1. Natya Sastra Gosh Vol 2 Manmohan Gosh Asiatic Society 1961

BIBLIOTHECA INDICA A COLLECTION OF ORIENTAL WORKS

THE NĀTYASĀSTRA

A Treatise on Hindu Dramaturgy and Histrionics

Ascribed to

BHARATA-MUNI

Vol. II (Chapters XXVIII-XXXVI) Completely translated for the first time from the original Sanskrit with an Introduction and Various Notes

By

MANOMOHAN GHOSH

SIRWILLAMJONES

Work Number Issue Number 272 1581

MDCCXLVI-MDCCXCM

THE ASIATIC SOCIETY 1, PARK STREET, CALCUTTA 16 1961

PUBLISHED BY THE ASIATIC SOCIETY CALCUTTA DECEMBER 1961

.E AS'AT I

C4: CUTTA-

Price Rs. 15.00

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Printed by Sri Kalidas Munshi, Pooran Press, 21, Balaram Ghose Street, Calcutta-4.

PREFACE More than ten years have passed since Volume I of the translation of the Natyasastra appeared. During this period anxious enquiries have repeatedly been made by several readers about the coming out of Volume II. Hence I owe an explanation to them all for this inordinate delay in completing this work. Apart from other minor reasons, extremely corrupt nature of an important part of the original, compelled me to proceed slowly with the translation, and this volume II, unlike its predecessor, being preceded by the publi- cation of the busic text, made the progress of the work slower still. But I am sure that scholarly readers will be happy to see the text and the translation together. For this will give them a facility in studying the Volume II closely and critically. It goes without saying that in the present. volume, too, I had to offer conclusions and interpretations here and there which for lack of better materials could not be made definitive. But whatever tentative assertions I have offered, have been made after the most careful consideration, with the expectation that they may be helpful to others working in this field. It is just possible that their number will appear to be too many in two chapters of the present volume. But this has been unavoidable. For, the very complex dramatic- cum-musical art described in the present work appears to have become obsolete more than one thousand years ago. The text of the Natyasastra was handed down not because professional actors needed it, but because it was considered a Veda, i.e., the Natyaveda, and as such worthy of being saved from extiuction. Hence the work has somehow been preserved. But in the absence of a living tradition, it does not yield a full view of the complex art. Though future researches may extend our knowledge of this, it does not seem to be very much likely that this complex art will ever be fu'ly explored. Still we need not be unduly pessimistic in this matter. Even if some minor details of this great art still elude our view, it may be confidently said that the available text of

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the Natyasastra gives us a more or less good general picture of the Hindu dramatic art as it existed in theory and practice nearly two milleniums ago. It may be hoped that any careful reader of this translation (however imperfect it may be) will agree with me in this regard.

10th March, 1961. The Translator

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CONTENTS

INTRODUCTION

I. The Present Work, p. 1; 1. A Short History of the Study of Indian Music, p. 1; 2. The Basic Text, p. 4; 3. Transla- tion and Notes, p. 4.

II. The Ancient Indian Theory and Practice of Music, p. 5; 1. The Indian Conception of Music, p. 5; 2. The Vocal Music, : (a) Srutis; (b) Mutual Relation of Notes, p6; (c) Different Grāmas; (d) Mūrchanās, p. 7; (e) The Voice-registers, p. 8; (f) The Overlapping note, p. 9; (g) The Jatis, p. 9; (h) The Jatis in connection with the Sentiments, p. 10; (i) The Dhruvās, p. 10; (j) The con- tents of Dhruvās, p. 11; (k) Metres of Dhruvās, p. 13; (1) Language of Dhruvas, p. 13; (m) The Tala and Graha of Dhruvās, p. 14; (n) Special suggestibility of Dhruvās, p. 14; 3. The Instrumental Music, p. 14; (a) The Stringed Instruments, Varnas, Alamkaras, Gitis, Dhātus, p. 15; The Vrttis, The Jatis of the Instrumental Music. The special manner of playing the Vina, p. 16; The special manner of playing the Vipanci, playing of stringed instruments before the Preliminaries, p. 17; ( b ) Hollow Instruments, p. 17; (c) Covered Instruments ( Instruments of Percussions ), The Vaskaraņa, p. 18; Music of Drums, Making of Drums, p. 19.

III. Literature on Ancient Indian Music. 1. Early writers (c. 600 B. C .- 200 A. C.), p. 20; (a) Nārada, p. 20; (b) Svāti, (c) Kohala, (d) Sāņdilya p. 21; (e) Viśākhila, (f) Dattila, p. 22: 2. The Date of the Natyasastra; 3. Early Medieval Writers on Music (200 A.C .- 600 A.C. ) : (a) Viśvāvasu, (b) Tumburu, p. 23; (c) The Mārkaņdeyapurāņa, p. 24; (d) The Vāyupurāņa, (e) Nandikeśvara, p. 25 ; 4. Medieval writers of the Transi- tional period (600 A. C .- 1000 A. C. ), p. 25; ( a ) Sārdūla, Matanga, Yāşțika, Kaśyapa and Durgaśakti, p. 26; 5. Late Medieval Writings (1000 A. C .- 1300 A. C.) : (a) The Sangita- makaranda, (b) The Raga-tarangini, p. 27, (c) The Sangita- samayasāra, (d) Sangitaratnākara, p. 28.

( viii ) IV. More about the Ancient Indian Theory and Practice of Drama. 1. The Three Types of Character. 2. The Prominent position of the Nataka. 3. The Typical Theatrical Troupe, p. 29; 4. The Playwright as a Member of the Theatrical Troupe. 5. Distribution of Roles, p. 31 ; 6. The Principles of Personation, p. 32; 7. Special Importance of Women in Dramatic Production, 8. Impersonation of a king, p. 33, 9. An Ideal Director, p. 34. V. More Data of India's Cultural History in the Nātyasastra. 1. Language. 2. Metre. 3. The Arthasastra, p. 35.

TRANSLATION OF THE NĀȚYASĀSTRA.

CHAPTER TWENTYEIGHT Instrumental Music 1-2, Three classes of Instruments. p. 1; 3-6, Threefold Appli- cation of the Instrumental Music. 7. Music of all kinds embellishes the Drama, p. 2; 8-9. Characteristics of the Gandharva, 10. Sources of Gandharva, 11. Three kinds of Gandharva, p. 3: 12. Two Bases of Notes, 13-20 : Formal Aspects of music of the Vina and the Human Throat; Aspects of the Verbal Themes in Music, Twenty aspects of the Tala, p. 4 : 21-23, The Seven Notes, Mutual Relation of Notes, The Sonant and the Consonant Notes, p. 5; 23. The Dissonant Notes, The Assonant Notes, p. 6; 24. Description of the Two Gramas, p. 7; 25-26. Srutis in the Sadja (Grama, p. 8; 27-28. Srutis in the Madhyama Grāma. The Mūrchanās, 29-30. Mūrchanas in the Sadjagrama, 31-32. Murchanas in the Madhyamagrama, p. 9, Initial Notes of the Mūrchanas in the two gramas, 33-34. The four classes of Murchanas p. 10. Eightfold Tanas of the Murchanas, The Hexatonic Tanas, The Pentatonic Tanas, The Two Ways of Tanas, p. 12; The Overlapping, Two kinds of Overlapping, The Overlapping Notes. p. 13; 36-37. The Overlapping Jati 37-39. The Jatis p. 14; 40-41. Seven Jatis in the Sadjagrama, Eleven Jatis in the Madhyama Grama, Two kinds of Jatis, p. 15; 45-55. Modified Jatis p. 16; 56. Number of Notes in Jatis, The Jatis in Sadjagrama, the Heptatonic Jatis, the Penta- tonic Jatis, Jatis in the Madhyama (rama, the Hexatonic Jātis, p. 17 ; 63-64. The Heptatonic Jatis, 65-73. Amsas in

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Jatis, 74. Characteristics of Jatis, p. 18; 75. The Graha 76-78, The Amsa, p. 19; 79-93. Amśas of Jātis, p. 20; 94. The High Pitch Movement, 95. The Low Pitch Move- ment, p. 21 ; Reduction and Amplification, 96-97. Ampli- fication, Hexatonic Treatment, 98-99, Pentatonic Treatment, 100. The Nyasa and Apanyasa, p. 23; 101-102. Jatis with their Characteristics, 103-104. Sādjā. 105-107. Ārșabhī, p. 24 ; 108-110. Dhavati, 111-112. Naisādi, 112-114. Șadjakaisikī, 115-117. Naişādī, 112-114. Șadja Kaišikī, 115-117. Șadjo- dicyavā, 118-121. Şadjamadhyā, p. 25; 121-123. Gāndhāri, 124-126. Raktagāndhārī, 126-127. Gāndhārodīcyavā, 128-130. Madhyama, p. 26; 131. Madhyamodīcyavā, 132-134. Pañcami, 135-136. Gāndhārapañcami, 137-139. Āndhri, 140-143. Nanda- yanti, p. 27 ; 143-145. Karmāravī, 146-151. Kaišiki, p. 28.

CHAPTER TWENTYNINE

Stringed Instruments 1-16. Application of Jatis to Sentiments, p. 29 ;. 17-22. Four Varņas, p. 31; 23-28. The Thirtynine Alamkāras, p. 33; 29-30. The Monotonic Alamkaras. 31-32. The Mixed Alamkāras, 33-34. The Ascending Alamkāras, 35-43. The Descending Alamkaras, 44-76. The Definition of the Alamkāras. p. 35 ; 77-81. Alamkāras depending on the Giti. p. 39 ; 82. Dhātus, 83-90. The Vistāra Dhātus, p. 40 ; 91-92. The Karana Dhatus, 93-94. The Abiddha Dhatus, 95-102. The Vyañjana Dhatus, p. 41; 102-104. The three Vrttis, p. 42; 105-107. The Jātis, p. 43; 108-114. Three kinds of Music of the Vina, 114-122. The Karanas of Vipañci, p. 44; 122-125. The Bahir-gītas, 126-130. The Āśrāvanā p. 46; 131-36. The Arambha, p. 47; 137-142. The Vaktrapāņi, p. 47 ; 143-147. The Samghoțanā, p. 48; 148-150. The Parighattana, 151-154. The Margasarita, 155-156. The Lilākrta, p. 49.

CHAPTER THIRTY

Hollow Instruments

CHAPTER THIRTY-ONE

Time Measure 1-61. General terms and their Definitions, p. 53; 62-70. The Āsārita, p. 60; 71-73. The medium Āsārita, 74-75. The

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p. 203; 29-30. Two classes of Employment for characters, 31-34. Female Inmates of the Harem, 35-37. The Chief Queen, p. 204 ; 38-39. Other Queens, 40-41. Other Highborn Queens, .42-43. Ordinary Wives, 44-45. Concubines, p. 205 ; 46-47. Craftswomen, 48-51. Actresses, 51-54. Dancers, p. 206 ; 54-55. Maids in constant Attendance, 55-57. Maids of Special Work, 57-59. Maids in Constant Move, 59-60. Errand Girls, 60-61. Mahattarīs, p. 207 ; 61-62. Pratīhārīs, 62-63. Maidens. 63-64. Old Dames, 64-66. Ayuktikas, 67-70. Other Women Employees in the Harem, p. 208; 70-73. Other Inmates of the Harem, 73-74. The Snataka, 75-78. The Kañcukiyas, 78-79. The Natakiya etc. p. 209 ; 79-80. The Varșadharas, 80-81. The Nirmundas, 82-83. External Persons, p. 210; 84-88. The King, 89-90. The Leader of the Army, 91. Chaplains and Ministers, p. 211; 92-93. Secretaries, 93-95. Judges, 95-97. Wardens of Princes, 98-99. Courtiers, p. 212.

CHAPTER THIRTYFIVE

Distribution Of Roles 1-4. General P'rinciples of Distribution, 5-6. The Role of Gods, 78. The Role of Raksasas ete. 9-11. Role of Kings, p. 214; 12-13. Role of Army-leaders and Secretaries, 14. Role of Kancukiyas and Srotriyas, 15-17. The Role of Minor characters, 18. The Role of fatigued persons, p. 215; 18. The Role of a person in health, 19-21. Special cases of Assigning Roles, 22-24. Role of a character with Extra and Special limbs, 24. Entry of a character, 25. The Result of Impersonation, 26-27. Method of Proper. Impersonation, p. 216; 28. Three kinds of Impersonation, 29. The Natural Impersonation, 30. The Unnatural Impersonation, 31-32. The Imitative Impersonation, 33-36. Special Suitability of Men and Women, p. 217; 37. Women in Men's Roles, 38-39. Women's special Merit, 40-42. Training Women in special Roles, p. 218, 43-46. Results of Proper Assign- ment of Roles, 47. Types of Dramatic Production, 48-52. The Delicate Type of Production, p. 219; 53-56. Energetic Type of production, 57-65. The Typical Impersonation of a King, p. 220; 66-71. Characteristics of a Director, 72-74. Natural Qualities of a Director p. 222; 74-75. Characteristics of an Assistant of the Director, 75-76. Characteristics of an Actor, 76-77. Characteristics of a Parasite, 78. Characteristics of the Sakāra, p. 223; 79.

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Characteristics of the Jester, 80. Characteristics of a Servant, 81-83. Characteristics of a Courtezan, p. 224 ; 84-86. Charac- teristics of the Typical Heroine, 86-87. Women disqualified to take up a role, 88-90. Members of a typical theatrical party, p. 225; 91. Characteristics of Bharata, 92-93. Characteristics of a Jester, 94. Characteristics of a Master-musician, 95. Meaning of the word Nata, p. 226; 96-97. The Benediction, 98. Definition of a Director, 99. Definition of a Playwright, 100. Definition of an Actor, 101. Definition of an Actress, p. 227; 102. The Crown- maker, 103. The Maker of Ornaments, 104. Maker of Garlands, the Veşakara. 105. The Painter, the Dyer, and the craftsman, 106. The Kausilava, p. 228; 107-109. Other members of the party, p. 228.

CHAPTER THIRTYSIX

Descent of Drama on the Earth 1-15. Sages question, p. 230; 16-29. Bharata answers, p. 231 ; 30-32. Ablution of the Director on the stage, p. 232 ; 33-35. Bharata's sons offended the sages, 36-42. The Sages curse Bharata's sons, 43-44. Gods intercede in favour of Bharata's sons, 45-46. Bharata's sons approach their Father, 47-51. Bharata pacifies them, 52-54. Nahușa invites divine Artistes to the Earth, p. 234; 55-57. Gods reject the request, 58-59. Nahușa approaches Bharata, 60-63. Urvasi and the earthly Drama, 64-67. Bharata grants this request and sends his sons to the earth, 68-70. Kohala is the Snccessor of Bharata, 71-74. Bharata's sous come down to the Earth, p. 236; 75-76. Kohala and his associates, 77-79. Value of the Nātya- sastra, 80-82. Value of the Dramatic show, p. 237; 83. The popular practice supplements dramatic rules, The Final Benediction, p. 238.

ABBREVIATIONS

Abhi. -Abhişeka-nāțaka AD. -Abhinayadarpana Ag. -Abhinavagupta Apte. -Apte's Sanskrit-English Dictionary AS. -Arthaśāstra of Kauțilya Bd. -Brhaddesi Bh P. -Bhāvaprakāsana of Sāradātanaya D., Dattila. -Dattila's work on Music DR. -Dasarūpa Ex. -Example GS. I. -Gitasūtrasāra (Bengali) GS. II. -Gitasfitrasāra (English Summary) KM. -Kāvyamālā Series Kn. -Catura-Kallinātha, a commentator of the Sangitaratnākara Mālati. -Malatimadhava Mālavi. -Maālavikagnimitra Megh. -Meghadūta MH. -Music of Hindostan MI. -Music of India MM. -Mirror of Music Mrceh. -Mrcchakatika Naś. -Nāradiya-śikşā ND. -Nāțyadarpaņa Pratimā. -Pratimā-nāțaka Śak. -Abhijñānaśakuntala Sbh. -Singhabhūpala, a commentator of

Śd. the Sangitaratnakara -Sārngadeva SD. -Sāhityadarpaņa SM. -Sangltamakaranda SR. -Sangītaratnākara Svapna. -Svapnavāsavadattā Vikram. -Vikramorvaśiya

BIBLIOGRAPHY

1. General works

Apte, V. S., The Practical Skt. English Dictionary, Bombay, 1924. Banerjee, Krishnadhan, Gita-sūtrasāra (Bengali) Parts I and II with a supplement to Part I by Himansusekhar Banerji, Calcutta, 1934. Banerjee, Krishnadhan, Gita-sütrasāra (English), Himansu Sekhar Banerjee's explanation and notes on Grammar and Theory of Hindusthani Music, as spoken of in Bengali by the author in Gitasutrasara, Calcutta, 1941. Companiou to Shakespeare Studies, Cambridge, 1946. Danielou, Alain, Northern Indian Music, Vol. I, London, Calcutta, 1949. Ghosh, Chandra Mohan, Chhandahsara samgraha, Calcutta. Ghosh, Manomohan, Contribution to the History of Hindn Drama, Calcutta, 1957. Ghosh, Santidev, Java-O-Balir Nrtya-git (Bengali), Calcutta, 1952. Gupta, Prabhat Chandra (ed.), Gitavitān-Vārșiki (Bengali), Vol. I, Calcutta, 1946. Jolly, Julius, Hindu Law and Customs, Calcutta, 1929. Keith, A. B., The Sanskrit Drama, Oxford, 1924. Kommiserjvsky, Th., The Theatre, London, 1935. Popley, H. A., The Music of India, Calcutta 1950. Prajnanananda Svami, Sangita-Samskrti (Bengali) Vol. II, Calcutta, 1956.

Roy, Hemendra Lal, Problems of Hindustani Music, Calcutta, 1937. Sen Gupta, N. C., Evolution of Ancient Indian Law, Calcutta, 1953.

Strangways, A. H. Fox, The Music of Hindostan, Oxford, 1914. Tagore, Sourindra Mohan (ed), Hindu Music from Various Sources, Calcutta, 1875. Willard, Capt. N. Augustus, A Treatise on the Music of Hindoosthan (included in the preceding work) Winternitz, M., History of Indian Literature, Vol. I, Calcutta, 1927.

2. Original Texts

Abhinavabharati ( Ag ) Chapter XXVIII-a transcript from the Oriental Institute, Baroda; Chapters XXIX-XXXI, and Chapter XXXII ( fragment )-Dr. S. K. De's Ms. Abhinayadarpana (AD) of Nandikeśvara, ed. Manomohan Ghosh, Calcutta, 1934, 2nd ed. 1957. Abhisekanāțaka (Abhi) of Bhasa, ed. Devadhar in Bhasa's Collected Works, Poona, 1937. Arthasastra of Kauțilya, ed. J. Jolly, Lahore, 1923-24. Dattilam (D) of Dattila-muni, ed. K. Sambasiva Sastri (TSS. 102) Trivandrum, 1932. Naradiya-siksā (NSS), edition in the Siksa-Samgraha, Benares, 1896. Pratimānāțaka (Pratimā), ed. Devadhar. Prakrta-Kalpataru of Ramasarma, ed. Manomohan Ghosh, Calcutta, 1954. Prākrtānuśāsana of Purusottamadeva, ed. Nitti-Dolci, Paris, 1938. Brhatkatha-śloka-samgraha, ed. Lacote, Paris. Brhaddesi (Bd) of Matangamuni, ed. K. Sambasiva Sastri (TSS. 94), Trivandrum 1929. Bhāvaprakāsana (Bh P) of Sāradātanaya, ed. G.O.S. Natyadarpana (ND) of Ramacandra and Gunacandra, ed. GOS. Mālavikāgnimitra (Mālavi), ed. S. P. Pandit, Bombay, 1889. Malatim? dhava (Malati), ed. Nirnayasagar. Meghaduta (Megh), ed. S. Vidyaratna, Calcutta, Saka, 1821. Vikramorvasiya, (ed.) S. P. Pandit, Bombay, 1898. Sakuntalā (Sak). ed. Iswar Ch. Vidyasagar, Calcutta, 1872. Sangitadarpana, ed. A. A. Bake with Translation and Notes, Paris, 193 of. Sangitamakaranda of Narada, ed. M. R. Telang, Baroda, 1920. Sangitaratnakara, ed. from Anandasrama and Adyar. Sangitasamayasāra of Parśvadeva, TSS. Sahltyadarpana, ed. Bibliotheca Indica. Svapnavāsavadattā, ed. Devadhara.

INTRODUCTION

1. THE PRESENT WORK

The Volume II of the Nātyasastra (translation) falls into two parts: (1) Chapters XXVIII-XXXIII which are on music in its vocal as well as instrumental aspect and (2) Chapters XXXIV-XXXVI which are on residual matters concerning the production of plays, and the legendary origin of drama (Nātya). Though the age of the entire work and other relevant matters have been treated of in the Introduction to the Volume I, the remaining Chapters require some preliminary notes. Naturally the Chapters on music are to be taken up first.

1. A Short History of the Study of Indian Music

As in the case of our drama, William Jones was also the pioneer in studying Indian Music. His article "The Musical Modes of Hindoos"1, was originally written in 1784 five years before his translation of the Sakuntala, and it was the first of its kind. Persons who interested themselves during the half a century that followed, discussed Indian music more or less in the lines of Jones, till an English military officer was attracted by the beauty of Indian music. Captain N. Augustus Willard- for that was the name of the officer-"was known to be a skilful performer of several instruments and to have enjoyed local advantages of observation from his appointment at the court of the Nawab of Banda"2. This is perhaps the reason why his work

1. Originally published in the Asatik Researches Vol. III and republished in Sourindra Mohun Tagore's Hindu Music from various Authors, Calcutta, 1875 (pp. 125-160.) 2. See the review of Willard's work mentioned later, in the Journal of the Asiatic Society, Vol. XXV, 1834. This review has also been republished in Tagore's Hindu Music etc. (pp. 235-239.)

THE NĀȚYAŠĀSTRA 2

brought about a new orientation in the study of Indian music, and to some extent superceded the work of Jones and his followers. Willard being very cultured, and well-read in his subject and thoroughly proficient in Hindustani, his mode of treatment and the depth of insight displayed in his work, were very remarkable, and according to a specialist, it is the earliest systematic treatise on Hindustani music3 which has not perhaps yet lost its value. The author's own summary of the contents of the work "A Treatise on the Music of Hindoostan" (Calcutta, 1884)4 shows the significant features of his work. But its special importance lies in putting emphasis on the actual practice of music apart from whatever is available from the old Sanskrit texts. William Jones however started his enquiry with such texts, and hence his discussion, according to Willard, has been too academic to do justice to the subject. But in spite of Willard's emphasis on the practical side while writing on Indian music, his charges against Jones5, were not justified. For, not only all discussion on classical Indian music, should be kept close to the traditional teachings contained in the texts, but one should bear in mind that Jones was a pioneer in the field without the advantage which Willard had in taking up the study after half a century during which much was already written on the subject. If Willard had a positive advantage over Jones in having what may be called a first-hand knowledge of the subject, his conclusions based on data collected from professionals only, needed checking in the light of old Sanskrit works. In order to have an historical view of Indian music such checking was indispensable. As Willard strove much merely to explore the cortemporary (classical) music, and attained considerable success in this, such a view was naturally beyond his ken. This is the reason of his strong disapproval of Jones' writing.

3. Hemendra Lal Roy, 'A notable Book on Hindustani Music' in the Visvabharati Quarterly, (New Series), Vol. 1. Part 1 July 1935; see also Roy's Problems of Hindustanı Music, Calcutta 1937 (pp. 37 ff). 4. The name of the work does not occur in the bibliography of F. Strangway's work (MH). 5, See Roy's Problems, p. 39.

3 INTRODUCTION

Notwithstanding Willard's criticism, Jones' method did not long remain in disfavour. About thirtyfive years after he had written, Kshetra Mohan Goswami discussed (1863) the practice as well as theory of Indian classical music in his Samgitasāra (Essentials of Music) written in Bengali. This was published under the patronage of Sourindra Mohan Tagore who himself compiled some years afterwards (1875) his Samgitasara-samgraha which contained extracts (with English translation) from ancient authors like Sarngadeva6 and Damodara. Considering the relative scarcity of authentic data in the shape of published Sanskrit works on music at that time, the contributions of Goswami and Tagore were highly commendable. The next important writer on the Indian classical music, was the reknowned Krishnadhan Banerji8. His magnum opus the Gitasūtra- sāra (Essential Principles of Music) written in Bengali was published in 1885' just after a century of William Jones' first article on the subject. Banerji besides being an accomplished Indian musician and a scholar, had sufficient acquaintance with the western music, and this imparted singular value to his work. According to a specialist, Banerji has not left a single phase of Indian classical music, without comments made with reason and insight, and "His critical faculty is astonishingly sensitive to finer shades of analogies. The book is valuable for its discussion of fundamentals of music and the searching criticism of existing theories")0. Writers on Indian music coming after Banerji, are legion, and they being more or less well-known will not be be mentioned in this short sketch. But a complete account of the ancient Indian music descriptive and historical, still remains to be written. For, a very few of the original Sanskrit texts on

6. The author of the Samgita-ratnakara. 7. The author of the Samgita-darpana. 8. This scholar-musician of Bengal resigned his post in the Provincial Civil Service and devoted himself entirely to the study and dissemination of music. See the Gitavitāna-vārșiki, Calcutta, 1944, (p.25). 9. Second Edition in 1897, and Third Edition in 1934. To this third edition, a valuble appendix has been added by Himangsu Sekhar Banerji a very able musical scholar who has made the work upto date. A summary of the work along with this appendix, has also been separately published in English translation in 1941, H.A. Popley in his Music of India (2nd ed.) does not mention this work. 10. H.L. Roy. Problems, p. 50.

THE NĀȚYAŠĀSTRA 4

music have been critically studied11, and the Nātyasāstra which contains the oldest and most comprehensive treatment on the subject yet remains outside the reach of average interested persons12. Krishnadhan Banerji whose work is otherwise valuable, sometimes made assertions which need correction in the light of the NS. The same may possibly be said of other writers also, and cautious persons like F. Strangways, suspend their judgement in view of proper exploration of the contents of the NS. For example, Strangways once writes, "Unfortunately it is not possible at present to give such a detailed account of the Indian Murchana ( the equivalent of Harmonia ) ; more will perhaps be possible when Bharata's Natyasastra has been adequately translated" (MH.p. 141).

2. The The Basic Text

The original text of the Chapers XXVIII-XXXIII critically edited by the translator, has been published in a seperate volume. For details about its reconstruction, the readers are referred to the Introduction to the same and also to the Introduction to the Volume I of the translation (pp.XLI).

3. Translation and Notes Principles regarding the translation and its annotation have also been detailed in the Introduction to the Volume I of the translation (pp.XLI-XLII).

4. The onl; exception in this regard, is Dāmodara's Samgita-darpaņa ed. by Arnold A. Bake with English translation, notes and introduction under the title "The Mittor of Music". Paris, 1930f. This too has been ignored by A. Danielou, and H. A. Popley (the second ed. of his Music of India). 12. J. Grosset's French translation of the Chapter XXVIII of the NS. (treating of music) has not saticfied writers on the subject. See MH. p. 141. Chapters XXIX-XXXIII also dealing also with music, have not been translated before.

II. THE ANCIENT INDIAN THEORY AND PRACTICE OF MUSIC

1. The Indian Conception of Music

Though music occupied a very important place in the life of Indians of ancient time, one single word such as "Gandharva" denoting all its different aspects (vocal as well as instrumental) appears only in the middle of the 4th century B.C.1 This word occurs in the Jatakas. For according to the Guttila Jātaka (no.243) the legendary Brahmadatta was born in a family of Gandharvas (musicians), aud after gaining a great proficiency in the art of music he came to be known as a Gandharva. As this Jātaka mentions playing of a Vina, and the two kinds of Mūrchana2 in this connection, the word Gandharva in the sense of music may well be pre-Buddhistic. And it is certainly not later than 200 B.C. For it occurs in the Hathigumpha inscription of Khārvela. In earlier times, gita (song) and vadya (instrumental music) were seperately mentioned, or the compound word gitavāditra (l'ali, gitavaditta) represented music in its totality. But dance and drama (nṛtta, ntya and natya) were very closely associated with music vocal and instrumental, from ancient times, possibly long before the time of Buddha. For preksa (Pali, pekkha) was an equi- valent of "Natya" which included nytta, gita and vaditra. Buddha forbade the monks to witness it (pekkha) as well as the separate performances of nttta, gita and vaditra. Due to this very close association of the three arts, there came into vogue in about the 3rd century A.C. the word "Samgita" for signifying by means of a single term all the different phases of music including dance. For, according to Indian conception, dance (nytta, nytya) owing its origin to rhythm like its vocal and instrumental counterparts, was a kind of music, the vehicle of rhythm in this case being human body with its different limbs. The Natya also depending

1. Though some of the Jatakas may be as old as the time of Buddha, all of them may not reach back to such antiquity. But it may be that they were in existence in the 4th century B. C, cf. Winternitz, Vol. II. p. 121. 2. In the Satapatha Brahmana the Uttaramandrā Mūrchana has been mentioned. See JAOS Vol. 50, 53 and Journal Univ. of Baroda Vol. JI, pp. 263 ff.

THE NĀȚYASĀSTRA 6

on nrtta, nrtya and abhinaya (gesture) belonged to the category of dance. Probably these facts led dance especially in its connexion with all kinds of dramatic spectacles, to a substantial union with music.

2. The Vocal Music Though the vocal music was perhaps the oldest of human arts, its analytical study seems to have begun only after instru- ments of music came into existence and made considerable progress. For the NS says that the bases of musical notes (svara) are twofold : the Vina of the human throat (lit. body) and the wooden Vina (harp or lute), and derives the Srutis (intervals) exclusively from the wooden Vina. Now Sruti is the most important term in connection with the theory of Indian music. (a) Srutis. Though the ancient Indian authorities differ from one another about the meaning of the word, it may be translated as "inervals" or "musical intervals"s which make up the notes of the octave (corresponding to Indian saptaka) in its different Gramas.4 The number of Srutis in the Sadja Grama are as follows: three in Rsabha (ri), two in Gandhara (ga), four in Madhyama (ma), four in Pancama (pa), three in Dhaivata (dha), two in the Nisāda (ni) and four in Sadja (sa)5 And the number of Srutis in the Madhyama Grama are as follows: four in Madhyama (ma), three in Pancama (pa), four in Dhaivata (dha), two in Nişāda (ni), four in the Șadja, three in Rșabha (ri) and two in Gāndhāra (ga).6 (b) Mutual Relation of Notes. According as they relate to an interval of more or less Srutis, the notes in different Grāmas are called Consonant (samvadin), Assonaut (anuvadin) and Dissonant (vivadin) with reference to the Souant (vadin) note which has been described as "the melodic centre of the melody"7. For example, those two notes which are at an interval of nine or thirteen Srutis from each other are mutually Consonant, e.g. Sadja and 3, See p. 7. footnote 4 4. See XXVIII, 24. 5. See XXVIII. 25. 26. 6. See XXVIII. 27. 28. 7. See XXVIII. 22 fn. 1

7 INTRODUCTION

Madhyama, Sadja and Pancama, Rsabha and Dhaivata, Gāndhāra and Nisada in the Sadja Grama. Such is the case in the Madhyama Grama except that Sadja and Pancama are not Consonant while Pañcama and Rșabha are so.8. (c) Different Gramas. The Grama may be translated as "scale". There are three Gramas in Indian music : Sadja, Madhyama and Gandhara. According to F. Strangways the Sa-grama (Sadja- grama) is the western Major with a sharpened Sixth, the Ma- grama (Madhyama-grama) the western Major C-c, but intended presumably to be used as an F-f scale with a sharpened Sixth, and Ga-grama (Gandhara-grama) possibly intermediate between these two long obsolete (MH. p. 106). The NS does not describe this Gandhara Grama, because it went out of use at its time. (d) The Murchanas. According to the Hindu theorists, each of the Gramas is the source of seven Mūrchanas. About the meaning of the term Murchana which is now generally considered to be equivalent to mode of the Greeks, there is some obscurity. The Sadja Grama gives rise to seven Mūrchanās such as Uttara- mandrā, Rajani, Uttarāyatā, Suddhaşadjā, Matsarīkṛtā, Aśva- kranta and Abhirudgata." These are constituted as shown below. sa-ri-ga-ma-pa-dha-ni Uttaramandrā10 ri-ga-ma-pa-dha-ni-sa Rajani ga-ma-pa-dha-ni-sa-ri Uttarāyatā ma-pa-dha-ni-sa-ri-ga Šuddhaşadjā pa-dha-ni-sa-ri-ga-ma Aśvakrāntā dha-ni-sa-ri-ga-ma-pa Matsarikṛtā ni-sa-ri-ga-ma-pa-dha A bhirudgatā The first six of these have a striking resemblance with the Greek11 modes which having eight notes including the first note repeated at the end, are as follows :- sa-ri-ga-ma-pa-dha-ni-sa Ionian mode ri-ga-ma-pa-dha-ni-sa-ri Dorian mode ga-ma-pa-dha-ni-sa-ri-ga Phrygian mode ma-pa-dha-ni-sa-ri-ga-ma Lydian mode pa-dha-ni-sa-ri-ga-ma-pa Mixolydian mode dha-ni-pa-ri-ga-ma-pa-dha Aeolian mode

8. See XXVIII 22-23 9. See XXVIII. 29. 10. See note 2 above. 11. These Greek modes were modified by St. Ambrose (c. 4th century) and partly by St. Gregory (604 A.C.). See ERE.

THE NĀȚYAŠĀSTRA 8

The Madhyama Grama12 gives rise to the following seven Mūrchanās : Sauviri, Hariņāśvā, Kalopanatā, Suddhamadhyā, Margavi, Pauravi and Hrsyaka. These are constituted as shown below.

ma-pa-dha-ni-sa-ri-ga Sauviri pa-dha-ni-sa-ri-ga-ma Hariņāśvā dha-ni-sa-ri-ga-ma-pa Kalopanatā ni-sa-ri-ga-ma-pa-dha Śuddhamadhyā sa-ri-ga-ma-pa-dha-ni Mārgavi ri-ga-ma-pa-dhi-na-sa Pauravi ga-ma-pa-dha-ni-sa-ri Hrşyakā

The Gandhara Grama also gave rise to seven Mūrchanās ;13 this Grama becoming obsolete at the time of the NS, they were not mentioned by the author. The four kinds of Murchanas-The Mūrchanas described above are heptatonic (purna-full). But there are also three other kinds of them, viz. hexatonic (sadava), pentatonic (audava) and Mūrchanas including Overlapping notes (sādhāranī-krtā).14 To distingwish these three kinds from the heptatonic Murchanas they are also called Tanas.15 Though these Murchanas and Tanas were used to embellish the songs, they were also used in connexion with the vocal training of the singer. For the NS says: The variety of the Tanas and the Mūrchanas thus arising, provides enjoyment to the hearer as well as to the musician. The Mūrchana aud Tana are also of use because their practice helps the (easy) attaiument of Voice-registers (sthanaprapti)16. (e) The Voice-registers. There are three Voice-registers the chest (uras), the throat (kantha) and the head (siras)17. Notes and their pitches proceed from these three registers. In calling one who is at a great distance, notes proceeding from the head

12. See XXVIII. 30. 13. See NāŚ. 1. 2. 9 and SR. 1. 4 25-26. 14. See XXVIII. 32-33, 15. See notes on XXVIII. 33-34. 16. See "The two ways of Tanas" under XXVIII-33-34 (pp. 12-13). 17. See XX. 38-40, 41-42,

9 INTRODUCTION

register is used; but, for calling one who is not at a great distance, notes from the throat, and for calling a person who is by one's side, notes from the chest register serve the purpose. (f) The Overlapping note : The Overlapping note mentioned above is a transtional note like Kākali Nișāda.18 As regards the use of the note in the Murchana there appears to be a rule that it should be in the ascending scale (arohin) and be made specially weakened (alpa). If it is made descending (avarohin) it will lead the Srutis to Jati ragas or Jātis. (g) The Jatis : The Jatis whatever may be interpretation of this term by the scoliasts, probably stand for melody-types of the recognised kind, as opposed to those which were hybrids or got mixed up with folk-tunes.19 Besides this, they developed some technical complexities from which the Murchanas, if they were melody-types too, were free. The Jatis eighteen in number were of two kinds ; pure (suddha) and modified (vikrtā). In the Sadja Grāma the pure Jātis are Sādji, Ārșabhi, Dhaivatī and Naişad1,20 and in the Madhyama Grama, they are Gandhārl, Madhyama and Pancami. "Pure" in this connexion means having Amsa, Graha, and Nyasa consisting of all the notes. When these Jatis lack two or more of the prescribed characteristics except the Nyasa, they are called "modified" (vikrta).21 In the observa- tion of the Nyasa in the pure Jatis, the note should be regularly Mandra, but in the case of the modified Jātis there is no (fixed) rule. The modified Jatis are eleven in number and they grow from combination of pure Jatis with each other. The Jatis which seem to be the fore-runner of later Indian Rāgas and Raginis were sometimes, heptatonic, sometimes hexatonic and sometimes pentatonic. And they had ten characteristics such as, Graha, Amśa, Tāra, Mandra, Nyāsa, Apanyāsa, Reduction, Amplifica- tion, hexatonic treatment and pentatonic treatment.22 Among these, Graha has been sometimes considered to be equivalent to "clef" of the western music. Amsa has been rightly compared

18. Danielou calls it "intercalary note". See XXVIII. 34-35. 19. For the meaning of Jati sce the note on XXVIII. 38-39 (p. 14). A Daniélou's interpretation of the word does not seem to be convincing (see Northern Indian Music. pp. 101, 122-123). See also XXVIII, 38-44. 20. See XXVIII. 44. 21. Ibid. 22. See XXVIII. 74-100. 2

THE NĀȚYAŠĀSTRA 10 with 'the Governing note' or 'the Keynote' of the western music. The Nyasa also has been compared with the cadence of the western music probably with some justification. The other terms in this connexion do not seem to have any equivalent in the western music. (h) The Jatis and their connexion with the Sentiments : As songs included in the preformance of plays were meant, among other things, for the evocation of Sentiments according to the require- ment of theatrical production, the Jati songs had a distinct part to plav in this regard. Hence the theorists have assigned them according to notes constituting them, to different Sentiments.28 For example, the Sadjodicyavati and the Sadjamadhya are to be applied in the Erotic and the Comic Sentiments respectively, because of Madhyama and Pancama in them. The Sadji and the Ārșabhi are to be applied in the Heroic, the Furious and the Marvellous Sentiments after making respectively Sadja and Rsabha their Graha note. The Naișād1 with Niāda as its Amśa note and the Sadjakaisiki with Gandhara as its Amsa note should be the Jati to be sung in the Pathetic Sentiment. The Dhaivati with Dhaivata as its Amsa note shonld be applied in the Odious and the Terrible Sentiments. Besides this, the Dhaivati is applicable in' the Pathetic Sentiment and similarly the Sadjamadhya is to be applied a connexion with madness. (i) The Dhruvas : The dramatic songs per excellence were the Dhruvas in which Varņa, Alamkāra, tempo (laya), Jāti and Pani regularly occurred. They were of five classes such as Prāveši':i, Ākşepikī, Naișkrāmikī, Prāsādiki and Antarā related respectively to entrance (pravesa), diversion (aksepa), departure (niskrāma), calming «(prāsāda) and transition (antara) in course of the progress of plays. 24 Themes of various Sentiments sung at the entrance of characters in the stage are called Prāvesiki Dhruvās.25 Songs sung at the exit of characters to indicate their going out are called Naiskrāmiki Dhruvās.26 Antarā Dhruvās were sung to divert the attention of the 23. See XIX. Iff. 24. See XXXII. 26-27. 25. See XXX1I. 365. 26. See XXXII, 366.

11 INTRODUCTION

audience from some shortcomings of the performance or when the principal characters became gloomy, absent-minded, angry etc.27 Prāsādiki Dhruvās were sung for claming the audience after they witnessed something which roused their feeling very much.28 Ākșepiki Dhruvā was sung on occasions like one's being captured, obstructed, fallen, attacked with illness, dead or in swoon.29 The dhruvas from their detailed description seem to have been a sort of "background" music suggesting acts and moods of different characters in a play. Aud the suggestion had its vehicle in the contents of songs as well as in their metre,30 language,31 tempo32 and Tala.33 The two Vinas which were to follow the Dhruvas34 also added to their power of suggestion. (j) Contents of Dhruvas : Dhruvas in case of men and women of superior, inferior or middling class should relate to objects comparable to them in quality.35 In case of gods, and kings the comparable objects were the moon, fire, the sun and wind and in case of Daityas and Rākșasas they are clouds, mountains and seas.36 Ex. (i) The moon which has its body covered with the canopy of clouds and has been robbed of beauty by the rays of the sun, and which has become colourless due to the advent of the morning, is no longer chasing the darkness with its (very bright) smile. (ii) Here arises in the sky the sun the lamp of the world. He is clad with myriads of rays, and his warmth is adored by Brahmins and Munis. (iii) The strongly blowing wind, shaking the tree-tops with constant rustle, moving about at the foot of the mountain

27. See XXXII. 367. 28. See XXXII. 368, 29. See XXXII. 373. 30. See XXX11. 37ff. 31. See XXXII. 440 ff. 32. See XXX11. 32 ff. 33. Ibid. 34. See XXX11. 499-500 35. See XXXII, 407 36. See XXXII 408 and the notes.

THE NATYASĀSTRA 12

and raising up dusts red and brown, is running along like a very angry person. (iv) This cloud looking like smoke is roaring and with its lightning, is, as it were, piercing the earth, and like a terrible elephant, it is pouring quickly masses of water to cover the entire world. (v) With his head struck by lightning this lord of moun- tains sleeping under heat of fever, sinks down as it were into the earth. (vi) The sea on which the wind has raised ripples and waves, which has become very noisy due to the succession of waves, has its birds scared by swiftly blowing wind, has more waves due to perturbed fishes, has the sound of agitated clouds, suddenly appears now angry at the moment being surrounded by high mountains. In case of Siddhas, Gandharvas and Yakşas the comparable objects were the plants, stars and bulls, and for those persons engaged in the practice of austerities, comparable objects were the sun, fire and wind.37 Ex. (i) On learning that the moon in the sky has lost her beauty on being eclipsed by Rahu, the stars are weeping, as it were, in great grief, and are shedding tears in (the shape of) their rays. (ii) The sun of unparalleled brightness which is the crown of the eastern mountain, and is adored by Brahmins and Munis, is moving about in the sky. Cranes, peacocks, Kraunca, ruddy geese and lakes with Kumuda flowers have qualities (enough) to be compared with middling characters.38 Ex. (i) The female crane which dwells in the lotus-lake is mnoving to her dearest one's abode on the beach of the river. (ii) At the appearance of clouds the peacocks are dancing. (iii) The cakravaki with her lover is passionately moving about in watei The cuckoo, bee, crow, osprey, owl, crane, pegion and kādamba are compared with inferior objects.39 37. See XXXII 409 and the notes 38. See XXXII 415 and the notes. 39. See XXXII 416 and the notes.

13 INTRODUCTION

Ex. (i) The cuckoo which has always a voice sweet to ears, is roaming about in the vernal forest where the Cūta, Tilaka, Kuruvaka and Asoka trees have flowered and attracted humming bees, is creating intoxication in young damsels. (ii) O fair one, the bee after roaming for a long time in the lotus-lake, is now flying through the sweet-smelling Cūta forest adorned by spring, and it has a desire for tasting the āsava (honey) from the mouth of its female companion. (iii) At the close of the night the terrible owl which had a fearful hooting, has behind it a group of chasing crows, and it is (now) hastily searching for its own hollow (of the tree). But the wives of superior, middling and iuferior characters were compared with another set of objects or animals. The night, earth, moon-light, lotus-lake, female elephant and the river were compared with the wives of kings. 40 Ex. (i) The night which has rays of the moon as her necklace, the stars as the head-ornaments, and planets as orna- ments of other limbs, looks beautiful like a youthful woman. (ii) The humming of bees declares, as it were, that the lotus-lake which has just now opened beautifully its lotus-face, is . shining while it is surrounded by lovers of lotus. (iii) In the great mountain ravaged by wind and struck by lightning, the she-elephant is weeping (in distress). Similarly, lake, osprey, creeper, female crane, pea-hen and female deer were compared with wives of middling characters as well as courtesans.41 A hen, bee, crow, cuckoo and owl of the female species, were comparable in Dhruvas to wives of inferior characters.42 (k) Metres of Dhruvas : Metres of varying length of their feet were suited to suggest differeut movements, situations and senti- mnents.43 For example, in the various acts of gods when there was no obstacle, the Anustubh metre was to be used, and metres like Mālā, Vaktra and Aparavaktra were suited to Prāveśiki Dhruvās, and Puța and Cūlikā suited to Naișkrāmiki Dhruvās. (1) Language af Dhruvas : Though the general rule about

40. See XXXII 418 and the notes 41. See XXXII 419 and the notes 42. See XXXII 420 and the notes 43. See XXXII 427 ff. ; 444 ff.

THE NĀȚYASĀSTRA 14

Dhruvas was that they were to be in Sauraseni, some times Magadhi, Sanskrit and half-Sanskrit also were used. Magadhi was evidently used in case of inferior characters. But Sanskrit was prescribed for heavenly beings, while in case of human beings half-Sanskrit was used. This half-Sanskrit was possibly something like the language of the metrical portion of the Mahāvastu. (m) The Tala and Graha of Dhruvs : Definite instructions regarding the use of Kalas and Padapata show the important part Tala played in singing of Dhruvas. The NS. devotes one long chapter XXXII over a very complex system of Tala to be used in all kinds of musical performance iucluding the singing of Dhruvas. Besides this, there are special rules of Grahas for such Talas in connexion with Dhruvas.45 (n) Special suggestibility of Dhurvas : Besides suggesting the situations and moods of characters, Dhruvas suggested also the time of different happenings. For example, the Pravesiki Dhruvā was sung to indicate anything in the forenoon and the Naiskramiki indicated anything occurring throughout the day and night. And gentle Dhruvas indicated the forenoon, while the pathetic Dhruvas indicated the happenings in afternoon and evening.46

3. The Instrumental Music

It has been suggested before47 that the study and analysis of notes in congs began probably after the instruments of music were invented and considerably improved. The description of Varnas and Alamkafas given in the NS. in the chapter on stringed instruments seems to suggest this. It is also clear that the stringed instruments (tata) especially the Vina, played the most important part in this connexion. Besides the stringed ones there are also two other kinds of instrument. They are hollow (susira), and the covered (avandha) or instruments of percussion.

44. See XXXII 440 ff. 45. See XXXII 471 ff. 46. See XXXII 464 ff. 47. See above p. 6 of this Introduction.

15 INTRODUCTION

(a) The Stringed Instruments : (i) Varņas : Varpas48 produced in a stringed instrument,49 as they are in the ascending (arohin) or descending (avarohin) order or are repeated ( sthayin-staying ) or are mixed in form, are called respectively Ascending, Descending, Monotonic or Mixed Varņas. (ii) Alamkaras : The Varnas in their different combinations give rise to thirtythree Alamkaras.50 But this number varies with authors according as they are early or late. The Alamkaras as its name implies is meant for embellishing the instrumental music. Tanas seem to be the vocal counterpart of the Alamkāras of the stringed instruments.51 (iii) The Gitis : The NS mentions after the Alamkaras four Gitis (lit. songs). But their special connexion with the stringed instruments remains obscure. Gitis have been described by some as an ancient system of classification of rhythin.5" (iv) The Dhatus : (radical sounds).53 The playing of stringed instruments have four kinds of Dhatus (radical sounds). They are Vistāra, Karaņa, Āviddha and Vyañjana. All of these have subdivisions, and they relate to different types of stroke, their pitch, number, grouping and the manner of production. For example : (1) The Vistāra includes four kinds of stroke: Samghātaja (growing out of contrast), Samavayaja (growing out of combina- tion). Vistaraja (growing out of amplitude) and Anubandhaja (growing out of mere succession).

48. Modern writers except Danielou have mostly ignored this. A. Daniélou (NIM p. 99) translates this as "Melodic movement". See XXIX 17-18 and the notes. 49. Vocal Music also includes Varņas. 50. A. Danielou translates this as "Ornamental vocalization" (Northern Indian Music p. 102). Other modern writers except Krishnadhan Banerji have ignored this. His treatment (G.S.I.p. 124) however is very short. 51. It seems that with the development of the Raga music, Alamkaras and Varnas which constiuted them became less important in the eyes of musicians. Hence in spite of their use no one paid special attention to them. 52. HIMANSU BANERJI thinks that an old system of classification of rhythm depended on the Giti and it also included special formation of syllables and variation of speed. See GS. II pp. 72-73. Other modern writers ignore this altogether. The function of Giti in the dramatic.performance is not clear. 53. See XXIX, 82 ff. and the notes. Modern writers ignore this altogether,

THE NĀȚYAŠĀSTRA 16

(2) The Karana Dhatu consists of three, five, seven or nine strokes or all these combining and ending in a heavy stroke. (3) The Aviddha Dhatu consists of two, three, four or nine strokes made gradually and slowly, or a combination of these. (4) The Vyañjana Dhatu consists of touching a string simul- taneously with the two thumbs, striking a string simultaneously with the two thumbs, striking a string with the left thumb after pressing it with the right one, striking it with the left thumb only, and striking with the left forefinger only, etc. (v) The Vrttis : The Dhatus described above relate to the three Vrttis in which the stringed instruments are to be played.54 The Vrttis or styles of Procedure are three: Citra, Vrtti and Dakşina. They take their character from the kind of instrument, its Tala, Laya, Giti, Yati and the Grahamarga (way of beginning) resorted to in a performance. For example, in the Citra, the Magadhi Giti, concise instrumental music, Tala of one Kala, quick Laya, level Yati and Anagata-Graha preponderate. In the Vrtti style of procedure the Sambhavita Giti instrumental music, * * the time-measure of two Kalas, the tempo medium, Srotogatā Yati Sama Grahamarga are preponderant. In the Daksina style, the Prtliula Giti, Tala of four Kalas, slow tempo, Gopuccha Yati and Atita Grahamarga are preponderant. These three styles of Procedure give quality to the instrumental music as well as to the song. (vi) The Jatis of the Instrumental Music : Styles of Procedure described above give rise to the Jatis55 of the instrumental music when Dhatus of diffcrent kind are combined with these. For example, Vistara ( expansion ) Dhatus give rise to the Udatta Jati of the instrument, the Vyanjana Dhatus the Lalita Jati, the Aviddha Dhatus the Ribhita Jati and the Karana Dhatus the Ghana Jati. Among these, the Udatta Jati seems to possess a general character, the Lalita Jati is noted for its gracefulness, the Ribhita Jati is characterised by its frequency of strokes and the Ghana seems to be characterised by its proper observance of quantity of strokes. (vii) The special manner of playing the Vina : After giving 54. See XXIX. 102 ff. and the notes. Modern writers ignore this altogether. 55. See IXIX. 105 ff,

17 INTRODUCTION

detailed instructions about the different aspects of the stringed instruments, the NS, mentions three kinds of music produced by the Vina.6 They are Tattva, Anugata and Ogha.57 The Tattva expresses properly the Laya, Tala, Varņa, Pada Yati and Akşara of songs. The Anugata is the iustrumental music following a song. And the Ogha is the music which abounds in the Aviddha Karaņas, has the Uparipani Grahamarga, quick Laya, and does not care for the meaning of the song. (viii) The special manner of playing the Vipanci: Like the Viua which is to be played by fingers, the Vipanci which is a Vinā with nine strings is to be played with a plectrum.58 It seems to have six ways of producing Karanas from it. Karanas here, as in the case of dance, seems to have been minor patterns made up of notes. (ix) Playing of stringed instruments before the Preliminaries : The twelve kinds of Bahirgita or musical performance held before the actual beginning of a play, included playing of stringed instru- ments.5° This seems to have been a musical prelude to prepare the audience for the dramatic spectacle which was to follow. Very elaborate instructions as regards the notes, Tala and Laya, etc., of the twelve kinds of music described, shows with what seriousness the ancient masters looked to every part of a dramatic performance from the stand-point of music. (b) Hollow Instruments : Hollow (susira) musical instruments were originally made of Vamsa (bamboo).R0 Hence they were called Vamsa-vadya or in short Vamsa (flute). In later times flutes were made of wood, ivory and of different kinds of metal. Notes of a flute were known to consist of two, three and four srutis, and according to their manner of production they were shaken (kampita), half-open (ardha-mukta) and fully open (vyakta-mukta). Just as additional Srutis changed the character of a note of the Vina, so addition of a Sruti gave rise to a changed note. 56. For the indentification of Vina and its different parts see A K. Coomaraswamy's Parts of a Viņa in JAOS, Vol. 50. 1930 (pp. 244 ff). 57. See XXIX. 108 ff. 58. See XXIX. 114 ff. 59. See XXIX. 122 ff. 34988 60. See XXX. I ff. 3 22 S- 1052

THE NĀȚYASĀSTRA 18

The note produced from a flute-hole thoroughly free from finger, consists of four Srutis, that from a hole with a shaken finger placed on it, consists of three Srutis, and a note consisting of two Srutis is produced from a hole partly free from a finger on it. All these are the notes in the Madhyama Grama. Notes of the Sadja Grama will be as follows :- Sadja, Madhyama and Pañcama will arise from a hole fully open, Dhaivata and Rsabha from a hole covered by a shaken finger, and from a hole partly free from finger Gandhara and Nişāda will arise. Nișāda and Gandhāra coming respectively in juxtaposition with Sadja and Madhyama and modifying them- selves in characteristic Srutis, will give rise to Overlapping (Svara- sādharana) and the Kākali notes. According to the NS, the notes of a flute should be perfected with the help of the Vina and the human throat. The very notes which the singer has attained, should be sung in accompaniment of a flute. A unision of the human throat, the Vina and the flute is specially praised. (c) Covered Instruments (Instrument of Percussion) : The chapter on Covered musical instruments begins with a legendary account of their origin. The story goes that one day the sage (munt) Svati watched the sounds that torrential rains made on the lotus-leaves in a lake, and got therefrom the suggestion of making drums.61 Drums give rise to regular notes, Karanas6? and Jatis.63 But among them the Mrdanga, Panava and Dardara (Dardura) more important than the rest, are used much in connexion with the production of plays.64 Drums called Bherl, Pațaha, Bhambhā, Dundubhi and Dindima are merely for very deep and loud sounds.65 (i) The Vaskarana: The various syllables (sixteen in number) available from the drums are as follows : k, kh, g, gh, t, th, d, n t, th, d, dh, m, r n, 1 and h combined with the vowels a, ā, i, i, u, fi, e, ai, o au, am

61. See XXXIII. 4 ff. 62. See XXXIII. 91 ff. 63. See XXXIII. 129 ff. 64. See XXXIII. 65-91. 65. Ses XXX1II. 27,

19 ÌNTRODUCTION

ah ; they give rise to all the Vaskarana or Bol66 of the modern drummers. (ii) The music of drums has the following aspects67: Four Margas, Vilepana (plastering), six Karanas, Three Yatis, three Layas, three Gatis, three Pracaras, three Samyogas, three Papis, five Paņi-prahatas, three Prahāras, three Mārjanās, eighteen Jatis and twenty Prakāras. Hence it is apparent that the playing of drums was a pretty complex affair. All the three principal drums, had their own peculiarities of technique, in spite of their having some common features in this regard. Thus there were almost endless varieties of playing of drums, and these were to accompany the various activities of different types of character on the stage68. For example, in walking and other movements, the experts were to provide for playing of drums with Tālas of three or four kalās, after considering the tempo and the manner of walking of characters concerned. In case of movements of boats, chariots, and aerial cars, birds, moving heavenly bodies, the playing of drums should be by running the fingers on the surface of the drums, or by Catuskala strokes with two hands alternately. In case of sorrow, suffering, illness, cure, death of dear ones. loss of wealth, killing, imprisonment, vow, austerity, fasting, etc. the playing drums in the Utthapana should be according to the Ālipta-mārga mentioned before. . This playing of drums varied as the character concerned were superior, middling, inferior or male, female or hermaphro- dite. The NS lays down elaborate rules in this regard. (iii) Making of Drums. Elaborate rules have been given about the making of drums69. Characteristics of good hides to cover them have also not been left unmentioned70. There were elaborate ceremonies prescribed for the installation of

66. See XXXIII, 30, 40, 42. 67. See XXXI1I. 37 ff. The text enumerating the three Jatis and the three Layas contain a misprint (omission). 68, See XXXIII. 227 ff, 69. See XXXIII. 242 ff. 70. See XXX1I1. 250 ff.

THE NAȚYASĂSTRA 20

drums, in connexion with which various deities were to be worshipped71 (iv) The chapter on drums after describing in detail the characteristics of good drummers72, of a good player of Mrdanga78 and Panava, the general rules of drumming and qualities of the Mrdanga"', emphasizes the importance of drumming as follows : "One should first of all bestow care on the playing of drums. For this playing has been called the basis of the dramatic performance. This playing, and songs being well- performed the production of plays does not run any risk"76

III. LITERATURE ON ANCIENT INDIAN MUSIC 1. Early Writers (c. 600 B.C .- 200 A.C.) (a) Narada. Nārada mentioned repeatedly in later literature on music, seems to be the earliest writer on the subject, and the Siksa named after him' appears, apart from its interpolated passag'es, to be a very old work, and it may be as old as 600 B. C., and its teachings may be earlier still. As one couplet1s from it has been quoted by Patanjali with a slight variation, it is not later thau 200 B.C. Like the Pāpiniya Sikșa (c. 600 B.C.) it is written chiefly in the Anustubh metre ; and it treats of musical theories in connexion with the singing of Samas. The fact that it describes the Gandhāra Grama in detail ( together with its Mūrchanās) shows clearly that it is much anterior to the NS which ignores altogether this Grama and was written when they become obsolete. The NS quotes the NaS. (I.3.13) at least once (XXXIII. 71. See XXXIII. 259 ff. 72. See XXX111. 263 ff. 73. See XXXIII. 295-296. 74. See XXX1I1. 299. 75. See XXXIII, 300 76. See XXXIII. 301. 77. Nās (Nāradiya-šiksā) 78. मनतरो होन: खरती वर्षतीं वा मिष्या प्रयुभी न तमर्थमाह। स वाग्वजो यजमान दिरनस्त यषेन्द्रभव : खरतीऽपराधात्। Patanjali reads as दुषट: शब्दः खरतो वर्णतो वा etc. Evidently the author of the Bhasya changed the couplet to suit his own purpose.

21 INTRODUCTION

227. without naming it. As this Sikșā discusses the seven notes in the three Gramas and the Murchanas and Tanas connected with them, the Indian Music seems to have been pretty advanced at the time when this work was composed. (b) Svati. Svāti has been mentioned in the NS along with Narada, but not even a fragment of his teaching has reached us, and we are not sure whether he wrote any work on the subject or anything was written on his views. (c) Kohala. In the NS (I. 26) Kohala has been mentioned as one of the hundred sons of Bharata and as such he was anterior to the author of this work. From another passage in the NS (XXXVI 61) we learn that sesem uttaratantrena Kohalah kathayisyati 'Kohala will speak of the remaining (teachings) on dramaturgy in a supplementary treatise.' Hence it may be presumed that Kohala was not widely separated in time from the author of the NS. Kohala's opinion has been referred to in Dattila's work in connexion with Tala. This is perhaps the earliest reference to his teaching. The Brhaddesi also refers to Kohala's views no less than five times while discussing notes, Tana and Jati. The author of the Saigitamakaranda also mentions him twice in the chapter on dance (nṛtya), Pārsvadeva in his Samgit-asamayasārå names Kohala in the beginning of his chapter on Tala. In his commen- tary of the chapters on music, Abhivavagupta while discussing Tala, refers at least twice to Kohala. From Abhinava's commen- rary, it is further learnt that Kohala wrote a work named the Samgita-meru. Hence it is natural that Sarngadeva has named him as one of the old masters. Two other works the Tala-laksana and the Kohala- rahasya,, have also been ascribed to Kohala79. These may genuinely reflect the the teachings of Kohala. From all these it appears that Kohala was a very important early writer on music. (d) Sandilya and Vatsya. The NS has twice mentioned Vātsya and Sandilya together. Sandilya not peing included amongst the hundred sons of Bharata, seems to be somewhat later. But one cannot be sure on this point. Sandilya has not been quoted in an early work. Only the author of the commen- tary "Tilaka" on the Ramayana, mentions him twice in connexion

79. Svämi Prajnānānanda-Saņgita-O-Samskrti (Bengali) vol. II. pp. 347 f.

THE NĀȚYASĀSTRA 22

with the Murchana and the Jati80. And Vatsya is not known to have been quoted by any work. (e) Viakhila : Dattilam is the earliest work to mention Viśākhila.81 As we have already seen that Dattila was anterior to the NS. Visakhila was also a very old writer on music. The Brhaddesi also once refers to him."2 The passage in question being somewhat corrupt it has escaped the notice of other writers. It is as follows : nanu mūrchanā-tānayoh ko bhedaḥ ? ucyate-mūrchanā- tānayo nunātvantaram (-stu nârthantaram) iti Viśrankhila (= Viśākhilaḥ) etaccâssmgatam. (Tr. Now, what is the difference between the Murchana and the Tana ? Visakhila's view that the Mūrchana and the Tana are identical, is not correct.) Visākhila has been quoted and referred to at least seven times by Abhinavagupta in his commentary on ch. XXXVIII of the NS.83 Cakrapānidatta (c. 11th century) also has quoted from Visakhila in his commenary on Caraka, Nidana-sthana, VII. 7.84. The relevant passage is as follows : Yad uktam Viśākhina (wrong reading for Visākhilena) śamyā dakşiņa-hastena vāmahastena tālakaḥ / ubhāblıyām vādanam yat tu sannipātah sa ucyate / / (Tr. As has been said by Visākhila, the Samya is struk by the right hand, the Tala by the left hand, and that struk by both the hands is the Sannipāta.) (f) Dattila: Another very old authority on music was Dattila85. Mentioned by the NS as one of the sons of Bharata, he is earlier than the writer of this work. But the work going by his name, ray not be actually written by him ; but its antiquity is great. For the teachings ascribed to him as available in the text named after him, seems to be less developed than that available in the NS. For example, according to Dattila, Alamkāras are thirteen in number while according the N$ ( XXIX. 23-28) they are thirtythree, and later writers further add to their number. The Brhaddeśi makes quotation twice ( pp.29-30) from 80. Ibid. pp. 352-353 81. Dattils, śl. 177. 82. See page 26. 83. Pages 14, 15, 24, 34, 41, 72. and 86 of the transcript from Baroda. 84. ed. Haridatta Sastri pp. 473-474. 85. ed. K. Sambasiva Sastri.

28 INTRODUCTION

Dattila. Kşirasvāmin ( 11th century ) the commentator of the Amara-kośa (ed.R.G.Oka, Poona, 1913) also quotes passages twice from Dattila. Abhinavagupta in his commentery on the chapter XXVIII of the NS, has quoted passages from Dattila no less than ten times. And another comentator of the Amara-koşa(Vandyaghațlya Sarvananda ) also quoted from him the following: Mukham pratimukham caiva grabho vimarśa eva ca etc.86 From this it appears that Dattila wrote not only on music, but also on dramaturgy.

2. The Date of the Natyasāstra. In the Introduction to the volume I of the present work the translator wrote "it may be reasonable to assume the existence of the Natyasāstra in the 2nd century. A. C. (p.LXXVI). By the Natyasastra was meant the present text of the work including some spurious passages (p.LXV) Hence the date of the NS in its original form will be earlier. After making a closer study of the concluding chapters, the translator is inclined to support the view of the late Haraprasad Sastri who concluded that the work belonged to 200 B.C.8: But the question will be taken up later on.

3. Early Medieval Writers on Music (200 A.C .- 600 A.C.) (a) Višvavasu. The view of Viśvāvasu on Sruti has been quoted in the Brhaddesi (p.4). But it is difficult to identify him with Visvavasu the king of Gandharvas who according to the Mahābharata was an expert in playing a Viņā. (b) Tumburu. Tumburu's view also has been quoted in the Brhaddesi (p.4). But due to the corrupt nature of the passage quoted, this has escaped the notice of the earlier writers. The passage in question is as follows :- Apare tn vata-pitta-kapha-sannipāta-bheda-bhinnām catur- vidham śrutim pratipedire. tathā caha Tumburuh (the last word wrongly read as caturah): uccaistaro dhvani rukșo vijñeyo vātajo ( wrongly välajah ) budhaih. gambhiro ghanalinaśca ( wrongly nilaśca ) jñeyo'sau pittajo dhvaniḥ. snigdhaś ca sukumāraśca

· 86. See the Introduction to this text (Baroda ed.) 87, See JPASB, vol. V. (N. S.) pp. 351 ff. ; also vol, VI pp. 307 f.

THE NĀȚYASĀSTRA 84

madhuraḥ kaphajo dhvaniķ. trayāņām guņasamyukto vijñeyo * sannipātajaḥ. This quotation from Tumburu occurs in a correct from in Kallinatha's commentary on the SR (1.3.13-16). Some writers think on the basis of the occurrence of the expression 'Tumburu- națaka' in Locana's Raga-tarangini (12th century) that Tumburu wrote a play. But this tumburu-nātaka seems to have meant a kind of dance-drama originating with Tumburu. (c) The Markandeyapurana. Though not a work on music, the Markandeya-purana may be considered in the present connexion ; because it gives us valuable informations regarding the musical theory and practice at the time of its compilation. Though here is no direct avidence about its exact age, scholars are agreed about its great antiquity, and according to Pargiter who studied this work very closely, its oldest parts may belong to the third century A. C.88. This suit very much the data of music obtained from it. For, it mentions the seven svaras ( notes ), seven Grāma- ragas, seven Gitakas and as many Mfirchanas, fortynine Tanas, the three Gramas, four Padas, three Kalas ( wrongly Talas ), three Layas, three Yatis and four Atodayas. Except the Grāma-rāgas mentioned in this Purana, all other terms occur in the NS. The Grama-ragas are ignored by the NS. They are probably related to the Grama-geya-gana (songs to be sung in a village) of the Vedic Sama-singers as distinguished from the Sama-singers' Āraynya- gana or forest songs which were taboo in villages89. It seems that the term which may be earlier the NS was not recognised by the NS, for some reason or other. The three Kalas might also relate to the time required to pronounce short, long and pluta syllables. From these facts, it may be concluded that the Mk. Purana was not compiled much later than the NS. Those who assign a lower date to the Purana refer to the Devi-māhātmya (ch.81-93) which in their opinion is not much earlier than 600 A.C. This however seems to be far from justified. For Durga glorified in this Purana was already an important deity in the later Vedic period, the Devi-sükta being a part of the Khila- 88. Winterniz. Vol. I. p. 560. The chapter 23 of the Mk. Puraņa has been critically edited and published by Alain Danielou and N. R. Bhatt in 'Textes des Purāņa sur la theorie musicale,' Pondichery, 1959. It reached the present author late. 89. Winternity, p. 167.

25 INTRODUCTION

portion of the Rgveda. Hence the Mk. Purana may very well be placed in the 3rd century A.C. (d) The Vayupurāna. The Vayupurana also should be con- sidered in connection with the medieval writings on music. For it contains two chapters (86-87) which treat of the Mūrchanās, Tānas and Gitālamkaras90. Even if these two chapters are in a very corrupt state, from them one can form a fairly correct idea about the musical teachings of the time. Though this Purana des- . cribes the rule of the Gupta dynasty as it was in the 4th century A.C.º1, and though the Guptas, one very great among them being Samudragupta, were patrons of music, these two chapters seem to repeat only what is already available in the NS, except that they give the number of Alamkaras as thirty. (The second half of the first couplet of the chapter 87 should be emended as follows: trimšat ye vai alamkārās tān me nigadatah śrnu (see sl.21 below). But the NS gives the number of Alamkāras as thirty-three (XXIX, 23-28). Another new information available in the Vayupurana is the affiliation of Tanas to different Vedic sacrifices. Due to a loss of some ślokas between the two hemistichs of the couplet 41 of the chapter 86, some writers were led to attach these names to Murchanas. If these ślokas occuring in the Brhaddesi have not been taken from the Vāyupurana, they must have been taken from a common source by both these works. (e) Nandikevara. The Brhaddesi quotes (p.32) in one passage the view of Nandikesvara on the Murchana. From this we learn that he recognised a class of Murchana consisting of twelve notes. We also know one Nandikeśvara as a writer on abhinaya (gesture) and Tala. And the two may be identical. The Rudra-damarud- bhava-sutra-vivaranam a commentary on the Mahesvara-sūtras, is also ascribed to Nandikeśvara. This also may be from the hands of Nandikeśvara the author on abhinaya etc. But before the work has been critically studied, one cannot be sure about this. And Nandikesvara the author of the Abhinaya-darpana as we have seen elsewhere92 was posterior to the 5th century.

90. Svāmi Prajnānānanda has printed these in his vol. II of the Sangita O-Samskrti, pp. 484 ff. The Visnudharmottara (C. 8th century) also contains some chapters on music. But these are not of much importance in the present connection. See Textes des Purana sur la theorie musicale ed. by Danielou and Bhatt. 91. Winternitz. op. cit. p. 554. 92. See the Introduction to the Abhinayadarpana ed. M. Ghoch (2nd ed). Calcutta, 1957. 4

THE NĀȚYASĀSTRA 26

4. Medieval writers of the Transitional Period (600 A.C .- 1000 A.C.) (a) Šārdūla, Matanga, rāstika, Kasyapa and Durgašaskti. It was during this period that the Ragas of later Indian music slowly developed from the Grama-ragas98 of early mnedieval music, which have been mentioned in the Mārkandeya Puraņa. The Giti or the Bhașa-giti of various kinds mentioned in the Brhaddesi94 had probably connection with this Gramaraga. And from this work, it is also learnt that Sardūla recognised only one Giti called Bhāşāgīti, Matanga two Gītis, Bhāșāgiti and Vibhāşā-giti, Yāsțika three of them named Bhāşāgīti, Vibhāşāgīti and Antar-bhāşikagiti. Durgasakti however gave their number as five, viz. Suddha, Bhinna, Vesara, Gaudi and Sādhāraņi. Kasyapa seems to agree with Yāşțika in this regard; but one cannot be sure on this point. The personal view of the author of the Brhaddesi is that the Glti is of seven kinds : such as Suddha, Bhinnaka, Gaudika, Rāgagīti, Bhāșāgiti and Vibhāșāgiti. It is probably to demonstrate the fuller nature of his own classification, that he brings in the view of his predecessors, which have been mentioned above. The evidence at our disposal for ascertaining the time of these authorities is meagre. But we are possibly not quite helpless in this matter. For, the term Bhāșāgiti seems to give some indication as to the upper limit to the age of these teachers. It seems to be evident that bhasa in this connection is nothing other than the desa-bhasa or regional dielects or languages, and that is the reason why the songs composed in desa-bhāsa were also called Deśi from which the Brhaddeśi derives its name. Now bhāsa came to be accepted as a vehicle of literary expression as early as the 6th century A.C. ; for Banabhatta mentions among his friends one Isana who was a bhāsa-kavi or a poet writing in bhasa.95 Hence it may naturally be assumed that bhasa attained some prestige at that time in connection with the music also. In all probablity Sardūla who recognised one kind of Giti called the Bhāsaglti, might have 93. See above p. 24. 94. See page 82. 95 Bulletin of the School of Oriental Studies Vol. I (1917-20), Grierson, Indo-Aryan Vernaculars, Chapter II, p. 65.

27 INTRODUCTION

been an younger contemporary of Banabhatta. Matanga, Yāşțika, Kasyapa and Durgasakti all of whom might have followed him in later centuries, probably one after another, added to the number of Gitis or Bhasagltis. The new era reached right down to the time of the author of the Brhaddesi who seems to have fourished about the 10th century A.C. when the Bhāsa- movement may be said to have culminated in the development of New Indo-Aryan languages and bhașā became the vehicle of the classical melodies of the Raga-type. (b) The Brhaddesi. The work ascribed to Matanga cannot be taken as a work written by Matanga. For as we have seen above, Matanga's view has been quoted in the work itself along with the view of other earlier writers. Hence it seems have been compiled by some one other than Matanga himself, and was ascribed to the old master evidently for giving it a greater authority. About the date of this work we have given our view above. The fact that Sarngadeva recognised Durgasakti's view about the number of Gitis in opposition to the one given by the author of the Brhaddesi96, probably shows that the two authors were not widely separated in time. The Brhaddesi extensively makes quotation form the NS.

5. Late Medieval Writings (1000 A.C .- 1300 A.C.) (a) The Sangita-makaranda. This work 97 ascribed to Narada, was evidently not from the hands of the author connected with the Siksa named after him. The fact that the Ragas known in later music make their appearance in it, speaks for its lateness. As it has, been utilized by Sārngadeva (1210-1247 A.C.) it may be tentatively placed in the 11th century A.C. (b) The Raga-tarangini. This was composed by Locana- Kavi, the court-musician of the king Vallalasena of Bengal. It was written 1160 A.C.9g, the year of Vallalasena's accession

6. See SR. II. 1.7. 97. Ed. M. R. Telang. 98. See Kshitimohan Sen, Banglar Sangitacarya in the Gitavitāna-vārsikt Vol. I, 1350 ( B.E. ) Songs of Vidyapati available in the present text of the Ragatarangini are evidently a later interpolation and hence do not determine its date. See ibid.

THE NĀȚYASĀSTRA 28

to the throne. He therefore lived one generation earlier than Jayadeva the celebrated author of the Gita-govinda which was a lyrical poem to be sung with musical accompaniment. From the Ragatarangini it is learnt that the author also wrote other works such as the Raga-gitasamgraha. But these have not come down to us. Locana's work mentions twelve basic (janaka) Rāgas to which eighty-six derivative (janya ) Rāgas owe their origin. (c) The Sangita-samayasara. This work99 was written by Parsvadeva of whom we do not know anything more. He was probably a Jain ; and as he names Bhoja'00 and Someśvara101 he was later than these personages. But Sarngadeva who mentions them does not mention Parsvadeva. Pārśvadeva therefore may be placed in the 13th century A.C. and may be considered to be a contemporary of the author of the Sangita-ratnākara. Pārśva's treatment of Rāgas though pretty exhaustive, is shorter than that of Sarngadeva. (d) The Sangita-ratnakara. This is the most exhaustive treatise on Indian music. It was written by Sārngadeva (1210-1247) a South Indian whose grandfather was a Kashmirian. In the seven chapters of the work, he treats of notes, Rāgas, miscellaneous topics, musical compositions, rhythms, musical instruments and gestures. He describes Sruti, notes, Gramas including the obsolete Gandhara Grāma, Mūrchana, Tana, Varņa, Alaņkāra, Jāti, Vādī, Samvādi, Vivādī and Anuvādi notes very clearly, and summarizes whatever has been said by his predecessors. This gives the work a special importance in connection with a critical study of the NS. Many things occurring in this latter work when otherwise obscure, become elucidated as soon as they are compared with similar items discussed in the Sanglta-ratnākara. As Sārngadeva elaborately describes the Ragas with their late developments, his work serves, as a bridge between the tradition of the NS and the works written in late medieval times (after the 13th century) which almost exclusively treat the Ragas and their different varieties. As these works are not of much importance regard- ing the study of Indian music in its ancient and early medieval aspects, we refrain from mentioning them. 99. Ed. Ganapati Sastri. 100. Ibtd (II. 5). 101. Ibid (II. 5; 1X. 2).

29 INTRODUCTION

IV. MORE ABOUT THE ANCIENT INDIAN THEORY AND PRACTICE OF DRAMA

1. The Three Types of Character Characters of all kinds male, female and hermaphrodite in the ancient Indian plays, were classified into three types: superior, inferior and middling1, for the purpose of distinguish- ing them by assigning to them special movements to be followed by appropriate music and drumming. Division of Heroes (nāyaka) and Heroines (nayika) into four classes, had also included the same purpose. 2. The Prominent Position of the Nataka From the very detailed description given in the NS of the various types of character such as the king and his entourage, inside and outside the royal palace2, it appears that the Nāțaka which usually include such characters, was the most prominent among the ten kinds of play. The special purpose of the description seems to have been to help the playwrights who cannot always be expected to possess a first-hand knowledge of habits and customs of such characters.

2. The Typical Theatrical Troupe From a detailed description of the various members of theatrical troupes3, it appears that such troupes moved from place to place just like the Bengali Jatrāwalas, to give performance before people of different regions. It is only on the assumption of this kind that we may easily explain inclusion into the troupe, of such members as makers of headgears (mukutakāraka) and of ornaments, the dyer (rajaka), the painter and craftsmen of various kinds. If like the members of modern theatres of India they were restricted in their activity to any particular place, there might not have been any necessity of counting them as members of theatrical troupes. As communication and transport at that ancient time were not easy, the treatrical parties did not

3. See XXXIV. 2 ff. 2. See XXXIV. 29 ff. 3. See XXXV. 89-90.

THE NĀȚYASĀSTRA 30

probably like to add to their luggage in the shape costumes and other paraphernalia of a dramatic performance. Skilled persons who accompanied them prepared these anew in every region, and :hese were used for a number of performances held in places not very distant from one another. The Arthasāstra of Kautilya seems to envisage this kind of itinerant theatrical troupes.

4. The Playwright as a Member of the Theatrical Troupe The playwright (nātyakaraka)4 appearing as one of the nembers probably shows also that theatrical troupes moved rom place to place and did not depend exclusively on a fixed epertoire, but often constructed special plays based on local istory or popular legends, to suit the taste and interest of he people before whom they were called upon to give a erformance. The position of the playwrights was probably analogous some extent to their modern counterparts attached to some ban theatres of modern India, which employ them for salary ith the purpose of making their dramatic compositions the cclusive property.

5. Distribution of Roles The NS lays down some general principles for the stribution of roles in a play.5 For example, it says : "After considering together their gait, speech and ovement of the limbs, as well as their strength and nature, e experts are to employ actors to represent different roles [in a ay]"6 "Hence the selection of actors should be preceded by an quiry into their merits. The Director will have no difficulty er the choice [if such a procedure is followed]. After certaining their natural aptitudes, he is to distribute roles to ferent actors". To clarify further these principles, the NS adds : "Persons who have all the limbs intact, well-formed and ck-set, who are full-grown, not fat or lean, or tall or large, who

6. See XXXV. 99. 5. See XXXV. 6. See XXXV. 5-6.

31 INTRODUCTION

have vivacity, pleasant voice and good appearance, should be employed to represent the role of gods.' "Persons who are fat, and have a large body, a voice like the peal of hunder, furious looking eyes, and naturally knit eye-brows should be employed to represent the role of Rāksasas, Dānavas and Daityas ; for the performance of the male actors [should be] in conformity with their limbs and movements".8 "Actors of the best kind who have beautiful eyes, eye-brows, forehead, nose, lips, cheeks, face, neck and every other limb beautiful, and who are tall, possessed of pleasant appearance and dignified gait, and are well-behaved, wise, steady by nature, should be employed to represent the role of kings and princes.9 In a similar manner the NS gives directions about assigning roles of army-leaders, councillors (ministers and secretaries) Kañcukins, the Srotriyas10 as well as minor characters.1! The directions about the representation of fatigued and healthy characters show how careful the ancients were about the assign- ment of roles. For the NS says. "A person who is naturally thin should be employed in a play to represent tired characters."12 "A fat man should be employed to represent persons without any disease".13 From the very elaborate rules quoted above, it appears that the author of the NS was very careful in the assignment of roles. His rules were often found difficult to be carried into practice. But in spite of this, he was not a doctrinnaire in this regard, and permitted the Directors of theatres to train up properly persons available, even when they did not come up to the standard. On this point he says : "If however, such persons are not available, the Director should exercise discretion to employ [some one] after a consideration of the latter's nature and movement as well as all the States [to be represented]."

7. XXXV. 5-6, 8. XXXV. 7-8. 9. XXXV. 9-11. 10. XXXV. 12-14. 11. XXXV. 15-17. 12. XXXV. 18. 13. Ibid.

THE NĀȚYASĀSTRA 32

"Such persons' natural movements whether good, bad or middling, should be regulated by a contact with the Director and then they will properly represent all the States"14.

6. The Principles of Personation The NS also very clearly laid down the principles of personation. It says "One should not enter the stage in his own natural appearance. His own body should be covered with paints and decorations"15. "In the production of a play, a person in his natural form of the body should be employed [to assume a role] according to his age and costume"16. "Just as a man who renounces his own nature together with the body, and assumes nature of someone else by entering into his body, so the wise actor thinking within himself that "I am he", should represent the States of another person by speech, gait, gestures and other movements"17. The stage-representation of characters according the NS, are of three kinds: natural (anurūpa) unnatural (virūpa) and imitative (rupānusāriņī)1 8. These three kinds of representation are described as follows :- "When women impersonate female characters and men male characters and their ages are similar to that of characters represented, the impersonation is called natural19" "When a boy takes up the role of an old man or an old man that of a boy and betrays his own nature, the representa- tion is called unnatural20. When a man assumes a woman's role, the impersonation is called imitative by the best actor. A woman also may assume if she likes, a man's role in actual practice. But an

7. XXXV. 19-20. 15. XXXV. 24. 16. XXXV. 25. 17. XXXV. 26-27. 18. XXXV 28. 19. XXXV. 29. 20. XXXV. 30.

38 INTRODUCTION

old man and a young man should not try [to imitate] each other's manners21. 7. Special Importance of Women in Dramatic Production Unlike what was the practice in ancient Greece or in medieval Europe, ancient Indians had no scruple to employ actresses possibly from the very ancient times. Hence the NS points out their special fitness on certain points. The relevant passages in the NS are as follows :- "A delicate person's role is always to be taken up by women. Hence in case of women as well as gods and men of delicate nature [women are to assume the roles]. [It is for this reason that] drama came to be established in heaven through Rambha, Urvasi and the like [nymphs]. And similar has been the case in king's harems in this world"22. "Want of fatigue in dance and music, is always considered a quality of women, and a dramatic production partly attains its sweetness and partly its strength due to this"23. "This delicate type of production is pleasing to kings. Hence plays of this class including the Erotic Sentiment, should be produced by women"24. An instance of the production of a play exclusively by women occurs in the Priyadarsikā (III) of Harsa. Also in Cambodia the country which owes its drama to India, plays are produced exclusively by women25. In the palaces of some Sultans of Java too, women are exclusive performers of dance-dramas26. It can scarcely be doubted that this practice had its origin in India in hoary antiquity and the relevant passage of the NS, quoted above, seems to support our assumption. 8. Impersonation of a King Though the NS has given description of a person suited to represent a royal character37, it closes the topic of impersona-

21, XXXV. 31-32. 22. XXXV. 38-39. 23. XXXV. 44. 24. XXXV. 49. 25. See the author's Contributions to the History of Hindu Drama, Calcutta, 1957, p. 41. 26. See notes on XXXIV. 48-51. 27. XXXV. 9-11. 5

THE NĀȚYASĀSTRA 34

tion by giving rather elaborate directions about the impersonation of a king. On this point it says : "How are the qualities of a king to be represented by an actor who has a few wearing apparels ? In this connection it has been said that when dramatic conventions have come into vogue I have made plays furnished with all these (i.e. conventions)". "In them (i.e. plays) the actor (nata) covered with paint, and decorated with ornaments, reveal the signs of kingship when he assumes a grave and dignified attitude and then he alone becomes, as it were, a refuge of the seven great divisions (saptadvipa) of the world"28. "He should move his limbs only after he has been covered with paints. And trimmed according to the discretion of the Director and having the Sausthava of limbs, the actor becomes like a king, and [thus trimmed] the king also will be [very much] like an actor. Just as the actor is, so is the king, and just as a king is, so is the actor"29.

9. An Ideal Director Principles and practices of the ancient Hindu drama as described before, placed a very great responsibility on the Director of a theatre. Hence the NS describes the characteris- tics of an ideal Director as follows :- He should have "a desirable refinement of speech, knowledge of the rules of Tala, the theory of notes and instru- ments [in general]". And he who is "an expert in playing the four kinds of instruments, has various practical experience, is conversant with the practices of different religious sects, and with polity, science of wealth and the manners of courtezans, ars amatoria and knows various conventional gaits and move- ments, thoroughly understands all the sentiments and the states, and is an expert in producing plays, acquainted with all arts and crafts, with words and rules of prosody, and proficient in all the Sastras, the science of stars and planets and the working of the human body, knows the extent of the earthly continents, divisions, and mountains, and people inhabiting them, and customs they have, and the names of descendants of royal

10. XXXV. 57-59. 29. XXXV. 60-61.

35 INTRODUCTION

lines, and who listens about acts prescribed in Sastras, can understand the same, and puts them into practice after under- standing them and gives instruction in the same, should be made a Director.30

V. MORE DATA OF INDIA'S CULTURAL HISTORY IN THE NĀȚYASĀSTRA

1. Language The NS mentions besides Sanskrit and the various kinds of Prakrit the Ardha-Samskrta as the language of Dhruvās.81 By this last term we are probably to understand the so-called Gatha-Sanskrit which Prof. Edgerton has called hybrid Sanskrit. His hypothesis about its origin does not however appear to be convincing. This new nomenclature seems to ignore the historical circumstances which brought this kind of language into existence.

2. Metre In course of describing Dhruvās the N$ has described various metres. Most of these names are otherwise unknown.32

3. The Arthasāstra The N$ (XXXIV. 82-98) describes a king, an army-leader, a purohita (chaplain), ministers, secretaries, judges, wardens of princes (kumaradhikṛta) and refers in this connexion to the views of Brhaspati who seems to be no other than the old master of this name repeatedly referred to in the Arthasāstra of Kauțilya. This probably points to the great antiquity of the NS. It is also gathered from the NS (XXXIV. 73) that- Dauvārika83 mentioned as a great dignitary connected with the royal palace was a snātaka34 i.e., a Brāhmaņa who has duly finished his Vedic studies. This seems to give a clue to the sudden rise of the Sungas (who were Brahmanas) after the Maurya dynasty declined. Pușyamitra Sunga described by Sylvain Lévi as a

4. XXXV. 65-71. 31. XXXII. 440-442. 32. See XXXII. 33. See AS. 34. See XXIV. 73-74.

THE NĀȚYASĀSTRA 36

a"mayor of the palace" was probably a snātaka employed as Dauvarika by the last Maurya king. The Sabhastara mentioned in the NS. ( XXIV. 83,98) translated as members of the (royal) court, is also a very old word. The Kumārādhikrta ( XXXIV. 83,97 ) seems to be the warden of princes mentioned in the Arthasastra.

THE NĀTYAŚĀSTRA

CHAPTER TWENTYEIGHT

ON THE INSTRUMENTAL MUSIC

Three Classes of Instruments

I shall now explain the formal aspects (lit. rule) of the instrumental music (atodya). They are as follows : 1. Regular musical instruments' are of four kinds, such as 'strinpd' (tata),2 'covered' (avanaddha),3 'solid' (ghana)4 and 'hollow' (susira). 2. [Among these,] the 'stringed' are those with strings, the 'covered' means the drums, the 'solid' the cymbals and the 'hollow' the flutes.

(1) 1लचणान्वितम् बातीय literally means 'musical instruments possessed of auspicious marks'. NS. here considers only the traditional or well-known musical instruments as auspicious. 2Explaining in detail the importance of stringed instruments (tata) in the production of a play Ag. says : तब खरांशे ततसुषिरयीरपयागः। तो हि सवरस्य परमारथ रक्िलचयं वितरतः। गातणां वाकपारष्यादि- दोषोपडतानां खरस्न्वविणखरग सुखरता नौयते सभावत एव तम्माधुर्यात्। वाङ्माधुयं यावद्ीनं तदाह्ाय मधुरं निरीपितं माधुर्यम् अभ्यासाद ाहरयु। ततानुवद्धत्वात् खरस्य न नानाधिकभावाशङ्गा काचित् तव्र मूर्कितायां वौणायाम् पशिश्वितेनाप्यभिननेन सरत्वोपलन्धः। न त्ववं वश पवि ततातौद्यस् व प्राधान्यम्. And after a while he explains why hollow instruments (susira) in spite of their affinity with the stringed ones, were not mentioned imme- diately after these, and then he discusses the position of 'hollow' and 'solid' instruments in the Orchestra. The relevant passage is as follows : सुषिरस्य खरात्मकत्व 5पि तदा(द)नन्तरं तस्यानभिधानमिति चेन्र, बोपाया एव खरभागे माधान्यात्। धातुवादभेषशम्कप्रक्कातित्वाद्या(द)वनङुस्य तन्म्रानीपकारिताख् घनस्य, वौधेव (बोषायाम् एव) सुषिरस् तत एवांनुप्रवेशः। ततस्तु वंशस्तव चतुविंधातीदयमुपरश्चकम्। उपरक्जनीयायाभिनय इति तयोरेकव सव्रिवेभात्मक: समूहः कर्तव्यः। तव चतुर्विधमातीय सरतालप्राधान्या[द] दिविधं कतं ततमवनद्' चेति। सुषिरघनयो: क्रमेष तदभग[म]वस्. चामंबन्धनाढ भवनहम्, Ag. *मू्तिंकाठिनोन घ्न, Ag.

XXVIII. 3-7] THE NĀTYAŠĀSTRA 2

Threefold Application of the Instrumental Music 3. In connexion with the dramatic performance (nātaka) they have threefold application : [that in which] the stringed instruments ( tata ) [ preponderate ], [ that in which ] the drums (avanaddha) [preponderate], and their [general] appli- cation during the dramatic performance (nāt yakrta). 4-5. In the Orchestra of the stringed instruments (kutapa)1, [appear] the singer (gayana) and his attendants2 and players of Vipanci,3 Vina' and flute. Players of Mrdanga ( earthen drum ), Panava5 and Dardura6 are [collectively] called the Orchestra of the covered instruments (lit. in the rule of the covered instruments). 6. The Orchestra related to actors and actresses (prakrti)1 of the superior, the middling and the ordinary type, occupies different positions2 on the stage during the produc- tion of plays (nāt yayoga). Music of all kinds embellishes the Drama 7: Thus the song (gana), the instrumental music (vadya) and the acting (nat ya)1 having different kinds of

(4-5) 1कुतं शब्द' पाति, कु' घ रङ्' तपतुाञ््वलयत Ag. The commentator again seems to give this word a new meaning. See Introduction to the Vol. I. pp. LXXVIf. Here kutapavinyāsa should be read as kutapavinyāse. परिग्रही गायकस्य तढ यथा गायका: र्कास्यतालिकाइसा: Ag. It appears from this that the singer had near him attendants with brass cymbals. 3fि (वि) पच्नी चपूर्णतन्वरोका कोणवादनौया वौणात्व कविंभतितवोका Ag. Vipanci seems originally to have bcen a ten-stringed Vina to be played with a plectrum. See note 3 above. 5पनावोऽन्तस्तन्तोको हड़ंकार: Ag. Panava is a small drum or tabor. 6दर्दु रो महाघरठाकार: Ag. describes Dardura as being like a large gong made of bell-metal ; some consider it to be a flute. See Apte sub voce. Dardurika may however be derived from dardura which means a conch-shell the valve of which opens to the right. See Apte sub voce. But in spite of all this, Dardura was a kind of drum. See XXXIII. 4. (6) 1See XXXIV. 1-12. aOn the Ag. says: ततावनजयो: कृतपयीरनियम दैभता पुप्पराध्यायी वच्यते। नान्यकृतपस्य तु प्रयोगी मा भूदा(दव्य)वधिरिति सत्निधिमावम् उपयोगि न तु दैभनियम :. (7) 1This acting included dancing.

3 INSTRUMENTAL MUSIC [XXVIII. 8-11

appeals (vividhasraya, lit. depending on different things)2 should be made by the producers of plays like a brilliant entity (alātacakra-pratima.).3 Characteristics of the Gandharva 8. That which is made by the stringed instruments and depends [as well] on various other instruments, and consists of notes (savra), Tala (time-measure) and verbal themes (pada) should be known as the Gandharva.1 9. As it is very much desired by gods and as it gives much pleasure to Gandharvas, it is called the Gandharva (i.e. a thing belonging to Gandharvas.) Sources of the Gandharva 10. Its source is the human throat (lit. body), the Vīna and the flute (vamsa). I shall describe the formal aspects of (lit. arising from) their notes. Three kinds of the Gandharva 11. The Gandharva is of three kinds1 : that of the notes (svara), that of the Tala and that of the verbal theme (pada).

2Sce note 3 below. 3 Kālidāsa uses this expression. See Vikram. V. 2. 0. Ag. explaining why these three different items are to be given unity, says : यष्माद विविधानयं भिन्न न्द्रियग्रा्य-विविधक्रियारपं तम्मपाद यव नामकता संपाद्या यैनैंकवुद्ि-विषयता तत् सामाजिकस्य गच्छ त्। In this connexion he rejects the suggestion that the mere reading of plays can fulfil their purpose, and says : पना तु मन्बन्त गौतातोद्यविह्ोनादपि प्रयोगात् पठ्यमानादपि दशरूपकादू भर्वत सिद्धिरित्यनेन सूचितम् इति। ततु न सम्यगिव (गेव) तावतो हवापरिपूर्णता नाद्यस, परिपूर्ण च सर्वानुगाहि नाव्यसरूपम् भभिधित्सितं ga :. Cf. Aristotle's view of tragedy (see Introduction to vol I. pp. XLII- XLIII). (8) 1Gandharva seems to be a combination of the vocal music and the music of instruments, such as vina and flutes (See 10 below). From the Mrcch. (III. 2. 1) we learn that vina as as well human voice charmed Carudatta in a performance of Gandharva. Ag.'s explanation of auafafa as गान्वर्षों मितिर्मानं वर्तनम् चन्तभ वो यस् etc., seems to be fanciful. See XVII. 92, 94, 98, 102 etc. and XXI. 24, 25, 73, 77 etc. The expression should be taken simply as a combination of gandharvam and iti. (11) 1The three kinds of gandharva seem to be three kinds of musical performance in which individual notes, beating time, or songs respec- tively play their principal or only part.

XXVIII. 12-20] THE NĀȚYAŚÂSTRA 4

I shall describe the characteristics and the function of the three. Two Bases of Notes 12. The notes (svara) have two bases: the human throat (lit. body) and the Vina. I shall speak about the formal aspects of the notes arising from the two. Formal Aspects of Music of the Viņa 13-14. Notes (svara)', Grāmas, Mūrchanās2, Tānas3, voice- registers (sthana), Vrttis4, Overlapping (sādhārana) notes. Varnas, Alamkaras, Dhatus5, Srutis6 and Jatis which are con- stituted by the regular notes (vidhisvara), are available (lit. united) in the wooden Vīnā. Formal Aspect of Music of the Human Throat 15. Notes, Gramas, Alamkāras, Varņas, voice-resisters Jatis and Overlapping notes are available in the Vīna of the human throat. Aspects of the Verbal Theme in Music 16-17. Consonants1, vowels, euphonic combinations (sandhi), case-endings (vibhakti), nouns (nāma), verbs (ākhyāta), prefixes (upasarga), particles (nipāta), secondary suffixes (taddhita), and syllabic and moric metres always relate to the verbal themes of music (pada). These are of two kinds : composed (nibaddha) and improvised2 (anibaddha, lit. not composed). Twenty Aspects of the Tala 18-20. Now I shall speak of the Tāla1. Āvapa2 Nis- krama, Viksepa, Praveśaka, Samyā, Tāla, Sannipāta, Parivarta, (13-14) 1This and the succeeding terms have been defined below. 2 It seems that Murchanas, Tanas, Vrttis, Dhatu and Sruti related practically to the Vina or the stringed instruments of its class. 8 See note 2 above. 4 Ibid. 5 Ibid. Ibid. (16-17) 1This and the folloing terms have been defined in XV. 9, 33, 39ff. The akhar of the Bengali kirtan, is probably an example of the anibaddha pada. (18-20) 1Here tālagatasyāpi should be read as tālagatams cāpi. 2This and the following terms have been defined later on.

5 INSTRUMENTAL MUSIC [xxVIn. 21-22

Vastu, Mātrā, Vidārī, Anga, tempo (laya), Yati, Prakaraņa, Gīti, Avayava, Mārga, Padabhaga, and Pani are the twenty3 formal aspects of the Tala. These [are] in brief about the Gandharva. Listen next in details about the same.

The Seven Notes On the Notes (svara) : 21. The seven notes are : Sadja (sa), Rsabha (ri), Gāndhāra (ga), Madhyama (ma), P'añcama (pa), Dhaivata (dha) and Nişāda (ni). Mutual relation of the Notes 22. [According] as they relate to an interval of [more or less] Srutis, they are of four classes, such as Sonant1 (vadin), Consonant (samvadin)2 Assonant (anuvadin3, and Dissonant (vivādin)1. The Sonant and the Consonant Notes That which is an Amsa5 [note] anywhere, will in this connexion, be called there Sonant (vadin). Those two notes

3The text ity ekavimsako should be read as ity evam vimsako. (22) 1For an explanation of this and succeeding terms see below and GS. I. pp. 462, 463, 467, 468 ; GS. II. pp. 117-123, MM. p. 9. MH. p. 108.cf. MI. pp. 27-28. According to Dr. A. A. Bake (MM. p. 9.) "the sonant note is the melodic centre of the melody." Sce below note 1 of 76-78. 2See SR.I.3.47ff. Kn. says : यथोः खरयीरन्रगोचरा: स्ाधारश्तुती विहाय मध्यवर्तिन्यः सुतयो वादशाष्टी वा दृश्यन्त तौ मियः संवादिनी भवतः दति। Sbh. too says : दादशाष्टी वा सुतयी ययोरन्तरी वर्तन्त तो मिथः परस्परं संवादिनी भवतः But Matarga (Bd.p. 14, ll.1-2) says: संवादिनस्तु पुनः समशुतिकत्व सति वयोदशनवान्तरत्व नावबीङ्व्या :; and Dattilla (18) too says : मिथः सवादिनी सयौ वयोदशनवान्तरौ. The difference between the two views, is more apparent than real. For Sbh. says ययौः स्ुत्यो: खरावस्थितौ ते स्रुतौ विह्ाय मध्यस्था झ्रुतयो दादशाष्टी वा यदि भवन्ति तदा तथो: संवादित्वम् इत्यनेनाभिप्रायिनवम् उक्तम्। मतक्गादिभिस्त यो यक्षय संवादी सस्यावस्थानश्ुतिमपि रुधेन गययित्वा वयीदशनवान्तरम् उ्तमिति न कविद विसंबाद: (on SR. I. 3. 48-49). 3 See below note 2 on 23. See below note 1 on 23. From its several variants it appears that the term amsa is nothing but amga misread from some very early ms. For more about this see the Introduction.

XXVIII. 23] THE NĀȚYAŠĀSTRA 6

which are at an interval, of nine or thirteen Srutis from each other are mutually Consonant (samvadin) e.g. Sadja and Madhyama, Sadja and Pancama, Rsabha and Dhai- vata, Gandhara and Nisada in the Sadja Grama. Such is the case in the Madhyama Grama, except that Sadja and Pancama are not Consonant while Pancma and Rsabha are so. [On these there] is a [traditional] Śloka : 23. In the Madhyama Grama, Pancama, and Rsabha are Consonant while Sadja and Pancama are so in the Sadja Grama [only]. The Dissonant Notes The notes being at an interval of [two or] twenty Śrutis are Dissonant1 e.g. Rsabha and Gandhara, Dhaivata and Nișāda. The Assonant Notes Now Sonant, Consonant and Dissonant notes having been determined (lit. established) the remaining ones are to be called Assonant2, e.g. Rsabha, Gandhāra, Dhaivata and Nisada to Sadja ; Madhyama, Pancama and Nișada to Rsabhā; and Madhyama, Pancama and Dhaivata to Gāndhāra; Dhaivata, Pañcama and Nișāda to Madhyama; (23) 'Matanga (p.15. 1l 11-12) says : शवन्तरत्वाद विवादित्वम् सत्म् and Dattila (19) too says : झन्तरी तु विवादिनौ Kn. says एकन स्रुव्यन्तरिती परस्परं विवादिनी इति लचयां सूचित wafa and reconciles this with the view of the NS, and other earlier writers as follows : .क्यीरिकखाधारभुत्या सह हान्तरत्वस्य विवचितत्वादिकसुत्यन्तरितत्वमेवार्थः (on SR. I. 3. 49). SR. (I. 3. 40) defines vivādi notes differently. It makes ni and ga, vivadi to ri and dha respectively. 2 Matanga (p. 144ff.) says that the mutually anuvadi pairs of notes are : sa and ri, pa and dha, sa and dha, pa and ri in the Sadja-grama. Sbh. adds one more pair (ma and ri) to these (on SR. I. 3. 50). 3The Grama may be translated as 'scale'. Strangway's theory about its meaning does not appear to be sound (see MH. p. 106). Weber thinks that the Greek word gamma in its musical sense, is nothing but a derivation from the Sanskrit word grama. Indische Streifen, I.3. (Ref.MM. p. 10). According to Nārada there is one more Grāma named Gāndhāra (NaŚ. I. 2. 8). SR (I. 4. 5) too mentions this. For more about Gräma see MH. pp. 108-112.

7 INSTRUMENTAL MUSIC [XXVIII. 24

Dhaivata and Nișada to Pancama ; Rsabha, Pancama and Madhyama to Dhaivata. [All these are ] in the Sadja Grama. In the Madhyama Grama too, Pancama, Dhaivata and Nisada [are Assonant] to Madhyama; Rsabha Sadja, and Gandhara to Pancama ; Sadja, Rsabha and Gandhāra to Dhaivata; the same (Sādja, Rsabha and Gāndhāra) to Nișada. As a note [prominently] sounds it is called Sonant ; as it sounds in cosonance [with another] it is Consonant; as it sounds discordantly [to another] it is Dissonant, and as it follows [another note] it is called Assonant. These notes become low or high according to the adjustment of the strings, and the varying condition (lit. diversity) of the beam of the Vina and of the sense- organs. So much about the aspects of four classes of notes.

Description of the Two Gramas Now, there are two Gramas3: Sadja and Madhyama. Each of these two (lit, there) include twentytwo. Śrutis in the following manner : 24. Srutis in the Sadja Grama are shown as follows :- three [in Rsabha],' two [in Gandhara], four [in Madhyama], four [in Pancama], three [in Dhaivata], two [in Nișāda] and four [in Sadja]. In the Madhyama Grama Pancama should be made difficient in one Sruti. The difference which occurs in Pancama when it is raised2 or lowered by a Sruti and when consequential slackness3 or tenseness [of strings] occurs, will indicate a typical (pramāna) Sruti.+ We shall

(24) 1Probably due to the exigency of metre, the NS. in describing here the Srutis of each note, begins from Rsabha. 2 Utkarsas (increase) tīvratā, apakarso (decrease) mandatā, Ag. 8 Mardavam (slackness) tantryāh šithilikaranam, viparītatvam āyatatvam (tenseness) Ag. *Sruti may be translated as 'interval'. Early authorities differed from one another as to the nature and number of Srutis. Visvavasu thought they were two, some authority considered that their number was three,

XXVIII. 25-26] THE NĀȚYAŠĀSTRA 8

explain the system of these [Srutis]. The two Vinas with beams (danda) and strings of similar measure,5 and with similar adjustment of the latter in the Sadja Grama should be made [ready]. [Then] one of these should be tuned in the Madhyama Grama by lowering Pancama [by one of Śruti]. The same (Vina) by adding one Sruti ( lit. due to adding of one Śruti ) to Pañcama will be tuned in the Sadja Grama. This is the meaning of de- creasing a Sruti (lit. thus a Sruti is decreased). Again due to the decrease of a Śruti in another [Vīņā] Gāndhāra and Nisada will merge with Dhaivata and Rsbha respectively, when there is an interval of two Srutis between them. Again due to the decrease of a Sruti in another (Viņa) Rsbha and Dhaivata will merge with Sadja and Pancamna respectively when there is an interval of [three] Srutis. Similarly the same [one] Sruti being again decreased Pañcama, Madhyama and Sadja will merge with Madhyama, Gandhara and Nisada respectively when there is an in interval of four Srutis between them. Thus according this system of Srutis, [each of] the two Gramas should be taken as consisting of twentytwo Srutis. [The following] are the Ślokas to this effect : Srutis in the Sadja Grama 25-26. In the Sadja Grama, Sadja, includes four Srutis, Rsabha three, Gandhara two, Madhyama four, Pancama four, Dhaivata three and Nisada two.

some twentytwo, some sixtysix and some infinite. Views of the anony- mous authorities are known from the following couplet of Kohala : हाविभति कैचिदुदाहरन्ति शुतीः त्रुतिज्ञानविचारदयाः । षर्ट्ष्टिभिन्ना खलु कैिदासामानन्ामने प्रतिपादयन्ति॥ See Bd. pp. 4, 5; Sbh on SR. I. 3. 8. 9. For an elaborate discussion on the nature of Srutis in relation to the seven notes in the ancient Hindu scale see GS. I. pp. 298-379 ; GS. II. pp. 138-143. The following passage in NS. from निदर्शन त्वासाम् to हाविभति त्रुतयः प्रत्यवगन्तव्या: occurs in the Bd. (pp. 5-6) with a slight modification. SR. too follows this (See I. 3. 11-22). 5Ag. explains this 'measure' (pramana) as length and thickness, others include the number of strings also in this (nan vfew; तननोषां तुख्यत' संस्यया स्वौष्धादिना पेति केचित्).

INSTRUMENTAL MUSIC [XXVIII. 27-30

Śrutis in the Madhyama Grāma

27-28. [In the Madhyama Grāma] Madhyama consists of four Srutis. Pancama three, Dhaivata four, Nisāda two, Sadja four, Rsabha three and Gandhara two Srutis'. [Thus] the system of [mutual] intervals (antara) has been ex- plained. The Mūrchanās

Now about the Murchanas2. They are of fourteen kinds in the two Grāmas3. Murchanas in the Sadja Grama 29-30. Based on the Sadja Grama there are seven Mur- chanas : the first Uttaramandra, the second Rajani, the third Uttarāyatā, the fourth Suddhasadja, the fifth Matsarīkrta, the sixth Asvakranta and the seventh Abhirudgata. The first notes of these are [respectively] : Sadja, Nișāda, Dhaivata. Pancama, Madhyama, Gandhara and Rsabha in the Sadja Grāma. . Mürchanas in the Madhyama Grama

In `the Madhyama Grama [occur the following Murch- anās].

(27-28) 1The Gandhara Grama became obsolete at the time of the NS., which ignores it. For its Srutis see SR. I. 4. 4-5 and MM. p. 10. 'The 'Murchana' has often been translated as 'mode' of the Western music (See GS. I. p. 284 ; MH. p. 106 ; MM. pp. 10-11). But we are not sure about the accuracy of this. For further details about the term see GS. I. pp. 285ff; GS. II. pp. 14, 83ff. Matanga explains the term as follows : मू्ईनामन्दपुाव्पत्तिमूर्कमोडे समुकये। मुकाते येन रागो हि मूर्छनुथभिसज्चिता (Bd.p. 22). Sbh. further explains this as follows : सरायामेव मूयंनातव' न ल्वारोइयावरोडयकपाया क्रियाया इत्यपरात् तेनेब (- मतङ नैव) चारीदबाव रोययश्रमेय्र खरसप्नम्। मूर्यनामन्द्वाच्य दि बिश्नयं तट विचयय: (on SR. I. 4. 9-11). But curiously enough Ag. writes : क्रमान् चतिक्रमेनोष्य यक्क वमाणम चव(घा)रीक्ष्पं तदुपलच्चत सरसपवस्ूपवडो (डा) भूईना। मूईना दि समुच्काये पम्यते.

SR. I. 4. 25-26. 3For the Murchanas of the Gandhara Grama see Nas. I. 2. 9 and

2

XXVIn. 31-34] THE NĀȚYAŠĀSTRA 10

31-32. Based on the Madhyama Grama there are seven Murchanas : the first Sauviri the second Harinasva, the third Kalopanata, the fourth Suddhamadhya, the fifth Margavī, the sixth Pauravi and the seventh Hrsyaka. [The first] notes1 of these are respectively Madhyama, Gāndhara, Rsabha, Sadja, Nișada, Dhaivata and Pancama. Initial Notes of the Murchanas in the two Gramas [Thus] the first notes of these serially are : in the Sadja Grama-Uttaramandra [is to begin] with Sadja, Rajanī with Nișāda, Uttarāyatā with Dhaivata, Šuddhasadjā with Pañ- cama, Matsarīkrtā with Madhyama, Aśvakrāntā with Gan- dhara, and Abhirudgata with Rsabha. And in the Madhyama Grama-Sauviri [is to begin] with Madhyama, Harinaśva with Gandhāra, Kalopanatā with Rsabha, Suddhamadhyamā with Sadja, Mārgī (Mārgavī) with Nisada, Pauravī with Dhaivata, and Hrsyaka with Pancama. The Four classes of Murchanas Thus combined in [different] orders, the notes constitute fourteen Murchanas of four classes, such as heptatonic (pūrna, lit. full), hexatonic (sādanakrta), pentatonic (audavitīkṛta)2 and that including the Overlapping note (sādhāranakrta). 33-34. The seven notes combined in [different] orders (lit. having an order) are called [full or heptatonic] Mūrcha- nas. Tanas consisting of six and five notes are [respec- (31-32) 'Though NS. is silent on the point, the SR. gives the differ- ing pitch of notes as they appear in the Murchanas. (See I. 12-14 and Sbh. thereon). (33-34) 1Tanas or pure Tanas are included into the Murchanas. Difference between them seems to be that the latter includes all the seven notes, while in the former, one or two notes except Madhyama in all Gramas, and Dhaivata in the Sadja Grama, and Pancama in the Madhyama Grama are so very weakly 'worked' that they are considered as dropped. For the two ways of working such Tanas see below. NS. does not seem to be quite clear about the function of Murchanas, and Tanas which they include. But Ag. says तानाथ कृतप उपयुज्यन. It is doubtful whether the modern use of the term Tana, is very old. The Murchana in its original sense seems to have disappeared from the later Indian music (see MH. p.

11 INSTRUMENTAL MUSIC [XXVIII. 33-34

tively] called hexatone (sādava)2 and pentatone (audavita).3 Besides these, there is another kind of Murchana which includes the Overlapping notes or is combined with the Kakalī notes or the intermediate notes (antarasvara), and this belongs to both the Gramas (Sadja and Madhyama). The same Murchana is produced (lit. accomplished) in two ways. In this connexion, Gandhara being reduced to Dhaivata by an increase of two Srutis in it, [the two terms] the Grama and the Murchana become differentiated in the Sadja Grama, and due to that, Madhyama and the notes following it, become serially reduced to Nisada and the notes following it. In the Madhyama Grama too, Dhaivata being softened (curtailed in Srutis) and Nisada being augmented, the two [terms] are differentiated. [In case of this Grama too] there being an interval of the same [number of] Srutis, the difference of terms [becomes justified]. The interval between Pancama and Dhaivata is of four Srutis ; similarly due to an increase of Gandhara, the interval will be of four Srutis. The remaining Madhyama, Pancama, Dhaivata, Nișāda, Rsabha and Sadja become reduced [serially]. to Madhyama and the notes following it. This is due to an interval of the same number of Srutis. The system of [mutual] intervals has been explained in connexion with the system of Srutis.

106). About the function of the Murchana and Tana, Sbh. says : नयु मूर्यनाक्ावज् जातिरागभावाडदिषुपयोगिन्व पति युक्त तासां कथनम् ; तानाम्त कुबोपयुज्यन्त ?

29-31). But Matanga's view given here, is not quite clear. 'The term audavita and audava have often been read respectively as auduvita and auduva with a notion about their connection with udu (=star). Odava or audava which lies at the basis of these terms, appears to be a non-Aryan word meaning probably 'five', and sadava too may likewise be of the same origin, and may mean 'six', and its another form might have been sodava connected with soda in sodasa. This hypothesis may better explain in case of sat, the appearance of a cerebral sound in place of I-E k. ªSee note 2 above.

XXVII. 33-34] THE NĀȚYAŠĀSTRA 12

Eightyfour Tanas of the Murchanas Tanas which depend on Murchanas are eightyfour in number. Among these the hexatonic ones are fortynine, and the pentatonic ones thirtyfive.

The Hexatonic Tanas

The hexatonic ones have seven varieties, e.g. four Tanas devoid of Sadja, Rsabha, Nisada and Pancama in the Sadja Grama; three Tanas devoid of Sadja, Rsabha and Gandhara in the Madhyama Grama. Thus these being worked in all, the Murchanas [in the two Gramas] will give rise to fortynine Tanas.

The Pentatonic Tanas

The pentatonic ones have five varieties e.g. three Tanas devoid of Sadja and Pancama, of Rsabha and Pancama, and of Gandhara and Nisada in the Sadja Grama, two Tanas devoid of Rsabha and Dhaivata, and of Gandhara and Nisada in the Madhyama Grama. Thus these being worked in all, the pentatonic Murchanas [in the two Grämas] will give rise to thirtyfive Tanas, twentyone in the Sadja Grama and fourteen in the Madhyama Grāma.

The Two Ways of Tanas There are two ways of working the Tana in the string (tantrī): Entrance (pravesa) and Arrest (nigraha). The Entrance is made by sharpening (lit. emphasizing) the preceding (adhara) note and by softening (mardava) the succeeding (uttara) note. And the Arrest is non-touch- ing, i.e., not touching the Madhyama note. The Mūr- chana is indicated by the Madhyama note of the Vina, because it is constant (anasi. lit. not perishable). Hence the Entrance and the Arrest [do not] relate to the Madhyama note. The variety of the Tanas and the Murchanas thus [arising], provides enjoyment to the hearer as well as to the musician (prayoktr, lit. producer). The Murchana [and Tana] are also of use [because their practice helps] the

13 INSTRUMENTAL MUSIC [*xvIII. 34-35

attainment of the voice-registers (sthana-prapti).4 There are three voice-registers. Their description has been given in the rules regarding the Intonation (kākū).5 The Overlapping I shall now relate the rules regarding the Overlapping of notes (sadharana-vidhi). The Overlapping (sādhārana) means the quality of a note rising between two [consecutive] notes [in a Grama]. Why ? The thing which exists between the two [similar things, partly merging into each other] is over- lapping (sadharana), e.g., the transition of a season. 35. In the shade one feels cold, but while staying in the sun one sweats ( lit. the sweat comes out ). [ It seems that at this time ] neither has the spring come [fully], nor has the winter gone away completely. This is an example of the overlapping season. Two kinds of Overlapping There are two kinds of Overlapping : Overlapping in notes (savarasādhārana) and Overlapping in Jātis (Jātisādhāraņa). The Overlapping Notes The Kakali and the transitional note (antarasvara) are the Overlapping notes (svarasadharana). Now if two Srutis are added to Nişāda, it is called Kākalī Nișāda and not Sadja; as it is a note rising between the two (pure Nisada and Sadja), it become Overlapping. Similarly [the two Śrutis being added to it] Gandhāra becomes transitional Gandhara and not Madhyama, because it is a transitional note (antarasvara) between the two (Madhyama and Gandhāra). Thus the Overlapping notes [occur]. Why is Nişāda called Kākalī? Because it is an in- distinct second, or it is produced with [slight] pulling (akrstatva1) or due to its very fineness (sauksmya2) or be- 'It appears from this that by imitating the Murchanas and Taras produced in the Vina, singers attained the facility of producing notes from any voice-register they liked. See above note 2 on 13-14. See XIX. 37ff before. (35) 1वलट् - र्दषत्ज्ट्ट (तदस्यार्यें नज्)। 'सोचा' वैचिता' निपुणसाध्यता प. Ag.

XXVIII. 35-39] THE NĀȚYAŠĀSTRA 14

cause it behaves like the orow's eye (kākāksi)2 and relates to the two [notes, Nisāda and Sadja], it is called (kākalī). Just as salt among the six [kinds of] taste (rasa), is called Ksāra (corrosive), so Nișāda is called Kākalī, and the Overlapping note is called the transitional note. The Overlapping Jati The Overlapping Jati2 (jatisadharana) [arises] from observing in another Gräma the notes which belong to the minor limbs of two or more Jatis which are in the same Grama and have common Amsas. The Overlapping note (svarasādhārana) belonging to the two Grāmas (Sadja and Madhyama) is of two kinds. Why ? For, ocour- ring in the Sadja Grama it is the Overlapping Sadja, and in the Madhyama Grama it is Overlapping Madhyama. The Overlapping here is a special nature of the note. This is so in the Sadja Grama, and the same [also] is the case in the Madhyama Grama. Due to the delicacy of its production (proyoga-sauksmya) it is fitly called Kaisika (capillary). This is the Overlapping note which is used in Jātis where Nișāda and Gāndhāra are weak (alpa). On these points there are the two Slokas : 36 The transitional note (antarasvara) should always relate to the ascending scale (arohin) and be made especially weakened (alpa), but it should never be in the descending scale (avarohin). 37. If it is made in the descending scale whether weak or strong, the transitional notes will lead Srutis to the Jāti-rāgas. The Jatis We shall now explain the Jatis. 38-39. The Jatis' relating to the Overlapping notes 2 Cf. काकाचिगोलकन्धाय. (38-39) IOn the meaning of Jati, Kn. says बामइयाव्वायन्त इति जातय: and Sbh. सकलस्य रामादैर्जनरहेतुत्वाव्जातय: (on SR. I. 7. 3). See also Bd. pp. 55-56. But Jatis are the primitive melody-types from which Ragas of later Hindu music developed. Jati meaning 'birth' probably stands here for recog-

15 INSTRUMENTAL MUSIC [XXVIII.39-44

are three in number : Madhyama, Pancamī and Sadjamadhyā. Their constituent parts are Sadja, Madhyama and Pancama of which the Pancami will be distinct, but weaker than the rest in its own note (i. e. Pancama). Seven Jatis in the Sadja Grama 40-41. The seven Jātis' in the Sadja Grama are; Șādji, Arsabhī, Dhaivatī, Naisādi, Sadjodīcyavatī, Sadjakaisikī and Sadjamadhyamā. Eleven Jatis in the Madhyama Grama 42-43. The eleven Jatis1 in the Madhyama Grāma are ; Gandhārī, Raktagāndhārī, Gāndhārodīcyavā, Madhyamodī- cyava, Madhyama, Pancamī, Gandharapancamī, Āndhrī, Nandayantī, Karmāravī and Kaisikī. 44. There are the eighteen Jatis of which I spoke before. I shall now describe the Nyasa (terminal note) and Apanyasa (semi-terminal note) which they include. Two kinds of Jatis Of these eighteen, seven owe their names to the seven notes. They are of two kinds :1 .pure (suddha) and modified (vikrta). In the Sadja Grāma the pure (Jātis) are Sādjī, Ārșabhi, Dhaivatī and Nișadavatī (=Naișadī) and in the Madhyama Grama they are Gandhari, Madhyama and Pañcamī. 'Pure' (suddha) in this connexion means having Svarāmsa2 (= Amśa), Graha2 and Nyasa2 consisting of all the [seven] notes (lit. not difficient in notes). When some of

nized melody-types of the day, which were considered to be of (pure) birth as opposed to other types which were hybrids. For the charac- teristics of the Jatis see 73-74 below. जायते परदभिन्नगोडरागमाधारयभावाविभावान्ाकं गौतिसप्कं टट्टसिन्धिरभांवरसीपरख्चनं च यतसती जातय: (Ag.). (40-41) 1See SR I. 7. 17. (42-43) 1See SR. I. 7. 18. SR. (I. 7. 18-20.) classifies them also into (1) Purnā (heptatonic), (ii) Pūrņa-șādavā (heptatonic and hexatonic) and (iii) Pūrņā-șādavaudavitā (heptatonic, hexatonic as well as pentatonic). (44) 1See above note 1 of (40-41) and 41-42). ?For a definition of these term see below 74ff.

XXVIII. 44-52] THE NĀȚYAŠĀSTRA 16

these [Jatis] lack two or more of the [prescribed] characteris- tios except the Nyasa, they are called 'modified' (vikrta). Hence (lit. due to this) those indeed are pure Jatis, and these indeed are modified ones (i.e. Jatis). In the observation of the Nyasa in the [pure], Jatis the note should be regularly Mandra ; but in case the modified Jatis, there is no rule [about it]. The modified [Jatis] are eleven in number and they grow from combination. [These] eleven are formed from their mutual combination, as follows : 45. Jatis are pure as well as modified, and the [latter] arises from the combination [of other Jatis]. Among them seven are pure while the remaining eleven are modified. The modified Jatis 46. I shall now speak in due order and with proper brevity, of Jatis which grow out of notes, and Amsas of these [pure] Jātis. 47. The Sadja-madhyama1 is formed by the Sadji, the Madhyama. The Sadjakaisiki2 Jāti is formed by the Sādji and the Gandhārī. 48. The Sadjodicyavati is formed by the Sadji, the Gandhari and the Dhaivati combined or associated with one another. 49. The Gandharodīcyava is formed by the Sadji, the Gandharī, the Dhaivati and the Madhyama. 50. The Madhyamodicyava is formed by the Gandharī, the Pancami, the Dhaivati and the Madhyama. 51. The Raktagandhari is formed by the four : the Gandhari, the Pancamī, the Naisadi and the Madhyama. 52. The Andhri is formed by the Gandhari, and the Ārsabhi'. The Nandayanti is formed by the Gandhari, the Pañcamī and the Ārsabhī.

(47) 'The constitution of modified Jätis, has been given in Bd. in a slightly different language (pp. 54-55). The passage appears there as a quotation from Bharata, though actually it has been re-written. See also SR. I. 7. 10-16. 2See note 1 above. (52) 1C. reads Sadji instead of Ārsabhi. But Bd .- read (p. 54 • भाषभ्यास्तु भवदान्धी गान्वायारम व ससरात्. See also SR. I. 7. 12.

17 INSTRUMENTAL MUSIC [XXVIII. 53-62

53. The Gandharapancami is formed by the Gandbārī and the Pancami. 53-54. The Karmaravi is formed by the Naisadi, the Ārșabhī and the Pancamī, and it is heptatonic (lit. full). The Kaisiki is formed by the Sadjī, the Gandhārī, the Madhyama, the Pancami and the Naisad (lit. the pure Jatis except the Dhaivati and the Arsabhi). 55. These are the distinct Jatis growing out of mutual combination of notes in the two Gramas.

The Number of Notes in the Jatis of the two Gramas 56. Of these the four heptatonic (saptasvara) and the ten pentatonic (pancasvara) and the four hexatonic (satsvara)1. Jātis in the Sadja Grama : The Heptatonic Jātis 57. [Of these] the Madhyamodīcava, the Sadjakaisiki, the Karmaravi and the Gandharapancami are heptatonic (lit. full) Jātis1.

The Pentatonic Jātis 58-60. The Gandharī, the Raktagandhārī, the Madhyama, the Pancami, the Kaisiki, the five [Jatis] in the Madhyama [Grama], the Ārșabhī, the Dhaivatī, the Naisadi, the Sadja- madhyama and the Sadjodīcyavati, [the five Jātis] in the Sadja Grāma, are the ten pentatonic Jātis.

The Jatis in the Madhyama Grama : The Hexatonic Jatis 60-61. The Gandharodīcyava, the Nandayanti and the Andhrī, [the three Jatis, in the Madhyama Grama, and the Sadji alone in the Sadja Grama, are hexatonic. 62. The Jatis (lit. those) which have been described as pentatonic and hexatonic may on rare occasions be changed respectively into hexatonic ( sādavībhūtā ) and pentatonic (audavīkṛtā)1.

(56) 1See Bd. 188 (p. 55) ; SR. I. 7. 18. (57) 1See Bd. 189 (p. 55). (58-60) 1See Bd. 192, 191, 190 (p. 55). (62) 1See Bd. 194, 195 (p. 55). 3

XXVIII. 63-74] THE NĀȚYASĀSTRA 18

The Heptatonic Jatis 63-64. The Karmaravi, the Madhyamodīcyava and the Gandharapancamī are the heptatonic (lit. full) Jātis in the Madhyama Grama, and the heptatonic Jati in the Sadja Grāma is the Sadjakaisikī. 64-65. (A variant of 60b-61a.)

Amsas in the Jātis 65-69. So much about the Jatis in the two Gramas. I shall now describe their different Amsas. The Sadjamadhyama should have no hexatonic treat- ment including Nisada (lit. the seventh), and there should be no Gandhara there, because of an elimination of its Consonant note; and the Gandharī, the Raktagandharī and the Kaisikī should have no Pañcama, and the Sadjī should have no Gāndhāra, and the Sādjodīcyavā no Dhaivata in their hexa- tonic treatment. These seven [notes] are to be discarded in connexion with the hexatonic treatment of the Jatis named, because of the elimination of their Consonant notes. 69-71. The Gandhārī and the Raktagandhārī Jātis should have no Sadja, Madhyama, Pancama and Naișāda in their pentatonic treatment, and the Sadji and the Madhyama respectively should have no Gandhara and Nișāda, and the Pancami no Rsabha, and the Kaisiki no Dhaivata in their pentatonic treatment. These are the twelve notes which should be discarded in the pentatonic treatment. 72-73. Hence these Jatis should always be without pentatonic treatment. From the Jatis any of (lit. all) the notes may be left out; but Madhyama should never be left out. For the great sages who chanted the Samans, expressed an opinion in the Gandharva Kalpa that Madhyama the best of notes, is indispensible (lit. imperishable). The Characteristics of the Jatis 74. Ten characteristics of the Jatis are : Graha, Aņa, Tara, Mandra, Nyāsa, Apanyāsa, Reduction, (alpatva), (74) 'This and the following nine terms have been defined below (75ff). A later writer adds the Antaramārga, Samnyasa and Vinyāsa to these, and make the number thirteen (MM. pp. 36-37).

19 INSTRUMENTAL MUSIC [XXVIII. 75-78

Amplification (bahutva), hexatonic treatment (sādava), and pentatonic treatment (audavīta).

The Graha

75. 'Grahas have been like the Amsa of all the Jatis. That note which is taken up in the beginning [of a song] is the Graha, and is an alternative2 term for the Amsa.

The Amsa 76-78. The ten characteristics of the Amsa1 are [as follows] :- The Amsa [is that note in the song] on which its charm (raga) depends, and from which the charm proceeds ; it is the basis of the variation into low (mandra) and high (tāra) pitches depending on the [first] five notes (pancasvarapara), and in the combination of many notes it is perceived promi- nently (atyartham), and moreover other strong notes may be to it in relation of Consonance and Assonance, and it is . (75) 1The Graha is the note in which the song begins. Matanga says जात्यादिप्रयोगो ग्टद्यते येनासी ग्रह :(Bd.p. 66). रागादौ स्थापितो यस्तु स ग्रह सर सच्यते (wrongly ascribed by GS. to SR.); य्रह सर स इतक्तो यी गौतादौ समर्पित। सग्गौतनारायण (The last two passages are quoted in GS. I. p. 121). F. Strangway's suggestion is that the term possibly means 'clef', though some writers differ from him. (See MM. pp. 12-13). But this view seems to be right, because the Graha and the Amsa are taken as synonymous by SR. See Sbh. and Kn. on. SR I. 7. 29-34. For a further discussion about it see GS. I. pp. 66-67, 121 and GS. II. p. 21. The assumption of a rule of the Graha as well as of the Nyasa with regard to the Ragas only, seem however to be erroneous. These two relatemerely to songs in general (see GS. I. pp. 67, 121). 'See below note 1 on 76-78. (76-78) 'This Amsa has been rightly compared to the Governing note or the Key-note of the Western music. It is also called Vadin (Sonant) note and is the basis of the melodic structure of a song (gita). For more about the term see GS. II. pp. 21, 29, 113, 117. See also above note 1 to 75. Though the Graha and the Amsa are synonmous, there is a distinction between the two. On this Kn. says, मत्व भी ग्रह पति भरतादभेन सर्वेष्यय्य मधर्मेंतु ग्रइस्य प्राप्त पु ग्रहांभयी: को विशेष प्रति वेतू, चच्यते-ग्रहसांभातिद्भतस्तु प्राप्त' न कैवर्ल

XXVIII. 79-87] THE NĀȚYAŠĀSTRA 20

related to the Graha, Apanyāsa, Vinyāsa2, Samnyāsa3 and Nyasa [notes], and it lies scattered throughout the song. Amsas of the Jatis 79. The Jatis in the two Gramas have always sixtythree Amsas as well as Grahas. We shall now discuss the rule about the Amsa and the Graha [in relation to the Jātis]. 80. Pancama is the Amsa and the Graha of the Madhya- modīcyava, the Nandayanti and the Gandharapancami Jātis. 81. Dhaivata and Rsabha are the Amsa and the Graha of the Dhaivati Jati. Rsabha and Pancama are the Amsa and the Graha in the Pancami Jati. 82. Sadja and Madhyama are the Amsa and the Graha in the Gāndhārodīcyva, Rsabha, Dhaivata and Nișāda are the Amsa and the Graha of the Arsabhi. &3-84. Rsabha, Gāndhāra, and Nișāda are the Amśa and the Graha of the Naisadi. Sadja, Gandhara and Pancama are the Amsa and the Graha 'of the Sadjakaisiki. Thus have been described [the three Amsas] and ths Grahas of the three Jatis. 84-85. Sadja, Madhyama, Dhaivata and Nișāda are the four Amsas and the Grahas of the Sadjodīcyavati. 85-86. Rsabha, Pancama, Dhaivata and Nișada are the four Amsas [and the Grahas] of the Karmaravi. 86-87 Rsabha, Gandhara, Pancama and Nișada are the four Amsas and Grahas of the Andhrī. .

वादित्वमेव धर्म:, धपि तु वादित्वादिचतुष्ट्यमपोति तवाबेदःपति। तथोक्ष मतब्न (p. 56) भंभी बादाव परं ग्रहस्त वाद्यादिभेदभिन्नयतुबिध दति (on SR. I. 7. 29-34). On the etymological sense of the term Sbh. says ननु कथम् चस्यांभभव्दवाच्यत्वम्? मंभ्रभन्दन भाग उच्चते ; भथमपि जाति रागादिविभागकारित्वादंशथव्दीनाचयते। कारगे कार्यवदुपचारात् (on SR. I. 7.32-34). 'Amsa' in a few places has its variant as amga which seems to be the original form of the term. 'Amga' note means the note which is an essential requisite or component of the song. For this meaning see Apte sub voce. 2See below note 1 of 101-105. 3See below note 1 of 101-105.

:21 INSTRUMENTAL MUSIC [XXVIII. 87-94

87-88. Sadja, Rsabha, Madhyama, Pancama and Dhai- vata are the five Amsas and the Grahas of the Madhyama. 88-89. Sadja, Gandhāra, Madhyama, Pancama and Dhaivata are the [five] Amsas and the Grahas of the Sādji. 89-90. Rsabha, Gandhāra, Madhyama, Pancama and Nisada are the [five] Amsas and the Grahas of the Gandhārī and the Raktagandharī. 90-91. All the notes except Rsabha are the six Amsas [and the Grahas] of the Kaisiki. All the notes are the seven Amsas and Grahas of the Sadjamadhyama. These are the sixtythree Amsas and Grahas in the Jatis. Amsas are always Grahas in all these Jatis. 92-93. Groups (gana) of all these Jātis are made up of three of them. They are always to be arranged (lit. known) as consisting of increasing [number of] notes in ascending order, such as those of one note, those of two notes, three notes, four notes, five notes, six notes and seven notes.

The High Pitch Movement

The High pitch movement (taragati) depending on the [first] five notes, e.g. 94. The raising of the pitch from the any of the Amsa [notes] should be up to the note fourth from it, or it may be to the fifth note even, but not to any beyond it.1

The Low Pitch Movement . Three kinds of the low pitch movement : that depending on the Amsa, on the Nyasa, and on the Apanyasa.

(94) 1Kn. gives the method of raising the pitch as follows. षड्जमध्यमग्रामयी: प्राधान्यात् प्रावस्थाच् यश्चिन् ग्रामे यय्तुःसुर्तिकोड गः घड्जी वा मध्यमी वा भवेत्। सारस्यिताद दिगुथात् तष्पत् षड्जांद वा मध्यमाट वा पराधतुर: खरान्। मध्यमग्रामे ... तारमध्यमपराममें सष्मपादिति तमारभोत्यर्यः। .-. तेन सह परांयतुरी मपधमौना धारीहैदित्यर्यः। घड्जगामे तु ... तारषड्ज- पराममें तम्दित्यवधी पक्षमी। ततः परांतुर: खरान रिगमपान चारोहेदिति (on SR. I. 7. 35- 36).

XXVIII. 95-96] THE NĀȚYAŠĀSTRA 22

95. There is no pitch lower than that of the Amsa [notes]; in the Nyāsa such a pitch will be separated by two notes, and when the Gandhara is the Graha and the Nyasa, Rsabha and Dhaivata are seen [to bear a low pitch].1

Reduction and Amplification

Reduction (alpatva)2 is of two kinds : that due to skipping over (lamghana) a note, and that due to non repetition of the same. Among these two (lit. there) the Reduction [of notes] due to skipping over, [leads to] the hexatonic and the penta- tonic treatment of the Amsas of songs, when they reach the Antaramarga3 ; and the Reduction of notes due to their non-repetition, consists of enunciating them once according to the Jatis [in which a particular songs is to be sung].

The Amplification

The Amplification (bahutva)4 is the opposite of the Reduction. Likewise the Movement5 (samcara) of the other notes which are strong, is of two kinds. 96. The Reduction as well as the Amplification always occurs from convention (lit. early fixation) in relation to [particular] notes of the Jati, and the Reduction is of two kinds.

(95) ' The translation is tentative. For the method of lowering pitch given in SR I. 7. 34-37 see Sbh.'s comment thereon (GS. II. pp. 113-124). 2 Alpatva (Reduction) of a note is qualitative as well as quantitative. The former is skipping over or very lightly touching the note, and the latter is its non-repetition (See GS. II. p. 79). *The Antaramarga has been taken as an additional characteristic of the Amsa. But this is no addition to the definition of the term given in NS., but an amplification of the same. See SR. I. 7. 30, and Kn.'s comment thereon. 4 Bahutva (Amplification) is also of two kinds : (a) qualitative i.c. the note being perfectly (i.e. most audibly) produced and (b) quantitative i.e. the note being repeated in many ways (See GS. II. p. 79). 5 The tranlation is tentative.

23 INSTRUMENTAL MUSIC [XXVIII. 97-100

97. The Movement (samcara) of notes relates to the strong Amsa notes, and the Reduction to the weak notes. [These are] the two treatment of the Antaramargas which gives character to the Jatis. The Hexatonic Treatment Hexatonic treatment (sadavita) relates to six notes [in a Grama]. They are of fourteen kinds and have fortyseven subdivisions. These have been described before in their Jātis and Amsas. The Pentatonic Treatment 98. The pentatonic treatment relates to five notes [in a Grama] and is to be known as being of ten kinds. Its subdivisions are thirty and have been mentioned before. 99. [Groups of] six notes as well as of five notes have their application. Similarly [groups of] four notes also have their uses in the Avakrsta Dhruvas. The Nyasa and the Apanyasa Now about the Nyasal. It occurs at the conclusion of the song (lit. limb) and is of twentyone kinds. The Apanyasa similarly occurs within the song (lit. limb)2 and is of fifty- six kinds. 100. The Nyasa at the conclusion on the song (lit. limb)' should be made of twentyone kinds, and the Apanyasa occurring within the song is of fiftysix kinds.

(97) 'That is, anuvādin and samvādin notes to it. 2See 58 60-61 before. (98) 1See 58 before. (99) 'The Nyäsa has been compared to Cadence of the Western music. See GS. II. pp. 35, 118. Some later writer connects the Nyasa with Ragas : न्वासस्वरस्तु बिज्नयी यस्तु रागसमापक: (wrongly ascribed by GS. to SR.); while the rest take this in connection with songs in general and not merely to Jatis. e.g. गीते समामिकश्यास: (SR. I. 7.38); न्वासः खरस्ु विज्न यो वस्तु गौतसमापक: (सम्रोतदपण, 146). 2The Apanyasa note occurs at the conclusion of each division (vidari) of the song. Matanga says on this point : स च षट्पश्चाभद भेदभिन्नीं भर्वत, गोतानां मधो पोडन्यः। यथा यव ससाप्तमिय गौतं प्रतिभासते सीडपन्वाम:। स व विदारिमधत भर्वति। गौतमरौरमध्य इत्यर्ष: See also GS. II. p. 118. (I00) 'The emendation of the text, should be cancelled.

XXVIII. 101-107] THE NĀȚYAŠĀSTRA

Jatis with their Characteristics 101-102. I have thus spoken properly of the charateris- tics of the Jatis1. I shall now speak of their Nyasa and Apanyāsa.

The Sadji

103-104. In the Sadjī Jāti, the Amsa is of five notes [of the Grama], Nisada and Rsabha being excluded. Its Apanyasa is Gāndhāra and Pancama, and Nyāsa Sādja, and Nisada (lit. the seventh) should be dropped from it. Its. hexatonic treatment should exclude Nisada (lit. the seventh). In it, Dhaivata and Nișāda should be reduced ; and Sadja and Gandhara as well as Dhaivata and Sadja should move together, and Gandhara should be amplified.

The Arsabhi

105-107. In the Arsabhi Jati, the Amsa is Rsabha, Dhaivata and Nisada. These are its Apanyasa, and the Nyasa is known as Rsabha. Skipping over Pancama in the ascending scale will be its.Reduction giving rise to a special hexatonic treatment. Its [ordinary] hexatonic treatment will exclude Nisada, and the pentatonic treatment Pancama. In it, the moving together of the Dissonant notes has been prescribed.

(101-105) 'But the Vinyasa and the Samnyasa mentioned in 76-78 above, have not been defined or explained. It is possible that the passages treating these items, have been lost. The Samnyasa is the closing note of the first division of a song, and is not vivadin to the Amsa. According to Matanga, बंजस्य विवादी यथा न अवति प्रथमविदार्यामन्त यदि प्रयुक्नी भवति तदा संभ्यास इताच्ते (Bd. quoted by Sbh. comm. on SR. I. 7, 51-52). The Vinyasa is the closing note of the padas in a division of the song, and it is samvādin or anuvadin to the Amsa. According to Matenga एव एव तु संग्वाससरी यदा पदान बिन्वस्यते तदा विन्वासः। चत एवांग्रभय संवाद्यनुवादो वा पदविदार्यन्त भवतोताश्तम् (on SR. I. 7. 47-51). SR. defines the Vinyasa as follows : विन्यास: स तु कथ्यते। यी विदारोभागरपपदपान्त डवतिष्ठते (I. 7.48). Kn. explained it follows: बिदार्या भागकपाणि वर्षालंकारादिय कस्य रागस् वाक्यस्थानोयेस्यावथवभूतानि पदवत् पदानि तेषां खवरसमुदयात्मानां प्राम्त योडवतिष्ठत इति (on SR. I. 7. 48).

25 INSTRUMENTAL MUSIC [XXVIII.108-120

The Dhaivati 108-110. In the Dhaivati Jati the Amsa is Rsabha and Dhaivata, the Nyasa Dhaivata, the Apanyāsa Rsabha, Madhyama and Dhaivata, and the pentatonic treatments will exclude Sadja and Pancama, and the hexatonic treatment Pancama [only]. In it the two (the pentatonic and the hexatonic treatments) should be in an ascending scale, and Nișada and Rsabha should be skipped over and Gandhāra should be amplified (lit. made strong).

The Naișādi 111-112. In the Naisādī Jāti the Amśa is Rsabha, Gandhara and Nisada, and the Apanyasa the same, and the Nyāsa Nișāda. Its hexatonic and pentatonic treatments will be like those of the Dhaivati. And similar is its skipping over (Reduction) of notes, and strong notes (i.e., their ampli- fication). The Sadjakaiśiki 112-114. In the Sadjakaisikī the Amsa is Sadja, Gāndhāra and Pancama, the Apanyasa Sadja, Pancama and Nișada, and the Nyasa Gandhara. No note will be omitted from it. Hence it is called a complete [Jati]. In it Rsabha and Dhaivata should be weakened (i.e., reduced).

The Sadjodicyava 115-117. In the Sadjodīcyavā Jāti, the Amsa is Sadja, Madhyama, Dhaivata and Nisāda, the Nyāsa Madhyama, and the Apanyasa Sadja and Dhaivata.' The Amsa notes here are prescribed to come together (sam-car) with one another. Its pentatonic treatment excludes Rsabha and Pancama, and the hexatonic treatment Rsabha. And Gandhara should be made strong (i.e., amplified).

The Sadjamadhya 118-120. In the Sadjamadhyā (-madhyama) Jāti all the notes [in the Grāma] are the Amsa; the same are the Apanyāsa. Its Nyasa is Sadja and Madhyama, and the pentatonic treatment is wanting in Gandhāra and Nișada, 4

XXVIII. 120-130] THE NĀȚYAŠĀSTRA 26

(lit. the seventh), and the hexatonic treatment in Nisada. Coming together (sam-cara) of all its notes have been prescribed. 120-121. These are the seven Jatis depending on the Sadja Grama. I shall now speak of those depending on the Madhyama Grāma. The Gandhari 121-123. In the Gandhari Jati the Amsa will be the five notes [of the Grama] Dhaivata and Rsabha being excluded, and its Apanyasa Sadja and Pancama, and the Nyasa Gandhara. Its hexatonic treatment excludes Rsabha, and the pentatonic treatment Rsabha and Dhaivata. [Besides these] they (i.e., Rsabha and Dhaivata) should be skipped over and Rsabha should always go to Dhaivata1, and Sadja and Madhyama should be amplified in it. The Raktagandhāri 124-126. In the Raktagandhari all the characteristics, such as the Nyasa, the exclusion of notes in hexatonic and pentatonic treatments, and the Amsa will be like those of the Gandhari. Its Dhaivata and Nisada should be amplified (lit. treated as strong), and Gandhara and Sadja will come together (sam-car) with notes other than Rsabha, and its Apanyasa should be Madhyama.

The Gandhārodicyava 126-127. In the Gāndhārodīoyava the Amsa is Sadja and. Madhyama. There is no pentatonic treatment in it. Its hexatonic treatment will exclude Rsabha. Its Reduction, Amplification, Nyasa and Apanyasa will be like that of the Sadjodīcyavatī.

The Madhyama 128-130. In the Madhyama the Amsa is Sadja, Rsabha, Madhyama, Pancama and Dhaivata, and they are the Apanyasa, and the Nyasa is Madhyama. The two notes of two Srutis (i.e., Gandhara and Nisada) are to be weakened, and its pentatonic treatment excludes Gāndhāra and Nișāda, while its hexatonic treatment excludes Gandhara. In it the

27 INSTRUMENTAL MUSIC [xXVIII. 131-143

Amplification of Sadja and Madhyama, and weakness (Reduc- tion) of Gandhara have been prescribed. The Madhyamodicyava 131. In the Madhyamodīcyavā Jāti the Ama is Pancama. The rest of the rules, is similar to those of the Gāndhārodīcyavā. The Pañcami 132-134. In the Pancami, the Amsa is Rsabha and Pañcama, the Apanyasa is Rsabha, Pancama and Nișāda, the Nyasa is Pancama ; Rsabha and Madhyama are dropped from it. The hexatonic and pentatonic treatments in it should be as in the Madhyama. And Sadja, Gandhara and Madhyama should be made weak (i.e., reduced), and Madhyama and Rsabha should come together (sam-car) in it and go to Gandhara, and Nisāda should also be made weak (i.e., reduced). The Gandharapancami 135-136. In the Gāndhārapañcamī, the Amša is Pañcama, the Apanyasa Rsabha and Pancama, the Nyāsa Gandhara. and no note is wanting in it. Gandhara and Pañcama in it come together. The Āndhri 137-139. In the Ândhrī, the Amsa consists of four notes such as, Rsabha, Pancama. Gandhara and Nisada, and similar is its Apanyasa. Its Nyasa is Gandhara and the hexatonic treatment is free from Sadja, and in it Gandhāra and Sadja come together. [Besides these] its Dhaivata and Nișāda should be amplified in an ascending scale, and Sadja should be skipped over (i.e., reduced) there should be no pentatonic treatment of it. The Nandayanti 140-143. In the Nandayanti the Amsa is always Pancama, the Apanyasa Madhyama and Pancama. In the hexatonic treatment it excludes Sadja which should be skipped over (i.e., reduced). Notes coming together (sam-cāra) in it are like those in the Andhri. And Rsabha also should be skipped over, and there should be the low pitch (mandra-gati)

xXVIII. 143-151] THE NĀȚYASASTRA 28,

there, and Sadja should be in the high pitch and it should not be in a descending scale (lit. go backward). Its Graha should be Gandhara and the Nyasa also the same. The Karmāravi 143-145. In the Karmaravi the Amsa is Rsabha, Pañcama, Dhaivata and Nisada, and the same are its Graha. The Apanyāsa is [also] the same, and the Nyāsa is Pañcama, and no note is left out. Notes other than those in the Amsa are strong (i.e., are to be amplified) and Gandhara comes together with all other notes. The Kaisiki 146-149. In the Kaisiki Jāti the Amsa consists of all the notes [in the Grama] except Rsabha, and these are the Apanyasa, and the Nyāsa is Gāndhara and Nisāda, but when the Dhaivata and Nisada are the Amsa in it Pancama will be the Nyasa. In it Rsabha is weak and it is skipped over, and sometimes Rsabha will be its Apanyāsa. Its hexatonic treatment excludes Rsabha, and the pentatonic treatment Rsabha and Dhaivata. Sadja (lit. the first) and Pancama are strong notes (i.e., should be amplified) in it. And Rsabha should be weakened and it will be specially skipped over, and coming together (sam-cara) of notes should be as in the Sadjamadhyamā. 150-151. These are the Jatis with their ten characteris- tics. These should be applied in the song (pada) with dance movements (Karanas) and gestures suitable to them (lit. their own). I shall now speak of their distinction in relation to the Sentiments (rasa) and the States (bhava). Listen about the manner in which they are to be applied in particular Sentiments. '

Here ends the Chapter XXVIII of Bharata's Natyasastra, which treats of Formal Aspects of the Instrumental Music.

CHAPTER TWENTYNINE

ON STRINGED INSTRUMENTS

Application of Jatis to Sentiments 1. The Sadjodīcyavati and the Sadjamadhya should be applied in the Erotic and the Comic Sentiments respectively because Madhyama and Pancama' are amplified in them.2 2. The Sadji and the Arsabhi should be applied in the Heroic, the Furious and the Marvellous Sentiments after making [respectively] Sadja and Rsabha their Graha note1. 3. The Naisādī with (lit. (in) Nisāda as its Amśa note, and the Sadjakaisikī with (lit. in) Gandhara (as its Amsa note] should be the Jati sung (lit. made) by expert singers1 in the Pathetic Sentiment. 4. The Dhaivati' with (lit. in) Dhaivata as its Amsa note [is to be applied] in the Odious and the Terrible [Sentiments]. [Besides this] the Dhaivati is applicable in

(1) 1 The notes marked out for amplification are the Amsa notes of the Jatis (See 15 below). In the present case, Madhyama only is the Amsa note of the Sadjodicyavati (°cyava), and while both Madhyama and Pancama are such notes to the Sadjamadhya. See XXVIII, 84, 91. 2 As songs included in the performance of a play, were to serve its principal purpose which was the evocation of Sentiments, the author discusses here how Jatis can be applied for this purpose. The seven notes which have already been assigned to different Sentiments (XIX. 31-40), played an important part in this connexion. All these ultimately led to the formation of the Ragas of the later Indian Music, in which the particular melody-types were meant not only to create a Sentiment appro- priate to a situation in a play, but also to act on the hearers' emotion in such a way that they might experience in imagination the particular situa- tions described in isolated songs as well. (2) 1 Sadja and Rsabha are respectively included into the Graha notes of the Sadji and Ārsabhi Jātis. See XXVIII. 88, 89, 92. (3) 1 Nișāda and Gāndhāra are respectively included into the Amśa . notes of the Naisadi and the Sadjakaisiki Jātis. See XXVIII. 83-84. (4) 1 Dhaivata is included into the Amsa notes of the Dhaivati Jāti. See XXVIII, 81.

xxIx. 5-12j THE NĀȚYAŠĀSTRA 30

the Pathetic Sentiment2, and [similarly] the Sadjamadhya is to be applied in connection with madness. 5. The Jatis should be made in the application of Dhruvas by the producers, after [very carefully] considering the Sentiments, the action and the States [in a play]. 6. These are the Jatis of the Sadja Grama known to the wise. I shall now speak of the Jatis of the Madhyama Grāma. 7. The Gandharī and the Raktagandharī, when they have Gandhara' and Nisada as their Amsa notes, should be applied in the Pathetic Sentiment. 8-9. In the Erotic and the Comic Sentiments, the Madhyama, the Pancami, the Nandayanti, the Gandharī, the Pancami and the Madhyamodīcyava Jatis with Madhyama1 and Pancama amplified, should he applied. 9-10. In the Heroic, the Furious and the Marvellous Sentiments, the Karmaravi, the Andhri and the Gandharo- dīcyava, with Sadja and Rsabha as their Amsa notes, should be applied. And in the Odious and the Furious Sentiments the Kaisiki with Dhaivata as their Amsa note, should be applied. 11. Only the Sadjamadhya is the Jāti which can accommodate all the Sentiments. All notes [of the Grāma] may be its Amsa and these have been dealt with in the rules of [dramatic] production. 12. When a note [representing a particular Senti- ment] is prominent (lit. strong) in a Jati, the producers, in regard to the production of such a Sentiment should combine the song with it, i.e., should give it prominence there.

2 As Gandhāra and Nișāda are not'Amsa notes in the Dhaivati, it is not clear how this Jati can be applied in the Pathetic Sentiment. Cf. XIX. 38-40. (7) 1 Ga and ni are included into the Amsa notes of both the Gandhari and Raktagandhari Jatis. See XXVIII. 89-90. (8-9) 'Ma and pa are included into the Amsa notes of the Madhyama Pañcami, Gandharapañcami and Madhyamodīcyavā Jāti. See XXVIII. 80.

31 STRINGED INSTRUMENTS xxIx. 13-18

13-14. [For example,] a song in the Erotic and the Comic Sentiments should abound in many Madhyamas and Pañcamas (i.e., should be Jātis containing these notes in profusion), and in the Heroic, the Furious and the Marvellous Sentiments, songs should be made with many Sadjas and Rsabhas. And the song in the Pathetic Senti- ment should be full of many Gāndhāras and Nișādas (lit. the seventh). Similarly a song in the Odious and the Terrible Sentiments should have many Dhaivatas. 15. In all the Amsas, these notes are to be applied according to rules with the suitable Kakali and Antara-svara, and are to be made specially strong. 16. These Jatis relating to the dramatic performance, should be known by the wise. Now, listen about the notes prescribed in the instrumental music. 16ka-kha. The notes Madhyama and Pancama are to be produced in the Comic and the Erotic Sentiments, Sadja and Rsabha in the Heroic, the Furious and the Marvellous Senti- ments, Gandhara and Nisada in the Pathetic Sentiment, and Dhaivata is to be produced in the Odious and the Terrible Sentiments. I shall speak after this on the characteristics of the Varnas' and the Alamkāras2.

The four Varnas 17-18. The Varnas' on which the Alamkaras2 depend are of four kinds, viz. 'Ascending' (arohin)3 'Descending'

(16-16kha) 1Sce below note 1 on 17-18. 2See below note 1 on 23-28. (17-18) 1 The Varna means the production of notes in a particular way i.e., in a particular order, pitch or with a particular grouping. SR. defines the term as गानक्रियोच्यते वर्ष :; (1. 6. 1.) In cxplaining this Sbh. says खरारया वत्यमाणप्रकारण गानक्रिया गानकरगम् उन्वारयमति यावत्। सा वर्णशब्द नोचते. But he also adds the view of Matanga as follows : यव ताने सश्चरन्ति खरा बन्नान्ता (भान्ोन्य?) सहिताः। एकैंकभी दिशो वा स सक्ारी वर्ण सच्ते। The Varnas are used to make up the .. Alamkāras (see below 23 ff.) It is probably this term which we meet with in Kalidasa ( इसवदिया वबपरिचम' करदि, Sak. V). 2 See below note 1 on 23-28. 3 Sce below note 1 on 18-19.

xxIx. 18-28] THE NĀȚYAŠĀSTRA 32

(avarohin)4 'Monotonic' (sthayin, lit. staying)s and 'Mixed' (samcarin, lit. moving together)6. 18-19. The Varna in which the notes go up [in the scale], is called Ascending1 and in which they go down [in the scale], is called Descending2. The Monotonic Varna is that in which notes are the same and are equal [in pitch]3, and when the various notes come together they constitute what is called a Mixed Varna.4 20. These four Varnas having [clearly] defined aspects, are taken (lit. born of) from the human (lit. physical) voice and they relate to the quality of the three voice registers (sthāna). 21. When a regular (lit. having a characteristic) song (pada) adds [at least] two Varnas to it, then the Varnas1 give rise to Sentiments. 22. These four Varnas are to be known as applicable to songs. Now listen properly about the Alamkaras which depend on them.

. The Thirtythree Alamkaras 23-28. The Alamkaras1 are : Prasannadi, Prasannānta, Prasannādyanta, Prasannamadhya, Sama, Bindu, Venu, Nivrtta-pravrtta2, Kampita, Kuhara, Recita, Prenkholitaka, 4 See below note 2 on 18-19. 5 See below note 3 on 18-19. 6 See below note 4 on 18-19. (18-19) 1 Example : sa ri ga ma pa dha ni. 2 Ex : ni dha pa ma ri sa. 3 Ex : sa sasa sa or ma ma ma etc. 4 Ex : sa ri ga ga ri sa, ri ga ma ma ga ri etc. (21) 1 Varnas embellishing the notes of a song seems to enhance its power of evoking Sentiments. (23-28) 1 The Alamkāra known in later writing also as Varņā- lamkāra, Svarālamkāra or Mūrchanālamkāra, was evidently means to embellish songs. It seems that without these proper Alamkaras a song remained merely a chant, and authorities differ very much among them- selves about the number and definitions of the different Alamkaras. See below notes on 43 ff : also GS. pp. 124ff. 2 Written in NS. as two words (Nivrttah Pravrttah), but this is probably an error. Cf. SR (1. 6. 47) where we have Samnivrtta-pravrttah.

33 STRINGED INSTRUMENTS [xxIx. 29-35

Mandrataraprasanna, Taramandraprasanna, Prasvāra, Pra- sāda, Udvāhita, Avalokita, [Krama,] Nișkūjita, Udgīta, Hrāda- māna, Ranjita, Avarta, Parivartaka, Udghațțita, Ākșipta, Sampradāna, Hasita, Humkara, Sandhipracchadana, Vidhūna', and Gatravarna. The Monotonic Alamkāras 29-30. The Monotonic Alamkaras1 are : Prasannadi, Prasannanta, Prasannadyanta, Prasannamadhya, Sama2, Recita, Prasvara3 and Prasada. Listen again, about the Alamkaras depending on the Mixed Varnas. The Mixed Alamkāras 31-32. Mandrataraprasanna, Bindu, Preńkholita, Nivrttapravrtta, Recita, Kampita, Sama, Kuhara, Veņu, Rañjita, Avalokita, Āvartaka and Parivartaka are of the mixed class1. The Ascending Alamkaras 33-34. The Ascending Alamkaras1 are: Niskūjita, Humkāra, Hasita, Bindu, Recita, Prenkholita, Akșipta, Vidhūna, Udghatțita, Hrādamāna, Sampradāna, · Sandhi- pracchadana, Prasannadi and Prasannanta. The Descending Alamkāras 35. The Descending Alamkāras1 are Vidhūna, Gātra- varna, Udvahita, Udgīta and Venu.

3 Written in some versions of NS. as Vidhūta also. (29-30) 1See Bd. (125-126) SR. has under this head two different names with different definitions. . 2 SR. (I. 6. 5-6) has Krama in its place. 3 SR. (loc. lit.) has Prastāra in its place. (31-32) 1See Bd. (128-129) omits Nivrttapravrtta, Recita, Kampita and Sama ; this seems to be due to the loss of a hemistich in the text. SR. (I. 6. 26-29) has twentyfive names under this head, and they have been differently defined. (33-34) 1See Bd. (130-131). Though some names are in a corrupt form, this text seems to follow NS. SR. (I. 6. 14-15) gives thirteen names and the common names have different definitions. (35) 1See Bd. (132). SR (I. 6. 26) has the same names here as under the previous head (arohi-varna), but with a direction that the notes are to be produced in these in descending order (avaroha-krama). · 5

xxIx. 36-43] THE NĀȚYAŠĀSTRA 34

36. These Alamkāras attached to songs of seven1 forms, should be known to the wise. These [however] are not generally used (lit. desired) in the Dhruvās2, because of their giving prominence to the Varnas of Jatis [which are not used there]. 37. Alamkāras, such as Bindu and Venu, are not to be used in their own measure (pramana) while they are applied in the Dhruvās. 38-39. For the Dhruva conforming to the meaning of the play, is to suggest its meaning, while the Varnas (i.e., Varņālamkāra) are to soften to (lit. weaken) the pada1. Now listen about the Varnas which are [commonly] used. 39-43. [The Alamkaras] such as Prasannādi, Prasannanta, Prasannadyanta Prasannamadhya, Bindu, Kampita, Recita, Tara, Taramandra, Tāratara, Prenkholita, Mandra, Mandratara, Sama, Nivrttapravrtta, Prasada, Apanga, Avaloka and Venu, belong to all the Varnas1, and all the Varnas except the Monotonic ones, have their use [in songs]2. Next I shall describe the characteristic3 of the Alamkāras arising from the Varnas.

(36) 'This relates to the seven very old types of songs such as, Madraka, Oveņaka, Aparāntaka, Prakarī, Ullopyaka, Rovindaka and Uttara (NS. XXXI. 220-221 ; SR. V. 58). Some authorities add seven more names (SR. V. 59.) 2It appears from this that the Dhruvas were a kind of chant, an early form of songs. (38-39) 'This again shows that the Dhruvas were a kind of chant. For according to this passage, the Varnas (i.e. the Varnālamkāras) made the words (pada) of the song obscure by softening them. (39-43) 1See Bd. (133-135) seems to be corrupt and it omits some names from the list. SR. has nothing analogous. 2The monotonic Varnas are in general use, while the rest are to be used only to give special character to a song. 3These characteristics as defined in later works such as SR. (I. 6. 9ff.) vary from that given in NS.

35 STRINGED INSTRUMENTS [xxIx. 44-47

The Definition of the Alamkāras Prasannadi4-that in which a note rises (lit. becomes brilliant) gradually [from the low pitch]. 44. Prasannanta1 this (Prasannadi) enunciated in the reverse order. Prasannadyanta2-that in which the beginning and the ending notes are in a low pitch [and the middle one is in high pitch]. 45. Prasannamadhya1-when note in the middle is of low pitch [but notes in the beginning and in the end are in high pitch]. Sama2-that in which a note repeats itself in the same pitch and is equal in all [parts] 46. Bindu1-when a note of one Kala of low pitch after touching high pitch comes back [to its original pitch]. Nivrttapravrtta2-[when a note of one Kala of high pitch], after touching low pitch comes back to its original pitch. 47. Venu1-that in which the tempo (laya) is play- like. Kuhara2- that in which notes (lit. the wind) being in the medium pitch (lit. stopped in the vocal passage) are (in a play-like tempo).

4The definitions of the Alamkaras are not always very clear. But with the help of Bd. which in many matters seems to be in general agreement with NS., they may be rightly interpreted. It is a pity that the former work has not been properly edited. See D. I00-101 ; Bd. pp. 35, 47. Besides in these places, Bd. quotes verbetim though in a corrupt form, the definitions of Alamkāras in 140-169 (pp. 44-47). These have been referred to in the foot-notes to the translation whenever necessary. (44) 1See D. 101 ; Bd. ibid. 2 See D. 101 ; Bd. ibid. (45 1 See D. 101 ; Bd. ibid. 2 See D. 106 ; Bd. pp. 36, 47. (46) 1 See D. 102-103 ; Bd. ibid. See D. 103 ; Bd. ibid. (47) 1 See Bd. ibid. 2 Bd. ibid.

xxIx. 48-53] THE NĀȚYASĀSTRA 36

48. Recita1-trembling notes of three Kalas in high pitch (lit. in the head). Kampita2-trembling notes of three Kalas in low pitch (lit. in the breast). 49-50. Prenkholita1-that in which the notes ascend- ing and descending occur [in each Kalā]. Tara-'a note of medium pitch (lit. in the throat)2. Mandra-a note of low pitch (lit. in the breast)3. 50-51. Taratara -- a note of high pitch (lit. in the head)1. Taramandraprasanna2-when (in a Kala the fourth or the fifth note gradually falls (lit. assumes low gait) from a high pitch. 51-52. Mandrataraprasanna1- when in [a Kala of] four or five notes they gradually rise to a high pitch from a low one after skipping over other low notes. Prasvāra2-when [in a Kalā], a note ascend gradually by one note. 53, Prasada1- when in a Kala, notes descend gradually by one note. Apāngika2-when in a Kala, notes come together (i.e., once ascend and once descend).

(48) 1 See D. 107 ; Bd. ibid. " See D. 107 ; Bd. ibid. (49-50) 1 See D. 104 ; Bd. pp. 37, 47. 2 The NS. has the name of pitches as mandra (low), madhya (medium) and tara (high, lit. loud). But in the passage in hand it has mandra (low), tāra (medium, lit. loud), tāratara (high, lit. extra-loud) in their places ; cf. D. 8. It is not apparent why the term madhya (medium) has been given up here. See XIX. 45 ff ; 58-59 ff. 3 See note 2 above. (50-51) 1 See note 2 or 49-50 above. 2 See D. 104-105 ; Bd. pp. 37, 47. (51-52) 1 See D. 105-106 ; Bd. ibid. 2 Bd. (p. 37, 48) has Prastāra (perhaps wrongly) for Prasvāra. (53) 1 See Bd. pp. 38, 48. 2 Bd. ibid. om. Apāngika.

37 STRINGED INSTRUMENTS [xxIx. 54-63

54. Udvāhita1-when in a Kala two consecutive notes ascend, and two such Kalas make one unit. 55. Avalokita (-loka)'-when in the Udvāhita the repeated Kalas are in the descending scale. Krama2-when successive Kalas include one two, three, four, five, six, seven consecutive notes which ascend. 56. Niskūjita1- containing Kalās in which notes after ascending to the note following the one next to it, comes back to it. 57. Udgīta1-Kalās in the Prasvāra once (lit. in the beginning) ascending and next (lit. in the end) descending. 58. Hradamana1-notes in this order (i.e., as in the Udgīta) in two Kalas consisting of at least two or at most six notes, where alternate notes come together. 59. Rañjita1-after staying in two consecutive notes of two Kalas, it ascends half a Kala and then again descends to the preceding note. 60-61. Āvartaka1-eight Kalās of four consecutive notes ascending and descending. It is also formed with two alter- native notes. In that case four Kalas will have ascending and descending notes. 62. Parivartaka1-eight Kals in which a note ascends to the third one from it and skips over the next one to ascend in the note following, and descends in the same manner [in the next Kalā). 63. Udghattita1-containing [eighteen] Kalās which ascend for two notes and then leaving out the next note ascend to the following one.

(54) 1 See Bd. pp. 38, 48. (55) 1 Bd. (pp. 39, 48) has Upalolaka for Avaloka. 2 See Bd. ibid. (56) 1 See Bd. ibid. (57) 1 NS. puts this after 69, though serially it comes after 56. See Bd. 164 and also pp. 42. Bd. has the name as Udgiti. (58) 1 See Bd. pp. 39, 48. 1 See Bd. pp. 40, 48. (60-61) 1 See Bd. ibid. (59)

1 See Bd. ibid.

for Udghattita. (63) 1 See Bd. ibid. In p. 48 Bd. writes Udvāhita (perhaps wrongly) (62)

xxIx. 64-72] THE NĀȚYAŠĀSTRA 38

64. Ākşiptaka'-containing six Kalās of three

notes. 65. Sampradana1 as in the Āksipta, constituted with Kalas of four notes, [alternating with] Kalas [of three] notes. in which, alternate notes are included. 66. Hasita'-constituted with double Kalas of two consecutive notes like laughter, as in the Ākșipta. 67. Humkara1-ascending as in the Hasita, at least. two or at most four notes in each Kala. 68. Sandhipracchadana1-having groups of four Kalas with notes ascending from the beginning (lit. place) to high note and ascending from it to the original one and there being. no throwing up. 69. Vidhuna1-after producing first the pada (song) containing two short notes, two consecutive notes will ascend in each Kalā. 70-71. Gātravarna1-as in the Humkāra notes ascend consecutively in the alternate Kalas [of four notes] in which the first two are trembling and the next two are of low pitch. 71-72. E and O as well as the other long vowels1 are to be added [to notes in Alamkāras]. This is the properly given rule of the Karanas2 of the Alamkaras in songs. Songs should be decorated with these Alamkaras without [coming in] conflict with [the rule concerning] the Varnas.3

(64) 1 See Bd. pp: 40, 49. (65) 1 See Bd. ibid. (66) 1 See Bd. p. 41. (67) 1 Sce Bd. p. 41. (68) 1 See Bd. p. 42. (69) 1 See Bd. (p. 42) which writes the name as Vidhūta. (70-71) 1 See Bd. pp. 42-43. (71-72) 1 The other long vowels are probably a, i and u. 2 Compare the Karanas of dance mentioned in IV. 29 ff. Bd. (167) reads the second half of this passages as एभिरलं कर्तम्धा गोतिर्नामाविबोधेन, songs should be decorated with these Alamkaras without [coming into] conflict [with their spirit].

39 STRINGED INSTRUMENTS [xxIx. 73-81 73. Alamkaras should be attached to proper places for example, the girdle (kanci)1 should not be placed (lit. fastened over the breast. And too many Alamkaras without any song (varna) should not be used. 74. These are the Alamkaras depending on the Varnas. Now I shall speak of those depending on rhythm (chandas) and [the quality of] the syllables (aksara). 75. A song without any Alamkara will be like a night without the moon, a river without water, a creeper without a flower and a woman without any ornament.1 76. These are the thirythree Alamkaras I spoke of. I shall now mention the characteristics of the Gitis.1 Alamkäras depending on the Giti 77. Gitis are of four kinds : the first is Magadhi, the second Ardhamagadhi, the third Sambhavita and the fourth Pṛthulā.2 78. The Magadhi is sung in different tempos (vrtti).' The Ardhamagadhi changes (lit. revises) its tempo after half-time. 79. The Sambhāvitā is known to be constituted with long syllables and the Prthula with short syllables. 80-81. These Gitis are known to be without any connexion with the Dhruvas.' But they are always to be

(73) 1 See XXIII. 31-32. (75) 1 See above note 1 on XXVIII. 8. (76) 1 See Bd. 171 ff .; SR. I. 8. 14 ff. On the Giti depended an ancient system of classification of rhythms. The Giti also included special formations of syllable and variation in speed. See Banerji, GS. II. pp. 72-73. (77) 1 See note 1 on 76 above. (78) 1 Also mentioned as gati-vrtti in XXIX. 102 ff. Sarngadeva uses the term marga to indicate vrtti or gati-vrtti. See SR. V. II. On Marga or Vrtti too was based an ancient system of classifying of rythms, including that of Tala. See GS. II. p. 72. (80-81) 1 See XXXII. below. From this passage too it appears that the Dhruvas were a kind of chant.

xxIx. 82-89] THE NĀȚYAŠĀSTRA 40

applied by the musicians in the Gandharva2 only. I have spoken properly of the Gitis. Now listen about the Dhatus.3 I shall now speak of the playing of the Dhatus. Dhatus in playing stringed instruments 82. Four Dhatus' depending on the playing [of stringed] instruments2 are : Vistara (expansion), Karana (production) Ābiddha (breaking up) and Vyañjana (indication). The Vistara Dhatus 83. The Vistara includes four kinds of strokes : Samghataja (growing out of contrast), Samavayaja (growing out of combination), Vistaraja (growing out of amplitude) and Anubandhaja (growing out of mere succession). 84-85. Its (i.e. of the Vistāra) rules have been men- tioned first as follows: [the Vistara is of one stroke ;] the Samghataja and the Samavayaja consist respectively of two and three [strokes]. The first is of four kinds, and the second of eight kinds. According, to the special ways of their production they have different rules. 86-87. [Notes are] known to be of low and of high pitch as they come out [respectively] of low (=mild) or high (= strong) [strokes]. This is the rule of striking that the players of stringed instruments1 should know. The Samghataja strokes have the following varieties : two high, two low, low-high and high-low. 88-89. The Samavayaja strokes have the following varieties : three high; three low; two low, one high ; two

2 See before the note I on XXVIII. 8. 3 This is evidently a grammatical metaphar. The Dhatus (roots) relate to different aspects of strokes in playing stringed instruments. Sarngadeva (V. 122). says : ये प्रहारविभेषीत्या: खरास धातवी मता: (82) 1 See SR. V. 123-127. 2 As Dhatus relate to the tata or stringed instruments, we shall translate vaditra as 'stringed instruments.' See below 91 (vīnā-vadye karaņadhātuḥ) and 101 (viņāyām vyanjano dhātuh). (84-85) एकप्रहारभवी विस्तारज: (Kn. on SR. VI. 183). ( 86-87) 1 Scc above note 2 on 82.

41 STRINGED INSTRUMENTS [xxIx. 90-100

high, one low; one high, two low ; one low, two high ; one low, one high, one low ; and one high, one low, one high. 90. The Anubandha [-krta] due to [its formation by] breaking up, and combining [of the groups of strokes described before,] is irregular. These are always the fourteen kinds of the Vistāra Dhātus. The Karana Dhātus 91. In the playing of the Vina the five kinds of the Karana Dhatu are : Ribhita, Uccaya, Nirațita, Hrada and Anubandha. 92. The Karana Dhatus will consist respectively of three, five, seven and nine [light] strokes, and the being combined' and all ending in a heavy [stroke]. The Ābiddha Dhātus 93. The Abiddha Dhatu is of five kinds: Ksepa, Pluta, Atipata, Atikīrna and Anubandha. 94. The Abiddha Dhatus will consist respectively of two, three, four and nine strokes made gradually and slowly, and a combination of these.1 The Vyañjana Dhätus 95-100. The Vyañjana Dhātu in playing the Viņā, is of ten kinds. They are: Kala, Tala, Niskoțita, Unmrsta, Repha, Avamrsta, Puspa, Anusvanita, Bindu and Anubandha. Kala-touching a string simulteneously with the two thumbs. Tala-striking a string with the left.thumb after press- ing it with the right one.

(92) 1Anubandha here means 'mixture' or 'combination.' See Kn. on SR. VI. 147. It may be that in the Anubandha variety of the Karana Dhatu, the strokes are 3+5, 3+9, or 5+7, 5+9 etc. (94) 1 See above note 1 to 92. In the Anubandha of the Abiddha Dhätu too, the number of strokes are to be increased by adding together the numbers available in other Dhātus. (95-100) 1 Savya means 'right' as well. See Apte sub voce. But here it is to be taken in its generally accepted sense, 2 ibid. 6

xxIx. 101-102] THE NĀȚYAŠĀSTRA 42

Niskoțita-striking with the left1 thumb only. Unmrsta-striking with the left2 fore-finger (pradesinī) Repha-one single stroke with all the figures of a hand. Avamrsta-three strokes low down [in the string] with the little finger and the thumb of the right hand. Puspa-one stroke with the little finger and the thumb. Anusvanita-the stroke being lower [in the string than] in the Tala [described above]. Bindu-one heavy stroke in a single string. 101. Anubandha-one irregular combination1 (lit. breaking up and combination) of all these and it relates to all the Dhatus. These are the ten Vyanjana Dhatus to be applied to the Vīnā. 102. These are the four Dhatus with their charac- teristics, which relate to the three Vrttis' on which the playing of [stringed] instruments depends. The threc Vrttis Styles of Procedure (gati-vrtti) to be principally reckoned are three : Citra (variegated), Vrtti (movement, i.e. having a simple movement) and Daksina (dexterous). Instrumental music, time-measure (tāla)2 tempo (laya)3, Gīti (rhythm)', Yatis

(101) 1 See above note 1 of 92. (102) 1 See above note 1 on 78. " See XXXI. The word laya signifies the speed at which a piece of music is performed. There are three primary degrees of speed i.e. rate of movement, in the Indian music : slow (vilambita), medium (madhya) and quick (druta). As in the European music, there is no fixed absolute measure of time for different degrees of speed mentioned here. See GS. II. p. 33. Sarigadeva (V. 48). defines laya as क्रियामन्तरविश्रान्ति :. 4 See above note 1 on 76. 5 The Yati means 'succession of different kinds of speed' in the whole song, e.g. a song may be sung at a slow speed in the beginning, at a medium speed next and at a quick speed in the end, or these speeds at the singer's discretion may be taken up in a different order, See SR. V, 30 ff. and Kn, theron.

43 STRINGED INSTRUMENTS [xxIX. 103-107

and Graha-marga (way of beginning)' will determine their respective characters. [For example], in the Citra, [the Magadhī is the Giti], the instrumental music is concise (i.e. not elaborate), [the unit of] time-measure [is one Kalā], tempo is quick, and Yati is level (sama)7 and the Anagata Grahas pre- ponderate. Similarly in the Vrtti [the Sambhāvita] is the Gīti, the instrumental music is * *, [the unit of] time-measure is two Kalās, the tempo is medium (madhya), the Yati is Srotogatas, and the Sama Graha-margas are preponderant. In the Daksina, the Giti is [Prthula,] the unit of time-measure is of four Kalas, the tempo is slow (vilambita), the Yati is Gopuccha' and the Atita Graha-margas are preponderant. 103. Names of the thres Styles of Procedure (vrtti) are Citra, Daksina and Vrtti. They give quality to the instru- mental music as well as to the song, and have been defined in due order. 104. The Lalita' etc, the Jatis' of all these Styles of Procedure (vrtti), when combined in the Dhatus, will become richer in quality. .-

The Jatis 105. And from a combination of the Dhatus, come forth the Jatis such as, Udatta, Lalita, Ribhita and Ghana. 106. The Udatta relates to the Vistāra Dhātus or to many other things. The Lalita relates to the Vyanjana Dhatus and is so called because of its gracefulness. 107. The Ribhita relates to the Abiddha Dhatus and is characterised by multitude of strokes.

6 Marga in the text, should be taken here as graha-marga, which has been twice used later in this passage. Graha-marga means the manner of following a song or a piece of music by an instrument of Tala. See GS. I. pp. 197 ff, 469. SR. V. 54-56, 58 and VI. 186-187. 7 See SR. V. 51. 8 See SR. V. 51-52. See SR. V. 52-53. (104) 1 See below 105. ? This term has been used-also in relation to songs. See XXVIII, 38 ff. and XXIX. I ff.

xxIx. 108-115] THE NĀȚYASĀSTRA 44

The Ghana relates to the Karana Dhatus and depends on their quantity (lit. aggregate of long and short notes).

Three kinds of music of the Vina

108. The experts are to produce three kinds of music from the Vina. They are Tattva, Anugata, and Ogha which combine [in them] many Karanas. 109. The music which expresses [properly] the tempo, time-measure, Varna, pada, Yati, and syllables of the song, is called the Tattva. And the instrumental music which follows the song, is called the Anugata. 110. The Ogha is the music which abounds in the Abiddha Karanas, has the Uparipāni Graha-mārga, quick tempo and does not care for the meaning of the song. 111. The rule in the playing of musical instruments, is that the Tattva is to be applied in a slow tempo, the Anugata in a medium tempo, and the Ogha in a quick tempo. 112. The experts in observing tempo and time-measure, should apply the Tattva in the first song [to be sund during a performance], and the Anugata in the second, and the Ogha in the third one. 113. These are the Dhatus in the music of the Vīna, to be known by the experts. I shall now explain the Karanas included in the rules of playing the Vipaňoi.1

The Karanas of the Vipanci

114. The Karanas1 [in playing the Vipanci] are Rūpa, Krtapratikrta, Pratibheda, Rupasesa, Ogha and Pratiśuska. 115. When on the Vina, two heavy and two light syllables are played, it is the Rūpa.1

(113) 1 See below 120 for the definition of a Vipañci. (114) 1 Cf. SR. VI. 112. (115) Cf. SR. VI. 113-114.

45 İNSTRUMENTAL MUSIC [xxIx. 116-121

And this Rupa performed in the Pratibheda it is the Kṛtapratikṛta.2 116. When two different Karanas are side by side played on the Vina, and heavy and light syllables are shown, it is called the Pratibheda.1 Continuing [the music] in another Vina, when the [principal] Vīņā has stopped, is called the Rūpaseșa .? 117. The Ogha1 includes the Abiddha Karanas per- formed in the Uparipani Graha-marga. The Pratisuska2 is the Karana which is played by means of one string [only]. 118. During the application of the Dhruvas, the experts should generally play with the plectrum (kona) two Vinas to accompany a song or other instruments. 119. Whether it be a place or a character, one should equally reflect it together with the song on the strings, and in the Vipanci it will be something like the Karana called the Ogha. 120. The Citra' is [a Vina] with seven strings, and the Vipañcī' is that with nine strings. And the latter (Vipancī) is to be played with the plectrum, and the Citra with the fingers only. 121. The experts are thus to know of the Vipanci which includes many Karanas. I shall next explain the Bahir-gītas whic have [their fixed] characteristics.

" Cf) SR. VI. 115. (116) 1 Gf. SR. VI. 115-116. 2 Cf. SR. VI. 117. (117) 1 Cf. SR. VI. 118. 2 See cf. SR. VI. 119-120. (120) 1 This Citra (vina) probably developed later into Persian sitar. It may be that the Greek kithara with seven strings is also connected with it. The seven strings in the Citra, were probably meant for pro- ducing seven notes of the octave. 2 The nine strings of the Vipañci were probably for producing seven notes together with two Kākali notes (svara-sādhāraņa, XXVIII. 36).

xxIx. 122-130] THE NĀȚYASÀSTRA 46

The Bahir-gitas 122-121. Āśrāvanā,' Ārambha', Vaktrapāņi,' Samghoțanā', Parighatțana, Margasarita, Līlakrta', and the three kinds8 of Āsāritas are the Bahir-gītas' to be applied first [in a play] by the producers, and [all] these should be applied without Talas or with Talas, and in the Styles of Procedure called the Citra and the Vrtti. 125. The need for all these has already been men- tioned by me in the rules for the Preliminaries1. I shall [now] describe their characteristics together with examples. Tha Āśrāvaņā 126. The Asravana should be [performed] with twice repeated Karanas' of the Vistara2 Dhatu in [successive] sections (Kalas), and then with a gradual increment by two repeated Karanas. 127-128. It will consist of a pair of twentyfour syllables (varna) of which the first two, the eleventh, the fourteenth, the fifteenth and the twentyfourth are heavy, and a [three-fold fifteen syllables of which] the first is light, the next seven including the eighth heavy the next six again light, the final [three] syllables being heavy.' 129-130. The Tala in the Asravana will be as follows : three Samyās, and a Tala in the Uparipānī, two Samyās and two Talas and again a Samya and two Talas, in the Samapāņī, and suitable Uttara and Cancatputa [Talas] of two Kalās.' (Its example is corrupt and untranslatable)2

(122-124) 1 See V. 8-11, 18-21. 2 ibid. 3 ibid. 4 ibid. 6 ibid. 7 ibid. 5 It seems that this item was not originally included in the Bahir-gitas (See V. 8-11). 8 Short, medium and long. " These are called Bahir-gitas because they were outside (bahis) the performance of the play and were included in its Preliminaries. See V. (125) 1 See V. 8-11, 18-21. (126) 1 See XXIX 82. 2 ibid. also SR. VI. 134-144. (127-128) Cf. SR. VI. 182-184. (129-130) 1 Cf. SR. VI. 186 ff. 2 It seems that these passages evidently corrupt, included magical formulas (mantra) for warding off evils. See V. 45-55, 176.

47 STRINGED INSTRUMENTS [xxIx. 131-137

The Ārambha 131-132. The [constituting] syllables in the Arambha are as follows : the first eight heavy, the next twelve and the final one light [in the first section], and the four heavy, eight light, one heavy, four light, four heavy [in the second section], eight light and the final (light) [will form the next section].1 133-134. It should be performed in three sections with the Karanas such as the Tala the Ribhita' and the Hrada2 in which the Vistara Dhatus3 will preponderate, and in it an ascent will be followed by a descent+. And in it the Karanas will first be descending twice or thrice and then will be played in the reverse order, and then all these are to be repeated.5 135-139. Its first Tala of three Kalas there will be a Samya of one Kala, a Tala of two Kalas, then a Samya of two Kalas a Tala of two Kalas and a Sannipata of two Kalas and a Șatpitāputraka and a Cañcatpuța of two Kalās.1

(Its example is corrupt and untranslatable)2

The Vaktrapāņi

137. The music of the Vaktrapani will include the Karanas of the Abiddhal [Dhatu] and it has two members Ekaka of Vrtt (= pravrtta)2 and it is to have in its music half the member of the Vyñjana3 Dhātus.

(131-132) 'The text the of the passage, is probably still more corrupt. Cf. SR. VI. 200 ff. (133-134) 1See XXIX. 91-92., SR. VI. 145-146. 2 ibid. See XXIX. 83-90., cf. SR VI. 134 ff. 4 cf. SR. VI. 197. 5 The translation is tentative. Cf. SR. VI. 198-199. (135-136) 1Cf. SR. VI. 204 ff. 2 See note 2 of 129-130 above. (137) 1 See XXIX. 82, 93-94 ; cf. SR. VI. 148-150. 2 XXXI. 201. ff. 3 See XXIX. 95-101. cf, SR. VI, 151-160,

xxIx. 138-147] THE NĀȚYAŠĀSTRA 48

138-139. [The syllabic scheme of] the Vaktrapani will be as follows : five heavy, six light, four times heavy, two heavy one light, four heavy, four light, three heavy, eight ligh and one heavy.' 140. The scheme of the Samya and the Tala used in the Madraka song of two Kalas, will be used in the Vaktrapāni, but at the Mukha (beginning) it will consist of eight Kalās.1 14 :- 142. The Tala in the Mukha and Pratimukha of the Vaktrapāni will be as follows : a Samyā, a Tāla, a Tāla, a Samya, and a Tala, a Samya, a Tala and a Sannipata and four Pañcapāņīs.1 (Its example is corrupt and untranslatable)2 The Samghotana 143. The music of the Samghotana will be by means of three Karanas of the Vistara' [Dhatu] class and it will observe the Citra2 and the Vrtta' Styles of Procedure, and the three [such Karanas] will be repeated and will [gradually] rise. 144-145. The syllables (lit. sequence of heavy and light syllables) of the theme of the Samghotana will be as follows : two heavy, eight light, two heavy, one light, one heavy, one light, four light, eight light and heavy in the end. 146. In the Samghotanā, the Vinā taken with the two hands by its beam (danda), should be played with the fingers of the right hand and the two thumbs. 147. The Samghotana is so called because of the playing together (samghotana) of the Consonant and the Dissonant notes together with the remaining Assonant ones. Its Tala, as in the Sīrsaka will consist of the Pancapānis. (Its example is corrupt and untranslatable)2

(138-139) 1 Cf. SR. VI. 209-210. (140) 1 Cf. SR. VI. 211. (141-142) 1 Cf. SR. VI. 212. 2 See note 2 of 129-130 above. (143) 1 See XXIX 83-90 ; ,cf. SR. VI. 134 ff. 2 See XXIX. 103 ; cf. SR. V. 11. 2 ibid. (144-145) 1 Cf. SR. VI. 213. (147) " The translation is tentative. 2 See note 2 of 129-130.

49 STRINGED INSTRUMENTS [xxIx. 148-156

The Parighattana 148-149. [The syllabic scheme of] the Parighattana, is as follows : eight heavy, twentyfour light1, one heavy, sixteen light and two heavy. 150. Its music should consist of many Karanas of the Vyamjana [Dhatu] and should be performed with Upavahana (= Upohana) by clever hands. 151. Its Tala will be Samparkestaka [as it will stand] combined with the Karana of the Dhatu (i.e. Vyañjana) due to the syllabic scheme [of the Parighattanā]'. The Mārgāsārita 151-152. The syllabic scheme of the Margasārita in its Vastu will be as follows: four heavy, eight light, eight heavy, eight light and the final heavy. 153. The instrumental music in the Margasarita will consist of Karanas of the Vistara and Abiddha Dhatus, and it will observe all Talas agreeing with its syllabic scheme. (The example is corrupt and untranslatable) 154. Or it may be : four heavy, eight light, three heavy, three light, and heavy in the end. (The example is corrupt). The Lilākrta 155. The expert producer, as an occasion will arise, should perform the Lilakrta as well as Abhierta and Parisrta according to the rules of the short Asarita, and it should observe Talas sweet to hear. The Asaritas may be long (jyestha), medium (madhya) and short (kanistha). They in [relation to] their Tala and measurement, will be explained in due order in the rules on Tālas.1 156. These are to be known about notes arising form the body of the Vina. I shall next explain the characteristics of the hollow musical instruments (sūsirātodya). Here ends the Chapter XXIX of Bharata's Natyasastra, which treats of the Rules of the Stringed Musical Instruments. (148-149) 1 lit. twice 8 light, twice 4 light. (151) 1 Cf. SR. VI. 211 ff. (155) 1 See XXXI, 7

CHAPTER THIRTY

ON HOLLOW INSTRUMENTS

1. The hollow (susira) musical instruments, as the wise should know them, are made of bamboo'. The rules regarding their notes (svara) and the Grama are the same as that of the Vina. 2. The notes of a flute are known to have two, three and four [Srutis], and they are either 'shaken' (kampita), 'half-open' (ardha-mukta) and 'fully open' (vyakta-mukta).1 3. As, above that', a note of the Vina is changed into another, so in the case of the flute also it does likewise. 4. The number of Srutis in notes [produced in a flute], will be two, three or four, and by prolonging the blow the remaining notes' may also be produced. 5. Notes have characteristics determined by the Srutis numbering four, three or two produced by the application of fingers while playing the flute. Listen about that. 6-7. The note produced from a [flute-]hole thoroughly free from a finger, consists of four Srutis, and that from

(1) 1 As the first Indian flute was made from vamsa or bamboo, it was called Vamsa. Sd. mentions also horns besides flutes made of wood (khadira and sandal), ivory and different metals (iron, kāmsya, silver, and gold), which came into use in later times (see SR. VI. 424ff). The conchshell (sankha) is also another hollow (susira) instrument, but it is scarcely used as a musical appliance. (2) 1 These indicate the ways of producing the notes. See 5 ff. below. Śd. however, mentions five such ways as kampita, valita, mukta, ardhamukta and nipīdita (SR. VI. 457 ff). (3) 1 Here tatropari (lit. there above) means 'if srutis are further increased'. (4) 1 These are the Sadharana and the Kakali notes. See 9-10 below. (6-7) 1 Sd. gives more elaborate directions in this regard (SR. VI. 447-448).

51 HOLLOW INSTRUMENTS [xxx. 7-11 a hole on which a shaking finger is placed, consists of three Srutis, and a note consisting of two Srutis, is produced from a hole which is partly (lit. half) free from & finger.' 7-9. All these are the notes in the Madhyama Grama.1 Notes of the Sadja Grāma will be as follows : Sadja, Madhyama and Pancama will arise from a hole fully open, Dhaivata and Rsabha from a hole covered by a shaking finger, and from a hole partly (lit. half) free from a finger, will arise Gāndhāra and Nișāda.2 9-10. Nișāda and Gandhāra [respectively] coming in juxtaposition with Sadja and Madhyama and modifying themselves in characteristic Srutis, will give rise to the Overlapping (svara-sādhāraņa) and the Kakalī notes.1 11. The notes of the flute should be perfected (lit. accomplished) with the help of the Vina and of the human throat. The very notes which the singer will attain, should be sung in accompaniment of a flute. A unision of the human throat (lit. the body), the Vina and the flute, is [specially] praised.'

(7-9) 1 Though the Sadja Grama has been mentioned first in XXVIII (25-26), it has been given here the second place. The significance of this, is not clear. 2 To show the connexion of different fingers of the two hands with the production of seven notes, Ag. (p. 563) quotes the following : षड्अल्वनामिकाङ ल्याहषभी मध्यमाक ली। निरक् ल्वाज् गान्धारी मध्यमः कम्पिती यथा॥ बामतल बयोऽपोति चत्वारी दचचिषे पुनः। पश्चमोडनार्मिकारया तु धेवसी मध्यमाङलौ।। प्रादेभिन्यां निषादस्तु मध्यम: कम्पिती यथा। (9-10) Śd. gives more detailed directions about the production of notes (SR. VI. 449-453). Mr. Fox Strangways gives a number of flute scales collected from different parts of India (MH. p. 102). These possibly include some valuable materials for the study of ancient Indian musical scales and intervals, for the flute has been one of the most primitive instruments of Indian music. (11) ' See SR. VI. 651.

xxx. 12-13] THE NĀȚYASĀSTRA 52

12. The music of the flute, which is steady, not very loud and furnished with the Varnas and the Alamkaras, and follows rules,' is sweet and soothing. 13. These should be known regarding [musical] notes by persons playing flutes. I shall next speak of the solid musical instruments. Here ends the Chapter XXX of Bharata's Natyasastra, which treats of the Hollow Musical Instruments.

(12) 1 The rules mentioned here possibly relate to the manner in which the flute should be played on different occasions in a play. The following quotation from Matanga by Ag. (p. 567) probably gives such rules. अध्वन्यागमने चैव कामिन्वा निर्जितस्य च। निर्जितम्य प्रकर्वीत मध्य च मृदुमिश्रितम्॥ भकारे वा नियोत्तव्यमत्यन्तस्लितं द्रतम्। क्रीधे वाचाभिधानेऽपि एक रितद्र तकन्पितम्।। 'T'his passage seems to have bcen paraphrased by Sd. in his SR. (VI. 652-653), but it does not occur in Bd. ascribed to Matanga.

CHAPTER THIRTYONE

ON THE TIME-MEASURE

1. The [instrument named] Tala' is of the 'solid' class (ghana), and it relates to a division into Kalās (kalāpāta)2 and to an observation of the tempo (laya).' Those who apply Talas in a musical performance, should know Kalas to be the measure of time (tāla.) 2. The popular Kala,' [together with] the Kastha' and Nimesa1, which has been accepted (lit. remembered) by the wise, is not the Kala in [observing] the Tala. The Kala arising from the 'Tala is different. 3. Five Nimesas will make one Matra', and the Kalā arises from the grouping of Matras. And five Nimesas are also to be known as [the period of] interval between [two] Kalas, at the time of singing. And from these again, the

(1) 1 This word comes from tala (the palm of the hand), and primarily refers to the beating of time by the clapping of hands, e.g. tālaih sinjāvalaya-subhagaih nartito kāntayā me (Megh. 79). But generally it is used in the sense of 'time-measure.' Sd.'s explanation of this word (SR. VI. 2) seems to be fanciful. The word is also used as a variety of audible Tala which is of four kinds. See below 32. 2 By following Sd. (SR. V. 5-6) one will probably sec in this compound two words kala and pata. But such a view will be misleading. 3 See below 4 and 486. (2) 1 According to Amara. (I. 3. 11), 18 Nimesas - 1 Kāsthā, and 30 Kasthas = 1 Kala ( चषादम निमेषास्त काषा विशत, ताः कला:). From this we have one Kala equivalent to eight seconds. In other systems of computation, it may be equal to fortyeight seconds and even to one minute. See Apte sub voce and also SM. II. 3. 53. 2 See note 1 above. 3 Ksirasvamin defines Nimesa as the time required for a twinkling of eyelids (nimeşo'ksispanda-kālah) and sce also SM. II. 3. 53. (3) 1 According to Sd., Mātra is the time required to pronounce five short syllables (panca-laghvaksaroccāra-mitā mātrā, SR. V. 16).

xxxI. 4-10j THE NĀȚYAŠASTRA 54

tempo is made according to the time of the Kalas [into which they (Matras) are divided]. 4. The tempo (laya) is of three kinds : quick (druta), medium (madhya) and slow (vilambita)', and among these, the medium tempo determines the normal Kalā (pramāna-kalā). 5. This (i.e. the Kala) is known to be of three kinds, and is determined, according to the wise, by the three Margas.1 In the Citra [Style of Procedure] there should be three Mātras, in the Vrtti the twice of it, and in the Daksina, its fourfold. These are the three [types of] Kalas. The Tala is so called because it measures [time by a division] of [songs into] Kalās. 7. The Tala is of two kinds : Caturasra' (lit. four- cornered) and Tryasra' (lit. three-cornered) ; but the origin of these two kinds, is the same. 8. Now listen about their twofold sources. They are the Cañcatputah' and the Cāpapuțaḥ .? 9-10. From each of these, the Tala of four or of two Kalas' proceeds. The Cancatputah is known to be Caturasra, and the Capaputah is Tryasra. They consist of long and short syllables.

(4) 1 See below 468. (5) 1 See above note 6 to XXIX. 103 prose, and also 487 below. The Margas are equivalent to the Panis (XXXI. 493-495). (7) ' This term is significant when the Talas mentioned below are made up of two or four Kalas. 2 ibid. (8) 1 This and similar other terms are probably mnemonics, and have no special significance. The variants of this term are Cancuputah (NS., KM ed.) and Caccatpuțal (SR.) 2 The variants of this term are Cāyaputah (NS., KM. ed.) and Cācapuțah (SR). (9-10) 1 Each of these two Tālas have three varieties : yathāksara (literal), dvi-kala consisting of two Kalās, and catus-kala (consisting of four Kalās).

55 SOLID INSTRUMENTS [xxxI. 10-15

10-11. The Cancatputah' will consist of two long sylla- bles followed by one short syllable and the final Pluta syllable.2 11-12. The Capaputah which is Tryasra, will consist of one long syllable followed by two short syllables and the final long syllable. A combination of these two, is called a mixed Tala. 13-14. This (i.e. the mixed Tala) includes the Satpita- putrakah' and the Pancapanih.2 constituted according to long and short syllables occurring in their names. These in brief are the three kinds of Tala. 14-15. [Their Pātakalā' will be as follows :] Sannipāta,2 Samyā,3 Tāla, Samyā; or Samyā, Tāla, Samya, Tala+; or Tala Samya, Tala, Samya [in the Cancatpuțah of one Kalā]. 15-16. The Cancatputah will, thus, be of three kinds : Sannipatadi,' Samyadi2 and Taladi.3

(10-11) 1 This is called the yathāksara variety of it. rathāksara (according to the syllables) means that the syllables (short and long) in the name (e.g. Cancatputah) indicate the syllables that this Tala contains. See SR. V. 18. ? This is to modify here the term yathaksara, for according to the last akșara the final syllable was to be long and not Pluta. (13-14) 1 See above note 1 to 8. 2 ibid. (14-15) 1 This term has been explained by Kn. (on SR. V. 27) as follows : पाता: मशनदा घ्रवादय:, कम्ना निःशब्दा चावापादयः। शाभि: पातकम्नाभिर्योग: सम्बन्ध :- 2 Absence of mumerical adjectives before these names means that they are single, i.e. one Sannipata, one Samya etc. 3 See below note 1 to 32-33. 4 See SR. V. 28. 29. (15-16) ' It means the variety 'beginning with the Sannipāta', or Sannipāta, Šamyā and Tāla Šamyā. See above 14-15. ? Beginning with the Samyā, or Samyā, Tāla, Samyā and Tāla. See above 14-15. 8 'Beginning with the Tala', or Tāla, Samyā, Tāla and Šamyā. See above 14-15.

XXXI. 16-25] THE NĀȚYASĀSTRA 56

16-17. The Sannipatadi will be Caturasra in the Natya, and the Samyadi will be applicable in the Asāritas. And similarly the Taladi in the Panika' and other [songs]. 18. The three varieties of the Cancatputab such as the Sannipatadi eto, will hold good in case of the Capaputah [too].' 19. The Sannipatadi as well as the as other two, is strong in this (Capaputah) and Talas of six or of eight Kalas proceed from this (i.e. the Sannipatadi)'. 20. Due to the Samya, Tala and Pravesa, the another Tryasra is also produced. It is the Satpitaputrakah called the Pañcapāniḥ.1 21-22. [Its Patakalā is as follows :] the first syllable is Pluta, the second short, the third and the fourth long, the fifth short and the final Pluta', and this is the Satpitaputrakah with its long and short syllables. It is also called the Pancapanih consisting of six Patas and six syllabies. 23. Its six Patas are as follows : Sannipata, Tala, Śamyā, Tāla, Samyā and Tāla.1 24: Another Tryasra variety of the Taladi, is called the Samparkestakah.' It consists of five long syllables including the initial and final Pluta syllables'. Its Patas will be as follows : [Tāla]3, Samyā, Tāla, Samyā and Tāla. 25. When the Tryasra will consist of all three heavy syllables and its Kalās will be as follows : Niskrāma, Samyā and Samya, it will be called the Udghattah.1

(16-17) 1 This is 'only a variety of very primitive songs. (18) 1 Sd. curiously enough on the authority of the NS. recognizes only two of them in case of the Capaputah (his Cacaputah). See SR. V. 30. (19) 1 The translation is tentative. (20) 1 The translation is tentative. (21.22) 1Cf. SR. V. 31. (23) 1 See SR. V. 31. (24) 1 Its variants are Sampatkestākah (NŠ. KM. ed.) and Sam- pakkestākah (SR.), Sampadvestikaḥ (SM.) See SR. V. 4'. SR. V. 41. Read 24 a as बादी तालसतः etc. (25) 1 See SR. V. 40.

57 THE TIME-MEASURE [XXXI. 26-34

26-28. Thus, there should be the pure Cancatputah etc. of one Kala. Such Talas have three varieties such as Yathāksara,' Dvikala2, and Catuskala,3 each succeeding one being twice as long as its predecessor. The Caturasra Tala is known to have three [special] varieties having respectively four, eight and sixteen Kalas. 28-29. The Tryasra Tala has six [special] varieties having respectively three, six, twelve, twentyfour, fortyeight and ninetysix Kalās. 30-31. Thus, the Tryasra (ayugma) Talas are of nine1 kinds. And the Tala [in general] is of two kinds : silent (lit. without sound) and audible (lit. having sound). Listen about the two uses2 which they have. I am going to describe them. 31-32. [Of the two kinds], the silent Tāla has four varieties such as, Āvāpa, Nișkrāma, Vikșepa and Praveśaka.1 32-33. The audible Tala is to be known as having four varieties such as Samya,' Tala,2 Dhruva and Sannipata3. 33-34. I shall now speak in due order, of the movement of hands and fingers1 in relation to them, and their.charac- teristics and measure.

(26-28) 1 See above note 1 to 9-10 and note 1 to 10-11. 2 ibid. 3 ibid. (30-31) 1 The three general varieties (26-28) and the six special varieties (28-29) make up the nine varieties mentioned here. 2 The purpose of having two such different sets of gesture for Talas, is not quite clear. It seems that the two different primitive methods of observing simple time-measures which included very few Kalās, originated independently. But these were subsequently brought together for the facility of indicating developed time-mrasures which included more complex schemes of very numerous Kalās. Two different varieties of gestures in all likelihood helped the musicians to avoid confusion which was possible in case of using only one kind of them. (31-32) 1Also called Kalās by Kn. (on SR. V. 5). (32-33) 1 Sd. has this term as Sampā. 2 This is different from the word standing for the time-measure in general. 3 Also called Pātas and Kalās by Kn. (on SR. V. 5). (33-34) 1 These were possibly required to guide the players of instruments for observing time-measure, 8

XXXI. 34-42] THE NĀȚYAŠASTRA 58

34-36. The Avapa is the curving of fingers pointing upwards1, the Niskrama is spreading out the fingers [of the palm] turned downwards2. Swiftly moving that (i.e. the plam turned downwards) to the right side is the Viksepa,3 and the Pravesat is the drawing away of the palm turned downwards. 36-37. After showing the Avāpa (lit. the curving the fingers) one should be making the Niskrama and then the Viksepa and next the Praveśana (Praveśa). 37-38. This is the rule when a combination [of Talas] consists of four Kalas1. [For] the Niskrama and the Pravesa [only will] make up two Kalās'. The alternate placing (lit. falling) of these, is known as the Pata3. 39-40. These are to be known Samya, Tala and Sanni- pata.' The Samya is of the right hand, the Tala of the left hand, and the two hands coming together is the Sannipāta, and the Dhruva is stopping (lit. falling) for a Mātra, and it makes for the way of the Ragas2, and [moreover] the placing (lit. falling) of the three Kalas mentioned before, is also called Dhruva. 41-42. In the Yathaksara' Tala, it (the Dhruva) will be a long syllable. The Tala consisting of Yathāksara Pātas is its ordinary (yathasthita) type. With doubled long syllables it will consist of two Kalas. The doubling of two Kalas will make it consist of four Kalas.

(34-36) 1 See SR. V. 7. 2 ibid. 3 ibid. 4 ibid. (37-58) 1 'Kalas' here means syllables and not the component parts of a Tala, which itself may consist of more than one syllable as in the Dvikala or the Catuskala Tālas. 2 Significance of this rules is not clear. 3 The translation is tentative. Kn. applies this term to the audible Talas. See above note 3 to 32-33. (39-40) 1 It seems that one hemistich is missing here. 2 This use of the word 'Raga' is likely to hava some connexion with the melodic types of the same name in the later Indian Music.

59 THE TIME-MEASURE [xxxI. 43-51 43-44. I have [already finished] describing the Pata arising in the Yathaksara [Tala]. Hence the Cancatputah, the Capaputah the Pancapani' [types] have three varieties. 44-45. Apart from the Caturasra (yugma) and the Tryasra (ojas) types there are five kinds of Talas. These are called the Udghattakah' etc., and are of the mixed kind and they relate to the different limbs of songs. 45-46. These (i.e. the mixed Talas etc.) may consist of five, seven, nine, ten or eleven Kalās', and are [hence] called miscellaneous Talas. 46-47. These have no use in the seven kinds of songs1 and in the Dhruvas.2 And these are to be used by the singers in the Pravrtta3 etc. 47-48. I am [now] speaking about the theory that the Dhruvas will have the Caturasra and the Tryasra Talas consisting [respectively] of eight and of six Kalās. 48-51. [The Tala of eight Kalās will be like this] : by the little finger' the Niskrama and the Samya, by the little and the ring finger, the Niskrama, the Tala and the. Samya, by the middle finger the Pravesa, and by the fore finger are shown the Niskrama and the Sannipata. This is the method of showing Kalas by fingers, in the Caturasra (yugma) Tāla.

(43-44) 1 Another name for the Satpitaputrakah. See SR. V. 23. (44-45) 1 Udghațțakah and Samparkestākah. (45-46) 1 Sd. seems to ignore these. (46-47) 1 See below 220. 2 XXXII. 3 See XXX. 207. (47-48) 1 The Dhruvas used in connexion with the performance of the Nätakas, were probably vcry early types of Indian songs, for their schemes of time-measure consisted of six or eight Kalas only, while in the later songs, the number of Kalas was much greater. (48-51) 1 It is not clear why individual fingers were substituted for the hand-gestues which were conventionally used to indicate the time-measure. This may be compared with practice of indicating by fingers, different notes in the chanting of the Sama-veda (see MH. p. 259).

xxxI. 51-64] THE NAȚYASĀSTRA 60

51-53. [The Tala of six Kalas will be like this]: by the little finger the Niskrama, the Samya, the Tala, and the Samya, and by the forefinger the Samya and the Sanni- pata are to be shown. This is the method of showing Kalas by fingers in a Tryasra Tala. 54-57. By the little finger the Niskrama and the Praveśa, by the little and the ring fingers the Tala and the Samyā, by the middle finger the Niskrāma and the Tāla, by the forefinger the Niskrama, the Samya and the Tala, by the little finger the Pravesa, by the forefinger the Niskrāma and the Sannipāta. 58. This is the rule regarding the Tala of four Kalas in terms of Avapa and Viksepa, shown by fingers mentioned above. 59. The Padabhagas consisting of two or four Kalas have been described [by me]. The four Padabhagas are technically called Mātrās1. 60. These are the different varieties of the Cancatputah, the Capaputah and the Pancapanih Talas. 61. Thus I have described in brief the Talas which relate to the Asarita' and the Vardhamana2 and to the body of other songs.

The Āsārita

62-63. Now I shall speak of the characteristics of the Asaritas. In this, the master producer (lit. one who knows the art of production) first takes up the Cancatputah with its long, short and Pluta syllables and then the twofold Pañcapāņiḥ. 63-64. And in the preceding Tāla (i.e. the Cañcatpuțaḥ) he puts the syllables as indicated by the latter [in it name].

(59) 1 But according to Kn. the Kala is ordinarily identical with Mātra ; but in the Ekakala Dvikala and Catuskala Tālas) it means the long syllables भव क कलद्धिकलचतुष्कलशब्द घु कलाशब्द न गुरुरुच्ते इत्यर्थः। चन्वत माबा ar (on SR. V. 19). (61) 1 See below. 2 See below 76 ff.

61 THE TIME-MEASURE [xxxI. 64-75

Thus we get the same Pata as follows : Tala, Samya, Tala, Śamyā, Tāla. 64-66. In the first syllable of the Pancapanih one should put in Sannipāta, then Tala, Samyā, Tāla, Samyā and Tāla. And in the second syllable also, this is the rule in the Pañca- pānih. And the Sannipata is to occur in case of the final Pluta. This is known by the wise as the short Yathaksara Asārita. 67-68. Now listen about the distribution of Pāta as described in the name of the Talas. The ca (can) will indicate the Tala, cat (lit. the second) the Tāla, pu again Samya, and the ta (tah) the Tala. Thus one should know the Cancatputah, and the Pancapanih comes afterwards. 69-70. The sat will indicate the Sannipata, the pi the Tala, the ta Samya, the pu the Tala, the tra the Samyā, ka (kah) the Tala. The same will hold good in case of the second, and then comes the Sannipata. The medium Asarita 71. On combining here the long syllables this (the short Asarita) will be the medium [Asarita].1 71-73. The Kala that will follow the doubling of the combined heavy syllables, should be applied in due order as before. And the medium [Asarita] when doubled, is called the long Asarita. In it, the Kalas will be double the number of that in the medium [Asarita]. Their Vastu is characterised by the occurrence of Sannipatas.

The Layantarita 74. I shall now speak of the characteristics of the Layantarita. That which has the shortest Tala, is called the Layantarita. The Kala differing on account of the time required for it, becomes a different Kala. 75. The application of these Talas gives special success, and in the Layantarita, there occurs a difference there in words and in the tempo.

(71) 1 The transl. is tentative. The text is possibly cerrupt here.

xxxI. 76-88] THE NĀȚYASÂSTRA 62

The Vardhamana

76. A combination of the Asaritas, is called the Vardhamana. Listen about its origin and characteristics as I am describing them. 77-78. After killing the terrible Danavas, Rudra invented in the past the beautiful dance called the Tāndava. Now the great-souled Bhutas created at that time the Vardha- mana adorned with the Pindibandhas.1 79. On seeing this, Siva with his consort (Parvati) was much pleased, and he as well as the goddess gave them the best boon. 80. Those who perform the Vardhamana as defined by him according to the traditional rules and order, will attain the proximity of Siva [after their death]. 81. This was seen by me for the purpose of the Pindībandhas. Listen now about their characteristics. 82. Performed in the three Margas, such as the Vrtti, Daksina and Citra, the Vardhamana which is constructed according to its own measure, is of two kinds. The Āsāritas 83. Its measure has two aspects : one with the Tala and the other without the Tala. There are four parts (kandkiā) in all the Āsāritas. 84. [Each] part in the Dhruva is composed of Kalas by gods. The Margas are available (lit. joined) in the Vardhamāna. 85-87. The first [group] is made up of nine Kalas, the second (lit. the next) of eight Kalas, the third of sixteen Kalas and the fourth of thirtytwo Kalas. Thus in the Vardhamana each part is made up of a fixed [number of] Kalas and it is born of the [proper] Marga and is devoid of tempo which is its minor limb.1 87-88. [The parts (kandika) are made up] of one, two, three and four [Kalas] and by them (i.e. the Kalas) are made

(77-78) 1 The group-dances, See V (85-86) . 1 The text is possibly corrupt here in 86.

63 THE TIME-MEASURE [xXXI. 88-98

the Asaritas in the Vardhamana observing the [proper] Marga and limbs of Talas. The Short Asarita 88-89. After finishing the first part combined with the short (bala) Tala, one should make up the short Asarita, of which the second half will be deficient in one Kala. 89-90. If after finishing the second part, one adds to the first part in all its Kalas in the previous Tala, then it becomes the Layantara (°tarita) [in the Vardhamana]. And Vardhamana at that time should be done in the Citra Marga and not in the Vrtti. 91-92. Whether in the Vardhamana or in other songs (lit. outside it) there is no short Asārita in the Daksina Marga. From the short Tala, as it doubles the number of syllables and applies other Margas, and regulates the time of dance, the Layantara (°tarita) proceeds. The medium Āsārita 92-93. The Tala which I have prescribed in case of the short Asarita, is wholly to be observed in the first two parts. The third, the second and the first [parts] will have the same number of Kalas. Then this will be the medium Asarita. The Long Asarita 94. If the fourth part is made the first i.e. the parts are taken in an inverted order, and the four parts have an addition of four Kalas to them, then it is called the long Āsārita. 95. When their application is taken in connexion with the Pindibandhas, then each of their limbs (minor parts) is to be made distinct (lit. separate). 96. Mukha, Pratimukha, Deha and Samharana are the four limbs' in all the Asaritas. 97-98. The Upohana is the Mukha, the Yugma is the Pratimukha, the Ojah is the Sarira (Deha) and the Samhara (°harana). This is the serial order of the limbs and thus the Asaritas consist of four limbs. . (96) 1 See SR. V. 183-184,

XXXI. 98-108] THE NĀTYASĀSTRA 64

The Vardhamana 98-99. A song composed of the four' Asaritas, is called the Vardhamanaka. The Vardhamana is so called because of the [gradual] increase in it of the syllable (varna), Tāla, tempo (laya), the instrumental music and gestures, which lead to the embellishment of the performance of the dancers. 100-101. The body of the Vardhamana and the Asarita being mutually related [respectively] as effect and cause constitute each other. Just as the seed grows from the tree, and the tree [in its turn] fron the seed, [here too], the same [law of] mutual causal connexion is applicable. The Layantarita 102. One Kala being added to the short [Asarita] it gives rise to the Layantara (= Layantarita); and two Kalas being added [it becomes] the medium [Asārita], and four Kalas being added [it is] the long [Āsarita]. The Short Asarita 103. The rule of the Pata for the short [Āsārita] is as follows : Samyā, Tāla, Samyā, Tala, (lit. one turn of the Cancatputah beginning with Samya), Sannipāta, Tāla, Samyā, Tala, Samyā, Tala, Sannipāta, Tala, Samyā, Tāla, Samyā, Tala, (lit. two Pancapanihs beginning with Samyā). 104. This is the scheme of Tala in the Layantarita, and its characteristic growth has been mentioned before, and there will be here a difference of words and tempo. 105-106. (The text is corrupt, but it is clear that the schemes of Tala for the medium and the long Asarita occur here). 107. Those who have the short (lit. young) [Āsārita] as consisting of nine Kalas, are not supported by the good authorities. The placing of the Sannipata [in it] has been made [by them] according to the rule of the Kalā. 108. For them the two Talas at the Mukha of it (i.e., the short Asarita) are regulated by the Dhruva Pāta. I shall [now] speak of its [full] measure (māna) and [sequence of] long and short syllables. (98-99)' 1 Short, Layantarita, medium and long. See below 102.

65 THE TIME-MEASURE [xXXI. 109-114

109. The Mukhas of the long and the medium Ásaritas, the Layantarita and the short Asarita, will res- pectively consist of eight, seven, six' and five Kalas. 110-111. In the Upavahanas of the Asarita [of all kinds] Āsāranās1 to be employed are of eight syllables two long, four short, two long [for the short Asarita], of twelve syllables two long, eight short, two long [for the Layantarita], of sixteen syllables two long, twelve short, two long [for the medium Asarita] and of twenty syllables, two long, sixteen short, two long [for the long Āsārita]2. I shall now speak about the syllables which were sung in the past by Brahman. Example, (the text here is corrupt). 112 This rule of the Upavahana, depending on the arrangement of syllables in Kalas and in the sequence of their being long and short, has been prescribed in case of the Mukhas of the Asaritas. 113. Thus I have described the extent and measure- ment [of the Upavahana]. In the Caturasra (yugma) there are four ganas, and in the Tryasra (oja) there are six ganas. The Short Asarita 114. In the Pancapanih and the Capaputah (lit. the second) [the number of ganas] will be six and a half. Thus will be the short [Asarita] in its syllables measured by Talas. Ex. Devam devaiḥ samstutam īsam daityair yaksaih pranamita-caranam, trailokyahitam Īsam Haram rudram saranam upagataḥ. Tr. I have come to take refuge with Hara (Siva)' the terrible one, the benefactor of the three worlds, who is worshipped as the Lord God by the gods, and to whose feet Daityas and Yaksas bow down.

(109) 1 Read sad eva for sasthi. See. SR. V. 182. (110-111) 1 The term is probably synonymous with Āsarita. 2 The transl. is tentative, for the text seems to be corrupt. (114) 1 This and similar examples below perhaps show the originial connexion of dance and drama with Siva, 9

xxxI. 115-116] THE NĀȚYAŚASTRA 66

The Medium Āsārita 115-116. In the Cancatputah (lit. the first Tala) there should be eight regular ganas, and the ganas in the Satpita- putrakah should be twelve, and in the third part of the Vastu1 there should be thirteen ganas and a half2. These is the arrangement of syllables in the medium Asarita ;

Ex. Bhūtadhipatim Bhaganetraharanam Īsam devair vandyam suramakhamathanam raudram bhayadam gaja- carmapațam. Sambhum tryaksam jvalananibhajațam bhujanga- parikaram. Tridasaganavrtam daityair nityam paripațhita- caritam amarapatinamitam abhimatasukhadam Rudram pītam pitrvananilayam Gangaplāvita-sobhanajatam tam saranam gato'smi varadam ca Maheśvaram3. Tr. I have come to take refuge with Maheśvara, the giver of boons, the lord of creatures, who took out Bhaga's eyes, who is adorable to the gods, who destroys the sacrifice of the gods, who is terrible and fearful, who wears the hide of an elephant, who is the source of bliss, who is three-eyed and has matted hairs shining like fire, and who has serpents as his girdle, who is sorrounded by gods, whose exploits are always recited by the Daityas, who is bowed to by the lord of gods, who gives one pleasures of one's own choice, who is terrible, yellow, and is a dweller of the cremation ground, and whose beautiful matted hairs are soaked in water of the Ganges.

(115-116). 1 The Vastu (thing) is a technical word meaning princi- pal parts of songs. See below XXX II. 7. This is probably equivalent to what the singers of North India call tuk in connexion with Dhrupada songs. See GS. I. p. 78. This word (Vastu) has been used by Kālidāsa (Mālavi. II. 0. 5; 3.1; 4.1.) It also means a song, and is equivalent to the term. cij. (lit. thing) used by the modern North Indian singers. See SR. V. 6; V. 61ff. 2 See below 127. 3 This very exhaustively describes Siva's mythological character.

67 THE TIME-MEASURE [xxxI. 117-118

The Long Asarita

117-118. There should be first the Cancatputah (=yugma) Tala of sixteen ganas, next the Capaputah (oja) Tala of twentyfour ganas, and in the third there should be twenty- four ganas and a half.1 These is the arrangement of syllables in the long Asārita. Ex. Amarapravaram Madanāngaharam bhuvanaika- nātham abhayapradam Tripuranasakaram devam tam aham pranatah. Surapitrmunigana-pranatacaranam prthivīsalilā- nalapavana-yajnadhipati - sūrya - candra - vyomākhyāh astau munibhir yasya kāryā proktāh trailokyagurum tam acintyam ajam vidyānilayam bhairavarūpam khatvāngadharam sthityut- pattipralayanimittam sūkşmāksam acintyam candrārdha- dharam tilakardhadharam netrardhadharam kucardhadharam kāntardhadharam bahulair vividhair vidhrtair vikatair mundair vimukhair vişamair pramathaih parivrtam Īsam satataņ pranataḥ.2 Tr. 1 bow to the god (Siva) the greatest deity, the destroyer of Madana's body, the supreme master of the world, the giver of immunity from fear, and.the destroyer of Tripura. I always bow to the Lord (Siva) who is worshipped at his feet by gods, fathers and sages, who, the sages say, has created the eight [forms] known as the earth, water, fire, air, the master of sacrifices, the sun, the moon, and the space (lit. the sky), who is the preceptor of the three worlds, is beyond the reach of thought, is eternal (lit. without birth), the abode of knowledge, terrible in form, holder of khatvanga, the cause of existence, origin and destruction [of the world], who has subtle vision, who is unthinkable, who bears [ in his person ] half of a crescent, of a tilaka, of an eye, of breasts and of the beloved wife, and who is surrounded by many and various, aweful, shaven-headed, ugly and strange Pramathas.

(117-118) 1 Sce below 127. 2 See above note 3 to 115-116.

xxxI. 119-128] THE NĀȚYASĀSTRA 68

119. The three varieties of Asarita, have been described, viz., literal ( yathākșara ), double ( dvisamkhyāta ) and triple (trisamkhyāta).1 120. The literal Asārita is known to be made up of ganas of equal Varnas doubled in observing Talas, and its syllable are not repeated.1 121. The literal Asarita ( lit. that ) when it is [once] repeated, is called the double Asarita' and when twice repeated it is called the triple Āsārita. 122. In [ the Tala of ] the Asarita songs, one should make its [ Kala ] of four etc., consist of ganas made up of four matras, their long and short syllables being as pres- cribed before.1 123-124. That which is of four matras in aksaras will be two mātras in Varnas.' The Kalas in the Vrtti [ Mārga ] will be twice that in the Citra Marga. Hence, that Kala which is of four mātras in the measure of Varna in the Vrtti [Marga], will be doubled in the Daksina [ Marga ]. 125. No change of the Marga, is available as regards the syllables [ indicated by the name of Talas ].' It is only due to doubling the Matra that the variation of Varnas has been described. 126. This is mostly the rule relating to the Varna and the Tala in Asarita songs of the literal class. 127. In the double Asārita the repetition (nivriti) should be made by adding half [gana] to [the literal Āsarita], and in the triple Asarita, the double one should be augmented by half [a gana]. 128. The double Asarita should not be performed in the Citra Marga, and the Triple one in the Vartika Marga,1

(119) 1 See SR. V. 190. (120) 1 ibid. (121) 1 See SR. V. 191. (122) 1 The transl. is tentative. (123-124) 1 The meaning is not clear. (125) 1 Akşareşu here means yathāksaresu. See SR. V. 192. (128) 1 See SR. V. 192.

69 THE TIME-MEASURE [xxxI. 129.137

129. The triple Āsārita should be in the Daksina Marga', the double Asarita in Vartika Marga2 and the literal Āsārita in the Citra Marga.3 This is the fixed rule relating to Margas. 130. The rule of observing the Marga in the triple Asarita is, that it should begin in the Daksina, and in repeti- tion the Vrtti and the Citra [are to be adopted] serially. 131-132. The double Asarita too should be performed ( lit. desired ) according to this principle. Its performance may be in the Vrtti or Daksina Marga. After considering the relative strength ( lit. strength and weakness ) of the different limbs of a Vastu, the expert musician should observe the repetition at its beginning, middle or conclusion. 133. When due to the composition of the Vastu, a Kala becomes wanting at the repetition, then [ the singer ] should prolong the Varna till this Kala is completed. 134. The needs for repetition are as follows : enrich- ment of the Varnas and Alamkaras, rest for the producing organs, and the application of the Tattva' etc. . 135. Thus I have mentioned the [ mutual ] connexion between the Varnas, Talas and syllables in [course of perform- ing ] the Asarita and the Vardhamāna.

The four limbs of the Vardhamana

136. There are four limbs of the Vardhamana [song], viz. Visālā, Samgatā, Sunanda and Sumukhī.1 137. Of these, the first [limb] consis of nine Kalās, the second of eight, the third of sixteen and the last of thirtytwo Kalās.'

(129) 1 SR. V. 192. 2 Cf. SR. V. 192. 3 Cf. 125 above. (134) 1 See XXIX. 109. (136) 1 See SR. V. 195. (137) 1 See SR. V. 196.

xxxI. 138-145] THE NĀTYASÂSTRA 70

138-139. The Upohana of the Visāla consists of five Kalās, that of Samgata of six Kalas, that of Sunanda of seven Kalas, and the Upohana of the Sumukhi is always eight Kalas.1 I shall now speak of their sequence of long and short syllables. 140. In the Upohana' of the Visala there should be two long syllables first, then fourteen short ones, and finally a long syllable.1 Ex. (The passage is possibly corrupt). 141. The sages have said that four more short syllables, and the three long ones [being added to this i.e. to the Upohana of the Viśalā], will make the Upohana of the Samgata'. Ex. ( missing ). 142. The learned are to know that the rule about the Upohana of the Sunanda, is that it will have four short syllable, and three long syllables [more than that of the Samgata,]' Ex. (The passage is possibly corrupt). 143. The rule of Upohana of the Sumukhi, is that it is to be known as consisting of twentyeight short and [three] long syllables.' Ex. (The passage is possibly corrupt.) 144 Because, from this, the notes [in a song] are carried forward, and because from this, songs proceed, this consisting of unmeaning (lit. dry) syllables, is called the Upohana (= Upavahana). 145. Or, because a performance is carried forward by means of acts beginning with sucana' this song depending on the musical instuments, is called the Upohana.

(138-139) 1 From Kn. (on SR. V. 196-197) we learn that the Upohanas of the four parts of the Vardhamana consist respectively of five, six, seven and eight Kalās. (140) 1 See SR. V. 197. (141) 1 Cf. Kn. on SR. V. 197. (142) 1 Here evam guru-samyutaih means that there will be three more long (guru) syllables as in the preceding Kandika of the Vardhamāna. Also cf. Kn. on SR. V. 177. (143) 1 Kn. on SR. V. 197. (145) 1 Kn. (on SR. V. 92-93) reads stavanādikah for sūcanādibhiḥ. The original reading probably was stavanādibhih (=by means of praises etc.). .

71 THE TIME-MEASURE [xxxI. 146-156

146. The Tala of the Upohana in the Visālā is as follows : Samyā, Tāla, Šamyā, Tāla, Sannipāta.1 147. The Tala in [the Upohana of] the Samgata is the Cancatputah of two Kalas, and this in its Taladi variety, preceded by the Tala of three Kalas (i.e. Udghatta), will be the Tala of the Upohana of the Sunanda1 148. The Tala of the Upohana of the Sumukhi, will be the Cañcatputah of two Kalās. Upohanas twice repeated [in each case] will make up the Kandikā. 149. Thus I have spoken of the four Upohanas. Now listen about the performance of the limbs from the beginning. 150. The Tala of the Visala is as follows : Samya, T'ala, Samya, Tāla and Sannipāta of three Kalās.1 151. The Tala of the Samgata is Caicatputah of two Kalas and that of the Sunanda is the same (i.e., Cancatputab) of the four Kalas.1 152. And the Tala of the Sumukhi should be the double1 Cancatputah (=yugma) of four Kalas together with two Sannipatas. 153. I have thus spoken of the Talas in the individual limbs of the Vardhamana songs. Now listen about them collected together. 154. First there should be the Visala produced with the shortest (lit. young) Tala. The Tala which has its end consisting of three Kalas, is the short (lit. young) Āsarita. 155. When after taking up (lit. making the Graha of) the Samgata, one applies Visala in all its Kalas and couples it with the previous Tala, then it is the Layantarita. 156. Then one should perform the Sunanda and again the Samgata and again Visala and next the Sumukhi. (146). 1 See SR. V. 202. (147) 1 The Tala of the Samgata is Niskrāma, Samyā, Tāla, Samya, Niskrama, Sannipata, and in the Tala of the Sunanda these will be added to the preceding Tala. (150) 1 Cf. SR. V. 202. (151) 1 See SR. V. 202. (152) 1 The reading divicitrastu is probably corrupt. It secms to have been something like dvih citras tu. Cf. SR. V. 202.

XXXI. 157-167] THE NĀȚYASĀSTRA 72

157. The Tala that has been mentioned in the short Asarita, is wholly to be applied first at the beginning (lit. the rise) of the Kandikā. 158. Then after taking up (lit. making) the Graha of Sunanda one should perform Sunanda, Samgata and Višala. 159. The Tala that has been prescribed by me in case of the medium Asarita, should be observed in the three Samyas in case of the Sunanda and what follows. 160. And again Sumukhi, Sunanda and Samgata should be performed (lit. is desired), and they should be applied beginning from the Sumukhi etc. 161. Then one should know about the end of Visala and of the respetitions (nivrtti). The Tala in the long Asarita is either silent or audible. 162. The same [Tala] should be performed in all [the limbs]. These are four Talas prescribed in the combina- tion of limbs. From a combination of these limbs the Vardhmāna is made (lit. desired). 163. The short (lit. youngest) [Asarita] consists of nine Kalas, the Layantara (= Layantarita) of seventeen Kalās, the medium [Asarita] of thirtythree, and the long of sixtyfive Kalās.' 164. This is the rule about the Tala in all the Asaritas. The Vardhamanaka is so called because of a [gradual] increase of Kalās due to [gradual] increase (vardhana) of syllables, and because of an increase of the Laya (tempo) in its successive phaseș. 165. In all the Asaritas and the Vardhamana songs the law of the syllables relates to an application of double the [ordinary] Tāla. 166-167. The Sannipata without an end (?) occurs at the end, then the final Kala should known as being made up of two matras. This is the characteristics of the Vardhamana as described by me. I shall now give a tabular view of the brief characteristics of the Āsarita.

(163) 1 See SR. V. 195.

73 THE TIME-MEASURE [xXXI. 168-177

168. The wise prescribe the Dhruva [Tala] in a Kalā which is not deficient. The remaining and final [Talas] should be conforming to the syllables of the Talas (i.e. the names of the Talas). 169. There is no (i.e. should be no) Sāmya (=Samyā ?) in the pluta and short syllables represented by Dhruva Tala .... Samatva is prescribed by means of three Patas.1 170. The Asaritas, short medium and long are to be furnished (lit, made) with Talas, Sannipātas, Samyas and Dhruvas.1 * *

169. By doubling afterwards the Kalas of this (i.e. of the short Asarita) the medium Asarita consisting of Samya in the intervals of Talas should be made. 172. In the first Vastu of the medium Āsārita there should be the Uttarah (=Satpitaputrakah) Tala leaving out the three Kalas, and in it there should be two complete repotitions (parivrtta).1 173-175. [The Pāta of the medium Āsārita will be as follows]: Samyā, Tāla of two Kalās, Samyā of two Kalās, Tala of one Kala, Sannipāta of three Kalas, Tala of thee Kalās, Samyā of one Kalā, Tāla of two Kalās, Samyā of two Kalās, Tāla of two Kalās, Sannipāta of three Kalās again. In the third [Vastu] there are Sannipatas of twelve Kalas at the end. 176. The first part of the medium Asarita is said to consist of eight Kalas, the second of twelve Kalas and the third should have a part [of twentyfour Kalas] ending in a Sannipāta. 177. The Praveśa, Viksepa and Nișkrama made with fingers, which have been mentioned before, should all be observed by the experts in the medium Āsarita.

(169) 1 The text seems to be corrupt. (170) 1 Cf. SR. V. 179. (172) 1 See SR. V. 180. 10

xxxI. 178-194] THE NĀȚYAŠĀSTRA 74

178. Now in the long Asarita the wise should make the body made up of Samya and Tala with proper tempo (laya) and [this body] should consist of sixtyfive Kalas. 179. In it the Āvāpa, Nișkrāma, Vikșepa and Praveśaka of the fingers should consist [of groups] of four Kalas. 180. The long Asarita should have groups of four Kalās with its Āvapas and Viksepas, and its Vastu in other places will consist of seventeen Kalas beginning with Samya.1 181-183. [The Pata of this Asarita will be as follows :] Samya and Tala of four Kalas, Samya of four Kalas, Tala of two Kalas, Sannipāta of six Kalās, Tāla of six Kalās, Šamyā of two Kalas, Tala of two Kalās, and Sannipāta of six Kalās. 184. This is the entire rule [of Talas] in the third Sannipata, but at the end I shall speak of the throw of fingers [indicating them]. 185-188. Āvāpa, Šamyā, Nișkrāma, Viksepa, Tāla, Āvāpa, Niskrama with the ring-finger, Viksepa, Samya, Āvāpa, Tāla, Vikesepana (Viksepa), Pravesa with the middle finger, Āvāpa and Nişkrāma again Viksepa and Sannipāta, with the forefinger, these are the seventeen Kalas in the first Sannipāta.1 189-193. Āvāpa, Nirgama (Nișkrāma) with the little finger Viksepa, Pravesa, Avapa and Tala with the ring and the little fingers, Tala and Viksepa with the ring and the little fingers, Samyā, Āvāpa and Nișkrāma, Viksepa, and Samya with the forefinger, and these are the fifteen Kalas. and Āvāpa, Tāla, Visepa, Pravesa, Āvāpa, Niskrama with the forefinger, Nişkrāma, Vikșepa, Sannipāta will make up the twentyfour Kalas [of the second Sannipāta]. 194. This is the rule [of Talas] in the third Sannipata. This is the arrangement of fingers in showing the Talas in the long Asarita. There will be sixteen Kalas in the first (180) 1 It seems that a portion of the text, has been lost after this. (188) 1 The text dealing with the medium Āsārita seems to be lost from here. (189-191) 1 The text here seems to have some lacuna. Cf. SR. V. 181.

75 THE TIME-MEASURE [xxxI. 197-206

Sannipata, and twentyfour in the second and one more Kala than this (i.e. the second) in the third Sannipata. In each of these there should be ten or seven groups made up of Samya, Tala as well as Sannipāta. 197-198. In the first Vastu of the short and the medium Asāritas, the other two are to be applied as [pres- cribed] before. The three Vastus [in them] will consist of six Samyas, eight Talas and three Sannipatas. One should know the Asarita to consist of seventeen Pata [Kalas]. 198-200. Eight Talas, six Samyās and three Sannipātas are to be known [as used] in each of the Āsaritas. This is the description of the Asarita spoken by me. [Now] I shall consider the application of the uses of the Vastus of songs. Next I shall speak about the characteristics of songs. 201-202. In the Vastus1 and bodies of the songs there are limbs such as Vivadha,2 Ekaka and Vrtta.3 The Ekaka consists of one Vidari, and the Vivadha of two and the Vrtta not less than three and not more than six Vidarīs. 203. That which consists of Padas or Varnas, is called a Vidāri. And that which ends in the Nyasa, Apanyasa and Amśa is a Vastu.1 204. Because it splits (vidarayati) notes, it is called Vidarī' and it resembles heavy Varnas. 205-206. The Vivadha and the Ekaka are generally used in the Madraka [song], in each half Vastu of the Prakari, and in each quarter of the Rovindaka. But in the Rovindaka, Uttara, Ullopyaka, Pānikā, Bahirgītas and Lasya, the Vrtta is used.

(197-198) 1 See SR. V. 197. (201-202) 1 Defined below in 203-204. 2 Dattila, (144) and SR. (V. 70) have this as 'Vividha'. 8 Defined below in 204. (203) 1 See Dattila, 140. (204) 1 See Dattila, 142.

xXXI. 207-217j THE NĀȚYAŠĀSTRA 76

207. The Vrtta is of two kinds : Pravrtta and Avagadha. The Avagadha is due to being in an ascending scale and the Pravrtta due to being in a descending scale. 208. Ascending as well as descending is of two kinds : one prescribed in connexion with tho Nyasa and the Apanyasa [notes], and the other made in the Margantara (= Āntara- mārga ?). 209. Vidarīs in a song are said to be three1 in the minimum and eleven in the maximum, [but] their highest number may [in rare cases] be twentyfour. 210. But in case of the Ullopyaka and the Vaihāyasa [the number of] Vidarīs will be half as much more in the third Sannipata. 211. They are to be performed there with the Vivadha or the twofold Vrtta, and the Anga will not come to a close in a half of the Sannipata. 212. The Vivadha is said to have been of three kinds, viz. Samudga, Ardhasāmudga and Vivrtta. 218. The Vivadha is always to be known as ending in the Nyasa note except in the case of the Goyaka, and in the beginning of the Madraka the Samudga has been prescribed. 214. But the Geyaka in the Samudga should be applied like the short Varnas. And applied at the end and in the third [Vidarī] it is called Geyaka. 215. When in application, one half of a Vidaris is similar to [one half of another Vidari] and the other half is dissimilar [to the <remaining half of it], it is called the Ardhasāmudga. 216. The Vidarī is uneven in the Nyasa and the Apanyasa, and its copious use is called the Vivrtta. 217. The Vivadha, Ekaka and Vrtta are respectively to end in the Nyasa, the Apanyasa and the Amsa [notes]. (207) 1 See above note 3 on 202. (209) 1 See SR. V. 77. The text' of SR. is corrupt here. Ava- raikādasapara should be emended into Tryavaraikādasaparā. Kn. 's Comm. too requires emendation. It should begin as tryavaras ca etc ; otherwise the next sentence which supports the emended text, becomes meaningless.

77 THE TIME-MEASURE [xXXI. 218-223

218. The Sannyāsa and the Vinyāsa notes occur in the middle of the Anga, and the Vinyāsa is known to occur in the middle of the Vidarī. 219. The Vinyasa may rarely be at the end of a word in a Vidārī; but too much of it has not been prescribed by the experts.

The Seven Types of Songs

220. The Seven [traditional Types of] songs are the Madraka, Ullopyaka, Aparāntaka, Prakarī, Oveņaka, Rovin- daka and Uttara.1

The Madraka

221. [Among these] the Madraka' is of two kinds : one consisting of four Vastus and the other consisting of three Vastus2, and that which consists of three Vastus, includes a Sīrşaka.3

The Aparāntaka

222. In the Aparāntaka, Sīrsakas should be five, six or seven in number, and in the Prakarī they should be four, three and a half and (i.e. seven and a half in all).'

The Rovindaka

223. The Rovindaka consists of seven limbs [in the minimum] and sixteen limbs in the maximum, and Ekakas in them should consist of two [consecutive] padas1 consisting of equal Varnas.

(220) 1 See SR. V. 58. The later Indian music seems to com- pletely ignore these Seven Types of Songs. (221) 1 See SR. V. 77 ff. 2 See above note 1 on 115-116. 3 A part of the song with a particular kind of time-measurc. (222) 1 See SR. V. 92. (223) 1 Pada - one quarter of a couplet in a song.

xXxI. 224-234] THE NÂȚYASĀSTRA 78

224. And in that (i.e. Rovindaka) one is to apply in the beginning the Pravrtta and Vivadha and then the body and the limbs are to be placed in their proper position. 225. In its middle should occur Akāra (i.e. the syllable a) and in the end too the same, and in its end should come a clear Sīrsaka.

The Ovenaka 226. The Ovenaka is known to be consisting of seven or twelve limbs. And that with seven limbs ends in two (?) and that with twelve limbs ends in three (?). 227-228. The twelve limbs of the Ovenaka are Pada, Sandhi, Maşaghata, Vajra, Sampistaka, Šīrsaka, Caturasra, Upavartana, Upapata, two Pravenīs and Samharana having two limbs. 229. When Sampistaka, Upapāta, two Pravenīs and Upavartana are left out from among the twelve limbs, the Ovenaka is called a seven-limbed one. 230. The seven limbs common to the both [Ovenakas] having similar Varnas and Padas are called Vivartana, and in the twelved-limbed [Ovenaka], Padas [in other limbs] are to be different.

The Ullopyaka

231-234. The rule about the limbs of the Ullopyaka is this.1 Its three limbs are Avagadha, Pravrtta and Mahā- janika. It becomes two-limbed when the Mahājanika is left out. 'And when Sthita is combined with Pravrtta, it [the Ullopyaka) is also called one-limbed, and the Mahajanika also may constitute the one-limbed Ullopyaka. And the Sthita and the Pravrttaka may constitute a two-limbed Ullopyaka or an one-limbed one (separately).

(231-234) 1 The original of this sentence seems to be corrupt and superfluous. ' The original of this passage seems to be a variant of 234-236.

79 THE TIME-MEASURE [xXXI. 234-244

In the two-limbed (Ullopyaka) the rule of the Dhruvās and the Dhatus [hold good] separately, and in a combined manner. 234-236. The three limbs [of the Ullopyaka] is the Sthita, Pravrtta and the Mahajanika. And the two- limbed [Ullopyaka] will exclude the Mahajanika, and the Mahajanika [only] will constitute the one-limbed [Ullopyaka]. These are, separately and in combination the rules about the many limbs [of the Ullopyaka] which may be Caturasa, Tryasra and Visra (Dvisra = Dvyasra?). 237. The Samhāra (= Samharna) of the Ovenaka is made up of two limbs or one. And this (Samhara) should not be used at the beginning or in the middle.1 238. The Ekaka or the Vivadha should always be used in the end, and the Ullopyaka should not have less than six and more than twenty limbs.1 239-240. Of these [limbs] the Samharana will have the Mukha and the Pratimukha [as its two parts], and it may be with the Vaihayasaka or without it. And it will not have less than three and more than twelve limbs. And the Vaihayasaka will consist [even] of one limb and not more than six limbs. 241-242. Three limbs having been sung the performance it is to begin. The limbs Mukha and Pratimukha have been prescribed for the Ullopyaka and the Uttara. Then the other limbs may be compressed or extended. 243-244. The Mukha and the Pratimukha are to be known as the Vivadha. The Vrtta occurs in the Pratimukha and may shortly be in other [limbs] as well, and the Sakha in the Ullopyaka, the Uttara and the Aparantaka as well as the Pratisakha will have same kinds of Varnas and Padas [as the Mukha and the Pratimukha have.]

(237) 1 This passage seems to have belonged to the discussion on the Ovenaka (226-230 above). (238) 1 See Dattila, 194-195.

XXXI. 244-255] THE NĀȚYAŠĀSTRA 80

The Uttara 244-245. The Uttara will not have less than six and more than twelve limbs * * * Its Sīrsaka should specially be placed at the end. 246. This is the rule of limbs to be observed in case of Songs of Seven Forms. Next I shall speak of the measure- ment of Vastus in the songs.

The Madraka 247. In all the Vastus, Kalas should consist of sixteen Matras. And each quarter of it is a Padabhāga. 248-249. First eight in the beginning are long and the next eight short, and one is to make Upohana (Upavahana) with two long Matras in the beginning, and than the third will be long to make the Pratyupohana and in the fourth and the fifth long syllables there will be [two] Samyas. 250. The sixth and the seventh will be Tala and then the eighth will be Samya, [all these] in the heavy syllables. Then a pada of eight Kalas is to be made with short syllables.1 251-253. In Talas of heavy syllables padas will consist of one [entire] Kala.1 [The Pātakalā will be as follows : ] Samyā, Tāla, Tāla, Samyā, Tāla, Samyā, Tala and Sannipāta. Thus the Sirsaka is to be constructed with the Cancatpuțah, and this will be the system of Talas of one Kala in the Madraka [song]. When heavy syllables are separated in a pada they will be considered as consisting of two Kalās. 254-255. After separating them the Kalas are to be arranged as was done previously. And in the Madraka of two Kalas, the Upohana will consist of three Kalas and the Pretyupahana of one or two Kalās.1

(248-249) See Kn, on SR. V. 79. (250) 1 Tato'rdhakalikam in the text should be emended into tato'sta-kalikam ; see above note 1 on 248-249. (251-253) 1 The text here seems to be corrupt. (254-255) 1 See SR. V. 80 ff. and Kn. on it.

81 THE TIME-MEASURE [xXXI. 256-259

256. Four [Kalas] will make one Matra' and the Vastu will consist of three Matras. [Each of] these three Vastus will consist of two Kalas. This is the rule of Pada in Pata. 257. The Patas such as Samya and Tala etc., which have been prescribed in case of heavy syllables, should be used in the Padabhaga of two Kalas. 258. The eighth the tenth and the sixteenth will have Samya and in the twelfth and the fourteenth will have Tāla.1 259. The rule of Pata in case of eight light [syllables] has been mentioned before. In three Vastus of two Kalas too, these Patas should be applied. And the Sīrsaka of six Kalas should be made with Panacapaniḥ.1 Kramdam kramdam sailendra-rāja-samsthitam īsam sāntam Sivam pannagendra paribaddhajațaņı. Munigana-namitam dhyanābhiratam jnanamayam madanāmgaharam vibhum prabhum. Saranāgato'ham daityair nagaih samstutam Īsam tvām vedamayam tvām kartāram bhavanapatim sarvaloka-namaskrtam Rgyajuh-paripațhitam gamgādharam šūladharam bhuja- gendradharam pranato'smi Sīvam mrgarāja-carma- paribaddha-tanum. Vipulagatim vrşabhagatim jvalanasikhisadrśa-kapila- jațaņ tam aham namāmi Šivam šīrasā. (Here ends the Madraka of two Kalas) Devam praņatārtiparami mayadharam māyārūpam jațilaņ namāmi Sīvam širasā. (Here ends the Sirsaka of six Kalās) Tr. I seek shelter with Thee, the peaceful lord Siva whose matted hairs have been tied up with the king of serpents, who is bowed to by the Munis, who is constantly engaged (256) 1 See SR. V. 21, and notes on 254-254 above. (258) 1 See Kn. on SR. V. 84 (asya prastarah etc.) The fourth foot should be read as talam vai etc. (259) 1 See Kn. on SR. V. 79 (asya prastārah etc.). 11

XXXI. 260-264] THE NĀȚYAŠĀSTRA 82

in meditation, and is full of wisdom and who has destroyed the body of Madana (Kama) and who is supreme and all-powerful, who is adored by the Daityas, and Serpents and who is the creator and the lord of the world and is bowed to by all the people. To Thee who is praised by the Rk and Yajur Veda, who carries, Gamga [on his head], the spike [in his hands], the lord of Serpents [in his matted hairs], I bow my head to Thee who is bliss, and is clad in the skin of the lord of beasts, whose gait is prodigous and is comparable to that of a bull, and his twany matted hairs are like the burning fire. (The end of the Madraka of two Kalas). I bend my head to Siva, the pure god who removes the affliction of persons bowing to him, who is the con- tainer of the Maya, and is himself the Maya in form, and who wears matted hairs (The end of the Sirsaka of the Madraka of two Kalās). 260. I shall now speak properly of the Catuskala [Madraka which will be characterised] in terms of Padabhāgas of four Kalās. 261. Four [Kalas] will make one Matra and three Mātras will make one Vastu'. In giving the Pādabhāgas I shall speak of the Pata in due order. [This is as follows]. 262. [In the first Vastu] there will be Samya at the end of the fourth, fifth, eighth, tenth, the eleventh Kalas and in the beginning' (lit. not second) of the ninth Kala.2 263. [And in it] at the end of the sixth, seventh and ninth and in the beginning (lit, not second)' of the tenth and seventh there will be Talas. 264. And at the end of the twelfth, first of all there will be Sannipata. Thus there will be the rule of Pata and thus one should apply all the Vastus.

(261) 1 See 256 above and its notes. (262) 1 Read अम्याउद्ितीया for अम्या दितोया. 2 See notes on 259 above. (263) 1 Read पंवा द्वितीय: (- बैंब पदितीय:) for सैप द्ितीय:

83 THE TIME-MEASURE [xxxI. 265-273

265. In the first Vastu, the eight Kalas in the beginn- ing will constitute the Upohana, and the Pratyupohana in the second Vastu will be of two Kalas. 266. In the third [Vastu] there will be three Kalās and in the fourth four Kalās, and the Sīrsaka at its end will be made up of Satpitāputrakaḥ. 267. In [the Vastu of] two Kalas there should apply a time-measure consisting of four Yathaksara Pancapanih, and in the third and the fourth [Vastu] there should be Dvigeyaka1 in due order. 268-269. And in the fourth [Vastu] the Parivarta should come to an end. And the first and the second Vastus will be the Upohana and parts of the Madra[ka] and they will include three Vastus of three [different] lengths arising out the Tryasra Tāla.1 269-270. The double of a Vastu of two Kalās will make up a Vastu of four Kalas. In it the seventh and the final [syllables] will be light and the doubling has been prescribed here. So the four Kalas are regular here, and the Upohana [will then] consist of eight Kalas, and Pratyupohana will consist of one, two or four Kalas. 271-272. Sirsaka of the [ordinary] Madraka should be in the Yathaksara' Pancapānih. But in the Divkala [Madraka] of two Kalas, the same (Pancapanih) will consist of two Kalas and in [the Madraka of] four Kalas the same will consist of four Kalas. 273. It will consist of three Vastus of three different measures and they will arise from the Tryasra Tala. Thus the Madraka will have thirteen Patas.

(265) 1See SR. V. 86. (267) 1ईनियक:। मंभादिरंभखर एव ग्रही यत्तति स तथोताः। अंशान्त इति। चंशख्वर एव गाठी यद्मति स तथीत्ः । पदाहत्तियुत इत्यमीन हगेयकसंज्ाया भन्वर्थता दर्शिता भर्वत। Kn. on SR. V. 87. (268-269) 1 Read trivastu tripramānam for caturthas tu tripramānam. (271-272) 1 Read [yathākşara stu] for yathākşarasya.

xxxI. 274-282] THE NĀȚYASĀSTRA 84

The Aparantaka 274. It will have four heavy syllables and four light syllables. In the second [syllable] which is heavy there will be Samyā, in the third, Tāla'. 275. In the third and the fourth there will be Samya and Tala for the light syllables and Tala, Samya, two Talas and Sannipata are to be applied to these, and in the light syllables there will be Patas consisting of eight Kalas. 276. The Aparantaka is to be known as originating in the Tryasra Tala [represented by] Tala, Samya, Tala and Sannipāta 277. After separating the long syllables one should apply [the Talas of] two Kalas. These Talas of two Kalas and of four Kalas are [to be represented] by six Padabhagas [as follows]. 278. [Samyā, Tāla, two Tālas], Samyā, and Tāla. Arrangement of the Pata will be as before in case of the fifth and the sixth [Kala]. 279. The Tāla of four Kalās includes Āvapa and Viksepa. And it is furnished with the Padabhagas of four or six Kalās. 280. One is to apply here Vastus five six or seven in number'. In the end of the second, fifth [Kalas] there should be two Samyās. 291. And in the end of the third, the second and the fifth and at the beginning the sixth there should be Tala and then the Sannipata will be at the end. 282-283. These are the Patas relating to the previous Vastus in case of [the Aparāntaka of] four Kalās. This is the application [of Talas] in the Aparantaka of four Kalas. This is to be known as the Aparāntaka in Patas of literal Talas.

(274) 1See SR. V. 91. This passage in its second hemistich seems to be corrupt. (280) 1 The passage seems to be corrupt.

85 THE TIME-MEASURE [XXXI. 283-292

283-285. In the beginning, the Upavahanas of the Kala will be doubled in grouping (?)1. In [the Aparāntaka of] two Kalas the Upohana will consist of one or of two Kalas, and similarly in [the Aparāntaka of] one Kalā the Upohana will be of one Kalā. This (i.e., the Aparantaka of two Kalās) being doubled, is to be known as the Aparantaka of four Kalas. In this third [Aparantaka] of light syllables the last Kala will be doubled. 286. This is the Aparantaka in which the Vastu1 aris- ing from the Tryasra Tala represented (lit. adorned) with six Kalās, is called the Sākhā.2 287. Its Pratiśākhā' is similar to its Šākhā. It is like its latter (pascima) half and consists of different words'. Its Sīrşaka (siras) is to be made with the Pancapanih of one Kalā. 288. In course of performing the four Vastus it should apply the Nivrtta in the Vrtti [Marga]. This is the special rule in the following [half]. 289-290. Then there will be two Tālikas of six Kal- pātas. And by means of the literal Pancapanih of one Kalā there will be an Upavartana of these two1. 290-291. Its (i.e., of the Aparāntaka of four Kalās) Upohana will consist of half [the number of Kalas in] the Vastu and its Pratyupohana will be of two Kalās. [The Aparantaka of] two Kalas is to be performed in the Daksina [ Marga] and that of four Kalas in the Vrtti [Marga]. And in case of the remaining ones', there should be no Upohana here2. 292. This is the time-measure prescribed by me for the Aparantaka.

(283-285) 1 The passage seems to be corrupt. (286) 1 Read Vastu šākhā for vastušākhā. 2 प्र्जति गोताङस्य संज्ञा। किं त्वन्यपदनिर्मितेति प्रतिभाखाया विशषकथनम्। Kn. on SR. V. 92. (287) 1 See note 2 above. 2 See SR. V. 97. (289-290) 1 cf SR. V. 98. Read तथक कलयुत् [न] for तथककल युर्श Sसित (290-291) 1 Read वद़ा लख्य भवेदन्तासदन्ता0. 2 See SR. V. 104-105.

*xxI. 293-304] THE NĀȚYAŠĀSTRA 86

The Ullopyaka [The Vastu of] the Ullopyaka will consist of two long syllables, two short syllables and a long syllable. 293. Its Kalās will be as follows. Samyā, Tāla, Šamyā Tala and Sannipata and these representing the five Patas indicated by the syllables of the literal Caturasra [Tala]. 294. According to the aforesaid rules there will be the [Ullopyaka of] two and of four Kalas. After its three limbs have been sung there should be the Vaihāyasika. 295-297. It will have one limb in the minimum and twelve limbs in the maximum. It will consist of twelve Kalas, or seven Patas [which are as follows :] Samya of two Kalās. Tala of two Kalās, the Sāmyā, Tala and Sannipāta [each of one Kala one after another]. This is the Sakha ; the Pratiśakha [will be like this, but it] will consist of different Padas (words).1 298-299. When it will come to a close then will take place the Antaharana.1 The Samharya is regularly to be made up of the literal Pancapanih. The Samhara of the endless (?) is to be carried on in its own Tala. The Nivrtta of two kinds consists of three Amsas and are [again]of three kinds. 300-301. The three kinds [of Nivrtta] are Tryasra, Caturasra and mixed. The three limbs of it are Sthita, Pravrtta and Mahajanika. There should be Antaharana with the Pancapanih Tala and similarly Sthita with the Yugma Tala. Its rule of Pata will be as follows : 302-303. Samyā of two Kalās, Tāla of two Kalās, Sannipata of four Kalas. Then comes Pravrtta. It has Samyas of two Kalas, Tala of one Kala, Cancatpuțah of Taladi class, and Sannipāta. 304. Mahajanika should be performed with the Sthita Tala, and Nivrtta should truly be in the Nivrtta Tala.1

(295-297) 1 See SR. V. 119. (298-299) 1 The text here seems to be corrupt. (304) ' The text here seems to be corrupt.

87 THE TIME-MEASURE [xXXI. 305-317

305. Of Sthita and Mahajanika, there should be mostly Upavartana and before it Udghattakah and Parivartak a should be performed. 306. Yugma being of mixed Tala, should be applied in the Anta [Tala].' Vivadha with Ekaka is the entire rule in Anta [Tāla]. 307. Thus I have described properly the Anta Tala which is Yugma as well as mixed. Now I shall describe the Tryasra Tala. 308. [It is as follows: Samyā of two Kalās, Tāla, Sannipata of three Kalas. Then comes Pravrtta. 309. Here Pravrtta should be properly made Parivar- tana with Pancapanih of the literal ( yathaksara) class. 310. Its Mahajanika should be in the Sthita Tala, and Nivrtta Tala should be observed in its Anta-nivartana. 311. Mixed Tala being [a combination of] Yugma and Ayugma (ojah) Talas, should be the Antahpravartana. Vivadha with Ekaka is the entire rule of Anta Tala. 312. Sthita should briefly be made up of two'limbs or one. That with Yugma [Tala] should be of two limbs, and that with Tryasra of one limb. 313. Pravrtta also will be of two limbs or one. Maha- janika will be of one limb and Samharana of two limbs. 314. In the Ullopyaka this is the Anta beginning from Sthita ending with Pravrtta.

The Prakari

315. The Vastu of the Prakari, consists of six Matras and nineteen Patas, and it (Vastu) should be of four Kalas in length1. 316-317. There should be no literal (yathāksara) Tāla or Tala of two Kalas. After the initial three Matras there should be Samya and Tala'. Then the Vastu should be serially

(306) 1 Read yugmopy antah for yugme hyantah, (315) 1 See SR. V. 136-137. (316-317) 1 See SR, V, 137-138,

XXXI. 318-330] THE NĀȚYASĀSTRA 88

made of Patas consisting of six Matras. And the Upohana will be in the first half of the Vastu. 318-321. Its second Matra will be Samya with Tala and Samya again will be at the end of the three Matras. In the fourth Matra there should be twelve Talas and in the fifth eighth1 Talas. In the sixth there should be Samya of two Kalas, Tala of two Kalas, again Tala of two Kalas and Samya of two Kalas and Samya, Tala, Tala, Samya and Tala, Samyā, Tāla and Sannipāta2. 321-322. When four and a half Vastus will constitute the Prakari, it will be the latter half of the Pada and its half should be placed before. Its Samharana should be made with the short Asarita.1

The Ovenaka

323-328. The first Pada of the Ovenaka is to be made equal to that of the Sakha of the Aparantaka, and its second Pada is to be made equal to that of its Pratisakha. And the same will be its Patakala and Masaghata afterwords. The rule of its Pata, will be six Patas of twelve Kalas, [They will be as follows :] Samya of two Kalas, Tala of two Kalās, Tala of two Kalas, Samya of two Kalas, Tala of one Kala, Sannipata of three Kalas, and its Masaghata generally will be a limb of Vivadha. At its end should be Sandhi and sometimes Upavartana, and its Ogha will be made up of Pancapanih of one Kalā, and the Sandhi should be made of literal Pancapanih, and Ekaka and Vivadha are its limbs. 329-330. Its rule like of that of Upavartana, is different. The rule which is applicable at the beginning of the final Caturasra, is to be wished [as] the Caturasraka according to the same limb of Vivadha.1

2 cf. SR. V. 141-142. (318-321) 1 Read cāsta[kah] smtah for cāstamah smītah.

(321-322) 1 Read kāryam samharaņam for kāyam samharaņam. See SR. V. 139. (329-330) 1 The text here seems to be corrupt.

89 THE TIME-MEASURE [xXXI. 330-343

330-333. The Sampistaka will be of two kinds : Sandhivat and Vajratala.1 They will consist respectively of seven limbs of twelve Kalas, and of twelve limbs of ten Kalās. One should use here Kișkrāma, three Samyās, three Talas, and a Samya and a Tala, a Samya a and Tala, then a Sannipata. This is the Sampistaka in the Ovenaka of seven limbs. 333-334. This, after adding to it two Samyas and a Tala, is desired in the [Sampistaka of] twelve limbs. Nine or eleven Patas are called the Sampistaka, and the Upavartana is to be applied like Vajra.1 335-338. Combined with Vivadha and Vrtta, the Praveni is of two kinds. The application of the Praveni should be made the literal Pancapanih, and it should consist of two Kalās or mixed [Kalās] according to the limbs, and some- times Upavartana should be made at its end, and the same should be according to the prescribod use of the Pancapanih. The second Tala falling from it, is called Apapata. Its Antaharana should be made in the Vajratāla. The Rovindaka 338-341. In the Rovindaka, there should be six Matras with the Padabhaga of four Kalas. Here the Pata is desired after the half of the five Matras. [This Pata will be as follows :] Tāla, Samyā, Tāla, Samyā, Tāla, Samya. This is the rule of five Matras in due order. Fourteen are the Talas desired in the Matras of the fifth.1 Similarly the sixth will have four Kalas as in the Madraka. 342-343. In the beginning there should the Upohana con- sisting of eight Kalas. Then there should be the Pratyupohana of two Kalas. The Patas should end in a Sannipata and include Vivadha and Ekaka. In the end its collection of Varnas, will consist of eight Kalas, This the tabular view [of the first Pada of the Rovindaka].

(330-333) 1 The text here seems to be corrupt. (333-334) 1 The text here seems to be corrupt. (338-341) 1 The text here seems to be corrupt. 12

XXXI. 344-356] THE NĀȚYAŠĀSTRA 90

344-345. The second Pada will also have similar Varnas in its Upohana. Its tabular view should give the Talas in its body. This should be represented by Pancapanih of two Kalas, and its total length will be twelve Kalas only. 346-349. In the body of the Rovindaka, there should be the Upohana of six Kalas, and in its beginning there should be Vivadha and Pravrtta. And it should begin with Āvapa (a-kāra)1 and is to consist of four or of three Kalas according to one's option, and joining of limbs is to come afterwards. Its Sirsaka should not be of any special kind, and it should be made up of literal Pancpanih. In its beginning there should be Ekaka, and at the end Pravrtta. This is the Rovindaka. The Uttara comes aftewards.

The Uttara 350. I shall speak of the Uttara having characteristics according to rules. It should have Mukha and Pratimukha. 351. As in the Ullopyaka, it should have in the begin- ning a Matra made up of four Kalas, and as in the Rovindaka it should use at the beginning a group' with Āvāpa (ākāra).2 352-354. It should have six limbs in the minimum and twelve limbs in the maximum, and its Sakha should have six Patas consisting twelve Kalas Thoy (i.e. the Patas) will be as follows :] Tala of two Kalas, Samya of one Kalā, Tala of two Kalas, Samya of two Kalas, Tala of one Kala, Sannipata of three Kalas'. The Pratisakha will be just like the Sakha, and only it will have a different Pada. .

355. Though it is performed without any speciality it should have some rule at the end. At its end, the Sīrsaka should be observed with the [literal] Pancapanih. 356. The Pratisakha should also be performed with the Pañcapanih of two Kalas having Pātas mentioned above.

(346-349) The reading here is probably corrupt. (351) 1 Read ganam adyan in the text. 2 See note 1 on 346-349 above. (352-354) 1 The passage seems to be corrupt.

91 THE TIME-MEASURE [xXXI. 357-366

357. This is the Tala of the Daksina Marga in the Seven Types of song. The time which is suitable in the Daksina [Marga] will be used also in the Vārtika [Mārga]. 358-359. And the same [rule will hold good] in the Citra [Marga] when there is nothing special. This is the rule of time in dance1 due to Ardhayoga', except in the two Mukhas of the Ullopyaka and of the Uttara. The Ardhoyoga1 at that time will consist of two Kalas 360. And similarly in the case of the Rovindaka and of the Ullopyaka as well as of the Madraka and of the Uttara, the second syllablo will consist of four or of two Kalas. 361-362. The is the rule in the bodies [of songs] and in the remaining [caso] there should be Prakrti, and in the Prakrti too, four Kalas should bo used along with two Kalas.' In case of the Vrtti (Vartika) Marga, the Ardhayoga in time, will consist of groups of four Kalas. The combination (roga) of four Kalas available in the Vrtti Marga, will also occur some- times in the Daksina Mārga. 363. The rule of Tala in the Daksina [Marga] men- tioned in case of the Mukha and the Upavahana of the Madraka and Ullopyaka, will also be available in the Vrtti (Vartika) Mārga. 364. In the Citra [Märga] whether it is used by itself or along with anothor', both these (i.e. rules of Kalā) have been prescribed. In the Citra, the rule about the Sakhas may end in any of the three Margas .? 365-366. These are the [songs of] Seven Types [sung] in the three Margas, and they are of two kinds :1 Kulaka and

(358-359) 1 Read nytte for vytte in the text. 2 Read ardhayoga in the text. This term has not been explained before. 3 ibid. (361-362) 1 The text here seems to be corrupt. (364) 1 Read citre vyaste in the text. ? Read trayamargikam. The trans. is tentative. (365-366) 1 See S. R. V. 60.

XXXI. 366-374] THE NĀȚYAŠĀSTRA 92

Chedyāka. [A song of] one sentence (lit. meaning) is Kulaka2 and that of] different sentences, is Chedyaka.3 366-367. The songs of Seven Types are [again] of three kinds1 : Niryukta, Pada-niryukta and Aniryukta. 367-368. The Niryukta1 is that which has Sakha from outside the body of the song. The Padaniryukta2 is that which is partially free from such elements outside the song, and the Aniryukta3 is quite free from such elements. 369. These are the two classes of songs of Seven Types. These Seven Types of songs uttered by Brahman, have come out of the Samaveda.1 370. Songs and instrumental music [performed in] the worship of gods, [bring] limitless merit, and at the conclusion of all such songs, Chandaka (Chedyaka ?) has been prescribed. 371-372. This is the rule of the Rk, Gathā and Pāņikā having forms consisting of two four, three or nine Caturasra, Talas. According to this rule, one should prescribe Caturasra and Tryasra Talas. 372-374. The group (gana) mentioned before1, should have one Kala at its beginning. And this Kala should consist of four Matras. The Madraka (madriki), the Panika and the Catușpādā songs connected with the praise [of a deity], should be made up of eight or of six limbs, in Talas of Caturasra or Tryasra forms. Such songs with one, two, or three limbs are to be made up of four Padas.

2 Sd. gives clearer definitions. According to him, the Kulaka is a song in which different limbs constitute a single sentence (SR. V. 61.) and when such limbs are different sentences, the song is called the Chedyaka (ibid). For the limbs see 223, 236, 231-234, 244-245 above. 3 See note 2 above. (366-367) 1 See SR. V. 61. (367-368) 1 Sd. seems to define this differently. Cf. SR. V. 62. 2 See note 2 above. 3 See note 2 above and also cf. SR. V. 63. (369) 1 See I. 17-18. (372-374) 1 It is not clear where this has been mentioned.

93 THE TIME-MEASURE [xXXI. 375-385

375. Caturasra and Tryasra forms [of Tala] are pres- cribed separately or jointly in these limbs. This is [all about] the Tala of songs of the Seven Types prescribed by me. 376. Dhruvas are to be known as Caturasra and Tryasra. The rule of their Talas [relate] briefly to six kinds. 377. [Of these] the Addita' and Utthita2 are Caturasra in form consisting of four Sannipātas in the Cancatputah. 378-379. At the end of the Supratistha', there should be Sannipāta. Apakrsta should be in Tryasra [Tāla] depend- ing on Capaputah. It is combined with four Sannipātas at the end of the Pada. The akasagraha of all these will be the Cañcatpuțah.2 380. The Vilambita [Dhrūva] will be Tryasra, and it will be followed by these two, and it is to be joined with the Cancatputah beginning with Niskrama. 381. The two Padas known as the pair, at the end of the Padas (?) in the Sannipata, are to be regularly connected with the Cancatputah of two Kalas. Sīrakas are to be applied with the Pancapanih (i.e. Caturasra) Tala in two .different manners.1 382. Along with four Sannipatas quite at the end of the Pada, one should apply two final Matras of the Tala. 383-384. The two Mātras in their time, are to be made equal to Jhamkaras.' When there will be a Kala [in Dhruvas] without any excess, an expert in [dramatic] production should make it of equal Matras by reduction or prolongation. 384-385. Along with the increase of Varnas, there should be an increase of [the form of] Talas. A new Kala in the syllables of the Niryukta [songs], will be Jhamkara. This, due to a connection with Kala and Tala, is [called] Sușka Kuțțana.

(377) 1 Not defined anywhere. ? Not defined anywhere. (378-379) 1 See below XXXII, 55. 2 The trans. is tentative. (381) This passage seems to be corrupt, and the trans. is tentative. (383-384) 1 This term has not been mentioned before!

XXXI. 386-398] THE NĀȚYAŠĀSTRA 94

386-387. A [proper] Kala and Tala are to be observed in all the Dhruvas. The principal' Tala should be regularly observed in the case of Natkutas. In its Kalāpāta it will be in the Cancatputah Tala. This Tala will be Tyrasra in the Khañjaka Dhrūvā. 388-389. This limb' will be Akridita. The limbs which are [applied] in the Dhruvas, are to be made up of eight or of six Kalas. This is all about the Tala prescribed by me.

The Catuspada 390-391. I shall now speak of its rules (lit. charateris- tics), at tho end1 of a [discussion] on the Catuspada (quatrain).2 The Tala of the dance which begins with delicate [move- ments] and relates to the Erotic Sentiment, and which has been created by the goddess3 [Parvati], will now be described. 391-392. [The song known as] the Catuspada, should be performed by women, and it is of two kinds, viz. Tryasra and Caturasra. 392-393. The Catuspada according as it relates to the speech of one, of two or of many, will be of three kinds, and will abound in the Erotic Sentiment. 393-394. It will again be of three kinds, viz. Sthita, Pravrttā and Sthita-pravrttā. 394-395. [Its Tala will be as follows :] Niskrama, Śamyā, Tala, Samyā being preceded by Nișkrāma and followed by Sannipāta. 395-396. There will be twenty-eight varioties of Catus- pada. I shall speak of these varieties in due order. 396-398. The Catuspada of the Sthita class will have a quick tempo, and that of the Pravrtta class a slow tempo

(386-387) 1 Read angatāla for bhangatāla. (388-389) 1 See llot 1 to 386-387 above. (390-391) 1 The passage seems to be corrupt. 2 This seems to be the term used by Kalidasa (devah, Sarmişthāyāh krtir layamadhyā Catuspadā, Mālavi. II, 0.5). 3 See AD. (text) 5. p. 1.

95 THE TIME-MEASURE [xxxI, 398-409

and the Catuspada of the Sthita-pravrtta class will have a medium tempo, and the Tala there, will be the Cancatputah as well as the Capaputah, and their Patas will be in double Kalās. 398-402. [The Catuspadā has the following varieties :] Bahvakşarā, Vipulā (Prthulā) Māgadhī, Ardhamāgadhī, Samākșarapadā, Vișamākșarā, Ādyāntāpahraņā1, Anīkinī, Avasānāpaharaņā, Antāpaharanā, Abhyantarāpaharaņā, Ardha- natkuțā, Ardhakhañjā, Miśrā, Šīrakā, Ekāvasānā, Niyatākșarā and Ardhapravrtta. 402-403. Now listen about their characteristics. That song which has its words fully expressed, and consists mostly of short [syllables], is uttered quickly and is sung in a quick tempo, is called Bahvakșarā. 403-404. The song which consists mostly of long and prolated syllables, and includes short sentences and words, and observes successively three different tempos, is called Prthula in connection with the practice of delicate [dance]. 404-405. That song which observes three tempos and three Yatis, and includes three kinds of syllables [in equal measure], and requires a Tala of thirtyone [Kalas], is called Māgadhī.1 405-406. The song which consists of long and short syllables only, and observes quick and medium tempos and has half the number of Kalas required for the Magadhi, is called the Ardhamagadhī.1 406-407. The song which has a regular number of short and long Matras in its Padas, and, its Padas, Varnas, tompo and Tala are regular, it is called Samākșarapada. 407-408. The song which has an irregular number of syllables and Matras [in its feet], and has its feet irregular in number, and which observes no regular tempo and Tala, is called Vișamākșarā (Vișamākșarapadā.) 408-409. That' song which requires the final Sannipata (398-402) 2 Read ādyāntyāpaharanā for tasyāntyāpaharaņā. (404-405) 1 See XXIX, 76-77 and also XXXII. 488-489. (405-406) 1 See XXIX, 78 and also XXXII. 481. (408-409) 1 Read yah syāt for yat syat.

XXXI. 409-419] THE NĀȚYAŠĀSTRA 96

and the final Anusvāra is ealled Ādyantāpaharaņā made of Anusvāra. 409-410. The song which has in its middle, beginning and end, syllables with Anusvara, and the remaining Padas are without any such restriction, is called Anīkini. 410-411. The song with no fixed number of syllables in its Pādas, is always called Avasānāpaharaņā, Such a song which has Anusvara, and is quick in tempo, is called Antāpaharana. 411-412. The song which has its second Kala in Sanni- pāta, and has syllables in its middle, is called Abhyantarā- paharana with Anusvaras1. 412-413. The song which is divided into halves, is called Ardhanatkuta. And when followed by Tryasra Tala, it is called Ardhakhañja1. 413-414. When in a song, the Khañja and the Natkuta have been mixed up, and it is sung in the Tryasra or the Caturasra Tala, it is called Miśra (the mixed one). 414-415. The song of which the half is suddenly [com- menced and] finished, and is adorned with Sirsa, is called the Śīrşaka. 415-416. The Catuspada song, of which one Pada ends with half of the Varnas, is called Ekavasana1. It should have only long and short syllables in the previous Pada. 416-417. The Ekapadavasana song which is furnished with a Sīrsaka in each of its Pāda, is called Niyatākșarā. 417-418. The, song in which the Sthita or the Pravrtta is half applied, is called Ardhapravrtta, and it is created by both of these two. 418-419. Its (i. e. of the Catuspada) Tala is as follows : Nișkrāma, Samyā, Tāla, Samyā, Āvāpa, and Sannipāta, There are three kinds of Upohana in the delicate [kinds of dance].

(411-412) 1 The text is evidently corrupt. (412-413) 1 Read hy ardhakhanjeva for ° khañjena. (415-416) 1 Read ekāvasānā for ekāvasānā.

97 THE TIME-MEASURE [xxxI. 420-428

420. Its Pratyupohana consists of two Kalas in the minimum, and three Kalas in the maximum. Its final Kala being called a double one, will end in Sannipāta. 421. This song will have Sannipātāpaharana, in its middle and end, and it may be completed in two or in many sentences. 422. It may consist of one, two, three or four padas, and of not more than four. 423. For, making it full of numerous padas, does not create beauty and kills1 the nature of the Varnas and obstructs the expression of limbs. 424. Hence the Sthita is always to contain two padas, and it should be also performed in one pada, and the Pravrtta is to consist of four padas. 425. The Padapatas there, will have one form and will consist of one pada, and its Kalās will be twentytwo in the maximum, and shall contain a Sannipata in its pada.1 426. In its medium size it is known as having three padas. And on account of the Sannipata it should be sung in a medium tempo.

The Lasyas

427. I shall now describe for you in due order, the characteristics and application of the Lasya, of which I spoke to you before.1 428. It is said that the Lasya is so called because of its shining (lasana). It relates to mutual attraction of men and women, and like the Bhana1 it is to be performed by one person, and its subject-matter also should be suitable.

(423) 1The passage is corrupt. Emend yafd er° etc. as प्रक्कतिं चन्पदङव्यातति निरस्यति. (424) 1This passage also seems to be corrupt. Emend uaa vI पृता as एकेनेब पदा स्थिता. (425) 1This passage is also -possibly corrupt. The trans, is tentative. (427) 1See XX. 132 ff. (428) 1See XX. 107-109. 13

xxxI. 429-437] THE NĀȚYAŠĀSTRA 98

429. That (i.e. its subject-matter) having one topic or many topics, has been mentioned in connexion with its [different] types (anga).' It has ten2 such types and I am going to define them. 430-432. The types of Lāsya,1 are Geyapada, Sthitapāțhya, Āsīna[pāțhya], Puspagandikā, Pracchedaka, Trimūdhaka, Saindhava[ka], Dvimūdhaka, Uttamottamaka, Vicitrapada, Uktapratyukta and Bhāva (Bhāvita). 432-433. The Asina1 should be performed carefully by a woman while she is seated. And the Sthitapathya should however include the earthly Caris,2 at the time of dance and of playing of instruments, and at the beginning and the closing of songs. 433-434. The rules which hold good at the time of [ordinary] dance and of the playing of instruments, should generally be followed in the Lasya. 434-435. Types of the Lasya, are briefly ten in number, I shall [now] speak of their application and characteristics.

The Geyapada

435-437. After1 the musical instruments have been placed in proper order and the screen has been drawn away2 and the flower offerings have been made, to the seat assumed to have been taken [by Brahman, ] and the drums have been tuned, and the Trisaman,4 has been chanted, [the wise] should perform the Suska Asarita in accompaniment of three flutes. Then the Asarita should be performed in the Tala prescribed for the Margasarita.

(429) 1Ch. XX. 132 footnote. (430-432) 1See XX. 132 f. n. 2 See the note on 476-478 below.

(432-433) 1The fuller form of the Asina is Asinapathya. 2 See XI. 13-28. (435-437) 1See V. 17. Emend स्वापितरभोंडविन्वास: as खापिते भाषविन्वासी. 2See V. 11-12. 3 See V. 74. 'This term has not been defined anywere. Does it mean 'the three Saman chants' in the Vedic manner ? Sce XXXI. 369.

99 THE TIME-MEASURE [xxXI. 438-450

438. Then there should be the Upohana in the Tryasra Tala of two Kalas, and afterwards the three Parivrttis ; and this should be the conclusion [of the Preliminaries]. The experts should [then] observe the conclusion with Parivrttis (Parivartas). 439-440. During the Parivarta a male sentence should be uttered first. An aggregate of three sentences, is 'male,' whereas that of four sentences, is 'female'. This should be done for attaining the Nirvahana at the conclusin. 441-444. This is what is known as the first type of Lasya called the Geyapada.

The Sthitapathya I shall [now] speak of the Sthitapāthya. One or two Vrttas (Parivartas) should be sung in the Pancapanih Tala, and the two Khañjakas are to be sung in the Cancatpuțah Tala of two Kalas. [This Tāla should be] of the literal (yathaksara) class, and should include eight Sannipatas, and it should end in the Cancatputah of two Kalās in a quick [tempo].

The Āsīnapāțhya 445. After adopting the Tryasra Tāla the Āsīna- pathya should properly be performed with a song composed in metres of long feet, expressing wholly manly feelings. 446. Thus the Asinapathya should be performed in the four feet [of its song] expressing the meaning sung in the Pancapanih Tāla. 447-448. In the Āsinapāthya one should employ & Sirșaka consisting of eight Sannipātas and of Talas etc. And this should be in the literal Pancapanih Tala. 448-449. In its second Parivarta when the eighth Sannipata is over, one should then sing a sloka in the Caturasra (yugma) Tāla. 449-450. The playing of drums performed in the Āsīnapāțhya should agree with (lit. be similar to) the movement of limbs made in it.

xxxI. 451-461] THE NAȚYAŠĀSTRA 100

450-451. One should then sing eighteen or twelve Padas, and the Nirvahana should afterwards be performed in the Uttarah Tala. This is the rule regarding the Āsīna- pāțhya. The Puspagandika 452-453. Now listen about the type of Lasya called the Puspagandika which is adorned with various kinds of metres, and in which singing and playing of instruments are done alternately, and during [the singing of] every foot of songs, there should be appropriate Angaharas and the playing of instruments. 454-455. One should sing (lit. use) there a song in a male metre of the Samavrtta class. At the time of singing each foot, there should be a suitable dance and the playing of instruments in the Cancatputah Tala with four Sanni- pātas. 455-456. Then the two [songs of] metres of the Khañja- Natkuta class should be sung, and at the end of their Nirvahana there should be a Sirsaka in the Pancapaniḥ Tala, and the dance in it should be performed in the Aviddha Carī and with expressive Angaharas. The Pracchedaka

457-459 An expert in the performance of Lāsyas should know that the Pracchedaka consists of three limbs and two Dhatus. When the theme of the Lasya relates to the joy [of a heroine] on seeing the face of the lover in moonlight, in a temple or in a mirror, the expert should know that it is the Pracchedaka in which, dance predomi- nates and which is rich in games, and is besides adorned with [different] expressions of Passion (hela). 459-461. Its games should be performed in the Cañ- catpuțah Tala and with a song of regular (lit. equal) feet in the Matravrtta (moric) metre and with eight Sannipatas, or it should include a song in the Totaka metre of many syllables and meanings, and should be performed in the Panca- panih Tala of two Kalas or of one Kala, or the both mixed

101 THE TIME-MEASURE [xxxI. 462-47İ with each other. [Its] Sīrsaka should be made up mostly of heavy syllables, and it should be performed in the Tryasra Tala of the literal kind including eight Sannipatas. 462-463. The Lasyanga called the Pracchedaka should include games and be performed with songs combin- ed with Vivadha and Ekaka, and these should relate to the the Kaisikī Jāti.

The Trimūdhaka 463-467. The Trimudha[ka] consisting of soft words devoid of harshness, sung in the Gandhari Jati, should be performed in the Cancatputab Tala of two Kalas. Thus performed in the proper Marga and with proper number of Kalas [in its Tala] and with [such] Vidaris, and Vivadha, it should have in it sixtyfour Sannipatas. But there should not be in it any Angahara and Viskambha. The recitative here connected with the play, should be delivered in the attitude of a male person, and the Natkutaka and Khañja- kas are to be performed in this way. Thus has been described the Trimudhaka which has in it many Sentiments. The Saindhavaka 467-468. The Saindhavaka' should be known as a per- formance without very clear Angaharas and without many Recakas, and it should be in the dialect of Sindh (Sindhu)2 Accompanied with instrumental music, it should be in an energetic metre. 469-471. The recitative in it sbould not be short, and the instrumental music in it, should be rich in Vitasta and Alapti, and it should mostly include heavy syllables and be followed by many mild Angaharas. The Saindhavaka should be performed in the Caturasra (yugma) Tala with Ākrīļitā Bhāgas (?).

(467-468) 1See note 2 below. 2May this not be considered as an evidence of the inhabitants of Sindh, who descended from the Indus people, having dramatic dances in a very remote antiquity ?

xxxt. 471-479] THE NTYASASTRA 102

The Dvimūdhaka

471-473. The Dvimudha[ka] should have the Mukha and the Pratimukha in the Capaputa Tala which should contain twelve Sannipatas. It should have a theme with more than one set of events and with many meanings, and it should relate to manly feelings and should consist of one limb or of a limb called Sīrsaka.

The Uttamottamaka

473-475. In the Uttamottamaka, one should first of all sing the Natkuta and then a Sloka with various meanings. And then the theme of the song should be in the Aparantaka Śākhā, and the Sīrsaka in it should be in the literal Pañca- pānih Tala, and the performance should be adorned with the expression of Passion (hela).1

The Uktapratyukta

476-479. The Uktapratyukta is always described as abounding in references to anger and its pacification, and it is always characterised by beautiful dialogues and censuring actions. Its Tala should be in the half-measure of the Vastu of the Prakari, And afterwards it should perform the Sīrsaka in the Pancapānih Tala. The Vastu (?) and Sampistaka of these should be in the Tryasra Tala. Thus the Uktapratyukta should end in pacification.1 This is the Lasya of ten' types which I have finished describing, and these ten types may occur in the same manner in a Prakaraņa.

(473-475) 'The description of the Vicitrapada the tenth Läsyanga expected after this, is missing. (476-478) 'The description of the Bhava (Bhavita) the twelfth Lasyanga, expected here, is missing. It should be remembered in this connexion that Visvanatha does not consider the Vicitrapada and the Bhāva to be among the Lāsyāngas (See SD. ed. Jivānanda. p. 393). (479) ¿See Viśvanātha's view quoted above in the note to 476-478.

103 THE TIME-MEASURE [xXXI. 480-488

Importance of the Tala 480-483. A break in the Lāsya is known as the Samcara, because of its inversion.1 These are the schemes of Talas of songs [in the Lasyas]. In observing these, one ought to make great efforts; for a dramatic performance (natya) is based on the Tala.2 And the same rule holds good in case of playing all the musical iustruments in a dramatic performance, for the Tala relating to the timing, always gives it proper measure. For a song defficient [in a Varna] or having a superfluous Varna is held [within measure] by the Tala. Hence this should be carefully studied by the producers [of plays]. 483-484. The Seven Types of traditional songs such as the Rk, Gāthā and Pāņika etc., and the Prakīrņaka, Catuspada and Vardhamana, are all recognised by their Tala. Hence one should, with every effort learn (lit ascertain) their Talas. 485-486. One cannot be a singer or player of instru- ments, unless one knows the Tala. Hence one. should observe the rules given above.

The Three Layas 486-487. There are three kinds of Laya (tempo) such as quick (druta), medium (madhya), and slow (vilambita).1 This tempo is made manifest in different Margas2 of songs and playing of instruments, and it is an essential aspect (lit. the soul) of these two (i.e. singing, and playing of musical instruments). In these Margas there are, besides, three Yatis related to the tempo. 488. That which is known as completion of metres, syllables and words, is called the Laya1 or Mana (measure) depending on the variation of timing in Kalas [in its Tala].

(480-483) 1The reading here in probably corrupt. 2See SR. V. 2. (486-487) 1See SR. V. 48. 2See SR, V. 11. (488) 1See SR. V. 50 ff.

xxxI. 489-495] THE NATYASĀSTRA 104

The Three Yatis

489-490. The Yati which is of three kinds such as, Even (sama), Current-like (srotogata) and Cow's-tail (go-puccha)1 is the regulating of the duration (lit. increase) of words, Varnas or of syllables in relation to songs and to playing of instruments. 490. The Yati, when it has the same tempo in the beginning, in the middle and in the end, for Varnas and words, is called Even'. It is used in the Citra Marga, and it predominates generally in the playing of instruments. 491-492. The Yati which in traversing the path of musical sounds, is sometimes staid and sometimes running, is called Current-like2, and it is used in the Vrtti Marga. 492-493. When syllables are thus indistinguishable as long and short! * * *

The Cow's-tail Yati is a prolonged one and is generally used in songs (geya-bhūyisthā).

The Three Panis

493-194. The Panis relating to songs and playing of instruments, are of three1 kinds : Samapani, Avapani and Uparipani. The playing of instruments which is simultaneous with the start of Laya is called the Samapani. 495. That (i.e. playing of instruments) which precedes the start of Laya, is called the Avapani. And the playing of instruments which follows the start of Laya, is called the Uparipāni1.

(489-490) 1See SR. V. 51-53. (490) 1See SR. V. 51. (491-492) See SR. I. 52. (492-493) 1It seems that a portion of this definition has been lost. For Sarngadeva's definition see SR. V. 52-53. (493-494) 1Sarngadeva defines the three Grahas and in the same connexion defines Panis also. See SR. V. 54-55. (495) 1See the note on 493-494 above.

105 THE TIME-MEASURE [xxXI. 496-502

496. The totality of syllables penultimate to the Yati, will indicate the tempo, and from the tempo the measure of these will change. 497-498. A decrease of Kalās should be made in other Panis. In the slow tempo, there should be one Sannipata, in the medium tempo two Sannipatas, and in the quick tempo the number of Sannipatas should be four. 499. That which is indicated by this difference, is called the quick and the medium tempo, and the Avapāni is dependent on a medium tempo. 500. When [the Tālas of one Kala] become the Antarakala played in quick tempo, then it is called the Uparyuparipāņi.1 501-502. There is no provision for Kalas bigger than this.' Yatis, Panis and Layas should be observed' in due manner by experts after considering the application of songs. This is the rule of Tala for the Dhruvas, when the Tala is to be observed in their cases. I shall hereafter speak about the limbs of the Dhruvas. .

Here ends the Chapter XXXI of Bharata's Natyasastra, which treats of the Time-Moasure.

(500) 'The passage is probably corrupt. (501-502) 'This perhaps refers to Sannipatas in 497-498 above. 2The word kartavyam should be emended as kartavyā.

14

CHAPTER THIRTYTWO

THE DHRUVĀ SONGS

1. Listen [now] from me about those types [of songs] which have been called Dhruvas by Brahmanas such as Narada1 and others. 2. The Rk1, Panika2 and Gatha', and the Seven [tradi- tional] Types [of songs]' which have seven different measures, are called Dhruvas. 3. O Brahmanas, I shall discuss thoso [songs] in different metres which being created from those types, attain the status of Dhruvās. 4-6. The five classes of Dhruvas have always the follow- ing limbs (anga) : Mukha, Pratimukha, Vaihāyasaka, Sthita, Pravrtta, Vajra, Sandhi, Samharana, Prastara, Upavarta, Māşaghāta, Caturasra, Upapāta, Praveņī, Sīrşaka, Sampistaka, Antāharana and Mahājanika. 7. Songs consisting of one, two, three and four Vastus are respectively called the Dhruva. Parigītika, Madraka and Catuspada 8. The Dhruva is so called, because in it words, Varnas Alamkara, tempo, Jati and Panīs are regularly (dhruvam) connected with one another.

Dhruvas and their limbs

9. Depending on different conditions, the Dhruvas are known to be of five classes. I shall speak of the seven limbs which they consist of. 10. Limbs of the Pravesikī Dhruvā are Upaghāta, Pravrtta, Vajra and Sīrşaka.

(1) 1An old authority on music. (2) 1The recitation of Rk stanzas. 2This term is otherwise unknown. 3The Saman chants. See MH (Ch. X). 4See XXXL. 220ff.

107 THE DHRUVĀ SONGS [XXXII. 11-22

11. Limbs of the Addita' Dhruva are Prastāra, Māșaghāta, Mahajanika, Pravenī and Upapāta. 12. Limbs of the Avakrsta Dhruva, are Mukha and Pratimukha, and of the Sthita Dhruva, limbs are Vaihayasa and Antāharana. 13. Similarly, of the Khanja-Natkuta Dbruva the limbs are Samhara (Samharana) and Caturasra, and of the Antara Dhruva, the limbs are Sandhi and Prastara. 14. The limbs and the Kalas which are included in the songs, should be represonted in the Dhruvas by means of [appropriate] types of metros. 15. The Tala in a Dhruva being Tryasra and Catu- rasra should, as said before, consist respectively, of six or of eight Kalas. 16. The limbs of all songs, which have beeu mentioned [before] are Vrtta, Vivadha and Ekaka. 17-18. [The part of the song] which completes the Pada and the Varna, is called the Vidari.' I shall now speak of the rules regarding their2 application to [different] characters [in a play]. The Vrtta class of limbs will apply to the superior characters, and the Vivadha to the middling ones, and the Ekaka to the inferior characters. 18-19. Taking into account the application (yoga) [of the Tala] which may be Tryasra or Caturasra, one should perform the Avasaniki Dhruva in its [proper] measure. 19-20. The Avasaniki Dhruva should have feet of metres which rest between Gayatri and Atisakkarī. 20-21. The Avasaniki Dhruva which falls between the Śakkarī and Atikrti metres, consists of a foot and a half of these. 21-22. The foot of an Avasaniki Dhruva should be made up of short and long syllables, according to the rules of Yati, metre and its measurement in matras.

(11) 1This is perhaps a non-Aryan word. (17-18) 1The definition of the Vidari is probably misplaced. "'Their' relates to limbs mentioned in 16 above. '

xxxI1. 22-32] THE NĀȚYAŠĀSTRA 108

22-23. For the superior and the middling characters the Avasanikī Dhruva should be Caturasra, and for the inferior characters it will be Tryasra. When the Dhruva is full of meaning in all its parts (artha-purna-padi) Vrtta should be applied in it. On the strength of the Vrtta the Dhruva should be Āvasānikī. 24. Dhruvas originating in various metres are of five kinds. According to Sentiments which they contain they are superior, middling and inferior. 25. Dhruvas are of three classes : Kanisthikagraha, Sannipātāgraha, and Apagrahā. 26-27. The first Dhruvā is Pravesīkī (entering), the second one Aksepiki (indicating), the third one Prasādikī (calming), the fourth one Antara (transitional) and the fifth one is Naişkrāmikī (departing). I shall describe their metres. 28. The Vastu of the Gandharva which I have spokon of as consisting of notes, Tala and words, will be [called] Pada' when it will reflect notes and Talas. 29, All that is made up of syllables, is called the Pada It is of two kinds according as it is [regularly] composed (nibaddha) or not so composed (a-nibaddha). 30. It is again of two kinds : conforming to no time- measure (a-tala) and conforming to a time-measure (sa-tala). For the purpose of the Dhruva, it is to conform to a time-measure and is to be [regularly] composed. 31. A Pada which conforms to no time-measure and which is not regylarly composed, is connected with the Karanas1 and . it embellishes the playing of all kinds of musical instruments. 32. That which is furnished with a fixed number of syllables and which has a metre including caesura and has a time-measure and tempo (laya) for its syllables, is called a regularly composed Pada.

(28) 1 The meaning of pada as 'song' which is available in New Indo-Aryan, probably goes back to this. (31) 'Karanas here relate musical instruments.

109 THE DHRUVA SONGS [XXXII. 33-44

33. That which has a free metre and caesura and has no fixed number of syllables and has no [prescribed] time- measure and tempo, is called an irregularly composed Pada. 34. The syllables not regularly composed will be out- side the Jati songs, and one should describe their performance along with the Karanas of the musical instruments. 35. The Padas which are irregularly composed and not furnished with any time-measure, are connected with the musical instruments and they are [meant] to embellish the latter. 36. But those (Padas) which are regularly composed in persuance of the [rule of] syllables in a metre, are called the Dhruvas. I shall next speak of their characteristics. 37. The three Tryasra classes [of metre] to be applied in the Sthitapakrsta [Dhruva] are the Atyukta, Madhya, Pratisțha and Gāyātrī. 38. The Yugma class [of metres] to be applied in the Prasadiki Dhruvas are the Uşnik, Anustup, Brhati and l'ankti. 39-40. The classes [of metre] known to be in use in the Dhruvas of speed, aro the Anustup, Brhati, Jagati, Druta, Capala, Udgata and Dhti. 40-41. Now listen about the class [of metres] for the Pravesīkī Dhruvas in case of energetic [characters]. The class of metres applicable to such characters are Pankti, Tristup, Jagatī, Atijagatī and Šakkarī. 42. For all these classes three kinds of syllabic metres have been prescribed. They may be mostly in long syllables or in short syllables or may equally have long and short syllables. 43. The Apakrsta Dhruvas should be in metres mostly with long syllables, and the Druta (quick) Dhruvas should be in metres containing mostly short syllables, and the remaining Dhruvas should be in metres having short and long syllables [in almost equal numbers]. 44. Metres with odd number of syllables are to be applied in the Mukha, and these when made up of short syllables of even number, are to be applied in the Drutā Dhruvās.

xxxII. 45-51] THE NÂȚYASÂSTRA 110

45. Metres which have a small number of syllables and are considered small metres, are to be applied in the Drutā Apakrsțā as well as the Āksepikī Dhruvās. 46. Metres beginning with long syllables are to be used in the Sthita [Dhruva], and those beginning with short syllables are to be made the Druta Dhruva, and metres with odd and even numbers [in alternate feet] are to be made the Ākșepikī Dhruvā. 47. A metre consisting of short, and even number of syllables or of odd and small number of syllables are to be applied in the Aksepiki Dhruvas. 48. In case their Varnas are to be increased they should include Samya in their Tala. I am now describing all the classes of metre with examples of their patterns and according to their names, extent and use. Listen about these from me.

The metres used in different Dhruvas 49. Hri .- The metre with all syllables long in parts of gatha feet, is called Hri.' Ex. ro gangasrt.2

50. Atyukta-The metre which has all syllables long [in all its feet of two syllables,] is Atyuktā. Ex. Isam devam sarvam vande.1 Tr. I adore the god Sarva.

51. Tati-When the syllable in the middle is short [in feet of three syllables, the metre is Tati]. Ex. Šamkarah sūlabhrt pātu mām lokakrt.1 Tr. Let Samkara who carries the Trident and creates the world, protect me.

(49) "This def. is not elear. 2This example is in Skt. and so are those in 50, 51, 52 and 53. (50) 1Sce note on 49. (51) libid.

THE DHRUVĀ SONGS [xXXII. 52-59

52. Dhrti-When the first syllable in its feet of three syllables is short [the metre is Dhṛti]. Ex. Umesah surendrah tavāyur dadātu.1 Tr. Let the lord of Uma who is the lord of gods, give you [long] life.

53. Rajani-When the two syllables are short and one long in the triad of its feet, the metre is Rajani. Ex. Adhikam virahe madano dahati.' Tr. Love afllicts (lit. burns) greatly when one [is] in separation [from one's beloved].

54. This (Rajani) is also known as Madhya. These [Dhruvas] are all of the Vrtta (syllabic) class. I shall now speak of the characteristics [of the Dhruva of] the Pratistha and the Supratistha classes. 55. Pratistha-The metre which has in its feet of four syllables the second long, is Pratistha. Supratistha-When the two more (i.e. the 3rd and the 4th syllables) are short it (Pratistha) becomes Supratistha. 56. Ex. (See toxt.)1 Tr. Drying up the limbs the wind blows carrying the [scent of] flowers.

55. Ex. (See text.)1 58-59. Bhramari-The metre which has in its feet of four syllables the first two short and the noxt two long, is Bhramarī. Ex. (See text.) Tr. When the forest region is in bloom, the [solitary] elephant feels distressed.

(52) libid. (53) libid. (56) 1Examples from here are in the Pkt. For avoiding prolixity they are not given here. (57) 1The passage is corrupt.

XXXII. 60-71] THE NĀȚYAŠĀSTRA 112

60-61. Jaya-The metre which has in its feet of four syllables two pairs of short and long syllables (i.e. short followed by a long one) is Jaya. Ex. (See text.) Tr. The forest region being struck with frost, the elephant is in (lit. has come to) tears.

62-63. Vijaya-When the third syllable is short in the above, it is Vijayā. Ex. (See text.) Tr. At the appearance of clouds the peacocks are danc- ing in their honour.

64-65. Vidyud-bhranta-The motre which has in its feet of five syllables all long, is Vidyud-bhranta. Ex. (See text.) Tr. Here appear the clouds which are roaring, pouring water and covering the world.

66-67. Bhutala-tanvi-The metre which has in its feet of five syllables the second and the third short, is Bhūtala- tanvī. Ex. (See text.) Tr. On seeing the sky overcast with clouds, the wife of a person travolling abroad, is shedding tears.

68-69. Kamala-mukhi-The metre which has in its feet of five syllables the final one long, is Kamala-mukhi. Ex. (See text.) Tr. The rain-clouds carried away by wind, move above in the sky like serpents.

70-71. Guru-The metre which has in its feet of five syllables the first, the third and the last long, is Guru. Ex. (See text.) Tr. Having lost light due to the colour of clouds . [covering her], this moon is always pale.

113 THE DHRUVĀ SONGS [XXXII. 72-82 72-73. Sikha-The metre which has in its feet of five syllables the s cond, the fourth and the last ones long, is Śikhā. Ex. (See text.) Tr. The roaring clouds are, as it were, laying seige to the sky from all sides.

74-75. Ghana-pankti-The metre which has in its feet of five syllables the first two short, is Ghana-pankti. Ex. (See text.) Tr. The sky obscured by clouds together with' light- ning, is shedding tears, as it were, by its torrents of water.

76. These are the classes of Dhruva known as the Supratistha. I shall now speak of the Gāyatrī class. 77-78. Tanu-madhya-The metre which has in its feet of six syllables the first two and the last two long, is Gayatri. Ex. (See text.) Tr. With his head struck by lightning this lord of mountains sleeping under a burning heat of fever, sinks down, as it were, into the earth.

79-80. Malinī-The metre which has in its feet of six syllables the first, the fourth and the last syllables long, is Gāyatrī. Ex. (See text.) Tr. In this great mountain ravaged by wind and struck by lightning, the she-elephant is weeping [in distress].1

81-82. Makaraka-sīrsa-The metre which has in its feet of six syllables two syllables in the end long, is Makaraka- śīrșā. Ex. (See text.)

(74-75) 1lit. lighted up with. (79-80) 1It is probably because she misses her male companion. . 15

XXXII. 83-94] THE NĀȚYASĀSTRA 114

Tr. In this winter which excites passion, the wind is blowing in the pleasure garden.

83-84. Vimala-The metre which has in its feet of six syllables the fourth and the final ones long, is Vimalā. Ex. (See text.) Tr. The elephant in rut, enters into the lake which is full of lotuses, and where the bees settle them- selves.

85-86. Vithi-The metre which has in its feet of six syllables the first three and the last one long, is Vithi. Ex. (See text.) Tr. In the pleasant autumn, the clouds are roaring, peacocks are dancing and the bees are humming.

87-88. Gira-The metre which has in its feet of six syllables the first three and the fifth short, is Gira. Ex. (See text.) Tr. The [male] elephant on hearing the roar of clouds, trumpets in the forest ; for it apprehends a rival.1

89-90. Jala-The metre which has in its feet of six syllables the first four and the last one long, is Jala. Ex. (See text.) Tr. On seeing the tree struck with frost and shorn of all leaves, the female flamingo is weeping.

91-92. Ramya-The metre which has in its feet of six syllables the fourth syllable short and the remaining ones long, is Ramya. Ex. (See text.) Tr. The terrific black clouds which are roaring and covering the world, are creating an alarm.

93-94. Kanta-The metre which has in its feet of six

(87-88) 1Cf. Bhattikāvya, II. 9.

115 THE DHRUVĂ SONGS [XXXII 95-105 syllables the first, the fourth, fifth and the sixth long, is Kāntā. Ex. (See text.) Tr. O dear one, are you in a state of daring courage ? Do you wish to meet her who is angry, intoxi- cated [but] well-meaning ?

95-96. Pankti-The metre which has in its feet of six syllables the first three syllables and the sixth long, is Pankti. Ex. (See text.) Tr. This bride of swan is passionately waiting in this forest to meet her beloved.

97-98. Nalini-The metre which has in its feet of six syllables twice two short syllables followed by a long one, is Nalinī. Ex. (See text.) Tr. Young trees slightly shaken by wind at the time of flowering, are as it were, smiling.

99-100. Nilatoya-The .metre which has in its feet of six syllables the second syllable ' short and the remaining four long, is Nīlatoyā. Ex. (See text.) Tr. This insufferable wind scattering the cluster of clouds, is blowing to make the trees dance.

101. These are the regular syllabic metres of the Gayatrī class. I shall now speak of those of the Usnik class. 102-103. Drutagati-Capala-The metre which has in its feet of 7 syllables, the final one long, is Drutagati-Capala. Ex. (See text.) Tr. This your face with the beautiful eyes which are like the best jewels, develops passion in me.

104-105. Vimala-The metre which has in its feet of seven syllables the third, the fifth and the final one long, is Vimalā.

xxxII. 106-115] THE NĀȚYASĀSTRA 116

Ex. (See text.) Tr. This breeze of the spring-time, blows pleasantly and excites passion, like a lover.

106-107. Kamini-The metre which has in its feet of seven syllables short syllables alternating with long ones, is Kāminī. Ex. (See text.) Tr. On seeing the spring arriving at a distance, the southern beeeze blows to shake the trees [in its honour].

108-109. Bhramaramala - The metre which has in its feet of seven syllables the first two and the last two long, is Bhramaramālā. Ex. (See text.) Tr. In this autumn season, the fragrant water is beautiful to look at with swans moving about in it and with its cloth of kaśa flowers.

110-111. Bhogavati-The metre which has in its feet of seven syllables the first, the fourth and the last one long, is Bhogavati. Ex. (See text.) Tr. The cakravaki' with her lover, is passionately moving about in water. 112-113. Madhukarika-The metre which has in its feet of seven syllakles the first two and the final one long, is Madhukarikā. Ex. (See text.) Tr. This priyaka creeper with its beautiful ornaments, has flowered in a season which inspires passion. 114-115. Subhadra-The metre which has in its feet of seven syllables the second, the fourth, the penultimate and the last one long, is Subhadrā. Ex. (See text.) (110-118) 1lit. bride of one who has cakra as his name-sake.

117 THE DHRUVA SONGS [xxxII, 116.125

Tr. The rutting elephant comes out without its female to the forest which has been blighted by frost and which has no mud-water in it.

116-117. Kusumavati-The metre which has in its feet of seven syllables the last two long and the rest short,, is Kusumavatī Ex. (See text.) Tr. The elephant with its female companion, is moving about in the mountain groves which are soaked in water.

118-119. Mudita-The metre which has in its feet of seven syllables the second, the third and the last two long, is called Muditā. Ex. (See text ) Tr. A great canopy of clouds, fastened with the chain of cranes and roaring very terribly, has been fixed in the sky.

120-121. Prakasitā-The metre which has in its feet of seven syllables the fourth, the sixth and the final one long, is called Prakāsitā. Ex. (See text.) Tr. A pleasant wind which carries the fragrance of flowers and is laden with particles of water, is blowing to excite love.

122-123. Dīpta-A metre which in its feet of seven syllables has the first the fifth short and the rest long, is Dīptā. Ex. (See text.) Tr. In the winter the wind carrying the fragrance of flowers, blows exciting love and creating terror in me.1

124-125. Vilambita-The metre which has in its feet

(123-124) 1These are the words of a separated lover. ,

xxxII. 125-134] THE NĀTYAŠĀSTRA 118

of seven syllables the second, the fourth and the last two long, is Vilambitā. Ex. (See text.) Tr. The drying-up and [almost] waterless rivers from which birds have been scattered and the cakrkvākas are going away, do not shine.

126-127. Cancalagati-The metre which has in its feet of seven syllables the first, the fifth and the last one long, is Cañcalagati. Ex. (See text.) Tr. The full moon free from the stain of clouds and coming out of white clouds, shines in the courtyard of the sky.

128. These are metres to be applied in the Prasādikī Dhruvas. I shall now speak of those in the Anustubh class. 129-130. Vimalajala-The metre which has in its feet of eight syllables the third and the last ones long, is Vimalajalā. Ex. (See text.) Tr. A bird is roaming about in the wide expanse of clear water where white lotuses are smiling and the bees are humming.

131-132. Lalitagati-The metre which has in its feet of eight syllables the fifth and the last one long, is Lalitagati. Ex. (See text.) Tr. This bride of the swan, is roaming about in the park of the pleasure resort which is perfumed with the smell of flowers and therefore excites passion.

133-134. Mahi-The metre which has in its feet of eight syllables sixth and eighth long, is Mahi. Ex. (See text.) Tr. The female swan with her male companion is

119 THE DHRUVĀ SONGS [XXXII. 135-143

roaming about in the lotus-lake which is adorned with many flowers.

135-136. Madhukara-The metre which has in its feet of eight syllables first six short and the rest long, is Madhu- karā. Ex. (See text.) Tr. In the autumn, the wind which passes over many forests, and is sweet-smelling on account of the [full-blown] lotuses, is blowing to awaken the kumuda flowers.

137-138. Nalini-The metre which has in its feet of eight syllables the fifth and the final long ones, is Nalini. Ex. (See text.) Tr. The female stork which dwells in the lotus-lake is moving to her dearest one's abode on the beach of the river.

139-140. Nadi -The metre which has in its, feet of eight syllables the first and the final one long, is Nadi. Ex. (See text.) Tr. The female bee is roaming about in the forest where the swans are in great number and which is resounded by the noise of storks and where the bees are intoxicated [with sucking honey].

141. These are the Pravesiki Dhruvas of the Anustubh class, and now listen about the Apakrsta ones which are to be applied in case of women of the best and the middling class. 142-143. Ruciranta -- The metre of which has in feet of nine syllables the first, the fourth, and the last two long, is Rucirāntā. Ex. (See text.) Tr. On learning that the moon in the sky has lost her beauty on being eclipsed by Rahu, the stars are weeping, as it were, in great grief, and are shedding tears in [the shape of] their rays.

xxxII. 144-152] THE NĀȚYAŠĀSTRA 120

144-145. Pramitā-The metre which has in its feet of ten syllables, the third, the fifth and the last three long, is Pramitā. Ex. (See text.) Tr. The lightless moon thrown in amongst the clouds and obscured in her beauty due to rays of the morning sun, is not shining while she is moving in the expanse of the sky.

146-147. Gatavisoka-The metre which has in its feet of eleven syllables the sixth and the final long is Gatavisoka. Ex. (See text.) Tr. The moon which has her body covered with the canopy of the clouds and which has been robbed of beauty by the rays of the sun and which has become colourless due to the advent of the morn- ing, is no longer chasing the darkness with her [very bright] smile.

148-149. Viśloka-jāti-The metre which in its feet of twelve syllables the first two, the fourth, the eighth and the tenth and the last one long is Viśloka-jāti. Ex. (See text.) Tr. (The example is corrupt.)

150-151. Lalita-The metre which in its feet of twelve syllables, the first, fourth, the eighth, the tenth and the last one long, is Lalita., Ex. (See text.) Tr. The big elephant in rut with its restless head and with its feet in chains in its eagerness to follow other elephants, has become thin, and is looking to the beautiful forest which is being shaken by happy wind.

152. Vilambita-The metre which has in its feet of thirteen syllables, the third, the fifth, the ninth, the eleventh and the last one long, is Vilambitā.

121 THE DHRUVĀ SONGS XXXII. 153-164

153. Tr. The moon rising in the evening amidst the forests which have turned black on account of the coming darkness, does not shine well, because she has thereby shortened her light and dimmed it.

154. These are the classes of metres in Dhruvas of the Pravesīki Sthita class. I shall now describe those of the Aksepikī Apakrsta class. 155. Metres of the Supratistha class, are to be applied in the Apakrsta [Dhruvās.] 156. The arrangement of syllables and Yatis and the Panis x x x1. It is the Apakrstā. 157. The Apakrsta should have Sthayī Varnas, Sthita Laya, [proper number of] syllables in its different Kalās (?) and the Sama Pani and Sama Yati. 158. Syllables in the Kalas and Antara Kalas of the Apakrsta Dhruvas should be according to the rules of the Vrtta metres. 159. The Apakrsta Dhruva should always consist of a short Vastu and Pada, and, of the Pravesiki Dhruva [the Vastu should be] shortened, because of its taking up Karaņānga. 160. These are to be known as the metres of Vrtta class for the Apakrsta Dhruvas. I shall now speak of motres of the Druta Dhruvas. 161. In its beginning there should be the Totaka', and the rest should be in short syllables, or the rest may have short syllables in alternate positions.2 162. This Dhruva will have metres of the Jagati and of the Atidhrti classes of different type.

163-164. Vikranta-The metre which has in its feet of twelves syllables the first nine and the last long, is Vikranta.

(156) 'There is a lacuna here. For Apakrstā Dhruvā see 12 before. (161) 'It has not been defined before. This is possibly the name of a metre. . !lit. in places designated by even and odd numbers. .16

XXXII. 165-170] THE NĀȚYAŠĀSTRA 122

Ex. (See text.) Tr. This cloud looking like smoke, is roaring, and with its lighting is, as it were, piercing the earth, and like a terrible elephant, it is pouring quickly masses of water to cover the entire world.

165-166. Vidyun-mala-The metre which has in its feet of thirteen syllables the first eight and the final long, is Vidyun-mālā. (The example is corrupt.)

167-168. Bhutala-tanvi Skhalita-gati-The metre which has in its feet of fourteen syllables the first five, the eighth, the ninth and the last long, is Bhūtala-tanvi Skhalita-gati. Ex. i (See text.) Tr. The lovely crescent moon free from clouds and possessing bright rays, shines above with its attractive body, and it has been thrown up, as lit were, by Siva (lit. the carrier of Ganga) for sport, and thus in, the month of Jaistha under the asterism Mula, it rises and dwells in the sky with a larger (?) body. Ex. ii (See text.) Tr. Among the stars the moon free from clouds, has bright rays, and looks silver-like, and spreading the beanty of light it moves sportfully in the sky.

169-170. Vibhrama-The metre which has in its feet of fourteen syllables the ninth, the twelfth, the thirteenth and the last long, is Vibhramā. Ex. (See text.) Tr. O beautiful lady, the moon which is the friend of full-blown kumuda flowers, and is ever shining and is near the silver mountain, and is your heart's delight, is rising up in the sky where the dense darkness being gone, bright stars have appeared,

123 THE DHRUVA SONGS [xxXII. 171-183 171-172. Bhutala-tanvi -The metre which has in its feet of fifteen syllables the first, the fourth the fifth, the sixth, the ninth, the tenth and the last long, is Bhutala-tanvi. Ex. (See text.) Tr. The strongly blowing wind, shaking the tree- tops with constant rustle, moving about at the foot of the mountain and raising up dusts red and brown, is running along like one very angry. 173. Sukumara -The metre which has in the feet of sixteen syllables the first, the fourth, the seventh the tenth and the last long, is Sukumāra. 174. Ex. (The passage is fragmentary). 175. Skhalita-vibhrama-The metre which has in its feet of sixteen syllables the third, the fourth, the seventh, the eighth, the ninth, the twelfth, the thirteenth, and the last long, is Skhalita-vibhramā. 177. Ex. (The passage is corrupt). 178. Rucira-mukhi-The metre which has in. its feet of seventeen syllables the fifth, the eighth, the eleventh, the twelfth and the last long, is Rucira-mukhi. 179. Ex. (The passage is corrupt).

180-181. Druta-capala-The metre of which has in its feet of eighteen syllables the fifth, the eighth, the thirteenth and the last long, is Druta-capala. Ex. (See text.) Tr. The water of the lake in which the lotuses have been turned down by wind, and to which the petals [of those lotuses] have given sweet smell, and in which the moving waves have broken the kumuda flowers, is sending forth a call, as it were, by the cries of birds which have been agitated.

182-183. Kanaka-lata-The metre which has in its feet of nineteen syllables the thirteenth, the fourteenth and the last long, is Kanaka-lata.

XxXII. 184-192] THE NÂTYASÂSTRA 124

Ex. (See text.) Tr. O fair one, the beautiful moon of silver colour, surrounded by the bright planets, and free from the scattered clouds, dispelling darkness by its cluster of rays, is moving about like Balarāma (lit. the plough-bearer) in the autumn sky.

184-185. Mukha-capala-The metre which has in its feet [of nineteen syllables] the fifth, the twelfth and the last syllables long, is Mukha-capalā. Ex. (See text.) Tr. Look at the sky where moves the young heavenly damsel (=lightning) who changes her face quickly and has made it beautiful by her passion.

186. These eight are the principal classes of metre for Dhruvas. From these have come out the metres of even and of odd number of syllables (in the feet), and metre of these two kinds mixed up. 187. These are the classes of metre for Dhruvas of the Druta types, and they relate to the comparison of gods and kings. 188. Ksiptakā-The metre which has in its feet [of seventeen syllables] the third, the fifth, the eighth, the eleventh, the seventeenth long, is Ksiptakā.' 189. (This passage is corrupt.)

187. These classes of metres are Dvipada Tryasra. I shall spoak hereafter about those which are Dvipada Caturasrā. 191-192. Mala-The metre which has in its feet of sixteen syllables all long, is Mala. Ex. (See text.) Tr. The clouds covering the earth, roaring loudly, giving fourth lightning and pouring water, are up [in the sky].

(188) "1Its ex. is missing.

125 THE DHRUVÅ SONGS [XXXII. 193.207

193-194. Prabhavati-(The definition of the metre and its example are both corrupt.) 195-196. Citra-(The definition is corrupt). Ex. (See text.) Tr. Excited on hearing the roaring of clouds the elephant surrounded by its female companions, is rushing through the forest and is smashing the trees.

197-198. Malakita-(The definition of this metre is corrupt). Ex. (See text.) Tr. The forest which has been maddened by the song of cuckoos, is dancing, as its were, on being shaken by the wind of the early winter. 199-200. (The definition of this metre and its example are conupt). 201. These are the Caturasra classes of metre for the Vilambita Dhruvas I shall now speak of the classes of metre for the Druta Dhruvas.

202-203. Manojna-gamana - (The definition of this metre is corrupt) Ex. (See text.) Tr. In the autumn, the femalo swan is bathing in the water of the sweet-smelling lotus-lake, and is sporting with her beloved before her.

204-205. Lalita-gati-The metre which has in its two .

feet of twenty-three syllables, five sa-s followed by one ja, and the last syllable long and the rest short, is called Lalita-gati. Ex. (See text.) Tr. (The example is corrupt).

206. Rati-The metre which has in its feet, the sixth, the tenth, the thirteenth, the sixteenth and the last long, is Rati. 207. (The example is corrupt).

*xxII. 208-218] THE NAȚYAŠĀSTRA 126

208-209. Bhujaga-mukhi- (The definition is corrupt). Ex. (See text.) Tr. O friend, this sweet-smelling wind which has come along with clouds, and has been made restless by the god of love, creates passion, kills sleep and is [therefore] helpful to women.

210-211. Druta-padaga-(The definition is corrupt). Ex. (See text.) Tr. The humming of the bees declares, as it were, that the lotus-lake which has just now opened beautifully its lotus-face, is shining while it is surrounded by lovers of lotuses.

212. These are the Catursra classes of metres pres- cribed for Druta Dhruvas. I shall now speak of metres for the Uddhata Dhruvas. 213-214. Kanaka-lataksipta-The metre which in its feet of nine syllables, has the frst two, and the last three long, is Kanaka-latāksiptā. Ex. (See text.) Tr. O friend, I see in the sky a terribly big cloud which is roaring and is drenching the earth with a new shower of water.

213. Surucira-citra-The metre which has in its feet of eleven syllables the first two and the last three long, is Surucira-citrā. 216. (The example is corrupt). 217-218. Sasi-rekha-The metre which has in its feet of nine syllables the fifth and the last long, is Sasi-rekhā. Ex. (See text.) Tr. The cluster of clouds driven by strong wind, moves about like mountain-elephants, and roars like the agitated sea.

127 THE DHRUVĀ SONGS [XXXII. 219-227

219-220. Salabha-vicalita-The metre which has in its feet of nine syllables, the sixth and the final [two] long, is Šalabha-vicalitā. Ex. (See text.) Tr. The night which has the rays of the moon as the necklace, the stars as the head-ornaments and the planets as the ornaments of other limbs, looks beautiful (lit, shines) like a youthful lady.

221-222. Manigana-nikara-krta-The metre which has in its feet of nine syllables, the first eight short, is Manigana- nikara-krta. Ex. (See text.) Tr. The night with stars as her flower [ornaments] and planets as the tilaka' marks on her face, is going to the moon.2

223-224. Simhakranta-The metre which has in its feet of nine syllables, the first four and the last long, is Siņbâkrāntā. .

Ex. (See text.) Tr. This cloud with its wealth of waters, and glimmer of lightning, is moving on, shaking the surface of the earth as well as the dome of the sky.

225. These are the metres of the Brhati class, suitable for the Pravesiki (entering) Dhruvas. I shall speak hereafter about the metres of the Pankti class. . 226-227. Sura-dayita-The metre which has in its feet of ten syllables the first, the fourth, and last long, is Sura-dayitā. Ex. (See text.) Tr. The young couple of swans which are as white as kunda flowers and the moon, is moving about in

(221-222) 1 Tilakā here means alakā-tilakā (decorating spots made on the face). 2The night is here conceived as an abhisārikā

XXXII. 228-235] THE NĀȚYAŠĀSTRA 128

the clear water of the lotus-lake, and the cranes are following them.

228-229. Kusuma-samudita-The metre which has in its feet of ten syllables the first three and the last long, is Kusuma-samuditā or Kumudinī. Ex. (See text.) Tr. O fair lady, now has come the joyous evening of the spring which is full of sweet-smelling flowers, and which causes emaciation of one who is separated from the lover.

230-231. Vrtta (?)-The metre which has in its feet of ten syllables the first, the fourth, the sixth, the seventh and the last long, is Vrtta. Ex. (See text.) Tr. Here the elephant on hearing the peals of thunder arising in the sky, is burning in anger and is moving about [restlessly] in the forest. .

232-233. Krtoddhata-The metre which has in its feet of ton syllables the first three, the sixth, the ninth and the last, is Krtoddhata. Ex. (See text.) Tr. The sky covered with rain-clouds, fringes of which are lighted up by the flash of lightning, is madden- ing the herd of elephants which being lashed by storm, are shivering [in cold]. 234-235. Pușpa-samrddhā-The metre which has in its feet of ten syllables, the first four, the fifth, the sixth and the last long, is Puspa-samrddha. Ex. (See text.) Tr. The elephant on seeing the masses of cloud which are [occasionally] brightened up with the flash of lightning, and against which the rows of cranes are flying, has become enraged and are running amidst the birch forest with great trumpeting.

129 THE DHRUVĀ SONGS [XXXII. 236-244

236-237. Vipula-bhuja-The metre which has in its feet of ten syllables the fifth, the eighth and the ninth and the last long, is Vipula-bhujā. Ex. (See text.) Tr. The elephant which is restless due to the flow of ichor, has become perturbed on hearing the peal of thunder, and is rushing in anger to the forest, and is moving on with violently proud steps.

238. These are in brief the metres of [the Pankti class]. I shall now speak of those of the Tristubh class. 239-240. Capala-The metre which has in its feet of eleven syllables, the first two, and the last long, is Capala. Ex. (See text ) Tr. Here have appeared in the sky, terrible clouds which are like mountains, which make sounds like drums and which look like [large] birds of blue and black colour. 241-242. Rucira-mukhi' -The metre which has in its feet of eleven syllables, the two middle ones (the fifth and the sixth) and the last long, is Rucira-mukhi. Ex. (See text.) Tr. The moon which is a friend of the stars and is the lover of kumuda flowers, is shaking (?) the path of rays, and is ascending the eastern moun- tain, before appearing in the sky.

243-244. Drutapada-gati-The metre which has in its feet of eleven syllables, the fifth, the eighth and the last long, is Drutapāda-gati. Ex. (See text.) Tr. Here appears in the sky the moon which is adorned with thousands of rays and which is going to traverse the path of heavens, after push- ing aside the screen of clouds.1 (241-242) 1There is a Ruciramukhi in 187. (243-244) 'Here the moon has been compared with a dancer. . 17

XXXII. 245-254] THE NĀȚYAŠĀSTRA 130

215-2.16. Ati capala - The metre which has in its feet of eleven syllables, the two middle ones the fifth and the sixth) and the last long, is Ati-capla. Ex. (See text ) Tr. IIera in the early autumn when there open many flowers, the wind perfumed with their smell, is making the trees dance, and is roving about among the lotus flowers of the pleasure-garden.

217-218. Vimala-The metre which has in its feet of eleven syllables, the third, the fifth, the sixth, the seventh and the last long, is Vimalā. Ex. (See text.) Tr. The elephant in rut, is moving about in the clear water of the lake which is full of lotus plants and which is strewn with flowers, and bees also are buzzing about the flowers in the lake where the [aquatic] birds are enjoying themselves.

249-250. Rucira-The metre which has in its feet of eleven syllables, the fourth, the fifth, the penultimate and the last long, is Rucira. Ex. (See text.) Tr. The wind which is moving the canopy of clouds, is shaking the host of kumuda flowers, and is scatter- ing the masses of water, is blowing on quickly like one who is angry. 251-252. Laghu-gati Ati-capala-The metre which has in its feet of thirteen syllables, the last one long, is Laghu-gati Aticapala. Ex. (See text.) Tr. This sun of unparallelled brightness which is the crown of the eastern mountain, and is adored by Brahmins and the Munis is moving about in the sky.

253-254, Mada-kalita-The metre which has in its feet

131 THE DHRUVÀ SONGS [XXXII. 255-259

of thirteen syllables the fifth, and the last two long, is Mada- kalitā. Ex. (See text.) Tr. This is the moon which is like the silver mountain and is as bright as a mass of crystal, and is ascend- ing the dome of the sky, has graced the new autumn.

255-256. These are the Tristubh metres. Now listen about those of the Jagati class.1 Kamala-locana- The metro which has in its feet of thirteen syllables, tho ninth and the last long, is Kamala- locana. Ex. (See text.) Tr. Here arises in the sky the sun the lamp of the world. He is clad with myriads of rays, and his warmth is adored by the Brabmins and the Munis.

257-258. Apara-vaktra-The metre which has in its feet [of eleven syllables] the seventh, the ninth and the final long, is Apara-vaktra.1 Ex. (See text.) Tr. This great cloud moving about near the mountain side, is shaking the earth with a peal of thunder and is coming down quickly with cleverly made music.

259. These are the metres to bo used in the Entering Dhruvas of the quick (druta) variety. I shall now speak about the Vardhamana metres1.

(255-256) 'It seems that some verses are missing from herc. (257-258) "It seems that this metre has been misplaced. (269) 'These metres have respectively one, two and three syllables more in their second, third and fourth syllables than in regular metre of the same name ..

XXXII. 260-267] THE NĀTYASASTRA 132

260. Definition of all these beginning with Pratistha metre have been given before regularly with a description of their feet. 261. Pratistha. Ex. (See text.) Tr. On hearing the clap of thunder in the early autumn, the big elephant has become angry.

261. Supratisthā Ex (See text.) Tr. The starless sky having been beaten by wind with whips of lightning, is weeping incessantly.

262. Gāyatrī. Ex. (See text.) Tr. This sky in which the luminaries have been covered, and the sun has been obscured, weeps as it were, after being perturbed by peals of thunder. . 261. Usnik. Ex. (See text.) Tr. The swan surrounded by its female companions, is roaming about in the pleasure-garden where trees in flower are being shaken by fragrant wind.

263. These are the Vardhamana metres of the Tryasra kind. I shall now describe those of the Caturasra kind. Listen about them. 266. Anușțubh. Ex. (See text.) Tr. Here arises in the sky after throwing aside the curtain of clouds, the moon which is the illu- minator of the night, the friend of the stars, and is adorned with myriads of rays.

264. Brhati. Ex. .(See text.)

133 THE DHRUVÂ SONGS [xxxII. 268-275

Tr. The bird-couple which is accustomed to roam about in the very fragrant forest, is flying about in the garden of Sumeru where the gods and the Siddhas sing their songs.

268. Pankti. Ex. (See text.) Tr. O fair one, the forest-wind which has been per- fumed by the ichor of elephants, is blowing on to shake the tree-tops, and to make the garden-trees dance.

269. Tristubh. Ex. (See text.) Tr. Here rises in the sky the moon of clear rays. It adorns the kumuda flowers, throws aside the the curtain of clouds and climbs the eastern mountain.

270. Jagati. Ex. (See text.) Tr. This sun whose body is as brilliant as molten gold, and which is praised by Brabmins and Munis, is quickly ascending the dome of the sky and will be roaming there very soon.

271. These are the metres of the Caturasra-vivardhita class. I shall speak below of:metres on the basis of mora. 272-273. The final foot of Supratistha metres, is to consist of two ganas and a half, while their four feet will contain only six ganas. Similarly the Apakrstā [Dhruvās] should have the final foot consisting of two ganas and a half, and [the entire song] should consist of ten ganas. 274. In case of the Addita [Dhruva] the final foot will consist of three ganas and a half, while the entire song will consist of fourteen ganas. 275. The Dvipadas of the Tryasra class should have its final foot consisting of six ganas and half while the entire the song should have eleven ganas.

XXXII. 276-286] THE NÅTYASÅSTRA 134

276. The [final] foot of the Caturasra Dvipadas should consist of eight ganas and a half, while the entire song should consist of fifteen ganas. 277. In the first feet of the Caturasras the ganas containing one long and one short, should be not less than two, and more than nine. 278. In the Tryrasra such ganas should not be less than five and more than nine, and in the Caturasra such ganas should not be less than seven and more than ten. 279. Ganas if they consist of heavy syllablos, should be in Caturasra not less than five, and more than nine if they are all short. Or they may be not less than seven if they are all long, and more than thirteen if they are all short. 280. These are the accounts of the total number of syllables in case of all Dhruvas. I shall now speak of the difforent parts of the Dvipada and number of ganas they are to contain. 281. In the Tryasra Dhruvas, the first foot will consist of oleven and the final foot of twentyone ganas which are made up of a long syllablo followed by a short one. 28 ?. In the Caturasra Dhruvas the first foot will consist of sixteen and the last foot of twenty ganas made up of a long syllable followed by a short one. 288. Sirsakas have no rule of their feet. They are to consist of two long syllables in the beginning, the middle and the end, followed by a short syllable. 284. In the Tryasra Dhruvas the Sannipata should be of five ganas [in length], and in the Caturasra Dhruva the Sannipata should be of eight ganas. 285. The two padas are the Sannipata of the Dhruvas. They are Druta and Sirsaka, and besides these there are other two. 286. Ganas in the Tryasra are not less than five and more than nine, and in the Tryasra they are not less than eight and more than eighteen.

135 THE DHRUVĀ SONGS [XXXII. 287-298

287. Ganas if they consist of long syllable should be in the Caturasra Dhruva not less than five and more than nine, if they are all short. Or they may consist of not less than eight and more than thirteen. 288. These are the ganas to be known by the expert in Dhruvas. I shall now speak of the distribution of ganas and matras in the Druta Dhruvas. 289. The Sannipata of the Druta Dhruvas is to consist of six ganas and a half, and these are to be made up of twonty- two matras in long and short syllables. 290. In the Sirsakas these should be rules regarding their padas, and they are to ba made up of difforent metres. 291. In them there should be ganas beginning with long syllables or with short syllables or having all short syllables, and they will vary from tho precious metre (?). 292. The Sirsaka will have padas consisting of seren ganas and a half, and they will include their matras in padas of even or odd number of syllables. 293. In the Sirsaka there should be not less than twentyone and more than twentysix syllables in each foot. 291. In the four feet there should be even and odd number of syllables mixed up, and according to rule there should be collection of short syllables in the Sīrsaka. 295. If there are three short ganas in the beginning, three such in the end, and two long ganas in the middle, then the Capala will be called Sirsaka. 296. In the first half there should always be four short and four mixed ganas, and the rest will be collection of short syllables. 297. Pauses (virama) of the Dhruvas to be made by the Prasādikī, Antarā and Ākșepikī Dhruvās should have dura- tion of one, two, three, four, six or eight Kalās. 298. The Pause in the Tryasra Dhruva will be of three Kalas, and in the Caturasra it will be of four Kalas. This is the rule in the Pravesīki as well as the Naiskrūmikī Dhruvas.

XXXII. 299-307] THE NĀȚYASĀSTRA 136

299. The Pause in the Antara Dhruva is of two Kalas duration, and the l'ause in the Antara is at the end of a pāda. 300. In the Sthita and the Prasadiki Dhruvas the pause will be at the end of half of the pada, and the Kalas will be as described above increased by half a Kala, and they will consist of short and long syllables. 301. The Sthita Dhruva should have mostly long syllables, and the Druta Dhruva mostly short syllables and the Prasadiki and the Antara Dhruvas an admixture of short and long syllables [in equal measure]. 3C2. Thus should be made metres of the Dhruvas originating in the Vrtta class. I shall next speak of defini- tion of the various Sīrsakas. 304-305. Syeni-The metre which in its feet of twentyone syllables, the first, the third, the fifth, the seventh, the eighth and the last long, is Syeni. Ex. (See text.) Tr. O fair one, this pleasant wind moving on swiftly like a chariot, in shaking the sea, striking the king of mountain, creating a unique terror amongst the trees, and raising dust to soften the sharp rays of the sun, is moving on, exciting the passion in men.

306-307. Krauñcā-The metre which has in its feet of twentytwo syllables, the first five, the eighth, the ninth, and the last long, is Kraunca recited by Brahmins and Munis. Ex. (See text.) Tr. O fair one, this clean-bodied moon has become the illuminator and the joy of the world after tossing the darkest screen of black clouds, and is moving about in the sky with stars and planets following it, and is covering the palaces with great white sheets, and is gladdening the worlds far and . near.

137 THE DHRUVĀ SONGS XXXII. 303-313

308-309. Puspa-samrddha - The metre which has in its feet of twentythree syllables, the first six, the ninth, the tenth and the last long, is Puspa-samrddha recited by the Brahmins and the Munis. Ex. (See text.) Tr. O fair one, the forest wind is moving on violently and with great noise among the trees at the foot of the mountain, and is driving away the clouds, raising a canopy of flowers, scattering lotus-petals and is giving rise to a murmuring sound in the water of lakes.

310-311. Sambhranta-The metre which has in its feet of twentyfour syllables, the fifth, the sixth, the seventh, the tenth and the last long, is Sambhranta. Ex. (See text.) Tr. In the early autumn, there rises in the sky the moon who is the lover of Rohini', and the brother of planets. It illumines the world, and is as white as a mass of kumuda flowers, and has a lovely white lustre like that of crystal gems, and is followed by stars and other luminaries, and is scattering its thousands of rays and is waking up the kumuda flowers whose friend it is.

312-313. Mattakrīda-Vidyun-mala-The metre which has in its feet of twentythree syllables, the first eight, and the last long, is Mattakrīda-Vidyun-mala. Ex. (See text.) Tr. This rain-cloud being like [a mass of] collyrium is making sounds like thunder, Murajas and shrill Pațahas, and being lighted up by many a flash of lightning, followed by [other] clouds, and wearing a heap of lovely flowers of various colours as its tātanka, it is moving about like a mobile mountain.

(310-311) 1Rohini was the most beloved among Candra's twenty- seven wives who were daughters of Daksa and they became atars, , 18

XXXII. 313-320] THE NĀȚYAŠĀSTRA 138

313-316. Skhalita-The metre which has in its feet of twentyfour syllables, the first, the fourth, the seventh, the tenth, the eleventh and the last long, is Skhalita. Ex. (See text.) Tr. The sea on which the wind has raised ripples and waves, which has its water as bright as crystal gems, has become very noisy due to the succession of waves, has its birds scared by swiftly blowing wind, has more waves due to perturbed fishes, has the sound of agitated clouds, suddenly appears now to be angry at the moment on being surrounded by high mountains.

317-318. Capala-The metre which has in its feet of twentyfive syllables, the fifth, the eight, the eleventh, the twelfth and the last long, is Capala. Ex. (See text.) Tr. O fair lady, the sun with the body as bright as . highly heated gold, after removing the very dark screen of heavens, is rising to wake up the masses of lotus flowers and to give joy to the world with its myriads of rays, and the Yatis and Munis are singing its praise, and the Munis and thou- sands of other worshippers are augmenting its rays [by their sacrificial offerings].

319-320. Vegavati-The metre which has in its feet of twentysix syllables the fifth, the twelfth, the thirteenth and the last long, is Vegavati. Ex. (See text.) Tr. Here appears the light of the world (the moon) with rays as white as masses of kumuda flowers, ascending the dome of the sky with all the stars and planets in its train. And its body is compar- able to a silver mountain, and it spreads a coverlet of its rays [all over the world] and looks as white .as the face of Balarama (lit. the carrier of plough).

139 THE DHRUVA SONGS [XXXII. 321-330

and is a friend of young women and causes in- toxication to all.

321. These eight are the metres for the Sirsakas. Now listen about that of the Natkutas. 322. Eight are the basic metres for the Natkutas. Listen now about their definitions and examples. 323. They are Rathoddhatā, Budbuda(ka), Udgatā, Vamśa-patraka1, Pramitakșarā, Ketumatī, Hamsasya and Toțaka. 324-325. Rathoddhata-The metre which bas in its feet of eleven syllables, the first, the third, the seventh and the last long, is Rathoddhatā. Ex. (See text.) Tr. The female bee having her [temporary] abode in the interior of the lotus, has her feet beautifully coloured with flower-pollen, and she is now flying over the lake with an affectionate humming in quest of [her mate].

326-327. Budbuda-The metre which has in its feet of thirteen syllables, the third, the tenth, the eleventh and the last long, is Budbuda. Ex. (It is very corrupt).

328-330. Udgata-The metre which has in its feet of sixteen syllables, the third, the fifth, the ninth, the twelfth, the fourteenth and the last long, is Udgata. Ex. (See text.) Tr. At the approach of autumn, this lake the abode of full-blown lotuses and of cakling geese (kala- hamsa) becomes like the sea polluted by herds of big elephants, and it is now softly giving rise to constant sounds, in harmony with the humming of bees [flying over its flowers]. (323) This is the shortened form of Vamsapatrapatita, See 331 below.

XXXII. 331-339] THE NAȚYASÂSTRA 140

331-332. Vamsa-patra-patita-The metre which has in its feet of seventeen syllables, the first, the fourth, the sixth, the tenth, and the last long, is Vamsa-patra-patita. Ex. (See text.) Tr. This cuckoo which has always a voice sweet to ears, is roaming about in the vernal forest where the Cūta (mango), Tilaka, Kuruvaka and Asoka trees have flowered and attracted humming bees, is creating intoxication in young damsels.

333-335. Pramitaksara-The metre which has in its feet of twelve syllables, the third, the fifth, the ninth and the last long, is Pramitaksarā. Ex. (See text.) Tr. The young swan roaming for a long time with his young consort and drinking asava (honey) from her mouth, is now in the antumn, swiming in the lotus-lake redolent with the smell of flowers. O fair one, the bee after roaming for a long . time in the lotus-lake, is now flying through the sweet smelling Cuta forest adorned by spring. and it has a desire for tasting the asava (honey) from of the mouth of its female companion.

336-337. Ketumati-The metre which has in its first foot fourteen matras, and in oach of the remaining feet sixtean mātrās, is Ketumatī. Ex. (See text.) Tr. When the young elephant after smashing the [forest]-bower went to the lake where lotuses have blown, the young bee with its female companions left the lotuses to roam about [elsewhere].

338-339. Dhvajini-The metre which has in in its first (three) feet of ten syllables, the fifth, and the last long, and in the last foot of ten syllables, the fourth and the sixth syllables long, is Dhvajinī.

141 THE DHRUVA SONGS [XXXII. 340-348

Ex. (See text.) Tr. The female bee tempted by flowers, is sporting among the lotuses, and after swiftly drinking honey she is becoming restless [for joy].

340-341. Hamsaya-The metre which has in its feet of twelve syllables, the socond, the fourth, the sixth, the tenth and tha last long, is Hamsasya.' Ex. (See text.) Tr. The sweet-smelling wind blowing over the beauti- ful lake with its waves and full-blown lotuses, is tempting bees as well as birds.

342-344. Hamsåsya-The metre which has in its feet of twelve syllables the third, the fourth, the sixth, the seventh, the tenth and the last long, is Hamsasya.1 It belongs to the Natkuta class of Dhruvas. Ex. (See text.) Tr. A swarm of bees after constant flying in quest of honey of flowers, over the lotus-lake where swans and other birds have come, is now moving among the lotus-leaves.

345-346. Totaka-The metre which has in its feet of twelve syllables the third, the sixth, the the ninth, and the last long, is Totaka. Ex. (See text.) Tr. At the close of night the terrible owl which had a fearful hooting, has bohind it [a group of] chasing crows, and it is [now] hastily searching after its own hollow [of the tree]. 347-348. These in brief are metres for the Natkuta [Dhruvās]. I shall now speak of the metres for the Khañjaka [Dhruvās]. Prameda, Khañjaka and Matta-cesțita are the three metres for the Khanjaka [Dhruvas].

(340-341) 'This belongs to the longer recension. (342-344) 1This belongs to the shorter recension.

xXXII. 349-358] THE NÂTYASĀSTRA 142

349-350. Pramoda-The metre which has in its feet of twentytwo feet, the first, the fourth, the sixth, the tenth, the sixth and the last long, is Pramoda. Ex. (Very corrupt.)

351-352. Bhavini-The metre which has in its feet of nine syllables the first, the third, the fifth and the seventh and the last long, is Bhāvini. Ex. (See text.) Tr. The bee coming out from the flowers smeared with a beautiful clay, is swiftly running about shaking its wings [to cleanse them].

353-354. Matta-cestita-The metre which has in its feet of eight syllables the first, the third, the fifth, and the seventh short, is Matta-cestita. Ex. (See text.) Tr. The cuckoo comes to the forest where other birds have [already] come to adorn it and where the . trees are in flowers and the bees are singing.

355. These are the primary (lit. original) classes of the Natkuta, and from these come out others having even or odd [number of syllables in their feet or having feet of] un- equal [number of syllables].1 356. Dhruvas have sixtyfour primary classes some of which are made up of equal number of syllables [in their feet] and different ftom this [are made up of] unequal [number of syllables]. 357. Dhruvas of three kinds having even or odd number of syllables or having even and odd or unequal [number of syllables in their feet] may be of various metres. 358. Dhruvas having even [number of syllables in their] metrical feet are two hundred and eighty five in number, and those having partially even number are one hundred and

(355) 1The meaning of this and the four succeeding couplets, is not quite clear. .

143 THE DHRUVĀ SONGS [XXXII. 359-366

ten, and similar is the number of Dhruvas which are having uneven [number of syllables in their feet.] 359. Dhruvas of unequal length in feet or with unequal number of feet, are [also] generally made, and the names to these metres may be given according to one's will 1

Five Aspects of Dhruvās 360 These are the classes [of Dhruvas] arising out of various metres. I shall now speak of their [different] aspects due to five causes. 361. These five causes are : Class (Jati), Occasion (sthāna), Variety (prakāra), Measure (pramāna) and Name (nāma). 362. The number of syllables in the metre of a Dhruva constitute its Class (Jati).1 Such numbers being odd or even, will give rise to its Variety (prakāra). 363-364. The Tala of six or eight Kalas observed in Dhruvas will constitute their Measure (pramana),' and just as Names are applied to men according to their clan (gotra) family (kula) and customs (acāra), so they are applied to Dhruvas according to their depending on an Occasions (sthāna).

Five occasions for Dhruvās 364. Occasions in connexion with. Dhruvās are five, viz. entrance (pravesa), diversion (āksepa), departure (niskrāma) calming (prāsadana) and transition (antara).' 365. Themes of various Sentiment sung at the entrance of persons [into the stage] are called the Prāvesīki Dhruvā. 366. When in a [dramatic] performance at the end of Acts songs are sing at the exit of characters to indicate their going out, they are Naiskamikī Dhruvās.

(359) 1This passage is corrupt. (362) 1This relates to syllabic metres. (363-364) 1See above Ch. XXXI on Tāla, (364) 1See above 26-27,

XXXII. 367-378] THE NĀȚYASĀSTRA 144

367. When the experts, in disregard of the rules, have a Dhruva of medium or of slow tempo sung in a quick tempo, it is called the Antara Dhruva. 368. The song which after [sudden] distraction calms the audience (lit. auditorium) who are enjoying a different Sentiment, is called a Prāsādikī Dhruvā because it calms (prasādayati) their feeling. 369-370. The Antara Dhruvas are those songs which are sung at the time of the [principal] characters being gloomy, absent-minded, angry, asleep, intoxicated, or their enjoying other's company, being under heavy weight, or being in a swoon, or their fainting due to poisoning, or being in error, or their adjusting or fixing up clothes and ornaments, and in covering any of their faults [in acting]. 371. I shall now speak about the Occasions (sthana) to- gether with the Sentiments and States where all the Dhruvas are to be sung carefully. 372. The Occasions are of two kinds, viz., relating to others and relating to one's own-self. Listen now from me about that [Occasion] which is connected with diversion (āksepa). 373. When one is captured, obstructed, fallen, attacked with illness, or is dead or in a swoon, there the Apakrsta Dhruva in the Pathetic Sentiment should be sung. 374. Where one is in [a state of] impatience, dis- simulation, anxiety, lamentation, weariness, depression and dispair, a Dhruva in a slow tempo should be sung. 375. In these States and in pathetic reports the Dhruva should be sung in a quick tempo furnished with a rapid move- ment. 376. Where there is any sorrow from seeing before one's own eyes any one killed or wounded, the Dhruvas there should be in a slow tempo and in the Pathetic Sentiment. 377-378. In case of seeing any calamity, of intolerence, seeing anything supernatural, being in despair, in carelessness and in anger, and in showing one's spirit, and in a direct report of anything in Furious, Heroic, Terrible and such other

145 THE DHRUVA SONGS [xxXII. 379-389

Sentiments, and in agitation and in hurry, the Dhruva should be sung in a quick tempo. 379-380. In propitiating, requesting or recollecting any one or in an exggerated speech or in meeting [of lovers] for the first time, in joy, in begging or in seeing anything strange in connection with love-making the Dhruva should be of the Prāsādikī class and in a medium tempo. 381. In physical distress and in anger and in aiming a missile [against any one] the Antara Dhruva should be made continuous. 382. No Dhruva should be sung when there is any entry of weeping or singing persons, ond when there is any hurry in their coming or when they announce anything, or any calamity or surprise occurs fat the time]. 383. Dhruvas should be thus applied after taking into consideration the rule regarding themes, places, times and seasons [involved], the characters [in the play] and indicaticn tates. of the States. 384. Dhruvās are of six kinds, viz. Sīrșaka, Uddhatā, Anubandha, Vilambitā, Additā and Apakrsțā. 385. A Dhruva which is at the position of sīrsa (head) is called the Sīrsaka. A Dhruva is called Uddhata because it is sung in an uddhata (elevated) manner. 386. A Dhruva which is begun in a playlike (?) manner and which adopts a tempo meant for it, is called Anu- bandha. 387. The Vilambita Dhruva is that which according to the dramatic convention, moves always slowly or not very quickly. 388. When a Dhruva arises in connexion with the Erotic Sentiment and has some extraordinary quality, it is pleasant and is called Addita. 389. A Dhruva which for the reason of its being sung (lit. drawn up) in other States (?) for reasons [other than that with which it began] is called the Apakrsta. 19

XXXII. 390-400] THE NĀȚYASĀSTRA 146

390. The Excited Pravesiki Dhruva, when the move- ment has been arrested (?, or delayed, should be applied in case of male characters. 391. The Pasadiki Dhruva in case of females will be [of] the Addita [class], and when it is in a slow tempo it will be Apakrsta and that which is not Druta will be Vilambita. 392. As tempo, instrumental music, pause, words, letters and syllables accompany a song, these six are called its entering aspects. 393. Sīrşaka and Additā belong to kings and gods. Addita is to be applied in case of women of divine, royal and Vaiysa origin. 394. At the entrance of middling characters the Dhruva should be of the Druta-Vilambita [class], and in case of inferior characters it should be of the Natkuta and Khanjaka [classes]. 395. The Khanjaka and Natkuta will be for bringing joy to the occasion. Why is it so? Because these two belong to Comic and Erotic Sentiments. 396. In case of inferior characters and of any one dead, there should be Anubandha with [proper] tempo. In case of women of the.Ksatriya and Vaisya classes there should be Apakrīsta Dhruva in proper tempo. 397. The Pravesiki Dhruva should have Tala with four Sannipatas. The remaining ones are to have two Sannipatas, and the Sirsakas are to have six padas. 398. Additā with a slow tempo, is not to be sung in case of inferior characters. In their movements relating to all the States, one should sing the Natkuta Dhruva. 399. These (the inferior characters) have only three States, viz. Comic, Pathetic and Terrible. One should apply Dhruva to them with a view to this fact. 400. The wise should apply the Dhruva after taking into consideration the theme (vastu), performance (prayoga), characters (prakrti), in a play, Sentiments, States, seasons, age, locality, time and mental condition (avastha),

147 THE DHRUVA SONGS [XXXII. 401-408

401. The theme (vastu) arises from a locality, and may relate to a city or a forest. The performance (prayoga) relates to divine and human beings. 402. The characters in a play (prakrti) are of three kinds, viz. superior, inferior and middling. Sentiments and States have already been described before. The season (rtu) occurs due to the flux of time. 403. Infancy, youth and old age are the three ages. Locality relates to the Zonal and other divisions of various kinds.1 404. The time is fixed by day and night, and by months and seasons. The [mental] condition relates to joy and sorrow. 405. These are always the features in different situa- tions. The wise should apply all these [in a play] after taking the Sentiments and the States into consideration. 406. Those things which cannot be expressed in speech should be presented in a song ; for through songs only, the strength and ripeness comes to the meaning of words (vakyārthā).

Contents of Dhruvās 407. Dhruvas in case of men and women of superior inferior or middling class, should relate to [objects] compar- able to them in quality. 408. In case of gods and kings the comparable objects are. the moon1, fire, the sun' and the wind,' and in case of Daityas and Raksasas they are clouds,4 mountains' and seas.

(403) 'See XIV. 3ff. (408) 1See 145, 147, 153, 168, 170, 183, 242, 244, 254, 266, 269, 307, 311, 320 above. 2See 252, 256, 270, 318 above. 3 See 56, 82, 121, 172, 209, 224, 246, 250, 268, 309 above. 4 See 65, 67, 69, 71, 73, 75, 92, 100, 119, 164, 192 above. 5 See 78, 80 above. 6See 207, 316 above.

XXXII. 409-416] THE NĀȚYAŠĀSTRA 148

409. In case of Siddhas, Gandharvas and Yaksas, comparable objects are the planets, stars1 and bulls, and for all these persons engaged in practice of austerities (tapas) comparable objects are the sun2, fire and wind.3 410. For all Brahmins and and other persons engaged in austerities, the comparable object is fire, and for their wives the comparable object will be the same. 411. Lightning1, meteor, and the sun's rays are objects comparable to the heavenly beings, and objects comparable to gods, apply to the case of kings also. 412. Elephants', lions and bulls are not comparable to heavenly beings, and elephants, serpents and lions are to be compared with kings. 413. Mischievous beings like the Yaksas, Rāksasas and Bhutas are comparable to the baffalo, ruru deer, lions and other carnivorous animals. 414. A rutting elephant' and a swan2 are compared with superior characters in connection with various Senti- ments. 415. Cranes1 (sārasa), peacocks2, krauňca, ruddy geese3, and lakes with kumuda flowers, have quality [enough] to be compared with middling characters. 416. The cuckoo1, bee2, crow, osprey3, owl' and crane, pegion and kādamba are comparable to inferior characters.

(409) 1See 143 above. 2See 252, 256, 270, 318 above. 2Sce note 3 (on 408) above. (411) 1See 185 above. (412) 1See 115, 117, 121, 151, 194, 231, 235, 237, 248, 261, above. (414) 1See 115, 117 above. 2See 135, 134, 203, 227, 264, 334 above. (415) 1See 138 above. 2See 63 above. 3 See 90, 111 above. 4See 181 above. (416) 1See 332 above. 2See 140, 324, 335, 337, 339, 341, 344, 350, 352 above. 3 See 346 above. 3 See note 1 (on 415) above.

149 THE DHRUVĀ SONGS [XXXII. 417-426

417. Now listen about the objects comparable to wives of superior, inferior and middling characters. 418. The night', earth, moonlight, lotus-lake2, female elephant, and the river have qualities enough to be compared with wives of kings. 419. A lake1, osprey, creeper2, female crane3, pea-hen and female deer are always to be compared with wives of middling characters as well as with courtezans.+ 420. A hen, bee1, crow, cuckoo and owl of female species are to be mentioned in the Dhruvas connected with wives of inferior characters. 421. Comparison about going, and any other movement [should be indicated by] the Pravesikī and Naiskrāmikī Dhruvā.

Dhruvas to suit time and occasion 422. The Pravesiki Dhruva is to be sung to indicate anything happening in the forenoon. And the Naiskramikī Dhruva may serve [in general] for anything occurring throughout day and night. . 423. Gentle Dhruvas are to be sung to indicate the forenoon, and excited (dipta) Dhruvas are to be sung to indicate the noon, whereas pathetic Dhruvas are to be sung in case of afternoon and evening. 424. Any report about going is to be expressed by the Prāvesikī Dhruvā, and that which relates to anything station- ary is to be have recourse to the Aksepikī Dhruva. 425. The Aksepiki Dhruvas are all to be sung in a quick as well as in a slow tempo. Thus will be these Dhruvas when they arise in connexion with anger and intolerance, and are in the Pathetic, Marvellous and Terrible Sentiments. 426. All objects existing in the earth in connexion with a dead body or with a god, are to be mentioned in the [Dhruva] song with suitable comparison.

(418) 1See 220, 222 above. . 2See 211 above. (419) 1See 181, 330 above. 2See 113 above. 3 See 138 above. 4See 140, 324 above.

xxxI. 427-435j THE NATYASĀSTRA 150

Dhruvās to indicate movements 427. Comparable objects in case of stationary things should be stationary, and in case of their moving they should be compared with moving objects, and their States due to joy and sorrow should be related to qualities in their objects of comparison. 428. In case of chariots, horses, elephants, deer, birds, palanquins and aerial cars, the experts should make Dhruvas with a view to their movement and progress. 429-430. In case of chariots, arrows, horses, elephants, heavenly cars, swings and birds as vehicles, the expert should compose the Dhruva with words and syllables which can be uttered quickly. In case of bulls, elephants, lions and bears, the Dhruva should be made up of heavy syllables that can be uttered with force. 430-431. In case of crows, monkeys, swans, and pea- cocks, the Dhruvas should be made up of light syllables with swift movement, and of heavy syllables with their slowness. This being the case one should apply swift [Dhruvas] after knowing the States [in their connexion]. Metres for Dhruvās 432-433. Words of a song cannot be without a metre. Hence after considering [contents of] the Dhruva song, one should put it in a suitable metre.1 Hence a Dhruva to express the movement of a vehicle, should be made up of [suitable] syllables, so that the different limbs of the song may agree with the instrumental music. 434. The metre which is prescribed for the foot of a Dhruva in connexion with the movement of a vehicle, should also be available in the instrumental music, and it should be also agreeing with the movement of all the limbs [of a song]. 435. The song should be taken up first, then the instru- mental music, and the dance will be taken up afterwards. A combination of song and instrumental music [with dance] is called a performance (prayoga).

(432-433) 1See 49ff above.

151 THE DHRUVĀ SONGS [XXXII. 436-442

436. The State which is in one's heart, should be depicted by means of histrionic representation in all its limbs and with Suca of the Nivrtyankura [class]. 437. The Prasadiki Dhruva arising from the quality of giving joy, should be applied when there is a man in the sky and speaking to the sky.1 438-439. The Dhruva in this case connected with speaking, should [completely] suit the meaning of its name, when the Dhruva connected with pleasing or jealousy and anger, attains the Erotic Sentiment, it should be suited to the meaning [of it name]. And when there are occasions of pleasing, Dhruvas con- nected with the [different] Sentiments, should be made Prasadikī to suit the meaning [of their names]. The Language of Dhruvas 440. The language in the application of Dhruvas should be Suraseni.' Sometimes it may be Magadhi' when [the Dhrnvas of] the Natkuta [class] are to be made by the wise. . 441. Sanskrit songs1 'have been prescribed by the authorities in case of heavenly beings ; and in case of human beings half-Sanskrit2 [songs] should be used. 442. Listen about their treatment if the gods who have been made objects of comparison, makes entrance in a play in course of its action. (436) 1See XXIV. 48 above, (437) 'See XXVI. 83-85 above. (440) 'This is the wellknown Sauraseni. Though S. has been included in the list of seven major dialects mentioned earlier (XVIII. 47), we are not sure of its characteristics as envisaged by the author of the NS. The Prakrit described in XVIII. 8-23 may be Sauraseni. See note on XVIII. 47 above. 2Magadhi though mentioned in the NS (loc. cit) has not been described there. (441) 'This probably points to the very early development of the Skt. drama. For further discussion about this see the Introduction. 'This term probably indicates a language like that of the metricas portions of the Mahāvastu,

THE NĀȚYAŠĀSTRA xxxII. 443-454] 452

443. That which is their Sattvika State and constitutes a narration of their deeds, should be expressed through a song according to the authoritative rules. Metres of Dhruvās 444. Songs in case of heavenly beings are desired to be in metres of [suitable] measure (size). This should relate to their praise or a narration of their exploits. In the feet of Dhruvas one should describe that which relates to the qualities of comparison. 445. [In this connexion] the metres [like] Mālā, Vaktra, Puțavrtta Viślokā, Cūlikā, Udgatā and Aparavaktra should be used by the producers. 446-447. I have described their structure (lit. rules of metre) before.1 In case of gods, these (i.e. Dhruvas) should include words expressing victory or blessing, and for them (i.e. gods), Rc, Gatha and Panika, will be understood as their form (lit, measure). As these are pleasing to hear they should be put in tune (lit. applied in songs). 448: The Jatis including Gandhāra, Sadja, Madhyama, Pancama and Dhaivata should be reckoned as the [suitable] form of these songs.1 449. Their form to suit the four occasions should be such as Prāsadikī, Sthitā, Naiskramikī and Pravesikī. 450. In the various acts of gods when there is no obstacle, Sanskrit should often be used in the Anustubh metre. 451. The metres like Mala, Vaktra, and Aparavaktra are suited to Pravesiki Dhruva, and Puța and Culikā are meant for Naiskramiki Dhruvas. 452. Udgatā (metre) is applicable in the Prāsādikī Dhruvā and Anustubh in the Vilambita Dhruva. These occasions are to be expressed by one who is an expert in measures. 453-454. The song which is in the Anustubh metre, and is in a slow tempo, and relates to a fall due to curse, suffering from anxiety, and abounds in heavy syllables, notes

(447) 1See XXXII. 49ff above. (448) 1Gee XXVIII. 103ff, above,

153 THE DHRUVĀ SONGS [XXXII. 455-464 of pathetic expression, and long-drawn-out Varnas, should have the Sthita Sthana. 455. For the excitement of human beings, and for their roaming [over different places], heavenly beings are to resort to songs in the Anustubh metre. 456. In relating the memory of those of heavenly beings who are born amongst mortals, one should resort to suitable songs expressing heavenly States. 457. And suitable songs relating to the sorrow of these very beings when these are meant to kill sorrow and anxiety, are to deal with a change due ' to afflicted conditions.

Dhruvas to suit occasions 458. Listen now what are generally to be done for the rule of Dhruvas occurring to their division of occasions. 459. When the instruments of music have been placed in order, and the three Samans have been uttered, one should apply the Asrāvanā' included in the Bahirgītā.2 . 460. After performing the Bahirgīta one should per- form the Purvaranga1 and the Purvaranga having been undertaken one should perform the Rangadvāra.2 461. In connexion with the entrance of characters, one should sing the Dhruva indicating movement and also the Parivarta. 462. By taking steps upon the stage while singing or due to [some other] need, one should make six Pari- vartas.1 463-464. The Dhruva in this case should be made as in the case of gods, and the Patas there, should be twentyone in number. The Dhruva in its application in drama should be of the Tryasra or of the Caturasra type. In case of

(459) 1See V. 18. 2See V. 30-31ff. (460) 1For Pürvaranga and its different parts see V. 7ff. 2See V. 26-27 and 116-119. (468) 2See V. 65ff, and the note on 471 below. 20

XXXII. 465-474] THE NĀȚYAŠĀSTRA 154

the Tryasra the Pada-pata will consist of three Kalās, while in the Caturasra the Pada-pata will consist of four Kalas. 465-466. The Dhruva in case of superior characters will be Caturasra and in case of the middling characters Tryasra type, and in case of the inferior characters it will be of the Khanja and the Natkuta class. This will be the rule about tunes in connexion with the movement of feet. 467. In case of hurry, calamity and anger it will consist of one Kala or half of a Kala. And the movement of feet will consist of three, two, one or of four Kalas. 468. At that time there should be a harmony of dance with the instrumental music and not with song. There should be no pause in Dhruva of one or two Kalas in dance. So, there should be a harmony [of dance] with the instrument and not with the song 469. One should know the setting of feet in case of the State mentioned before, depending on the slow or the quick tempo, and should make harmony with the instrumental music. 470, The entrance after tossing the curtain, on account excessive joy, sorrow and anger, should be made simultaneous with the divisions (?). The Rule of Graha 471. These are the rules about Parivarta' in a play. I shall now describe the Grahas2 in connexion with the instruments. 472. The song should start its Parivarta1 without any [music of the] instrument, and in the fourth Parivarta1 there should be the Graha of the instrument. 473. Sometimes there should be Sannipata Graha, sometimes Tarjani Graha and sometimes Akasa Graha in the Dhruvā songs.1 474. As the Graha in the Dhruva is regulated by Kala, Tala and tempo (laya), it should be observed in the move- ments and walks, by means of instruments. (471) 1This term probably means 'a single performance of a song' when it is repeated. 2See XXXIII. 180ff below. (473) 1See above note 1 to 471,

155 THE DHRUVÃ SONGS [xXXII. 475-484 475. In the Sirsaka of the Uddhata classes of Dhruvas, the Graha should be by the Pradesini, and in the Vilambita Addita Dhruva, it should be by the Sannipata and the third [finger]. 476-477. In Natkuța, Additā and Prāsādikī Dhruvās the Graha will be in Sannipata and in Druta (quick) Dhruvas the Graha will be from above,1 and in Naiskramiki and Anu- bandha Dhruvas the Graha will be with the instruments. And for songs, there should not be made any repetition by the experts. 478. Natkuta Dhruvas should have four Grahas such Sannipāta, Šamyā, Tāla and Ākāśa. 479. In the entrance [of any character] with hurry, excitement and joy, there should be the Graha with the song, and such a Graha is called Udghātya. 480. In case of falling of ornaments, clothes or of any disorder, any loss of memory, fatigue, and in the [general] covering of faults, there should be the Udghatya Graha of the Antara [Dhruva].

Application of songs 481. Producers should in this manner apply in their proper places, the Dhruvas required for dance and drama. 482. Just as a well-built dwelling house' does not become beautiful without any colour, so without any song the drama does not attain [the capacity of giving] joy. 483. The rule regarding songs have been mentioned in connection with [the formalities of] thie Pürvaranga (Preli- minaries), and the worship of gods has also been mentioned there.1 484. Hence notes in the two Gramas as well as the Overlapping [note],' should be applied to plays (lit. poetical compositions) which express the various States.

(476-477) i.e. Ākāśa Graha. (482) 1citram nivesanam. (483) 1See V. 60-63ff. (484) 1See XXVIII. 35 above.

THE NĀȚYASÅSTRA xxxII. 485-493] 156

485-486. In the Opening' of the drama there should be the songs of the Madhyama Grama, Sadja in the Progres- sion, the Overlapping in the Development, Pañcama(mī) in the Pause, and Kaisika(ki) in the conclusion. These songs depending on the Junctures and metres, should be of suit- able Sentiments and States. 487. Dhruvas depending on the context and made to express Sentiments suited to the situation, embellish the drama just as the stars illumine the sky. 488. The Magadhi is the first Giti, then Ardhamagadhi [the second], Sambhavita the third and Prthula the remaining one (i. e. the fourth).1 489. Magadhi is known by the repetition of its pādas [in different tempo] and it is in the Citra [Vrtti].' Similar is the Ardamagadhi, which has recourse to repetition twice. 490. Sambhāvitā depending mostly on heavy syllables is applied in the Vartika (Vrtti), and Prthula consisting of light syllables in the instrumental music, is to be applied in the Daksina Vrtti. 491. These four Gitis are everywhere to be applied in songs by singers. These consisting of appropriate syllables are applied in Dhruvas also. 492. That which includes full notes, Varnas, is embel- lished by instruments, relates to the three voice-registers, has three Yatis and three Matras, gives joy, is harmonious (sama) and delicate, contains Alamkaras, is performed with ease, and has sweetness, is called a song [per excellence].1 493. One should first of all bestow care on songs. For songs have been called the resting place (lit. bed) of the drama. The song and the playing of musical instruments being well-executed, the performance of the drama does not encounter any risk.1

(485-486) 1Sce XXI. 58ff. (488) 1See XXIX. 77ff above. (490) Vrtti- gati-vrtti. See XXIX. 102ff. (493) 'This shows that songs were indispensable in producing plays.

157 THE DHRUVÅ SONGS [xxxII. 494-501 Qualities of singers and players of instruments 494. I have thus spoken properly of the characteristics of Dhruvas. I shall now speak of [requisite] qualities of singers and players of musical instruments. 495. Knowledge proceeds from qualities, and mind gets repulsed due to faults. Hence one should carefully know in brief the qualities and faults. 496. The singer should be of young age, have a loving nature and a throat full of sweet voice. He should thoroughly know about tempo, Tala, division of Kalas, their measure and application.1 497-498. A woman possessing a good physique, brilliance, courage and sweetness, also a voice which is soft, sweet and has a charming resonance, and is harmonious, and auspicious, and who can properly observe a pause, is never nervous, and is an expert in songs together with their Tala and tempo, and can regulate her Karanas according to musical instruments, and is young, is known as a female singer1 [per excellence]. Characteristics of a Vina player . 499-500. The two Vina players should be properly conversant with the use of Pani,1.tempo and Yati2 properly alotted [to different parts of a song], should have nimble hands in producing sweet sounds, and should have the qualities of [good] singers. They should be attentive in mind and be able to sing well in accompaniment of other instruments and clearly produced Karanas' and should be industrious, and should have a pleasing voice, much experience and should be experts in playing instruments in Vrttis like Citra etc. Characteristics of a flute-player 501. The flute-player should be strong and careful, should properly know songs and their tempo, and be able to sing well in accompaniment of other instruments, and to produce a note which is voluminous as well as sweet and pleasing, and should possess a strong breath. (496) 1See SR. III. 13-22. (497) 1See SR. III. 23. (499-500) 1See XXXI. 494-495. 3i.e. Karanas produced by the dancer. 2See XXXI. 489-493. .

xxxI. 502-509] THE NATYASÂSTRA 158

502. The music of a flute should thus be steady, conti- nuous, expressive of Varna and Alamkāra, and be sweet, pleas- ing and able to cover the faults [of a performance]. Difference between male and female song and recitation 503. Generally songs are naturally suited to women, and recitatives are similarly suited to men. For women's voice is naturally sweet and that of men are [naturally] strong. 504. The good quality in women's recitation and sweetness in men's songs, should be considered their adventi- tions qualities (lit. ornament) [and no part of their nature].1 505. If men lead [in songs] and the songs possess good characteristics, but have no sweetness, then these, do not impart any beauty [to the performance]. 506. Hence women's songs are naturally successful and so are men's recitatives.1 When these are not [indiscri- minately) attempted by one another, they become easy to perform. 507. Danavas, Asuras, Rākşasas, Yakșas and Uragas (Nagas). as males and females, have many actions and speeches. 508. [In such cases] women are to play men's parts [very] carefully. For women are naturally able to make graceful movements [only].1 509. Men acquire Sausthava1 by regular exercise and practice, and women's movement of limbs are naturally pleasing.

(504) 'This shows that good singing was once supposed to be a monopoly of women. So Maitreya in the Mrcch. (III) does not approve of Carudatta's praise for Revila's singing (mama dāva duvehim jjeva hassam jāadi, itthiāe sakkaam pațhantie, manusseņa a kāalim gāanteņa). Cārudatta too continues his compliments to Revila by saying 'had he been out of sight (i.e. behind a screen), I might have taken him for a woman' (antarhito yadi bhaved vaniteti manye). (506) 1See note l above. (508) 'The movements of Danavas and Asuras etc., are mostly energetic. (509) 1For the meaning of Sausthava see XI. 91. Generally it means 'beauty and grace of the body in its movement'.

159 THE DHRUVA SONGS [xXXII. 510-519 510. With an eye to this fact, (lit. thus) men are to instruct women in songs, musical instruments and recitatives relating to different characters. 511. There may be [allowed] a loss of proper note in women's songs and playing of musical instrument. But this will not be sweet to the ear in case of men. Qualities of a teacher 512. The six qualities which a teacher should have, are memory, intelligence (medha), judgement (mati), reasoning positive and negative (uhapoha), and ability to train pupils. Qualities of a disciple 513. The six qualities which a disciple should have, are intelligence, memory, willingness to serve (ślagha), devo- tion [to work], spirit of emulation (samgharsa), and enthusiasm. Qualities of voice 514. The six qualities of voice are that it should be loud, compact, smooth, sweet, careful, and distinctly related to the three voice-registers.1 515. That which is heard from a distance, is called loud (śravaka). The loud voice which is sweet but not diffused, is called compact (ghana). 516. The voice which being loud does not become harsh, is smooth (snigdha). If at the highest point of the voice- registers, there occurs no discordance, then the voice is called sweet (madhura). 517-518. The voice which does not lapse into excess or defficiency, is called careful (avadhānavān). The voice which striking the head, the throat [and the chest] become sweet with reference to three places, provides always sweetness to the three voice-registers, is considered distinctly related to voice-registers (tristhanasobhi). Faults of a singer 519. The five faults of a singer are that his voice (lit. he) may be Kapila, unsteady, Sandasta (bitten), Kakī (crow-like), and Tumbakī (nasal).' . (514) 1See SR. III. 49-63. (519) 1See SR. III, 24-37.

xxxII. 520-525] THE NĀȚYAŠĀSTRA 160

520. When the voice is unnatural, and there is a gurgl- ing sound, it is called Kapila. The voice of one who has phlegm in the throat, is also called Kapila.' 521. When there is an irregular excess or want of volume in voice, it is callod unsteady. A lean voice is also given this name. 522-523. Voice produced by [unduly] using teeth, is called Sandasta (bitten) by good masters. The voice which in its enunciation does not properly touch its due voice-register, and which is harsh, is called Kaki (crow-like). The voice connected with the nose is called Tumbaki (nasal). 524. These are the essential facts about the qualities, and faults of voice, related by me. I shall next speak about the covered (avanaddha) instruments. 525. This is the Gandharva1 which I have now described. This was formerly described by Narada. A man (lit., son of Manu) who will cause this to be per- formed, will receive the highest honour in this world. Here ends the Chapter Thirtytwo of the Natyasastra, which treats of the Dhruva Songs.

(520) 1It may be that the word is a wrong reading for *Kaphala. (525) 1This is the Gandharva which the Ceta in Mrcch. (III) speaks about (kā vi velā ajja-Cārudattaśša gandhavvam śunidum gadaśša).

CHAPTER THIRTYTHREE

ON COVERED INSTRUMENTS

1-2. I have spoken briefly about the stringed instru- ments. I shall now speak of the class of covered musical instruments, their characteristics and functions as well as of playing drums named Mrdanga,' Panava' and Dardura.' 3. Svati and Narada' have [respectively] spoken about the Gandharva, and the playing of musical instruments together with their quality of amplitude, and their charac- teristics and functions.

Origin of drums

4. Now following Svati I shall speak briefly about the origin and development of musical instruments called Pușkaras (drums). 5. During an intermission of studies in the rainy season, Svati once went to a lake for fetching water.1 ' 6. He having gone to the lake, Pakasasana (Indra) by [sending] great torrential rains commenced to make the world one [vast] ocean. 7. Then in this lake, torrents of water falling with the force of wind made clear sounds on the leaves of lotus. 8. Now the sage hearing suddenly this sound due to torrents of rain, considered it to be an wonder and observed it carefully. (1-2) 1A kind of earthen drum still in use in Bengal among the singers of Vaisnava kīrtana. 2 A drum or tabor made probably of wood. See the note 6 on XXVIII. 4-5. 3This is also called 'Dardara'. Possibly this is the right form of the name. One side of its wooden frame is covered with hide ; it looks lik a large gong. Sce also note 6 on XXVIII 4-5. (3) 1See above XXXII. 525. It does not mention Svati. (5) 'The story given here about the invention of drums may net be quite fanciful. . '21

XXXIII. 9-15] THE NĀȚYASĀSTRA 162

9. After observing the high, medium and low sounds produced on the lotus-leaves as deep, sweet and pleasing, he went back to his hermitage. 10. And after coming to the hermitage, he devised the Mrdangas, and then the Puskaras' [like] Panavas and Darduras with [the help of] Visvakarman. 11. On seeing the Dundubhi' of gods, he made Muraja,2 Ålingya,3 Urdhvaka' and Ānkika.5 12. Then he who was a master of reasoning of the positive and the negative kind, covered these and Mrdanga, Dardura and Panava with hide, and bound them with strings. 13. He also made other drums such as Jhallarī,' Pataha2 etc., and covered them with hide. 14. Listen now abont the instruments which men are to play as minor and major limbs [of a performance] in an assembly of instrument-[players]. 15. Among the wooden [stringed instruments] Vipañcī' and Citra' are major limbs3 and Kacchapi' and Ghosaka' etc., are minor limbs."

(10) 1Puskara seems to be a general name for drums made of wood. (11) 1A large kettle-drum made probably of earth. "This seems to be a kind of Pākhoaj. 3It seems to be a drum held against the breast of the player who embraced it as it were. Hence came this name (alingya =an instru- ment to be embraced). See 242ff. below. 4 See 242ff. below. 5 See 242ff. below. (13) 'This seems to be very small drum without any complexity. Cf. SR. 1135-1137. 2It seems to be different from the one mentioned by SR. VI 802-808. See also 27 below. (15) 'See the note 3 on XXVIII. 4-5, and the note 2 on XXIX. 220. 2 See the note 1 on XXIX. 120. 3 For their functions see 25-26 below. 4 This seems to be an one-stringed (ekatantri) instrument made with a tortoise (kacchapa) shell. 5 This seems to be a kind of Tanpura used merely as a drone. 6 For their functions see 27 below.

163 ON COVERED INSTRUMENTS [XXXIII. 16-24 16. Among the drums, Mrdanga Dardura and Panava are the major limbs, while Jhallari and Pataha etc., are the minor limbs. 17. [Among the hollow instruments] the flute (vamsa) has the characteristics of the major limbs [of a performance], and conch-shell and Dakkini [that of] the minor limbs.

Usc of Drums 18. There is no instrument which cannot be used in the ten kinds of play (dasarūpaka). Each kind of instrument may be used in a play after considering the Sentiments and States there. 19-20. In a festival, a royal procession, and a Mangala ceremony, in an auspicious and happy occasion, at the time of marriage and of birth of sons etc., in a battle where many fighters assemble, and during such other acts, all the musical instruments should be played.1 21. Small number of instruments are to be played during ordinary (lit. natural) household affairs .. During expeditionary marches and performance of plays, all the instruments should be played.1 22. For the harmonious blending of the different limbs [of a performance] and for covering the faults, the instruments are played.

General Description of Drums

23. I shall now speak of the covered instruments which give rise to regular notes, has many Karanas and Jātis. 24. All the instruments covered with hide such as the three Puskaras,1 are called covered instruments.

(19-20) 1See SR. VI. 10-21. (21) 1See the note above. (24) 1The three Puskaras of the NS. are Mrdanga, Panava and Dardura (Dardara); see 1-2, 10 and 16 above. But according to SR. VI. 1024-1025 they are Mrdanga, Mardala and Muraja. But Mardala is unknown to NS. .

XXXIII. 25-35] THE NATYASÂSTRA 164

25-26. And these have one hundred' varieties. But I shall now speak of the characteristics of the three Puskaras. For these have no harshness of sound like the remaining instruments. The latter produce no [distinct] notes, for them no [regulated] strokes [are necessary], no distinct syllables are available from them, and they require no Marjana. 27. By [the playing of] Bherī, Pataha, and Bhambhā as well as Dundubhi and Dindimas, one desires the depth of sound from their slackness and extensive surface. 28. These are generally to be played with a view to time and occasion [in a play]. But listen about the rules of the three Puskaras. 29. Metres depend on Vasu (?) and are of two kinds, viz. those which relate to notes only, and those which relate to words carrying meaning. 30. Metres relating to words carrying meaning, express many States and Sentiments, and those relating to notes only, depend on various instruments. 31. Seven are the notes in the Vina of the [human] body, and from those have come out the notes of musical instruments. 32. Notes coming out first from the human body go to the wooden Vina and then they go to the Puskara and the solid instruments. 33. Strokes1 on them by various movements, are to be known as giving shelter to words. These are always to be applied to the playing of Vina [and] at the time of battles etc.1 34. In the Vina of the human body there should be Vāșkarana1 (mnemonic patterns) such as jhintu jagati kāt (?) together with many Karanas. 35. The notes produced by the singer should be produced by the musical instruments, and these should contain light and heavy syllables showing appropriate Yati and Pani. - (25-26) 1SR. names no less than twentythree varieties. See Ch. VI. (33) 1Bahviranair. The reading here is probably corrupt. (34) 1This word is probably to be derived from vācaskaraņa and is similar in meaning to bol used by modern drummers of Northern India.

165 ON COVERED INSTRUMENTS [XXXIII. 36-40

Aspects of Puskaras 36. I shall speak about the rules of playing Puskaras with reference to Mrdanga, Panava and Dardura. 37-39. Puskara instruments have following aspects : sixteen syllabic sounds (aksara), four Margas, Vilepana, six Karanas, three Yatis, three Layas, three Gatis, three Pracaras, three Yogas, three Panis, five Pani-prahata, three Praharas, three Marjanas, eighteen Jatis and twenty Prakāras. Music of Puskaras should possess all these aspects. 40. Now I shall speak of the sixteen syllabic sounds, K, kh, g, gh, t, th, d, [n], t, th, d, dh, [m]', r, l, and h are the sixteen syllabic sounds. These are the always to be used in the Vaskarana1 of the Puskara music. Four Margas1-The four Margas are Alipta, Addita, Gomukha and Vitasta. Vilepana2 (plastering)-Plastering of [Savya], Vama and Urdhvaka. Six Karanas1 -Rūpa, Krta-pratikrta, Pratibheda, Rūpa- śesa, Ogha and Pratiśuska. Three Yatis -Sama, Srotogata, Gopucchā. Three Layas'-quick, medium and slow. Three Gatis' (Prakrti)-Tattva, Ghana (=Anugata) and Ogha. Three Pracaras7-Sama Pr., Visama Pr. and Sama Vișama Pracāra. Three Samyogas"-Guru Sam., Laghu Sam. and Guru- laghu Samyoga. Three Panis9-Sama, Avara and Upari Panis. Five Paniprahatas10-Sama-pani, Ardha-pani, Ardhardha pāņi, Pārśva-pāni and Pradeśinī Prahatas. (37-39) 1See 44ff below. (40) 'The text gives dh for n and y for m.See SR. VI. 819. 2 See 111.116 and 258-259 below. 2 See 92-93 below. 4 See 94ff below. 5 Ibid. 6 See 118-120 below. 7 See 47ff. below. s See 117 below. 9 See 93 below. 10 See 83 below.

ČXXIII. 4İ-42] THE NAȚYAŠĀSTRA 166

Three Praharas"-controlled, semi-controlled and free. Three Mārjanās12-[Māyūrī, Ardha-māyūrī and Karmā- ravī]. Eighteen Jātis"-Suddhā, Ekarūpā, Dešānurūpā, Desād- apetarūpa, Paryāya, Vişkambha, Pārşņi-samastā, Duskara- karaņā, Urdhvagosțhikā, Uccitikā, Evamvādyā, Mrdanga- paņava, Avakīrņā Ardhāvakīrna, Samplava and Vidhūta. Twenty Prakaras" are Citra, Sama, Vibhakta, Chinna, Chinna-viddha, Viddha, Anuviddha, Svarupanugata, Anusrta, Vicyuta, Durga, Avakīrņa, Ardhāvakīrņā, Ekarūpa, Parikșipta, Sacīkrta, Samalekha, Citralekha, Sarvasamavaya and Drcha15. 41. The sixteen syllabic sounds which have been men- tioned before applies to Puskaras, such as Panava, Dardura and Mrdanga as well. Productions of Consonant and Vowel sounds in Drums 42. K, t, r, t, th, d, dh are to be prodnced on the right face and g, h, and th on the left face of the drums and th on the Urdhvaka and k, r, n, dh, v and l on the Alingya. Now I shall speak about combining vowels with them. a, a, i, i, u, ū, e, ai, o, au, am and ah are the vowels to be added to the consonants. . To k-a, i, u, e, o and am can be added to produce ka, ki, ku, ku, ko, and kam. To kh-i, u and o can be added to produce khi, khu and kho .. To g-a, e and o can be added to produce gu, ge and go. To gh-a, e and o can be added to produce gha, ghe and gho. To t-a, i, o and am can be added to produce ta, ti, to and tam. To th-a, i, o and am can be added to produce tha, thi, tho and tham. To d-a and o can be added to produce da and do. 11 See 42 below. 12 See 102ff. below. 13 See 130ff. below. 14 See 198ff. below. 15 Later writers like Sarngadeva include most of the technical terms into tho hastapatas. See SR. VI 819ff.

167 ON COVERED INSTRUMENTS [XXXIII. 42 [To n-a, i and e can be added to produce na, ni an ne.] To t and th-a, a, i and e can be added to produce respec- tively ta, ta, ti, te and tha, tha, thi and the. To d-a, u, e and o can be added to produce de, du, de and do. To dha - a, i, o and am can be added to produce dha, dhi, dho and dham. To r- a, a, i and e can be added to produce ra, ra, ri and re. To l-a, a, i and e can be added to produce la, la, li and le. H and m are applied without any vowel. Among these k, gh, t, th and dh has r as their appendage (anubandha) e.g. ghrum, dhra, tre, kram, thra, [dram], dhram. K and / also act as appendages, e g. [klam, kle). Sounds producable by two hands are made by combining all these. Dham however is produced in Ankika, Mrdanga and two Puskaras by the simultaneous strokes of two hands. Ku is produced by running the finger (against the sur- face of the drum-face), and dha by controlling it. When it is half-arrested there is tha. When the back of the hand strikes it, there is kl ; from curving the fingers comos ksa (kh). By the simultaneous striking of Urdhvaka and Vamaka' by the two hands, there occurs ham, and by striking Alingya with the forefinger kle [is heard]. Some of the sounds are produced from one face [of a drum], some from two faces [of a drum], and some from three faces [of two drums], e.g. r from all faces (i.e. from any single face), d, dh, from Alingya and Daksina2, g from Vāma[-ka] and Urdhvaka for the sake of facilities. Dh is sometimes is to be made from Alingya. There should be no disregard of this rule. So much about the combination of vowels and consonants. Five Hand-strokes Five kinds of hand-stroke (paniprahata) : level-handed (Samapāni), half-handed (Ardhapāni), quarter-face (Ardhār- dhapani), hand-side (Parsva-pāni) and fore-finger (Pradesinī). (42) 1This is possibly our arår. 2This is possibly qur srfear.

XXXIII. 43-44] THE NĀȚYAŠĀSTRA 168

Now these hand-strokes, according to their application are controlled, semi-controlled or free. Among these m is a stroke with the level-hand and is controlled ; g, d and dh are half-controlled and is a stoke with half of the hand. K, kh, t and d are strokes with the side of a hand and are controlled. T, th and h are strokes by half of the hand and are semi-controlled. M, th, r, l and h are two-handed strokes and are free. Klam is a stroke of the forefinger and is free. Dram dhram and klam are two-handed strokes with the side of a hand and are free. Klem is a stroke of the half of the hand and is controlled. # is a stroke of the side of a hand and is controlled. Thus one is to make strokes according to their requirement. 43. Sixteen are the sounds coming out of [covered] musical instruments. The wise are to make Vaskarana from their combinations.

The Four Margas I shall now explain what has been called the four Mārgas. ' 44. The four Margas relating to the strokes of the (covered) musical instruments are Addita, Alipta, Vitasta and Gomukha. The Addita Mārga relates to a combination of strokes of Alingya and Mrdanga. The Alipta Marga relates to a combination of the strokes of Vamaka and Urdhvaka. The Vitasta Marga relates to a combination of strokes of Urdhvaka, and the right face of Ankika. And the Gomukha Marga relates to the strokes of all Puskaras mixed up mostly with those of Alingya. Examples of the Addita Marga strokes are ghattam, kat- thita ghattam ghentā ghattam gatthimam gatthi ghantam gatthi. Now the Alipta Marga-dadhro ma madro mam sta du rpere ghram ghem gn dn (gu) ranandum ghem, prem (ghra) dram ghem dro mam are the strokes of the Alipta Marga.

(44) 'The reconstruction this bol and the following ones is tentative These have suffered most in the transmission of the text.

169 ON COVERED INSTRUMENTS [XXXIII. 45-47 Aow the Vitasta Mārga-takitān takitān sentām kinnānām ghisamketa idu hudu ketam are [the strokes] in Vitasta Marga. [Now the Gomukha Mārga]-guddha kladdham mathikatā ghamghena chidukhu khuno gaga tatthi malam are [the stroke] in the Gomukha Marga. H is produced by pressing the fingers, and it is a free [stroke] and the fingers will have to be crossed and half- controlled for this on the Urdhvaka and An[ki]ka Because on the two, the level hand is seen to be used. H is produced by pressing [the fingers], and it is a freo stroke and [in the Gomukha Marga] the following [strokes] are also to be made : dhittha tittha dittha kitā khaden khaden gudhum du lenta jhatti titthana dhittan hu vadhe. Similarly strokes in the Vitasta Marga should be devoid of those for l, m and r. In the Urdhva (?) Marga of the Gomukha, the strokes will be khatamatthi matta ghantā ghura- khettam khata mām (vudu) na kiti kitti kiti mām khu khu nu ddhe dhe dho dho. Now the playing of Gomukha-tha da ghenta na khandu lamghu khe ghata matta tām nu dha [khu khu] nām tthi ghatam ghiti mām kakku tam nu ghem kiti mam ghe ghe ko mo ma. 45. Strokes produced in the Alipta (Marga) can be used in all Mārgas. Graha of Mrdangas consists of groups of Aksaras (aksara-samghāta). 46. I shall give their examples in the four Margas in due order. In the Addita [Marga] they are ghrn ghrng ghata ghen matthi matthi, madatthi thin mana ghen kran kathi katan. In the Vitasta they are ghāga gemdra taki ta ghr ghrn ghro kiți ghentān gān dhi kiți ketthā tha kutā kitā kiri dām. In the Alipta they are do man gudur ghen ghe ghantan ghe gha ta du ma. In the Gomukha they are ghe ghetatthi katan gutta ghen ghețā ghamtān dhi madhi tthiyam ke sa te ghe ga gheno no nam. 47. For its Marga three are the Pracaras of the Puskaras, such as Sama, Vișama and Sama-vișama. 22

XXXIII. 48-57] THE NĀȚYAŠĀSTRA 170 48. Sama should be the Pracara of the Vamaka and the Urdhvaka and of the Vamaka and Savya[ka] in the Addita Marga, and in the Alipta Marga too. 49. In striking the Vamaka, Urdhvaka and Madhyaka, the left hand should be used. And in striking the Savya and Urdhvaka, should be used the right hand in the Visama Pracāra. 50. Similarly the two hands should be used in a cross- wise stroke in the Vitasta Märga, and the same is [to be done] in the Visama Pracāra. 51. In the rest of the Margas, the Pracara of hands will be according to one's convenience (svacchanda). In the combination of the Addita and Gomukha Margas, the Pracara of the hands should be Sama-visama. 52. In connexion with the Erotic and the Comic Sentiments, the instruments should be played in the Addita Marga. In the Heroic, the Marvellous and the Furious Sentiments, they should be played in the Vitasta Marga. 53 .. The playing of the instruments in the Pathetic Sentiment should be in the Alipta Marga, and in the Odious and the Terrible Sentiments this should be in the Gomukha Mārga. 54. Instruments should be played in connexion with a dance to suit the Sentiments and the States and the Sattva [of characters] and their gestures, mode of walking and the location [of the scene].

Playing of Dardura and Panava

55. This rule of strokes according to the traditional way, should be followed by the wise. I shall speak hereafter of the playing of Dardura and Panava. 56. This playing of drums is of three kinds : Ativadita, Anuvadya and Samavadita. Among these, the Ativadita is the playing of Puskara before [a performance]. 57. When the playing of Mrdangas follow a per- formance, it is Anuvadya,

171 ON COVERED INSTRUMENTS [XXXIII. 58-66 When the Mrdangas are played simultaneously with a performance, it is Samavadita. 58. The syllabic sounds such as k, kh, g, pn [dh] r v an pr, h, nād brhulān dhrā hu lām are to be used in playing a Panava. And kiri ghintam tho tho no dho tr hulam kiri ghintam no no ņā ntām co ktri kiri kandā mațā mata tthi te țe te donnām is the music of Panava. 59. The experts should produce in striking loosely and tightly Panava, the different Karanas by means of the tip of the little and the ring fingers. 60. The syllabic sounds for colouring Karanas should be produced by the little and the ring fingers. In producing the remaining sounds, there should be strokes by other fingers. 61. The playing with the Kona and the ring finger, should begin with the middle finger. The playing with the Kona and the ring finger should be a simple (suddha) stroke 62. From playing in irregular Karana, comes trikulaham which is the begining of the irregular playing. It continues as ribhata as Karana and Anubandha, and to it is added a double tra. 63. In the Anubandha of the mixed Karana, dre is produced by striking with the raised hand. This is to be specially done by the best player of drums. 64. Notes which are charming due to their being in the various Karanas, are to be produced by the tip of the little finger. By that very finger should be produeed the strokes a ni ni b. Playing of Panava 65. This should be done by the tip of the little finger in a loosely trimmed drum. By tightly trimmed Panava should be produced dhattvo dvāna * * *

66. In the tightly and loosely trimmed Panevas strokes ka tha na ta ni na are produced. Similanly irregular

XXXIII. 67-76] THE NĀTYASĀSTRA 172

Karanas are not produced in the Panava which is tightly or loosely trimmed. 67. In the tightly trimmed Panava there can be strokes like kha kha na na * * *

In the loosely trimmed Panava there should always the strokes like la tha. 68. In the trimmed Panava k, kh and ta strokes should be produced. [The strokes] should be combined with irregular Karanas. 69. It is possible to create a resonance of t in a tightly trimmed Panava. In the same way hn including n is also possible. 70. This stroke is to be made on the face of the drum held obliquely. The stroke will sound as kahulām krakhulām * * krakhulām. 71. This in brief is the regular playing of Panava described by me.

Playing of Dardura I shall now similarly speak of the syllabic strokes of the Dardura. 72. The free strokes in Dardura should include * *

rakti trikalas klecadro gauno hathipa, and thananna. 73. One should make there [strokes to produce] eņaņaksāra gradha * * * by one's right hand, and to produce go mattha by touching Dardura by the tip of the left hand. 74. Strokes giving muktollā * * should be produced by two * * controlled hands, and the sounds being pressed after seiing [the drum] by freely holding it. 75. Thitthen tra should be produced by pressing [the hand] in the usual manner. Sounds produced freely will be special ones, while those produced by arresting the stroke will be [half] free and half checked. 76. The sound will be wrongly produced if they are too swiftly done or done in quick succession. These in brief are to be known of the strokes on Dardura.

173 ON COVERED INSTRUMENTS [XXXIII. 77-89 77. These are the pure strokes not mixed up with strokes of drums of other types. I shall now speak of the combined playing of Dardura, Panava and Mrdanga.

Playing together the three Puskaras 78. In the mixed playing of instruments some Karanas are distinctly expressed while some Karanas are produced simultaneously or some serially. 79-80. In such mixed playing, individual strokes like n g and r and dhenkā kattham troikho kehulam takita in the Mrdangas, dang syen dren kahutam matam in Panava and tham- matatthi dam kahutam matatthi den nen in Dardura are to be made, 81. The [Karanas] other than these are to be always mixed in production, those mentioned previously are also to be mixed up according to necessity. 82. Now in the Panava simultaneously produced Karaņas are kahatām nnannām khu khu knne khe dromo donam the tho rthidr. 83. The best player should gradually produce such Karanas as ta ța ta te ghonanaņa kirini. * * kinnā. 84. In the Anubandha of Panava, the Karanas should be nnu khu khu na, and players of Mrdanga and Dardura should play the Krtapratikrta. 85. Those [Karanas] which are to be produced (lit. made) in Muraja at the time of walking and other move- ments [of different characters in a play], should also be followed in all its syllables in the playing of Panava. 86. Experts should not have any playing of [drums] in the Citra Märga at in the time of walking and other movements. When the setting of feet is not perceptible, [the playing] at that time should be Sama-visama. 87. The Uparipani [hand] should be freely used in playing Panava and Mrdanga. Playing of Mrdanga (?) should be made by similar strokes. 88-89. Generally Panava should be taken up for play- ing before all other instruments.

XXXIII. 90-92] THE NATYASÂSTRA 174

I shall now speak of the strokes of Dardura, which are dasa senta tetietsade vede revitanritamathi. After making these two free, and then stopping, one should make strokes like nanņāre. 90. And then one should make strokes bhredhī kithī by the right hand and gudathim klam by the left hand. And then the tips of the hand making tatvavrstha, the two hands should be checked after striking tam. 91. And [the stroke] takam should indicate the rest of the Karananubandha.

Karaņas of three Puskaras

These are the strokes in Dardura. I shall next speak of the (six) Karanas. 92. The six Karanas are Rūpa, Krta-pratikrta, Prati- bheda, Rūpaśesa, Pratiśuska and Ogha. Rupa- when Karanas are produced by two hands. Ex. gham khu khu na khu gham kramam tthimam tthettaram ghatam ghatthi metthi ghenta kata guddharāna kiti gham ghe kaghatām ghe kakham. Krtapratikrta-when one Karana originates from the three Puskaras. Ex. tham ghu khu na khutham kramamthi vaggem raghatam ghatatthi gham tsam idu ghe kuhulannam do dno na. Pratibheda-when after the two Karanas of Mrdangas have been made simultaneously, the [playing] takes to Upari Karana. Ex. dho dho na kho ta la na na tthi tadhi ghandam. Rupasesa-the want of distinction of Karanas. Ex. khu khu no nna mataghem ghendamatr ghotā mathi alyam ghom. Pratisuska-the harmony amongst the players of Mrdanga, Panava and Dardura. Ex. ghatamata tthi duna ther jakiți keghin ghon gghendagnona kho kho kha kutr kitr vakatthi ņaņattdi. Ogha or Catuska-the playing of all the instruments in slow tempo to produce sonant syllables. Ex. tham kiti mam rhi hi kiți ghin ghandanam ghondā ghona ghonr ghata ghața ghața ghen gham ghe virini nr ge ham tho tathan ghe.

175 ON COVERED INSTRUMENTS [XXXIII. 93-102

93. Combination of Karanas are of six kinds. The wise should use Karanas according to this rule. Three Yatis The three Yatis are Sama, Srotogata and Gopnccha. The Yati is the three ways of combining tempo and Pani. It is of three varieties, such as Raddha, Viddha and Šayyāgata. The three tempos are quick, medium and slow. T'he three Panis are Sama Pani, Ardha Pani and Upari Pani, the three ways of combining the Karanas. 91. When in a performance the Yati is Sama, the tempo is quick and there is Upari Pani, then it is the Raddha playing (lit. rule). 95. Similarly when the playing of instruments is given prominencc and there is Upari Pani, Sama Yati and the medium tempo, then it is called the Raddha playing (vādya). 96. When the Yati is Srotogata, the tempo is medium and there is Sama Pani, the playing is called Viddha, 97. The playing of music is called Viddha when in case characters of superior or middling type, its prccedure is Vārtika or Daksiņa. 98. When there is Ardha Pāni stroke, slow tempo, and the Gopuccha Yati, it is called Sayyagata playing. 99. When the singing is given prominence and procedure is Daksina the playing of atyukta (?) instruments is called Sayyāgata. 100. Their standard arises from the slow tempo etc. In other Panis, Kalās are to be reduced. 101. The Yati, Pani and the tempo in connection with the playing of instruments, should be observed according to one's liking, afrer considering the [special] performance of plays. The Three Mārjanās 102. The three Mārjanās are Mayūrī, Ardha-māyūrī and Karmaravi These three Marjanas are known to relate to notes of Puskaras.

XXXII. 103-113] THE NĀȚYAŠĀSTRA 176

103. Notes in the Māyūrī Mārjanā' are Gāndhāra in the Vamaka, and Sadja in the Daksina Puskara and Madhyama in the Urdhavaka. 104. Notes in the Ardha-mayuri are Sadja in the Vāmaka Puşkara, Rsabha in the Daksina, and Dhaivatī in the Urdhavaka. 105. Notes in the Karmaravi are Rsabha in the Vāmaka Puşkara, Sadja in the Daksina Puskara and Pancama in the Urdhavaka. 106. On having Mārjana in Alingya one should provide for Nisada which is assonant to the notes [mentioned above] and which is a note of Jatis. 107. The Mayurī Marjana will be in the Madhyama Grama, the Ardha-(Mayurī) in the Sadja Grama, and the Karmaravī in the Gandhara Grama, and these will include Over-lapping notes. 108. Notes which include regular Srutis, are fixed. These relate to the Marjanas, and the remaining ones are considered transitory (samcārī) 109. By the Vamaka and the Urdhvaka, accessory notes should be produced by their plastering which will give them slackness or tenseness. Similar treatment should be given to the Alingya and the Ankika. 110. Players [of drums] should by their slackness and tenseness as well as piercing (?) of hides, produce notes of these kinds, Earth for the Mārjana of Vamaka and Ūrdhvaka 111. This Marjana of the Vamaka and the Urdhvaka should be done by means of earth. Now listen about the characteristics of the earth [suitable for this purpose]. 112-113. The earth which contains no gravel, sand, grass and husks of grains, and which does not stick and not which is white, alkaline, pungent, yellow, black, sour or bitter, is suitable for plastering, and with it one should make Mārjanā. (103) !Kālidāsa gives a description of this in Mālavi I. 24.

177 ON COVERED INSTRUMENTS [XXXIII. 114-119 114. The blackish earth from a river-bank, which is fine after giving out water, should be used for Marjana. 115-116. When the earth which spreads very much, is white or black or heavy or unstable or is full of husks, and the blackish earth not producing desirable notes, are only available, then one should use wheat flour or barley flour for this purpose. Sometimes a mixture of wheat flour and barley flour1 is also used. 117. One defect of this (i. e. the mixture) is that it will create a monotonous sound. Thus the blackish earth applied for the Marjana, will produce proper notes. Three Samyogas O the best of Brahmins, I shall now speak of the three Samyogas. The three Samyogas are Guru-sancaya, Laghu-sancaya and Guru-laghu-sancaya. The Guru-sancaya-in heavy syllables, slow tempo and Ogha-pravrtti, e. g. gheto ketam candrām khetam dvam dvam khetam dhvam dvam dvam drāghetam battam khettam. The Laghu-sancaya -light syllables and quick tempo e. g. ghata mata mata ghata matthi ghatu ghatu ghatu The Guru-laghu-sancaya-light syllables [with heavy ones], quick tempo, e. g. ghata vimathi mathitham kitam gha gamgha mothikam taddham kata thim karasthi maghave. Three Gatas The three Gatas'-Tattva, Anugata, and ()gha. 118. In the Tattva playing [of drums] there should be strokes similar to [recognisedj syllables, distinctly expressing words and syllables, conforming to the metre [of songs], and well-divided in Karanas. 119. The Anugata playing [of drums], should begin with the Sama Pani or the Avara Pani, and it should hav. (115-116) 'Wheat flour is still used for the Mārjana of drums like Pākhoāj. (117) 1Gata was also known as Prakrti. See C. 107. 2It was also called Ghana. See 40 above. . 23

XXXIII. 120-129] THE NĀȚYAŠĀSTRA 178

Karanas produced by distinct strokes, and it should follow the song. 120. The Anugata playing [of drums] should begin with Upari Pani and it should not rest on one Karana [only]; it should have quick tempo; its Karanas should be Aviddha and it should be used extensively.

Eight Conformities 121. All playing of drums should have eight Confor- mities (sāmya). e. g. in syllables, limbs, Tāla, tempo, Yati, Graha, Nyāsopanyāsa and Pāņi. 122. The playing which follows the metre consisting of short and long syllables shows Conformity in syllables. 123. The playing which follows the song equally in the three limbs in its beginning (graha), end (moksa), and in its Kalas and Antara Kalas, shows Conformity in limbs. 124. The playing which by its measure of Kalas and time, equals the body of the song, shows Conformity in Tala. 125. The playing which follows the song equally in its performance in slow, medium and quick tempos, shows Conformity of Laya (tempo). 126. When the playing follows Sama, Srotogata and Gopuccha Yati of songs, it is an instance of Conformity in Yati. 127. The Graha of similar Srutis by stringed, and covered instruments and flutes along with the songs, is an instance of Conformity in Graha. 128. Playing of flutes and Vinas in such a way that the notes in their Nyasa and Apanyasa may agree to that of the song, is an instance of Conformity in Nyasa and Apanyāsa. 129. When the Samapani, Avapāni and Uparipāņi playing of instruments follow the song, it is an instance of Conformity in Paņi. Eighteen Jātis I shall now] explain what has been called the Jātis. They are Suddhā, Ekarūpā, Desanurūpā, Desad-apetarūpā,

179 ON COVERED INSTRUMENTS [XXXIII. 130-141 Paryāyā, Viskambhā, Paryastā, Samrambhā, Parșni-samastā, Duşkara-karanā, Urdlva-goșthikā, Uccitikā, Evam-vādyā Mridaņga-paņavā, Avakīrna, Ardhavakīrna, Samplava and, Vidhuta. I shall describe their characteristics and examples. 130. The playing [of drums] which consists of Karanas of one or of two syllables, and which is fit to be used in all movements (lit. work), is called Suddha. 131. The Jati consisting of kho kho kham kham kham kham is called Suddha ; it is the Jati [for the action] of the middling and superior women. 132. When one plays separately Gomukha in the Addita, Alipta or Vitasta Mārga, it is called Ekarūpā. 133. The playing which produces syllables of the Addita Marga such as dron ghon don ghon gheghen is also Ekarupa; it is to be used in case of songs of male singers. 134. This Jati (i. e. Ekarūpa) should be used in caso of all characters while the Dhruva is sung in a slow or quick tempo, and it may also be used after one has judged [properly] the place, time and condition [of characters] in case of Dhruvās sung in a medium tempo. . 135. When all other instruments follow one Karana in pursuance of the playing of Mrdanga, it is called Ekarūpa. 136. The Desânurūpa Jāti played in the Addita Marga, is used in the Erotic Sentiment involving the enjoyment of love (Srngara). It should be performed in a slow temipo. 137. Mī mathi thamabhu tthi kima will be the syllables in Deśanurūpā Jati. It is to be used in the best Erotic Sentiment of women. 138. Deśad-apetarūpā Jati is played in Vāmaka and Urdhvaka in a quick tempo of Avakrstā Dhruvās. It is to be used in the Pathetic Sentiment. Ex. Ghedran ghedran ghe gheru are the syllables in the Deśād-apetarūpā Jati in playing [drums]. 140-141. When the same set of Karanas played previously are followed in all three tempos, it is the Paryaya Jati. Ex. ghodan ghidin gudugnou played in the Vamaka and .

XXXIII. 142-151] THE NĀȚYASĀSTRA 180

Urdhvaka by the left hand should be applied in the Heroic, Marvellous and Furious Sentiments. 142-143. Two heavy syllables, two light syllables, one light syllable, three heavy syllables, and a light syllable such as sin man ghata ghendra gu du ghen ghen ghama tthi metchap constitute Viskambha Jati. It is to be applied in the Erotic Sentiment of superior women. 144. Playing of drums n all Margas with Karanas of one syllable, and with the Sama Pracara of hands, is called the Paryasta Jāti. 145. Paryasta is to used in the case of the quick movement of chariots, Vimanas. Vidyādharas, Bhujangas (serpents) etc.in the sky, or in torrential rains. 145. Paryasta Jati which should be used n the move- ment of slow tempo in the Erotic Sentiment of superior characters ; it should also be used in the case of inferior characters. 146. Ghen tan ghohnam should constitute the Samrambha Jati to be applied in case of inferior women. 147. The Jati which has Karanas of Ardhapani, and and medium tempo in the beginning, and quick tempo in the end, is called Samrambhā. 148. Ex. Magatham kuyu ihakim. Parsni-samasta Jati should be played on the face of Urdhvānkika and Daksina by quick strokes in the Vitasta Märga, and it is to be applied in movements of Erotic and Comic Sentiments. 149. Parsni-samasta Jati should be played with Karanas tatthim katam mamcchi and dhandran gudhen gu dhitan, with the pressure of the Parsni. This is to be applied to the movement of superior male character of calm type, and of the Danavas. 150. By striking of all the Mrdangas with the movement of Svastika hands, one should play the Duskara- karaņā Jati in all their tempos. 151. Duşkara-karaņā Jāti should include syllables like duņā duno duņā kimka dhima ghon ghoten madatthidugakiti ghon.

UN GUVERED INSTRUMENTS [XXXIII. 152-165 152. Duskara-karanā Jāti should be applied in case of movements of Daitya kings, chiefs, Nagas (bhujaga), Rāksasas, Pisacas, Gandharvas, and Guhyakas, etc, 153. Light strokes on the face of Urdhvaka, Ānkika and Dakşina in the Vitasta Mārga or striking of Daksinaka and Vamaka after beginning with Ankika and Urdhvaka {will constitute Urdhva-gosthikā.] 154. Playing almost violently udhidhrn dhrn in the Vitasta Marga will constitute Urdhva-gosthika Jāti. It is meant for the movement of heavenly characters. 155. The playing which includes all the Margas connected in an imperceptible chain, is called Uccitika Jāti. 156. This Jāti includes syllables like kentakennāngaditām and is to be applied in the natural movement of kings. 157. The Evam-vadya Jati should be played with syllables of the Gomukhi, and it should have all the strokes of Mrdanga ; and it should be applied in the pantomime of jugglary by persons with or without disguise, and it should include the syllables like ghentantado tadhita ghen ghen ghatatthi . ghata inghe. 159. This should be applied in case of the movement of dwarfs, confused persons and lame men and those who have pain in their body and wound in their feet, 160. [The playing of drums] in which there is striking of the earth in different sections (parva) [of Karanas] is the Jāti which suits all stages (mañra). 161-162. It includes syllables such as ghrom ghrom tem tem and this Jati is to be applied to women's movements. Avakīrna Jati is the playing of Mrdanga with three fold Karaņas. And when the same is added to the playing of Dardura and Panava, it is called Ardhavakīrņā Jāti. 163. This Ardhavakīrna Jati should consist of kentām hentām kentām played in the Gomukha Mārga. 164-165. Dardura, Panava and Mrdanga should be played by halves (?) the manner of the Ardhavakīrna Jati and with light syllables included in the suitable Margu, and

XXXIII. 166-175] THE NĀȚYAŠĀSTRA 182

it should consist of syllables like than goda ghendaā sendrām. This called the Samplava Jati. 166. The Samplava Jati produced by using all the fingers and by all the strokes of Mrdanga, is to be applied to movement of terrified persons and to any movement of them in the sky. 167. The Vidhuta Jat produced with various charm- ing (divya) Karanas and strokes of Mrdangas, is to be applied in case of natural movement of superior persons. 168. It should consist of syllables like darige gudughin titthi klāma totthi kanam kukrām. 169. These are the Jatis to be known by the wise for application in the walk and other movements. Those which are not mentioned here, should be taken from the people and with a view to their meaning.

Playing of drums in three Gatas 170. Wise men should play [drum] according to their rules specially in walks and other movements [of characters] in the ten'kinds of play (dasarūpa). 171. Tattva, Anugata and Ogha playing [of drums] is desired in the [songs of] seven kinds and the Asarita metre. 172. One who desires unision [of the two] should play drums with heavy and small number of syllables at the time of songs [indicating] walks and other movements. 173. Tattva and sometimes Ogha too, should be applied in case of king, for these are natural to their charming conditions. 174. Tattva should be applied to the first song, Anugata to the second and Ogha should be the playing of drum at the time of walking and other movements.

Playing of drums in Dhruvās

175. In case of remaining Dhruvas, one should have various [manner playing drums] according to one's liking. In case of the Sthitavakrsta Dhruva the playing should be of the Anugata kind.

183 ON COVERED INSTRUMENTS [XXXIII. 176-186

176. In ase of the Pravesiki Dhruva [the playing] should be Anugata. In the Naiskramikī and Antara Dhruva the playing should have all the three tempos (laya). 177. The Prasadiki Dhruva should bave quick tempo, and Dhruvas [in general] will be of five types. This will be the playing [of drums] in the Prakaranas. 178. Experts should observe through playing of drums the Matras and divisions in the pada of Dhruvas at the time of walking and other movements. 179. The producers should thus apply the playing [of drums] at the time of walking and other movements. How to begin the playing of drums I shall now speak of the manner of beginning the play- ing of drums. 180. According to some this should begin with Samyā and Tala, and according to others with the middle finger ; some say that it should begin with the empty space (akasa) and others with the fore-finger. 180-181. The Samya will always be the Graha in the Dakşina drum, and in the Vama and the Urdhvaka [drum] the Graha will be Tala, and in the Alingya it [the Graha] will always by the fore-finger. 182-183. In the exit (niskrama) the Graha may also be from Ākasa. The Asārita songs will always have the Samya Graha and the two Talas growing from the limbs of Dhruvas, and * * * * will have the fore-finger as its Graha. And the Graha of the Sirsaka will, be by the fore-finger. 184. The Graha of the Natkuta and the Addita as well as of Prāsadikī will be Sannipāta, and it will consist of [divisions of] one Kalā. 185. The Akāśa Graha consists of four divisions of two Kalas. Its songs will be composed of limbs suiting it in due order. 186. These are the Grahas relating to the drums (lit. instruments), to be known by the wise. I shall next speak of the playing of these in dances of energetic and of delicate types.

XXXIII. 187-195] THE NĀȚYASĀSTRA 184

187. One Parivarta (performance) of the song should be without any accompaniment of instruments. At the end of this the Graha should be the Sannipata in playing instrument. 188. Or, for the embellishment of dances there should be change of limbs [of the performance]. And the change of the tempo of the song should be made. 189. When a limb [of the performance] requires the use of gestures, there should be no playing of music (i.e. drum). But when there is dance consisting of Angahāras then there should be music [to accompany it]. 190. When due to the manner of its performance a limb is repeated again and again, then first it should be accompanied by gestures, and finally it should be connected with dance. 191. The playing of drums (lit. instruments) should be similar in metre to that of the songs. The movement of limbs should be made in conformity to the measures of songs and of instrumental music. 192. The playing [of drums] in the Mukha and Upava- hana (= Upohana) should consist of heavy syllables along with light ones, and this should be loud (prakrsta) in [the production of such] syllables (varna). 193. The playing of drums along with songs in a slow tempo should be by mild strokes, with that in a medium tempo with strokes sufficient to produce the syllables (lit. equal to syllables) and in all these the Uparipani should be observed. 194. In the Class Dance (tandava), the playing [of drums] by those who know [properly] about the tempo, should be harmonious (sama), pleasing (rakta), divided [into Kalās], distinct (sphuta), produced by simple (lit. pure) strokes and accompanying the [various] limbs of the performance (lit. dance). 195. In performances including dance, the Tattva followed by Anugata should be played in drums, while in performances without any dance, the Tattva should be followed by Ogha. .

185 ON COVERED INSTRUMENTS [XXXIII. 196-204

196. [The drum] should be played [on these occasions] in slow, medium or quick tempo as in the case of a song, and the same should be the method [of playing drums] in the performance of Padas and dance with Angaharas. 197. Rules regarding Padas and syllables which apply in case of songs aud playing of instruments, should be observed in dance with Angaharas in connection with dramatic performances.

Twenty Prakaras and their application 198. These are the eighteen Jatis relating to drums. I shall now speak of Prakaras connected with them. Now the Prakaras are Citra, Sama, Vibhakta, Chinna, Chinnaviddha, [Viddha], Anuviddha, Svarūpanugata, Anusrta, [Anusrta- vicyuta], Durga, Avakīrna, Ardhāvakīrņa, Ekarūpa, Pariksipta, Sācīkrta, Sama-lekha, Citra-lekha, Sarva-samavaya and Drdha. 199. The playing which is performed with various Karanas' such as Nirvartita etc., by many kinds of hands, and which has the three tempos and the three Panis, is called Citra. 200. Dardara, Panava and .Mrdanga are played with various Karanas, and this playing combined with Tala, limbs and flutes is called Sama. 201. When the playing is not very broad in position, and it observes equally syllables, Pani and tempo in its divided Karanas, it is Vibhakta. 202. The playing [of drums] in a quick tempo suddenly stopping when all other instruments are separately played, is called Chinna 203. The playing in which the Mrdangas are taken up with Avapani and the Panava with Upari Pāni, is called Chinna-viddha. 204. When Panavas are played with the Karanas used for Mrdangas, and such Karanas are the various Suci-vedhas1, the playing is called Viddha. (199) 1See 92 nbove. (204) 1This term does not appear elsewhere. 24

XXXIII. 205-217] THE NĀȚYAŠĀSTRA 186

205. The playing which is iniermixed with Viddha and is seen in connection with all the instruments, is called Anuviddha, because of the mutual Anuvedha1. 206. When the playing has a simple nature and is done by Sama Pani, and follows its own [fixed] pattern, it is called Svarūpa. 207. When the Panava follows the Muraja, and the Dardara follows the Panava, the playing is called Svarūpanugata. 208. When after following these instruments, they attain the same tempo and are heard simultaneously with these, it is called Anusrta. 209. When the playing of a drum following another instrument in its own Jāti, passes into another Jati, it is called Anusrta-vicyuta. 210. The playing which being irregular in its move- ment, develops all the Margas1 and is done with undivided syllables, is called Durga. 211. When Mrdangas are played together with Panavas in many and various Karanas, the playing is called Avakīrņa. 212. When a Panava or a Dardara is played in quick tempo and with Avapani, the playing is called Ardhava- kīrna. 213. When the playing of all the instruments follow one Karana, it is called Ekarūpa. 214. When the playing in a low sound of Mrdanga with undivided syllables, is covered with that of Panava, it is called Pariksipta. 215. When various Karanas are played in one instru- ment to follow a dance with Angaharas, it is called Sacikrta. 216. When a Panava and a Muraja after being played first, take up (lit. looks up) the Murajas, the playing is called Samullekha. 217. When different instruments with Mrdanga and (205) 1This passage is not quite clear. (210) }See above 44ff,

187 ON COVERED İNSTRUMENTS [XXXIII. 218-221 Panava etc. are played together in various ways, then it is called Citralekha. 218. The playing which follows all the Margas, adopts all the Panis and Layas, is various, and is well-divided [in their syllables], is called Sarva-samavāya. 219. The playing which is in a medium tempo, har- monious, and has clearly produced syllables and is fit to accompany movements, is called Drdha. 220. These different Prakaras of the playing of drums, should be taken up to follow movements and songs, after considering the Sentiments and the States involved. 221. Prakaras and Jatis apply to all Margas. But in movements they are to be in their pure forms. Seating of the Musicians I shall now speak about their application. [The members of] the Orchestra (kutapa) should be seated on the stage with their face to the east. The Orchestra should be placed between the two doors of the tiring room mentioned before. The player of a Muraja (Mrdanga) should face the stage ; to his right should sit the player of a Panava, and to his left the player of a Dardara. Here the Orchestra relates first to the players of covered instruments. Among them a male singer will face the north, to his left will be the Vina- player and to his right the two flute-players. And a female singer will face the male singer. So much about the seating the Orchestra. The Tri-Sama Now, the players of the Mrdanga, Panava and Dardara, male and female singers, players of flute and Vīnā being seated, and strings of stringed instruments being tightened, controlled and sounded with relation to proper Grāma, Raga and Murchana, and the Mrdanga being struck in quick succes- sion by pressed (nipidita), arrested (nigrhita) half-arrestet. (ardha-nigrhita), and free (mukta) strokes, the players placing their hands on the best Dardaras; should first of all observe the ceremony of the Tri-Sama for the purpose of welcom- ing the gods and bidding them farewell.

XXXIII. 222-226] THE NATYASÂSTRA 188

By means of the first Saman arising from the mouth of Brahman who creates, stabilizes and destroys all the living and non-living objects1, he (i e. the singer) pleases very much the moon on the left, the serpents on the right, and the creatures of water who are between these two. By the second Saman he pleases the Munis (sages) and by the wide and great third Saman the gods [in general]. 222. As one thus pleases in due order the gods [by the three Samans], so the wise are to know them as the Trisama. 223. As one thus takes shelter with Brahman, Kesava and Siva, so it is called the Tri-sama by the sages. 224. As [the syllable] Om is pronounced in the beginning of the four Vedas, so the Tri-sama is sung [in the beginning] of all the songs. 225. This Tri-sama is to observe three Prakaras, three tempos, the Addita Marga, and a division of six or three Kalas [in its accompaniment by drums]. 226. Its syllables should be of three kinds including heavy and light ones, and its au (= a and u), and m should be uttered thrice with the triads. At the end of this (i.e. Trisama), after following the procedure of the Preliminaries, one should perform the Bahir-gītas in three tempos with the drumming which will follow the song in its metre and syllables. At the application of the Asarita song, one should perform the drumming of the Tattva and Anugata Prakrti. When after the Trisama the Pratyahara etc, have reached their end, then the drumming is to begin. There one should first of all play all the drums in the following order : the Vamake and Urdhvaka should be struck first, then the Alingyaka with the Gopuccha Yati, and playing of the Vipanci should be performed afterwards. [If you ask] why, [the answer is] that the drums played first will give rise to Success.

(221) 1Description of Brahman possessing himself all the separate functions of the Hindu Trinity, is probably to be met with in no other . work.

189 ON COVERED INSTRUMENTS [XXXIII. 227

The Performance of the Dhruva is first indicated by drums. Then proceeds in the auditorium full of women and common people, the music which is capable of creating their interest.

Different Tastes of Listeners 227. Masters [of the musical art] like a harmonius closure (sama), the scholars distinct [enunciation of] words (pada) of the song, the women a sweetness [of voice in singers] and the rest [of the audience] a full-throated singing (lit. crying aloud). Variety of Drumming to suit Occasions At the conclusion of this [playing of drums], the experts in the Mrdanga should produce in their instruments, mostly by the touch of their fingers, a music which will consist of a collection of light Varnas, and which will relate to the Tancava, at the time of female dancer's appearance [on the stage]. The song relating to the appearance of the famale dancer baing finished, the Sannipatas should be taken up. [In connection with them] a music related to the Karanas conforming to the Angaharas of the Lasya dance, should be combined with the Karana Dhatu. Hence there is the saying samam raktam. Next, at the start of the performance music should be played in relation to the Karana of the Alipta Marga. It should be performed by striking the Vamaka and the Urdhvaka, and will be as follows ; dhep mati dhan matha dhen dhiti tit sam kram kram khoka ne devyām kentām kit ghen. The change after these two [kinds of playing] will be to that of pure Jati in the four Margas consisting of kho kho nam kho kho nãm kho kho khonã* After their stoppage there should be kho kho do kho kha ke nam gha gha gha tagham in setting the veuter foot1. Just as there should be playing of kondukhon at the time of entering of the Caturthakara.2 This should be played mostly by running fingers [on the drums]. (227) 1See V. 99-100. 2See V. 101-104.

THE NATYAŠÁSTRA 190

In the Utthapana of the Vastu and in the Apakrsta Carī there, the playing should begin with gheghentam ghen no ghakhandonām gho ghagheghaghe. In the Suskapakrsta Dhruva of the Nandi, the playing should be in the Pratisuska Karana and should have Tho gho tho khe kha ghogheghen nādabhyan khoddho kutām kha khe khena kasu guka ghen nokhi khen tān khen nām kiti kiti ghaghen ghe katuka ghudu kamla volākho kho kho kho vāghnu tetām mālim nammām kiți vatthi. One should take to Sannipāta of the Additā Mārga, when the Cari accompanying the recitation of the Jarjara- śloka2, is performed during the ceremonies of the Rangadvara3. And in the Mahacarī' [connected with this] there should be playing of drums in the Vitasta Marga, and the Graha therein should be by the forefinger. Similarly during the Preli- minaries an extraordinary playing of drums suited to Tandava (Class dance) has been recommended, and it should have Sannipata Graha and should be played by the left hand [with the following syllables]: hho kho nām do do dokah mokah dahena natha tho no gho gha tamata thigham gho gho katha kata jham kho khokhita kata katām ghata kamatthi gho gho milhi nām kiți kinām khakavalam. Next an example of playing of the Alipta Marga should be given. The playing in the Vitasta Marga should have its Graha with the forefinger : It is as follows : nana kho ka ņaņo madhuņām kho łho mathi takitām tavitām kinti kitām kiți kinto kho kho matitā matthi tramati tikiti kentām drentām nata kentām taghitāndrām krntām drām drāntām kinnām kinnām kentām mudrām ghren ghren klen ghram ghram dragram ghadre dram ghendrām ghendram ghane klen, From the time of tossing the curtain, there should be the playing of drums, during the Caturasra Preliminaries, for the success of the performance. In the Tryasra Preli-

2See V. 118-119. 3See V. 116-118. *See V. 127ff.

191 ON COVERED INSTRUMENTS [XXXIII. 228-231

minaries there should be the same playing without any interval of time.5 I shall also give directions about the playing of drums suitable at the time of walking and other movements of the four Heroes6 Dhirodatta, Dhiroddhata, Dhiralalita and Dhīraprasanta, in different plays like Nāțaka. During the movements of gods, the playing should include bram, dhram dhram dhradram. During that of kings it should have ghemtam, and in case of middling men the playing should include dhram klam dhatu ghen ghet titthi duna, kiți drām nām nām dhradrām. Now I shall speak about the playing of drums in the Sthita [Dhruvā]. 228. At that time, steps [of dance] should conform to rhythm consisting of three Kalas, two Kalas or of one Kala. And the song should conform to drums. Now I shall speak of the playing of drums in different conditions [of characters in a play]. In their quick walking, the playing should include vam vam ghe ghe tam, and it should be performed by the unequal strokes by fingers. These have been written properly while discussing the . movement of fingers. Again I shall describe the rules regarding the playing of drums. 229. In walking and other movements the experts should provide for playing of drums with Talas' of three or four Kalas, after considering the tempo and manner of walking [of characters concerned]. . 230. In the playing of drums there should be no pause of one Kala or of two Kalas between the Dhruvas. Hence the movements should be in unision with the playing of drums and not with the songs. 231. In quick walking, the Pāta [of Tāla] should be as described in case of walking and other movements. Strokes like dhran dhran ghen ghen should mostly be made in this playing. 5See above V. 148ff. 6See XXXIV 18-20. (229) 1See above XXXI, on Tālas.

XXXIII. 232] THE NĀȚYAŠĀSTRA 192

232. In case of movements of boats, chariots and aerial cars, birds, moving heavenly bodies, the playing of drums should be by running the fingers [on the face of drums] or by striking in the Catuska by the two hands alternatively. In case of sorrow, suffering illness, curse, death of dear ones, loss of wealth, killing, imprisonment, vow, austerity and fasting etc, the playing drums in Utthapana should ba according to the Alipta Marga mentioned before. In case of walking of Daityas, Dānavas, Yaksas, Raksasas and Grahas the playing of drums should include Karanas such as drn dhrn khada together with gha tn tn tanta tetodrām. In case of dancing movements the playing of drums should include ghetām katakām. In case of walking of Yatis, Munis, Pasupatas and Sākyas the playing of drums should include do kho dvitvikhi duguvoo klanado dhanti kītiki. And in the walking of old Srotriyas, Kancukins and cor- pulent persons, the playing should include dhrām dhrom dhrām dron dhin dronam kho kho nā. In case of movements of elephants, horses, asses, camels chariots and aerial cars, the playing should include vamkiți, In case of superior, middling and inferior men, the playing of drums should be performed after a consideration of Sentiments and States in this world. So much about the playing of drums in case of males. I shall now. describe that in case of females. The playing in case of superior females who are goddesses, will include mostly vamgati kipi dhmeta prathi ghe. And in case of queens it should include mostly kathi kathi mathi do do khu khu. In case of Brahmin women it should have cam kitti, kitthi ghata mata thi ghe. In case of middling women who are courtezans, female artisans and actresses, the playing should include gha khu khu ghikita matthi kina tonam gho. For inferior women the playing should include marathi kule kedu khukhi khi mostly. So much in brief about the playing in case of females.

193 ON COVERED INSTRUMENTS [XXXIII. 233-235

In their special conditions, playing in similar conditions of males, should be performed. And from these the general Vibhavas like fear, suffering, sorrow, anger etc. arise. Here also, there should be playing of drums in proper Margas which relate to Sentiments and States. 233. Moreover a person who plays drums after observing proper Jati, Marga and Prakara in suitable Karanas and syllables, is the best player, Now the interval-playings are Anuvaddha, Vipraharika Siddhi-grahana and Paricchinna. Ex. of the Anuvaddha playing is kho khe ne khe ghe. Praharita (= Vipraharita) at the conclusion or playing is dhrām dram kho kho. Siddhi [grahana] also. 234. Siddhi [grahana] should be played at the acquisi- tion of wealth, forgetfulness, fatigue and at the tightening of clothes and ornaments. This is Siddhi should take to proper Margas, and include Citra Karanas and consist of five or six Kalas. It should also be played- 235. At the stopping of recitatives, at the pause coming in the wake of doing anything, at the falling of clothes or ornaments or in controlling the crown or the headgear, The playing after the beginning of the Dhruva, should be clear and should relate to all the drums and should include dhum dhum dhum lka in the Vitasta Mārga. In case of superior females there should be a playing in the Addita Marga, which is to include na nām kho khe nannām In case of inferior females there should be playing suited to Khañja Natkuța Dhruvā, and should include sam ke te kiți vinnam. In other conditions these should be reduced by a half. Now about the playing of drums in the Prasadiki and Prāvesikī, Ākșepikī and Āvakrsta [Dhruvās]. The playing in the Prasadiki [Dhruva] should be with Sama Pani and is to be divided into Karanas. While this is in a quick tempo the playing should be with the Upari Pani in the Citra Karana. 25

XXXIII. 236-239] THE NĀȚYASĀSTRA 194

• And in the Sthita (slow) tempo * * *

In the Avakrsta Dhruva in the Addita Marga there should be Ardha-sannipata. 236. Thus there should be playing of drums in walking and other movements at the time of Prasadiki and Antara Dhruvās. 237. As a change, one song without any playing of drums should be sung, and at the end of the Sannipata, the drums should be taken up for playing. In the quick and slow tempos there should be strokes ta sa sa. In the Addita Dhruvā na de de de de de kho kho kha and in the Khanja and Natkuta Dhruvas na nanna vu vu na na kho nā nnā de de de de kho kho kho kha. Now the Udghatya [playing]. 238. The playing which is performed at the time of excess of hurry or joy or surprise, excitement or sorrow or at the time of receiving a gift, is called Udghātya. Now I shall speak of the closure (lit. release) [of playing]. It is of two kinds : Samhanana and Samsarana. Now closure at the Uddhata' and the quick Anubandha' should include ghettām kikiti datta kettikim godo ghaghe do gha te gho ghe yado. Now the closure of the Khanja-Natkuta; it should include dham drām dham drām takitām takitam gududhe. The closure of the same in the slow tempo should include dhe dham dheta matadhe ghe chimatam kantachi matachi harmāka dīdhiți The closure of the Addita Dhruva is kinta kintam. The closure of the same in the slow tempo should include ghatatam In the Avakrstā it should be vavotā. 239. These are the beginning and the closure of Dhruvās of Nișkrāma (exit), Praveśa (entrance), Ākșepikī and Antara classes. The player of drums should strive in this way with a knowledge of the Tala, time and the notes. On this there are the following couplets : (238) 1This has not been explained before, 2 Jbid,

195 ON COVERED INSTRUMENTS [XXXIII. 240-251

Faults of a Drummer 240. The wise say that a player of drums, who does not know about the Tala, [proper] occasion and the Sastra about it, is merely 'a striker of hides' (carma-ghātaka). 241. The producer should apply the playing of drums according to these rules. Next I shall speak about the characteristics of drums.

Characteristics of Drums 242. Three are the shapes of Mrdangas. In shape they are like myrobalan, barley and cow's tail. 243. The Anki or Ankika is like a myrobalan, and the Urdhvaka is like a barley, and the Alingya resemble's a cow's tail. 244. The Mrdanga and the Ankike should be three Talas1 and a half long, and their face should be twelve fingers [in diametre]. 245. And the Urdhvaka should be four Talas long and its face should be fourteen fingers [in diametre]. 246. The Alingya should be made three Talas long and its face eight fingers [in diametre]. 247. The Panava should be made sixteen fingers long and its middle should be thin, and faces should be eight and five fingers [in diametre]. 248. Its lips (i.e. rims) should be made half of a finger [in thickncss], and its middle should be hollow and four fingers [in diametre]. 249-250. The Dardara should be like a bell sixteen fingers [in diametre]. Its face should be that of Ghata and should be twelve fingers [in diametre], and have a fat lip on all sides. Characteristics of the best Hides 250-251. Next I shall speak of the best characteristics of hides. These should not be old, torn, pecked by crows, covered with the least fat, soiled by smoke or fire.

(244) 1For the measurement of Tala see the note on fII. 21.

XXXIII. 252-263 THE NATYASASTRA 196

252-253. Cow's hide which is free from these six blemishes, and the face of which is like blossoms in colour, or is white like snow or Kunda flowers, and glossy and free from flesh and is fresh, is good. 253-254. After procuring such hides with hairs on them, an intelligent person should soak them in water for a night and then take them out.

On the making of Drums 254-255. Then one should bind and fix to drums the small round cuttings (candraka) of this, after rubbing these well with cleansed cowdungs. 255-256. In these round cuttings [fixed to drums] one should make Puspāvarta of three layers (trivarti), and a Parikara named Kaksā, and a Svastika in its neck (grīvā).1 One should make three hundred aksaras by drums. 257. (This couplet is corrupt and untranslatable).

Applying Rohana to Drums 258-259. This rule is applicable to all the Ānkikas. But one should not apply to Mrdangas, a Rohana consisting of sesamum paste mixed with cow's ghee and oil.

Ceremony of Installing Drums 259-260. After binding the Ānkika, Ālingya and Urdhvaka [with strings] in this manner, these should be placed on the ground after worshipping the gods. 260-263. Under the asterism of Citra or Hasta during an auspicious day of the Suklapaksa, a well-born master of [dramatic arts] who is free from passions, is an expert in playing solid instruments, and who knows the theory of songs, has & sweet temper, has his sense-organs under control, has fasted and cut his hairs short, and has worn white clothes, and has taken strong vow, should make three Mandalas1 with cowdung free from bad smell, and assign these three to Brahman, Sankara (Siva) and Vişnu. (255-256) 'The terms used here are not clear. (260-263} 1 Mandala = circular space.

199 ÒN COVERED İNSTRUMENTS [XXXIII. 263-275 263-264. First of all he should place the Alingya in the Mandala of Brahman, and the Urdhvaka should be placed in the second Mandala named after Rudra. And the Utsangika (Ankika) should be put across the Mandala of Vīșnu. 265. To the Alingya he should make an offering consisting of honey mixed with Payasa accompanied by various kinds of flower. 266-267. To the Ankika an offering of Apupa and Locika should be given. And next should be made all the offerings, to the Urdhvaka in a Svastika together with Locika, Apūpa, Pinda and Keņdarika (?). 267-268. This offering should be decorated wilh Dhustura, Karavira and other flowers, and the offering should also be carefully made of blood together with red cloch. 268-269. To the Ankika which is on the Vaisnava Mandala surrounded by all the Bija[mantra], one should place an offering together with garlands, clothes and unguents of yellow colour, and Payasa and. Caru of various kinds. 269-270. After making the Brahmins utter Svasti on paying them Daksina previously, and after worshipping the Gandharvas [one should play drums]. 270-271. Then the Panava should be bound on all sides with well-prepared strings. And then the Puskarikas should be covered with hide. In this way Mrdangas, Panavas and Dardura are to be made. 272-274. I shall [now] speak of the gods of these [instruments]. Vajreksaņa, Sankukarņa and Mahāgrāmanī are said to be gods of Murajas (drums). Mrdangas are so called because of being made of mrt (earth), and they are called Bhandas because they bhramayati (move about) Murajas are so called because they are placed in an upright position (urdhvakarana), and they are called Atodya because of relating to todanā (striking). 274-275. Rules of Bhandas have been given. Now the rules of Panava are being described. 'Daru' is so cailed

*XXIII. 275-287j THE NATYASASTRA 198

because of darayati (one splits it up). And from the same Dardara originates. 275-276. After seeing that the Mrdangas, Panavas and Dardaras have been made, the great sage [Svati] brought about a similarity of their notes with those of clouds. 276-279. The high sounding cloud named Vidyujjihva gave note to Vama[ka], the great cloud named Airavana to Urdhvaka, the rain-cloud named Tadit to Alingya, the Pukara cloud to the Dakșiņa, and Kokila to the Vāma[ka] and (the cloud named) Nandi to the drum named Alingya and the cloud name Siddhi to Ankika and Pingala to Alingya. 279-280. Those who want Success [of performances] should make to these clouds, offerings which are dear to spirits (bhūta). After worshipping these gods one should produce a dramatic spectacle (preksa) in the stage. The Mrdanga should be placed in a heap of dried cowdung. 281-282. One1 should then perform the regular Santi rites with the Atodyas and Panavas brought out by the dancer. 282-283. In the performance of the ten kinds of play (dasarūpa) four Panavas should be used, and a similar number of Atodyas are also to be played in different situations [in those plays]. 283-284. The Mrdanga, Panava and Dardara are to be played in the Nātaka, Prakarana, Vīthī, Bhana and Dima. These are the. characteristics of Mrdangas that should be known by wise [producers]. Characteristics of Upahastas 285-286. I shall now speak of characteristics of Upahastas. These are five viz. Kartarī, Samahasta, Hasta- pāņi, Vartanā and Dandahasta. 286-287. The movement of the forefinger and the thumb of the two hands by letting them fall one after another is called Kartarī.

(281-282) 'The preceding verse is corrupt.

199 ON COVERED INSTRUMENTS [XXXIII. 287-296

287-288. The serial falling in the same Tala of the two halves of the two palms [on the face of the drum] is called Samahasta. 288-289. The clear falling of the back [of the palm] and the fingers of the left hand, and the falling once of the right [palm], is called Pāņitraya. 289-290. The four [strokes] when the right hand falls first and the left hand afterwards, are called Vartana, because they occur by turns. 290-291. When one taking with strikes by the right hand after beginning the stroke with the left hand, the serial strokes are called Dandahasta. 291-292. The four qualities of all these hands are elegance, switftness, variety and firmness. These are what I had to say about the characteristics of hands.

Characteristics of Good Drummers 263-294. I shall next speak of the characteristics of a [good] player of drums. He who is an expert in songs, playing of instruments, Kala, tempo, and who knows how to begin a song, to bring it to a finish, and has a mimble hand [in playing] and knows about the various Panis, and [general] rules of the Success, and is an expert in singing Dhruvas, and who practises Kalas, and has a pleasing hand [in playing instruments], power of concentration, and who can produce pleasing Marjana and is strong [in body], and regular in his physical and intellectual habits, and is an accomplished [artist], is called the best player [of drums]. Qualities of a good player of the Mrdanga 295-296. One who knows how to give proper plastering to drums and has undergone laborious training in the four Margas, has earned success of all kinds, has no defect of limbs, has practised all the Karanas well, and knows songs in the Sama (?) and knows many kinds of Grahas and knows how to perform good music, is called a good player of the Mrdanga, because of his various qualities [mentioned above].'

xxxI. 297-301] THE NĀȚYAŠĀSTRA 200

Qualities of a good player of the Panava 297. He who is unerring, expert in the use of hands and in observing time and in covering faults of performance, and well-practised in playing Karanas, is an expert player of Panava due to the qualities [mentioned]. 298. The player of the Dardara, who is firm, clever [in his art], swift, nimble, knows all the rules of playing and knows to play other instruments as well, is praised [by all]. General Rules of Drumming 299. After observing the performance of all kinds of plays, the playing of drums has been described after consider- ing the taste of all men. That which has not been mentioncd should be devised by good [producers] after considering the Marga and the Jati [of songs]. Qualities of the Mrdanga 300. The playings of Mrdangas in which strokes are distinct, clear, well-divided, loud though controlled, and adheres .to the palm, and includes the three Marjanas, and is full of combination of pleasing notes, is mentioned for its quality. Indispensability of Drums in a Performance 301. One should first of all bestow care on the playing [of drums]. For this playing has been called the basis (lit. bed) of the dramatic performance. This playing and the songs being well-performed the production of plays do not run any risk.

Here ends the Chapter XXXIII of Bharata's Natyasastra, which treats of Covered Instruments.

CHAPTER THIRTYFOUR TYPES OF CHARACTER 1. I shall next speak of the salient features of characters, and of all the four kinds of Heroes in their essential aspect. Three Types of Character in a Play 2-3. Characters male and female [in a play], are in general of three types : superior, middling and inferior. A Superior Male Character 3-4. [A man] who has controlled his senses, is wise, skilled' in various arts and crafts (silpa), honest, expert in enjoyment,2 brings consolation to the poor, is versed in different Sastras, grave, liberal, patient and munificent, is to be known as a 'superior' (uttama) [male]' character. A Middling Male Character 4-5. [A man] who is an expert in the manners of people, proficient1 in arts and crafts as well as in Sastras,

(3-4) 1See note 1 on 4-5 below. 2The text here is corrupt, The reading bhogadaksa is suggested on the assumption that a superior male character controlling his senses should not invariably be an ascetic, and he should be disposed to enjoy life legitimately. 3 As female characters have been treated of below, this and the two following passages relate to male characters. (4-5) "If should be noticed that a superior male character should be skilled in various arts and crafts, while a middling male character should be proficient in these. The purpose of this distinc- tion seems to be significant. A superior character should have knowledge of arts and crafts as an accomplishment, while the middl- ing character should be capable of making a professional use of these for earning a livelihood. Samvāhaka ((Mrcch. II) who is a middling character, seems to support this view. About his practis- ing massage, he says: Madam, I learnt it as an art. It has now become my profession (ajjae kaleti sikkhidā, ājīviā dānim samvuttā). ' 26

xxxIv. 6-16] THE NĀȚYAŠĀSTRA 202

has wisdom, sweetness [of manners], is to be known as a 'middling' (madhyama) [male] character. Inferior Male Characters 6-9. [Men] who are harsh in words, ill-mannered, low- spirited, criminally disposed,1 irascible and violent, can kill friends, can kill anyone by torturing,2 are prone to engage him- self in useless things, speak very little, are mean, haughty in words, ungrateful, indolent, expert in insulting honoured persons, covetous of women, fond of quarrel, treacherous, doers of evil deeds, stealers of others' properties, are to be known as 'inferior' (adhama) [male] characters. These are the three olasses of male character according to their nature. A Superior Female Character 10-12. I shall now speak in due order of female characters. A woman who has a tender nature, is not fickle, speaks smilingly, is free from cruelty, attentive to words of her superiors, bashful, good-mannered, has natural beauty, nobility and such other qualities, and is grave and patient, is to be known as a 'superior' [female] character. A Middling Female Character 12-13. A woman who does not possess these qualities to a great extent and always, and has some faults mixed with them, is to be known as a 'middling' [female] character. An Inferior Female Character 13-14. An 'inferior' female character is to be known in brief from an inferior male character.

A Character of Mixed Nature 14-16. Maid servants and the like are characters of mixed nature. A hermaphrodite is also a mixed character, but of the inferior kind. O the best of Brahmins, the Sakara1 and the Vita2 and others [like them] in a drama, are also to be known as characters of mixed nature.

(6-9) 1Salyabuddhika. 2 Citraghātaka. (14-16) 1See XXXV, 78 2 See XXXV. 77,

203 TYPES OF CHARACTER [xxxIV. 17-27

So much about the characters which may be male, female or hermaphrodite. Four Classes of Hero 17-18. I shall now describe their classes according to their conduct. Among these, Heroes (nayaka) are known to be of four classes, and they belong to the superior and the middling types and have various characteristics. 18-19. The Hero is described as being of four kinds : the self-controlled and vehement (dhiroddhata), the self-controlled and light-hearted (dhiralalita), the self-controlled and exalted (dhirodatta) and self-controlled and calm (dhiraprasanta). 19-21. Gods are self-controlled and vehement, kings are self-controlled and light-hearted, ministers are self- controlled and exalted, and Brahmins and merchants are self-controlled and calm Heroes. The Four Classes of Jesters 21-22. To these again belong the four classes of Jesters. They are Sannyasins, Brahmins, other twice-born castes and disciples, in cases respactively of gods, kings, ministers (amatya) and Brahmins.1 These should be friends during [the Heroo's] separation [from the beloved one], and experts in conversation. The Hero 23. In case of many male characters in a play, one who being in misfortune or distress, ultimately attains oleva- tion, is called the Hero. 24. And when there are more than one of such description, one whose misfortune and elevation are promi- nent, should be called the Hero. Four Classes of Heroine 25-27. T'hese [four] are always Heroos in dramatic works (lit. poetical compositions). I shall now speak of Heroines who [also] are of four classes : a goddess, a queen, a

(21-22) 1The text here has been einended with the help of the ND. (168b). See also BlP. (pp. 281-282).

xxxIv. 27-37] THE NĀȚYAŠĀSTRA \204

woman of high family, and a courtezan. These according to their characteristics, are of various kinds, such as self- controlled (dhira), light-hearted (lalita), exalted (udātta) and modest (nibhṛtā). 27-28. Goddesses and king's women possess all these qualities. Women of high family, are exalted and modest, while a courtezan and a crafts-woman may be exalted and light-hearted. Two Classes of Employment for Characters 29-30. The characters [in a play] have two kinds of of employment : external (bahya) and internal (abhayantara). I shall now speak of their characteristics. [The character] which has dealings with the king, is an internal employee, and one who has dealings with the [people] outside, is an external employee. Female Inmates of the Harem 31-34. I shall now describe the classes and functions of women' who have dealings with the king. They are the chief queen (mahadevi), other queens (devi), other highborn wives (svāminī), ordinary wivos (sthāyinī),2 concubines (bhoginī), craftswomen (silpakārinī), actresses (nālakīyā),3 dancers (nartakī), maids in constant attendance (anucarika), maids of special work (paricārika), maids in constant movement (saňcārikā), maids for running errands (presana-carika), Mahattarīs (matrons), Pratiharīs (ushers) and maidens (kumarī) and Sthaviras (old dames) and Ayuktikas (female overseers). The Chief Queen 35-37. The chief queen is one who has been conse- crated on her head, is of high birth and character, possessed

(31-34) 'This gives us a very good glimpse of the royal harem in ancient India. 2This passage shows that a king in ancient India, had a large number of wives. According to a Ceylon tradition, the king Bindusāra had sixteen wives. In Svapna. (VI. 9) Udayana refers to his mother-in-law Mahāsena's chief queen as sodašāntahpurajyesthā (being at the head of the sixteen wives). 3Cf. Pali nāțakitthī.

205 TYPES OF CHARACTER [xxxIV. 38-45

of accomplishments, advanced in age, indifferent [to her rivals]', free from anger and malice, and who [fully] under- stands the king's character, shares equally his joys and sorrows, is always engaged in propitiatory rites for the good of the [royal] husband, and is calm, affectionate, patient, and benevolent to the inmates of the harem Other Queens 38-39. Those [wives of the king] who have all these qualities except that they are denied proper consecration, and who are proud and of royal descent, are eager for enjoy- ing affection, are pure and always brilliantly dressed, jealous of their rivals,1 and maddened on account of their young age and [many other] qualities, are called queens (devī). Other Highborn Wives 40-41. Daughters of generals, or ministers or of other employees when they (i.e. their danghters) are elovated by the king through bestowal of affection and honour, and become his favourite due to good manners and physical charm, and attain importance through their own merits, are known as highborn wives (svamini). Ordinary Wives 42-43. Ordinary wives of a king are those 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, [always] alert and ready [to act], free from indolence and cruelty, and capable of showing honours to person according to their status. Concubines 44-45. Concubines of the king are women who are honest (daksā) and clear [in their dealings], exalted, always brilliant with their scents and garlands, and who follow the wishes of the king and are always devoid of jealousy, (38-39) 1Bhasa seems to disregard this rule. For Padmavati has no jealousy against Vāsavadattā (see Svapna.).

xxxrv. 46-54j THE NAȚYAŠÂSTRA 206

are well-behaved, demand no honour, are gentle [in manners] and not very vain, and are sober, humble, and forbearing. Craftswomen 46-47. Those women who are conversant with various arts and skilled in different crafts, know different branches of the art of perfume-making, are skilled in different modes of painting, know all about the comfort of beds, seats and vehicles, and are sweet, clever, honest (daksa), agreeable (citra), clear [in their dealings], gentle, and humble, are to be known as crafts-women (silpa-kārikā). Actresses 48-51. Women who have physical beauty, good qualities, generosity, feminine charm, patience, and good manners, and who possess soft, sweet and charming voice, and varying notes in her throat, and who are experts in the representation of Passion (hela), and Feeling (bhava), know well of representation of the Temperament (sattva), have sweetness of manners, are skilled in playing musical instru- ments, have a knowledge of notes, Tala and Yati, and are associated with the master [of the] dramatic art, clever, skilled in acting, capable of using reasoning positive and negative (uhapoha), and have youthful age with beauty, are known as actresses (nātakīyā).1 Dancers 51-54. Women who have [beautiful] limbs, are convers- ant with the sixtyfour arts and crafts (kala), are clever, courteous in behavour, free from female diseases, always bold, free from indolence, inured to hard work, capable of practising various arts and crafts, skilled in dancing and

(48-51) 1Perhaps for the personal safety of the king, mnale actors were not admitted in the theatre attached to the royal harem. The Brhatkathā-śloka-samgraha (II. 32, ed. Lacôte) testifies to the antiquity of this practice. In the palaces of the king of Cambodia and of some Sultans of Indonesia too, women only are engaged to produce plays. See Santidev Ghosh, Jāvā-O-Bālir Nrtya-git (Bengali) Calcutta, 1952 p. 11.

207 TYPES OF CHARACTER [xxxIv. 54-61

songs, who excel by their beauty, youthfulness, brilliance and other qualities all other women standing by, are known as female dancers (nartakī). Maids in Constant Attendance 54-55. Women who do not under any condition leave the king, are maids in constant attendance (anucarika). Maids of Special Work 55-57. Those women who are employed for looking after the umbrella, bed, and seat as well as for fanning and massaging him, and applying scent to his body and [assisting him] in his toilet, and his wearing of ornaments, and gar- lands, are known as maids of special work (paricarika). Maids in Constant Move 57-59. Those women who [always] roam about in different parts [of the palace], gardens, temples, pleasure pavillions, and strike the bell indicating the Yamas,' and those who having these characteristics are precluded by the play- wrights from [sexual] enjoyment,2 are called maids in cons- tant move (samcārikā). .

Errand Girls 59-60. Women who are employed by the king in secret missions connected with his love-affairs, and are often to be sent [in some such work], are to be known as errand- girls (presaņa-cārikā). Mahattarīs 60-61. Women who, for the protection of the entire harem and for [the king's] prosperity, take pleasure in singing hymns [to gods], and in performing auspicious ceremonies, are known as Mahattarīs (matrons). (55-57) 'In Vikram. (V. 3. 1.) a Yavani brings the king his bow. She was indeed a paricarika. But her Yavana origin is not mnentioned in the NS. (57-59) 1Yama -one eighth part of the day, three hours. 'That is, they should not be personally implicated in 1ove- affairs.

xxxIV. 61-70] THE NĀȚYAŠĀSTRA 208

Pratihāris 61-62. Women who lay before the king any business related to various affairs [of the state] such as treaty, war and the like, are called Pratiharīs (usher). Maidens 62-63. Girls who have no experience of love's enjoy- ment (rati-sambhoga), and are quiet, devoid of rashness, modest, and bashful, are said to be maidens (kumārī).1 Old Dames 63-64. Women who know the manners of departed kings, and have been honoured by them, and who know the character of all [the members of the harem] are said to be old dames (vrddhā). Āyuktikās 64-66. Women who are in charge of stores, weapons,1 and fruits, roots and grains, who examine the food [cooked for the king], and are in charge of [lit. thinkers of] scents, ornaments and garlands and clothes [he is to use], and who are employed for various [other] purposes, are called Āyuktīkās (female overseer).2 These in brief are the different classes women of the [royal] harem. Other Women Employees in the Harem 67. I shall now speak of the characteristics of the remaining characters who are employed in some duty or special work [in the harem]. 68-70. Those who are not rash, restless, covetous and cruel in mind, and are quiet, forgiving, satisfied, and have controlled anger and have conquered the senses, have no passion, are modest and free from female diseases, attached and devoted [to the king] and have come from different parts of the state, and have no womanly infatuation, should be employed in the palace of a king.

(62-63) 1Ex. Vasulakşmi (Vasulacchi) in the Mālavi. (64-65) 1See above note 1 on 55-57. Kālidāsa seems to ignore this functionary of the harem. 2Cf. Yuta (-Yukta) in Asoka's Girnar Rock III. Āyuktikā may be his female counterpart in the royal harem.

209 TYPES OF CHARACTER [xxxIV. 70-79

Other Inmates of the Harem 70-73. The hermaphrodite who is a character of the third class, should be employed in a royal household for moving about in the harem. And Snatakas,' Kancukīyas,' Varsadharas,3 Aupasthayika-nirmundas,+ are to be placed in different parts of the harem. Persons who are eunuchs or are devoid of sexual function, should always be made the inmates of the harem in a Nātaka.

The Snataka 73-74. A Snataka1 with polished manners, should be made the warden of the gate (dvastha).2 Old Brahmins who are clever and free from soxual of passion, should always be employed by the king for various needs of queens. The Kañcukiyas ctc. 75-78. Those who have learning, truthfulness, are free from sexual passion, and have deep knowledge and wisdom, are known as Kancukiyas.' The king should omploy them in business connected with polity .. And the Varsadharas should bo employed in errands relating to love-affairs. And the Aupasthayika-nirmundas are to be employed in escorting women, and in guarding maidens and girls. In bestowing honour to women the king should employ the maids in constant attendance. The Nātakiyā 78-79. Women in the royal harem who attend all the movements of the king, should be employed, when they are (70-73) 1See below note 1 on 73-74. 2See below note 1 on1 75-78. 3See below note 1 o11 78-80. 4See below note 1 011 80-81. (73-74) 1From later dramas the Snataka disappears altogether. Was Pușyamitra described by S. Lévi as 'a mayor of the palace,' a Snātaka ? 2According to the AS of Kautilya, dauvarika was important officer of high rank and not a simple door-keeper of the ordinary menial type. See AS. I. 2. 8. (75-78) 1See note 1 on XIII. 112-113. Bhasa has 'Kancukiy .. ' 27

xxxrv. 78-83] THE NĀȚYAŠĀSTRA 210

proficient in performing all classes of dance, in the [royal] theatre under the authority of the harem.1 The Varsadharas 79-SO. Persons of poor vitality, who are clever and are hermaphrodites and have feminine nature, but have not been defective from birth, are called Varsadharas.' The Nirmundas 80-81. Persons who are hermaphrodites, but have no of womanly nature and have no sexual knowledge, are called Nirmundas.1 These are the eighteen kinds of inmates of the [royal] harem described by me. External Persons 82-83. I shall next speak of persons who move about in public. They are : the king, the leader of the army (senapati), the chaplain (purodhas), ministers (mantrin),1 secretaries (saciva).2 judges (prādvivāka), wardens of princes (kumārādhikrta)3 and many other members of the king's court (sabhastara). I shall

(78-79) 1See above 48-51 and the note 'on the word nātakīya. It is not clear why the natakiya has been described over again and differently. (79-80) 1The word varsadhara often wrongly read as varsavara literally.means 'one whose seminal discharge has been arrested.' (80-81) 1Nirmunda or aupasthayika-nirmunda probably meant one who had the head (munda) of his membrum virile (upastha) cut off. The definition given here seems to have been due to a concoction when the real significance was lost sight of. (82-83) 1 Amatya also has been used before to indicate a minister. But AS. (1. 8. 9.) distinguishes between amatya and mantrin. Kāmandakiya Nītisāra (VIII. 1) also does the same. According to the latter amatya seems to be identical with saciva (see IV. 25, 30, 31). According to Sukraniti saciva, amatya and mantrin are three different functionaries (See II. 94, 95 and 103). The Rudradaman inscription seems to distinguish between mantrin and saciva. 2 Saciva as well as amatya originally meant secretary. AŚ. 3 Kumārādhikṛta probably is identical with the Kumārādhyaksa of

211 TYPES OF CHARACTER [xxxIV. 84-91

speak of their classes and characteristics. Please listen about them. The King 84-88. The king should be intelligent, truthful, master of his senses, clever, and of good character, and he should possess a good memory, and be powerful, high-minded and pure, and he should be far-sighted, greatly energetic, grateful, skilled in using sweet words ; he should take a vow of protect- ing people and be an expert in the methods of [different] work, alert, without carelessness, and he should associate with old people, and be well-versed in the Arthasastra and the practice of various policies, a promoter of various arts and crafts, and an expert in the science of polity, and should have a liking for this, [Besides these] he should know his actual position, prosperity and its decline, and the weak points of his enemies, and [principles of] Dharma, and be free from evil habits. The Leader of the Army 89-90. One who possesses a good character and truthfulness, and is always active (lit. has given up idleness), sweet-tongued, knows the rules regarding weak- ness of the enemy, and proper time for marching against him, has a knowledge of the Arthasastra and of everything about wealth, is devoted [to the king], honoured in his own clan, and has a knowledge about time and place, should be made a leader of the army, for these qualities of him. The Chaplains and Ministers 91. Those who are high-born, intelligent, well-versed in Sruti and polity, fellow-countrymen [of the king], devoted [to him], free from guile (lit. pure) and followers of Dharma, should be chaplains and ministers, for these qualities of them.1 (91) 1B. reads the passage differently. In translation it is as follows: "Those who are high-born, intelligent, well-versed in various Sastras, affectionate [to the king], incorruptible by enemics, not haughty, the compatriot [of the king], free from gieca,

xxxIv. 92-98] THE NÂȚYASÂSTRA 212

Secretaries 92-93. Those who are intelligent, versed in polity, powerful, sweet-tongued, conversant with the Arthasastra, and attached to the subjects and are followers of Dharma, should be always appointed by kings as secretaires (amātya).1 Judges 93-95. Those who know well about litigation, and the true nature of pecuniary transactions, are intelligent, and well-versed in many departments of knowledge, impartial, followers of Dharma, wise, able to discriminate between good and bad deeds, and are forbearing and self-controlled, and can control anger, are not haughty and have similar respect for all, should be placed in seats of justice as judges (prād- vivāka).1 Wardens of Princes 95-97. Those who are alert, careful, always active (lit. free from indolence), inured to hard work, affectionate, forbearing, disciplined, impartial, skillful, well-versed in polity and in discipline, and who are masters of reasoning positive and negative, have knowledge of all the Sastras and are not vitiated by passion and such other things, and who are heredi- tary servants of the king, and are attached to him, should be made wardens of princes,' because of their possessing these various qualities. Courtiers 98. Members of the court (sabhastara)1 should be appointed by practical people according to the views of disciplined, trust-worthy, and virtuous are to be made chaplains and ministers." The taking together of the chaplain and the minister probably shows that at one time the same person discharged the functions of the two. (92-93) 1See note 1 on 81-83 before. (93-95) 'The radical meaning of the term pradvivaka is one who decides a cause after questioning the parties. (95-97) See in this connexion AS. (98) 1Vyāsa (smrti) mentions sabhastara who should hold discourse about morals (dharmavakya) for the edification of those who

213 TYPES OF CHARACTER [xxxIV. 99 Brhaspati2 after taking note of the [various] qualities of these (i.e. ministers etc.). 99. These are the characteristics of various characters. [in a play], that I was to say. I shall next speak of the characteristics of [persons suited to] various roles.

Here ends Chapter XXXIV of Bharata's Natyasastra, which treats of the Types of Different Characters.

are present [in the court]. In Mbh 4. 1. 24 however the sabhāstara appears only as a courtier (sabhya Nilakantha) who is particularly interested in gambling. Jolly, Hindu Law and Customs, pp. 287-288. Vișnudharmasūtra first speaks of the qualification of sabhasadas who were probably the king's helpers in the administration of justice. N. C. Sengupta, Evolution of Ancient Indian Law, p. 46. 2That the author of the NS. like the authors of the AS. refers to Brhaspati, probably shows that they were not very widely separated in time. Vātsyayana, Mbh. (Vanaparvan) and Bhāsa also refer to Brhaspati.

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 their gait, speech and movement of limbs as well as their strength and nature, the experts are to employ actors to represent different roles [in a play]. 3. Hence the selection of actors should be preceded by an enqury into their merits. The Director (lit. the master) will not feel difficulty in the choice [if such procedure is followed]. 4. After ascertaining thoir natural aptitudes, he is to distribute roles to different actors. The. Role of gods 5-6. Persons who have all the limbs intact, well- formed and thick-set, who are full-grown (vayo'nvita), not fat or lean or tall or large, who have vivacity, pleasant voice and good appearance, should be employed to take up the role of gods. The Role of Rāksasas etc. 7-8. Persons who are fat, and have a large body and a voice like the peal of thunder (lit. cloud), furious looking eyes and naturally knit eyebrows, should be employed to take up the role of Raksasas, Danavas and Daityas ; for the per- formance of male actors [should be] in conformity with their limbs and movements. The Role of Kings 9-11. Actors of the best kind who have beautiful eyes, eyebrows, forehead, nose, lips, cheeks, face, neck, and every

215 DISTRIBUTION OF ROLES [xxxv. 12-18 other limbs beautiful, and who are tall, possessed of pleasant appearance, dignified gait, and are neither fat nor lean, and are well-behaved, wise and steady by nature, should be employed to represent the role of kings and princes (kumāra). The Role of Army-leaders and Secretaries 12-13. Persons who have well-formed limbs, distinct speech, are neither tall nor fat, are heroic, have reasoning positive and negative, are brave, and eloquent and have presence of mind, should be employed to take up the role of army-leaders (senapati) and secretaries (amatya). The Role of the Kancukiyas and the Srotriyas 14. Persons who have brown eyes, long nose, and who are short or tall, should be employed in the role of Kancukīyas and Srotriyas.1

The Role of Minor Characters 15. In other cases too, similar dramatic convention has been prescribed ; roles should be assigned after consider- ing the actors' age and physical condition. 16-17. [For example],' persons' who are slow-moving, very dwarfish, hunch-backed, uncouth, odd-faced and fat, who have expressionless (lit. motionless) eyes, one eye blind, small chin and low nose, ugly raiments, evil nature, deformed body and who have marks of a slave, should be employed in the role of slaves.

The Role of Fatigued Persons 18. A person who is naturally thin, should be employed in a play to represent a tired person.

(14) 1The racial type indicated by this description probably shows that the K. and S. were of the Aryan descent. (16-17) 1From the general description given in this passage and the marks mentioned in particular, it appears that slaves were of non-Aryan descent. And Kautilya seems to support this view by saying that aryasya na dasa-bhavah (an Aryan should not be enslaved). From this description it also appears that the slaves were at one time branded with marks.

xxxv. 19-26] THE NĀȚYAŠĀSTRA 216

The Role of a Person in Health A fat person should be employed to represent a person without any disease. 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 States [to be represented]. 20. Such persons' natural movements whether good, bad or middling, should be regulated by contact with the Director (lit. the master), and then they will properly represent [all] the States. 21. In other cases too, similar dramatic convention has been prescribed, and roles should be assigned to persons after considering their native places (desa) and costume (vesa). The Role of a Character with Extra and Special Limbs 22-24. In case of characters which have many arms, many heads, and uncouth faces and faces of animals,including beasts of prey, asses, camels, horses and the like, the Director (lit. the master) should according to his direction have the masks (lit. them) made with clay, wood, lac and leather.1 The Entry of a Character 24. One should not enter the stage in his own natural appearance. His own body should be covered with paints and decorations. The Result of Impersonation 25. In the production of a play, a person in his natural form of the body, should be employed [to assume a role] according to his age and costume. The Method of Proper Impersonation 26-27. Just as a man who renounces his own nature together with his body and assumes another's nature by

(22-24) Details regarding this are given in XXIII,

21 DISTRIBUTION OF ROLES [xxxv. 28-34 entering into his body1 so the wise actor thinking within him- self that 'I am he' should represent the States of another person by speech, gait, gesture and other movements. Three Kinds of Impersonation 28. Human characters as they are represented on the stage fall into three classes : natural (anurūpa), unnatural (virūpā) and imitative (rūpānusārinī). 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' (anurūpā). The Unnatural Impersonation 30. When a boy takes up the role of an old man or an old man takes up that of a boy and betrays his own nature in acting, the representation is called 'unnatural' (virūpa). The Imitative Impersonation 31-32. When a man assumes a woman's character,1 the impersonation is called imisative (rūpānusārinī) by the best actors. A woman also may assume if she likes, a man's role in actual practice. But an old and a young man should not try [to imitate] each other's manners.'. Special Suitability of Men and Women 33-34. Bold men who have heroism and strength, should be employed for recitatives, and women [should always be employed] for songs. Women's nature is suited mostly to songs and that of men to recitatives.' For women's voice is naturally sweet and that of men is forceful. (26.27) 1This is said on the assumption that a Yogin possess- ing miraculous powers could, according to his will, leave his own body and enter that of another when the latter was just dead. Sankaracarya is said to have practised this kind of miracle. (31-32) 'In the Shakesperian stage young men took up the role of women. Ag. (p. 502) explains balisa as virupa (ugly). 2This is due to an utter impossibility of successfully taking up of each other's role by old and young men. (33-34) 1See XXXII. 504 and the note, and also XXXII. 506. 28

xxxv. 35-42] THE NĀȚYASĀSTRA 218

35-36. Though men know the rules of singing in their traditional characteristics, their songs being devoid of sweet- ness, do not create beauty. Whenever there is [any] merit in women's recitation and sweetness of voice in men, these are to be considered as being due to freaks (lit. inversion) of nature, and as such these should be [considered] ornaments.1

Women in Men's Roles 37. In temples,1 palaces2 and houses of army-leaders and other prominent persons, dramatic performances (prayoga) are mostly held by women in men's role. Women's Special Merit 38. A delicate person's role is always to be taken up by women. Hence, in case of women as well as gods and men of delicate nature [women are to assume the roles]. 39. [It is for this reason that] drama came to be established in heaven' through Rambha, Urvasi2 and the like [nymphs]. And similar has been the case in king's harems in this world. Training Women in Different Roles 40. Directors (lit. masters) should instruct women according to the Sastras, but they should not themselves give coaching to women in learning their [feminine] roles. 41-42. But masculine (lit. depending on men) roles should be carefully directed by them. As natural amorousness is observed in women, their naturally graceful limbs are easily accessible to Sausthava ; and sportful nature1 will be their additional qualities (lit. ornaments) [when they assume a male role].

(35-36) 1See XXXII. 504. (37) 1Devadasis or 'maid-servants to gods' seem to have been not only dancers, but also actresses assuming male roles also. 2For the reason of women assuming male roles see above notes 011 33-34. (39) 1Cf. Vikram III. (Vişkambhaka). 2See below XXXVI. 60. (41-42) ,"The sportful nature belongs naturally to males.

219 DISTRIBUTION OF ROLES [xxxv. 43-48

Result of Proper Assignment of Roles 43. When actors and characters in a play have similar conditions and behaviour, and have natural limbs and organs (karana), they will embellish a dramatic performance. 44. Want of fatigue in dance and music, is always a quality of women, and a dramatic production partly attains its sweetness and partly its strength due to this. 45. A woman who is an adept in the practice of love, and is an expert in [representing] love-affairs, eppears through her graceful acting on the stage, like a creeper full of various charms, on account of its [many] flowers.1 46. Hence [a Director] should always bestow undivided attention to women's exercise (yogya ) [in dance and music], for without this, the States, Sentiments, the Sausthava cannot be produced by them in tho least.1

Types of Dramatic Production

47. The production of a drama which includes many States and Sentiments, is of two kinds : delicate (sukumāra) and energetic (aviddha).

The Delicate Type of Production 48. Nāțaka', Prakaraņa, Bhana, Vīthī and Anka' are to be known of the delicate type. For they depend on human beings.

(45) 1It seeins that boys also had to represent women's character in the ancient Hindu theatre (sce the Prastāvana to Mālati). And this shows the benefit of engaging actresses. Employment of boys in women's role was considerably a handicap in depicting female characters in the Shakesperian stage. On this see "Shakes- peare's Dramatic Art" in Companion to Shakespeare Studies, Cambridge, 1946, p. 54. (46) 'This probably stresses on the importance of repeated rehearsal. (48) 1For a definition of this and the following types of play see XX. 10-11ff. 48ff, 107-108ff, 112-113ff, 94ff. 2It is called Utsrstikānka also. See XX- 93.

xxxIv. 49-59] THE NÂȚYAŠÂSTRA 220

49. This delicate type of production is pleasing to kings. Hence plays of this class including the Erotic Sentiment, should be produced by women.1 50. The play in which there occur violent fighting, great speed [of movement], and much excitement, should not be enacted by females, but by males. 51-52. If a play includes ordinary (lit. not exalted) incidents and no hurried or violent movement of limbs, and requires an observance of proper tempo, Tala, Kala and regulated utterance of syllables, and clearly divided words and has plenty of desired Sentiments, it should be produced by women.1 Ths Energetic Type of Production 53-54. The play which requires energetic (aviddha) type of Angaharas to represent cutting, piercing, and fighting, and includes [a representation of] the use of magic and thau- maturgy as well as artificial objects and costumes, and has among its dramatis personae many males and a small number of females who are of quiet nature, and mostly the Grand and the Energetic Styles applied in its production, is of the energetic type. 55-56. Dima, Samavakāra, Vyāyoga and Ihāmrga are known to be plays of the energetic of type by producers. Production of plays of this kind, should be made by [an impersonation of] gods, Dānavas and Raksasas. 56. Thus one should assign different roles in the production of a play., Next I shall speak how a play attains excellence due to costumes and make-up. The Typical Impersonation of a King 57-59. How are the qualities of a king to be represented by an actor who has a few wearing apparels ? In this connec- tion it has been said that when dramatic conventions have

Act III. (49) 1An instance of such a play occurs in Priyadarsikā.

(51-52) 1This probably shows that the Nātaka etc. mentioned in 48 above, being plays of ballet-type were better suited to be pro- duced by women.

221 DISTRIBUTION OF ROLES [xxxv. 60-65

come into vogue I have made plays furnished with all these (i. e. conventions). In them (i. e. plays) the actor (nata) covered with paint, and decorated with ornaments, reveal the signs of kingship when he assumes a grave and dignified attitude, and then he alone becomes, as it were, a refuge of the seven great divisions (saptadvipa) of the world. 60-61. He should move his limbs only after he has been covered with paints. And trimmed according to the discre- tion of the Director and having the Sausthava of limbs, the actor becomes like a king, and [thus trimmed] tho king also will be [very much] like an actor.1 61-63. Just as an actor is, so is the king and just as a king is, so is the actor.' The two will represent their States by similar deportments and Sausthava of limbs. Just as by properly carrying out the instruction of the Director, the actor illumines the stage, similarly the king also will always be naturally brilliant. His followers will be like that of divine personages.2 In a play they are to be introduced with proper costume, language and age. 64. The producer should let the actor have the natural appearance of a character [by giving him suitable costume] and by associating him with suitable age through [proper] make-up. 65. Thus one should make a selection of persons for representing kingly manners. I shall, next speak of the qualities of a Director (sūtradhāra).

(60-61) 1This is a very clever statement. The king though he is nothing but an ordinary humau being, often assumes consci- ously or unconciously an extraordinary appearance. The story goes that Napoleon sought the guidance of a contemporary actor of repute before taking up the imperial crown. (61-63) 1See the note above. 'This was because the king was a incarnation of God or goc's.

xxxv. 66-74] THE NÂTYASASTRA 222

Characteristics of a Director In this connection I shall speak of the qualities of a Director. First of all, he should possess knowledge of characteristics [of everything concerning the theatre], desirable refinement of speech, knowledge of the rules of Tala and theory of notes and instruments [in general].1 66-71. One who is an expert in playing the four kinds of musical instrument, has various practical experience, is conversant with the practices of various religious sects, and with polity and the science of wealth (arthasastra) and the manners of courtezans and ars amatoria, and knows the various conventional Gaits and movements, thoroughly understands all the Sentiments and the States, and is an expert in producing plays, acqnainted with all arts and crafts, with words and the rules of prosody, and proficient in all the Sastras, the science of stars and planets, and the working of the human body, knows the oxtent of the earth, its continents, devisions, and mountains and people inhabiting them, and the customs these have, and the names of descen- dants of royal lines, and who listens about acts prescribed in Śāstras, can understand the same, and puts them into practice after understanding them, and gives instructions in the same, should be made a teacher and Director.

Natural Qualities of a Director 72-74. Now listen to me speaking about the natural qualities [which he should possess]. He should be possessed of memory and intelligence, and should be patient, liberal, firm in his words, poetical, free from any ;disease, sweet [in

(65) 'This and the two following passages (66-71, 72-74) show that the Hindus had very advanced ideas about of the responsibi- lities of a Director. Like his modern counterpart the regisseur (or ('producer" as he is called in England) he was required to be an expert not only as regards acting but in all those arts which together constitute a performance. The Komisarjevsky, The Theatre, London, 1935, p. 15. Thus so many varied qualities were required to ensure his fitness.

223 TYPES OF CHARACTER [xxxv. 74-78 his manners], forbearing, self-possessed, sweet-tongued, free from anger, truthful, impartial, honest, and free from greed for praise.1 Cheracteristics of an Assistant of the Director 74-75. A person of the middling type who has slightly less number of qualities than that the Director is to pessess, should be known as an Assistant (pāriparsvika) of the Director. Characteristics of an Actor 75-76. An actor (nata) should be lively (lit. bright), possessed of a good physique, acquainted with [theatrical) accessories and their uses, possessod of intelligence, conversant with the rulos [of the theoretical practice], and expert in his own work. Characteristics of a Parasite 76-77. Possessing all the qualities which the Director is to have with regard to the theatrical production, the Parasite (vita) should be an expert in dealing with courtezans, sweet [in his words], impartial, pootic, proficient in the meaning of the Sastras and in the knowledge of courtezans, capable saeing the positive and. the negative side of any argument, and eloquent and clever. Characteristics of the Sakāra 78. The Sakara' is one who wears gaudy (lit. brilliant) (72-74) 'The "greed for praise" probably means a hankering after uncritical praise which may come from the multitude. This surely stands in the way of a first-rate artistig production. (78) 1Western scholars are sometime inclined to connect this character with the Sakas (Keith, Skt. Drama, p. 69). But Sakāra as described in DR (ii 42 ) and SD. (81) is nothing but the lowborn brother of a royal concubine. Naturally he bragged about his relation- ship with the king and was laughed at by people. Hence the term syalaka gradually acquired a pejorative sense, and in NIA it has become sāla (a term of abuse). So people had to refer to him him euphemistically as Sa-kara which means the fellow named with an initial d. If the author of the NS. has not given such a definition, it was probably due to actual Sakāras being still available at his time he prudently remained silent about their anomalous social position.

xxxv. 79-83] THE NĀȚYAŠĀSTRA 224

clothes and ornaments and grows angry without adequate reason and gets pacified likewise, and who is an inferior character and speaks Magadhi2 and has manifold changes [in his conduct].

Characteristics of the Jester 79. The Jester (vidusaka) should be dwarfish, should possess big teeth, and be hunch-backed, double-tongued1 bald-headed and tawny-eyed.

Characteristics of a Servant

E0. A servant (ceta) be should be fond of quarrel,' garrulous, uncouth in form and give service under bondage, and be expert in distinguishing between persons who are to be honourd and who are not.

Characteristics of a Courtezan

81-83. A woman who is always engaged in attending the teacher (acarya) in connection with application of [vari us] arts and crafts, and is andowed with amorous move- ments, Emotion (hava) and Feeling (bhava), Temperament (sattva), discipline, sweetness [of manners], and is conversant with the sixtyfour arts and crafts ((kala), is expert in dealing with the king, and free from female diseases, and has sweet and endearing words, is clear in her speech, clever and undaunted by fatigue1 is called a courtezan (ganikā).

2It has been mentioned before that Sakāras should speak the Sākāri dialect (XVIII 52). But by Sākāri we are to understand a dialect of Māgadhi. See Puruşottama's Prākrtānuśāsana. ed. Nilti-Dolci. XIII. 1; also Prākrtakalpataru, ed. Ghosh, II. iii, 2ff. (79) 1The reading dvijan-man for dvijihva is evidently wrong See XXXIV. 21ff. (80) "The ceta was evidently a slave. The term bandhasevaka (giving service under bondage) seems to indicate this. (81-83) 1The courtezan was evidently somewhat like a Greek hetaera.

225 DISTRIBUTION OF ROLES [xxxv. 84-90

Characteristics of a typical Heroine 84-86. A woman with the following qualities should be given the role of a Heroine : she should be endowed with a good physical form, good qualities, character and young age and should possess gold necklace and garlands and should be shining, affectionate, sweet, and should possess charming words with a lovely voice and should be steady (lit. unperturbed) in the exercise (yogya), and conversant with Laya and Tala and Sentiments, and should have all kinds of ornaments and be dressed with garlands and scents.1

Women disqualified to take up a role 86-87. But a woman should not be made a Heroine in any theatrical show when she smiles on wrong occasions, is rough [in appearance], has an uneven gait and movement, persistent anger, miserable look, and is always haughty and fickle. These are the characters that the producers of plays should know about.

Members of a typical theatrical party 88-90. I shall next speak of different members of a theatrical party (bharata). They are : Bharata1 [proper] (actor), who resort to Bharata (i.e. his art), the Jester (vidūsaka), the musicians (tauripa), the actor-dancers (nata), the Director (sūtradhāra), playwright (nātyakāra) the crown-maker (mukuta- karaka), the maker of ornaments (abharanakrt) and garlands, the

(84-86) "The last hemistich of the text probably shows textual confusion. (88-90) 1The term "Bharata" seems to have originally meant those who sang ballads connected with the heroic exploits of the Bharata race. The term 'Bharthari' meaning singers on the exploits of Bhartrhari a prince who renounced the world and attained spiritual eminence, is analogous to Bharata. The Bharata ballads were the nucleus of the Mbh. According to the hypoth sis 29

xxxv. 91-95] THE NĀȚYASĀSTRA 226

dyer (rajaka), the painter (citrakāra), other and craftsmen (karu and silpin), and Kusīlavas and others who are to be known by their names.

Characteristics of Bharata 91. Ashe alone conducts as the leader [the performance of] a play by acting in many roles and playing many instruments and by providing many accossories, he is called Bharata.1

Characteristics of a Jester 92-93. One who looks to people's pleasure, can imitate manners of all people, resorts to various [means] and mixes with women, is ready-witted in disclosures made through Pleasantry,' or in Covert Pleasure2 and is clever, and can give censure through his words, is to be known as a Jester (vidūşaka).3

Characteristics of a Master-musician 94. ,One who is skilled in playing Tura,' has a liking for all the instrumonts and is an expert in playing them all, and possesses [all kinds of] musical instruments, is called Tauripa2 (master-musician).

Meaning of the word 'Nata' 95. Meaning of the root nat is 'to act' (lit. acts) and hence, as he acts (natayati) again and again the stories of

of Winternitz, such ballads gave rise to drama. See in this con- nexion the author's Contributions to the History of Hindu Drama, Calcutta, 1957, pp. 15ff. (91) 1See note 1 to 88.90 above. (92-93) 1See XXII, 50. 2See XXII, 53. 3 For another definition of a Jester see 79 above. (94) 1Its etymology is obscure. See note 2 below. 2The word though connected with tura is not directly available from it. The basis of tauripa is possibly tauripa one who engages himself with tura meaning probably musical instruments in general,

227 DISTRIBUTION OF ROLES [xxxv. 96-101 men with Sentiments, States and Temperament, he is called (lit. he becomes) a Nața (actor).

The Bcnediction 96-97. As one pleases by it the audience (lit. people) with sweet words of blessing, it is called Nandi (Benodiction). That which is spoken in the performance of a play to please people in various ways, with Sanskrit and Prakrit recitatives, is to be known as Nāndī.

Definition of a Director 98. One who knows from the teaching of the learned (sista) the principles (sutra) of applying songs, instrumental music and recitatives in their unity, is called a Sutradhara (Director).1

Definition of a Playwright 99. Because he puts in [different] Sentiments, States and Temperaments, as taught in tho Sastra, in different characters, a person is called a playwright (nāt yakāra).1 Definition' of an Actor 100. One who can apply the music of four kinds of instrument, and produce a play according to tho meaning of the Sastra as well as his own reasoning, is called an actor. (nața).1

Definition of an Actress 101. A woman who knows all about the playing of drums, Laya (tempo) and Tala and is conversant with Senti- ments, and is beautiful in all her limbs, should be made an actress1 (nāțakīyā).

(98) 'For another definition of the Sutradhara see 66-74 above. (99) 'His duty was to compose a play on any given theme. He is comparable to 'poets' employed by Elizabethan theatrical companies. For more about the playwright see the introduction. (100) 'This probably shows the original connection of drama with music of all kinds. (101) 'This word has been used by Bhasa. See Pratima I. 4.8.

xxxIv. 102-106] THE NĀȚYASĀSTRA 228

The Crown-maker 102. He who makes masks and various special dresses together with headgears (sirsaka = pratisirsaka) suited to various characters, is called a crown-maker (mukuțakāra).1 The Maker of Ornaments 103. One who makes ornaments according to various rules, is called a maker of ornaments' (abharanakrt) and each [maker of ornaments] is to be named according to the material he uses. The Maker of Garlands 104. He who makes five kinds1 of garland, is called a maker of garlands (mālyakrt). The Veşakāra He who looks after dressing is called Vesakara. The Painter, the Dyer and the Craftsman 105. One who knows painting is a painter (citrakāra), and from his [knowledge of] dying (ranjana) [clothes] a person is called a dyer (rajaka).2 And one who fashions different objects out of lac, stone, metal and wood, is called a craftsman (karu). The Kuśilava 106. He who can apply the principles of instrumental music and is himself an expert in playing instruments, is called a Kusilava because of his being kusala (clever) and avadata (refined) and free from agitation (avyathita).1

(102) 1For rules about crowns see XXIII. 129ff- (103) 1For varieties of ornament used see XXIII. 11ff. (104) 1For the five kinds of garlands see XXIII. 10 2For the rules for different costumes see XXIII. 110ff. (105) 1For uses of clothes of different colour see XXIII. 53-56, 60, and for colours see XXIII,. 69ff. 2See XXIII. 43, (106) 1The real etymology is obscure. This is only a folk- etymology of the word. There are however reasons to believe that it originally meant ballad-singers. The names of Rama's twin sons probably had its origin in kufilava.

229 DISTRIBUTION OF ROLES [xxxv. 107-109

Other members of the party 107. The man who takes to an art or a craft (silpa), a profession, or a practice, and has himself acquired proficiency in it, is oalled by its name.1 108. So much about the hereditary groups (jati) known in connection with the rules of theatre as Natas who relate to various accessories [needed] for the production of various types of play. 109. I have spoken about the assignment of roles and about the makers of a drama according to their function, and have pronounced the Canons of Drama. Please mention, O sages, what more is to be said now.

Here ends the Chapter XXXV of the Natyasastra, which treats of the Distribution of Roles.

(107) 1Besides the craftsmen mentioned above, the theatrical troupes probably had with them artisans who made things with bamboo, grass and hide etc.

CHAPTER THIRTYSIX

DESCENT OF DRAMA ON THE EARTH Sages question. 1-6. Being pleased with this, the sages such as Ātreya,1 Vasişțha, Pulastya, Pulaha, Kratu, Angiras, Gautama, Agastya, Manu, the wise Ayus, Visvāmitra, Sthūlasiras, Samvarta, Pratimardana, Usanas, Brhaspati, Vatsa, Cyavana, Kāśyapa, Dhruva, Durvāsas, Jamadagni, Mārkandeya, Galava, Bhara- dvāja, Raibhya, the venerable Valmiki, Sthūlāksa, Sańkulāksa, Kanva, Medhātithi, Kuśa, Nārada, Parvata, Susarman, the two Ekadhanvins, Nisthyūti, Bhavana, Dhaumya, Satānanda, Krtavrana, Jamadagnya Rama, Jamadagni and Vamana again spoke out of curiosity to the omniscient Bharata these words: 7. "The ancient Natyaveda which you have spoken, has been .properly comprehended by us listening to it atten- tively. 8. [But] you, venerable sir, should also remove (lit. explain) any doubt we may have in this regard. For who else can speak definitely about the Nātyaveda ? 9-10. We shall enquire from you [more] about drama for our enlightenment and not out of any distrust, rivalry or jealousy. We did not speak earlier (lit. then) [about this], for there should not be any interruption. So, speak to us exhaustively about the mystery of drama. 11. You have [already] said that exploits of men1 constitute drama, hence you should speak definitely about what has been kept hidden from people. 12-14. O the best Brahmin (lit. the bull of the twice- born), tell us about the character of the god who appears in

(1-6) 'The shorter recension of the NS. omits these names,. See I. 2. (11) 1See I. 111-112.

231 DESCENT OF DRAMA ON THE EARTH [XXXVI. 24-32

the Preliminaries (purvaranga). Why is the sound [of musical instruments] applied there ? What purpose does it serve when applied ? What god is pleased with this, and what does he do on being pleased ? Why does the Director being himself clean, perform ablution again on the stage ?1 How, O sir, the drama has come (lit. dropped) down to the earth from heaven ? Why have your descendants come to be known as Sūdras ?" 15. The sage Bharata on hearing these words of the wise men, spoke again to them for explaining the matter which was confidential. Bharata said :

16. 'I shall explain to you, O Brahmins, what you persons with excellont vow, enquire regarding the rules of the Preliminaries, Listen properly about it. 17. The Preliminaries have been doscribed in continua- tion of whatever I have said [earlier] about the destruction obstacles.1 18-22. Just as the body, is covered [with an armour] for warding off missiles, so sins of all kinds are avoided with Homa. After I have thus warded off the sins and destroyed the obstacles by worshipping gods with Japa, Homa, words of adoration and blessing, and songs about their [benevolent] deeds and attitudes, and with the playing of all instruments, and sound of songs, they (i.e. gods) being pleased with the singing of their praise, said, 'We are exceedingly delighted with the performance of yours; as it nandati [pleases] the people, after pleasing the gods and the Asuras, this perfor- mance will be called Nandi (Benediction). 23. When auspicious words uttered with proper into- nation in accompaniment of songs and playing of instruments resound a region, all evils will disappear, and prosperity will ensue there.

(12-14) 1See V. 80-83. (17) 1See V, 70ff.

xxxVI. 15-23] THE NĀȚYAŠĀSTRA 232

24. In so much space as is filled with sound of musical instruments there will be there no Rāksasas or leaders of Vighnas (vighna-vināyaka). 25-26. On hearing the sound of Nandi, and recitatives, songs and playing of instruments during marriages of all kinds,1 and sacrifices performed for the prosperity of kings, ferocious spirits will make themselves scarce. And this (i.e. the sound of the Nandi) will be equal to the exposition Vedic Mantras. 27. I have heard from the god of gods (Indra) and afterwards from Samkara (Siva) that music vocal as well as instrumental, is in fact a thousand times superior to bath [in holy waters] and to Japa. 28. In places in which there occur instrumental music and dramatic performance, or song and instrumental music, there will surely be there never any kind of inauspi- cious happening. 29. Thus I have devised the Preliminaries as a cere- mony of adoration for worshipping deities, with laudatory verses and Mantras.

Ablution of the Director on the Stage

30. As the head becomes fatigued by bowing on the stage, the rule permits the Director to bathe it with water.1 31. After the ablution the Director should worship the Jarjara with Mantras. All this has been said in connec- tion of the Prelimjnaries.1 This is the reason for the ablution. 32. I shall now tell you in detail how drama came (lit. dropped down) to the earth from Heaven, for I am unable to withhold anything from you.

(25-27) 1 Avāhe ca vivahe ca. Avaha is the marriage which takes place in bridegroom's place and vivāha takes place in the bride's. place. (30) 1See the note on 12-14. (31) 1See V. 118-119,

233 DESCENT OF DRAMA ON THE EARTH [XXXVI. 33-43 Bharata's Sons offended the Sages. 33-34. All these sons of mine being intoxicated with [the knowledge of] the Natyaveda, practised in course of time an art tiring the entire people with Prahasanas connected with laughter. 34-35. And they on purpose, produced in an assembly [of spectators] a play which caricatured the sages and which was unaccoptable and full of wicked acts, and which encouraged rural manners and was cruel and inauspi- cious.

The Sages curse Bharata's Sons. 36-37. On hearing this, the sages were extremely angry and excited, and spoke to them (i.e. 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 ? 38. As due to pride in your knowledge [of drama] you have taken to arrogance (avinaya), your evil knowledge will get destroyed. 39. In the community of sages and Brahmins or in meeting them, you will appear as being no followers of the Vedas and will attain the character of Sudras. 40. You will become mere Sūdras and attain their functions, and those to be born in your line, will be impure. 41. And your posterity will be dancers who will wor- ship others along with their wives and children (i.e. they will all be Sūdras).1 42. Gods on hearing of the origin of curse on my sons became anxious and approached the sages. Gods intercede in favour of Bharata's Sons 43. Then the gods with Sakra (Indra) as their leader said, 'Afflicted [thus] with misery the drama will perish.' (41) 1In modern states, Directors of theatres would be dragged to law-courts for a similar offence. . '30

XXXVI. 44-53] THE NĀȚYAŠĀSTRA 234

44. The sages said in reply that drama would not perish, but the remaining portion of their curse would take effect in its entirety.

Bharata's Sons approach their Father. 45-46. On hearing the words of the sages of terrible spirit, my sons became sad, and with a desire to kill them- selves they approached me and said, 'We have been totally ruined by you, and for the fault of drama we have been made to take to Sūdra's conduct.' Bharata pacifies them. 47-48. For their consolation I said, 'Do not be sorry for it ; the rule that words of sages will never prove untrue has indeed been made by fate (krtanta) ; so you should not turn to the destruction [of your own selves], after being thus consoled. 49. Remember (lit. know) that this dramatic art has been described by Brahman [himself]. So teach it to your disciples and others through its practice. 50. 'Do not destroy this drama which has been devised with great difficulty, and which depends on great things, brings merit and has its origin in the Vedas, their Angas and Upāňgas.1 51. After holding the performance of a drama according to [rules] which I have heard from Apsarasas, you are to undergo a purificatory ceremony (prayaścitta). Nahusa invites divine Artistes to the Earth. 52. In course of time, a king named Nahusa attained the kingdom of heaven through his polity, intelligence and prowess. He then governed the kingdom and obtained a divine prosperity (vyusti). 53. And on seeing the musical performance (gāndharva) and drama [of the gods], he became anxious [for these].

(50) 1In spite of this passage, it is difficult to believe that drama of India was of Vedic origin. On this see the translator's Contributions to the History of Hindu Drama, Calcutta, 1957, pp. 3-4.

235 DESCENT OF DRAMA ON THE EARTH [XXXVI, 54-63 54. And he thought within himself as to how the dra- matic performance of gods might be held in his own house [on the earth] and to the gods he spoke for [causing such] a perfor- mance, with joined palms. 'Let the drama [produced] by the Apsarasas be performed in our house [on the earth].' Gods reject the request. 56. But in reply to this, the gods with Brhaspati as their leader said to him 'The meeting of divine damsels and human beings has not been prescribed [anywhere]. 57. [But] as you are the lord of heaven, you should be given an advice which is friendly as well as suitable. Let the master [of the dramatic art] go there [at your place] and please you.' Nahusa approaches Bharata. 58. Then the king with joined palms said to me, 'Revered sir, I should like to see this dramatic performance established on the earth. 59. I have been promised earlier [by gods] your service as a trainer. O best of Brahmins, I have now got it directly [by approaching you]. Urvaśi and the carthly drama 60. In the house of my grand father (Pururavas), this drama together with his work has been described by Urvasi to the members of the harem. 61. But when the members of the harem were distressed on the death of the king who became insane1 due to her disappearance, this [dramatic art] was lost. 62. I wish this again to be openly produced on the earth during sacrifices to be done on different days of the moon, so that a happy and auspicious situation may arise. 63. Hence, plays (lit. composition) relating to many characters produced in my house through graceful movement 'of women, will add to your fame.' (61) 'The fourth act of Kalidasa's Vikram. deals with this theme in a masterly fashion.

XXXVI. 64-72] THE NAȚYASASTRA 236

Bharata grants this request and sends his sons to the earth. 64-67. 'Let this be so' said, I in reply to the king Nahusa, and called my sons, and spoke to them as well as to gods the conciliatory words [as follows :] 'This king Nahusa begs us with joined palms that you may go down for your own good to the earth to produce drama there. Drama being produced there, I shall make an end of your curse and you will no longer be despised by Brahmins and kings. So go down to the earth to produce drama there, [for] I shall not be able to disregard the words of this earthly king.'1

Kohala is the Successor of Bharata.

68-69. For us all and for the magnanimous Nahusa, the Self-born One (Brahman) has said that success in drama would depend on his authoritative instruction (aptopadsa). The rest will be related by Kohala in his supplementary treatise (uttara-tantra)1 which also will treat [of more rules on] the application [of dramatic art], the Memorial verses (kārika) and the etymologies (nirukta). 70. For the purpose of diversion, this Sastra has been established by me in heaven with the help of Apsarasas and the sage Svati and Narada."

Bharata's sons come down to the carth.

71. Then, O Brahmins, they went down to the earth in the house of Nahusa, and devised in due order the produc- tion of various plays with the help of women. 72. Afterwards they my sons, begot progeny in women of the earth and devised for them more dramas (lit. creation) on various themes.

(64-67) 'The implication of this mythical account is beautiful. It seeks to impress on us the idea that dramatic performance fiourished in heaven, and it is a gift of gods. (68-66) 'In ancient Indian medical works we meet with uttara-sthanas which are evidently later additions. See Samihitās ascribed to Kasyapa and Suśruta. Kohala's work has reached us in a very damaged ms. not yet published.

237 DESCENT OF DRAMA ON THE EARTH [XXXVI. 73-81

73. On begetting sons and devising plays in due order they were permitted to return again to heaven. 74. Thus through a curse the dramatic performance has been brought down to the earth, and the successive genera- tions of dramatic artistes (bharata) have come into being. Kohala and his associates 75-76. Kohala1 and others together with Vatsya2 Sandilya,3 and Dhurtila' (Dattila) stayed in this earth for some time as mortals, and put into practice this Sastra which augments the intellect of men, deals with the deeds of the three worlds and is a specimen of all other Sastras. Value of the Nātyasāstra 77-79. He who always hears the reading of that [Sastra] which is auspicious, sportful, originating from Brahman's mouth, very holy, pure, good, destructive of sins, and who puts into practice and witnesses carefully the performance [of a drama], will attain the same blessed goal which masters of Vedic knowledge1 and performers of sacrifices or givers of gifts will attain [in the end]. Value of the Dramatic Show 80. Of all duties of the king, this has been proclaimed as possessing the best result (mahaphala).' Of all kinds of charities, allowing people to enjoy a dramatic show without payment, has been praised most. 81. Gods are never so pleased on being worshipped with scents and garlands as they are delighted with the performance of dramas.

(75-76) See the introduction. 2ibid 3ibid *ibid (77-79) 1This passage probably shows that the theatrical art was originally connected with the pre-Vedic religion. The author .of the NS. tried here to give it a status similar to that of the Vedic practices. (80) 1Some modern states also find it profitable to spend money on dramatic arts.

XxXVI. 82-83] THE NATYASÂSTRA 238

82. The man who properly attends the performance of music (gandharva) and dramas will [after his death] attain the happy and meritorious path in the company of Brahminic sages. The popular practice supplements dramatic rules. 83. Thus many practices sanctioned by Sastras have been described in connection with the performance of dramas. Whatever remains unmentioned should be included into practice by experts from an observation (lit. imitative) of people (i.e. their usage).1 THE FINAL BENEDICTION What more should I say ? Let the earth be full of grains, and be free from diseases for all time. Let there be peace for cows and Brahmins, and let the king protect thus the entire earth .?

Here ends the Chapter XXXVI of the Nātyasastra, which treats of the Descent of Drama on the Earth

(83) 'This shows that the author of the Sastra did not like to see drama eternally tied to his prescriptions. 'This is the typical pattern of Bharata-vakyas met with in available plays. The term 'Bharata-vakya' however does not occur in the Nātyaśāstra.

Library of the ASIATIC SOCIETY 1 Park Street, Calcutta-16 Call No.232A4. Accession No .: 2.4.9 ..........