff. 37 (C.37; K.XX.37). Prarocana, Vithi, Prahasana and five varieties of Amukha. See before 26-30. 38 (C.38; K XX.38). ' This shows that no pathetie subject-matter should find a place in this Style .. 2 Sec NL. 1234ff. SD. 416. DR. II. 53. 39 (C.39; K.XX.39).

406 THE NATYASASTRA [ XXI. 40-

40. It is to contain the Sentiments such as Heroic (vira), the Marvellous (adbhuta) and the Furious (raudra) and to a small extent (alpa) the Pathetic (kuruna) and the Erotic (srngara), and characters in it should be mostly majestic and defying one another1. The four varieties of the Grand Style 41. It is known to have the four varieties such as challenge (utthapaka), Change of Action (parivartaka), Harsh Discourse (samlapaka) and Breach of Alliance (samghata)1. Challenge 42. One's rising up with a view to conflict after saying "I am getting up [for battle, now] show me your own prowess" is called the Challenge (utthapaka)1. Change of Action 43. If after leaving the thing which caused the rising up, one takes to other things due to some need, it is called the Change of Action (parivartala)1. Harsh Discourse 44. Various kinds of words containing abuse or insult whether these arise from a challenge or not, are called Harsh Discourse (samlāpaka)1. Breach of Alliance 45. The stopping of an alliance for the sake of a friend,1 money or due to an accident or [one's] own fault, is called Breach of Alliance (samghāta)2. 46. These are the eight meaningsI of the Grand Style that I spoke of. I shall hereafter describe the characteristics of the Graceful Style (laisikī vrtti)1.

40 (C.40; K.XX.40). 1 See NL. 1271-1273). 41 (C.41; K.XX.41). 1 Cf. DR. II. 53 SD. 416, NL. 1274ff. 42 (C.42; K.XX.42). 1 Cf. NL. 1276, 4278. The text on this point scems to be corrupt, also cf. DR. II. 54; SD. 416. 43 (C.43; K.XX.43). 1 Cf. DR. II. 55; SD. 419; NI. 1279-1282. 44 (C.44; K.XX.44): 1 Cf. DR. II. 54; SD. 418, NL. 1288. 45 (C.45; K.XX.45). ' Read mitrartha-karya. 2 Cf. NL. 1298-1299; DR. II. 55; SD. 417. 46 (C.46; K.XX.46). 1 Utthāpaka, parivarttaka, the two kinds of samlapaka and the four kinds of samghata. See before 41, 44, 45.

-XXI. 52 ] TEN STYLES 407

The Graceful Style 47. That Style is called Graceful (keaisiki) which is specially interesting on account of charming costumes worn 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 from) its enjoyment1. The four varieties of the Graceful Style 48. The Graceful Style is said to have the four varieties such as Pleasantry (narman), Beginning of Pleasure (narma- phurja) Unfoldment of Pleasure narma-sphota) and Covert Pleasure (narma-garbha)1. The three kiuds of Pleasantry 49. The Pleasantry (narma) which abounds in remarks made in jest, is of three kinds : that based on love, that with pure laughter and that having Sentiments other than the Heroic1. 50. The Pleasantry (narman) is known as concerned with acts of jealousy and anger, words of rebuke, self-reproach and deception of others. Beginning of Pleasantry 51. The Beginning of Pleasantry (narma-sphurja) is to be known as the first meeting [of lovers] in which words and dresses exciting love [are in evidence] but which ends in fear1. Unfoldment of Pleasantry 52. The Unfoldment of Pleasantry (narma-sphota) is the cause of the Sentiment contributed by small fraction of different States (bhava) and not by any State as a whole1.

47 (C.47; K.XX.47). 1 Cf. SD. 411; DR. II. 47; NL. 1304ff. 48 (C.48; K.XX.48). 1 Cf. DR. II. 48; SD. 411; NL. 1308ff.' 49 (C.49; K.XX.49). Cf. DR. II. 48-50; SD. 412; NL. 1310 defines narma as follows : परापवाद: परुषेबश्लंय् विवर्जितम्। शुद्धमन्तरगंताकूत नर्म स्वाच्कन्नगर्भकम् ; but the def. of the NS. as well has been referred to. 50 (C.50; K.XX.50). 51 (C.51; K.XX.51). 1 Cf. NL. 1342-1343; DR. II. 51; SD. 413. 52 (C.52; K.XX.52). 1 Cf. DR, II. 51; SD. 414 ; NL. 1336 f.

408 THE NATYASASTRA {XXI.53

Covert Pleasure 53. When the Hero acts incognito out of any necessity through his qualities such as intelligence, [good] appearance and affeetion, it is called Covert Pleasure (narma-garbha)1. 54. These are the eight different meanings of the Graceful Style that I was to speak about. I shall hereafter describe the Ener- getic Style (arabhati) which is concerned with haughty Sentiment.1 The Energetic Style 55. The Style which includes mostly the qualities of a bold person (arabhato) such as speaking many words1, deception, bragging and falschood, is to be known as Energetie (ārabhali)2. 56. The Style in which there is a representation of falling down1, jumping, crossing over, deeds of magic and conjuration, and various kinds of fighting, is called Energetic (arabhati)2. The four varieties of the Energetic Style 57. It has varieties such as Compression (samsiptaka), Commotion (acapata), Raising Various Feelings (rastūtthapana) and Conflict (sampheta)1. Compression 58. Compression (samlsiptaka) is furnished with workman- ship (silpa) in the true sense of the words and it includes the

53 (C 53; K.XX.53). ' According to Sagaranandin Arabhali is an aniga of the Gaudi virtti : NL. 1385. Cf. DR. II. 52; SD. 415; NL. 1338 f. C. adds an additional def. (C.5.4) of this, but it is wanting in K. 54 (C.55; K.XX.54) 1 The three kinds of narma, the three kinds of marma-garbha and narma-phurja and narma-sphota. 55 (C.56; K.XX.55). 1 'Many words' probably mean altercation or verbal duel. 2 Cf. NL. 1348 ff. DR. II. 56-57; SD. 420. 56 (C.57; K.XX.56). The reading prasta° in prastava° seems to be corrupt. Emend this to vastra'. 2 See above 56 note 2. C. adds one more def. (C.58) of arabhati but this is wanting in K. Iu trans. it will be as follows : That which includes excitement due to an application of the sixfold policy (sadguna), running away due to deception of the enemy, and that which relates to [material] gain or loss, is called the Energetic Style. 57 (C.59; K.XX.57). ' Cf. NL. 1356 f. DR. II. 56-57. SD. 420. 58 (C.60; K.XX.58). 1 Cf. DR. II. 57-58, SD. 422, NL. 1358 f. gives another def. samksipataka.

-XXII. 65 ] THE STYLES 409

presentation of model works (misla) drawings, and dresses, and relates to some condensed matter. Commotion 59. Commotion (avapāta) is known to relate to the occurrence of fear and jubilation, panic, flurry, many kinds of speaking, quick entrance and exist1. Raising the Theme 60. That deed which is represented as being connceted with panic or no panic, and includes a combination of all the Sentiments is called the Raising the Theme (rastutthapana)1. Conflict 61. Conflict (sampheta) is known to include excitement, many fights, personal combats, deception, split and [mutual] striking of weapons1. 62. These are the Styles to be reckoned by the wise in connexion with the drama. Now listen about their application in different Sentiments, which I am going to tell you. Styles according to Sentiments 63-64. The Style in the Erotic and Comic Sentiments should be Graceful and in the Heroic, the Furious and the Marvellous Sentiments it should be Grand. And in the Terrible, the Odious and the Furious Sentiments one should use the Energetic Style, while the Verbal Style is applicable in the Pathetic and the Marvellous SentimentsJ. 65. I have spoken properly about the Histrionic Represen- tation dependent on Words, Gestures, Temperament and the Styles. Now I shall treat of the Costumes and the Make-up used in the production of plays.

Here ends Chapter XXII of Bharata's Nātyasastra which treats of the Styles.

59 (C.61; K.XX.59). 1 Cf. DR. I. 59. SD. 423; NL. 1368f. 60 (C.62; K.XX.60). 1 Cf. DR. II. 59, SD. 420; NL. 1372f, 61 (C.63; K.XX.61), 1 Cf. DR. II. 50; SD. 421; NI. 1380f. 62 (C.64; K.XX.62). 63-64 (C.65-66; K.XX.63-64). 1 Cf. NL. 1059-1562. DR. II. 62; SD. 410. C. repeats after this two couplets from the Ch. VII. (118-119). 65 (C.69; K.XX.65), 52

CHAPTER TWENTYTHREE

THE COSTUMES AND MAKE-UP

Necessity of the Costumes and Make-up 1. I shall similarly speak in due order, O Brahmins, about the Costumes and Make-up ; for the production [of a play] depends on this1. 2. The Extrancous Representation (āhāryabhinaya) deals with the rules of the Costumes and Make-up (nepathya)2. Anyone who wishes for the success (lit. swell-being) of a dramatic production should pay attention to theseI. 3. The dramatis personae are of different types1. Indicated first2 by their Costumes and Make-up they accomplish the repre- sentation without much effort by means of Gestures and the like. Four kinds of the Costumes and Make-up 4. The Costumes and Make-up (nepathya) are of four kinds ; model work (pusta)1, decoration (alamlara), painting the limbs (anga-racana) and living creatures (sanjiva). The four kinds of model-work 5. [Of these] the model-work is of three kinds and of various forms. They are : the Joined Object (sandhima), the Indi- cating Object (vyajima) and the Wrapped Object (vestima)1. 6. The model work which is made up of mat, cloth, skin and the like, is called the Joined Object (sandhima)1.

1 (C.1; K.XXI.1). ' K. reabs 1b differently. 2 (C.2; K.XXI.3). 1 C. reads after this an additional couplet. 3 (C.4; K.XXI.2). 1 Nānāvastha-nānābhītā yā sokūdyā nānā- bhutasrayas ca (Ag. p. 429). 2 Read prvam (pūrva, C.) nepathya-sucitah (sucikah, C. sadhital!) 4 (C.5; K.XXI.4). 1 K. mukta for pusta. 2 K. nātyānga-racanā for tathānga-racanā. 5 (C.6; K.XXI.5). 1 Cestimah, C. for vestimah, K. 6 (C.7; K.XXI.6). ' Sandhimah-sandhānatayā nirvrttah (Ag. p. 429).

.XXIII.12] THE COSTUMES AND MAKE-UP 411

7. That which is made by means of a mechanical device (yantra) is called an Indicating Object (vyajima)1 and that which is produced by wrapping, is called a Wrapped Object (vestima)2. 8. Hills, carriages, lofty palaces, shields, armours, banner- staffs and elephants1 which are constructed for use in a dramatic performance are called model-works (pusta). Decorations 9. Decorations (alamkara) are known to consist of flower- garlands, ornaments and drapery which are differently used on different parts of the [human] body. Garlands 10. Garlands are of five kinds : encireling (restita)1, spread- up (vitata), grouped (samghaya)2, tied-round (granthima), and hung-down (pralambita). Four kinds of ornament 11. Ornaments of the body are known by the wise to be of the four kinds : that to be fixed by piercing the limbs (avedhya)1, that to be tied up (bandhaniya), that to be worn (praksepya), and that to be put round (aropya)2. Piercing ornaments 12. [Of these, the ornaments] to be fixed by piercing the limbs are ear-rings (kundala) and other ear ornaments1. Tied-up ornaments And those to be tied-up (bandhaniya) are the girdles (groni- sūtra) and the Angada (arm-band).

7 (C.8; K.XXI.7). 1 Vyājimah-vyājah sūtrasyākarsākādirūpah ksepas tena nirvrtto vyajimah (Ag. p. 430). 2 Read 7b as वेश्टासे वैव यद्र प वेष्टिमं म तुसंज्ञितः. Ag. (p. 430) explains vestimah as follows : upari jatu-sikstādinā vestanena nirvrtto vestimah. 8 (C.9; M.XXI.8). 1 Emend nagāh into nāgūh. 9 (C.10; K.XXI.9). 10 (C.11; K.XXI.10). 1 C. cestitam. " K. tepitam for samghatya. Ag. with C. 11 (C.12; K.XXI. 11). 1 C. āvedya. 2 K. āropyaka, C. āropaka. 12 (C.13; K.XXI.12). 1 The reading of 12b seems to be slightly corrupt.

412 THE NATYASASTRA XXIII, 13-

Worn ornaments 13. The ornaments to be worn (pralsepya) are the anklets (nupura) as well as the wearing apparels. Put-round ornaments And those [ornaments] to be put round (aropya) are the golden neck-chain (hemasutra) and necklaces (hara) of different kinds. Ornaments according to habitation and tribal origin 14. I shall now speak of the varieties of ornaments of men and women according to their habitation and tribal origin. Ornaments for males : Head ornaments 15. The crest-jewel (rūdamani)1 and the crown (mukuta)2 are called ornaments of the head. Ear ornaments And the ear-ring (lundala)8, Mocaka (car-pendant)4 and ear-top (kila) are ornaments of the ears. Neck ornaments 16. The pearl-necklace (muktacali) the Harsaka1 and the [gold] thread (sutra)2 are ornaments of the neck.

13 (C.14; K.XXI.13). 14 (C.15; K.XXI.14). 15 (C.16; KXXI.15). 1 To be worn on the top of the head. Cudāmanih siromadhye (Ag. p. 430). 3 To be worn above the forchead. Mukuto lalatordhve (Ag. l.c.). 8 To be worn in the lower lobe of the car. Kundalam adhara- pālyām (Ag. l.c.) .* 4 To be worn in the hole in the middle of the car. Mocakah kārņasaskulyū madhyacchidre uttara-karniketi prasiddham (Ag. l.c.). 16 (C.17; K.XXI.16). 1 harsaka-a snake-shaped ornament, samud- gata-sarpādi rūpatayā prasiddham. (Ag. l.c.). ' Sütram-golden neck-chain, sutrakam iti guccha-grīvā-sūtrāditayā prasiddham (Ag. I.c.). 3 Katakah (vațikā, K.). Ag. (l.c.) reads the term differently. He says vetiketi sūksmakaļaka-rūpā. 4 Anguli-mudra-In later times the two members of this compound word. (anguliya and mudra) gave rise to two different synonyms for the object (ring) denoted by it.

-XXIII. 19 ] THE COSTUMES AND MAKE-UP 413

Finger ornaments And the Kataka [Vațikā]* and the finger-ring (angulīya- mudra) are ornaments of the finger. Ornament of the forearm 17. The HastaviT and the Valaya2 are the ornaments of the fore-arm (bāhu-nāli). Wrist ornaments And the bracelet (rucika)8 and the Uccitika4 are ornaments of the wrist. Ornaments above the elbow 18. The Keyura (armlet)1 and the Angada (arm-band)2 are ornaments to be worn above the elbow. Breast ornaments And the three-stringed necklace (trisara)3 is the ornament of the breast. 19. The suspended pearl necklace, the flower-garland and the like, are ornaments for the [entire] body. Waist ornaments And the Tarala' and the golden thread (sutra)2 are ornaments of the waist.

17 (C.18). 'This is seems to be very rarely mentioned in Skt. literature. ' This word is the same as Bengali balu (bangle). 8 This seems to be a variant of the word rucaka. See note 4 below. 4 This word seems to be never met with elsewhere. Ag.'s frag- mentary gloss on this word or rucaka is as follows : . cakra iti kara- golake vitatām tata urdhve cūliketi prasiddhau (?) niskuke agrabāhu- sthane etat [vibhu]-sanam (p. 430). 18 (C.19, K.XXI.17). 1 To be worn above the elbow. Keyure karpara (kurpara)-syordhvatah (Ag.l.c.), but ke bāhusirse yauti iti keyuram, Ksirasvamin on Amara II. 6,107. 2 To be worn above the keyura. Tayor (=keyurayor) urdhve tv angadam (Ag. l.c.). 3 Trisara-trisaro muktālatātrayeņa (Ag. l.c.). 19 (C.20; K.XXI.18). 1 To be worn below the navel ; ta[ra]lakam nabher atah (Ag. l.c.) ' To be worn below the taralaka. Tasyapyadhal sutrakam (Ag. l.c.).

414 THE NATYASASTRA [ XXIII. 20-

20. These are the ornaments for males in case of the gods and the kings. I shall now speak about the ornaments for females. Ornaments for females Head ornaments 21-22. The Sikhāpāśa1, the Śikhajāla2, the Piņdapātra" (Khandapātra), the Crest Jewel (cūdāmaņi)+, the Makarika5, the pearl-net (mukta-jala)6 the Gavaksa7 and the hair-net (sirsajala) are ornaments of the head. 22-23. The Tilaka on the forehead should be produced by many artistic touches, and group of design above the eyebrows should imitate flowers. Ear ornaments 23-25. The ornaments of the ear are the Kundala, the Śikhipatra1 (Khadgapatra), the braid [of hairs], the lotus2 and the Mocaka8 the Karņika+, the Karnavalaya5, the Patrakarņika6, the Karņamudra7 that entwines the ear, the Karņotkīlaka (ear-top),

20 (C.21; K.XXI.19). 21-22 (C.22-23a; K.XXI.20-21a). 1 This is same as cudūpasa mentioned in Megha, II. 2. 2 Ag. (p. 431) reads it as sikhāvyala and explains this as nugagran- thibhir upanibaddho madhyekarnika-sthuniyam, and adds to explain piudi- patra (=pindapātra) as tasyaiva dalasandhānatayā citra-vacanāni (9) vartulāni pātrāni pindīpātrāņi. 8 See note 2 above. 4 The same as mentioned in 15 above. 5 Ag. reads this makarapatram. 8 This is the same word which occurs in Megha, I. 64. ' No head ornament with this name seems to occur anywhere else. 22-23 (C.24; K.XXII.21b-22a). 23-25 (C.23b, 25-26; K,XXII. 21a, 22b-24). 1 Ag. (l.c.) reads sikhapatra and explains this as sikhapatra mayura- picchakaro vicitravarņa-maņi-racitah. 2 guccha. K. for kanja. C. 3 Rocaka, C. and darakah K. ' This was never met with before. 6 This is perhaps the sames as mod. Bengali kanbala << kanbala< kaņņavalaa< karņavalaya. 6 This was never met with before. This ornament is still in use among women of backward classes.

-XXIII. 27 ] THE COSTUMES AND MAKE-UP 415

the various kinds of the Dantapatras8 set with jewels and the Karņapūra9. The Tilaka and the Patralekha10 are ornaments of the cheeks11. Neck ornaments 26. The pearl-necklace, the snake-group (ryala-paikti)1, the Manjari2, the jewel-string3 the jewel-nocklace4 and the neck-chain (sutra)5 are ornaments of the neck. 27. The necklace with two, three or four strings as well as a [gold] chain is the ornament of the neck1.

• These were possibly made with ivory. 9 The well-known ear ornament. !" The same as patrabhanga (drawing decorative designs with -rented pigments). 11 C. reads after this four additional and somewhat corrupt couplet ((.37b-3la) which may be tentatively translated ax follows: And the triveni is to be known as the ornament of the breast. The two eyes are to be touched with collyrium, and the lips are also to be painted. The four front teeth (of the upper and the lower rows) are to have varying colours as well as whitness. When covered with artificial colours their beauty is enhanced. Pearl-like teeth of beautiful young women embellish their smile, and dyed with the colour of lotus petals they will be lovely, and when dyed with emerald colour the lips will attain the beauty of tender leaves. And their amorous look will constitute their charms 26 (C.31b-32a; K.XXI.25). ' An ornament with the snake-motif ; see above 16 note 1. This was never met with before. 2 Manjari-This was never met with before. 3 Ratnamalika-This is to be distinguished from ratnavali (sce note 4 below) which is a bigger necklace ; for the word malika means a small mūlā. Ratnuvali-See note 3 above. 5 Sutra (lit. thread) evidently means a thin thread-like necklace made of gold; cf. kanakasūtra in Pancatantra I. (vāyasa-dampati-kathā). 27 (C.32b-33a). 1 K. omits this passage. The terms like dvisara (wrongly dvirasa), trisara (wrongly trirasa) and catu-sara (wrongly caturasa) mean respectively necklaces with two, three and four strings.

416 THE NATYASASTRA [ XXIII. 28

Breast ornaments 28. The necklaces with the most artistic work1 are to be ornaments of the breasts. The jewelled net is the ornament of the breasts (or the back)2. Arm ornaments 29. The arm-band (angada)1 and the bangles (ralaya)2 are ornaments of upper (lit. the root of the) arms. The Varjura8 and the Svecchitika4 are ornaments of the fore-arm. Finger ornaments 30. The Kataka1, the Kalasakha2, the Hastapatra3, the Supū- raka* and the ring (mudranguliyaka)5 are ornaments of fingers.

Hip ornaments 31. The Kafci1 with a net of pearis, the Kulaka, Mekhalā, the Rasana and the Kalapa are ornaments of the hip (sroni). 32. The Kanci is [a girdle] of one string, the Mekhala of eight, the Rasana of sixteen and the Kalapa1 of twenty- five strings.

28 (C. 83b-34a; K.XXI.26). I nānā-ratnakrta (in K.) meaning made up of many jewels'. 2 Prstha-vibnsana (in K.) meaning 'ornaments of the back'. 29 (C.34b-35a; K.XXI.28b, 28a). 1 K's reading is corrupt. See above 18 note 2. 2 It is now-a-days called ananta in Bengal. Kalidāsa's Yakşa (Megha, I. 2) had a kind of valaya in his prakostha (fore-arm). 3 This seems to connceted with the baju still in nse among women of rural areas in Bengal. 4 Svecchitika-This was not heard of bofore. 30 (C.35b-36a; K.XXI.27b, 27a). 1 K. reads of 30a as śankha-kalāpi. kațakam tathū syat patrapurakam. Kataka is usually met with in the sense of an ornament of the wrists. 2 This was never met with before. 3. This was never met with before. There is however an ornament hasta-sulra (Apte). 4 This was not met with before. 31 (C.36be; K.XXI.29). 1 K. reads 3la differently. All the orna- ments except kulaka have been defined in 32 below. Kulaka scems to be a girdle of the special kind. 32 (C.37; K.XXI.30). 1 Kalapa seems' to have been used by Kalidasa in the sense of a necklace (Kumara I. 42).

-XXIII. 40 ] THE COSTUMES AND MAEKE-UP 417

33. The pearl necklace of the goddesses and the queens are of thirtytwo, sixtyfour or one hundred and eight strings. Ornaments of the ankles 34. The Nūpura, the Kinkiņi, the Jewel-net (ratuajāla)' and the ringing Kataka are the ornaments on the ankles. 35. The Pada-patra is the ornament of the shanks (jamgha) and the toc-rings that of the toes, and the Tilaka on the big toe are ornaments of the feet. 36. Similarly [an additional decoration of the feet] will be the lac-dye applied on them in various patterns to impart to them the natural colour of Asoka blossoms. 37. These are the decorations of women from the hair to nails [of the feet]1. Considering the States and the Sentiments these are to be applied [in different parts of the body]. 38. These ornaments (lit. works) having their origin in Viśvakarman2 are to applied also after a consideration of the tradition (agama), measurements [of the wearer] and her physical form. 39. [In dramatic production] one is not entitled to decorate the limbs freely and at one's will, with gold, pearls and jewels. 40. Utilised on account of wealth1, the jewelled orna- ments put on in proper places will lend beauty to the limbs2.

33 (C.38, K.XXI.31). 34 (C.39, K.XXI.32). 1 K. reads ghantika lālam evā ca. ? Hollow bangles within which small stone bits are lodged. 35 (C.40; K.XXI.33). I C. reads janrghayoh for padayoh. 2 This was never met with beforc. Ag. (p. 431) reads tilaka iti vicitraracanākrtā. 36 (C.41). 1 This passage is wanting in K. 37 (C.42; K.XXI.34b, 34a). 1 Ag. (l.c.) anakhād-alaktaka-rūaa- paryantam. 58 (C.43; K.XXI.35). - Ag. (l.c.) explains āgama as upādānakā- raņam. 2 An authority of arts and crafts (silpa). 39 (C.44; K.XXI.37b-38a). - K. reads tarhi sakt yanusāreņa. 40 (C.45). I Read vibhavato., º K, omits this passage. 53

418 THE NATYASASTRA [XXIII. 41-

41. But in the production of plays there should not be a use of too many ornaments ; for these by stiffening movements will enuse fatigue [to actors and actresses]1. 42. Weighed down with heavy ornaments one cannot move much, and one so weighed down, is likely to be exausted and to he faintaing. 43. Hence [in a dramatie production] there should be not used ornaments made of pure gold, but those made of lac and inlaid slightly with jewels, will not bring exaustion [to the wearers in a play]. 44. The rules of decoration are optionall in case of the celestial beings (gods and goddesses) ; but the decoration of human beings are to be made carefully. 45. The celelstial females are to be distinguished for their own roles by means of ornaments and Costumes suited to the various States. 46. Women of the Vidyadharas, the Yaksas, the Nagas, and the Apsarasas, and the daughters of sages and gods are to be distinguished by their Costumes. 47. The same rule applies also to women of the Siddhas, the Gandharvas, the Raksasas, the Asuras, the godly monkeys, and human females. 48. The Vidyadhara women should be made to have hairs (sikha) tied in top-knot decorated with string of many pearls and clothes [completely] white1. 49. The Yaksa women and the Apsarasas should have

41 (C.46). 1 A very sensible warning. 42 (C.44). See above 41 note. 43 (C.48). 44 (C.49). 1 For gods are beautiful.by nature. 45 (C.50). I Read 45a as भूषणंयापि वेषेस्त नानावस्था समाय्ये :. 46 (C.51, K.XXI.42). 47 (C.52). - Read divya-vūnara-nāriņām ; cf. 57 below. 2 K. omits this passage. 48 (C.53, K.XXI.44).1 K. reads citra for suddha, C. 49(C.54, K.XXI.43),

-XXIII. 56] THE COSTUMES AND MAKE-UP 419

ornaments of jewels, and the same will the dresses of [all] these, except that the Yaksa women are to wear the simple Sikha1. 50. The Naga women are to wear like the goddesses1 the ornaments abounding in pearls and jewels, but they are also have hoods2 [in addition to these]. 51. The daughters of sages are to wear a single Veni of the hair on their head, and they should not be made to have too much decoration. Siddha women 52. The Siddha women should have ornaments abound- ing in pearls and emeralds, and their dresses should be of yellow colour. Gandharva women 53. Ornaments of the Gandharva women should be made to abound in rubies. And they are to carry a Vina in the hands and to have clothes of saffron colour. Rakşasa Women 54. The Raksasa women are to have saffires as their ornaments, and their teeth are to be made white and the dresses of black colour. Goddesses 55. The celestial women are to have lapis lazuli and the pearls as their ornaments, and their dresses are to be made green like [the colour of] the parrot's tail. Monkey females 56. The women of the [godly] monkeys are to have topaz1 and [sometimes] lapis lazuli as their ornaments, and their dresses are to be made of blue colour.

1 Read samas tvūsām.for samastānām (K). and yas tvasam (C.) 50 (C.55, K.XXI.38b). 1 K. omits 50a. 2 Read phanās tāsām (K). 51 (C.56, K.XXI.39 and 45). - Read tusam veso vanocital (K).' 52 (C.57). 1 For the Siddha women see Megha I. 14. 53 (C.58). 4 Read kuryut before padma-mani°. 54 (C.59). 55 (C.60). 56 (C.61). 1 Puyparaga=pusparaja, NIA. pokh-ruj.

420 THE NATYASASTRA [ XXIII. 57

57. This should be the dress of celestial women in their love-making. But in other conditions their dresses are to be made white. Human females according to their countries 58. Human females are to have dresses and ornaments according to their places of origin. Listen properly about them. Women of Avanti and of Gauda 59. The young women of Avanti are to have curling hairs, and the women of Gauda are to have hairs mostly curled and they are to have the Sikhāpāśa and the Veņī. Ābhira women 60. The Abhira women are to have two Venis on their head which should be covered with a [piece of] deep blue cloth. Women of the North East 61. The women of the North East are to hold up their Sikhandas, and in dressing themselves they cover the body up to their hair. Women of the South 62. The women of the South are to have Ullekhya with Kumbhipadaka, and Avarta on the forehead 63. Thus, dresses, ornaments, and hair-eutting ete. should be regulated for the remaining characters according to their habita- tion and birth. Ornaments to be worn in the right place 64. An ornament not put on in its proper place will create

57 (C.62; K.XXI.40a, 46). 1 Read divyangana° ca. 58 (C.63; K.XXI.47, 40a). 59 (C.64; K.XXI.48). 1 Probably the district of Malda and neigh- bouring regions in modern Bengal. 60 (C.65; K,XXI.49). 61 (C.66; K.XXI.50). 62 (C.67; K,XXI.51). 1 Ullekhya is probably connected with Bengali ulki (tatto). 2 Possibly a special kind of tatto. 3 Some kind of circular mark. 63 (C.68b-69a; K.XXI.52). 1 K. omits 62a 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. 64 (C.69b-70a; K,XXL53).

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no beauty ; for by wearing a Mckhala (girdle) on the breast one will create laughter. Dresses to suit the condition of females 65. Similarly, the condition of females whose lover has gone abroad and who are afflicted with misery are to not to have a clean dress, and they are to wear their hair as a single Veni of the head. 66. The dresses of women who are separated from their lovers, should be white and they are not to wear many ornaments and not to cleanse their body1. 67. Such should be [the dresses] of women according to their habitation and the condition [of existence]. Now I shall speak about the proper dresses of men. Painting the limbs 68. But in their (i.e. men's) case the producers of plays should first of all paint the limbs, and then Costumes according to their habitation should be provided. The four original colours 69. The four original (lit. natural) colours are black, blue, yellow and red ; the limbs should be painted with these. The derivative colours 70. There are besides these, the primary and the secondary derivative colours. I shall speak about the ways in which the producers are to make them. The primary derivative colours 71. The yellowish white (pandu) colour is made up of the white and the yellow1, and the pegion (kapota) colour, of the white and the blue2. 72. The lotus (padma) colour is made up of the white and the red, and the green (harit) colour, of the yellow and the blue.

65 (C.70b-7la, K.XXI.54). 66 (C.71b-72a, K.XXI.55). ' na vapi hi nrta (=mrja) yuta, (K). 67 (C.72b-73a, K.XXI.56). 1 Vesā desasamudbhavā (K). 68 (C.73, K.XXI.57). 1 C. omits 68b. 69 (K.XXI.58). 1 C. omits this passage.' 70 (K.XXI.59). 1 C. omits this passage. 71 (C.74a, K.XXI.60a, 6la). 1 C. nila for pita. 2 C. omits. 71b. 72 (C.74-75a, K.XXI.60b-61b). .

422 THE NATYASASTRA [ XXI. 73.

73. The dark red (lasaya) colour is made up of the blue and the red, and the pale-red (ganra) colour, of the red and the yellow. 74. These are the primary derivative colours. Besides these there are [many] secondary derivative colours which may be made up of three or four [original] colours. The secondary derivative colours 75. Of these, the strong colour should form one part and the weak colour two parts ; but the blue colour should be taken as directed below. 76 The blue should form only one part while the other colours will form three parts, for the blue is known to be the strongest of colours. 77. Knowing these rules of colours which are to be pre- pared by mixing them variously1, one should paint the body of different characters. 78. The painted body together with the change of the Costume is to, be considered as due to the convention (nalya- dharma) affecting the dramatis personde1. 79-80. Just as [the soul of] a man on entering the body of another being, renounces his own nature connected with a different body and assumes another character1, so a person having (lit. covered with) [a different] colour and Costume adopts the behaviour connected with the clothes he will wear. Living beings 81. As they have breath, the gods, the Danavas, the Gandharvas, the Yaksas, the Raksasas and the Pannagas (Nagas) are called living beings (pranin)1.

73 (C.75b-76a, K.XXI.62). 74 (C.76b-77a, K.XXI.63). 75 (C.77b-78a, K.XXI.64). 76 (C.78b-79a, K.XXI.65). 77 (C.79b-80a, K.XXI.66). 1 nānūsamyoga(C) for manasam yoga(K). 78 (C.80b-8la, K.XXI.67). 1 C. reads atter this an additional couplet. 79-80 (C.82b-83a, K.XXI.65). ' Rcad parabhuvam for parābhavam. 81 (C.84b-85a, K.XXI.70). 1 C. reads an additional couplet after this

-XXIII. 89 ] . THE COSTUMES AND MAKE-UP 423

Lifeless objects 82. Hills, palaces, mechanical contrivances (yantra), shields, armours, banner-staffs and the varions weapons are known as lifeless objeets (apranin)1. Lifeless objects in human form 83. But whenever necessary (lit. due to a reason) they may assume a human form with |suitable] dress and speech according to the dramatie convention (nalya-adharma). Painting the limbs 84. After learning the rule of making colours one should paint the limbs fof the dramatis persowas] in keeping with 'their habitation, birth and age. Colours for gods 85. Gods as well as the Vaksas and the Apsarasas should be painted reddish yellow (gawra), and Rudra, Arka (the Sun) Druhina (Brahman) and Skanda are to have the colour of gold. 86. Soma (the Moon), Brhaspati. Sukra, Varuna and the stars, the ocean, the Himalaya, and Ganga (the Ganges) are to be made white in colour. 87. Angaraka [Mangala = Mars] should be painted red and Budha and Hutasana (Agni) yellow and Narayana and Nara as well as Vasuki should be dark blue (syama). Colour for demi-gods 88. The Daityas, the Danavas, the Raksasas, the Guhyakas, the Pisacas, gods of hills, and the sky are dark blue in colour. 89. The Yaksas, the Gandharvas, the Bhutas, the Pannagas (Nagas), the Vidyadharas, the Pitrs and the monkeye are of various colours.

82 (C.86b-87a; K.XXI.71). 1 Read तेडप्रागिम :. 83 (C.87b-88a; K.XXI.72). 84 (C.88b-89a, K.XXI.73). 85 (C.89b-90a; K.XXT.74). 1 Road rudrarkadruhina (K.) for rudrah sadruhiņal (C.). 86 (C.90b-91a; K.XXI.75). 87 (C.91b-92a, K.XXI.76). 88 (C.92b-93a; K.XXI.77). ' Presiding deity of hills (Ag.). 89 (C.93b-64a; K.XXI.78). 90 (C.94b-95a, K.XXI.79). .

424 THE NATYASASTRA [ XXIII. 90-

Colours for human beings in different regions 90. Human beings who dwell on the Seven Continents (sapta-dnipa) are to be painted in the colour of burnished gold. 91. But among the inhabitants of Jambudvipa where men of varions colours live, every one except those who dwell in the North Kuru region should be given the colour of gold. 92. People of Bhadrasva1 should have the white colour of their body, and so should these of Ketumala. But those of other Continents should be made reddish yellow (gaura) in colour. Colours for Bhutas and dwarfs 93. Bhutas and the dwarfs are known to be of various colonrs. They possess odd faces and may have faces of boars, rams, buffaloes and deer as well1. Colours of different peoples of Bharata-varsa 94. Listen now about the difierent colours of the people of Bharatavarsa. Kings there should be of lotus colour, or dark blue or reddish yellow [in complexion]. 95-96. And the happy mortals there are to be made of the reddish yellow (ganra) colour. Those who practice vile acts, are possessed of evil spirits, diseased or engaged in penance and do not perform sacrifices (yajna) and are of inferior birth, should be made brown (a-sita, lit. not fair). And the sages should always be given the colour of plum (cadara). And such should be the colour of sages observing penance (tapas). 97. But out ot any necessity and not according to one's pleasure, colours of per-ons may be varied according to the habita- tion, birth and age. 98. An expert in [dramatie] production should paint persons after knowing their, place [of action] and time of action, birth and the region of the-earth they dwell in.

91 (C.95b-96a; K.XXI.80). 92 (C.96b-97a ;K.XXI.81). 1 Read bhadrasvah. 93 (C.97b-98a ;K.XXI.82). 1 K. reads this differently. 94 (C.98b-99a; K.XXI.83). 1 padmavarņah for pancavarņah. 95-96 (C.99b; K.XXI.84-86a). 1 C. omits 95b-96. 97 (C.100; K.XXI.86-87a). 98 (C.101; KXXI.87b-88a).

.XXIII. 100] THE COSTUMES AND MAKE-UP 425

Colours of different tribes 99. Kiratas1, Barbarians2 (barbara), Andhras3, Dramilas,4 Kasis", KosalasG, Pulindas7 and the inhabitants of the South (daksinatya)s are mostly known to be brown (asita lit. not white). 100. SakasJ, Yavanas3, Pahravas (Palhavas)3 and Vahlikas (Bahlikas)+ who dwell in the North should be made almost reddish yellow (guara).

99 (C.102, K.XXI.88b-89a). 1 Colours mentioned in this and the following passages probably show that the groups alloted a special colour are approximately of the same complexion and not actually of the colour mentioned. These passages seem to give a valuable information about some ethnological features of ancient India. Pre-Aryan people including the Dravidians (Andhras and Dramilas) were not fair in complexion. The separate mention of the Southerners after Andhras and Dramilas (Dravidas) taken along with some Northern tribes like the Kasis and Kosalas, seem to show that the NS. here records the tradition of their once living in the North. Kirata-a hill tribe probably living in the Himalayan region ; see Mbh. XII. 207, 43. " Barbara-Some none-Aryan tribe mentioned very rarely in Skt. literature (Mbh. XII. 207. 43). This may be a synonym of Mleccha as well. 3 Andhra-This tribe is well-known in history and literature 4 Dramila-Known in Pali (Mahavamsa) as Damila (modern Tamil). 5 Kasi-The tribe after which the ancient kingdom of Kasi and the city of that name was known. ' Kosala-The tribe giving name to the ancient kingdom of Kosala. 7 Pulinda-An aboriginal people living probably in the Vindhya region. See Mallinatha on Raghu, XVI. 32; also Panha I. 1. and Naya I. 1. 8 They mnay be members of Kol and other tribes living in the South. 100 (C.103; K.XXI.19b-90a). 1 Saka-Hoards of nomadic tribes from Central Asia who descended on the Indian plains in about 200 B.C. ; mentioned in Manu 10, 44. 2 Yavana-Probably the same as Yona in Asoka's edicts. They seem to have been Perso-Grecks and their descendants. 3 Pahrava (Pahlava)-Usually taken to mean Parthians who annexed the Western Punjab in about 140 A. C. 4 Vahlika (Bihlika)-Inhabitants of the region known as Balkh. 5 Read उत्तरा पश्षिमां त्रितम् (उत्तरां पश्चिमा दियम्, K. उत्तरा ये त्रितं दियम् C.). The tribes mentioned here came to from their home in the North-West, 54

426 THE NATYASASTRA [ XXIII. 101

101. PancalasI, Surasenas2, Udhras3, Māgadhas4, Angas', Vangas6 and Kalingas7 should be made dark or deep blue (syama) in complexion, Colours of differen castes 102. Brahmins and Ksatriyas should be always made red (or reddish yellow)1 and Vaisyas and Sudras dark or deep blue (syama) in complexion2. Rules for the beard 103. After painting the face and other limbs one should provide beards to persons after considering their habitation, activity and age. 104. The beard according to the change of States of persons should be of four kinds : shaven (suddha)T, black (syama)2 smartly done (ricitra)" and bushy (romasa, lit. hairy)4.

101 (C.104; K.XXI. 90b-9la). 1 Pancala tribe is well-known in Mbh. 2 Surasena-The tribe which once settled around Mathura. It gave its name to the principal Pkt. of the Indian drama (Sauraseni). 3 Udhra (Udra)-The name of a tribe after which the modern Orissa (Odrivişaya) has been named. See Manu. 10; 44. 4 Magadha-The tribe after which the ancient conntry of Magadha was named. 5 Anga-The tribe after which the ancient country of Anga was named. Vanga-The tribe after which the ancient Vanga (South-East Bengal) was named. 102 (C.105; K.XXI 91b-92a). 1 Red (rakta, C) or reddish yellow colour (gaura, K) assigned to Brahmins and Ksatriyas probably show that at one time when the various theatrical conventions cystalised, these two scetions of the society still retained their original Indo-Iranian physical features one of which was certainly the colour of their skin. The dark colour of the Vaisyas and Sudras similarly shows in all likelihood that these were not Aryans or Aryans of the pure type. " See note 1 above, 103 (C.106; K.XXI.92b-93a). 104 (C.107; K.XXI.93b-94a). 1 Śuddha (sukla, C.)-clean-shaven, ksurena sarvadi vasitam, always treated with razor (Ag.). 2 Syuma-ordinarily black in colour ; but see above. 3 Vicitra-cut or done in special fashion. Ag. (p.433) on this point says: विचिचमि[ति]सुरसकर्वी कर्मणा उत्पादनकरमण च रचित तं) विचिवसन्निवेशं. The reading.though evidently corrupt seems to give the meaning suggested. 4 Romasa-bushy, romasam iti yathotpannam (Ag. l.c.), 'bushy

.XXIII. 111] THE COSTUMES AND MAKE-UP 427

105. The beards of religious mendicants (lingin)1 ministers, priests and persons who are indifferent to sensual pleasure2 or have consecrated themselves for any ritual8 should be made [clean] shaven. 106-107. The beards of celestial males such as the SiddhasI and the Vidyadharas2, kings, princes, officers of the king and persons who are foppish and proud of their youth3, should be made smartly done (vicitra) by the producere of plays. 108. The beard of persons who could not fulfil their pro- mises, are sorry and miserable on that account or have been struck with any calamity, should be made black (syama). 109. The beard of sages, ascetics and persons observing a long-standing vow, and of those who are bent on revenge1 should be made bushy (romasa). Rules for different Costumes 110. Thus the beard should be made of different kinds. I shall now speak of costumes suited to different occasions1. 111. Drapery suited to different ways of painting limbsI may be of many kinds ; but generally it is of three varieties : white, red and variegated (ricitra)2.

means as they are naturally grown'. The last three classes do not seem to be mutually exclusive. 105 (C.108; K.94b,96a). 1 Linginum-ब्रह्मचारिवानप्रस्थादीनां मध्यस्था ये च पुरुषा ये भिचां समाश्रिता इत्यर्थ: (Ag. p.433-434). 2 Madhyasthu-मध्यस्था इति नोक्षमानामधमानाम् दत्यर्थ: (Ag. p.434). 3 It is even now the custom among some Hindus is that they shave themselves clean before consecrating themselves for some special kind of daiva and paitra rites. 106-107 (C.109-110; K.96b-98a). I A class of demigods. See Kumāra. 1,5. A class of demigods. Sce Bhartrhari's Vair. Sat. 24. 3 Ag. says यौवनोन्ादिन इत्यमात्य-पुरोधसोऽपीति भाव: (p. 434). 108 (C.111; K.XXI 95). 109 (C.112; K.XXI. 98b-99a). 1 C. reads 109b as fesfarror 4 रोमश्स्तु विधौयते which seems to be wrong. Sce above 106 where Siddhas and Vidyadharas have been taken as clean shaven. 110 (C.113; K.99b-100a). 1 C. repeats here 10. 111 (C.115). T See above 85ff. 2 K. omits this.

428 THE NATYASASTRA [ XXIII, 112.

112. Costumes are of three kinds : white, variegated and soiled (malina). I shall now explain their difference according to their use by producers. 113-114. In going to the temple of gods, observing some auspicious rite or a vow or at the conjunction of some Tithis and stars (naksatra) or at the time of marriage1 or any other sacra- mental rite, men and women should have white costumes and the same is the rule for a trader (prāpanika)2 . 115. Costumes of gods, the Dānavas, the Yaksas, the Gandharvas, the Nāgas, the Rākșasas, kings, and people of foppish nature1 should be variegated (citra = ricitra). 116-117. Costumes of Kancukins (armour-bearer), ministers, leaders of army, priests, the Siddhas, the Vidyadharas, merchants, adepts in Sastras, Brahmins. Ksatriyas, Vaisyas and kings' officers (sthaniya)1 should be made white in a dramatie production. 118. Costumes of lunaties, intoxicated persons, wayfarers and persons struck with calamity should be made soiled (malina).1 119. Costumes and decorations of the sages, the Jain (Nirgrantha) and the Buddhist (Sakya) monks, the Tridandis1 and Brahmins well-versed in the Vedas (grotriya) should be made according to their respective sectarian rules. 120. Costumes of the wandering ascetics (parirraj), great sages and other ascetics should be made, whenever necessary, with dark red (kasaya) cloth1.

112 (C.116; K.XXI. 100b-101a). 113-114 (C.117-118 ; K.XXI. 101b-102a). 1 K. omits. 113. Ag. (p.434) explain suddha as शुद्धवस्वादिप्राय :. 3 Prūpaņika (C. prapatnika, K. prayat", prayat") see Magh. IV. 11. 115 (C.119; K.102b-103a). 1 Emend karkasa° into kāmuka". 116-117 (C.120-121; K.]03b-105a). ' They were possibly inferior in rank to pradesikas of Asoka. See B.M. Barua, Inseriptions of Asoka Pt. 1l. Calcutta, 1943, p.242. 118 (C.122; K.XXI 105b-106a). 1 K. reads after this three more hemistichs (106b-107). 119 (C.123; K.XXI.108). 1 A sannyasin who carries three staves tied together and has control over his mind, speech and body. Sce Manu 12,.10. (Ref. Apte). For tridamli-srotriyesu, K. reads yatipasupatesu (members of the Pasupata sect.). . 120 (C.124). K, omits this.

-XXIII, 128 ] THE COSTUMES AND MAKE-UP 429

121-122. To the Pasupatas should be given a veriegated dress, and costumes of persons of high family should be made according to their position. Besides this the asceties are sometimes to have the bark of trees and the [animal] skin as their clothing. 122-123. To persons engaged in guarding the harem should be given armour and clothes of dark red (lasaya) colour. The same should be the dresses of females when they attain special conditions. 124. Costumes of the warriors should be suitable for fighting a battle, and they are to be provided with brilliant weapons, armours, quivers1 and bows 125. Kings should always be made to have a many- coloured dress ; but when due to ominous appearance of any star (walsatrotpata)1 they are engaged in any propitiatory rite their costumes should be white. 126. Thus should be made the dresses of persons (lit. types men and women) of the superior, the middling and the inferior classes according to their age, birth and other conditions (lit. qualities). 127. These are the rules of costumes in a dramatie produe- tion according as persons attain different conditions, and practice good or bad deeds. Use of masks 128. Sinilarly different masks (pratisira)' are to be used for gods and men according to their habitation, birth and age.

121-122 (C.125, 127a; K.XXI 110b,109). 122-123 (C.126, 127b; K.XXI. 109b-110a, 11la). 124 (C.128; K.XXI.111b-112a). 1 C. baddhatrūna for baddhatāma. 125 (C.129; K.XXI.112b-113:). 1 नववीन्पातप्रश्मनाथं यन्मङगं, Ag. (p, 431). 126 (C.130; K.XX1.113b-114a). 127 (C.131; K.XXI.114b-115a). 128 (C.132; K.XXI.115b-116a). 1 Pkt. padisisaa=Skt. pratisirsaka (Karp I.). It is not laid down anywhere whether masks are to be used in all types of plays and for all characters. For a diseussion on this sce the Introduction.

430 THE NATYASASTRA [ XXIII. 129

Three kinds of crown 129. [In the masks] crowns for the gods and kings are of three k'nds: Pārśvagata (= Pārsvamauli), Mastaki and Kirīti.I 130. For the gods [in general], the Gandharvas, the Yaksas, the Pannagas (Nagas) and the Raksasas the crowns of the Parśva- mauli (Parsvagata) type have been prescribed1. 131. And the Kiriti crown has been prescribed for the superior gods, and the middling gods are to have crown of the Mauli (= Mastaki ?) type, while the common (lit. inferior) gods are to have crowns of the Parsvamauli1 type. 132-133. The kings should be given crowns of the Mastaki type. While the Vidyadharas, the Siddhas and Caranas1 should be provided with crowns made up of locks of hairs (kesa-mukuta). 133-134. The masks of ministers, Kancukins (armour bearer), leaders of the merchants' guild, and priests should be furnished with turbans1. 134-135. And the masks of the army-leaders (senapati) and the crown-prince should be combined with a small crown (ardha-mukutn, lit. half-crown). 135 136. As for the rest [of persons] the head [in the mask] should be treated in dramatic production in relation to their habitation, birth and age. 136-137. The heads of boys should be adorned with the Sikhanda1 and that of the sages should have a crown of matted hair (jatā-mnkata).

129 (C.133a; K,XXI.116b-117a). 1 C. omits 129b. 130 (K.XXI.117b-118a). 1 C. omits 130. 131 (C.133b; K.XXI.118b-119a). ' C. sirsamaulı 132-133 (C.134, 135a, 138; K.XXI.119b-120). 1 K. vānarāņām. Caranas are demigods who sing the praise of superior gods. C. reads after this five more hemistichs. 133-134 (C.138b-139a; K.K.XXI.123). 1 Read vestita-baddha- paltani (C. vestanam baddha-pattadi. K. vestita-baddha-baddhani). 134-135 (C.139b-140; K.XXI,122). 135-136 (C.141; K.XXI.127). 136-137 (C.142; K.XXI.125). ' Read sirah sikhanda-bhūsitam

.XXIII. 145 ] THE COSTUMES AND MAKE-UP 431

137-138. The masks of the Raksasas, the Danavas and the Yaksas1 should be furnished with brown hairs and twany beards. 138-139. The masks of the Pisacas, lunaties, the Bhūtas, spiritual aspirants, ascetics and those who have not yet fulfilled their vows should have long hairs. Rules of different hairs 139-141. The head [in the mask] of the Buddhists monks (sakya), experts in Vedie studies (srotriya), the Jain monks (Nir- grantha), wandering asceties and those who have consecrated them- selves for a ceremony should be shaven clean. And according to their [respective] sectarian doctrine (rrtta) the remaining aseeties should have their heads shaven or should have curling hairs or long hairs loosely hanging down. 141-142. Married women, officers of the king and men of foppish nature should have on their head eurling hairs. 142-148. The menials should have three Sikhas on their head or will have the head elean shaven. And the Jester should have a bald head or head with the Kakapada (lit. crow's foot)1. 143-11. Thus after carefully distinguishing these [persons] in different ways, their conditions and nature should be represented by means of ornaments, different costumes and garlands, for giving rise to [proper] Sentiments at the time of produetion [of a play]. 145. After men and women have been treated like this (lit. made to attain these treatments), their limbs will have to be painted to suit their different roles.

(K. siras trisikha-bhūsitam; C. na sikhanda°). Sikhanda means looks of hair left on the sides of the head. These are three or five in case of the Ksatriyas (vide Apte s.z.) 137-138 (C.143; K.XXI.121). ' Read rakso-danava-yaksūņūm (C. °danava-dait yānūm, K. devadanava°). 138-139 (C.144; K.XXI.124). 139-141 (C.145-146). 141-142 (C.147). 142-143 (C.148; K.XXI.126). 1 For kakapada sce Apte s.7. 143-144 (C.149, 150a). 145 (C.150b-15la).

432 THE NATYASASTRA [ XXIII. 146-

The Sanjiva 146. Now I shall speak of the characteristics of what is known as Sanjiva(=living object). The entrance of animals [in the stage] is called Sabjiva1. 147-I48. The animals may be fourfooted, two-footed and with no foot (apada). Of these, serpents are without foot, birds and men are two-footed, and different animals in the forest or human settlements are known to be fourfooted. Use of weapons 148-149. In fight, angry confliet (sampheta) or siege in a play they (people) are to be furnished with different weapons. 149-150. Weapons and armours should be proportionate to the stature of men. I shall now desciibe them together with the rules for their measurement. 150-151. The Bhindi should measnre twelve Talas, the Kunta (javelin) ten and the Sataghni, the Pula (spike), the Tomara and the Sakti eight1. 151-152. The bow should measure cight Talas and its width should be two cubits. Arrows, mace and the Vajra should be four Talas long. 152-158. The sword should measure forty Angulis and the dise (calra) twelve and the Prasa the latter's half.

146 ((.151b-152a; K.XXI.128). 1 This scems to show clearly that sometimes living animals were brought on the stage. This was however not the the general rule. See NS. XIII. 106-107. 147-148 (C.152b-153; K.XXI.129-130a). 148-149 (C.154; K. 130b-131a). 1 Ete means the different types of characters mentioned before. a On this point Ag. (p.4344) says: नानाप्रहरणोपेता इति युद्ोपयोगिन इत्यर्थः । तथा च नानास्व दन्ते सर्पाक्कति प्रदर्शनीया एवं नृसिंह्ाम्व तदाकतिरित्यादि दर्शयति. 149-150 (C.155; K.XXI.131b-132a). 150-151 (C.I56; K.XXI.132b-133a). T For the measurement of Tala see NS. III. 21 note. 151-152 (C.157; K.XXI.133b-134a). 152-153 (C.158; K,XXI.134b-I35a).

-XXIII. 161 ] THE COSTUMES AND MAKE-UP 433

153-154. The Pattisa will measure like the Prasa, and the rod (dunda) should measure twenty Angulis while the Kampana (Kanapa) will be of the same measure. 151-155. The shield (carma) should be sixteen Angulis in width and two cubits in length, and it should have Valyas (hairs ?) and bells attached to it. The Khetaka (rider's shield) should be thirty angulis in width [and two cubits in length]1. Use of other objects 156-157. The Jarjara1, the Daņdakastha2, masks, um- brellas, chowris, banner-staffs, and water-jars (bhrigara)3 and every other thing that men make use of, are [also] to be utilised in the production of a play. 158. The characteristies of all these have been mentioned by those to whose sphere they belong. Now I shall speak of the characteristies of the Jarjara and the Dandakastha1. Indra's Banner-staff 159. Trees planted under the Pusya asterism, on the white soil have been made eligible for Indra's banner-staff by Viśvakarman1. The Jarjara 160. Some of these trees should be [fashioned into] the Jarjara by a carpenter. The branch of a tree may also be [fashioned into] the Jarjara1. 161. But the bamboo will be most suitable [for this kind of work] and its length should be one hundred and eight Angulis (42 cubit).

153-154 (C.159; K.XXI.135b-136a). 154-155 (C.160; K.XXI.136b). 1 K. omits 154b. 156-157 (C.161b-163a; K.XXI.137b-139a). 1 See NS. III. 73ff. 2 Sce NS. I. 58-61 note 2. 3 See NS. I. 58-61. 158 (C,163b-164a; K.XXI.139b). I Emend dantakastha into danda- kūstha. 159 (C.164b-165a; K.XXI.142). 1 विश्वकमंमते बड्ुमेदं महेन्द्रप्यजस्य लचषमुत्तम् taở: (Ag. p.434) .. 160 (C.165b-166a; K.XXI.140b-141a). ' See above 157-157 note 1. 161 (C.166b-167a; K.XXI.141b, 143a). 55

434 THE NATYASASTRA [ XXIII. 162-

162. It should have five sections and four joints. But its joints should not be very prominent (lit. thick), and it should not have any branch and should not be worm-eaten. 163-164. One should select (lit. take) as the Jarjara a piece of bamboo which is not worm-eaten or inferior to any other piece, after smearing it with honey and ghee and worshipping it regularly with garlands and incense. 164-165. The ceremonies and their order1 which have been preseribed for [the consecration of] Indra's banner-staff should be observed also in case of the holy bamboo for converting it into the Jarjara. 165-166. It may have long and short sections (parra). And if after each of these sections a ring [appears] it is called the holy bamboo1. 166-167. This is the rule in connexion with the characteris. tics of the Jarjara. I shall hereafter speak of that of the Daņdakāstha. The Dandakastha 167-168. The Dandakastha1'should always be made of the Bilva or the Kapittha tree or the bamboo. It should be curved" and have three bents and should have [good] characteristies. 168-169. That which is neither worm-eaten nor diseased and has small (lit. poor) branches, is called the Dandakāstha. 169-170. He who will get fashioned the Jarjara and the Dandakastha devoid of the said characteristics, will certainly sustain a great loss.

162 (C.167b-168a; K.XXI.143b-144a). 163-164 (C.168b-169; K.XXI.144b-145). 164-165 (C.170; K.XXI.146). 1 Sce NS. III. 73-75ff. 165-166 (C.171; K.XXI.147). ' The reading of K. is corrupt. 166-167 (C.172; K.XX1.148). 167-168 (C.173; K.XXI.149). 1 See NS. 1, 58-61 note 2. 2 Vakram, K. 168-169 (C.174; K.XXI.150). ' Mandasūkham, K, mandasalam, C. 169-170 (C,175; K.XXI.151).

.XXIII. 178] THE COSTUMES AND MAKE-UP 435 The making of masks 170-171 Similarly one should prepare the Pati of the masks which will have their special measurements or will measure thirtytwo Angulis1. 171-173. The Pati should be made by using the Bilva- paste on cloth. Masks should be made with ashes or husks of paddy being mixed up with the Bilva-paste or some watery form of it, after covering these with cloth smeared with the thick Bilva-paste1. 173-174. The Pati made out of cloth smeared with the Bilva-paste should neither be made too thick nor too thin and neither should it be made too soft. 174-175. After getting it (the Pati) dried up by fire or the sun one should pierce holes in it according to the rule, by means of a sharp instrument, and these holes should be made after dividing it into two [equal] halves. 176. In the Pati so prepared an opening six Angulis long and an Anguli wide should be made in the form of the fore- head, and it should have [two] angles [at the two end]. 177. Then [a pair of] openings two Angulis long and one and a half a Anguli1 wide should be made for the cheeks, and after [this has been done for] the cheeks [another opening] three Angulis more [in length] are be made for the ears. 178. The opening for the ear being three Angulis1 long the same should be the length for the opening of the mouth,

170-171 (C.176; K.XXI.159). 1 We follow C. Ag. seoms to read sirsa vi]bhagartham for sirsavidhinurtham and he explains it as nofanr इति दिशिरा विशिरा इत्यादि हकसने। यव वा निजशिर एव बाष्काद शिरोन्तवं प्रदश्यंते, प्रतिवा(प)द प्रतिइसादेरेष एव कल्प: (p. 435). 171-173 (C.177-178); K:XXI.153-154). 1 This passage seems to be corrupt The trans. is tentative. 173-174 (C.179; K.XXI.155). 174-175 (C.180-181a; K.XXI.156-157a). 176 (C.181b-182a; K.XXI.157b-158a). 177 (C.182b-183a; K.XXI.158b-159a). ' Read adhyardham. 178 (C.183b-184a; K.XXI.150b-160a). ' tryangulam C. angulam, K.

436 THE NATYASASTRA [ XXIII. 179- 1

and the symmetrical neck (avatu)2 should be made twelve Angulis long. 179-180. So much about the rules for the cutting openings in the Pati for the mask. Various forms of crowns set with different kinds of jewels are to be set on them, Other accessories 180-181. And at the production of a play (lit. here) one should use differently in relation to dramatis personae many kinds of accessories (upakarana) demanded by the art of theatre. 181-182. Now, all the manufactures or crafts that are executed in this world including moving and immobile objects, are to be known as the accessories in [a performance]. 182-183. [And to obtain them] one is to go to persons on whose special knowledge (lit. in whom) they depend. For [obtaining] such accessories in a dramatic production men have no other means. 183-184. The measurement and description of an objert depend on a person who is [professionally] to make it or to devise it through his [special] art. 184-185. Large objects which require much iron are not favoured by us on the stage; for their heaviness creates fatigue [in actors]. 185-186. Imitation of any object which exists in this world full of living beings, in different varieties may be included in the accessories [to be used] in the performance of a drama. 186-187. But palaces, houses and vehicles though these are accessories [for the performance] cannot be produced for the stage realistically (lit. in due manner).

2 Tatas caivavatuh for tatas ca vāvaļuh, C. talas ca vūyau, K. 179-180 (C.184b-185; K.XXI.160b-161). 180.121 (C.186; K.XXI.162). 181-182 (C.187; KXXI.163). 182-183 (C.188; K.XXI.164). 183-184 (C.189; K.XXI.165). 184-185 (C.190; K.XXI.166). 185-186 (C.191; K.XXI.167). 186-187 (C.192; K.XX1.168). 187-188 (C.193; K.XXI.169).

XXIII. 196 ] THE COSTUMES AND MAKE-UP 437

The realistic and conventional objects 187-188. Some accessories [however] will be realistie (lokadharmi), while others will be conventional (natyadharmi). Any thing following its natural form is called realistic while any deviation from the same will be known as conventional. 188-189. Accessories for use on the stage should not be made with stone as well as iron and other metals, for these due to their heaviness will create fatigue [in actors]. 189-190. Light objects should be made with lac, wood, leather, cloth, leaves [of trees] and sliced bamboo, for their use as accessories in a dramatie production. 190-192. Skeleton frames of armours, shields, banner -- taffs, hills, palaces, gods, caves, horses, elephants, aerial cars, and houses should first be made with pieces of sliced bamboo and then by covering such frames with painted eloth, likenesses of such objects are to be produced. 192-193. But if it is not found possible to use cloth suitably for this purpose then palm-products1 and mats (kilinja)2 may also be used instead. 193-19k. Similarly weapons are to be made with grass and pieces of sliced bamboo, and with lae and Bhenda (Bhanda)1 other objects should be represented. 194-195. Imitation legs, heads and skin should be made with grass, mat and Bhenda (Bhandla). 195-190. Various articles should [thus] be made with earth in imitation of their proper forms. 190-197. Various hills and shields, armours, banner-staffs

188-189 (C.104; K.XXI.170). 189-190 (C 195; K.XXI.171). 190-192 (K.XXI.172-173. 192-193 (C.196; K.XXI.174). 1 Taliyair iti talapatraih (Ag. p.435). 2 Read kilinjair for kilajair. 193-194 (C.197; K.XXI.175). 1 Bhenda K, bhūnda C. HG () रित्यखाबुदल-खड्गादिि: (Ag. p). 435). 194-195 (C.198; K.XXI.176). 195-196 (C.199; K.X.XI.177). 196-197 (C.200; K.K.XXI.178a).

438 THE NATYASASTRA [ XXIII. 197-

are to be made with Bhenda (Bhanda), cloth, bees-wax, lac and sheets of mica. 197-198. And fruits and flowers growing in various region" and the various vessels should be made with lac. Making of ornaments 198-200. Ornaments should be made with Bhenda (Bhanda), cloth, bees-wax thin copper sheets and mica sheets of blue as well as other colours, and their basis should be polished copper (sheets). 200-201. The different kinds of crowns of which I spoke before, should be made dazzling with pieces of mica [set on them] so that they may shine like jewels. 201-202. In cases of [all] these objects instructions given in the Sastras [for their making] have not been mentioned. Here one must act according to the directions of the Acarya and be gnided by relevant reasoning. 202-203. This is the rule of action regarding the future mortals, (that should be adopted in dramatic production). Because want of sufficient strength will occur in men [of the future generation]. 203-204. Mortals of poor strength should not make any [undue] physical exertion, and hence it is not desirable that their crowns or ornaments should be made with gold and jewels. 204-205. For in battle, personal combat, dance and casting glances a persons burdened with heavy weight will feel fatigue and may even faint. 205-206. When the actor is overcome with pain or fatigue or is fainting his performance is spoilt. One may even endan- ger his life by making movements with difficulty under such conditions.

197-198 (C.201; Cf. K.XXI.178b). 198-200 (C.202-203; K.XXI.179-180). 200-201 (C.204; K.XXI.181). 201-202 (C.204; K.XXI.182). 202-203 (C.296; K.XXI.183). 203-204 (C.277; K.XXI.184). .205-206 (C.209; K.XXI.185-186). 204-205 (C.208; K.XXI.185a).

.XXIII. 211] THE COSTUMES AND MAKE-UP 439

206-207. Hence ornaments are to ba made with thin sheets of copper, coloured sheets of mica, Bhenda (Bhanda) and bees-wax1. 207-208 Thus by following the popular practice or exercising one's own discretion one is to make properly theatrical accessories. Use of weapons on the stage 208-209. No missile should be released on the stage and no weapon should pierce or strike anyone. They should simply touch a spot, and the weapons are to be used only to make a gesture [of an attack]1. . 209-210. One should release missiles on the stage with skill or with skill and cleverness [so that they do not hurt].1 210-211. Any [relevant] instruction which I may have omitted regarding the present topie, is to be gathered from the popular usage (lit. people). This is all about the Extraneous Representation that I was to tell you. I shall hereafter speak of the Basie Representation on the stage (sāmānyayabhinaya).

Here ends chapter XXIII of Bharata's Natyasastra, which treats of the Extraneous Representation.

206-207 (C.210a 21la; K.XXI.186b-187a). 1 We follow K. 207-208 (C.211b-212a; K.XXI.187b-188a). 208-209 (C.112b-213a; KXXII.189b-189a). ' We follow K. 209-210 (C.213b-214a; K.XXI.189b-190a). 1 C. reads additional hemistich after this. 210-211 (C.214c-215; K.XXI 190b-191).

CHAPTER TWENTYFOUR.

THE BASIC REPRESENTATION

Importance of Temperament 1. The Basie Representation (samanybhinaya)1 is known to depend on the Words, Gestures and Temperament (sattra). [Among these] one should take special care about Temperament,2 for the dramatic production has this as its basis. 2. The Histrionie Representation with an exuberant Tem- perament (suttratirlta) is superior, the one with the level Tempera- ment (samasattva) is middling, and that with no [exercise of] Temperament is inferior. The definition of Temperament 3. Temperament (sattra)1 is something invisible, but it gives support (lit. shelter) to the States and the Sentiments by means of horripilation, tears and similar other signs displayed in proper places and in harmony with the Sentiments [to be produced]. Feminine graces in the drama 4-5. The dramatic experts know the young women's Grace- (alamlara, lit. ornament) to be the support of Sentiments in . a drama1, and these consist of changes in respeet of their faces and other limbs. Of these, firstly the change of limbs (aigaja)2 is of

1 (C1; K.XXII.1). 1 Ag. seems to have no very convincing explanation as to why samanyabhinaya 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 and in 72 below, it appears that the expression means a totality of the four kinds of abhinaya (NS. . VI. 23) and as such it should be distinguished from the citrabhinaya (NŚ.XXVI.) which applies only to the pictorial representation of particular objects and ideas. 2 See NS.VI. 22 note. 2 (C.2; K.XXII.2). 3 (C.3; K.XXII.3). 1 See NS. VI.22 note. 4-5 (C. 4-5; K.XXII.4-5). 1 K. reads 4a as भलंकाराय् सत्वस्था जेया भाव- ; Cf. DR. II. 30a; BhP. p.6. 1.20 ; ND. p. 203. See DR. II. 30b ; ND. p. 203. .

-XXIV. 11 ] THE BASIC REPRESENTATION 441

three kinds, next the natural (sahaja)3 change of ten kinds, and involuntary (a-yatnaja)* change, of seven kinds. Physical Graces of women 6. Feeling (bhara), Emotion (hara) and Passion (hela) arising from one another being different aspects of Temperament. (sattva) [are Graces] conneeted with the physical nature1. The origin of these Graces 7. Temperament partakes of the nature of the body, and feeling (bhara) arises from Temperament, while Emotion (hara) from Feeling, and Passion (hela) from Emotion1. Feeling 8. See NS. VII. 2. Cf. [Feeling (bhara) is the first touch of emotion in a nature that was previously unaffected. DR. II. 331.1 Emotion 9. Temperament with excessive Feeling (bha ra) [manifests itself] in relation to persons of the opposite sex. And Emotion (hara) should be marked as relating to its various conditions.1 10. In the same connexion (lit. there) Emotion (hāra) should be known as arising from the mind (citta) and manifesting itself in changes of eyes and eye-brows and the Recaka of the neck, indicative of the Erotic Sentiment.1 Passion 11. Everyone's Emotion which depends on the Erotic Senti- ment and expresses itself as graceful movements (lalitābhinaya) is called Passion (hela) by the wise.1

3 See DR. II. 32-33a; ND. p. 203. 4 See DR. II. 31; ND. p. 203. 6 (C.6; K.XXII.6). 1 Cf. DR. Il. 30b. 7 (C.7; K.XXII.7). 1 Cf. DR. II. 33b-34b. 8 (C.8; K.XXII.8), 1 Cf. DR. II. 33b; ND. p.204. BhP. p.8. 1.4-10. 9 (C,9; K.XXII.9). ' See below 10. note 1. K. reads 9a as भावस्यातिक्ृतं सत्व' व्यतिरित्र च योनिषु, 10 (C 10; K.XXII. 10). 1 According to ND. (p.204) the bhāva relates to a slight manifestation of erotic feelings through words and gestures, while the hava to a very clear expression of one's emotion through various gestures. 1l (C.11; KXXII.11), Cf. DR. II. 34b; BhP. p.8, 1.13-14. According 56

442 THE NATYASASTRA [ XXIV. 12. Natural Graces of women 12-13. The ten natural Graces (alamkara) of women are: Sportive Mimiery (lila), Amorous Gesture (rilasa), Dishabille (ricchitti), Confusion (ribhrama), Hysterical Mood (kilakincila). Manifestation of Affertion (mottayita), Pretended Anger (kuttormito). Affected Coldness (bibboka), Lolling (lalita) and Want of Respon-e (rihrta)1. Sportive Mimicry 14. Imitating the hehaviour of a lover by means of relevent words, gestures and make-np (alamlara, lit. ornament) which are delightful and inspired by affection, is called Sportive Mimicry (lila)1. Amorous Gestures 15. Relevant changes of the special kind relating to the standing and sitting postures as well as to gait and the movement of hands, eye-brows and eyes, [which occur at the sight of the beloved] are called Amorous Gestures (rilasa)1. Dishabille 16. The great beauty that results from the slightly careles placing of garlands, clothes, ornaments and unguents, is called Dishabille (ricchitti)1. Confusion 17. Inversion of various items such as words, gestures, dresses, and make-up and Temperament due to intoxication, passion and joy, is called Confusion (vibhrama)I.

to ND. (pp.204-205) these three aspects of women's Temperament depend on one another. For example the hava depends on the bhuva and the hela on the hava. 12-13 (C.12-13; K.XXII.12-13). ' DR. II. 37b; BhP. p. 9. 1. 5. ND. p. 205. 14 (C.14; K.XXI1.14). ' Cf. DR. II. 37b; BhP. p. 9. 1. 5; ND. p. 205. 15 (C.I5; K.XXII. 15). I Cf. DR. II. 38a, BhP. p. 9, 1. 6-7, p. 205. 16 (C.16; K.XXII.16). ' The word is Pkt. in form and comes probabably from viksipti. Cf. DR. II. 38b; BhP. p. p. 9. 1. 8-9; ND. p. 205. 17 (C.17; K.XXII. 17). Cf. DR. II. 39a; BhP. p. 9. 1. 10-11. ND. p. 205.

-XXIV. 23] THE BASIC REPRESENTATION 443

Hysterical Mood 18. Combination of isolated states of smiling, weeping, laughter, fear, sickness, fainting, sorrow and fatigue on account of [excessive] joy, is called Hysterical Mood (kilakinrita)1. Manifestation of Affection 19. Manifestation of Affection (mottayita) occurs through Sportive Mimicry (lila), Amorous Gesture (cilasa) and the like, when at the mention of the beloved, one is being absorbed in thought of him1. Pretended Anger 20. Pretended Anger (kuttamita) arises on account of the joy and perplexity in [lover's] touching the hair, the breast, the lip and the like, and it is feigning distress when actually there is delight1. Affected Coldness 21. The indifference which women show [to their lovers] on account of vanity and pride, after they have realised their cherished desire (i. e. conquering the lover's heart), is called Affected Coldness (bibboka)1. Lolling 22. Graceful movement of hands, feet, brows, eyes, lips ete, made by women is known as Lolling (lalita)I. Want of Response 23. That due to bashfulness, pretence and nature women do not make any reply [to her lover] even when they have heard his words, is called Want of Response (vihrta)1.

18 (C.18; K.XXII. 18). 1 Cf. DR. II. 39b; BhP. p.9, 1.12. ND. p.206. 19 (C.19; K.XXII.19). 1 Cf. DR. II. 40a, BhP. p. 9, 1. 18-14; ND. p. 206. 20 (C.20; K.XXII.20). 1 Cf. DR. II. 40b; BhP. p.9, 1.15-16; ND. p. 206. 21 (C.20; K.XXII.21). 1 Cf. DR. Il. 41a; BhP. p. 9. b.17-18; ND. p. 285-206. 22 (C.22; K.XXIT.22). 1 Cf. DR. II. 41b; BhP. p. 9, 1. 19-20; ND. p. 206.

ND. p. 206. 23 (C.23; K.XXII.23). 1 Cf. DR. II. 42a; BhP. p. 9, l. 21-22;

444 THE NATYASASTRA [ XXIV. 24-

Involuntary Graces of women 24. The Involuntary [Graces] are: Beauty (sobha), Charm (lanti), Delicacy (madhurya), Radiance (dipti), Self-control (dhairya), Courage (pragalbhya) and Dignity (audārya)1. Beauty 25. Decoration of limbs on account of good physical form, youth and loveliness being renderd manifest after the enjoy ment [of love], is called Beauty (sobha)1. Charm 26. Beauty which is full of a lover's passion, is called Charm (kanti)1. Radiance A high degree of charm, is called Radiance (dipti)2. Delicacy 27. Moderation in the movement [of limbs] in all con- ditions, especially in Radiance (dipti) and in Lolling (lalita), is called Delicacy (madhurya)1. Self-control 28. A natural bent of the mind which in all matters is free from rashness and boasting, is called Self-control (dhairya)1. Courage 29. The quality of not becoming agitated in speaking, or acting anything (lit. in practice), is called Courage (pragalbhya)1.

24 (C.24; K.XXII.24). 1 Cf. DR. II. 31. 25 (C.25; K.XXII.25). 1 Cf. DR. II 35a; BhP. p. 8. I. 15-16; ND. p. 207. This def. seems to mean that a young woman's loveliness is augmented after she has had her first experience of love's enjoyment and this augmented loveliness is called sobhi. 26 (C.26; K.XXII.26). 1 Cf. DR. II. 35b; BhP. p. 8, 1. 16. Cf. DR. II. 36a; BhP. p. 8, l. 17-18; ND. p. 207. 27 (C.27; K.XXII.27). 1 Cf. DR. II. 36a; BhP. p. 8. 1. 19; ND. p. 207. 28 (C.28; K.XXII.28). ' Cf. DR. II. 37a; BhP'. p. 8; 1. 21; ND. p. 207. 29 (C.29; KXXII.29). ' Cf. DR. II. 36b; BhP. p.8, l. 22; ND. p. 207.

-XXIV. 35 ] THE BASIC REPRESENTATION 445

Dignity Courteous bearing in all situation, is called Dignity (audarya)2 by the wise. 30. These [Graces] are tender in connexion with per- formance of delicate nature, but [in other cases] they (i.e. the Graces) except Amorous Gesture (rilasa)1 and Lolling (lalita)2 are brilliant (dipta)3. Eight aspects of the male Temperament 31. Brilliant Character (sobha), Graceful Bearing (vilāsa), Self-possession (madhurya), Steadiness (sthairya), Gravity (gan- bhirya), Sportiveness (lalita), Nobility (audarya) and Spirit (tejas) are the difterent aspects of the male Temperament1. Brilliant Character 32. Skill [in various things], heroism, and energy, aversion to mean acts and emulation of the best virtues constitute Brilliant Character (śobhā, lit. beauty)1. Graceful Bearing 33. Eyes moving straight, gait graceful like that of a bull, and smiling words constitute Graceful Bearing (rilasa)I. Self-possession 34. If due to a [long] practice [in this direction] one's sense-organs retain their firmness even when great changes of the natural state have occurred, it is called Self-possesion (madhurya, lit. sweetness)1. Tenacity 35. Not reliquishing any undertaking relating to duty,

2 Cf. DR. II. 36b, BhP. p.8' 1. 20-22 ND. p. 207. 30 (C.30; K.XXII.30). 1 See above 15. 1 See above 22. 3 See above 26. 31 (C.31; K,XXII.31). 1 Cf. DR. II. 10, BhP. p. 9, 1.24; p. 10. 1. 1; ND. p. 197. 32 (C.32; K.XXII.32). 1 Cf. DR. II. 1la; BhP. p. 10, 1. 2-3; ND. n. 197. 38 (C.33; K.XXII.33). ' Cf. DR. II. 11b; 11b; BhP. p. 10, 1. 4; ND. p. 197. 84 (C.34; K.XXII.34). 1 Cf. DR. II. 12a; BhP. p. 10, 1. 5. 35 (C.35; K.XXII.35).

446 THE NATYASASTRA [ XXIV. 36.

wealth and enjoyment, irrespective of its good or bad result -. is called a Tenacity (sthairya)1. Gravity 36. Gravity (gambhirya) is something due to an influence of which [outward] changes in cases of anger, joy and tear do not occur1. Sportiveness 37. Erotic movements and changes [of features] which are not deliberate and which grow out of a tender nature, constitute Sportiveness (lalita)1. Nobility 38. Making gifts, bestowing favours and speaking swert words to others as well as to one's own men, is called Nobility (mulārya)1. Spirit 39. That one does not tolerate even at the risk of one's life any reproach or insult made by others, is called Spirit (teju,s)1. Histrionic Represesentation through the body 40. O the best of Brahmins, I have spoken before about the Histrionic Representation through Temperament (sutta)1, 1 shall now explain in detail the Histrionic Representation through the body2.

1 DR. Il. 13a; BhP. p. 10,16 gives the term as dhairya, ND. p. 198. 36 (C.36; K.XXII.36). ' Cf. DR. Il. 12b; BhP. p. 10, 1. 7; ND. p. 198. 97 (C.37; K.XXII.37). ' Cf. DR. II. 14a; BhP. p. 10, 1. 8; ND. p. 198. 38 (C.38; K.XXII.38). ' Cf. DR. II. 14b; BhP. p. 10, 1. 10 ; ND. p. 197. 39 (('.39; K.XXII.39). 1 Cf. DR. II. 13b, BhP. p. 10; l. 10; ND. p. 197. 40 (C.40; K.X.XII.40). 1 See above 1-39. ? It is enrious that the author of the NS. is classitying abhinaya in a different manner and reckons its two broad classes : sattvika and sarira and gives their sub-divisions. For a four-fold division of the abhinaya sec NS. VL 23.

XXIV. 47 1 THE BASIC REPRESENTATION 447

41. This is sixfold : Words (rakya), Sūci, Ankura, Śākhā, Nātyâyita and Nivrttyańkura1. Words 12. Recitatives in Sanskrit and Prakrit composed in verse or prose when they possess meanings giving varions Sentiments, constitute the Histrionie Representation by Words'. Sūca 43. When the meaning of a sentence or the sentence [itself] is indicated first by Temperament and Gestures, and then the Verbal Representation is made, it is called Suca'. Ankura 11. When one skilfully represents by Gestures in the manner of the Suca the words which one has in one's heart, it is called the Representation of Ankura1. Šākha 45. The representation that is made in due order by the head, the face, shanks, thighs, hands and feet in the manner of the Sakha(?), is known as the Sakha Representation1. Natyâyita +6. The intimation of Histrionie Representation which is made at the beginning of a drama by [different] practices, for enlivening the time, and which lasts till the coming together of the [dramatis personae on the stage] is called Natyayita1. 47. The Histrionic Representation of Dhruvas relating to the States and the Sentiments which are made by means of

41 (C.41; K.XXII.41). ' Cf. Kālidāsa's pancāngābhinaya, Mālavi. 1.6.2. 42 (C.42; K.XXII.42). 1 This seems to be the same as the vucikūbhinaya. 43 (C.43; K.XXII.43). ' This kind of representation is mainly to accompany songs and dance. 44 (C.44; K.XXII.44). 1 This kind of representation is meant to be combined with dance. 45 (C.45; K.XXII.45). 1 This kind of representation is to accom- pany recitatives (pāthya). 46 (C.46; K.XXII.46). ' This is the use of gestures in connection with songs and dance before the beginning of the dramatie performance, 47 (C.47; K,XXII.47).

448 THE NATYASASTRA [XXIV. 48.

delineating joy, anger, grief and the like, is also to be known as Natyayital. Nivrttyańkura 48. When one represents words of another person hy Suci it is called Nivrtyankura1. Twelve forms of the Verbal Representation 49-51. These are the [histrionic] ways connected with proper States and Sentiments that are available for the subject- matter of plays. The representation of these, is to take the following twelve forms : Accosting (alapa), Prattling (pralāpa). Lament (rilapa), Repeated Speaking (anulāpa), Dialogue (8/m- lapa), Change of Words (apalapa), Message (sandesa), Agreement (atidesa), Command (nirdesa), Pretext (ryapadesa), Instruction (upadesa) and Statement (apadesa)1. Accosting 52. Accosting (alapa) is a sentence used in addressing [any one]1. Prattling Irrelevant (lit. meaningless) words are ealled Prattling (pralāpa)2. Lament 53. Words originating in a pathetic condition are called Lament (rilāpa)1. Repeated Speaking Speaking again and again on anything is called Repeated Speaking (anulāpa)2. Dialogue 54. Dialogue (samlapa) is made up of utterance and counter-utterance1.

48 (C.48; K.XXII.48). 1 This kind of representation is used by the dancer who interpretes other's speeches. 49-51 (C.49-51; K.XXII.49-51). ' BhP. p. 10, 1. 20-23. 52 (C.52; K.XXII.52). 1 Cf. BhP. p. 10, l. 24. 2 Cf.ibid p. 11, 1. 1. 53 (C.53; K.XXII.53). ' Cf. BhP. p. 11, l. 2. ' See ibid p. 11. 1. 3). 54 (C.54; K,XXII.54). 1 See BhP. p. 11, 1. 4.

XXIV. 59] THE BASIC REPRESENTATION 449

Change of Words Change of words (apalapa)2 is the alteration of words spoken before. Message 55. "Speak this to him", is [an example of] Message

Agreement Saying "You have said what was uttered by me" is [an example] of Agreement (atidesa)2. Command 56. "T alone am speaking", is [an example] of Command (nirdrga)1. Pretext To speak with the purpose of deception, is called Pretext (ryapadrsa)2. Instruction 57. To say "Do this" or "Take this" is [an example] of Instruction (upadesa)1. Statement * * is [an example of] Statement (apadeśa)2. *

Another classification of the Verbal Representation 58. These are the forms [of sentences] that are to create the Verbal Representation. I shall speak [hereafter] of the characteristics of the seven forms which it may have. 59. [A sentence may contain a statement which] treats an act visible (pratyaksa) or invisible (paroksa) ; it may relate

2 See ibid p. 11, 1. 5. 55 (C.55; K.XXII. 54c-55a). 1 Cf. BhP. p. 11, 1. 6. ' See ibid p. 1I, 1. 7. 56 (C.56; K.XXII.55b-56b). 1 Cf. BhP. p. 11, 1. 8. Cf. ibid p. 11, 1. 11. 57 (C.57a; K.XXII.56a). ' Cf. BhP. p. 11, 1.9. 2 The texts omit the def. of apadesa, which is given by BhP. (p.11, 1.10) and is as follows : पन्ार्थकधनं यक्ष सोऽपद्श पति वसः 58 (C.57bc; K.XXII.57). 59 (C.58; K.XXII.58). 57

450 THE NATYASASTRA [ XXIV. 60.

to the present, past or future time ; it may affect one's ownself (atmastha) or another (parastha). 60. "O this [person] is speaking and I am not speaking" is a statement which treats a visible act (pratyaksa), affects another person (parastha) and relates to the present timeT. 61. "I am doing, or going or speaking" is a statement which affects one's ownself, relates to the present time and treats a visible act. 62. "I shall do, go or speak" is a statement which affects one's ownself, treats an invisible act and relates to the future time. 63. "All my enemies have been killed by me", is a state- ment which affects one's ownself as well as others, and relates to the past time. 64. "[The enemies] have been killed by thee", is a state- ment which treats an invisible act, affects others, and relates to the past time. 65. "This [person] is speaking, doing or going", is a state- ment which affects another, relates to the present time and treats a visible act1. 66. "He is going or doing" is a statement which affects another, relates to the present time and treats a visible act1. 67. "They will do, go or speak", is a statement which affects others, relates to the future time and treats an invisible act1. 68. "That work is to be done today by me together with you", is a statement which affects one's ownself as well as another and relates to the present time1. 69. Anything that is spoken on the stage (lit. in drama) under the cover of the. hand, will affect one's ownself, relate to something at one's heart or will relate to an invisible (parolsa) act.

60 (C.59). - K. omits this. 61 (C.60; K.XXII.59). 62 (C.61; K.XXII.60). 63 (C.62; K.XXII.61). 64 (C.63; K.XXII.62). 65 (K.XXII.63). - C. omits this. 66 (K XXII.64ab). 1 ( omits this. 67 (K.XXII.64c-65a). - C. omits this. 68 (C.64). - K. omits this. 69 (C.65; K.XXII.66b-67a).

-XXIV. 77 ] THE BASIC REPRESENTATION 451

70. The seven forms of this (i. e. Verbal Representation) will have many more varieties when they will be modified accord- ing to time, and persons who are affected (lit. of the self and others). 71. These are the ways of the Histrionie Representation, known to producers of a drama. Different kinds of representa- tions are to be made through these1. The Basic Representation 72. The Basic Representation (samanyabhinaya) is that which is made simultaneously by the head, the face, the feet, the thighs, the shanks, the belly and the waist1. 73. Experts in acting are to represent [a character] by graceful movements of hands and delicate efforts of limbs [in general], which are to delineate the Sentiments and the States. Regular Iistrionic Representation 74-75. The acting (lit. drama) which is [performed] by physical efforts which are not violent, hurried or complex and which rest on proper tempo (laya), time (fala) and the measurement of Kalas, and in which words are distinctly uttered without harshness and hurry, is called "regular" (abhyantara). Irregular Histrionic Representation 76. When it is of the opposite kind and observes free movements and is not in harmony with songs and instrumental music accompanying it, is called "irregular" (bāhya). 77. It is called "regular" (abhyantara, lit. inner) when it conforms to the rule (lit. within the laksann or rule) and 'irregular' (bahya, lit. outside) when it is outside [the prescription] of the Sāstra.

70 (C.66; K.XXII.65b-66a). 71 (C.67). - K. omits this. 72 (C.68; K.XXII.67b-68a). 1 Cf. 1 above. 73 (C.69; X.XXII.68b-69a). 74 (C.70; K.XXII.69b-70a). 75 (C.71; K.XXII.70b-7]a). 76 (C.72; K.XXII.71b-72a). 77 (C.73; K,XXII.72b-73a).

452 THE NATYASASTRA [XXIV. 78-

Laksaņa defined 78. As a performance is laksyate or marked, it is called laksana (characteristic mark). Hence it is of use in a drama. Practice preferred to the Sastra 76. Those who have not received training from (lit. lived with) any master (acarya) or who hove no access to the Sastras, resort to the "irregular" [ways], which depend on merely the practices [of the stage]1. Representation of the sensual perception 80. A wise [actor] should represent sound, touch, form, taste and smell by the sense-organs concerned, and by Gestures delineating their objects1. Sound 81. By making a sidelong (saci) glance, bending the head sideways and putting a hand near the ear, one should represent the sound (sabda). Touch 82. By slightly narrowing down the eyes, raising the eye- brows in the like mannar as well as by touching the shoulder and the cheek, the wise one should represent the touch (sparsa). Form 83. By holding on the head the Pataka hand with its fingers slightly moving, and looking intently [at something] with eyes, the wise one is to represent the form (rūpa). Taste and Smell 84. By slightly narrowing down the cyes and expanding the nostrils in the like manner as well as by intently gazing [at something] the wise one is to represent the taste (rasa) and the smell (gandha).

78 (C.74; K.XXII.73b 74a). 79 (C.75; K.XXII.74b-75a). I Read the couplet as बनाचार्योषिता ये च म व आास्त्रर्वदिक्क ताः। वाह्य ते तु प्रयोत्यन्ते क्रियामावेः प्रयोजितम्. This shows that the ' ancient India's artists did not follow the Sastras slavishly. 80 (C.76; K.XXII.75b-76a). 1 See also NS. VIIIff. 81 (C.77; K.XXI1.76b-77a). 83 (C.79; KXXII.78b-79a). 82 (C.78; K.XXII.77b-78a). 84 (C.80; K.XXII.79b-80a).

-XXIV. 93 ] THE BASIC REPRESENTATION 453

85. These are the gestures which arise from the activities of the five sense-organs such as skin, eyes, nose, tongue and ears. Importance of the mind 86. When an object of a sense-organ is contemplated in mind it gets represented [outwardly]. A person out of his mind cannot know the object of senses which come through five sources. The three aspects of the mind 87. With reference to the representation, the mind has three attitudes [towards objects], ciz. favourable (ista), unfavourable (an-ista) and indifferent (madhyastha). The favourable mind 88. Everything favourable should be represented by the happy movement of limbs, horripilation and the opening of the mouth. 89. In case of a favourable sound, form, touch, smell or taste, one should show a happy face by concentrating the senses [concerned] in mind1. The anfavourable mind 90. By turning the head, not using the eyes and keeping them fixed to the nose, one should represent whatever is unfavour- able. The indifferent mind 91. An indifferent attitude should be represented by expressing not too much delight or to much abhorrence, and by keeping oneself in the middling state. 92. The representation of words like "[It is done] by him", "It is his", or "He does this" which relate to invisible acts is [an example of] indifferent attitude. The meaning of "personal" 93. The object which a person himself feels is called "personal" (atmastha).

85 (C.81; K.XXII.80b-81a). 86 (C.82; K.XXII.81b-82a). 87 (C.83; K.XXII 82b-83a). 88 (C.84; K.XXII.83b-84a). 89 (C.85; K.XXII.84b-85a). 1 The expression used is indriyair manasa pruptair, 'by means of senses coming together with the mind'. 90 (C.86; K.XXII.85b-86a). 91 (C.87; K.XXII.86b-87a). 92 (C.88; K.XXII.87b-88a). 93 (C.89; K.XXII.88b-89a).

454 THE NATYASASTRA [ XXIV. 94.

The meaning of "external" And anything which is to be described by another is called "external" (parastha). Desire 94-95. Almost all the States proceed from passion which combined with desire will be considered as having many forms such as, desire for virtue (dharma-kama), desire for wealth (artha-kama) and desire for liberation (moksa-kama). Love 95-96. The union of a man and a woman is called love (kama). This love which may end in joy or sorrow for all people, is mostly to be observed as leading to happiness even in unpappy situations. Erotic Affair 97. The union of men and women which finds them sexually united is known as an Erotic Affair (srngara). This benefits the two, and brings them happiness1. 98. In this world people always desire happiness of which women are indeed the source. These women are of various nature1. Various types of women 99-100. Women are known to possess the nature of gods, Asuras, Gandharvas, Rākșasas, Nāgas, birds, Pišācas, Yakșas, tigers, men, monkeys, elephants, deer, fish, camel, Makara, asses, horses, buffaloes, goats, cows and the like1. The woman of divine type 101-102. A woman who has delicate limbs, steady and soft looks from the corner of her eyes, is free from any disease, has lustre, munificence, truth and simplicity, emits very little sweat, has

94-95 (C.90-91a; K.XXII.89b-90a). 95-96 (C.91; K.XXII.91b-92a). 97 (C.92; K.XXII.92b-93a). I C. omits 96. 98 (C.93; K.XXII.93b-94a). 1 Cf. BhP. p. 109, 1. 9-10. 99-100 (C.94-95; K.XXII 94-96a). ' Sce BhP. p. 109, 1. 12-15. 101-102 (C.96-97; K.XXII.96b-98r). ' Cf. BhP. p. 109, 1.16-19.

-XXIV. 109 ] THE BASIC REPRESENTATION 455

middling sexual passion, takes moderate food, loves sweet seent and is engaged in vocal and instrumental music, is known to possess the nature of a goddess1. The woman of Asura type 103-104. A woman who transgresses laws and practices trickery, is confirmed in anger, very crnel, fond of wine and meat, always irascible [in temper], very proud, fickle-minded, very covetous, harsh, fond of quarrel, jealous and inconstant in affection, is said to possess the nature of an Asura1. The woman of Gandharva type 105-106. A woman who enjoys roaming in many gardens, is adorned with good nails and teeth, speaks with a smile, is slim. bodied, has a slow gait, loves sexual pleasure, is always pleased to hear music (gita and ralya) and to witness dance, is careful about the cleanliness [of the body] and has soft skin, glossy hairs and charming eyes, is known to possess the nature of a Gandharva1. The woman of Rākșasa type 107-108. A woman who has large and broad limbs, red wide eyes, hard hairs, loves to sleep in day time, speaks loudly, has the habit of hurting [one] with nails and teeth, is disposed to anger, jealousy and quarrel, and likes to roam at night, is said to possess the nature of a Rāksasa1. The woman of Naga type 109-110. A woman who has a pointed nose and sharp teeth, slender body, reddish eyes, complexion of a blue lotus, is fond of sleep, very irascible, has an oblique (tiryal) gait and unsteady efforts, takes pleasure in [the company of] many persons (lit. beings), and loves sweet scent, garlands and similar other ohjects, is said to possess the nature of a Nāga1.

103-104 (C.98-99; K.XXII.98b-100o). ' Cf. BhP. (p. 109, 1.20-22) here this type is called daityasila. 105-106 (C.100-101; K.XXII.100b-102a). 1 Cf. BhP. p. 108, 1.1-4. 107-108 (C.102-103; K.XXII.102b-104a). ' Cf. BhP. p. 110, 18-11. 109-110 (C.104-105; K.XXII.104b-1060). 1 Cf. BhP. p. 110, 1. 21-22, p. 111, 1.1.

456 THE NATYASASTRA [ XXIV. 111.

The woman of bird type 111-112. A woman who has a very large mouth, energetic character, loves streams, enjoys spirituous liquor and milk, has many offsprings, likes fruits, is always given to breathing and is always fond of gardens and forests, is [very] fickle and talkative, is said to possess the nature of a bird1. The woman of Pisaca type 113-114. A woman who has more or less than the usual number of fingers, is merciless during sexual acts, has the habit of roaming in gardens and fields, and of terrifying children, is treacher- ous, speaks with a double entendre, bchaves abominably during sexual acts, has a hairy body and loud voice, and is fond of spiri- tous liquor and sexual indulgence, is said to have the nature of a Pisāca1. The woman of Yaksa type 115-116. A woman who sweats during sleep, loves quiet rest in bed or seat, is [very] intelligent, fearless and fond of winc, sweet smell and meat, takes delight on seeing the beloved one after a long time, feels gratitude [to him], does not sleep for a long time, is said to have the nature of a Yaksa1. The woman of tiger type 117. A woman who takes honour snd dishonour in the same spirit, has a rough skin and harsh voice, is wily, speaks untruth and haughty words and has tawny eyes, is said to have the nature of a tiger (vyala)1. The type of human female 118-119. A woman who loves uprightness, is always clever and very virtuous, has regular features (vibhaktangi), is grateful [to her benefactors], disposed to worship the elders and gods,

111-112 (C.106-107a; K.XXII, 106b-108a). I Cf. BhP. p. 1. 12-12. 113-114 (K.XXII.108b-110a). 1 Emend Janadhikangulih into tnadhiknngulih. Cf. BhP. p. .. 15-18. 115-116 (C.107b-108; K.XXII. 110b-112a). ' Read 115b. at medha- vini bhayahina etc. Cf. BhP. p. 110, 1. 5-7. 117 (C. 109; K.XXII.112b-113a). ' Cf. BhP. p. 110, 110 1. 19-22. 118-119 (C.110-111; K.XXII.113b-115a). ' Cf. BhP. p. 111, 1. 3-4.

-XXIV. 127 ] THE BASIC REPRESENTATION 457

always careful about duty as well as material gain, and is free from pride and fond of friend and has a good character, is said to have the nature of a human being. . The woman of monkey type 120-121. A woman who has a compact and small body, is impudent, has tawny hairs, is fond of fruits, talkative, fickle, and energetic, loves [to roam about in] trees, gardens and forests, cherishes highly even a small kind act [done to her] and is violent in sexual act, is said to have the nature of a monkey1. The woman of elephant type 122-123. A woman who has a large chin and forehead, is fleshy and bulky, has tawny eyes, hairy body, is fond of sweet scent, garlands and wine, has irascible temper, steady energy, loves water, garden, forests, sweet things and sexual intercourse, is said to have the nature of an elephant1. The woman of deer type 124-125. A woman who has a small abdomen, flat nose, thin shanks, large red eyes, is fickle, has the habit of quickly going, of taking fright, is timid, fond of songs and instrumental music, is irascible in temper, unsteady in her efforts, is said to have the nature of a deer1. The woman of fish type 126. A woman who has long, large and high breasts, is fickle and without any twinkle in her eyes, has many servants and offsprings, has liking for water, is said to have the nature of fish1. The woman of camel type .

127-128. A woman who has protruding lips, too much swcat, a slightly awkward gait, slender abdomen, is fond of flowers, fruits, salt, sour and pungent tastes, has her waist and sides loosely bound, speaks harsh and cruel words, has a high and rough neck, is said to have the nature of a camel1.

120-121 (C.112-113, K.XXII. 115b-117a). ' Cf. BhP. p. 111, 1. 5-7. 122-123 (C.114-115; K.XXII. 117b-119a). 1 Cf. BhP. p. 111, 1. 8-9. 124-125 (C.116-117; K.XXII. 119b 121a). 1 BhP p. 111, 1 10-13. 126 (C.118; K.XXII.191b-122a). 1 Cf. BhP. p. 111, 1. 13-14. 127-128 (C.119-120; K.XXII. 122b-124a). 1 Cf. BhP. p. 111, 1. 15-16. 58

458 THE NATYASASTRA [XXIV. 129. The woman of Makara type 129. A woman who is cruel and has a large head, a steady neck, a mouth wide open, very .loud voice and the habits of fish, is known to have the nature of a Makara1. The woman of ass type 130-131. A woman who has a thick tongue and lips, rough skin and harsh words, is violent during sexual acts, impudent, fond of nail-scratches and biting [from her lover], jealous of her co- wives, clever, fickle, slow in her gait, angry by nature and has many offsprings, is known to have the nature of an ass1. The woman of swine type 132-133. A woman who has a large back, belly and mouth, hairy and strong body, a very narrow forehead, is fond of ordinary and bulbous roots, has black teeth and ugly face, large thigh and thick hairs, mean habits and many offsprings, is said to have the nature of a swine1. The woman of horse type 131-135. A woman who is faithful, has symmetrical sides, thighs, hips and neck, straight and thick hairs, is charming, munificent, mysterious, fickle-minded, sharp-tongued, quickly moving, and disposed to anger and sexual passion, is said to have the nature of a horse1. The woman of buffalo type 136-137. A woman who has broad back, bones, teeth, sides, belly, rough hairs, is faithless, turbulent and hater of men, has a slightly broad (lit. raised) mouth, large forehead and hips and is fond of forests and sporting in water, has the nature of a buffalo1. The woman of goat type 138-139. A woman who is thin, has small arms and breasts, [almost] motionless red eyes, short hands and feet, is covered with

129 (C.121; K.XXII.124b-125a). 1 Cf. BhP. p. 111, 1. 17-18. 130-131 (C.122-123; K.XXII.125b-127a). 1 Cf. BhP. p. 111, 1. 19-20. 132-133 (C.124-125; K.XXII. 127b-129a). ' Cf. BhP. p. 111, 1. 21-22. 134-135 (C.126-827; K XXII.129b-131a). 1 Cf. BhP. p. 112, 1. 1-3. 136-137 (C.128-129; K.XXII.131b-133a). 1 Cf. BhP. p. 112, 1. 4-6. 138-139 (C.130-131; K,XXII.137b-139a). 1 Cf. BhP. p. 112, 1. 7-9.

-XXIV. 146 ] THE BASIC REPRESENTATION 459

fine hairs, and is timid, foolish, mad, fond of forests, restless, swiftly moving, and has many offsprings, is said to have the nature of a goat !. The woman of horse type 140-141. A woman who is alert in eyes and limbs, disposed to yawning [often], is talkative and grateful, has a small beaming face, short hands and feet, loud voice, irascible [temper], and low manners, is said to have the nature of a horse1. The woman of cow type 142-143. A woman who has large, plump and high hips, thin shanks, short hands and feet, is kind to friends, firm in her efforts, favourable to children, engaged in worshipping ancestors and gods, always clean, respectful to superiors, faithful, and patient in her sufferings, is said to have the nature of a cow1. Etiquette towards women 144-145. After knowing a woman's nature one should approch her accordingly. For courteous acts done to a woman according to her nature, even if these are not many, will be pleasing to her, while great many such acts when they are done with an ignorance of her nature (lit. otherwise), will not satisfy her [at all]. 145-146. An external love will arise in a woman when she has been courted (lit. looked for) in a proper manner. And certain Etiquette (upacara) has been prescribed for man and woman in love [with each other]. 146-147. Austerities are practiced for the sake of virtue (dharma), and the [ acquisition of] virtue is for the purpose of happiness. And happiness has its source in women the enjoy- ment of whose company is desired [by people in general].

140-141 (C.132-133; K.XXII.133b-135a). 1 This def. seems to be spurious ; see 134-135 above. 142-143 (C.134-135; K.XXII.135b-137a), 1 Cf. BhP. p. 112, 1. 10-12. 144-145 (C.136-137a; K.XXII.139b-141a). 1 See BhP. p.112, 1. 14-16, 145-146 (C.137b-138a; K.XXII.141b-142a). 146-147 (C.138b-139a; K.XXII,142b-143a).

460 THE NATYASASTRA [ XXIV. 147-

Two classes of Etiquette 147-148. In the theatrical convention, Etiquette relating to the [practice of] love (kamopacara) of men and woman is of two kinds : external (bahya) and internal (abhyantara). 148-149. [Of these two], the internal [Etiquette] is to be observed by kings in the Nataka. And the external [Etiquette] is to be observed by courtezans in the Prakaraņa. The king's Etiquette towards women 149-150. In this connexion I shall describe in detail the rules of Etiquette for kings in their enjoyment [of women's love], which have been drawn out from (lit. have arisen from) the Aphor- isms of Erotics (kamasūtra)1. The three classes of women 150-151. Women who have the nature of various beings are of three classes : "homely" (ahhyantara, lit. inside) "public" bahya, lit. outside) and "mixed" (bahyabhyantura, lit. outside and inside). A woman belonging to a high family is a "homely" (abhyantara) and a courtezan is a "public" (bahya) woman. 152. A thoroughly tested (krtugnuea) woman, if she is a maiden of high family, is of the mixed (bahyabhyantara) class1. 153. A maiden of high family has no occasion to receive the king's Etiquette, and a public woman is never desired by a king and she does not receive his courtesies1. 154. A king's Union takes place with a "homely" woman, and a common man may unite with a "public" woman, while the king may have Union with a heavenly courtezan [as well]1.

147-148 (C 139b-140a; K.XXII.143b-144a). 148-149 (C.140a-141a; K.XXII.144b-145a). 149-150 (C.141b-142a). T This work seems to be lost and is not the present sutra text ascribed to Vatsyayana On this see the Introduction. 151 (C.142b 143; K.XXII.145b-146). . .152 (C.144; K.XXII.147). ' K's reading is fragmentary. 153 (C.145). 1 The reason is obvious. K. omits this. '154 (C.146). ' As in Vikram, K. omits this.

-XXIV. 162 ] THE BASIC REPRESENTATION 461

155. The conduct which (lit. that) is approved by [married] women of high family will hold good in case of maidens too. And [in love affairs] a courtezan too [will behave generally] like a lady of high family1. The beginning of love 156. Love of the superior, the middling or the inferior kind arises in men and women, from various causes. 157. Love [for a person] grows from hearing [about him], seeing [him, hearing about his] personal beauty, [seeing his] sportive movements of limbs and [hearing his] charming conver- sation1. 158. An expert in this matter should then observe the various indications of love in men and women who desire one another's company. 159. A woman becomes overpowered with love on seeing a young man who has personal beauty as well as other innate quali- ties, and has besides the knowledge of various arts and crafts1. Signs of love 160. The glance in which [the eyes are] charming, tearful drooping and eyelashes are throbbing, is called Kamya (lit. loving) and it should be used here1. 161. The glance in which the corner of the eyes are moving and having sportful expressions, is called Lalita (lit. sportive). It is used in women's partial looks1. 162. Due to love, one's voice becomes slightly impassioned, and the face covered with sweat-drops, and hairs in the body stand on their end1.

155 (C.147). Cf. संयुत्ता नायकेम तद्रख्नार्थमेकचारिपीवनम् etc. KS. IV. 2.1. 156 (C.148). 1 These three kinds of love have been defined by later authors like Saradatanaya; sre BhP. p. 113, 1. 10-14. 157 (C.149). 1 K. omits this. 158 (C.150; K.XXII.148a). 159 (C.151). 1 K. omits this. 160 (C.152). ' K. omits this. 161 (C.153). 1 K. omits this. See NS. VIII.73. 162 (C.154). ' K. omits this. Cf. BhP. p. 113, 1. 17-19.

462 THE NATYASASTRA [ XXIV. 163-

Signs of a courtezan's love 163-165. A courtezan is to be considered overpowered with love when she expresses her passion by casting side-long glances, touching their ornaments, itching the ears, scratching the ground with her toes, showing the breasts and the navel, cleansing the nails and gathering her hairs1. Signs of love in a highborn lady 166-167. Similarly one should know that there are indi- cations [of love] in a woman of high family, These are as follows; she looks continuously with blooming eyes, conceals her smile, speaks slowly and with a down-cast face, gives reply with a smile, conceals her sweats and appearance, has throbbing lips and is trembling1. Signs of a maiden's love 168. These are the various signs with which a woman not yet having the experience of love's pleasure (rati) will express her love which has ten stages1. Various stages of her love 169-171. First there will be a longing (abhilasa), secondly Anxiety (cinta), thirdly Recollection (anusmrti), fourthly Enumer- ation of [the beloved one's] Merits (gunakirtana), fifthly Distress (udeega), sixthly Lamentation (cilapa), seventhly Insanity (unma la), eighthly Sickness (cyathi), ninthly Stupor (jadata), and tenthly Death (marana)1. These are the stages of love in case of men as well as of women. Now hear about the characteristics of all these. Longing 172. Longing (abhilāsa) arises from efforts born of desire and wish [for the beloved one] and leads to the means of meeting [him]1.

163-165 C.155-157a; K.XXII.148b-150). 1 Cf. BhP. p. 113, 1.3-9, and p. 114, 1. 1-2. 166-167 (C.157b-158ka; K,XXII.151-153a). 1 Cf. BhP. p. 113, l. 17, p. 114, 1. 1-2. 168 (C.159; K.XXII.153b-154a). 1 BhP. (p.88) gives the numb r as 'ten or twelve'. 169-171 (C.160-162; K.XXII.154b-157a). T Cf. BhP. (p. 88, 1. 3-5) gives two more stages (iccha and utkantha). Also cf. KS. V.1-5; NL.2421ff. .172 (C.163; K.XXII.157be). 1 Cf, NL, 2427; BhP. p. 88, 1, 15-16.

-XXIV. 179 ] THE BASIC REPRESENTATION 463

173. One goes out of the place [where the beloved one is] or enters it or stays within his sight, and shows signs of amour in the first stage of his love1. Anxiety 174. Anxiety (cinta) should be indicated by speaking to the female Messenger (dati) words such as "By what means and in what manner will there be an Union with (lit. obtaining1 of) the beloved2 ?" 175. In the second stage [of love] one should look with half-closed eyes and touch the Valaya (bangles), the Rasana, the Nivi, the navel and the thighs1. Recollectien 176. Sighing again and again, thinking deeply of the heloved (lit. desired) person and disliking other engagements, is called Recollection (anusmrti)1. 177. Being engrossed in thinking of him (i. e. the heloved) one does not attain composure in sitting or lying in bed, and remains without doing one's duty. The third stage [of love] should be expressed like this1. Enumeration of Merits 178. To express by means of sportful movement of limbs, smiles and glance and [other efforts] the idea that 'there is no one else like him', is called Enumeration of [the beloved one's] Merits.1 179. The representation [of love] in the fourth stage (i.e. in the Enumeration of Merits) should be made by horipillation

173 (C.164; K.XXII.158). 1 Cf. NL. 2428ff; BhP. p. 88, 1. 17-20. 174 (C.165; K.XXII.159).' Read sampruptih (sambhruntih, C; sāmānyah K). 2 Cf. NL. 2436ff; BhP. p. 88, 1. 21-27. 175 (C.166; K.XXII.160). I Cf. BhP. p.89, 1. 8-5. 176 (C.167; K.XXII.161). I Cf. NL.2449; BhP. p. 89, 1. 7-8. 177 (C.XXXI.76; K.XXII.162). I Cf. NL.2449; BhP. p. 89, 1. 9-11. C.'s reading of the portion 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 pp. 348 (line 14)-355 (line 8) as a part of the chapter XXXI. 178 (C.XXXI.77; K.XXII.163). I Cf. NL.2456; BhP. p. 89,1. 12-14. 179 (C.XXXI.78; K,XXII.164). I Cf. BhP. p. 89, l. 15-18.

464 THE NATYASASTRA [ XXIV. 180

wiping off tears, sweats, and talking confidentially to the female Messenger to relieve the pangs of separation1. Distress 180. That one is not satisfied or pleased with sitting or lying in bed and is always eagerly expecting [the beloved one] is the stage of Distress (udvega) in love1. 181. By representing anxiety, sighs, lassitude and burning of the heart in an exaggerated manner,. one should express the stage of Distress1. Lamentation 182. Lamentation (rilapa) is represented by speaking sorrowfully words such as "He stood here ; he sat here, and here he approached me, ete1." 183. A lamenting woman is distressed by very cagerly ex- pecting [the beloved one], and out of uneasiness she moves from one place of grief to another1. Insanity 184. When a woman is always engaged in talking about him (i. e. the beloved) and hates all [other] males, it is a case of Insanity (numāla). 185. To represent Insanity one should sometime look with a steadfast gaze, sometimes heave a deep sigh, sometimes be absor- bed within oneself and sometimes weep while walking about1. Sickness 186. Being devoid of all pleasures of love and of [any] ex- pectation [about them] one gets Sickness (ryadhi)1.

180 (C.XXXI.79; K.XXII.165). - Cf. NL.2462ff;BhP. p. 89, l. 19-22. 181 (C.XXXI.80; K.XXII.166). I See note of 180 above. 182 (C.XXX1.81; K.XXII.167). J Cf. NL.2470; BhP. p. 90, 1. 1-3. An example वह तथा सह इसितम, दृह तथा सह कयितम्, दह तथा सह पयुषितम्, पष तया सद कपितम्, "ह तथा सह पथितम् etc (Svapna 1-15, 2-4). 183 (C.XXXI. 82; K.XXII. 168). - Cf. BhP. 90, 1. 4-8. 184(C.XXXI.83; K.XXII. 169b). Cf. NL.2484ff; BhP.p.90 1.9-15. 185 (C.XXXI.84; XXII.170). - See above 184 note. 186 (C.XXXI.85; K.XXII.171). ' BhP. p. 90. 1. 16-18. follows K. NL .(2476) has atanka (disquietude) which precedes unmāda.

.XXIV. 194 | THE BASIC REPRESENTATION 465

187. To represent Sickness tlre cighth stage, one is to show that the heart becomes paralysed, the body is in fever, the head aches badly, and one does not have any tranquility1. Stupor 188. In Stupor (jadata) one does not respond when ques- tioned, and does not hear or see [anything]. It is a pathetic condition in which one's mind is deranged1. 189. To represent Stupor one is to utter response (hum) on the wrong occasion, and is to have one's limbs relaxed and the mouth given to excessive breathing (lit. swallowed by breathing)1. Death 190. If even after adopting all the means [available for the purpose] the Union [with the beloved] does not take place, then burnt in the fire of love one's Death (marana) takes place1. 191. Thus in case of her meeting (lit. getting) the beloved, one should represent, according to the Science of Eroties (lamatan- tra), for the Heroine all the stages of love exeept the last one1. Manifestation of men's love 192. Even a man separated from his beloved one will thus make a manifestation of his love in diverse ways through different States1. Characteristics of love 193. One should represent men as well as women who are expressing these stages of love by bringing in their common characteristies [in partienlar stages]1. Women separated from the beloved one 194-196. All the stages of love should be represented in diverse ways by anxiety, sighs, lassitude, weariness of the body, and

187 (C XXXI.86; K.XXII. 172). T Cf. BhP. p. 90, 1. 19-22. 188 (C.XXXI.87; K.XXII. 173). 1 Cf. NL.2499ff; BhP, p 91, 1. 1-6. 189 (C XXX1.88, K.XXII.174). 1 Sce above 188 note. 190 (C.XXXI.89; K.XXII.175). 1 Cf. NL.2505ff. BhP. p. 91, 1. 7-8. 191 (C.XXXI. 9); K.XXII.176). 1 Cf. NL.2510ff. BhP. p.91,1. 9-10. 192 (C.XXXI.91; K.XXII.177). 1 See above 182 note. 193 (C.XXXI.92; K.XXII.178). 1 K. reads after this two addi- tional (XXII,179-180) couplets. 194-196 (C.XXXI.93-95; K.XXII.181-183). 59

466 THE NATYASASTRA V. 1!7.

following [the beloved] or gazing [at him] or gazing [vacantly] at the sky, talking pathetically, touching [different ornaments], twisting [some objeets] or clinging to some support and similar other conditions and situations arising from an ahsenee of Union (cipralambha). Relief in love-sickness 197. When burning very much with the fire of love one will use [special] clothes, ornaments, scents, rooms and gardens which have a cooling effert. The female Messenger 198. Being over-powered with a burning love and affected through its several stages one should send a female Messenger [to the beloved] to speak of one's conditions. 199. One should ask a female Messenger to carry a message of love [to the beloved]. She [should deliver the same] with proper courtesy [and the like] after saying "This is her condition". 200. After the substance (lit. meaning) of the message has heen communicated one should think of the means of fulfilling the love. This is the rale where love is to be practised seeretly. The king's Etiquette to women 201. I shall now speak in detail about the rules regarding the practice of kings in relation to "homely" women and these rules are taken out the Science of Eroties (kamatantra)1. 202. Happy and unhappy conditions which occur [in con- nexion with love] in persons of various dispositions, and which are assumed by kings, are also followed by common people. 203. Kings have no difficully in obtaining women ; because means for this, is at their command. And the love that grows out of liberality becomes pleasing.

197 (C.XXXI.96; K.XXII.181). 198 (C.XX.XI.97; K XXII.185). 199 (C.XXXI.98; K.XXII.186). 200 (C.XXXI.99; K.XXII.187). 201 (C.XXX1.100; K.XXII.188) ' This does not seem to indicate . any particular treatise. 202 (C.XXXI.101; K.XXII.189). 203 (C.XXXI.102; K.XXII.190).

.XXIV. 210] THE BASIC REPRESENTATION 467

204. Out of respect for the queens and for fear of their favourite women, kings are secretly to make love to queen's maid -. 205. Though the kings may have many ways of making love, the making it seeretly will be [the most] pleasing [of all]. 206. That a woman resorts to wily ways, that one is shut out from her and she become available only with difficulty, imparts the supreme pleasure to her love. 207. In case of women of the harem, the king's Union (sumbhoga) with them in day time may be permitted, but in dealing with external women Union should take place at night1. Reasons for Conjugal Union 208. The following six are reasons1 for the Conjugal Union (rasaka) : scheduled order (poripati), [desire for] progeny (phala), newness of relation (navttca), birth of a child (prastra), time of sorrow (duhkha) and of joy (prama)". 209. When the Conjugal Union (rasaka) is due, kings should go to the bed-chamber of a queen even if she may be in her menses or may not be his favourite. Eight kinds of Heroine 210-211. In this connexion Heroines (wayika) are known to be of eight kinds such'as, "one dressed up for Union" (rasal- sojja), "one distressed by separation" (rirahotkanthita), "one having her husband in subjection" (sradhina-bhartrka), "one separated [from her lover] by a quarrel" (kalahanturita), "one enraged with her lover" (lihandita), "one deceived by her lover" (ripralablha) "one with a sojourning husband" (prositabhartrka) and "one who moves to her lover" (ahhicarika)1. 204 (C.XXXI.103; K.XXII.191). 205 (C.XXXI.104;K.XXII.192). 206 (C.XXXI.105; K.XXII.193). 207 (C.XXXI.106; K.XXII.194). 1 Cf. KS. V. 1, 16. 208 (C.XXXI.107; K.XXII.195). 1 Ser Hemecaudra'- mtti on thi passage quoted in KA. (p. 307) where he copies Ag. (p. 477) verbatim. This rule of the Conjugal Union (vasaka) soem, to have been relaxed at the time of Vatsyayana. Ser KS.IU. 2. 61-63. 209 (C.XXXI.108; K.XXII.196). 210-211 (C.XXXI.109-110; K XXII.197-198) ' See DR.II.23-27.

468 THE NATYASASTRA [ XXIV, 212-

The Heroine dressed up for Union 212. A woman who in eager expectation of love's pleasure decorates herself joyfully when the Conjugal Union (rasaka) is due, is a Heroine dressed up for Union (rāsakusajja)1. The Heroine distressed by separation 213. A woman whose beloved one does not turn up on account of his preoccupation with many other engagements and makes her sad, is a Heroine distressed by separation (virahot. kanthitā)1. The Heroine having her husband in subjection 214. A woman whose husband captivated by her conduct as well as by love's pleasure (surata) from her, stays by her side, and who has pleasing qualities, is a Heroine having the husband in subjection (scādhīnabhartrka)1. The Heroine separated by quarrel 215. A Heroine separated by quarrel (lalahantarita) is a woman impatient for her lover who has gone away due to a quarrel or jealousy, and does not return1. The enraged Heroine 216. A woman whose beloved one on account of his attach- ment for another female does not come for'the Conjugal Union when it is due, is an enraged (I:hawdita) Heroine1. The deccived Heroine 217. A woman whose lover does not come to her for a certain reason even when the female Messenger was sent to him and a tryst was made, is a deceived Heroine (nipralabdha)1. The Heroine with a sojourning husband 218. A woman whose husband (lit. the beloved one) is living abroad on account of various duties and who wears her

212 (C.XXXI.111; K.XXII.199). 1 Cf. NL. 2525ff; DR. II. 24; BhP. p. 99. 213 (C.XXXI.112; K.XXII.200). ' Cf. NL.2530ff; DR.II 25; BhP. p. 100. 214(C.XXXI.113; K.XXI1.201). 1 Cf. NL.2568ff; DR. II. 24; BhP. p. 99. 215 (C.XXXI.114; K.XXII.202), f Cf. NL.2550; DR. II. 26; BhP. p. 99. 216 (C.XXXI.115; K.XXII.203). 1 Cf. NL.2536ff; DR. II. 25; BhP. p. 98. 217 (C.XXXI.116; K.XXII.204). 1 Cf. NL.2542ff; DR. II. 26; BhP. p. 99. 218 (C.XXXI.117; K.XXII.205). 1 Cf. NL.2556ff; DR. II. 27; which uses the the tee u prositapriya, BhP. p. 100.

-XXIV. 225 ] THE BASIC REPRESENTATION 469

hair hanging loose, is called a Heroine with a sojourning husband (prositabhartrka)1. Heroine moving to her lover 219. A woman who due to love or infatuation is attracted to her lover and gives up modesty for going out to meet him, is called a Heroine secretly moving to her lover (abhisarika)1. Representation of the different Heroines 220. Heroines in a Nataka should be of these conditions. I shall speak of the manner in which the producers are to represent them1. Enraged, deccived and quarreling Heroines 221-223. Enraged (l:lndita), Deceived (cipralabdha), and Quarreling (kalahantarita) Heroines should be represented by anxiety, sighs, lassitude, burning of the heart, conversation with female friends, looking to one's own condition, weakness, depres- sion, tears, appearance of anger, giving up of ornaments and toilet, sorrow and weeping1. The Heroine with a sojouring husband 223b. The Heroine with a sojourning husband (progitu- bhartrha) should also be represented with these states1. The Heroine having the husband in sujection 224. A Heroine having the husband in her subjection should be represented with gaudy and brilliant dresses, face beam- ing with pleasure and having an excess of physical charm1. Different classes of Heroine moving to her lover 225. Whether she may be a courtezen, a lady of high family or a maid-servant, the producers should make the Heroine move to her lover in the special manner described below1.

219 (C.XXXI.118; K.XXII.206). 1 Cf. NL.2572f; DR. Il. 27. sce BhP. p. 100. 220 (C.XXXI.119; K.XXII.207). 1 Yatha yojyam proyoktrbhil, C. for kāmatantram anekadhā. K. 221-223 (C.XXXI.120-122a; K.XXII.208-210a). ' Cf. DR. II. 28; cf. BhP. p. 98-100. 223b (C.XXX1.122b; K.XXII.210b). 1 Cf. BhP. p. 100. 224 (C.XXXI.123; K.XXII.211). 1 Cf. DR. II. 28. Cf. BhP. p. 99. 225 (C.XXX1.124; K.XXII.212). ' Cf. DR. II. 28. Cf. BhP. p. 100.

470 THE NATYASASTRA [ XXIV. 227.

The Courtezan 226. [In going down to her lover] the courtezan is to have her body beautifully decorated with various ornaments and to walk slowly in the company of her attendants and with [a display of] passion (samadana) and joy1. The woman of high family 227. [And in such a situation] a woman of high family will cover her face with a veil, and walk timidly with her limbs contracted, and will [very often] look back1. The hand-maid 228. And | in the same sitnation] a hand-maid will walk with uneven steps (aciddhayati) and eyes beaming with amorous joy, and will talk distortedly through intoxication (madaskhalita-samlapa).1 How to meet a sleeping lover 229. If the beloved (lit. this one) is in bed and she finds him manifestly (snvyaktam) asleep she [should] awaken him in the manner I am going to mention1. 230. A woman of high family is to awaken him by [the sound of] her ornaments, the courtezan by the sweet (lit. cool) seents and the handmaid by fanning the beloved one with her clothes1. 231. [In this connexion] the scolding words of women friends are to be strong but sweet, and beautifully puctuated by sighs1. 282. This is the rule of love making for women of high family and others, for the Nataka is to represent all the States [in a Heroine]

226 (K.XXII.213). 1 Read 226 as samadani prahrsta ca ete. Cf. NL.2580ff; BhP. p. 101, 1. 4-10: SD. 117. 227 (K.XXI1.214). 1 Read 227a. as samlina svesu gatresu etc. Cf. NL.2576ff; BhP'. p. 100, 1. 19-22. SD. 117. 228 (C.XXX1.125a; K.XXII.215). 1 Read 228a as madaskhalita- samlapa, ete. Cf. NI.2580ff; BhP, p. 101, 1. 11-15. 229 (C.XXXI.125bc; K,XX1I.216). 1 Read 229a as enga xfacil 4h पशयत् सुझं प्रिर्ये मदा. (f. BhP. p. 101, 1.16. 230 (C.XXXII.217). ' C'f. BhP. p. 101, 1. 16-22. 231 (C.XXXI.126). ' It seems that one or two couplets have been lost before this. We give merely a tentative trans. of it. 232 (K.XXII.218).

.XXIV. 239 ] THE BASIC REPRESENTATION 1

The Conjugal Union 233. For a woman newly in love or for an enraged woman when she is not coming [of her own accord]. the Conjugal Union should be arranged through some means or exeu.e1. 234. [A woman] always enjoys with pleasure various orna- ments, dresses, scents and garlands which are charming and are of the best kind1: 235. Just as a man does not come under the control of love when he has not [previously] met any woman, so heing united, with the heloved woman [such a person | becomes doubly delighted'. Behaviour at the Conjugal U'nion 236. At the time of Conjugal Union (lit. union of love) there should be amorous feelings, gestures, words and sportful movements of the sweetest kind (lit. having a special quality of sweetness) and especially looking at each other with lovel. Preparation for the Conjugal Union 237. When the Hero (i.e. the beloved one) comes, a woman on her part shonld make some special preparation for the C'onjugal Union which will give rise to pleasure1. 238. After wearing simple clothes, putting on garlands and nsing sweet seents she should take up the mirror again and again even when she had done with it (lit. has become successful)1. 239. In preparing for the Conjugal U'nion one should not pnt on too many ornaments, famong these] the Rasana and the Nupura which have a sound are often to be preferred1.

233 (C.XXXI.127; K.XXII.219). 1 K's reading is very corrupt. 231 (C.XXXI.128; K.XXII.220). 1 C. süpadcsair for sat yadcsair, K. 235 (C.XXXI.129; K.XXII.221). 1 Here to some passage seems to have been lost before this couplet. 236 (C.XXXI.130; K.XXII.222). 1 Here also some passage seems have been lost before this couplet. 237 (C.XXXI.131; K.XXII.223). ' K. reads 237a as ततः प्रवृ्त मदने

238 (C.XXXI.132; K.XXII.224). K. reads 238b as स्यापयेन्नाचकक्लने

239 (C.XXXI.133; K.XXII.225). 1 Vūsopacūre K. vēsopacūro C.

472 THE NATYASASTRA [ XXIV. 240

Acts prohibited on the stage 240. [In representing various activities of women] there should be on the stage no ascending of the bed-stead, no bath, no use of unguents and collyrium, no decoration of the body and no handling of their breasts or hair1. 241. And women of the superior and the midding types shonld not be shown as poorly draped (uparr'a) or wearing only one piece of garment (ekavastra) and they should use no colour for their lips1. 242. Snch a rule [of dresses] will snit only the women of the inferior type, because of their low nature. But on certain occasions they too are not to be represented like that1. 243. Men and women of the courtezan class in a play should take up a flower after they have dressed themselves up (lit. having taken ornaments). 244. If a woman with a decoration [of her hody] awaits the arrival of her beloved, she should cleverly finish it so that nothing contrary [to propriety] finds expression1. The Heroine in expectancy 245. After finishing the preparation for the Conjugal Union, the Heroine should sit down and expect [every moment] the coming of the beloved (lit. Hero) while listening the sound of of striking the Nadikas1. 246. After hearing the sound of [the expected] Nādika the Heroine overcome [with joy) on [the chance of] the beloved one's

240 (C.XXXI.134, Cf. K. XXII.225). 1 This shows the high moral sense of the people of the time. 241 (C.XXXI.135; K.XXII.227). 1 See above 240 note. 242 (C. XXXI.136; K.XXII.228). 1 That is, they might appear on the stage as poorly draped or with one piece of garment or might have their lips painted. 243 (C. XXXI.137; Cf. K.XXII.229) 244 (C.XXXI.138; K.XXII.230). 1 Read the couplet as follows : निरयुकमण्डना किश्वित् प्रतौक्षेत प्रियागमम्। लौलयामग्डितं शेषं कर्यादयन्र विरुध्यते 245 (C.XXXI.139 of K,XXII.231). 1 Nalikā-K, nāyıkā. C. 2446 (C.XXXT.140; K.XXIII.231b, 232a). 1 Nalikā K. nūyikā C. Szmna-hrdayā, C. (trasta-hrdayā, K).

-XXIV. 253 | THE BASIC REPRESENTATION 473

coming should run towards the gate [of the house] with a trembl- ing [body] and with her heart about to stop (lit. motionlees). 247. And holding the door-frame with her left hand, and a door-blade with the right one, she should with straight eyes look up for the arrival of the beloved. 248. Overcome with apprehension she should show reason- able [signs of] fear when the beloved will fail to appear (lit. not speing the beloved), and shonld turn sad for the moment. 249. Then after heaving a deep sigh and lowering her look (lit. face) she should with a motionless heart drop down herself (lit. her limhs) on a seat. 250. Due to a delay of the beloved she should connect (lit. ponder over) his coming with causes (lit. considerations) which may he good or bad, 251. She will think [as follows :] "Could the beloved have been held up by duties to his superiors, by the friends, or by the ministers engaged in affairs of the state. or could he have been detained by some favourite woman ?" 252. She should represent appearances conneeted with the various good or bad causes [mentioned above] by means of personal omens like quivering or throbhing [of a particular limb]. Personal omens 253. Personal omens indicating oceurrence favourable to women will occur to their left [side] while omens in case of all undesireable happenings will take place on their right.

247 (C.XXXI 141; K.XXII.232b, 233a). 1 C reads as 247a veigut भूय प्रतीक्षती प्रियागमम् ; we with K. 248 (C.XXXI.142; K.XXII.233b-234a). 1 K's reading is corrupt. 249 (C.XXXI.143; K.XXII.234b-235a). 1 K. reads nayanūmbu for āsyan caiva, C. 250 (C.XXXI.144; K.XXII.235b-236a). 251 (C.XXXI.145; K.XXII 236b-237a). 252 (C.XXXI.146; K.XXII.237b-238a). 1 K. reads 252 as sqv arfafe- शेव्षेत्र शभाशुभससुत्यितम्। निमिते: राज्यमंस्ेसु क्फुरित भैदिरैसथा 253 (C.XXXI. 147; K. XXII, 238b-239a). 1 anistesu, C. for duruktesu, K. 60

474 THE NATYASASTRA [ XXIV. 261-

254. If the left eye, eyebrow, forehead, lip, arm, breast or thigh throbs, this will indicate the coming [of the beloved]. 255. If these will throb differentlyI that will indicate some- thing calamitous (lit. not desired). In case of perceiving such bad omens she should at once faint8. 256. As long as the beloved has not come, her hand will rest on her cheek, and being careless about her toilet she should go on weeping. 257. But afterwards on seeing some good omen indi- cating his arrival the Heroine should represent.that the beloved one has drawn near by means of feelingT his smell. Heroine's reception of the beloved 258. On seeing him [come] she should joyfully get up and proceed to receive the beloved and look at him with eyes beaming in pleasure. Recciving the guilty lover 259. But [in case of] the beloved one who has come with the signs [of meeting another woman] and green woundsI [received from her] she should point out [the man] after assuming the Ayata posture (sthana) with her hand in the hand of her female friend2. 260. And the beloved one being found guilty he should be given censure in due order by means of [appropriate] gestures and reproachful words as well as by Jealous Anger (mana), Insult (avamana), Fainting (sammoha) or Dissimulation (avahittha)1. 261-263. Due to reasons like the application of Dissimu- lation, the use of hidden words or of langhter, curiosity, flurry, calamity and acceding to a situation of fun and to his

254 (C.XXXI.148; K.XXII.239b-240a). 255 (C.XXXI.149; K.XXII.240b-241a). ' That is, if the right ey and eyebrow etc. throb. 2 K. reads 255 a as पतोऽन्यथा स्पन्दमाने दुरितं दक्षियं भवेत्. 256 (C.XXXI.150; K.XXII.241b-242a). 257 (C.XXX.151; K.XXII.242b-243a). ' That is, by representing it with gestures. 258 (C. XXXI.152; K.XXII.243b). 259 (C.XXXI.153). ' i.e. of biting and scratching. ' K. omits this. 260 (C.XXXI.154-155a, K.XXII.244-245a). 261-263 (C.XXXI.155u-157a; K.XXII.247-248). 1 K, reads dharm- artha-kama-yogesu.

-XXIV. 269 ] THE BASIC REPRESENTATION 475

concealing any fault, the Heroine should speak to the beloved even if [his guilts require that] he should not be spoken to. 263-264. Where there is affection there is fear also. And where there is jealousy there occurs love (madana). Causes of jealousy The causes of this (i.c. jealousy) are fourfold : Depression (vaimanasya), Mixed Feeling (vyalika), Disgust (ripriya) and Anger (manyu). Please listen about their description. Depression 265. Depression (raimanasga) arises from seeing the beloved one walking lazily due to sleepiness and lassitude, and discovering signs [of his Union with another woman] and fresh wounds [received from the latter]. 266. This should be represented with an intensely jealous face, great trembling of limbs due to anger, and utterance of words like "It is good", "It is nice" and "It is beautiful." Mixed Feeling 267. Mixed Feeling (ryalika) arises due to jealousy mixed with joy when one's beloved stays [near by] even after he has been treated with insult. 268. Mixed Feeling should be represented by standing firmly on legs with the left hand on the breasts and the right one violently gesticulating. Disgust 269. Disgust (ripriya) will arise when the beloved one

2 K. rcads before this three hemistichs (245b-246) as fellows : 1970 समुतुपत्ति: खौयां गाधाऊ्वता भवेत्। विशभस हरागेषु संदेहे प्रगय तथा। पवितोषे व इषे च दानिसा- aqtTaa (Women's outburst of speech should be in Gatha [in the following cases] : in confidence, affection, suspicion, love, satisfaction, joy, courtesy and infliction of abuse). 263-264 (C.XXXI.157b-159a; K.XXII.219-250). 265 (C.XXXL159bc; K.XXII.251). 266 (C.XXXI.160; K.XXII.252). 967 (C.XXI.161; K.XXII.253). 268 (C.XXXI.162; K.XXII.254). 269 (C.XXXI.163; K.XXI1.355).

476 THE NATYASASTRA [ XXIV. 270.

says that "I live while you live," I am your slave" and "You are my love," but behaves in a different manner. 270. Representation of Disgust should be made by a cold treatment to the female Messenger, disregard for the letters and indifference about giving reply to any question [made by the belovedI] and also by shaking the head. Anger 271. Anger (manyu) arises [in a woman] when the be- loved one comes to her after his Union with a rival woman and boasts about his good luck in this matter, and discloses the signs of such a Union, 272. Anger should be represented by giving up the Valayas and throwing up the Rasana in a loose manner and by timid and tearful eyes. On treating a lover at fault 273. On seeing the beloved one standing much ashamed, and afraid due to his guilt, [the Heroine] should harass him with rebuke made up of words spoken in jealous [indignation]. 274. But no very cruel words should be uttered, and very angry words should also be avoided. [The Heroine] should speak tearfully things referring to her ownself. 275-277. This attitude should be represented by the middle finger touching the edge of the lower lip and a hand placed on the breast and by looking with eyes upturned, or by a Karana in which a hand is placed on the hip and the fingers are separated (?), or by moving the head and bending it to see the nails or by a look of Dissimulation or by beautiful finger gestures indicating threat.

270 (C.XXXI.164; K.XXII.256). 1 Or by the messenger. 27] (C.XXI.165; K.XXII.257). 272 (C.XXXJ.166; K.XXII.258). 273 (C.XXXI.167; K.XXII.259). 274 (K XXII.260). 1 Emend na casyatikrodhana° iuto na capy- atikrodhana . 275-277 (C.XX.XI.168, 169a; XXIV. 268b-269; K.XXII. 261-263). Read 275a as मध्यमाउल्योष्ठाग्र विध्यात् पाषिका हरःस्थिर्तन; for the rest we follow C.

-XXIV. 287 ] THE BASIC REPRESENTATION 477

278-279. After saying "You are shining", "You look well", "Why are you tarrying", "Don't touch me", "Go to the beloved who is in your heart", "And go away", one should turn back and make jokes with words which do not require any reply. 280. In case of being taken forcibly by the dress, the hand or the hair (lit. head) the woman should be softened even after seeing the guilt [of the beloved]. 281. When taken by her hand, dress or hair the woman should slowly release herself from the beloved. 282. When taken by her hair, hand or dress the woman should enjoy (lit. take) his touch in such a way that the beloved one does not perceive it. 283. The woman should slowly release her hair [from the hands of the beloved] by standing first on her toes with limbs bent and then taking to the Apakrāntā Cārī. 284. Her hair being not released [due to efforts of the beloved] the woman should perspire on his touch and say "Hum hum, let [my hairs] go", and "Go away". 285. After hearing the angry words like "Go away" the lover (lit. man) should [first] go away and then come back to start talking to her on any pretext. 286. Then the woman should make movements of her hand while uttering "Hum hum", and during these movements she should speak to him with an imprecation (sapatha). 287. In case of her clothes being taken away [by the beloved one] the woman should either cover her eyes, or turn them (i. e. eyes) to her back and cover her Nivi.

278-279 (C.270-271; K.XXII.264-265). ' sobhase, K. sobhana, C. The trans. of 279 is tentative. 280 ((.372; K.XXII.266). 281 (C.273; K.XXII.267). 282 ((274; K.XXII.268). 283 ((1275; KXXU.269). ' Son N4. X1.30 284 (C.276; K.XXII.270). 285 (C.277; K.XXII.271). 286 (C.278; K.XXII.272). 287 (C.279; K.XXII.273). .

478 THE NATYASASTRA [ XXIV. 288.

288. A woman should harass her [offending] lover till he will fall to her feet; but on his falling at her feet she should look to the female Messenger. 289-290. Then the Heroine should embrace the beloved and with the object of love's enjoyment she should joyfully walk [with him] to the bed. All these should be represented [only] by songs with a gentle dance. 290-291. When in a play there is any speaking to the sky depending on other men's speech, which relates to love's pleasures and the Erotic Sentiment, then the same line of representation should be followed by a woman. 292. The same should be the rule of representation in whatever [else] relates in a play to the inner appartment (harem) and is connected with the Erotic Sentiment. Acts forbidden on the stage 293. One knowing the dramatic convention (natyadharma) should not represent sleeping on the stage. But some need occur- ring for it one should bring the Act to a close. 294-295. If out of any necessity anyone sleeps alone. or with anyone, no kiss or embrace or any other private acts such as biting, scratching with nails, loosening the Nivi, the pressing of breasts and lips, should be presented on the stage. 296. Eating [anything] or sporting in water and doing any immodest act should not be presented on the stage.

288 (C.280; K.XXII.274). 1 Read the passage as follows : 7raą खेदयितम्यस्तु यावत् पादगती भवेत्। ततयरपयो: पाते कुर्याददूतो-निरोक्षणम्. 289-290 (C.281-282a; K.XXII.275-276a). 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 him up properly [from the feet] lead him to the bed. 290-291 (C. 282b-283; K.XXII.276b-277). I Emend cakasa-purusam, into cakasa-bhasitam. The trans. is tentative. 2 Read bhavet kavye (bhavet kārya, C. nayet kūvye. K). 292 C. 284; K.XXII.278). 293 (C,285; K.XXII.279). 294-295 (C.285-287; K.XXII.280-281). 1 This shows the high moral tone of the Indian theatrical art. . 296 (C.288; K.XXII.282).

-XXIV.304 ] TEE BASIC REPRESENTATION 479

297. As a Nataka is to be witnessed by the father and the son, the mother-in-law and the daughter-in-law [all sitting together] these acts should be avoided. 298. Experts should write Natakas with pleasant and not very harsh words giving rise to good counsel. Endearing terms of address for the beloved . 299. Now hear about terms which women in love are to use to their beloved ones when the Union takes place. 300. Such terms are "dear" (priya), "beloved" (kānta), "affectionate" (rinita), "lord" (natha), "master" (sramin), "life" (jirita) and "joy" (nandana). Angry terms of address for the beloved 301. In case of anger terms used may be "ill-natured" (duhsila), "tyrant" (duracara, lit. ill-doing), "deceitful" (satha), "hostile" (vanuat), "indifferent" (rirīpa), "shameless" (nirlajja) and "cruel" (nisthura). Endearing terms of address 302. He who does nothing undesirable, speaks nothing improper, and always conducts himself uprightly is called "dear" (priya). 303. He in whose lips or [other parts of] the body no sign of Union with another woman is visible is called "beloved" (kanta). 304. He who even in his anger does not cross words [with the woman he loves] and does not use any harsh word is called "affectionate" (rinita, lit. disciplined).

297 (C.289; K.XXII.283). 1 See above 294-295 note 298 (C.290; K.XXII.284). 299 (C.291; K.XXII.285). 300 (C.292; K.XXII.286). 1 BhP. (p. 107, 1. 7-9) has eleven terms. 301 (C.293; K.XXII.287). 1 BhP. (p. 108, 1. 10-11) has eight terms. 302 (C.294; K.XXII.288). 303 (C.295; K.XXII.289). 1 Cf. BhP. p. 107, 1.14-15. 304 (C.296; K,XXII.290).

480 TEE NATYASASTRA [ XXIV. 305-

305. He who maintains an intercourse with a woman by sweet words (sama, lit. conciliation), gifts (artha), providing, enjoyment, caress and maintinance, is called "lord" (natha). $06. He who is a well-wisher [of his beloved woman], is able to protect her, is not conceited or jealous, is always alert on every occasion, is called "master" (sramin). 307. He who takes to the bed to please the woman tactfully by | providing| enjoyments according to her wishes and desires, is called "life" (jirita). 308. He who is high-born, patient, clever, kind, master of words and fit to be praised among women friends, is called "joy" (nandana). 309. These words are used to highten the charm of love's enjoyment. I shall now speak of words which indicate an want of love. Hear about them. Angry terms of address explained 310. He who is cruel. impatient. coneeited, shamcless, bragging, given to crossing words is called "ill-natured" (duhsila). 311. He who out of indiscretion restrains a woman's movement or beats her or uses harsh words to her, is called a "tyrant" (duracara). 312. He who for his own purpose speaks sweet words but does not put them into practice is called "deceitful (satha). 313. He who even being forbidden to do anything does that very thing, is called "hostile" (rama).

305 (C.297; K.XXII.291). 1 Cf. BhP. p. 107b. 1. 16-17. 306 C. 298; K.XXII.292). ! Cf. BhP; p. 107b, 1. 18-19. 307 (C.299 K.XXII.293). 1 Cf. BhP. p. 103b, 1. 4-5; the term here is jivitesa, 'lord of life'. 308 (C.300; K.XXII.294). 1 Cf. BhP. p. 108b, 1. 2-2. 309 (C.301; K.XXII.295). 310 (C.302; K.XXII.296). 1 Cf. BhP. p. 108b, 1. 14-15. 311 (C.303; K.XXII.297). 1 Cf. BhP. p.109b, 1. 4-5. 312 (C.304; K.XXII.298). 1 Cf. BhP. p. 108b, l. 20. p. 109b, 1. 1. 213 (C.305; K.XXII.299). 1 Cf. BhP. p. 108b, 1. 12-13.

-XXIV. 321 ] THE BASIC REPRESENTATION 481

314. He who has green wounds [received from a another woman] and is proud of it and remains silent [in conceit] is called "indifterent" (virūpa)1. 315. He who approaches the woman more resolutely than ever even when he is guilty [towards her] and bears the marks of such a guilt and is forbidden to approach, is called "shameless" (nirlajja)1. 316. He who being guilty towards her tries to enjoy a woman's embrace by force and does not think of concilating her, is called "cruel" (nisthura)1. 317. These are the ways of using words to indicate whether a lover is dear or not so. In different circumstances1 one should use the opposite [of these]2. 318. These should be the rules [of address] in songs with a gentle dance as well as anything to be expressed in words for the Erotic SentimentT. 319. This is the rule about the representation of incidents relating to the harem. I shall now describe in detail the rules regarding the goddesses (lit. celestial females)1. Goddesses in human roles 320. The dress of goddesses is always brilliant, their mind is always full of joy and their time is always passed happily and in sports. 321. Celestial males have no jealousy, anger and malice in life and they require no propitiation of their females.

314 (C 306; K.XXII.300). 1 Cf. BhP. p, 108b, 1. 14-15. 315 (C.307; K.XXII.301). Cf. BhP. p. 108b. 1. 18-19. 316 (C.308; K.XXII.302). ' Cf. BhP. p. 108b. 1. 20-21. 317 (C.309; K.XXII.303). 1 That is, in irony (sollunthana-bhāsita). See SD. 107. aK. reads 317b as नतकीसंशिता कार्या बहबोऽन्येपि नाटके. 318 (C.310; K.XXII.304). 1 K. reads 318b as एङ्गाररमसंभूवी रतिसंभोग- खेदजम्. 319 (C.311; K.XXII.307). 1 K. repeats before this 277a and the following भ द्वार एवमेत स्यातनाप्यषकमो भवेत् and XXII. 278 afterwards. 320 (C.312; K.XXII 308). 321 (C'313; K.XXII.309). 61

462 THE NATYASASTRA [ XXIV. 322.

322. When celestial womien unite with human beings they are to assume all the States of a mortal. 323. When celestial women sustain a fall [from the heaven] due to a curse, they are to be united with human males and should be approached in a suitable manner. 324. [Remaining] invisible, she should tempt them with her voice and with [the scent of] flowers in her decoration and then revealing herself for a moment she should disappear1. 325. Infatuation in a play grows out on coming to have dresses, ornaments. garlands [of IIeroines] and letters [sent by them]. 326. Love growing out infatuation will be pleasing, and that [love] which is natural will bring about different enjoyments. 327. Being reduced to human existence celestial males should assume all the States which are proper for men and should behave like them. 328. This should be the practiee in connexion with kingly Etiquette in relation to the harem. The Etiquette in relation to the outsiders will be treated in rules regarding Courtezans (vaisika).

Here ends Chapter XXIV of Bharata's Nātyasastra which treats of the Basic Representation

322 (C.314; K.XXII 310). 323 (C.315; KXXII.311). 324 (C.316; KXXII.312). ' Read pralobhayet (pulo bhavet, K. "trupi ya bhavet, C). 325 (C.317; K.XXIT.313). 326 (C.318; K.XXII.314). 327 (C.319; K.XXII.315). 328 (C.320; K.XXII.316).

CHAPTER TWENTYFIVE

DEALINGS WITH COURTEZANS

The definition of a Gallant 1. One excelling (visesnyet)1 in all the arts (kala)2 is called a Gallant (raisika) or one is so called because of his dealings with the courtezans (vesyopacara)3. 2. A man who has learnt all the arts (kala)1 and is an adept in all the crafts (silpa)2 and can [besides] captivate the heart of women, is called a Gallant3. Qualities of a Gallant 3. His thirtythree [characteristic] qualities are briefly of three classes : physical, extraneous (aharya) and psychological (sahaja, lit. natural). 4-7. One who is well-versed in the Sastras, skilled in arts and crafts, well-formed, pleasant-looking, powerful, possessing self- command, desireable age, dress and pedigree, is friendly (surabhi),

1 (C.I; K.XXIII.1). 1 This is an instance of folk-etymology. Vaiscsa the base of the participle visesayet should have given rise to vaisesika and not to vaisika. See BhP. p. 106, 1-10. These are generally considered to be sixtyfour in number. See Vatsyayana. KS. I. 3. 34. But the Jains have their number as seventytwo (See Amulya Chandra Sen, "Social Life in Jain Literature," Calcutta, 1933. pp. 12-15). $ This etymology is rather sensible. For vesa (residence of courte- zans) is connected with vcsyu (woman who is available for all the members of the tribe or the settlement). 2 (C.2; K.XXIII.2). 1 See above 1 note 2. 2 The word kala is usually synonymous with silpa. For the most of the sixtyfour items included by Vatsyayana (l.c.) are nothing but crafts. But when the two words are used together in a sentence silpa may be taken in the sense of 'craft' only. 3 Another name for vaisika (Gallant) seems to be vila. See KS. I.4.16; SD.80 and also NS. XXXV.74. 3 (C.3; K.XXIII.3). 4-7 (C.4-7; K.XXIII.4-7). 4 See BhP. p. 106, 1.2-9.

484 THE NATYASASTRA [XXV. 8-

sweet-tempered (madhura), munificent, patient, free from bragging, fearless, accustomed to use sweet words, clever, prosperous, clean [in his habits], expert in the practice of love, honest, able to act suitably to time and place, speaker of no pitiful words, accustomed to speak smilingly, eloquent, careful, swect-tongued, greedless as a partner, full of faith, firm in resolve, without trust even in accessible (gamya) women and has a sense of self-respect, is called a Gallant. 8. [According to another authority] his six [special] qualities are : that he should be devoted [in his love affairs], clean [in his habits], self-possessed, honest, intelligent and able to talk on varied topies (citrabhidhayi)1. The female Messenger 9-10. A wise woman, female storyteller, a female ascetic or a woman of the stage1, an intelligent woman, a female neighbour, a female friend, a maid-servant, an unmarried girl, a crafts-woman2, a foster-mother, a nun3 or a female fortune-teller [can be employed as] a Messenger (dūti)4. Qualities of the Messenger 11. A wise person should never engage as a Messenger any persons (lit. male or female) who is foolish, beautiful, wealthy or diseased1. 12. Any woman should be engaged as a Messenger when she knows the art of encouraging [the beloved], is sweet in her words, honest, able to act suitably to the occasion, charming in her behaviour and is able to keep secrets1.

8 (C.8; K.X.XIII.8). Read 8b as भवच्चिवाभिधायी द्वंने तस्य गुण् भता: (भर्वेच्किद्राभिनायी, C; भर्वेच्किद्रापिधाबी.K. and Ag. have the correct reading). 9-10 (C.9-10; K.XXIII.9). ' Ag. (p.480) explains rangopajivlni as rajakastri. 2 Cf. DR. II. 29; SD. 157 separate the words karu and silpin. 3 A nun of the heretical sects like the Buddhists. See note 4 below. 4 Cf. KS. V. 4. 23. 11 ((.1l; K.XXIII.10). 1 K, reads l1a differently. Cf. BhP. p.94 (1.9-10). .12 (C.12; K.XXIII.11). - Cf. KS. I.5.28; SD. 158.

-XXV. 20 DEALINGS WITH COURTEZANS 485

Functions of the female Messenger 13. She should encourage [the beloved one] by mentioning the various ways of seeing [the lover] and should communicate the exact words [of the latter] and describe his condition1. 14. Besides this the Messenger should make an exaggerated statement about his birth, wealth and [capacity for giving] love's enjoyment and say what [various] acts should be done [to facilitate the Union]1. 15. The Messenger should in various ways bring about for the man an Union with a woman who is in love for the first time or a beloved woman who has been angry with him1. 16-17. The first meeting of men [with women] may be made on a festive occasion, during night, in a park, in the house of a kinsman, a foster-mother or a female, or in a dinner-party (nimantrana), on the pretext of seeing a sick person, or in an empty house1. 18. After meeting a woman in one of these various ways one should ascertain from different marks whether she is friendly or not. The woman overcome with love 19. The womon who from her nature is smitten with love and does not conceal her amorous behaviour [at the sight of the beloved] is said to be "overcome with love" (madanalura). The attached woman 20-23. When a women speaks of her lover's a [good] quali- ties to her friend, gives him her own money, honours his friends, hates his enemies, seeks to unite with him, becomes much pleased to see him, looks pleased after a talk about him, sleeps after he has slept, kisses after he has kissed her, rises [in the morning] before he gets up, puts up with suffering [for his sake], remain the same in

13 (C.13; K.XXIII.12). 1 Cf. KS. I.5 28, BhP. p. 94, 1.4-13. 14 (C 14; K.XXIII.13), 1 Cf. KS. I. 5.28, BhP. p. 94, 1.11-13. 15 (C.15; K.XXIII.14). T CE. BhP. p. 94, 1.14-15. 16-17 (C.16-17; K.XXIII.15-16). I Ag. (p. 480) says गान्धवविवाह वैश्या पुनर्भुसङ्रमे वेत्यर्थ: 2cf. BhP. p. 94 1.16-19. 18 (C.18; K.XXIII.17). 19 (C.19; K.XXIII.18). 20-23 (C.20-23; K.XXIII.19-22). 1 See BhP. p. 115, 1.2.8.

486 THE NATYASASTRA [ XXV. 24-

happiness and misery and never becomes angry, she is said to be "attached" (anuraktā)1. These indicate her characteristics. The hostile woman 24-27. The characteristics of a hostile woman are as fol -. lows : when kissed she wipes off her mouth, speaks unpleasant words, becomes angry even when sweet words have been spoken to her, hates his friends, praises his enemies, lies down on the bed with her back turned against him, goes to bed first, is never pleased even after a great deal of honour [has been shown her], never puts up with suffering, becomes angry without any provocation, does not look at him or greet him. The woman who betrays these signs should be marked as "hostile" (virakta). Winning back of woman's heart 28-29. [The following measures may lead to] the winning (lit. taking) back of women's heart1 : constant effort [in this direc- tion], display of wealth, showing of good-will, proposal of giving money2, [actually] giving money, giving up the service of Messenger (lit. intervention)3 and tranferrence of attachment (bhacopaksepa).1 Causes of hostility 30-31. A man or a woman becomes hostile to the lover due to poverty, sickness, misery, harshness, want of learning, going abroad, offended self-esteen, excessive greed, transgression [of good conduct], coming back late [at day or night] and resorting to undesireable acts1. Acts winning women's hearts 32. In connexion with love, one's acts should be capable of winning the heart (lit. attachment) of women. Due to such acts

24-27 (C.34-27; K.X.XIII.23-26a). 1 BhP. p. 116. 1. 4-5, 13, 6, also 7-12, 14-19. 28-29 (C.28-29; K.XXIII.26b-28a). I Read 28a as हृदयग्रहणाय सुरसया व्यापारचेष्टतम. 2 Ag.(p. 481) explains this as follows : उपन्यासोऽर्थस दास्यामोति उपन्यास: 3 Read oyavadhinam for ayadhitanam, C. vyadhito yah. K. Ag. (p. 491) explains this as अन्मुखे कदाचिदनुरकस्य पङ्गनालौति कथनम्. 30-31 (C.30-31; K.XXIII.68b-30a). 1 Cf. BhP. p. 117. 1. 8-11. 32 (C.32; K.XXIII.30b-31a).

.XXV. 42 ] DEALINGS WITH COURTEZANS 487

a woman may be kept out of anger and even if angry she may be pacified1. 33-35. A covetous woman should be won over by [making her] a gift of money, a learned woman by knowledge of arts, a clever woman by sportfulness, a sensitive woman by acting to her desire, a woman who hates man by stories to her liking, a girl below sixteen (bala) by a present of playthings, a terrified woman by cheering her up, a proud woman by servile attendance and a noble lady by the practice of arts1. The three types of woman 36. Women, are by nature of three classes : superior, middling and inferior. The superior woman 37-39. The woman who remains unperturbed when she has been offended, does not use harsh words to her beloved, has a short- lived anger, possesses skill in arts and crafts, is desired by men for her high birth, wealth, capacity for giving enjoyment and the like, is an expert in the acts of love (lamatanlra), is honest, possesses physical charm, becomes angry only when there is a [proper] cause, speaks without malice and knows the proper occasion [for all acts] is of the superior class (nttama)1. The middling woman 40-11. The woman who desires men and is desired by men, is skilled in the acts of love, jealous of her rivals, is overcome with malice and has a short-lived anger, is proud, aud can be pacified in a moment, is of the middling class (madhyama)1. The inferior woman 42. The woman who is angry without a suitable cause, ill- natured, very proud, fickle, harsh and remains angry for a long- time, is of the inferior class (alhama)1.

1 Read 32b. as yena ca priyate etc. 33-35 (C.33-35; KXXIII.31b-33). 1 K. omits. 54a. 36 (C.36; K.XXIII.34). 37-39 (€.37-39; K.XXIII.35-37). 1 Cf. BhP. p. 102, 1. 1-5. 40-41 (C.40-41; K.XXIII.38-39). 1 Cf. BhP. p. 102, 1. 6-9. 42 (C.42; K.XXIII.40). 1 Cf. BhP. p. 102, 1: 10-13.

488 THE NATYASASTRA [ XXV. 43-

The four stages of woman's youth 43. The youth of women when they have tasted love's pleasures is manifested in four stages through dresses, limbs and their movements as well as [inner] qualities1. The primary youth 44. The primary (prathama) youth which has an enthusi- asm for sexual acts, is characterised by plump thighs, cheeks, hips, lips and firm breasts which are conducive to (lit. charming in) love's pleasures1. The secondary youth 45. The secondary (dictiya) youth which affords the best pleasure of love is characterised by full and round limbs, plump breasts and slender waist1. The tertiary Youth 46. The tertiary (trtiya) youth which creats the utmost bril- liance [in women] is full of all kinds of beauty, exciting sexual desire and is maddening and rich in various qualities1. The quartenary youth 47-48. The quartenary (caturtha) youth which is the enemey of love's pleasure, comes when the primary, the secondary and the tertiary youths have gone by [one after another]. It is charac- terised hy reduced physical charm due to sunken (lit. pale) cheeks, hips, lips, breasts as well as lack of enthusiasm for sexual acts1. Behaviour in the primary youth 49 A woman in her first youth is to be known as one who cannot take much pains, is neither pleased or displeased with her rivals (females), and is attached to persons of mild qualities1. Behaviour in the secondary youth 50. A woman in her secondary youth takes offence lightly,

43 (C. 43; K.XXIII.41). I Cf. BhP. p. 103, 1. 10. 44 (C.44; K.XXIII.42). 1 Cf. BhP. p. 103, 1. 11-16. 45 (C.45; K.XXIII.43). 1 Cf. BhP. p. 104, 1. 2-11. 46 (C.46; K.XXIII.44). 1 Cf. BhP. p. 104, 1. 13-14. 47-48 (C.47-48; K.XXIII.45-46). 1 Cf. BhP. 105, 1. 1-6. 49 (C.49; K.XXIII.47). 1 Cf. BhP. p. 104, 1. 2-6. 50 (C.50; K.XXIII.48).

.XXV. 56 ] DEALINGS WITH COURTEZANS 489

and her anger and malice is also not great, and in her anger she remains silent1. Behaviour in the tertiary youth 51. A woman in her tertiary youth is an expert in love's pleasures, full of malice for her rivals, has many qualities and is not secretive about her proud acts1. Behaviour in the quartenary youth 52. A woman in her quartenary youth is capable of capti- vating a man, has no malice to her rivals even if she is an expert in love's enjoyments, and she always desires to remain unseparated [from her beloved]1. Five types of men 53-54. These are the four stages of youth for the Heroine in a drama. I shall now describe the types (lit. qualities) of men with regard to their love-affairs (lamitantra)1. With reference to their dealings (lit. application) with woman they are of five types, such as "excellent" (catura, lit. clever), "superior" (uttama), "middling" (madhyama), inferior" (alhama), and "too old" (samprarrddha)2. The excellent man 55. A man is to be known as "excellent" when he is sym- pathetic, able to endure hardship, skilled in pacifying anger in con- nexion with love, expert in sexual acts and is honest. The superior man 56-57. A man is to be known as "superior" when he does not do anything displeasing, is exalted (dlhirodatta)1, sweet-tongued, dignified, and knows thoroughly the mysteries of [human] feelings (lit. heart). One who is sweet [in manners], munificent and feels love, but is not overcome by passion, and when insulted by a woman gets disgusted with her, is [to be hnown as] a "superior" man.

1 Cf. BhP. p. 104, 1. 13-18. 51 (C.51; K.XXIII.49). 1 Cf. BhP. p. 105, 1. 1-4, 52 (C.52; K.XXIII.50). ' Cf. BhP. p. 105, 1. 8-10. 53-54 (C.53-54; K.XXIII.51). 1 K, omits 53. 2 Cf, BhP. 91. 1. 20ff. 55 (C.55; K.XXIII.52). 56-57 (C.56-57; K.XXIIJ.53). 1 The term is used in later classifica- tions of Heroes. Cf. DR. II. 3-6a, BhP. p. 92 1. 2-3. 62

490 THE. NATYASASTRA [XXV: 58-

The middling man 58. A man who takes in every way the [emotional] states of a woman with calmness and is disgusted with her on discovering any fault of her, is to be known as "middling". 59. A man who makes a gift in proper time, does not hare much anger even when he is insulted, but on discovering her act of desceit gets disgusted with a woman, is to be known as "middling".1 The inferior man 60-61. A man who shamelessly approaches a woman with a steadfast love even when she has insulted him and loves her more strongly in spite of a friend's advice to the contrary even when he has come to know directly of her deceit, is to be known as "inferior". The too old man 62-63. A man who does not care for fear or anger, is foolish, naturally inelined to womenI (?), obdurate, shameless in acts of love, rough in love-quarrels [and] in striking connected therewith, a laughing stock (lit. play thing) of women, is to be known as "too old". Psychological approach to women 64. Women are of different nature1 and their hearts are mysterious. Hence a wise,man should know them properly before approaching them. 65. A man should deal with a woman according to the Science of Erotics (lamatantra) after he has measured her feelings through different acts. 66. Such acts are : Conciliation (sama)1, Gift (pradāna =

58 (C.58; K.XXIII.54). 59 (C.59; K.XXIII.55). 1 K.reads this as follows : सर्वाथ मध्यस्थो भाव- ग्रद्षं करोति नारीगाम। किश्विद्दो टष्टा विरज्यते मध्यमध्यमोऽयमिति. 60-61 (C.60-61; K.XXIII. 56-57). 62-63 (C.62-63; K.XXIII. 58-59). 1 Read prakrti-prasakta-bhavas ca. 64 (C.64; K.XXIII.60). 1 nānasilū, K. nūnālilā, C. 65 (C.65; K.XXIII.61). 66 (C.66; K.XXIII.62). 1 Cf. BhP. p. 214. 1. 7. These terms have been from the Arthasastra.

.XXV. 3] DEALINGS WITH COURTEZANS 491

dana), Dissention (bheda), Chastisement (danda) and Indifference (upelcsa) to women, Conciliation 67. Expressing one's attachment by saying "I am yours", "You are mine", "I am dear to you and you are dear to me" is called Conciliation (sāma). Gift 68. Giving wealth, according to the measure of one's property as occasions arise, and concealing the same under some pretext is called Gift (pradana = dāna)1. Dissention 69. Showing the faults of one's dear one by some device is Dissention (bheda). Chastisement Restraining one's movement or beating one is called Chastise- ment (danda). Application of Conciliation and Gift etc. 70. An indifferent woman is to be re-united by Concilia- tion, a covetous one by giving wealth, and a woman attached to another person should be won over by Dissention. 71. When from her indifferent attitude a woman begins to behave wickedly1 she should be chastised with slight beating, and restraint of her movement. 72. If after an exaustive adoption in due order of means such as Conciliation and the like, a woman does not come under control then a clever man should be indifferent to her. Reading a woman's heart from her behaviour 73. It is from the expression of her face or from her eyes or from the movement of her limbs that one is to know whether a woman hates a man or loves him or is indifferent to him.

67 (C.67; K.XXIII.63). 68 (C 68; K.XXIII.64). T That is, in joys and sorrows (Ag.). 69 (C.69; K.XXIII.65). 70 (C.70; K.XXIII-66). 71 (C.71; K.XXIII.67). 1 Ag. explains this as desantaralpa]lāyā- yanam purusāntara-gamanam. 72 (C.72; K.XXIII.68). 73 (C.73; K,XXIII,69),

492 THE NATYASASTRA [XXV. 74

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 is dear to them or not. 75-76. [To them] a man [giving money] becomes dear even if they hated him before, becomes dearer than ever if she already was dear to them, appears to be well-behaved even if he is wicked, and to be possessed of good many qualities even if has none. On seeing him their eyeballs dance [in joy] and they smile as it were with eyes, and due to simulation of [proper] feeling their faces put up a pleasant colour. 77. Hence after understanding the feeling or its want in women one should approach them according to the methods men- tioned in the Science of Love (kamatantra)1. 78. Passion arises in them after they have been treated properly or they have been separated after the first Union just as fire comes out of the wood. 79. This is the traditional method of dealing with women so far as Gallants are concerned. This should be utilised in suit- able measure in the Nataka or the Prakarana. 80. This is the method of dealing with courtezans to be followed by the experts. Now listen about the Special Re- presentation.

Here ends the Chapter XXV of Bharata's Nātyasāstra, which treats of the External Manners.

74 (C.74; K.XXIII.70), 75-76 (C.75-76; K.XXIII.71-72). 77 (K.XXIII.743). 1C. omits this passage which is merely a varinnt of 65 (K.61). 78 (C.77; K.XXIII.74). 79 (C.78; K.XXIII,75). 80 (C.79; K.XXIII.76).

CHAPTER TWENTYSIX

SPECIAL REPRESENTATION

Special Representation 1. The peculiarity (visesa) which [is required] from time to time one in the use of Gestures and Words ete1, and which has yet been left unmentioned is known as the Special Representation (citrabhinaya)2 Day, night and scason etc. 2-4, To indicate morning and evening, day and night, seasons1, extreme darkness, wide expanse of water, directions, planets, stars, and anything that is slightly fixed, one is to make the following gestures : two hands raised with Patāka2 and Svastika8 gestures, Udvahita head4 looking upwards with various eyes [fitting each occasion]. Objects on the ground 5. With same1 gestures of the hands and of the head to- gether with the eyes looking downwards one is to indicate [objects] resting on the ground. Moonlight, happiness and air ete. 6. To indicate moonlight, happiness, air, flavour (rasa) and smell, one is to use gestures for representing touch and horripiliation.

1 (C.1; KXXV.1). 1 Aigādyabhinayasyāiva, K (Aigābhinayana- syeha. C.). 2 Ag. (p. 487) makes a scholastic diseussion on the justification of the term citrabhinaya. But this does not appear to be convincing. The term seems to hint at the pictorial effect of the direet or indireet use of gestures and may be explained as citratvam abhinayasaya, Sce NS. XXIV. 1 notc. 2-4 (C.2-4; K.XXV.2-4). 1 K. reads 3b as जन्दन् व्यस्तान् समस्तांथ etc. and 4 as दिशे ग्रहान् समचत दृष्ट्यक्ष भवे(द)दिह। तानेवमभितो(न) यानि नानाभावरसार्थतः. See NS. IX.17-26 3 Sce NS. IX.134 4 See NS. VIII.27 5 (C.5; K.XXV.5). 1 As described above. 6 (C.6; K.XXV.6).

494 THE NATYASASTRA [ XXVI. 7-

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 any other kind] are to be indicated by a desire for a shady place. The midday sun 8. The mid-day sun is to be indicated by looking upward with half-shut eyes, and the rising or the setting sun by a represen- tation of the idea of depth. Pleasant objects 9. To indicate anything pleasant and happy, one is to use gestures for representing the touch of one's body together with horripilation. Sharp objects 10. And to indicate things of sharp nature one is to use gestures for representing touch of one's limbs and uneasiness and to narrow down his mouth. Deep and exalted feeling 11. To indicate these in connexion with deep and exalted feelings one is to have the Sausthava4 of the limbs and a display of pride and conceit. Necklace and flowers ete 12. To indicate a necklace and a flower garland one is to hold the two Arala hands1 in the place where the sacred thread is held and then to separate them from the Svastika2 position. The idea of entirety 13. To indicate the sense of "entirety" one is to move on the index finger, look round and press the Alapallava hand1. Audible or visible objects 14. To indicate anything audible or visible whether it re- lates to the speaker or to the person spoken to, or to anyone else, one should point to the ears and eyes respectively.

7 (C.7: K.XXV.7). 1 Rajo-dhīmūnalāms tathū, C. (rājadharmā- nilau tathā. K). 8 (C.8; K.XXV.8). 9 (C.9; K.XXV.9). 10 (C.10; K.XXV.10). 11 (C.11; K.XXV.11). 1 See NS. IX.88-91. 12 (C.12; K.XXV.12). 1 NS. IX. 46-52. 2 See NS. IX.134. 13 (C.13; K.XXV.13). I See NS. IX.90. ' 14 (C.14; K,XXV.14).

-XXVI. 22 ] SPECIAL REPRESENTATION 495

Lightning and shooting stars etc. 15. Lightning, shooting stars, thunder, sparks [of fire] and flame should be indicated by. relaxed limbs and vacant eyes. Repugnant objects 16. To indicate anything repugnant to oneself, one is to practice Udvestita1 and Paravrtta ( . Parivartita)2 Karanas of hands and to bend the head and to look obliquely, or to avoid contact.

Hot wind and heat etc. 17. To indicate hot wind, heat from the sky, warding off of dust, rains, insects and bees one should cover one's face.

Lions and bears etc. 18. Lions, bears, monkeys, tigers and other beasts of prey should be indicated by holding Padmakosa1 hands downwards in the form of a Svastika. Worshipping superiors 19. To indicate worshipping the feet of the superiors (guru) one should hold Tripataka1 and Svastika2 hands, and taking up of the goad or the whip should be indicated by Svastika and Katakā [mukha]8 hands. Numerals 20-21. Numerals from one to ten should be indicated by fingers [of equal number]. Multiples of tens, hundreds and thousands are to be indicated by the two PatakaI hands. 22. Any number above ten should be indicated indirectly and along with the general meaning of the sentence which includes it (?).

15 (C.15; K.XXV.15). 16 (C.16; K.XXV.16). 1 See NS. IX 208. 2 NS. IX.210. 17 (C.17; K.XXV.17). 18 (C.18; K.XXV.18). 1 See NS. IX.80. 19 (C.19; K.XXV.19). 1 See NS. IX.26-32. 2 See NS. IX.134. 3 See NS. IX.61-64. 20 (C.20; K.XXV.20). 21 (C.21; K.XXV.21). 22 (C.22; K.XXV.22).

496 THE NATYASASTRA [ XXVI. 29-

Umbrellas and banners etc. 23. Umbrellas1, banners and banner-staffs and the different weapons should be indicated by representation of the holding of any staff. Memory and meditation etc. 24. Memory and meditation should be represented by in- dicating attention, downcast cyes, slightly bent head and the left hand with the Sandamsa1 gesture2. Height 25. HeightI should be indicated by the representation of offspring through making the head Udvahita2 and the hands Hamsapaksa3 on the right side. Past and cessation etc. 26. The idea of past, cessation, destruction or words listened, is to be indicated by carrying from the left the Arala1 hand on the head. The autumn 27. Autumn should be indicated by representing a compo- sure of all the senses, tranquility of all the directions and a view of different flowers. The carly winter 28. Early winter (hemanta) should be indicated by the superior and the middling characters through narrowing down their limbs and seeking the sun, fire and [warm] clothing. 29. The same should be indicated by the inferior characters through groaning (lujana) clicking (sitkara) and trembling of the head and the lips and the chattering of teeth.

23 (C.23; K.XXV.23). 1 chatra K. (citra. C.) 24 (C.24; K.XXV.24). 1 K. reads 24b as कुर्बीत इस्सन्दंभं सपार तेर्ध्णन बितक. 2 Sce NS. IX.109. 25 (C.25;" K XXV.25). 1 K. reads this couplet as euferi far: aer हंसपचम् अधोर्ध्व गम्। प्रासादमुक्कयामा्गं दीर्घ, गर्व च निर्दि शेत. 2 See NS. VIII.27. 3 See NS. IX.105. 26 (C.26; K.XXV.26). ' Arute, C. (srante. K.). 2 See NS. IX.46-52 27 (C.27; K.XXV.27). 29 (C.29; K.XXV.29). 28 (C.28; K.XXV.28).

-XXVI. 36 ] SPECIAL REPRESENTATION 497

30. The superior characters also may soinetimes indicate the winter in this manner if due to accident they are in a miserable condition. The winter 31. One is to indicate the winter by the representation of smelling the flowers, drinking wine1 and of feeling an un- pleasant wind. .

The spring 32. The spring (vasanta) is to be indicated by the represen- tation of acts of rejoicing, enjoyments and festivities and a display of various flowers. The summer 33. The summer is to be indicated through the repre- sentation of the heat of the earth, fans1, wiping off sweat and fecling the hot wind. The rains B+. The rainy season (pratrs) is to be indicated through the representation of the Kadamba, the Nimba and the Kutaja flowers, green grass, Indragopa insects and groups of peacocks1. The rainy night 35. A night in the rainy season1 should be indicated by the loud sound of the masses of clouds, falling showers of rain, as well as lightning and thunder. Seasons in general 36. Each season should be Indicated by the sign, costume, activity or scenery which is proper to it or whatever is [specially] desired or avoided (lit. undesired) in it.

30 (C.30; K.XXV.30). 31 (C.31; K.XXV.31). 1 Emend madhudanant into madhupanāt; see RS. V. 5 and 10. 32 (C.32; K.XXV.32). 33 (CL33; K.XXV.33). 1savijanaily, K. (suvijanarh, C). 34 (C.34; K.XXV.34). ' K. reads 34b as मचव्रींतः मुखस्पर्ण: ctc. 35 (C.35; K.XXV.35). 1 varsārātram, C. (varsārambham K.) 36 (C.36; K.XXV.36).

498 THE NATYASASTRA [ XXVI, 37-

37. These seasons according to the necessity should be indi- cated with proper Sentiments1 as being full of happiness for those who are happy, and full of distress for those who are afflicted. The States 38. The States (bhara)1 should be indicated by the re- presentation of the Determinants (vibhara)2 and similarly the States are also indicated (lit. accomplished) by the representation of Consequents (ambhara)3. The Determinants 39. Acts connected with the Determinants should be re- presented by means the Consequents ; and the States relate to the feeling of one's own self, and the Determinants relate to an exhibition of another person [in relation to the self]1. 40 A preceptor, a friend, an affectionate companion (sakhā), a relation from the mother's or the father's side who may come and be a announced1 [properly] is called a Determinant2. The Consequents 41. The honour shown to him1 by rising from the seat, by offering him presents (arghya) and a seat and by using respectful words, is called the Consequents (anubhava).

37 (C.37; K.XXV.37). prajunjitū yathūrasam, C. (darsayed virahānugān K). 38 (C.38; K.XXV.39). ' K. reads before this the following : यो बैन भवेनोदिष्टः सुखदेनेतरेगा वा। स् तदाहितसंस्कारः सबे पश्यति तन्पयम्. (He who is imbued with a state pleasant or otherwise, looks under its influence cverything as permeated with it). Besides this K. reads 38 as follows : famanga कायनुभावे निरृपयात्। तथैत्र चानुभावानां भावस्यानुगमेन च. For the def. of bhava see NŚ. VII. 1-3. " See NS. VII. 3 See NS. VII. 4-5. 39 (C 39; K,XXV.40). 1 Ag. (p. 491) reads ūtmanubhavanam for at mubhinayanam in the text and explains the same as कात्मानुभवनं भाव भ्रात्म- विश्रानं यदनुभवनं सुखद्ःखसंविद्र पं खभाव इत्यर्थः। आत्मगहणात् घटादनुभवनं भाव इत्यत्रं भर्वत विचमन्ध पठन्ति। तवार्थ: पात्मानुभाव्यगत येन न व ताट्वक यतन्तौति प्रकषेय गम्यते ते यह्ञध्वसत्तारथ चेत् तदवश्यमनुभूयते सुखादिकं तदेष भाव इत्युनां भर्वति. 40 (C.40; K.XXV.41). 1 Ag. (l.c) seems to read ūvesya for āvedya. 2 This is only an example of one of the many vibhavas which may lead to one of the many States. ' 41 (C.41; K.XXV.42). 1 One of the persons mentioned in 40 above.

-XXVI. 50 ] SPECIAL REPRESENTATION 499

42. Similarly in other cases also, from an observation of different incidents [in a play] one should find out the Determinants and the Consequents from actions [related to them]. 43. Reply to a message given to the Messenger is [also] called a Consequent. 44. In these ways the States, the Determinants and the Consequents are to be represented by men as well as women. Gencral directions for the representation 45. In the representation of their own nature,. men should assume the Vaisnava posture (sthana)I and woman the Ayata2 or the Avahittha3 postures in relation to [appropriate] actions. 46. [But] there occurring special need for the same, other postures may [also] be introduced for the representation of different States in special (lit. different) types of plays. Men's and women's efforts 47. Efforts of men should be characterised by patience as well as sportive limbs, and those of women by delicate Angaharas.1 Women's movements of limbs 48. Women's movement of hands, feet and other limbs should be graceful (lalita) while men's movement of these should be restrained (dhira) as well as vehement (uddhata)1. Meanings of words 49. Representation of the meaning of words are to be made differently by men and women. I shall explain them in. detail in connexion with the States and the Consequents. Joy 50. One should indicate one's joy (harsa) by embracing the [other's] body, by smiling eyes as well as by horripilation1.

42 (C.42; K.XXV.43). 43 (C.43; K.XXV.44). 44 (C.44; K.XXV.45). 45 (C.45; K.XXV.46). I See NS. XI.51-52. 2 See NS. XIII.157-170. 3 See N. ibid. 46 (K,XXV.47). 47 (C.46; K.XXV.48). 1 Sce NS. IV.170ff. 48 (C.47; K.XXV.49). IK. adds after this one additional hemistich. 49 (C.48; K.XX,V.50b-51a). 50 (C.49; K,XXV.5lb-52a). I tathollukasana, K. (tat halpakathailu).

500 THE NATYASASTRA [ XXVI. 51-

51. An actress (nartaki) should indicate joy by sudden horripilation, tearful eyes, smiling words and a loving attitude. Anger 52. One should indicate anger by upturned red eyes, biting of lips, [deep] breathing and trembling limbs. Jealous Anger of women 53-5k. Jealous Anger (irsyakrodha) of women should be indicated by tearful eyes, touching of the chin and the lips, shaking of the head, knitting of the eye-brows, keeping silent, curling of the fingers, leaving of garlands and ornaments and assuming the Ayata posture (sthana)1. Men's sorrow 55. Men's sorrow should be indicated by much breathing and sighing, thinking with a downcast face and looking up towards the sky [in a pensive mood]. Women's sorrow 56. Women's sorrow should be indicated by weeping1, sighing, beating the breast, falling on the ground and striking [the body against] the ground. 57. Crying1 which has been mentioned before as arising from tears of joy and from jealousy should be applied in case of women and of the inferior male characters. Men's fcar 58. Men's fear should be indicated by acts of consternation (sumbhrama), and of dismay (udreya), fall of weapons [from their hands], loss of self-control and the like. Women's fear 59-60. Women's fear should be indicated by eyes with

51 (C.50; K.XXV.52b-53a). 52 (C.51; K.XXV.53b-54a). 53-54 (C.52-53; K.XXV.54b-56a). I Sce NS. XIII.157-170. 55 (C.54; K.XXV.56b 57a). 56 (C.55; K.XXV 37b-58a). I ruditail svasitaih (ruditais ca smi- 'ais, C. ruditaih svasanail, K.). 57 (C.56; K.XXV.58b-59a). 1 rudilam, K. sahitam, C. 58 (C.57; K.XXV.59b-60a). 59-60 (C.58-59; K.XXV.60b-62a).

-XXVI, 67.] SPECIAL REPRESENTATION 501

moving eyeballs, throbbing and shaking limbs, glancing sideways for fear (lit. terrified heart), looking for someone to rescue them, weeping loudly and putting their arms round the man [staying close by]. Women's intoxicated condition 61. Intoxicated conditions (lit. intoxication) which have been mentioned before should be applied to women, and men of the inferior type. Adoption of gestures (lit. form) in such cases should be delicate and graceful. 62. Women's intoxication should be indicated by rolling of eyes, uttering of irrelevant words (vilapu = pralapa) and shaking of limbs. 63. These are the rules to be followed in a theatrical pro- duction for the representation of men's or women's States when occasion for these will arise. 64. In a theatrical production the States of women are all to be made graceful (lalita) and that of men endowed with Self- control (dhairya) and Equanimity (mahurya). Parrots and Sarikas 65. Parrots, Sarikas and small birds like these are to be indicated by two moving fingers in the Tripataka hand. Big birds 66. But birds like peacocks, cranes and swans which are naturally big are to be indicated by proper Recakas and Angabaras1. Asses and camels etc. 67. Asses, camels, elephants, tigers, cows, buffaloes and the like should be indicated by Gaits and gestures [suitable to them]1.

61 (C.60; K.XXV.62b-63a). 62 (C.61; K.XXV.63b-64a). 63 (C.62; K.XXV.64b-65a). 64 (C.63; K.XXV.65b-66a). 65 (C.64; K.XXV.66b-67a). 66 (C.65; K.XXV.67b-68a). 1 K. reads 66b as पच्ताङ्गोदारगतिभिरभिनैया: प्रयोक्भि: 67 (C.66; K.XXV.68b-69a). ' K. reads this as follows : Goe swIw- तरान् सिंहव्याब्रगजादिकान्। महापयूनक्हारगतिभिय प्रदर्भवेत्.

502 THE NATYASASTRA [ XXVI, 68.

Bhutas and Pisacas etc. 68-69. Bhūtas, Pišācas, Yakşas, Dānavas and Rākșasas when they are not visible should be indicated by the Angaharas. But when they are visible they should be indicated by [the repre- sentation of] fear, dismay and astonishment1. 70. When they remain invisible, gods are to be indicated according to the necessity by making obeisance to them and by movements suitable to the States. Greeting an invisible person 70-71. Greeting a man when he is invisible is to be indi- cated by touching the head with the Atala hand1 raised from the side. Greeting gods and superiors etc. 71-72, Greeting gods, superiors (gurn), and ladies is to be indicated by the Katakavardhamana1 or the Kapota hand2 [touching the head similarly]. 72-73. Gods and honourable persons when they appear physically should be indieated by obeisance to them and by the deep influence [they have over the surroundings]. A greet crowd and friends etc. 73-74. A great crowd, friends, Vitas and rogues are to be indicated by means of the Parimandala (Uromandala)1 hand. Mountains and tall trees ete, 74-75. Mountains in connexion with their height, and tall trees are to be indicated by lifting upwards the outstretched hands. Wide expanse of water 75-76 A wide explanse of sea-water1 is to be indicated by two Pataka hands thrown out [side-ways], and heroism, haughtiness,

68-69 (C.67-68a; K.XXV.69b; 70b-71a). -K. adds after 68a the. पङ्गह्वारविनिदेश्या कर्मसंकौर्तनादपि. 69-70 (C.68b-69a; K.XXV.72). 70-71 (C.69b-70a; K XXV.73). 1 See NS. IX. 46-52. 71-7 (C.70b-7la; K.XXV.74). 'NS. IX.136. 2 NS. IX.129. 72-73 (C.7lbc; K.XXV.75). 73-74 (C.72; K.XXV.76). 1 See NS. IX.196. 74-75 (C.73; K.XXV.77). 75-76 (C.74-57ab; K.XXV.78-79). 1 Emend sāgarāmnānūm into sūgarāmbhasūm.

-XXVI. 83 1 SPECIAL REPRESENTATION 50

pride, magnanimity and growth upwards also should be indicated2 by placing the Arala hand on the forehead. 77-78. The two Mrgasirsa hands1 turned away from the breasts and held out quickly at a distance will indicate anything made open (aparrta)2. A house and darkness etc 78-70. A house, darkness, a hole or cave is to be indicated by holding slightly stretched hands which have their palms upturned and which point downwards1. Lovesick, cursed and possessed persons 79-80. Persons who are lovesick or under a curse, possessed of some evil spirit or enfeebled in mind by fever, should be repre- sented by [suitable] movements of their face and other limbs1. A swing 80-82. A swing should be indicated by the representation of its movement, agitation of the limbs and the holding of the strings. It is by acting like this (lit. then) that the moving swing will be perceptible fto the spertators], and persons oceupying their seats [just after representing a swing] will be taken as moving in a swing. 82-83. I shall now speak of [the indication of] "Speaking to the Sky" (alasararana), "Speaking Aside" (atmagata), "Concealed Speaking" (apraritaka) and "Private Personal address" (janantila). Speaking to the Sky 835. Addressing someone staying at a distance or not appearing in person or indireetly addressing to someone who is not close by, is called Speaking to the Sky (alasa-bhasita)1. This

2 Read ह्रालन विनिर्दिशेत् (K.) for हस्तौ किश्वित् प्रसारिती. 77-78 (K.XXV.80). 1 NS.IX.86. 2 C. omits this, but K's reading is slightly corrupt. 78-79 (C.75c; K.XXV.8la-82b). I Read 78b as पधोमुखोत्तानतली इत्ती किञ्चित् प्रसारिती, C. (किश्वित् प्रदर्भयेत्, K.). 79-80 (C.76; K.XXV.83). 1 K. reads 80a as एवं विधा नरा ये च तेषां कायं विचेष्टित :. 80-82 (C.77-78; K.XXV.84-85). 82-93 (C.79; K.XXV.86b-87a). 83-85 (C.80-81; K.XXV,97b-89a). 1 आाकाशवचनाद्रि(नौ)त्यादि दूरस न रङ्रप्रविष्ट- पावेष सह भाषयमेव अतएव हि बशरीरनिवेदनमिति परोक्षेन प्रविष्टपावसम्बन्विन्योकरतयान्तरितं व्यवड्ितं (Ag. p. 493).

504 THE NATYASASTRA [ XXVI. 85-

mode of speaking will present [the substance of] a dialogue by means of replies related to various [imaginery] questions (lit. causes) which may arise out of the play2. Speaking Aside S5-86. When overwhelmed with excessive joy, intoxication, madness, fit of passion repugnance, fear, astonishment, anger and sorrow one speaks out words which are in one's mind (lit. heart), it is called Speaking Aside (atmagata). Conccaled Speaking And Concealed Speaking (apararitaka) is related to secrecy. Private Personal Address 87-88. When out of necessity persons standing close by are [supposed] not to hear what is spoken to someone else, this constitutes Private Personal Address (janāntila)1. Thinking within oneself It relates to something within one's self (lit. heart) which is a matter of deliberation2 and feeling8 and [which is] indeed a kind of Speaking Aside (ahmngata). 88-90. Words in a play, which are connected with secracy shonld be spoken in one's cars preceded by "so, so". Mentioning incidents that occurred already 90-91. When one is to speak from necessity of something

2 K. reads rasabhūva°. 85-86 (C.82a; KXXV.89h-90). ' Read the first three hemistichs as follows: पविहवर्षमदोन्माृगपभार्दितः। विषायक्रधुःखार्तिभादिकोि षती। वृदयस्ची यत्त तदात्मगतमिष्यते. 87-88 (C. 82b-83; K.XXV. 91a-92). 1 It is because both the janān- tika and the apavuritaka are supposed to be inaudible to others on the stage Ag. (p.424) quotes a view on their distinction as follows: vhar उभयमप्येतज्जनान्तिकमेव यावतो हि जनस्व तद वत्रव्यं तावतोऽन्तिके सामोप्ये तदुचते यत्त तब्ात् परम् उदिश्य नोचते तथ च पर: ऋणोवयमेवाशयी वचने तदपवारितकैम निगूढ़प भावेनाशयेन संयुक्तम And a late writer says: दह यद्वत्तनेकस्येव गोप्यं बह्नामगोप्य तज्जनान्तिकम् तडिपरीतम्- qaarfan. ND. p.31. But all this does not seem to fit in well with the nramples of the apavuritaka available in extant dramas. Cf. Levi. p.61. 2 savitarkam, C. (savikalpam, K.). 3 bhavastham C. (bhuravasād, K.). 88-90 (C.84 85; KXXV.93-94). ' K reads 88b differently. 90-91 (C.86; K.XXV.95).

-XXVI.95 ] SPECIAL REPRESENTATION 505

which has occurred earlier, for avoiding repetition this should be [similarly] spoken in one's ears. 90-91. Without making any confusion (lit. mistake) [among these] one should resort to Speaking to the Sky (akasa-vacana), Private Personal Address (janantika) and Speaking Aside (atma- yata) which will [relate sometimes] to a visible or an invisible person and [sometimes] to one's ownself or others1. Representing Concealed Speaking 91-92. Concealed Speaking (apavāritaka) and Private Personal Address (janantika) should be indicated by a Tripatāka hand covering [the speaker]1. Repetition of words 92-93. Words which are uttered due to fright, calamity, anger and intense sorrow are to be repeated1. 93-94. [In such cases] words such as "tell", "well done", "ah", "alas", "go away", "what", "let me go", "no" and "speak" should be repeated twice or thrice1. Suspension of representation 94-95. Distorted or incomplete words used [in a play] should not be represented by gestures1 for explaining them (lit. for the sake of definition)2. Observing proper States 95-96. The State (bhava) which is proper to a superior [character] should not be applied to a middling one ; and similarly the State which is proper to a middling [character] should not be applied to an inferior one1.

90-91 (C.86; K.XXV.95). Read this passage as follows: पत्यभिचारेष पठेदाकाप-जनान्तिकातमगतवाक्यान्। प्रत्यचपरोचगतात्मससुत्यान् परस्थंय (C. पार्दः, K. यावत् for पठेत् ; C. वाके:, K. पाठात् for l). The trans. is tentative. 91-92 (C.87; K.XXV.96). 1 Cf. DR. I. 65b; BhP. p. 219, l. 21-22; ' SD. 425. Lévi. p. 61. 92-93 (C.88; K.XXV.114). 1 K. reads punaruktam na țesv iha. 93-94 (C.89; K.XXV.115). 1 K. reads 93b as साध्बहो मुख हा देति किं किं मा वर्दीति च. 94-95 (C.90; K.XXV.114). ' K. reuds prat yangahinam, C. pratya- ngrhitam, K. 2 laksaņakrte, C. laksanakrtas, K, 95-96 (C.81; K.XXV.118), 64

506 THE NATYASASTRA [XXVI. 96-

96-97. By means of different States and Sentiments which arise from movements proper to the superior, the middling and the inferior characters, a play will attain (lit. wish for) attractiveness. No movement in the state of sleeping 97-98. In the somnolent condition (srapnayita) the States should not be represented by any movement of hands. As in the representation of the Temperament, this should be done through speech (lit. the meaning of words) only1. Declamation in sleep 98-99. Declamation (pathya) in the somnolent condition should. proceed wilth a slow voice; words in it should be [sometimes] distinct and [sometimes] indistinct and sometimes their senses should be repeated twice, and it should [also] depend on the recollection of the past [events]. Declamation of old people 99-100. Declamation of old people should be made with a faltering voice and dropping of syllables [now and then]; and Children's words that of children should be made with lisping (kalasvara) which will leave syllables unfinished1. Dying declamation 100-101 Indistinet declamation (lalu) at the time of dying should be made with syllables produced by relaxed .and heavy speech-organs (karana) ; it should be a faltering voice resembling the sound of [small] bells and it should be accompanied by hiccough, [hard] breathing and [the action of] phlegm. 101-102. Occurrence of a swoon when followed by hiccough and [hard] breathing is considered similar to death. To indicate it the declamation should contain repetition1.

96-97 (C.92; K.XXV). ' Read bhāvarasair almacestāsamutthilair (bhāvacestair, K. cesțāsamanvitah, C.). 97-98 C.93; K.XXV.97). 1 K.'s reading seems to have been as follows: रप्रायिने वाक्या र्थस्याभिनयो न रलु हस्तम्ारैः। सत्वाभिनयनेनैव तु वाक्याथे: etc. 98-99 (C.94; K.XXV.98). 99-100 (C.95; K.XXV.101). 1 asamāpatāksaram, C. but aspastavar- ņasamyuklam, K. 100-101 (C.96; K.XXV.99). 101-102 (C.97; K.XXV.100), ' Read the passage as followa :

-XXVI. 108 ] SPECIAA REPRESENTATION 507

Representation of death 102-103. Representation of death which may arise from different conditions will be of different nature. [For example] sometimes it is indicated by throwing out all the hands and feet, and sometimes by a paralysis of movement of all the limbs1. Death from disease 103-104. Death from an attack of disease should be represented by an occurrence of hiccough, [hard] breathing and imperceptible movement of limbs which should be relaxed1. Death from drinking poison 104-105. Death from drinking poison should be represented by throwing out of hands and feet and other limbs, and the power of the poison will lead to the quivering action of the [different] parts of the body. The cight stages in death from poison 105-107. The first stage of the action of poison is the general weakness of the body, the second tremor, the third a burning sensation, the fourth hiccough, the fifth froth [in the mouth], the sixth breaking of the neck, the seventh paralysis and the eighth death1. Weakness 107-108. Eyes with sunken eyeballs [depressed] cheeks, lips, belly and shoulder and feebleness of arms will represent [general] Weakness1. Tremor 108-109. Tremor (vepathu) should be represented by shaking simultaneously according to the situation the head, the hands and the feet or one of these limbs separately.

रिक्ान्राशोपेती मूच्छीपगमो तु मरयवत् कथयेत्। अनिम् (?)एतेप्वपि काय पाठ्यंपुनरुकसंप्रयुत्तम् (रिकान्रसी- पेतमनवचचत मूर्च्डनं मरयं कथनोथो etc. C. 102-103 (C.97b-98a; K.XXV.102). 1 Read sannais tathā gātraih (sarvais tathā gātraih, C. samtrais tathā kāryah, K.). I03-104 (C.98b-99a; K.XXV.103). 1 K. reads 104a as follows : व्याविदुते तु मरर्चं विषयगातरय संप्रयीत्ञव्यम् 104-105 (C.99b-100a, K.XXV.104). 105-107 (C;100b-102a; K,XXV.105-106). 1 Read kārsya, K.(kārya,C.) 107-108 (C.1025-103a; K.XXV.107). 1 pravistatārake, C. (pravrd- dhá-tālake, K). 108-109 (C.103bc; K.XXV.108).

508 THE NATYASASTRA [ XXVI. 109-

Burning sensation 109-110. Burning sensation (dāha) should be represented by shaking violently the entire body, scartching the [different] limbs and throwing out the hands and other limbs1. Hiccough 110-111. Hiccough (hikka) should be represented by re- peated blinking of eyes, belching, vomitting, convulsion (alcsepa), and uttering of indistinct sounds. Froth in the mouth 110-111. Froth (phena) [in the mouth] should be re- presented together with belching, vomitting, licking the corners of the mouth, senselessness and lack of movement of the eyes. Breaking of the neck 111-112. Breaking of the neck (sirobhanja = gvivabhanga) should be represented by the shoulder touching the cheek and the lowering of the head. Paralysis Paralysis (jadata) should be represented by inaction of all the sense-organs1. Death 118-114. Death (marana) whether it is due to a growth of disease or to snake-bite should be represented, according to the dramatic convention (natyadharma) by the closing down of the eyes. 114-115. These particular representations should be com- bined with suitable Temperament (sattva) and States (bhava)1, and

109-110 (C.104; K.XXV.109). 1 K. reads sarvānga-vepanam vepa- thus tu for sarvangavepanod-vejanena, C). 110-111 (C.105; K.XXV.110). 111-112 (C.106a; K.XXV.111). 1 C. omits 112a and reads the passage as follows : उद्गारवमनयोग: मृक्कलिह्नैवि वर्तनाच्ट्रिरसः। फेनस्याद्भिनेतव्यो निःसंत्वितयाSनिमेब्ाष. 112-113 (C.106b; K.XXV.112). ' C. omits 112b which K. reads as follows: पंसकपोलम्पर्था्हरसय विनामना्नरोभज्रात. 113-114 (C.107;K.XXV.113). 114-115 (C.108; K.XXV.119). 1 sattvabhava, C. for sarvabhava, K.

-XXVI. 123 ] SPECIAL REPRESENTATION 509

[representation of] other popular [objects and ideas] should be learnt (lit. accomplished) from the people. General directions 115-116. Just as the garland-maker makes garlands from various kinds of flowers, the drama should be produced similarly by gestures of different limbs, and by Sentiments and States. 116-117. Movements and Gaits that have been prescribed by the rules for a character which has entered the stage1 should be maintained by the actor without giving up the [particular] Tempe- rament till he makes an exit. 117-118. Now I have finished speaking about the represen- tation to be made through Words and Gestures. Things omitted here by me should be gathered from [the usage of] the people1. The triple basis of drama 118-119. The people, the Vedas and the spiritual faculty (adhyatma) are known as the three authorities. The drama is mostly based on objects related to the last two (the Veda and the adhyatma). 119-120. The drama which has its origin in the Vedas, and the spiritual faculty (adhyatma) and includes [proper] words and metre, succeeds when it is approved of by the people. Hence the people are considered as the [ultimate] authority on the drama1. 121. A mimicry of the exploits of gods, sages, kings as well as of householders in this world, is called the drama1. 122. When human character with all its different States is represented with [suitable] Gestures it is called the drama. People supplying norm to the drama 123. Thus the events (varta) relating to the people in all

115-116 (C.109; K.XXV.120). 116-117 (C.110; K.XXV.121). ' rangapravistasya, C. for ranga- pravrttasya, K). 117-118 (C.111; K.XXV.122). 1 K. reads 117b as follows: vaa war प्रोक्ा भावा चमिनर्य प्रति. 118-119 (C.112; K.XXV.123). 119-120 (C.113; K.XXV.124). ' K. omits 120b. 121 (C.114; K.XXV.125). ' See NS. I. 120 122 (C.115; K.XXV.126). 123 (C.116; KXXV.127.).

510 THE NATYASASTRA [ XXVI. 124-

their different conditions, may be (lit. should be) included in a play, by those well-versed in the Canons of Drama (nātyaveda). 124. Whatever Sastras, laws, arts and activities are connected with the human usage (lokadharma) may be produced (lit, called) as a drama. 125. Rules regarding the feelings and activities of the world moveable as wel as immoveable cannot be formulated (lit. ascertained) exhaustively by the Bāstra. 126. The people have different dispositions, and on their dispositions the drama rests. Hence playwrights and producers (prayoktr) should take the people as their authority [as regards the rules of the art]. 127. Thus they (prayoltr) should pay attention to the feelings, gestures and the Temperament in representing the States of various characters [that may appear in the drama]1. 128. The men who know in this order the art of Histrio- nic Representation and applies it on the stage, receives in this world the highest honour for putting into practice the theory of dramà (natyatattva) as well as [the art of] acting (abhinaya)1. 129. These are to be known as the modes of representation dependent on Words, Costumes, Make-up and Gestures. An expert in dramatic production should adopt these for the Success [in his undertaking]1.

Here ends Chapter XXVI of Bharata's Natyasāstra which treats of the Special Representation .

124 (C.117; K.XXV.128). 125 (C.118; K,XXV.129). 126 (C.119; K.XXV.130). 127 (C.120). 1 K. omits this. 128 (C.121; K.XXV.131). 1 C. reads after this an additional couplet. 129 (C.122). I K. omits this.

CHAPTER TWENTYSEVEN

SUCCESS IN DRAMATIU PRODUTION

1. I shall now describe the features of the two kinds of Success (xiddhi) relating to the drama. For the production of a drama is wholly meant for (lit. based on) attaining the Success in it1. The two kinds of Success 2. The Success [in the dramatic production] which arises from Words, Temperament and Gestures and which relates to various States and Sentiments is of two kinds : divine (daivikī), and human (manusī)I. The 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 Temperaments expressed vocally (ranmayi) and physically (sārīri). The vocal Success 4. Slight Smile (smita)2, Smile (ardhahasa)1 and Exces- sive Laughter (atihasa)3, 'well-done' (sadhu), 'how wonderful' (aho), 'how pathetic' (lastam), and tumultuous applause (pravrddhanada, swelling uproar) are the signs of the Success expressed vocally (ranmayī). The physical Success 5. Joy expressed in horripilation (saromanca-pulaka), the rising up from the seat (abhyutthana), and the giving away1

1 (C. K. same). 1 This chapter discusses the appreciation of theatrical productions by spectaters who include persons of various types possessessing different psychological and cultural traits. 2 (C. K. same). 1 vak-sattvanga. These three constitute the Basic Representation. See Nc. XXIV. 3 (C. K. same). 4 (C K. same). 1 Sco NS. VI. 52. 2 The ardhaha a seems to be the same as hasita, smile; see note 1 above. 3 See note 1 above. 5 (C. K. same). 1 The age-long custom in Indiawas that the wealthy among the spectators on being very highly pleased with a dramatic performance did at once' take out from their own body the

512 THE NATYASASTRA [ XXVII. G-

of clothes (celadana) and of rings (angulilcsepa) are signs of the Success expressed physically (sariri). 0. When actors produce the Comic Sentiment slightly dependent on words of double entendre the spectators should always receive the same with a Smile (smita). 7. When they (i.e. the actors) have a laughter not very clear, or words which do not directly cause laughter the spectators are always to receive the same with a Smile (ardhahasya). 8. Laughter created by the bragging of the Jester or by some artifice (silpa)1 should always be received by the spectators with an Excessive Laughter (atihāsya). 9. [Representation of deeds] which relate to the practice of virtue and is endowed with excellence, should be greeted by the spectators with the word "well-done" (sadhu). 10. Similarly, "how wonderful" should be uttered by the spectators in connexton with States like Astonishment (vismaya) and in course of the Erotic, the Marvellous and the Heroic Sentiments. 11. But in the Pathetle Sentiment they should utter with tears "how pathetic.". And in cases of Astonishment there should always be a tumultuous applause (pravrddhanada, lit. swelling uproar). 12. In cases of insulting words used in acting a play they should be attentively received with horripilation (lit. throbbing hairs) by the spectators whose curiosity has been evoked1.

costly shawls, other wearing apparels or ornaments to give them way to the talented actors. Cf. also NL. 2289f. ' See note 1 above. 6 (C. K. same). 1 kincic-chlista, C. kimcicchisto, K. 2 This prescription simply points out what should actually happen. 7 (C. K. same). 1 See above 2 note 2. 8 (C. K. same). ' vidūsakoccheka, K. vidūsakoccheda, C. For example, the art of comic make-up. 9 (C. K. same). ' dharmapada°, C. garvapada°, K. .10 (C. K. same). 11 (C. K. same). 12 (C, K. same). The trans, ie tentative,

-XXVII. 19 ] SUCCESS IN DRAMATIC PRODUCTION 513

13-14. If the play is a brilliant one with [a plot containing] cutting and piercing [of limbs], fight, portentuous calamity, terrific happening or minor personal combat, it should be received by the clever spectators with tears and rising up [from the seat, and with shaking the shoulder and head]. 15. This is the manner in which the human Success1 gets expressed. Now listen about the divine Success which I am going to describe. The divine Success 16. The Success [in dramatic production] which includes an excessive [display] of the Temperament, and expresses the States [clearly]1 is to be'taken by the spectators as divine (daivi). 17. When there is no noise, no disturbance, no unusual occurrence [during the production of a play] and the auditorium is fuill [of spectators], the Success is called divine1. Three kinds of Blemishes 18. These are the varieties of the Success to be known by the spectators as human and divine. I shall speak hereafter of the Blemishes (ghata) coming from gods (deva). 19. Blemishes [in the production of a play] are of three kinds; [that coming] from gods1, from the actors themselves

13-14 (C. K. same). 15 (C. K. same). 1 This "human" Success seems to relate to the common "human" beings or average spectators, and they should be com- pared with men occupying the gallery of a modern theatre. They are generally moved by outward and not deep aspects of a dramatic per- formance. Sce below 16 note. 16 (C. K. same). ' These are the deeper aspects of a dramatic performance. 17 (C. K. same). ! The "divine" Success seems to relate to cultured spectators who generally take interest in deeper and more subtle aspects of a dramatic performance and as such are above ordinary human beings and may be called "divine". 18 (C. K. same). 19 (C. K. same). 1 "Gods" here means the source of various accidents. See 20 below. 65

514 THE NATYASASTRA [ XXVII. 20-

(atman)2, and from an enemy (para)8. Sometimes a fourth variety of it is what comes up due a portentuous calamity. Blemishes from gods 20. Blemishes from gods are : [strong] wind, fire, rains, . fear from an elephant or a serpent, stroke of lightning, appearance of ants, insects, ferocious and other animals. Blemishes from an enemy 21. Blemishes created by an enemyI are : all round screaming, buzzing (visphotita), noisy clapping, throwing of cowdung, clods of earth, grass and stones [in the place of performance]. 22. Blemishes created by an enemy1 are considered by the wise to be due to jealousy, hostility [to the party injured], or being partial [to the party's enemy] or receiving bribe from the latter (arthabheda)8. 23. Blemishes resulting from portents (antpatika) are those due to earthquake, storm, the falling of meteors and the like1. Self-made Blemishes I shall now describe Blemishes arising from the actors themselves (atma-samuttha). 24-25. Un-naturalness [in the acting], wrong movement [of the actors], unsuitability of a role [to an actor] (vibhūmikatva)1, loss

2 Their acts of ommission or commission are these Blemishes. See below 24-25. 3 See below 21-22. 20 (C. K. same). 21 (C. K. same). 1 The rival groups of actors who contested for rewards from their patrons, became enemies to one another ; see below 72ff. 3 This kind of improper and dishonest acts sometimes occurs also now-a-days in meetings supporting candidates from rival political parties. Human psychology has not much changed since the NS. was compiled more than sixteen hundred years ago. 22 (C. K. same). See above 20 note 2. 2It soems that the leaders of actors did not scruple even to bribe individual spectators to gain their ends. 23 (C. K. same). I It is possible that due to superstitious fear arising from an appearance of these natural phenomena confusion occurred during the performance. 24-25 (C.24,25b-26, K.24-25). I Ag. (p. 509) explain this as anya- bhūmikocita-svatva-śri-ca (9) svikāra.

.XXVII. 28] SUCCESS IN DRAMATIC PRODUOTION 51

of memory [of the actors], speaking other words2 (anyavacana i.e. those not in the play), [actor's] cry of distress8, want of proper hand movements (vihastatva), falling off of the crown and other ornaments, defects in playing the drums (puskaradosa), shyness of speech (vagbhiti), laughing too much and crying too much will be taken as Blemishes to the Success4. 26. Attack of insects and ants1 wholly spoils the Success, while the falling off of the crown and other ornaments will spoil the tumultous applause [in appreciation of the production]. 27. Blemishes in the shape of an appearance of animals1 should be disregarded. But shy speech [of the actors] and the wrong playing of the drums will [however] wholly spoil the Success2. Blemishes without remedy 28. The two [kinds of] Blemishes which cannot be remedied in the production of a play (lit. poem), are faults due to a natural calamity, and the running out of water from the Nadika1.

g Ag. (l.c.) explains this as tūsnim krtām anyena paļhanīyam anyal! pathatīti an yavacanam. 8Ag. (l. c.) explains this as artatvam hi chadmanā pradarsanad asiddhih. ' C. reads one fragmentary hemistich before 25. 26 (C.26b-27a; K.26b-28a). ' Ag. (p. 509) probably read in his text pipilikā-niksepa. 27 (C.27b-28b; K.28b). 1 Ag. (p, 509) reads it as pasu-praveso and comments on it as follows: सुकुमारप्रकृतेः र्वीपावप्रायस्य वासनोत्पादनेन सिद्धिविधाताय भौत्पातिकाय घातः पशवेशोऽश्मलिङ्गक्वता(?)इति आार्शाङ्तम्, पशोः सिंहाद्वषं कवत्वा सुकुमारं प्रयोकारं भोषयति सामाजिक वा एवं मात्सर्यादुत्तमलिङ्गमपि क्वचित् करोति हासानयनेन प्रक्लतप्रयोगविप्रसंवादनयीति. 2 C. reads one additional hemistich between 27a and 27b. K. omits 27b. 28 (C.29; K.32). ' Ag. (p. 508) says on this उदकनालिकया काल इव लत्ष्यते तस्यशेषत्वम् भन्थकार्याव्याप्तियोग्यता तेन यत काले यदनुचितं तच तव्रिबन्धनम् .. etc. Nailika (text nalika) is a measure of time. See NS. XX. 66 note 1. The ancient Indian device for measuring time consisted of a water vessel of particular size with a well-defined tube (nadikit) at its bottom. Time required for the complete running out of water from it, was known as a nādikū (nādi), सुवर्णमावकायत्वारसतुरकलायामाः। तावत् प्रमाणकुम्भच्छिद्र पा जलाढकस्य यावता कालैय सृति: स कालो वा RIfeIT I (See AS. II. 20 ; also AS. notes, p. 27). Here nadika is used in the sense of the water-vessel used for measuring time. On the necessity of time-kecping see below 39 and NS. XX.23, 65-68. Ag's explanation does not seem to be clear.

516 TEE NATYASASTRA [ XXVII. 29-

Palpable sources of Blemishes 29-30. . Palpable (lit. large) sources of Blemish in a play are : repetition, defective use of compound words (asamasu), wrong use of case-endings (ribhaklibheda), want of proper euphonic combination (cisandhi), use of incoherent words (apartha), faulty use of three genders, confusion between direct and indirect happen- ings (patyaksa-paroksa-sammoha), lapse in metre, interchange of long and short vowels, and observing wrong caesura1. 31. Absence of [proper] notes (cisvara), of sweetness of notes (viyukta-raga), and of wealth of notes, and ignorance of voice registers (sthana) and of tempo (laya) will disturb musical rules [in the production of a play]1. 32. Non-observance of Sama, Marga and Marjana, giving hard strokes1, and ignorance about the beginning (lit. taking)2 and the stopping (mol:sa, lit. release) will spoil the beauty (rasa)3 of the music of drums4. 33-36. Omission due to loss of memory, and defective enunciation in the declamation, putting on ornaments in wrong places, falling off of the crown, not putting on any ornament1, want of hand-movements owing to an ignorance about mounting or

29-30 (C.30-31, K.30-31). 1 Actors and actresses at, the time of the NS. usually being speakers of Middle Indo-Aryan (Prakrit) and not trainod scholars, there occured all sorts of lapses in their Sanskritic recitation and declamation. Hence is to be justified the humorous reference to the nata (actor) in the following traditional couplet: व्याकरणकिरातादपशब्दमगाः क्व यान्ति सनस्ा:। ज्यौतिनंटविट गायक भिष गाननगढराषि यदि न सुः (Haldar, Itihasa, p.143). which in trans. is as follows : Where would the vulgarly-used words have gone for fear of hunter-like grammarians, if there were no mouth caves of astrologers, actors, gallants, singers and physicians ? 31 (C.32; K.27). 1 For the technical terms of music used here see NS. XXVIII. 32 (C.33; K.29). I bahulaprahāra, K. (kulaprahāram ca. C). 2 graha, K. (grha, C.). ' Read rasam for marisam, C. and mārsam, K. 4 puskaragata, K. (puspagala, C). For technical terms of music used here see NS. XXXIII. 33-33 (C.34-37; K.33-36). I Read bhusanāgraham for bhūsana°.

-XXVII. 41 ] SUCCESS IN DRAMATIC PRODUCTION 517

dismounting chariots, elephants, horses, asses, camels, palanquins, aerial cars (vimana) and vehicles [in general], wrongly holding or using weapons and armours, entering the stage without the crown, headgear or clothing. or entering too late2 are the Blemishes which should be marked in proper places by the clever experts, but they should leave out of consideration the sacrificial post (yūpa), taking up of the fire-wood (cayana), Kusa grass (darbha), ladle (éruc) and other vessels (bhanda) [relating to a sacrifice]. Threc grades of Blemishes 37. An expert in dramatic production should record Blemishes as "mixed" (misra), "total" (sarvayata) and "partial" (Pkadesija), but should not record [merely] the Success or the Blemishes [without any detailed information about these]. 38. The total Success or an all round Blemish expresses itself in many ways. But a matter affecting merely one aspect [of the production] should not be reckoned for lowering the order. 39. After the putting down of the Jarjara [by the Director] in a dramatie production, the Assessors (prasnika)1 should always achieve in due manner the accuracy of timing (nadikasiddhi)2 and of recording (lekhyasiddhi) [of all Blemishes as well as goods points]. Wrong Benediction 40. When during a god's festival anyone foolishly recites a Benedictory Sloka in honour of the wrong god it is to be recorded as his Blemish in the Preliminaries1. Interpolation is a Blemish 41. When anyone interpolates the composition of one

2 cirapraveso, K. (cirprayoga, C.). 37 (C.38; K.37). I Read siddher for siddhair, C. and siddhyā, K. 2 Read na ghutas ca for na ghātasya, C. vidhano vā, K. 3 K. reads 37b differently. 38 (C.39). 1 Read ekadesajāto (ekadesajātam, C). K. gives 38a in a mutilated form. 39 (C.40; K.39). Sce below 62-69 notes. 2 See above 28 note. 40 (C.41; K.40). 1 Read 40a, as योऽन्यस्य महे मूढ़ो नान्दीझोकं पठेदि बन्धस्य। दैवस्य पूर्वरके वातसस्यापि विलेख्य: स्यात्. 41 (C.42).

518 THE NATYASASTRA [XXVII. 42-

playwright into that of another it is also to be recorded by the experts as his Blemish1. 42. When anyone knowingly (lit. not out of ignorance) interpolates (lit, mixes) in [his] play the name of another author then his Blemish in it being definite, should be recorded in due order1. 43. When anyone produces a play using costumes and languages in violation of the rules [regarding the same laid down in the Sastra] then his Blemish about the same should be recorded1.

Limitation of human efforts in a play 44. Who is able to observe properly the rules of [construc- ting] plays or producing [them on the stage]? Or who can be bold or keen (lit. eager) enough in mind to [claim to] understand pro- perly all that have been said1 ? 45. Hence one should include in plays words which have deep significance, are appoved of by the Vedas as well as the people, and are acceptable to all persons1. 46. And no play (lit. nothing) can be devoid of any merit

1 This seems to show clearly that theatrical Directors did not hesitate sometimes to insert passages taken from one playwright's work into that of another to add to the effect of the latter. K. omits this passage. 42 (C.43). 1 From this it appears that the practice of putting in the name of the author of a play in the Prologue (prastāvana) was not a very old one. This seems to explain the absence of the authors name in dramatic the works ascribed to Bhasa. K. does not have this passage. 43 (C.44; K.41). 1 From a close study of avalable plays it does not appear that the rules laid down in the Sastra were very serupulously followed, or it is also likely 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 languages. 44 (C.45; K.47). 1 This seems to point out that no Sastra can exhaus- tivcly lay down all the rules which can never be made very clear and precise, for many things in theatre relate to so many fluctuating factors. 45 (C.46; K.43). T One should mark the stress put on the Vedas and the popular practice in connexion with the Natya. See NS. XXVI, 118-120. . 46 (C.47; K.44).

-XXVII. 54 ] SUCCESS IN DRAMATIO PRODUCTION 519

or totally free from faults. Hence faults in the production of a a play should not be made much of1. 47. But the actor (nata) should not [for that reason] be careless about Words, Gestures and Costumes1 of minor import- ance (lit. non-essential) as well as about [minor] Sentiments and States2, dance, vocal and instrumental music and popular usages3 of the same kind [relating to the performance]. Spectators of a performance 48. These are [the rules] defining the characteristics of the Success. I shall hereafter describe that of [an ideal] spectator1 (preksaka)'. 49-52. Those who are possessed of [good] character, high birth, quiet behaviour and learning, are desirous of fame and virtue, impartial, advanced in age, proficient in drama in all its six limbs, alert, honest, unaffected by passion expert in playing the four kinds of musical instruments, acquainted with the Costumes and Make-up, the rules of dialects, the four kinds of Histrionic Representation, grammar, prosody, and various [other] Sastras, are very virtuous, experts in different arts and crafts, and have fine sense of the Sentiments and the States, should be made spectatorsI in witnessing a drama2. . 53. Anyone who has (lit. is characterised by) unruffled senses, is honest, expert in the discussion of pros and cons, detector of faults and appreciator [of merits], is considered fit to be a spectator in a drama. 54. He who attains gladness on seeing a person glad, and sorrow on seeing him sorry and feels miserable on seeing him miserable is considered fit to be a spectator in a drama1.

' This is a very wise counsel for the hasty critics of a play. 47 (C.48; K.45). 1 nepathye, K. ( nepathyail, C). ' rasabhavanrttagite, K. ('nrtyagitaih, K). 3 lokayukte, K. ('yukt yā, C). 48 (C 49; K.46). 1 preskakānūm (preksaņūnām, C.prasnikānām, K). 49-52 (C.50-53; K.47-50). 1 preksaka, C; prāśnika, K. 53 (C.54; K.51). 54 (C.55; K.52), 1 The critic must be a man with sympathy.

520 THE NATYASASTRA [ XXVII. 55-

55-56. All these various qualities are not known to exist in one single spectator. And because objects of knowledge. are so numerous and the span of life is so brief1, the inferior common (lit. men) in an assembly which consists of the superior, the middl- ing and the inferior members cannot be expected to appeciate the performance of the superior ones. 57. Hence an individual to whom a particular dress, profession, speech and an act belong as his own, should be consi- dered fit to appreciate the same. Various classes of spectators 58. Different are the dispositions of women and men, young and old who may be of superior, middling or inferior talents, and on such dispositions [the Success of] a drama rests. Disposition of different spectators 59. Young people are pleased to see [the presentation of] love, the learned a reference to some [religious or philosophical] doctrine1, the seekers of money [topics of] wealth, and the passion- less in topies of liberation (moksa). 60-61. Heroic persons are always pleased in the Odious and the Terrible Sentiments, the personal combats and battles, and the old people in Puranic legends, and tales of virtue. And [the common] women, children and the uncultured men (murkha) are always delighted with the Comic Sentiment and [remarkable] Costumes and Make-up (ncpathya)1. 61-G2. Thus the man who is fit to assume a particular role by imitating the States of the latter, can be considered a spectator possessing the [necessary] qualifications. Assessors in a performance 62-64. These 'should be known as spectators in connexion with a drama. But there being any controversy (samgharsa)

55-56 (C.56-57; K.53-54). ' K. reads 55b as follows विज्वेयस्याप्रमीयत्वाद अल्पत्वाद् भायुषस्तथा. 57 (C.58; K.55). 58 (C.59a, 60b; K.56). 59 (C.59b-60a; K.57). 1 samayāsrite, C. (samayānvile, K.). 60-61 (C.61; K.58). 1 K. omits 61a 61-62 (C.62; K.59). 62-64 (C.63-64; K.60-61). 1 This is a very elaborate arrangement for judging in every detail the Success of a performance.

-XXVII. 70] SUCCESS IN DRAMATIC PRODUOTION 521

about the performance of individual actors, the following are the Assessors (prasnika) : an expert in sacrifice (yajnavit), an actor (nartaka), a prosodist (chandovit), a grammarian (éabdavit), a king (rajan), an expert in archery (isvastravit), painter (citravit), courtezan (vesya), musician (gandharva) and a king's officer (rajasevaka). Hear about them. 64-68. An expert in sacrifice will be an Assessor in the [representation of] sacrifice (yajnayoga), an actor in general His- trionic Representation, a prosodist in complicated metres, a grammarian in a lengthy declamation, a king in connexion with [personal] dignity, in dealings with the harem and in royal (lit. his own) roles, the archer (isvasa)I in the Sausthava of the pose ; and a painter is a very suitable Assessor of movements for saluta- tion and other acts, of wearing clothes and ornaments, and of Dresses and Make-up which are at the root of dramatic produc- tion ; the courtezan will be an Assessor in matters relating to the enjoyment of love, and a musician in the application of notes (svara) and observance Time (tala), and an officer of the king in [the matter of] showing courtesies. These are the ten Assessors of a dramatic performance. 69. When there is a controversy among the persons ignorant of the [Natya]-Sastra they (i. e. the persons named above) are to pronounce justly the faults as well as the merits [of individual actors]1. Then they will be known as Assessors of whom I have spoken to you. 70. When there occurs any learned controversy about the knowledge of the Sastra the decision should be made on the testimony of the books (lit. Sastra).

64-68 (C.65-68). 1 Emend iştavāk (C). into işvāsa -. 69 (C.69). ' 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 down in the Sastra) fail to decide, the specialist Assessors mentioned above are to be called in. This passage is wanting in K. 70 (C.70). ! This rule seems to show that when the specialists in theatrical practice differed, they were to. refer to the Castra or the traditionally handed down rules compiled in books. K. omits this passage. 66

522 THE NATYASASTRA [ XXVII. 71

Controversy about a performance 71. Controversy arises when the actors (bharata) have the desire of mutual contest at1 the instance of their masters or for. [winning] money and the Banner (pataka) [as rewards]. Procedure in deciding controversies 72. In course of deciding a controversy one should observe [the performance of the parties] without any partiality. The decision about [the award of] the BannerI should be according to the stipulation made (panam kr!va)2 [beforehand]. Recording of Blemishes 73. Blemishes affecting the Success should be recorded with the help of reckoners (ganaka) by these persons (i.e. Assessors) who are seated at ease, have clean intention, and whose intelligence is [generally] relied on [by the public]1. Ideal position of Assessors in a performance 74. AssessorsI should neither be too near [the stage] nor too far [from it]. Their seats should be twelve cubits (six yards) apart from it. 75. They are to notice the points of the Success mentioned before, as well as the Blemishes1 which may occur during the pro- duction of a drama. Blemishes to be ignored 76. Blemishes which may be accidental (lit. caused by the 71 (C.71). ' An cxample of this is the contest between the two nātyacaryas in the Malavi. 2 The Indian literary tradition records the fact of Bhasa's winning Banners, possibly on the occasion of dramatic contests. Sec Harsacarita, Introduction, 15. 72 (C.72). 1 Read palākāsamvyąvahāram (savyavahūram, C.). This stipulation may have the following forms: the Success in producing any particular play, or any new play, or a new play with a particular do ninating Sentiment will entitle one group of actors or its leader to the award of the Banner. K. omits this passage. 73 (C.73; K.62a). 1 K. omits 73a. 74 (C.74; K.62b-63a). 1 Emend preksakaih into prasnikaih. 75 (C.76-77a; K.63b-64a). ' ghatas ca, K. for yah kas ca, C. .76 (C.77b-78a; K.64b-65a),

XXVII. 81 ] SUOCESS IN DRAMATIC PRODUCTION 523

gods)I, the portents or the enemy are not to be recorded by the wise [observers]. But the Blemishes relating to the play2 as well as the Blemishes arising from [the actors] themselves3 should be recorded. Procedure of awarding the Banner 77. After mentioning him to the king the Bannar should be given to a person whose Blemishes, have been reckoned as few in number but points of the Success as many. 78. If expert actors1 are found to be of equal merit (lit. work and quality) in the production of a drama, the Banner should be awarded first to one whose Success2 is greater, or in case of equal success3 [of the two contestants] [the award should be made] at the king's command4. 79. If the king has similar admiration for the two rivals, then both of them should be awarded [the Banners]. With an eye to all these rules one should provide [in the production of a play]for the recitation, the [distribution of] roles and the SentimentsI. 80. Thus cultured persons who are well-acquainted with with the rules [of theatrical production] and capable of appreciating merits1 should sit at ease with an unruffled mind2 and see to the proper judgement3 [in awarding the Banners]. 81. The Assessors- are to point out (lit. take) the [measure

1 daivotpatasamuttha. K. (daivotpannasamartha, C. 2 ghata, K. (yāstā, C.). Blemishes relating to a play seems to be its literary drawbacks. It is likely that in dramatic contests choice of defective plays brought discredit on the contestants. 8 Sec above 24-25. 77 (C.75; K.65b-66a). 78 (C.78b-79a; K.66b). 1 Read bharatah prayogesu ca. 2 Depending on the vocal applause as well as the silent approbation of spectators. 3, sammasiddhau, K .. (samasiddhā, C.). · vājnayā nrpateh, C .; K. omits 77a and reads 77b with some variation. 79 (C.79b-80a; K.67a). ' K. omits 79b. 80 (K.68). 1 Read gunādadbhih for gunādibhiḥ, K. Read svasthacittaih for svasvacittaih K. 3 Read vyavahārah samanjasah for vyavahārah samanjasam, K. 81 (K.69). ' Emend preksakaih into prāsnikaih.

524 THE NATYASASTRA [ XXVII. 82

of] achievement as well as the slightest of faults2 which may relate to the theory of theatrical production3. 82. Hence producers' [of plays] should know [properly] about Co-ordination (sama), Charm of Limbs (angamādhurya), Recitatives (pathya), rôles (prakrti), the Sentiments (rasa), songs (gana), instrumental music (radya), and the Costumes and Make- up (nepathya)a. Co-ordination 83. Gestures (anga) which are simultaneously1 made in a play in harmony with the different aspects of the arts in course of the Dhruva songs and of dances2 is called Co-ordination (sama). 84. When in course of the performance [of a play] Gestures of different limbs major and minor, are accompanied by songs with proper Time (tala) and tempo (laya) and by the playing of drums it is called Co-ordination. Charm of Limbs 85. The position in which the chest is not bent1, the two arms are Caturasra and spread out (ayata)2 and the neck is Ancita, gives rise to the Charm of Limbs (angamadhurya). 86. And as for the remaining subjects1 which are to be mastered (sadhya)2 by the actors (sadhaka) they have been discussed before. But they are to look after the instrumental music (vadya)8, the rôles (prakrti, lit. the origin) and the songs (gana). 87. The Success arising from the Gestures and the various Sentiments should be expressed out of joy through all the signs (lit. the places) of the same.

2 Rcad dūsaņābhāsam for dūsaņābhāsah, K. 2 Read prayogasamayasrilm for prayoga-samayasritaih. 82 (C.80b; K.70). 1 prayoktrbhih C. (prayatnatah, K.). 2 C. omits 82a). 83 (C.81; K.71). 1 samantāt, K. samarihah, C.). 3 dhruvānātyaprayoge, C. (gitavāditratālena, K.). 84 (K.72). 85 (C.82; K.73). 1 anirbhugnam, C. (sanirbhugnam, K.). 2 'srāyatau bhujau, C. srakrtaukarau, K. 86 (C.83; K.74). ' These are pathya, rasa and nepathya ; see NS. XIX., VI. and XXIII. 2 sādhyam. C. (preksyāni, K.). å Read vadyam prakrtayo gānam for vadya-prakrtaye'ngānam, C. and vady am prakrtayo jnanam, K .. 87 (C.84; K,75).

.XXVII. 97 ] SUCCESS IN DRAMATIC PRODUCTION 525

Suitable times for dramatic performance 88. Producers [of plays] should know the time (kalu) for a performance (vara), which depends on various considerations to be [generally] day and night1. Listen now when a performance may take place during these two periods. 89. The performance in the evening, the midnight and the dawn belongs to the night3. 90. The performance in the forenoon and the afternoon belongs to the day. Time of performance according the subject and the Sentiment 91. 1 shall now speak how these times are suited to [different] Sentiments after mentioning the time (lala) to which a performance belongs. 92. [The performance] which is pleasant to the ear and is based on a tale of virtue (dharma), whether it is pure (suddha) or mixed (vikrta), should be held in the forenoon. 93. That which is rich in instrumental music, includes the story of strength and energy, and carries [a chance of] abundant success should be performed in the afternoon. 94. That which relates to the Graceful Style, the Erotic Sentiment and is full of vocal and instrumental music1 should be performed in the evening. 95. The drama which relates to the magnanimity [of the Hero], and contains mostly the Pathetic Sentiment should be performed in the morning and it will scare away sleep. 96. Tbe drama should not be performed in the midnight or at noon or at the time of the Sandhya prayer or of taking meals. 97. Thus after looking into the time, place and the basis (plot) of a play one should bring about its production according to the States and the Sentiments it contains.

88 (C.85; K.76) Read 88b as दिवसषव रावित्न तयो्वारं निबोधत. 89 (C.87; K.77). I reads 89a as पूर्वान्न व्वच मध्याक छपराक तथव च and 89b correspondingly. 90 (C.86; K.78). 91 (C 88; K.79). 92 (C.89; K.80). 93 (C 90; K.21). 94 (C.91; K.82). 1 gitavāditrabhūyistham C. nrt yavaditragitūdhyam. K. 95 (C.92; K.83) 96 (C.93; K.84). 97 (C.94; K.85). 1 prasamiksya sasamsrayam, C. but parņadam ca samiksya tu, K. parnadam in K. may be a wrong reading for pārsadam (assembly).

526 THE NATYASASTRA [ XXVII. 98

Emergency performances are independent of time 98. But when the patron (lit. master) orders, the time and place are not to be taken into consideration and the performance should be held without any hesitation. 99. Proper Co-ordination (lit. co-ordinated production) Brilliance [of Pageant] (sampddhi), and actors capable of [good] production are the three [points of] merits [in a performance].1 Qualities of an actor 100-101. Intelligence, strength, physical beauty1, knowledge of Time (tala) and tempo (laya), appreciation of the States and the Sentiments, [proper] age, curiosity, acquisition [of knowledge and arts], [their] retention, vocal music, dances, suppression of stage-fright, and enthusiasm will be the requisite qualities of an actor (pātra). An ideal performance 102. That which includes good instrumental music, good songs, good recitatives as well as Co-ordination of all acts prescribed by the Sastra, is called an [ideal] production. Brilliance of Pageant 103. Use of proper ornaments, good garlands, clothes and proper painting or the Make-up [for the characters] gives rise to Brilliance of Pageant (samrdldhi). The best performance 104. According to the producers of plays the best (lit. the ornament) [of the performance] occurs when all these factors combine. 105. Thus I have spoken to you properly of the charac- teristics of the Success. Now I shall speak to you about the different branches of music (ātodya, lit. instrumental music)1.

Here ends Chapter XXVII of Bharata's Nātyaśāstra, which treats of the Success in Dramatic Production.

98 (C.95; K.86). 99 (C.96; K.87). 1 See below 103. 100-101 (C.97-98; K.88-89). 1 surupatvam, K. (svarupatvam ca, C). 102 (C.99; K.90). 103 (C.100; K.91). 104 (C.101; .K92). 105 (C.102; K.93). ' The Chapters XXVIII-XXXIII which treat of the theory and practice of the different branches of music, will be published in the second part of the present work.

CHAPTER THIRTYFOUR

TYPES OF CHARACTERS

Three types of character in a drama 1. Whether male or female, characers (prakrti) in general [in a play] are of three types : the superior, the middling and the inferior1. A superior male character 2-3. A man who has controlled his senses, is wise, skilled in various arts and crafts, honest, expert in enjoyment1, brings consolation to the poor, is versed in different Sastras, grave, liberal, patient and munificient, is to be known as a "superior" (uttama) character2. A middling male character 3-4. A man who is an expert in dealing with people, well- versed in books on arts and crafts as well as in Sastras, has wisdom and sweetness [of manners] is to be known as a "middling, (madhyama) characterI. An inferior male character 5-7. A man who is harsh in words, ill-mannered, low- spirited, of small intelligence, irascible, violent, can kill his friend, can kill anyone cruelly, is treacherous, haughty in words, ungrate- ful, indolent, expert in insulting the honoured persons, covetous for women, fond of quarrel, doer of evil deeds and stealer of others' property, is to be known as an "inferior" (adhama) character. Similarly female characters too are of three kindsJ. A superior female character 8-10. I shall now speak in due order of female characters. A woman who has a tender nature, is not fickle or cruel,

1 (C.1b-2a; K.XXIV.1). 1 C. reads before this one additional couplet. 2-3 (C.2b-4a). ' Emend bhagalaksā into bhogadaksū. 2 Cf. K. XXIV. 86b-88a). 3-4 (C,4b-5a). 1 Cf. K.XXIV. 88b-89. 5-7 (C.56-7a). 1 Cf. K.XXIV. 89b-92a. 8-10 (C.8b-1la), I Read smitabhāsinya.°

528 THE NATYASASTRA [ XXXIV. 11. speaks smilingly1, is obedient to her superiors (guru)2, bashful, good-mannered, has physical charm as well as high birth, and other natural qualities, and is grave and patient, is to be known as a "superior" (uttama) character. A middling female character 11. A woman who does not possess these qualities to a great extent and always, and has some slight faults mixed with them, is to be known as a "middling" (madhyama) character. An inferior female character 12. Description of the inferior male characters will generally apply in case of female characters of that type. A mixed character 13. A hermaphrodite is to be known as a character of the "mixed" (samkīrna) and inferior type. Maid-servants and the like are also characters of the mixed type. 14. The Jester, the Sakarai and all others like them in a play, are characters of the mixed type2. So much about the characters which may be male, female and hermaphrodite. The four types of the Heroe 15-16. I shall now describe their classes1 according to their conduct. Among these [characters], Heroes (nayaka) are known to be of four classes, and they belong to the superior and the middling2 types and have various characteristics. 17. The Hero is described as being of four kinds : the self- controlled and vehement (dhiroddhata), the self-controlled and light-hearted (dhira-lalita), the self-controlled and exalted (dhiro. datta) and the self-controlled and calm (dhīra-prašānta). 2 Read gurunam vacane. 3 Cf. K.XXIV. 109-110a. 11 (11b-12a). 12 (12b-13a), 13 (13b-14a; K.XXIV.10b, 10a). 14 (14bc; K.XXIV.11). I K,d. sakāras caiva cețas ca. 2 Read samkirņā prakrtir for samkirņa nāțake. 15-16 (C.15-16; K.XXIV.12ab. 2). I vibhagam, K. (vidhanam, C). * madhyottamāyām, C. (tatrottamāyām, K.) . 17 (C.17; K.XXIV.3).

.XXXIV. 24 ] TYPES OF CHARACTERS 529

18-20. Gods are self-controlled and vehement (dhiroddhata), kings are self-controlled and light-hearted (dhiralalita)1, the coun- cillors are the self-controlled and exalted (dhirodatta), and Brahmins and merchants are the self-controlled and calm (dhiraprasanta) classes of Heroes. To these again belong the four classes of Jesters. The four types of Heroines 20-21. These are always the Heroes in dramatic works (lit. poetical composition). I shall now speak of the Heroines who are of four classes : a goddess, a queen, a woman of high family and a courtezan . 21-22. These may, according to their characteristics, be of four types .: self-controlled, (dhira), light-hearted (lalita), exalted mdlatta) and modest (nibhrtā)1. 22-23. Goddesses may possess all these qualities, and women of high family may be exalted and modest, while the cour- tezans and the crafts-women light-hearted and exalted1. Two classes of employment for characters 24. The characters [in a play] are of two kinds : external (bahya) and internal (abhyantara)1. I shall now describe their characteristics2.

18-20 (C.18; K.XXIV.4). syur dhirlalitā nrpāh. K. (lalitas tu nrpah smrtah, C.). 20-21 (C.19; K.XXIV.5). J C. reads after this, three and a half addi- tional (corrupt) couplets (C.20-23a) which may be tentatively translated as follows: They (Jesters) are serially [of two types]: lowborn and cultured. They are to be attached to gods, kings, ministers, and Brahmins. And in his separation [from the beloved] a friendly maidservant clever in conversa- tion, who feels distressed at his misfortune should be attached to the king. Among many (lit. in the multiplicity of) male characters in a play, the chief one is called the Hero. When in a play (lit. there) more [male characters] than one meet the misfortune and get back the prosperity, ther one whose conditions appear remarkable should be taken as the Hero. 21-22 (C.23b-24a; K.XXIV.6-8a). - C. omits 20b-21 and reads 20a as follows एते तु नायका सेया नामाप्रऊ्ञतिलक्ण :. We with K. 22-23 (C.24b-25; K.XXIV.8b-9). 1K. reads 22b as follows fesqr- राजाकना होता गुपर्युक्ता भवन्ति हि. 24 (C.26; K.XXIV.12b). L Read prakaro dvividhah smrtah 2 K. omits 24b. 67

530 THE NATYASASTRA [ XXXIV. 25-

25. [The character] which has dealings with of the king [only], is called internal and one who deals with the people outside [the king's palace] is called an external character. Female inmates of the harem 26-29. I shall now describe the classes and function of women who live in the harem and have dealings with the king. They are the chief queen (maha-devi), other queens (devi), his high-born wives (sramini), ordinary wives (sthayini)1, concubines (hhogini), crafts-women (silpakarini), actresses (nalkiya)2 dancers (nartakı), maids in constant attendance (anucārikā), maids of special work (paricarka), maids in con tant movement (sancarika), maids for running errands (presana-carika), Mahattaris (matron), ol d dames (sthavira) Āyuktikās and (overseer), Pratihāris (usher), maidens (kumāri). The chief queen 30-32. The chief queen (maha levi) is one who has been consecrated on her head, is of high birth and character, possessed of accomplishments, advanced in age, indifferent to her rivals, free from anger and malice, and who fully understands the king's charac- ter, has sympathy in his joy and sorrow, is always engaged in propitiatory rites for the good of the [royal] husband, calm, affectionate, patient, and benevolent to the inmates of the harem1. Other queens 33-34. Those [wives of the king] who have all these quali- ties except that they are denied proper consecration1, and who in spite of being proud of good fortune, are eager for enjoying affection2, are always brilliantly dressed, jealous of their rivals and splendid on account of their [young] age, physical charm and [inany other] qualities, are called queens (devi)8.

25 (C.27; K.X.XIV.13). 26-29 (C.28-31; K.XXIV.14-17). I sthayini C, (sthapita, C). Cf. BhP. p. 289, 1. 14-18. 2This shows that kings in aucient times had a large num- ber of wives. According to the Ceylon tradition Bindusara had sixteen wives (sce Barua, Inscriptions of Asoka, p.276). In Svapna. (VI.9) Udayana refers to the sixteen wives of his father-in-law Mahasena. 3 Cf. Pali. nātakitthi. 30-32 (C32-34; K.XXIV.18-20). 1 Cf. BhP. p. 290. 1. 15-18 33-34 (C.35-36; K.XXIV.21-22) I satsamskarais tu C.(bahumana,K.) 2 K. reads 33b as गविंता राजपुणी च रतिसभोगृतव्परा. 8 Cf. BhP. p. 290, 1. 19-21.

XXXIV. 43 ] TYPES OF CHARAOTERS 531

High-born wives 35-36. Daughters of generals or of ministers or of any other officers when they (i. e. their daughters) are elevated by the king through the bestowal of affection and honour, and become his favourite due to good manners and physical charm, and attain im- portance through their own merits, are known as the highborn wives (svamini)1. Ordinary wives 37-39. Ordinary wives (sthāyini) of the king are the women who have physical charm and young age, is violent [in sexual acts] full of amorous gestures and movements, expert in the enjoyment of love, jealous of rivals, honest, and who know the mind of the husband, are expert in writing and painting, follow the wishes of the king always, and are free from anger, sleep, 'indolence and cruelty, [always] alert and ready [to act] and capable of showing honour to persons according to their status1. Concubines 40. Concubines (bhogini) to a king are known as well- behaved, gentle [in manners], not very haughty, and they are indifferent [to rivals], modest, affectionate but not held in high honour1. Women artistes 41-42. Those women who are coversant with various arts, skilled in various crafts, know the different branches of the art of perfume-making, and are skilled in different modes of painting, know all about the comforts of beds and seats, and are sweet in manners, clever, honest, pleasant-looking, distinct [in their words], honest and modest, are known as women-artistes (silpakarika)1. Actresses 43-44. Women who have knowledge of notes (svara), time- . beat (tala) and caesura (yuti) [in a song], are associated with a master of the art (acarya), clever, skilled in acting (nālya), capable

35-36 (C.37-38; K.XXIV.23-24). 1 K. reads 36b as fecewn साभिनौति दि संचिता. BhP. has nothing analogous. Seep.290. 37-39 (C.39; K.XXIV.25-27). I C. omits 38-39. BhP. has nothing analogous, See p. 290. 40 (K.28). 1 C. omits this. 41-42 (C.40b-41a, K.XXIV.29-30). C. omits 41. 43-44 (C.41b-42).

532 THE NATYASASTRA [ XXXIV, 44-

of speaking according to the occasion, have young age, and beauty of form, are known to be actresses (nātalīyā)1. Dancers 44-48. Women who are expert in the representation of Passion (hela) and Feeling (bhava), know [well] the representation of the Temperament (sattva), have sweetness [of manners], are skilled in playing musical instruments, have beautiful limbs, are conversant with the sixtyfour arts and crafts, are clever and always bold, free from indolence, inured to hard work, capable of practising various arts, and skilled in dancing and singing, and due to their young age superior to all other women standing near by, in the beauty of form and in the brilliance of appearance, are known as dancers (nartakī)1. Maids in constant attendance 48-49. Women who do not under any condition leave the king, are maids in constant attendance (anucarika)1. Maids of special work 49-51. Those women who are clever, skillful, regular, and who know the art of making bed, serving wine and victuals, sham- pooing, preparing and applying perfumes, decorating one with ornaments and garlands, are to be known as maids of special work (paricarika)1. Maids in constant move 51-53. Those women who [always] roam about in different parts [of the palace], gardens, temples, pleasure pavilions, and strike

I K'.s slightly different reading in trans. will be as follows : A woman who knows to begin [a song] and to stop it, and the proper tempo to be followed in it, can represent the Sentiments and the States, understand other pcople's intention and hints, is obedient to the teacher, clever, expert in acting, skilled in discussion, conversant with the playing of drums and other musical instruments, is called an actress. 44-48 (C.44-45; 47; K.33b, 33a, 34). IK. reads between 47a and 47b an additional couplet. 48-49 (C.48a; K.XXIV.35). T C. omits 40a. 49-51 (('48b-50a). - K'.s reading which is slightly different will in trans, be as follows: A woman who is in charge of the king's um- brella, bed and scat, and looks after the cooked food, shampooing, toilet, wearing of ornaments and garlands is his maid of special work (paricarıka). Cf. AS. II. 27, 41. 51-53 (C.50b-52a; K.XXIV.40-41).

-XXXIV. 58 ] TYPES OF CHARAOTERS 533

the [bell indicating] the Yama1 and are prohibted intercourse by the playwrights, are to be known as maids in constant move (sancārikā). Errand girls 53-54. Women who are employed by kings in secret commissions connected with his love-affairs and are often to be sent [in some such work] are to be known as errand girls (presaņacārikā)1. Mahattaris 54-55. Women who for the immunity of the entire harem [from evils] and for [the king's] prosperity takes pleasure in [singing] hymns [to gods] and in performing auspicious ceremony, are known as Mahattaris (matrons). Pratihāris 55-56. Women who lay before the king any business re- lated to various affairs [of the state] such as treaty (sandhi), war (vigraha) and the like, are called Pratihāris (usher). Maidens 56-57. Girls who have no [experience of] love's union (ratisamyoya) and are quiet, devoid of rashness, modest and bash- ful are said to be maidens (kumāri). Old dames 57-58. Women who know the manners of the departed kings and have been honoured by them1 and who know of the character of all [members of the harem]2 are said to be old dames (vrddhā). Āyuktikās 58-60. Women who are in charge of the stores, the weapons, the fruits, roots and grains, who examine the [cooked] food for [the king] and are in charge of (lit. thinkers of) the scent, ornaments

I yama=a period of three hours. 53-54 (C.52bc; K.XXIV.42). - Read the passage as follows: प्रषण: कामसंयुत्तार्युत्ता गह्चससुत्वितः । नदैर्यास प्रेषणोया सेया: प्रेषणचारिका :. 54-55 (C.53; K.XXIV.43). 55-56 (K.XXIV.44). 56-57 (K.XXIV.45). 57-58 (C. 54; K.XXIV. 46). 1 pūrvarūjnāvai pūjitāh, C sārvarājasu pūjitah, K.). " sarvānucaritajnā°, C. (pūrvarūjopacārajnā, K.): 58-60 (C.55-57a; K.XXIV.36-37).

534 THE NATYASASTRA [ XXXIV. 61-

and garlands and clothes [he is to use], and who have under them many persons and are clever, are said to be Ayuktikas or Yuktikas (overseer). These are in general the women of the [royal] harem. Qualities of women to be employed by the king 61-64. The qualities of those women who are to be employed [by the king] should be as follows : they should not be rash, restless, covetous and very cruel in mind ; they are to be quiet, forgiving, satisfied ; they must have conquered anger and controlled senses, they should have no passion ; they are to be respectable, free from all female diseases, attached1 and devoted2 [to the king] and free from womanly pride8. Others inmates of the harem 64-69. The hermaphrodites who constitute the third class of characters, should be employed in a royal household for moving about in the harem. But Snātakas1, Kancukins as well as Varșadharas, Aupasthāyika-Nirmuņdas are to be placed in different parts (kaksa) of the harem. Persons who are eunuchs or have given up sexual pleasures should always be made the inmates of the harem in a Nātaka. The Snātaka should be made to observe Aryan manners. In errands relating to the polity the Kancukin should be employed, and in errands relating to love-affairs (kamarāra) the Varsadharas are to be engaged. The Aupasthāyika- Nirmundas are to be engaged in sending out women and in any place for the protection of maidens and girls2. 70. And maids in constant attendance should be employed by kings in sending gifts1 to women [they love]: women well- versed in all kinds of dance and in the use of different limbs [in dance and acting] should be placed in the [royal] theatre2.

61-64 ((C.57b-60; K.XXIV 47-48). 1 Here occurs an expression nanaparsr asamutthitah which cannot be explained. 2 K. omits 64a and reads the rest with a slight variation. " vanita-madavarjitā, K. (sarva-dosa-vivarjitah, C.). 64-69 (C 61-63a; K.XXIV.50-54). I snatakāh K. (kārakāh, C.). ' C. omits 66-68 and K. 69b. 70 (C.64a; K.XXIV.55). T Read dānakāryesu for māna° (texts). ª K. reads between 70a and 70b the following wr:yerfeae f

.XXXIV. 76] TYPES OF OHARAOTERS 535

The Varsadharas 71. Those women who have poor vitality and the eunuchs who have the nature of women and are voiceless from birth are known as Varsadharas (sub-men)I. The Nirmundas 72. Those eunuchs who look like males and have nothing feminine in their nature and have no knowledge of sexual acts are called Nirmuņdas1. The Kafcukins

73-74. Those who have learning, truthfulness, are free from the sexual passion, and have deep knowledge and wisdom, are known as the Kancukins. [When they are] Brahmins by birth, clever, old and free from sexual passion, kings are always to employ them to look after the needs of the queens1. 75. These are the eighteen classes of inmates of the [king's] harem. I shall now speak of persons who move about in public. External persons 76-77. They are : the king (rajan), the leader of the army (senaputi), the chaplain (purodhas), the ministers (mantrin)1, councillors (sacira), judges (prad vivaka) and the wardens of princes (kumaradhikrta)2 and many other members of the king's court

71 (C.64b-65; K.XXIV.56). 1 The reading is corrupt. 72 (K.XXIV.57). 1 K. omits this. 73-74 (C.65b-66a; K.XXIV.58). 1 Though the later writers have opined that the Kancukin shonld be a Brahmin, the author of the NS. did not recognize any such rule. Bhasa too seems to follow him. In Dutava (I. 5, 9) the Kancukiya falls at the feet of Duryodhana. So we may infer that the Kanc. was not a Brahmin who could not degrade himself by falling at the feet of a Ksatriya. For later def. of the Kanc. sce NS. XIII.112-113 notes. 2 C. omits 73 and K., 74. 75 ((.66b-67a; K.XXIV.59). 76-77 (C 67b-69a; K.XXIV.60-61). 1 AS. (I 8 and 9) distingu's!eg betwoen amatya and mantrın. Kamandakiya N.tisara (VIII. 1) ale . dorg the same ; according this lat er authority amityr seems to be idemicni with saciva ; see IV. 25, 30, 31. According to Sukraniti saciva, mart.in and amitya are three diff. func ionaries. See II. 94, 95, 103. ' Read kumārādhikrtās tathā for kumārākrtās tathā. K.

596 TRE NATYASASTRA [ XXXIV. 78-

(sabhastāra)3. I shall speak of their characteristics, please listen about them. The king 78-82. A king should be [physically] strong, intelligent, truthful, master of the senses, clever, eloquent, high-minded, honest, far-sighted, greatly energetic, grateful, sweet-tongued, skillful ; and he should take a vow of proctecting his subjects and must know how to divide duties [amongst his officers]; and he should be always ready to act, alert, advanced in age and be an adept in the Smrti and the Arthasastra literature, expert in detecting enemy's weakness and the must understand one's mind from his appearance, he should be magnanimous, well-protected, capable of taking logical view of anything, and a patron of various arts and crafts, and an expert in the Niti literature. The leader of the army 82-83. One who is trnthful and possesses a good character, is always active (lit. has given up idleness), sweet-tongued, knows the rules regarding the weakness of the enemy, and the proper time for marching against him, has a knowledge of the Arthasastra and everything about wealth, is devoted [to the king], honoured in the society and has a knowledge of the time and place, should be made the !eader of the army (senapati)I. Councillors 81-85. Those who are intelligent, full of policy, heroic, sweet in speech,, well-versed in the Arthasastra, attached to the subjects [of the king] and are followers of laws (dharma) should be appointed Councill ors (amatya) by the king1.

3 Read sabhastarāh, K. for mānyā jneyā, C. 78-82 (C.69b-73a). 1 K. XXIV.62-66 seems to read the passage with some significant variation. On this se the Introduction. 82-83 (C.XXIV.67-68). 1 The def. of the chaplain (purodhas) and the minister (mantrin) expected here scems to be lost. See above 76-77 note. 84-85 (C.73b-74). 1 (K.XXIV.69-70a) reads the passage differently and in trans, it will be as follows: The councillors (amatya) and the ministers (mantrin) are to be charactcrised by the [following] qualities: they should besides being follow-countrymen [of the king] and devoted [to him], high-born, intelligent, honest, virtuous and well-versed in the Vedas (sruti) as well as in polity.

-XXXIV. 85 ] TYPES OF CHARAOTERS 537

Judges 85-87. Those who know [well] about commerce and money, are intelligent, conversant with many departments of knowledge, impartial, followers of laws, able to discriminate between good and bad deeds, forbearing, self-controlled, overcome anger, and have the same respect for all people, are to be appointed as judges (prādvivaka) by kings-J. Courtiers 87-90. The members of the court (sabhastara) should be appointed after consulting the views of Brhaspati1 who thinks that the following are the qualities required for this office : they should be always ready for work, alert, free from indolence, undaunted by hard work, affectionate, forbearing, modest, impartial, skillful, trained in polity and good manners, deeply con-' versant with the art of agrumentation and all other branches of knowledge, and not affected by sexual passion and the like. Next I shall tell you about the rules regarding the distribution roles in a drama. Here ends Chapter XXXIV of Bharata's Nātyasāstra, which treats of the Types of Different Characters.

85-87 (C.75-76; K XXIV.70b-72a). 1 The def. of the warden of the princes (kumaradhikțla) expected here seems to be lost. See above 76-77. 87-90 (C.77-79; K.XXIV.72b-73, 74b, 75a). 1 Read 89a, as fas efq कमंजे: सभास्तारादि कल्पनम (capadhuryam- K. for capi karmajnaih, K. ° radikai- thanam, K, for °ravikalpanam, C.

CHAPTER THIRTYFIVE

DISTRIBUTION OF ROLES

1. I shall [now] speak of the distribution of roles in a play or of the kinds of men by which different roles are to be represented. General principles of distribution 2. After considering together from their gait, speech and movements of the limbs as well as their strength and nature1, the experts are to employ2 actors to represent different roles [in a play]3. 3. Hence the selection of actors should be preceded by an enquiry into their merits. The Director (lit. the master) will not feel difficulty1 in the choice [if such a procedure is followed]. 4. After ascertaining their natural aptitudes he is to distribute roles to different actors1. The role of gods 5-6. Persons who have all the limbs intact, well-formed and thick-set, who are full-grown (rayo'nvita) not fat or lean or tall or lazy, who have vivacity, pleasant voice and good appearance, should be employed to represent the role of gods1. The role of the Raksasas, the Danavas etc. 7-8. Persons who are fat, and have a large body and a voice like the peal of thunder (lit. cloud), furious looking

1 (C. K. same). I zibhagam (vinyāsam, K.). K. reads 1b. with a slight variation. 2 (C.2a; K.2). I sattvasilaih, K. (sattvasila°, C.). z Emend yuştād, K. into yujyād. 3 2b. and the following thirteen couplets have been omitted by C. 3(K.3). 1 Literally, 'this will not bring weariness to the intellect of the Director.' 4 (K.4). This passage is slightly corrupt. 5-6 (K.5-6). 1 This seems to be comparable to the Hellenic conception of gods. 7-8 (K.7-8). 1 Cf. Bhatti, II. 30.

-XXXV. 16 ] DISTRIBUTION OF ROLES 589

eyes and naturally knit eye-brows should be employed to represent the role of the Raksasas1, the Danavas and the Daityas, for the performance of male actors [should be] in conformity with their limbs and movements. The role of kings 9-11. Actors (bharata) of the best kind, who have beautiful eyes, eyebrows, forchead, nose, lips, cheeks, face, neck and every other limb beautiful, and who are tall, possessed of pleasant appearance and dignified gait, and are neither fat nor lean and are well-bchaved, wise and steady by nature, should be employed to reprepresent the role of kings and princes (kumāra)1. The role of army-leaders and councillors 12-13. Persons who have well-formed limbs, distinct speech, are neither tall nor fat-, are heroic, skilled in debate, eloquent, ready-witted and not deficient [in anything] should be employed to represent the role of the leaders of the army (senapati), and the councillors (amatya)2. The role of the Kancukin and the Srotriya 14. Persons who have brown eyes, long nose and who are either short or tall [in stature] should be employed to represent the roles of the Kancukin (armour-bearer), the Srotriya (master of the Vedas) and the like1. The role of minor characters 15. In other cases too, similar dramatic convention has been prescribed ; roles should be assigned after considering the latter's age and physical condition2. 16-17. [For example] persons who are slow-moving, very dwarfish, hunch-backed, uncouth, odd-faced and fat, who have

9-11 (K.9-11). 1 Kings, princes and army-leaders etc, which the author had in view seem to have been of Indo-Iranian origin. 12-13 (K.12-13). 1 This seems to mean a medium height. Sce above 9-11 note 1. Amalya here seems to include mantrin (minister). 14 (K.14). I Sce above 9-11 note 4. 15 (C.8; K.15). 1 Read natyadharmi prasasyate. * dasāvasthānurūpeņa K. (desavesānu° C.). 16-17 (C.2b-4a; K.16-17).

540 THE NATYASASTRA [XXXV. 18-

expressionless (lit. motionless) eyes1, one eye blind2, small chin and low nose, ugly raiments, evil nature, deformed body and are born of slaves should be employed in the role of slaves (dasa). The role of fatigued persons 18. A person who is naturally thin, should be employed in a play (lit. there)1 to represent the tired characters. The role of persons without disease A fat person should be employed to represent the persons without any disease2. Special cases of assigning roles 19. If, however, such persons are not available the Director (lit. the master) should exercise discretion to employ [some one] after a consideration of the latter's nature and movement as well as the States [to be represented]. 20. Such persons' natural movements whether good, bad or middling should be regulated by a contact with the Directof (lit. the master)1 and then they will properly represent [all] the States2. 21. In other cases too similar dramatic convention has been prescribed, and roles should be assigned to persons after considering their native place (desa) and costume (vesa). The role of characters with extra or special limbs 22-23. In case of characters which have many arms, many heads, and uncouth faces, and faces of animals including beasts of prey1, asses2, camels, horses and like, the Director (lit. the

1 Read vistabdhanetram for nistabdhanetram, K. visrstnetaram. ,C. 2 kāņāksam, K. (kāryāņām, C.). 18 (C.4b-5a; K.18). 1 tatra srāntesu, C. tapa(h)srante K. 2 hyarogesu pra°, C. 'mupayogesu, K. 19 (C.5b-6a; K. 19). 20 (C.6b-7b; K.20ab.). 1 tathā cāryayogena. K. (tathā cānyayo- gena, C.). 2 C. 6b and 7a seem to be variant of each other. See K. 20a which we accept. 21 (C. 8). 1 K. omits this. 22-23 (C.9-10; K.XXVI.13b-15a). I svāpadavaktras ca, K. śvā- padasimhas ca, C. 2 kharostrūsvānanās tathā K. khasostra vāraņās tathā, C. . 24 (C.11; K.XXVI.15b-16a)

-XXXV. 30 ] DISTRIBUTION OF ROLES 541

master) should, according to his discretion, have the masks (lit. them) made by means of clay, wood lac and leather. The first entry of a character 24. After concealing his identity (lit. his own form) by means of painting and make-up one should enter the stage in his natural State (bhava)1. The result of proper impersonation 25-26. If in the production of a play a person is to be assigned1 a role which fits in with his nature and physical form, then he [very naturally] represents it (lit. renders his States). [He will be] like a man who renounces his own nature together with the body, and assumes another's nature by entering into the latter's body. The psychological preparation for impersonation 27. Thus after thinking within himself that "I am he" a wise actor should represent the States of another person by speech, gait, movements and gestures1. Three kinds of impersonation 28. Human characters according as they are represented on the stage [by actors] fall into three classes : natural (anurūpa), unnatural (rirūpa) and imitative (rūpānusāriņī). The natural impersonation 29. When women impersonate female characters and men male characters, and their ages are similar to that of the characters represented, the impersonation is called "natural" (anūrupā)1. The unnatural impersonation

. 30. When a boy impersonates the role of an old man, or an old man that of a boy, and betrays his own nature in acting, the representation is called "unnatural" (virūpā).

1 The implication of this is not clear. 25-26 (C.12-13; K.XXVI.16b-18a). ' prayojyam, K. prayuktam, c. Cf. NS. XXIII. 79. 27 (C.14; K.XXVI.18b 19a). I A very practical instruction. 28 (C.15; K.XXVI.1), 29 (C.17; K,XXVI.2). ' C. reads 38 before this with a slight variation. 30 (C.18; K.XXVI.3),

542 THE NATYASASTRA [ XXXV. 31-

Imitative impersonation 31-32. When a man impersonates a woman's characterI the impersonation is called "imitative" ("upanusarini). [Following this very principle] a man's character may, at one's option, be represented by a woman. But in cases of such an inversion of roles (lit. mutual efforts), one should see that persons employed are neither old nor ugly (lit. should make them old or ugly). Suitability of women in some roles 33-35. Characters of delicate nature1 are always2 to be represented by women, and hence8 such roles of gods and mortals [are mostly to be represented]* likewise. [For] just as among the gods (svarge)5 drama depends on [females like] Rambhā, Urvasi and the like, similarly among the mortals (manuse lolce) too the same rule holds good in the harem of kings. And [hence] tcachers (acarya)6 should instruct women [in acting], according to the Sastras. 35-36. As amorousness (vilasa) is natural in women they possess likewise naturally graceful limbs which are easily accessible to the Sausthava. But the men's Lolling (lalita) should depend on decorative movements (alankāra). Training for women in different roles 37. A good Director (lit. wise man) should not get women's roles supervised by himself (syayam). But masculine (lit. production depending on men when assigned to women should be carefully directed [by him]. Result of proper assignment of roles 38. Roles assigned to persons of various nature, and age,

31-32 (C.19-20; K.XXVI.4-5). 1 As in the Shakespearian stage. Ag. (p. 502) explains būlisa as virupa (ugly). 33-35 (C.21-23a; K.XXVI.6-8.). ' bhūmikam sukumāram, C. bhū- istham, K.) 2 nityam, C. vrttam, K, 3 atyartham C. ityartham K. * mūnusīnām, C. prakrtīnām, K. 5 C'f. Vikram. III. (Viskambhaka). The trans. is tentative. 35-36 (C.24b-25; KXXVI.12-13a). 1 Sce NS. XI. 88-91. 37 (C.26a, 56c; K.XXVI.10a-11b). 98 (C.16; 26b; K.XXVI,10b-lla).

-XXXV. 43 ] DISTRIBUTION OF ROLES 543

who depend on natural limbs will very much embellish a dramațic performance1. Result of employing women for acting 39. Dance and music (samgita) without fatigue is always [considered] a quality in women, and a dramatic production attains1 partly the sweetness and partly the strength due to this2. 40. A woman who is an adept in the practice of love and is an expert in [representing] love-affairs appears through her graceful acting on the stage (nālyavilāsa) like a creeper full of various charms on account of its [many] flowers. 41. Hence [a Director] should always bestow undivided attention to the [women's] exercise (yogya) [in dance and music]. For without such an exercise the States, the Sentiments and the Sausthava cannot be produced [by them] in the least1. The two types of dramatic production 42. The production of a drama which includes many States and Sentiments is of two kinds : delicate (sukumara) and violent (aviddha)I. The delicate type of production 43. The Nataka, the Prakaraņa, the Bhana, the Vithi, and the Anka are known to be of the delicate type1. For they depend [for their production on the impersonation of] human beings only.

1Read this couplet as follows: तुल्बावस्थाक्रियोपेता भूमिका प्रक्वतिस्तथा। भृगसुद्योतयब्राय्य® खभावकरणाश्रया: 39 (C.27; K.XXVI.9). 1 bhajate; K. (bhavati, C.). Road nāļyam prayoge ca for natyam proyogena, C. K. 2 The passage is corrupt. 40 (C.28). 1 This shows the bencfit of engaging actresses. The employment of boys to represent women on the stage was considerably a handicap with Shakespeare in depicting female characters. On this sec "Shakespcare's Dramafic Art" (p. 54) in A Companion to Shakespeare Studies, Cambridge, 1946. K. omits this. 41 (C.29). 1 K, omits this. This passage scems to show the high standard of acting in the ancient Hindu theatre. 42 (C.30; K.XXVI.20, XIII.44). 1 See NS. XIV. 56. 43 (C.31; K.XXVI21, XXII.49). 1 See NS. XIV. 61.

544 THE NATYASASTRA [ XXXV. 44.

44. This delicate type of production is pleasing to kings. Hence plays of this class when they are found to posses [chiefly] the Erotic Sentiment, should be produced by women [only, for the enjoyment of kings]1. 45. The play in which there occurs violent fighting, great speed [of movement] and much excitement, should be enacted not by females but by males. 46-47. If a play includes ordinary (lit. not exalted) inci- dents and no hurried or violent movement of limbs, and requires the observance of proper tempo, Time and regulated utterance of syllables and of well-seperated words, and does not abound in all the eight Sentiments in their exuberenceI, then it may be made to be produced by women2. The violent type of production 48-49. The play which requires energetic (aviddha) Anga- haras1 to represent cutting, piercing, and challenging, and includes [a representatation of] the use of magic and occult powers as well as artificial objects and costumes, and has among its dramatis per- sonde many males and small number of females who are of quiet nature, and mostly the Grand and the Energetic Styles are applied in its production, is of the violent (aviddha) type. 50. By the expert producers, the plays of the Dima, the Samavakara, the Vyayoga and the Ihamrga classes are known to be of the violent type1. 51. Production of plays of this type should be made by [an impersonation of] gods, the Danavas and the Rāksasas who are majestic, and endowed with heroism, energy and strength1.

44 (C.26; K.XXVI.22). 1 An instance of such a play occurs in Priyadarsika, Act. III. 45 (C.32; K.XXVI.23). 46-47 (C.33a; K.XXVI.24-25). 1 Read anastarasa-bahulam for mnistarasakahalam. K .; 2 C. omits these two couplets. 48-49 (C.33-34; K.XXII.45-46). 1 Read yac caviddhangahārantu tor na cavidyangabhavas tu, C. tatra viddhangaharam tu, K. See NS. :XIV. 37-8. 50 (C.35; K.XIII.47). 1 Read 50b as etānyāviddhasamjnāni, K. etc. See NS. XIV. 59. 51 (C.36; K.XIII.48). 1 See NS. XIV.60.

.XXXV. 57 ] DISTRIBUTION OF ROLES 545

52. Thus one should assign roles of different characters in the production of a play. Now I shall speak how the drama is to be produced with the help of the Costumes and Make-np. .

The typical impersonation of a king 53-55. How are the kingly qualities to be represented by a limited number (alpa) of dresses ? Tu this connexion it has been said that when the dramatie conventions came into being among the people, the drama furnished with all these, was devised by me. And hence the actor (nata) covered with paint and decorated with ornaments will reveal the signs of kingship when he will assume a grave and dignified attitude1. And thus a person will be [as it were] the refuge of the Seven Great Divisions (saptadripa) of the earth. 56-57. Covered with paints [in the role of a king and having mild movement of the limbs1 the actor under instruction of the teacher should assume the Sausthava pose, and then he will look like a king, and [ordinarily] the king also looks like an actor2. Just as the actor is to be like a king, so the king is to be like an actor3. 58-59. The States are to be represented (lit. accomplished) by the both by means of similar graceful movements and the similar Sausthava of limbs1. Just as an actor under instruc- tion of the teacher illuminates the stage, so the king too should always be naturally brilliant [in his dress and demeanour].

52 (C.37; K.XXVJ.26a). 53-55 (C. 38-40; K.XXIV. 76-78). 1 gūmbhīryaudārya° K. gūm- bhīryāhārya°, C. 56-57 (C. 41-42; K.XXIV. 79-80). - The 56a should be emended as follows: वर्णकण्कादिनेनेह शान्त त्ङ्गविचेष्टितम्(वर्गकैर्ति तैनेह कार्य,.). aa (santam) in placc of kartavyam in the next hemistich in K.). 'This is a very clever statement. The king though he is nothing but an ordinary human being, often assumes consciously or unconsciously an extraodinary appearance. 3 Sce above note 2. 58-59 (K.XXIV.81-82a). 1 samalilangasaustharat (text, ova for °vūt). 69

546 THE NATYASASTRA [ XXXV. 59.

Impersonation of the attendants of gods 59-60. The attendants of gods1 should be made like those of kings, and in the drama they are to be given the costume, the language2 and movements suitable [to their character]. 60-61. The producer should give to the actor the natural appearance of a character by giving him [suitable costume] and by associating him with suitable age through the make-up1. 61-62. Thus one should make a selection of persons for representing kingly manners, I shall speak hereafter of the qualities desirable in prodncers. The charactcristics of a Director In this connexion, I shall speak of the qualities of a Director. An enumeration of his qualities will constitute these characteristics ; they are : complete refinment of speech, knowledge about the Tala, rules for timing of songs, and of the theory relating to musical notes and to the playing of musical instruments1. 63-68. One who is an expert in playing the four kinds of musical instrument, well-trained in rites prescribed in the Sastras, conversant with the practices of different religious sects and with polity and the science of wealth, expert in the manners of courte- zans, and in poetics3, knows the various conventional Gaits2 and movements, throughly appreciates [all] the States (bhara) and the Sentiments (rasa), is an expert in producing plays, acquainted with various arts and crafts, conversant with the rules of prosody and the metrical feet, and is clever in studying the different Sastras, acquainted with the science of stars and planets and with the working of the human body, knows the extent and customs of the earth, its continents and divisions, mountains and people, and the descendants of different royal lines3, is fit to attend to the Sastras relating to his works, capable of understanding them and of giving

59-60 (C.43; K.XXIV. 82b-83a). ' divyānām, K. dravyānām, C.). * vesnahsa ; K. (desabhūşa, C.). 60-61 (K.XXIV.83b-84a). ' This passage seems to be a variant of 25. 63-63 (C.44 and prose; K.XXIV.84b and prose). 1 K. reads the prose pe vsage differently. 634.4.(C.45-50; K.XXIV 93-98). 1 kāzyasāstra. K., kāmasāstra, C. 's' gatipracara, K. gitapracara, C.). 3 prasntivit, K. prasutivān, C,

-XXXV. 75 ] DISTRIBUTION OF ROLES 5.47

instruction [on the subjects]; should be made a teacher (acarya) and a Director (sūtradhāru)4. The natural qualitics of a Director 69-71. Now listen to me speaking about the natural quali- ties [which he should possess]. He should be possessed of memory and judgement, be persevering, dignified, poetical, free from diseases, sweet [in his manners], forbearing, self-possessed, speaking swcet words with a smile, free from anger and greed, truthful, impartial, honest and resourceful (pratimanta). These are his natural qualities. Charactcristics of an Assistant to the Director 71-72. A person of the middling type who has slightly less number of qualities than that the Director is to possess, should be known as an Assistant (pariparsvika) to the Director. Characteristics of an actor 72-73. An actor (nata) should be lively [lit. bright], pos- sessed of good physique, acquainted with theatrical accessories and their uses, possessed of [good] memory, conversant with the rules [of the theatre] and an expert in his own work1. Characteristics of the Parasite 73-74. Possessing the qualities which the Director (satra- . dhara) has with regard to the theatrieal production1 the Parasite (rita) should be an expert in dealing with courtezans, sweet- tempered, impartial, poetic, capable of sceing the pros and cons in any argument and be eloquent and clever. Characteristics of the Sakara 75. The Sakara1 who is to change his nature often will

4 The position of the Director (sutradhara) seems to be comparable to that of regisseur. See Th. Komisarjesky, The Theatre, London. 1935, pp. 15, 18, 19. 69-71 (C.51-53a; K.XXIV.99-101a). 71-72 (C.53b-54a; K.XXIV.101b-102a). 72-73 (C. 54b-55a ; K.XXIV. 102b-103a). ' Cf. Komisarjevsky The Theatre, p. 20. 73-74 (C.55bc; K.XXIV.103b-104). 1 Emend yuktah sarva eva proyoginah into yuktah sarva eva proyoge ca. 75 (C.56; K.XXIV.105). 1 Sometimes connected with the Śnkas see Keith, Skt. Drama, p. 69.

548 TIE NATYASASTRA [ XXXV. 76-

generally be dressed with gaudy (lit. brilliant) clothes and orna- ments, and will be angry without any reason and be pacified like- wise, and he will speak the Mägadhi dialect. Charactcristics of the Jester 76. The Jester (cidusaka) should be short in stature, hunch- backed, twice-born1, bald-headed and twany-cyed. Characteristics of the servant 77. The servant (cola) should be fond of crafts (kala), gar- rulous, uncouth in form, using scents, expert in distinguishing between persons who are to be honoured or not to be honoured Characteristics of the courtezan 78-81. Thus I shall now speak of the nature of female characters who have [many] natural as well as acquired (lit. other ] qualities1. The courtezan (ganila) should be skilled in acting and have the following qualities : she should be always engaged in attending teachers [for learning] and in the application of the art, and be endowed with sportiveness, Emotion (hara), Feeling (hhara), Temperament (sattva), good manners, and sweetness, and be acquainted with the sixtyfour arts and crafts, expert in dealings with the king2, free from female diseases, and should have sweet and endearing words, and be unreserved, clever and uncon -. quered by fatigue3. Characteristics of the typical Heroine 81-83. A woman with the following qualities should be made the Heroine : she should be endowed with a good physical form, good qualities, character, young age, sweetness and strength, and she should be shining, tender, sweet, uttering charming words with a lovely voice, not unsteady (lit. perturbed) in the exercise (yoyya)I and should be conversant with tempo (laya) and Time (tāla) and the Sentiments.

76 (C.57; K.XXIV.106). 1 dvijanma, K. drijhvo, C. 77 (C.58; K.XXIV.107). 78-81 (C.59-62a; K.XXIV.108; 111-113). 1 C. omits 78 (K.XXIV. " rojopacūrakusalū, C. nrttopacūrakusala, K. 3 K. reads tso additional couplets before 79. 81-83 (C.Glb-64a; K:XXIV.114-116). 1 yogyayam, C. (bhuudaughais).

XXXV.89 ] DISTRIBUTION OF ROLES 549

Women disqualified for being Heroincs 83-85. But women with the following characteristies should not be made Heroines (prakrti, lit. character)1 in a play : smiling on wrong occasions2, having violent gaits and efforts, persistent anger, being always haughty and unreserved and unruly3 [in their manners], havi g all kinds of diseases and lacking garlands and scent [to adorn their body]. Members of the typical theatrical party. 85-88. I shall hereafter speak of different members of the theatrical party (bharata). [They are :] Bharatas (actors) because of their following Bharata (the author of the Canons of Drama)1 the Jester (ridusuka)2, the musician (tauripa), the actor-dancer (aatn), the Direetor (sutralhara), playwright (nalyakara), the maker of head-gears (mukntakara)3, the maker of ornaments* and garlands, the dyer (rajaka), the painter (citrakara) the craftsman (larn)", artistes (silpin)6, and Kuśilavas7 who are to be known, O Brahmins, by their names. . 88-89. As he conducts1 the [performance of a] drama by acting in many roles and by playing many musical instruments and by providing many houschold accessories (upakarana) he is called Bharata or a member of the theatrical party. Characteristics of the Jester 89-91. One who betakes himself to various places (lit. shelter) connected with the movement of all kinds of characters and creates [thereby]1 pleasure for them and sometimes takes shelter

83-85 (C.64b-66a; K.XXIV.117-118). ' Read 85a as एवं विधा न करत्र्या प्रमष्ट प्रक्वतिषुदः 2 asthana; K. (asthana°, C.). 3 tathā canibhrtodbhatā K. (f. n.); tada tu nibhrtodbhaļā, K. tathodvrttodbhatā sadū, C. 85-88 (C.66b-69a; cf. XXXV.21-22). 1 C. reads 85a as follows : शिल्पकारोपकारी च दूषकः सोतिको नटः. 2 tauripo, K. (tauriko, K.). 3 Read mukulakūrakkah for kuțakūrukah, C. * Read tathabharana for tat haharana, C. 5 कारवः तच्रजकादय:, शिन्पिनः सुवर्शकारादय: in Nayacandrika on AS. note, p. 97. 8 See note 5 above. 1 kuntliavas ca, C. 88-89 (C.69bc; K.XXXV.23). 1 Road uddhared for uddharo, K. C. '89-91 (C.70-71; K.XXXV.24-25). 1 89-91 seem to be corrupt. ,

550 THE NATYASASTRA [ XXXV. 91-

with women [for the same purpose] and who is ready-witted, a maker of funs, and whose speech is always connected (lit. adorned) with the disclosure of extremely humerous ideas, is called the Jester (vidūsaka). Characteristics of the master-musician 91-92. One who is an expert in playing all kinds of musical instruments and has taken [specially] to Tūrya, is called Turapati1, Tūryapati or Tauripa (master-musician). Meaning of the word 'Nata' 92-93. The meaning of its root nal is to act (lit. acts), and hence, as he acts (represents) the affairs of men with the Sentiments, the States and the Temperament, he is [called] an Actor (nata)1. The Benediction defined 93-95. As one addresses by it the people with sweet words of blessing and auspicious ceremonies, it is called the Benediction. Because in the performance of a drama one speaks through it in many ways of the welfare' of people by means of reading prayers in Prakrit or Sanskrit, it is called Benediction2. Characteristics of the Director 95-96. One who knows from the instruction of the Sastra the principles (sutra) of songs (ganu), instrumental music (vādya) and the Recitatives, [and all these] in conformity with one another is called the Director (sutrudhara, lit. holder of principles). Characteristics of the playwright 96-97. As one assigns [in a play] the [different] States together with the [different] Temperaments to different characters1, one is called the play-wright (nalyakara)2.

91-92 (C.72; K.XXXV.26). 1 surapati, C. for turapati, K. 92-93 (C.73; K.XXXV.27). 1 For another def. see below 97-93. 93-95 (C.74-75; K.XXXV.28-29). I nanyo, C. for nandyo, C. 2 These two def. of the Benediction (nundi) seem to be out of place herew For the other def. see NS. V. 24-25 ; 107-113. 1495-96 (C.76; K.XXXV.30). 96-97 (C.77; K.XXXV.31). ' Read bhumi-vikalpam for °vikalpo, C. pikalpaiti, K. 2 His duty was to compose a play on any given theme. He is comparalre to 'poets' employed by Elizabethan theatrical companies.

.XXXV. 97 ] DISTRIBUTION OF ROLES 551

Characteristics of the Actor. 97-98. Any one who can act (lit. perform) a play according to the rules for the application of the four kinds of music, is called an Actor (nata). Characteristics of the Actress 98-99. A woman who knows about the playing of drums the tempo, the Time and is able to create the Sentiments and is beautiful in all her limbs, should be made an Actress (natakiya)1. The maker of headgears 99-100. He who makes masks and various special dresses together with head-gears (sirsaka =pratisiraka) suited to (lit. arising from) the various characters, is called the maker of headgcars (mukuiakāra). The maker of ornaments 100-101. One who makes ornaments according to various rules is called the maker of ornaments (abharanakrt) ; [each of the makers the different ornaments] is to be designated according to the name of the material he uses1. The maker of garlands 101-102. He who makes five kinds of garland is called the maker of garlands (malyakrt). The costumer And he who designs costumes is called the costumer (cesakara). The painter and the dyer One who knows painting, is a painter (citralara), and from his knowledge of dying (ranjana) a person is called a dyer (rajaka)1.

97-98.(C.78; K.XXXV.32). 1 K. reads 98:1 8 f: urinr 7e नायका भवति. 98-99 (C.7')%. 1 K. omits this, The word nadaia (=nataliy. ) or mr in Fratima. I.4.7. 99-100 (C.80; K.XXXV.8T). 100-101 (C.80; K.XXXV 34). 1 The signiticanee of rhis tafemept,.1 is not apparent. 101-102 (C.82-83a; K.XXXV.35-36a). 1 'flis word ofien u mn New Indo-Aryan in the sense of 'washerman'.

552 THE NATYASASTRA [ XXXV. 103-

The craftsman 103-104. One who fashions different objects ont of lac, stone, iron and wood, is called a craftsman (karu). The Kusilava He who knows the principles of applying the different branches of instrumental music (atodya) and is an expert in in playing them, and who is [besides] clever, refined (aradata), free from sickness, is called the Kusilava. The other members of the party 104-105. The man who takes to an art (silpa), a profession or a practice and has himself acquired proficiency in it, is called by its name. So much about the communities (jati) known in connexion with the rules of theatre as the Natas1 who relate to various accessories [needed] in the production of various types of plays. 106. I have spoken about the assignment of roles and about the producers of a drama according to their function, and have delivered the Canons of Drama. Please mention, O sages, what more is to be said now1.

Here ends Chapter XXXV of Bharata's Natyasastra, which treats of the Distribution of Roles.

103-104 (C.83b-84; K.XXXV.36b-37). 1 K. reads 104a differently. The ctymology of kusilava has very much exercised the ingenuity of modern scholars. See Keith, Skt. Drama. p. 30 104-104 (C'.85-86; K.XXXV.38-39) 1 Even now-a-days the people of the Nata community play drums, make dolls flower-garlands, and paint pictures. 106'(C.87). ' K. omits this.

CHAPTER THIRTYSIX

THE DESCENT OF DRAMA ON THE EARTH

Sages question 1-2. Being pleased, the sages again spoke out of curiosity to the omniscient Bharata as follows: "The ancient Natyaveda which you have recounted, has been properly comprehended by us listening it attentively1. 3. [But] you, revered sir, should also satisfy (lit. explain) any [further] curiosity (lit. doubt) we may have in this matter. For who else can speak definitely about the Nātyaveda ? 4-5. We shall enquire from you [more] abont the drama for our enlightenment and not out of distrust or rivalry or jealousy. We did not speak earlier (lit. then) lest it should interrupt you then. So speak to us exhaustively about the mystery of the drama1. 6. You have said [already] that exploits of the people constitute the drama ; henee yon should speak definitely about the rest of things abont the people, which are still unknown (lit. hidden). 7-9. O the best Brahmin (lit. the bull of the twice-born) tell us about the character of the god who appears in the Prelimi- naries. Why is he worshipped, and what does he do when worshipped (lit. meditated upon) ? Are gods pleased with it, and what do they do on being pleased ? Why does the Director

1-2 (C.6-7; K.1-2). 1 C. reads before this five couplets, giving the names of the sages as follows : Atreya, Vaistha, Pulastya, Pulaha, Kratu, Angiras, Gautama, Agastya, Manu, Āyus, Aruvat, Viśvāmitra, Sthūlairas, Samvarta, Pratimardana, Usanas, Brahaspati, Vatsa, Cyavana, Kaśyapa, Dhruva, Durvasas, Jamadagni, Markandeya, Galava, Bharadvāja, Raivya, Vālmīki, Sthūlāksa, Kanva, Medhātithi, Kusa, Narada, Parvata, Sušar- man, the two Ekadhanvins, Nisthuti, Bhavana, Dhaumya, Satananda, Krtavrana, Jamadagnya Rama, and Jamadagni Vamana. These howver seem to be an interpolation. 3 (C.8; K.3). 4-5 (C.9-10; K.4-5). 1 K. reads 5b as follows :Y ufr गुछ्यं प्रकाशय. 6 (C.11; K.6). 7-9 (C.12-14; K.7-9). 70

554 TEE NATYASASTRA [XXXVI. 10.

being himself clean, perform ablution again on the stage ?1 How, O lord, the drama has come (lit. dropped) down to the earth from heaven ? Why have your descendants been known as ūdras ?"2 Bharata's reply 10. Bharata said, "I shall tell you, O men of excellent vows, the inner meaning of (lit. confidential) the story about the Prelimi- naries. Listen it properly. The Preliminaries and their uses 11. The Preliminaries have been deseribed by me in conti- nuation of whatever I have said [earlier] about the destruction of obstacles1. 12-16. Just as the body is covered1 with armours for warding off missiles2, so the sins of all kinds are checked by Homa8. After I have thus destroyed the obstacles and warded off sins by worshipping the gods with Japa, Homa, words of adora- tion and blessing, and songs about their deeds and attitude, the playing of all musical instruments and the [sweet] sound of [other] songs4 [as well], they (the gods) being pleased with the singing of the praise said, 'We are exceedingly delighted with this performance of yours ; as it pleases the people after pleasing the gods and the Asuras, this performance will be called the Benediction'. 17. The region which is resounded with music [vocal and instrumental] and in which speech with charming intonation can be heard (lit. arise) will destroy [all] evils and will bring prosperity. 18. As far as the space is filled with the sound of musical instruments, so far there will stay there no Rāksasas or leaders (vināyaka) of VighnaşI. 19. In marriages of all kinds1 and the sacrifices performed

1 See NS. V. 80-83. 2 K. omits 1b but reads 9b which is lacking ản C. 10 (C.15; K.11). . 11 (C.16; K.12). 1 See NS. V. 12-16 (C 17-20; K.13-17). ' sariravaranam, K. sariracaraņam, C. 2 gastranam, K. (sastranam,C.). 3 hutenaiva, K. (smrtenaiva, C. 4 gilasvanena ca, K. gitasvanāni ca, C.). 17 (C.21; K.18). 18 (C.22; K.19). 1 Read 18b as न स्थास्यन्ति हि र्वासि न च विघ्विनायकाः त स्वास्यन्ति हि रचांसि तं दैशं न विमायका: K., तावतानां गरभ किञ्ित् न च विघ्रविनायका:, C.' · 19 (C.23; K.20).' 1 avahe ca vivūhe ca,

.XXXVI. 25 1 THE DESCENT OF DRAMA 555

for the prosperity of the king, the ferocious beings will make themselves scarce on hearing the sound of the Benediction. 20. The instrumental music, or the drama1 or the songs together with the instrumental music, will be equal [in importance] to the exposition of the Vedic hymns2. 21. I have heard from the god of gods (Indra)1 and after- wards from Samkara (Siva) that music [vocal and instrumental] is superior to a bath [in the Ganges] or Japas for a thousand times2. 22. The places in which there oceur the instrumental music and dramatic performance1, or the song and instrumental music, will surely8 never know any kind of inauspicious happening. 23. Thus I have devised the Preliminaries as a ceremony of adoration for worshipping the deities with laudatory verses and Mantras1. i The ablution of the Director on the stage 24. As the head1 becomes fatigued by bowing on the stage, the rule permits the Director to bathe it with water2. 25. After the ablution the Director should worship the Jarjara with Mantras. All this has been said in connexion of the Preliminaries1. This is the reason for the ablution.

20 (C.24; K,21), 1 nātyam, K. (srutva, C'.). 2 This seems to show that in the beginning, the carly Vedie people were not favourably disposed to the dramatic performance. For more on this see the Introduction. 21 (C.25; K.22). 1 Cf. 20 note. 2 above. This seems to indicate that not only the early Vedic people who cared little for the asceticism, but other religious sects as well, did not favour the dramatic performance. This may be the reason to put the thea- trical performances which included music above the religious practices of such sects. For more about this see the Introduction. 22 (C.26; K.23). 1 Read atodya-natyas c. fo "n yastka. C. onāļyasya, K. 2 Read niscayam for niscayal, C subhcl, E. 23 (C.27; K.24). 1 This seems to show that t drama va algo connected with a particular religious cult. 24 (C.28a; K.25). ' Read siras tu for sirasa t Sitam tod, K. 2 C. omits 24b. See below 25 note. 25 (K.26). 1 C. omits this this. See NS. V. 1v-83.

556 THE NATYASASTRA [ XXXVI. 26 26. I shall now tell you in detail how the drama came (lit. ' dropped down) to the earth from Heaven, for I am unable to withhold anything from you1. Bharata's sons offended the sages by caricature 27-29. All these sons of mine1 being intoxicated with [the knowledge of] the Natyaveda tired the entire people with the Pra- hasanas2 connected with laughter. In course of time they devised a play (lit. art)8 which treated the indulgence in vulgar passions. And by them was produced in the assembly of the people a drama (lit. poem) which was unacceptable, full of wicked deeds, inspirer of vulgar passions4, cruel, unworthy of any praise and in which they caricatured the sages5 by means of buffoonery (bhanda). The sages curse Bharata's sons 30-31. On hearing this, the sages were extremely angry and excited, and spoke to them (sons of Bharata) burning them as it were [with their words], 'O Brahmins, it is not proper that we should be thus caricatured. What is this insult [for], and what is your intention ? 32. As1, due to pride in the knowledge [of the drama] you have resorted to arrogance (avinaya) your evil knowledge will get destroyed.

26 (C.28; K.27). 1 26b which is fragmentary in K. should be reconstructed and emended as follows: [कथ निपतितं खर्गात् ] नाव्यमेतन्त्र हीतले C. gives only the the sccond half of 26b. as its 28b. 27-29 (K.28-30). 1 mamaitc tanayah; C. for sarvametat tvayā, K. 2 Read sarvalokam prahasanair for sarvaloka-prahasanair, C. K. 3 Rcad silpakarma samabhyadhu for silpakarma mamabhyadhat, C. 4 This seems to indicate that the early Indian theatre sometimes resorted to sex-appeals just like the cinamctographic shows of the modern times. 5 rsinām nyaigakaranam, K. for rsīnām aigakaraņam; C. In this caricaturing there might have been some justification. Seo N. XX. 103-104 and note. All this may be said to show clrarly that the d ama as an instrument publie criticism was recognised very carly. 30-31 (C.32-33; K.31-32). 32 (C.34; K.33). " yavmāt, K. (tasmāt, C.)

.XXXVI. 43 ] THE DESCENT OF DRAMA 557

33. In the community of the sages and Brahmins, or in meeting them you will appear as being no followers of the Vedas and will attain the conduct of the Sūdras. 34. You will become mere Sudras, and attain their functions, and those to be born in your line will be Sūdras [too]1. 35. Those actors (nartala) who are already born in your line will be Sudras, and so will be those together with their women, boys and young men, who associate with them'. 36. The gods on learning the origin of the curse on my sons became anxious and went to the sages. Gods intercede in favour of Bharata's sons 37. Then the gods with Sakra (Indra) as their leader said that, afflicted with this misery the drama would perish1. 88. The sages said in reply that the drama would not perish, but the remaining portion only of their curse will take effect in its entirety. Bharata's sons approach their father 39-40. On hearing these words of the very spirited sages, my sons1 became [very] sad and with a desire to defend them- selves they approached me in anger and said, 'We have been ruined by you, for the fault of the drama we have been endowed with the character of Sudras'. Bharata pacifies them 41-42. For their consolation I said, 'Do not to be sorry for it; the rule that words of the sages will never prove untrue, has in- deed been made by Fate (krtanta); so you should not turn to the destruction [of the art]. .These are my words of consolation. 43. Know this dramatic art that has been described

33 (C.35; K.34). 34 (C.36; K.35a). T K. omits 34a. 35 (C.37; K.35b-36a). 36 (C.38; K.36b-37a). 37 (C.39; K.37b-38a). 1 Read 37b as follows: वदानीं दुःखयुनञ नाव्यमेतद्- विनश्यति. 38 (C. 40; K.38b-39a). 39-40 (C.41-42; K.39b-41a). 1 Read sutāh, for surūh, C. and tatah, K. 41-42 (C.43-44; K.41b-42) .· 43 (C.45; K.48).

558 THE NATYASASTRA [ XXXV. 44

by Brahman [himself], and teach it to your disciples and others through its application. 44. Do not destroy this drama which has been devised with great difficulty and which includes great things, brings great merit and has its origin in the Angas and the Upangas of the Vedas1. 45. After holding the dramatic performance according to the rules which I heard from the Apsarasas, you all are to undergo a purificatory ceremony (prayascitla)1. Nahușa invites divine artistes to the earth. 46. In course of time a king named Nahusa1 attained the kingdom of Heaven through his polity, intelligence and prowess2. 47. He then governed the kingdom and felt a divine desire. And on secing the musical performance (grandharva) and the drama [of the gods] he became anxious [about these]. 48. He thought1 within himself how the dramatic perfor- mance by the gods2 should take place in his house3 [on the earth]. 49. Then for such a performance the king said to the gods with folded palms : 'Let the drama [produced] by the Apsarasas be performed in our house (i. e. on the carth).' Gods rejected the request 50. But in reply, the gods with Brhaspati as their leader said to him : The meeting of divine damsels and mortals has not been prescribed [anywhere] 51. As you are the lord of Heaven you should be given an advice which is both good and pleasant. Let the master [of the dramatic art] go there (i.e. at your place) and please you.'

44 (C.46; K.44). T Cf. above 20 notes. 45 (C.47; K.45). 1 Emend 45a as follows: चद्सरोभ्य ददं चैव यथात्त्वं मया शुतम्. 46 (C.48; K.XXXVII.1b-2a). ' Nahușa mentioned in tho Rgveda, Ram., Mbh. and several Puranas, was possibly an historical person. See J.K. sub voce. 2 K. reads one fragmentary hemistich before this. 47 (C.49; K.XXXVII.2b-3a). 48 (C.50; K.XXXVII.3b-4a). 1 Read so'cintayat tu for sa cin- layitva, C. istacintasu, K. ? Read bhaved devaganiah krtah for bhaved "iti sasambharmah, C. bhaved divi devara eva san. K. 8 grhe mama, K. I'gre unmanal, C.) 49 (C.51; K.XXXVII.4b-5a). 80 (C.52; K.XXXVII.5b-6a). 51 (C.53; K.XXXVII.6b-7a).

-XXXVI. 58 ] THE DESCENT OF DRAMA 559

Nahușa approaches Bharata 52. Then the king with folded palms said to me, 'O revered sir, I should like to see this dramatic performance P. established on the earth. 53. I have been promised earlier the help of your pro- fessional service (acaryaka)1. O the best of Brahmins, I have now got it directly (ryaktabhāvasrayam krtva)1. Urvasi and the mundane drama 54. In the house of my grandfather (Pururavas) this [drama] together with his work has been described by Urvasi to the members of the harem. 55. But when the members of the harem were distressed by the death of the king who turned mad1 due to her disappearance from the earth, this (dramatic art) was lost. 56. I wish this again to be openly produced on the earth, so that the sacrifices to be done on different days of the moon (tithi) may be rendered auspicious and happy. 57. Hence plays (bandha, lit. composition) relating to many characters produced in my house through the graceful move- ments of women, will add to your fame'. Bharata grants the request and sends his sons to the carth 58-61. 'Let this be so' said I then [in reply] to Nahușa the king, and I called my sons along with the gods in a spirit of conciliation and said to them : 'This king Nahusa begs us with folded palms that you may go down with your associates to the earth to produce the drama there. The drama being properly produced there, I shall make an end of your curse and you will no longer be be despised by Brahmins and kings. So go down to the earth to

52 (C.54; K.XXXVII.7b-8a). 53 (C.55; K.XXXVII.8b-9a). ' Read 53a as follows: yanrmria ea भवती हि प्रतिघुतम्. 54 (C.56; K.XXXVII.9b-10a). 55 (C.57; K.XXXV]I.10b-1la). 1 See Vișnu P. IV. 6, 7. Ref, JK. 56 (C.58; K.XXXVII. 11b-12a). 57 (C.59; K.XXXVII.12b-13a).+ 58-61 (C.60-63; K.XXXVII.13b-17a),

560 NATYASASTRA XXXVI. 62

produce dramas there, [for] I shall not be able to disregard the words of this earthly king. Kohala is the successor of Bharata 62-63. For us and for Nahusa, the self-born one (Brahman) has spoken in brief on the dramatic art which depends on his own instruction. The rest will be uttered by Kohala1 in his supple- mentary treatise (uttara-tuntra) which consists of the application tion [of the rules], the Memorial Verses (karila) and the Etymolo- gies (nirukta). 6k. This Sastra for the purpose of diversion (lit. toy) has J4 been established by me in Heaven with the help of the Apsarasas and the sages Svāti and Nārada. Bharata's sons come down to the carth 65. Then, O Brahmins, they went down to the carth in the house of Nahusa and devised in due order the production of various plays with the help of women. 66. Then they, my sons, begot progeny in women of the cartl and devised for them more dramas (lit. creation) on various themes. 67. . After begetting sons and devising plays in due order they were permitted to return again to Heaven. 68. Thus through a enrse the dramatie performance bas been brought down to the earth, and the future generation of the dra- matic artists (bharata) came into being. Kohala and his associates 69-70. Kohala Vātsya1, Śāņdilya2, Dhūrtila (Dattila?)3 and others stayed in the earth for sometime as mortals and put into practice this Sastra which augments the intellect of men, deals with the deeds of the Three Worlds and is an epitome of all other Pastras.

62-63 (C.64-65; K.XXXVII.17b-19a). ' See the Introduction. 9 (C,66; K.XXXVII.19b-20a). 65 (C.67; K.XXXVII.20b-21a). 66 (C.63; K.XXXVII.21b-22a). 67 (C.69; KXXXVII.22b-23a). 68 (C.70; K.XXXVII.23b-24a). 69-70 (71-72; K.XXXVII,24b-26a). 1-8 See the Introduction.

-XXXVI. 77] DESCENT OF DRAMA 561

Value of the Nātyasastra 71-73. He who always hears the reading of this [Śastra] which is auspicious, sportful, originating from Brahman's mouth, very holy, pure, good, destructive of sins, and who puts this into practice or witnesses the performance [of a drama] will attain the same [blessed] goal which the masters of the Vedic path and the masters of the Vedic lore, the performers of sacrifices or the givers of gifts, will [in the end] attain. Value of the dramatic show 74. Of all the duties of the king, this has been proclaimed as possessing the best result (mahaphala). For of all kinds of gifts, a free gift of the [dramatic] show [to people] has been most praised. 75. The gods are never so pleased on being worshipped with the scents and garlands as they are delighted with the performance of dramas. 76. The man who properly attends the performance of music gandharra) or dramas will [after his death] attain the happy and meritorious path in the company of the Brahminie sages. The popular practice supplements dramatic rules 77. Thus many practices sanctioned by the Sastra have been described in connexion with the performance of dramas. Whatever remains unmentioned should be included into practice by experts from an observation (lit. imitation) of people (i.e. their usage). The Final Benediction What more should I say ? Let the earth for all time be free from diseases. Let there be peace to cows and to Brahmins, and let the king give proteetion to this entire earth.

Here the ends Chapter XXXVI of Bharata's Nātyasastra, which treats of the Descent of Drama on the Earth.

71-73 (C.73-75; K.XXXVII.26b, 27, 28). 1 K, omits 71b and gives the balf of 71a). 74(C.76; K XXVII.29). 75 (C.77; K.XXXVII.30). 76 (C.78; K.XXXVII-31). 77 (C.79; K.XXXVII.32).

ADDITIONS AND CORRECTIONS

Page XLVI line last Read 'depends' XLVIII ,, 14 'XXVII. 63-69' LXIV , 14 'Nāțyaśāstra' LXXII » 16 'corresponding' 3 (from the bottom) Read 'about' aftor 'doubt', and 'of' for 'are' LXXIII ,, 3 Read 'summed' Page 1 line 13 Road 'Pitamaha' for 'Pitmaha' 3 26 „ 'Brahmana' for 'Bramana' 5 14 Omit the fullstop. after 'ordered' 6 3 (from the bottom) Read SD. (294) 7 2 Read 'Bhayanaka' for 'Bhyanaka' 7 15 'Necd of the Graceful Style' 8 4 'for practising the Graceful Style' 9 4 (from the bottom) Read 'casc-endings' for 'nominal' 11 13 Read 'said' for 'saids' 14 9 20 " 'of the gods' for 'of the Daityas' 16 9 (from the bottom) Rcad 'reads one' for 'readsone' 19 7 Read architect' for 'architccht' » 12 , (avara)1 for (avara) 19 ,, 23 Omit 'According' from here and put it beforo 'to Ag.'s' in the next line. » 19 25 Read 'medium' after (iv) 27 2 (from the bottom) Carry 'and' after rangapitha 29 12 ( ) Read कुर्यात् for कर्थात् » 31 17 Put 1 at the end of the line. 3 (from the bottom) Read B. 102b for 1026. 34 10 ( ) Read 'rather' for 'very' 9 ( ) Add the following: Yajnavalkya who has been assigned to the 400 A.C. by Jolly, mentions Ganesa, (See Hindu Law and Customs, pp. 42-44) 4 (from the bottom) Read samprayujya 35 > 17 Read '18-20' for '18'. 35 2 (from the bottom) Omit " See 'diagram 1.' 37 „ 12 Put a comma after 'sweet meats' 40 20 " 'Then an' for 'Then a'. » 57 „ 23 Omit '(Vaktra)' after 'Aviddha' (for 'aviddha') 28 Put '(krama)' after 'Cari' last. Omit 'Defined nowhere in the N8.'

(B)

Page 58 line 3 (from the bottom) Read 'Talagra°. » 67 » 6 ( ) Read Harivamsa for Hraivamsa. 73 , 12 ( ) Read (sukumara) for (sukmāra). 76, 2 ) Put '(p.194)' after BhP. and 'See also' before SR. and Read ufrantw for ufranis. » 82 4 (from the bottom). Add after 'drama' the following : Sitar probably is developed from the citra (vina). » 86 » 6 (from the bottom) Put 2 before 'B. reads'. » 97 „ 24 25 Read prayujya for prajujya » 105 , 7 Close the bracket after 'meaning'. , 108 12 (from the bottom) Read family' for 'famiiy'. 9 Read 'traditional authority'. „ 111 9 Read 'Excessive' for 'Violent' 17 middling type' „ 113 1 'Sentiments' „ 118 11 'bhavita' for 'bbazita' „ 119 9 " 'Determinant' for 'Diterminant' „ 127 , 15 'Mouth' for 'Mouto' „ 128 18 > 'Intoxication' for 'Totoxication' » 130 5,6,12 Correct the misspelt 'Depression' » 132 18 Omit the comma after 'biting' „ 134 , 14 Read prakrli-vyasana » 140 » 9 (from the bottom) Insert 'and' after 'potsherd' » 141 , 2 Read 'is' for 'ie' „ 142 10 Omit the fullstop after 'mounts' and insert 'and' , 143 11 (from the bottom) read 'stage' for 'tage' , 145 » 10 ( » ) Insert 'and' after 'sleeping' „ 146 16 Read 'Sentiment' 17 'depend' for 'depends' » 150 चहुतभूत for पहुरभूती ,, 152 10 Omit '[slightly]' and insert 'up' after 'raised' „ 164 5 (from the bottom) Read 'Purna' (full) » 165 6, 18 Read 'lip' for 'lips' > 168 ,, 10 Add the following after 'will' [enhance the charm of the night] , 173 » 13 Read 'With' after the fullstop. „ 174 » 7 (from the bottom) shift 'from' before 'Kundala'. 2 ( ) Read 'Andre et'. » 224 ,1 11 ( ) Read कञ्जुकोत्यभिषीयते। 2 ( ) kancukin. „ 230 „ 16 Read 'gait of women' » 240 „ 17 „, 'distant place'.

(C)

Page 248 line 17 akhyata. „ 253 ,, 19 खाम्गर्थों for स्याम्यधों „ 255 'combines' for 'combine'. ,, 272 , 17 'bahumana' foa 'bhumana' , 277 „ 19 'gacchet' for 'gaccet'. , 284 5 'shoulders"' for 'shoulders'. 4 (froin the bottom) Read before this as follows : T For long cars as signs of beauty see the Buddha images of the Mathura school belonging to 100 B. C. onwards. 1 287 4 (from the bottom) Read 'Halayudha's'. , 294 9 Read 'fall upon' for 'rise from' „ €28 „ 13 ,, 'jugglers' for 'jugglar's ,, 330 at the bottom. Add after notes the following. See Introduction, section VIII para 4. „ 331 , 18 Read 'leaders'. „ 333 5 (from the bottom) Read 'docs not change' for 'changes' ,, 335 21 Read ayuşman uyusman. „ 336 , 7 ,. 'extant' for 'extent' : 337 (at the bottom) Read before 'Ex.' the following Dusyanta's charioteer addressing him (Sak. 1.) 2 , 339 2 (from the bottom) Add the following after the fullstop : Magadhan prince is referred to as bhaddamuha by the female ascetic in Svapna. 1. 7. 20. For the use of bhadramukha in inscriptions see Select Inscrip- tions, no. 72. and Keith, Skt. Drama. p. 69. . 342 11 Read 'may also' for 'are to' 12 Omit 'mistress (bhatlini) and'. ,, 345 6 (from the bottom) Read 'Jayasena' for 'Jayasena'. , 351 6 (from the bottom) Read 'na mama' for 'nama ma'. „ 361 7 Read 'a Supporting' for an 'Explanatory'. 11 (from the bottom) Read 'a supporting' for 'an Explanatory'. ,, 362 4 Read 'those' for 'these'. ,1 366 21 Add after 'available' the following : 'unless the Pancaratra is to be taken as such' (See ID. p. 52). , 368 „ 13 Insert 'of' after 'use'. 13 (from the bottom) Read नाम्ानि वनानि बन्वकुटिलानि „ 369 13 Read 'are' for 'is' at the end of the line. , 370 23 » 'basis'T for 'basis'. 7 (from the bottom) Insert after 'men' the following : 'unless Karna' also is to be taken as such (See ID. p. 59).

(D)

line up to the bottom '! diptakāvyarasayonih; (दीपरसाघा वौररौदराया: तद लभयं योनि: कारपमस Ag) Page 389 » line (at the top) Read XXI. 71 for XX. 71. ., 397 , 12 (from the bottom) Omit 'but parts of scenes'. 9 ( ) Read viskambhakah samskrtah. 5 ( ) Add the following': 'Also cf. NS. XX. 38. , 404 ,, 19 Read 'Kathodghata' > 408 line 18 Read 'the Theme' for for 'Various Feelings'. „ 411 , 14 „ 'samghāt yaka'. » 420 , 10 Gauda1 for Gauda 20 , Ullekhya1 21 Kumbhipadaka', Avarta" , 425 ,, 21 » non-Aryans 25 „ Add 'See NS. XVIII 44 note1 4 (from the bottom) Read B. C. for A. C. 1 431 ,, 26 line the bottom at Read (Jatāmukuta)" „ 431 » 7 (from the bottom) Add as following : ? The Usnisa of the Buddha images may probably be an imitation of the crown of matted hair. » 489 „ 13 Read 'their lover' for 'her lover' , 486 „ 14 ,, women's heart, for 'woman's heart' „ 22 ., 'self-esteem' for 'self-esteen' „ 488 ,, 19,20 , 'quarternary „ 419 . 8 (from the bottom) Read 'known' for 'hnown' „ 491 » 2 ( ) Add after the fullstop the following : The husband's conjugal right of punishment such as blows with a chord or rod, is often referred to in the Smrti literature (Manu, 8, 299f, Saixha, 4. 16 etc.) See Jolly, Hindu Law and Customs, p. 145, see also Kauțilya, III. 3. '„ 493 » 5 'one' after 'time' 7 (from the bottom) Read 'abhinayasya'. » 502 „ 21 Read 'great' for 'greet'. ., 508 „ 11 , '111-112' for '110-111'. 15 ,, 112-113 for 111-112, „521 „,. 19 Put 'of' before 'Time'.